<div dir="ltr"><div class="gmail_default" style="font-family:arial,helvetica,sans-serif"><p><strong><span style="font-size:14px"><em>Organised Sound</em> Call for Submissions: Alternative Histories of Electroacoustic Music</span></strong></p>
<p>The story of the genesis and development of electroacoustic music is often told in the same familiar way. Experiments in <em>musique concrète </em>in Paris and <em>elektronische Musik </em>in
Cologne played a central role in European developments, while
activities in New York such as those of the Columbia-Princeton
Electronic Music Center, John Cage and his Music for Tape-Recorders
group, and Louis and Bebe Barron are frequently proffered as the most
prominent American contributions. These activities were significant, of
course; but they were not the only progenitors of modern-day electronic
music. There are many, many other ways in which the story of electronic
music’s history and development could be told. (For the purposes of this
call, the term ‘electroacoustic music’ is to all intents and purposes
synonymous with ‘electronic music’, referring broadly to music in which
electronic apparatus is used to produce and/or transform sound.)</p>
<p>There are many ways in which an ‘alternative’ history could be
framed. For example the English musician and musicologist Hugh Davies,
in the late 1960s, produced a comprehensive inventory of electronic
music compositions, entitled <em>International Electronic Music Catalog</em>
(1968), in which he documented the output of 560 studios in 39
countries. This challenged the hegemony of the Paris, Cologne, and New
York schools, whose activities dominated the literature of the 1950s and
60s, and as such provided what was arguably the first <em>alternative history </em>of electronic music.</p>
<p>There are many other possibilities for alternative histories, and the purpose of this thematic issue of <em>Organised Sound</em>
is to present some of them. For example: what does electronic music
look like if we focus on the contributions of individuals whose work is
less widely known; less widely recognised? What happens if we step away
from the Western European and North American institutions that are
normally figured as central to the genesis and development of
electroacoustic music? Or, what happens if we question, or explore the
mechanisms of, their authority? What happens if we change our object(s)
of study; if we look at artefacts and objects rather than composers and
works, for instance? Are there tools, techniques, instruments that
played an important role in shaping electroacoustic music that remain
under-recognised or misunderstood? What about when we listen to the
marginalised voices; what versions of electroacoustic music’s history do
they tell? Or, what happens if we change our <em>methods</em> of study,
so as to highlight aspects that hitherto went unnoticed, such as
underlying social, political, or economic dimensions? How does current
music draw on the origins of the form?</p>
<p>Possible areas of interest include:</p>
<ul class=""><li>Pathways from electroacoustic music’s past to electroacoustic
music’s present that are ‘a little bit different’ from what one might
expect.</li><li>Individuals, institutions, inventions, or perspectives that have been neglected or under-represented up to now.</li><li>Alternative methodological and/or theoretical perspectives; studies
that encourage us to look at the history of electronic music in a
different way.</li><li>Ethnographic, anthropological, and/or interdisciplinary approaches;
implementation of methods native to science and technology studies
(STS); other methodological approaches that are apt to reveal
‘alternative histories’.</li><li>Alternative narratives; studies that compel us to attend to, or
listen to, different things as we navigate electronic music’s history.</li><li>Marginalised voices; stories of electronic music’s history and development that have been side-lined, for whatever reasons.</li><li>Non-Western European, Non-North American developments, and/or
activities that happened outside those typically considered in
electronic music histories.</li><li>Unconventional or DIY approaches; work that has flouted the norms and expectations of its epoch.</li><li>Developments that have shaped or changed the direction of electronic music, but which remain as yet under- or un-recognised.</li><li>Notions of genre/style/idiom as a lens for alternative histories.</li><li>Studies that might be thought of as continuing the work that Hugh Davies started with his <em>International Electronic Music Catalog</em>,
for example by focusing on the electronic music of under-represented
nations, and/or the use of electronic sound techniques in disciplines
outside the immediate sphere of avant-garde art music.</li><li>Tools, techniques, instruments (etc.) that played an important role
in shaping electronic music, but which remain under-recognised or
misunderstood.</li><li>Interrogating the (perhaps invisible) driving forces behind
institutions of cultural production, so as to reveal why certain models
of electronic music dominate, or appear to dominate.</li><li>Historic perspectives on relationships between electronic music and other musical/cultural practices.</li></ul>
<p>Submissions are welcomed from all disciplines, but particularly from
electroacoustic music studies, science and technology studies,
history/philosophy of science/technology, and sound studies.</p>
<p>Prospective authors may be interested to know that an international
conference with the same theme—Alternative Histories of Electronic
Music—will be held at The Science Museum, London, on 15-16 April 2016.
