Organised Sound – “The Sound of Cultures” – call for submissions

Organised Sound Journal Volume 19, Number 2 (publication date August 2014)

 

Issue thematic title: The Sound of Cultures Date of Publication: 2014

Publishers: Cambridge University Press

 

Issue co-ordinator: Manuella Blackburn (blackbm@hope.ac.uk)

 

Submission deadline: 15 September 2013

 

Recorded sound often provides the starting point for creative work within the practice of electroacoustic music. Means of accessing sounds and inspiration from all corners of the globe bring these aural and often so-called exotic experiences closer to us than ever before. High-quality portable recording technology, file sharing, networking and the Internet have all contributed to this ‘easy’ access, but what are the ethical considerations here? Should creators of sonic art assume unrestricted access or even proprietary rights over this substantial resource? Where does respect end and appropriation commence? And as audience members, how do we listen and respond to works that borrow, reconfigure and transform cultural/ethnic/exotic sounds?

 

Following the Organised Sound ‘Global Local’ issue 13/2 (2008), the open sound world of electroacoustic music, where any sound may be sampled and integrated, demands a closer look. Are certain sounds ‘off-limits’ with respect to issues of cultural or social sensitivity? Should we be cautious and respectful when we plunder from the global sound pallet? How do we as composers deal with these sounds in the studio?

 

Of course culture can manifest itself in other ways. An impression, hint or suggestion may imply inspiration drawn from a foreign ‘otherness’. Understanding how such influences manifest themselves within sonic works may reveal new fusions, hybrids and methods of composing. Cultures can also be described as internal developments within regions, genres, institutions and schools of thought. Greater awareness of sub-cultural contributions to the wider understanding of electroacoustic music is fundamental to the continuation and evolution of sonic practices. Modes of synthesis, programming, installation, audio-visual practices and performance are often defined and contextualized through cultural practice. The role of technology and its ability to capture, collate, preserve and exploit cultural sounds and aural traditions are all aspects at the heart of this issue.

 

Topics for investigation might include:

– Issues associated with sonic/musical exchange across cultural boundaries

– ‘Exoticism’ and its manifestation in electroacoustic music/sound art

– Identification and developments of musical sub-cultures

– Sonic signatures (originating from regions, institutions, genres and practice)

– Issues of sonic appropriation and borrowing

– Sound location and dislocation

– Site- and cultural-specific sound

– Symbolic/iconic sound use and its prevalence in electroacoustic music

– The preservation, cultivation or exploitation of local/global sounds

– Ethnic phonography

 

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

 

Deadline for submissions is 2013. Submissions may consist of papers, with optional supporting short compositions or excerpts, audio-visual documentation of performances and/or other aspects related to your submission that can be placed onto a DVD and the CUP website for “Organised Sound”.  Supporting audio and audio-visual material will be presented as part of the journal’s annual DVD-ROM which will appear with issue as well on the journal’s website.

 

SUBMISSION DEADLINE: 15 September 2013

 

SUBMISSION FORMAT

 

Notes for Contributors and further details can be obtained from the inside back cover of published issues of Organised Sound or at the following url:

 

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@dmu.ac.uk, not to the guest editor.

 

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:

 

Prof. Leigh Landy

Organised Sound

Clephan Building

De Montfort University

Leicester LE1 9BH, UK.