[ANPPOM-L] Journal on the Art of Record Production

[Carlos Palombini]

Please forward as appropriate

JARP Call For Articles

The Journal on the Art of Record Production will be launched in 
September 2006

The first two issues will be guest edited by Simon Frith and Albin Zak. 
The ARP website (www.ArtOfRecordProduction.com) is now up and running in 
skeletal form but the aim is to combine the on-line journal, the 
conference proceedings and a more general research resource (interviews, 
reminiscences, biographies, contributions from industry professionals, 
forum discussions, links, academic articles) which academics and 
industry professionals can contribute to. If anyone's interested in 
contributing or helping out with the website please contact me on: 
simon.zagorski-thomas em tvu.ac.uk

Guidelines for article submissions are as follows:


Peer reviewed submissions:
             Full article:                        5 – 7,000 words
             Position paper:            3 – 5,000 words

  General website submissions:

     * Interviews
     * Reminiscences
     * Biography
     * Contributions from industry professionals
     * Forum discussions
     * Links to other sites

Send submissions to ArtOfRecordProduction em tvu.ac.uk
Website: www.ArtOfRecordProduction.com

  Issue 1: Guest Editor – Simon Frith
             Deadline: 23rd June 2006

  Themes:

     * The recording studio as a space/place

This would involve articles on particular recording studios, on issues 
of studio design, on the history—and philosophy - of the studio, on the 
relationship of the recording studio to other musical spaces—concert 
hall, sound stage, rehearsal room, etc.

     * The record producer and the law

This would involve articles on the various ways producers are 
contracted, the nature of authorship and copyright as they affect 
producers, the notion of the ‘independent’ producer, etc

     * Record production and sound design

This could involve articles not just on the role of sound engineering in 
the music recording process but also on how record producers fit in the 
wider world of sound designers—for film, television, theatre, live 
concerts, etc.  How have the latter worked with/been influenced by the 
former and vice versa?

Issue 2: Guest Editor – Albin Zak
             Deadline 20th October 2006

Themes:

     * Recording figures mostly missing from the historiographic record.

Alongside producers this could include engineers, session players, 
arrangers, etc. We also welcome research on recording scenes in 
particular cities or regions.

     * Alternatives to the established mainstream entertainment 
production and delivery system.

Everyone knows that major labels and big-time studios are having trouble 
coping with the new realities of project studio production and internet 
distribution. But it’s far from clear how significant a shift is being 
generated at the grass roots. We welcome case studies from various parts 
of the world detailing music production and distribution scenarios 
operating outside the corporate models that dominated the past century.

-- 
carlos palombini
diretor
centro de pesquisa em música contemporânea
universidade federal de minas gerais
cpmc-ufmg
<palombini em terra.com.br>