[ANPPOM-Lista] CFP: Organised Sound (Cambridge): Which words can we use related to sound and music?

[Carlos Palombini]

OS Call for Submissions: Which words can we use related to sound and music?
*Call for submissions*

Volume 22, Number 3

Issue thematic title – Which words can we use related to sound and music?

Date of publication: December 2017

Extended submission deadline: 15 January 2017

Issue co-ordinator: Daniel Teruggi (dteruggi em ina.fr
<dteruggi em ina.fr?subject=Organised%20Sound%20special%20issue%20query>)

In late 2016 the full English translation of the *Traité des Objets
Musicaux* by Pierre Schaeffer will be published by California University
Press 50 years after its first appearance in French. This important
milestone and the proximity to the 70th anniversary of the first *Concert
de bruits* by Schaeffer in June 1948, which opened the road to *musique
concrète*, offer a unique opportunity to analyse the way we talk about
sound and music. One of the strong contributions of Schaeffer was to
develop a vocabulary describing sound structure and behaviour, using terms
applied to other senses to identify them thus setting the foundation for
the analysis of sound in music and how our perception creates sense out of
sound information.


Schaeffer opened the road to musical research and since then various
theories, systems and environments for analysis have been proposed
enriching the vocabulary and the approaches to the understanding of
electroacoustic music and the function of sound within it. Today, we are
rich in ideas and always looking for new ways to talk about sound and music
putting in perspective the evolution of different currents of thought
regarding the nature and use of sound and its incidence in musical and
emotional perception.


Sound has always been the underlying component of music; however, sound
today is seen as an invention process where the musician already expresses
his or her musical intentions which condition the final results. There have
been a number of attempts to classify sounds: either from a purely
acoustical point of view or from a point of view of perception. There is
also an intermediate mode, which is the description of the production
process. However the important issues are: how do composers handle sounds
in their representation and classification systems and what is the position
of sound in musical thought?


Regarding music, there exist analytical theories or approaches with a
strong tendency over recent years to consider how sound material conditions
the analytical method to be applied. In this context it is important to
investigate the relation between sound and music, and how musicality is or
is not dependent on the sound environment. How does perception adapt itself
to continuously changing sound environments? How do emotion and pleasure
develop and build lasting schemes in our memory?

Possible areas of interest include:

   -

   Are there sounds more adapted to music, or is any sound a musical
   candidate?
   -

   What is the influence of *musique concrète *on musical thought today?
   -

   How is sound considered in analysing music? Is it just a component or a
   conditioner of analysis? In other words, how does sound sound?
   - Can music be 'only sound'? Do continuous sound patterns function as
   music for our perception?


   - Looking at different ways of talking about sound: traditional,
   scientific or morphological


   - How important is electroacoustic music analysis in education and
   dissemination?


   - Can musical essence survive in terms of poor sound reproduction
   devices or formats?

As always, submissions related to the theme are encouraged; however, those
that fall outside the scope of this theme are always welcome.


SUBMISSION DEADLINE: 15 January 2017


SUBMISSION FORMAT:


Notes for Contributors and further details can be obtained from the inside
back cover of published issues of *Organised Sound* or here
<http://journals.cambridge.org/action/displayMoreInfo?jid=OSO&type=ifc>
(and download the pdf).


Properly formatted email submissions and general queries should be sent to:
os em dmu.ac.uk <os em dmu.ac.uk?subject=Organised%20Sound%20-%20query>, not to
the guest editor.


Hard copy of articles and images and other material (e.g., sound and
audio-visual files, etc. – normally max. 15’ sound files or 8’ movie
files), both only when requested, should be submitted to:


   Prof. Leigh Landy
   Organised Sound
   Clephan Building
   De Montfort University
   Leicester LE1 9BH, *UK*


Editor: Leigh Landy


Associate Editors: Ross Kirk and Richard Orton†


Regional Editors: Ricardo Dal Farra, Jøran Rudi, Margaret Schedel, Barry
Truax, Ian Whalley, David Worrall, Lonce Wyse
International Editorial Board: Marc Battier, Manuella Blackburn, Joel
Chadabe, AlessandroCipriani, Simon Emmerson, Kenneth Fields, Rajmil
Fischman, Eduardo Miranda,Rosemary Mountain, Tony Myatt, Jean-Claude
Risset, Mary Simoni, Martin Supper, Daniel Teruggi


http://goo.gl/RkCELv


-- 
carlos palombini, ph.d. (dunelm)
professor de musicologia ufmg
professor colaborador ppgm-unirio
www.proibidao.org
ufmg.academia.edu/CarlosPalombini <http://goo.gl/KMV98I>
www.researchgate.net/profile/Carlos_Palombini2
scholar.google.com.br/citations?user=YLmXN7AAAAAJ
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