Further information, including a call for conference papers, can be
found at: <a href="http://ahem2016.wordpress.com">http://ahem2016.wordpress.com</a>.</p>
<p>As always, submissions related to the theme are encouraged; however,
those that fall outside the scope of this theme are always welcome.</p>
<hr>
<p><span style="font-size:14px"><strong>Issue Co-ordinator</strong></span></p>
<p>James Mooney (<a href="mailto:mailto:j.r.mooney@leeds.ac.uk?subject=Alternative%20Histories%20of%20Electroacoustic%20Music">j.r.mooney@leeds,ac.uk</a>) and Dorien Schampaert (<a href="mailto:mailto:d.schampaert@leeds.ac.uk?subject=Alternative%20Histories%20of%20Electroacoustic%20Music">d.schampaert@leeds.ac.uk</a>)</p>
<hr>
<p><span style="font-size:14px">Submission Deadline: <strong>15 September 2016</strong></span></p>
<p><span style="font-size:14px">Submission Format:</span></p>
<p><a href="http://journals.cambridge.org/action/displayMoreInfo?jid=OSO&type=ifc"><span style="font-size:14px"><strong>Read the <em>Organised Sound</em> Instructions for Contributors</strong></span></a></p>
<p>Properly formatted email submissions and general queries should be sent to: <a href="mailto:os@dmu.ac.uk">os@dmu.ac.uk</a>, not to the guest editors.<br>
<br>
Hard copy of articles and images (only when requested) and other
material (e.g., sound and audio-visual files, etc. – normally max. 15’
sound files or 8’ movie files) should be submitted to:<br>
<br>
Prof. Leigh Landy<br>
Organised Sound<br>
Clephan Building<br>
De Montfort University<br>
Leicester LE1 9BH, UK.<br>
<br>
<strong>Editor:</strong> Leigh Landy<br>
<strong>Associate Editors:</strong> Ross Kirk and Richard Orton†<br>
<strong>Regional Editors:</strong> Ricardo Dal Farra, Jøran Rudi, Margaret Schedel, Barry Truax, Ian Whalley, David Worrall, Lonce Wyse<br>
<strong>International Editorial Board:</strong> Marc Battier, Manuella
Blackburn, Joel Chadabe, Alessandro Cipriani, Simon Emmerson, Kenneth
Fields, Rajmil Fischman, Eduardo Miranda, Rosemary Mountain, Tony Myatt,
Jean-Claude Risset, Mary Simoni, Martin Supper, Daniel Teruggi</p></div><a href="http://goo.gl/0AcUk7">http://goo.gl/0AcUk7</a><br><br>-- <br><div class="gmail_signature" data-smartmail="gmail_signature"><div dir="ltr"><div><div dir="ltr"><div><div dir="ltr"><div><div dir="ltr"><div><div dir="ltr"><div>carlos palombini, ph.d. (dunelm)<br>professor de musicologia ufmg<br>professor colaborador ppgm-unirio<br><a href="http://www.proibidao.org" target="_blank">www.proibidao.org</a><br><a href="http://goo.gl/KMV98I" target="_blank">ufmg.academia.edu/CarlosPalombini</a><br></div><div><a href="http://www.researchgate.net/profile/Carlos_Palombini2" target="_blank">www.researchgate.net/profile/Carlos_Palombini2</a><br><a href="http://scholar.google.com.br/citations?user=YLmXN7AAAAAJ" target="_blank">scholar.google.com.br/citations?user=YLmXN7AAAAAJ</a><br></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div></div></div></div></div></div></div></div></div></div></div>
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