Organised Sound: An International Journal of Music and Technology:
Thematic issue: „Sound Art and Music: continuum and fissure“
Submission deadline: 15th September 2014
Date of publication: August 2015
Issue co-ordinators: Salomé Voegelin (s.voegelin at lcc.arts.ac.uk) and Thomas Gardner (t.gardner at lcc.arts.ac.uk)
The central precept of this call for submissions is that sound art and music evolve in a shared world and the joint navigation of this terrain allows new creative approaches to be taken by artists, curators, theorists and participants (listeners).
The current prominence of sound art has been aided by its relation to a visual arts discourse, but even as this visual affiliation has aided sound art’s recognition, making it more visible, it has obstructed the discussion of its sonic materiality and processes and has neglected its musical heritage and those aspects of its practice that recall that history. Consequently, much contemporary sonic output is not appreciated and approached as a critical response to previous and concurrent musical works but is considered mainly in relation to the concerns of visual practice and theory. As a result contemporary sonic works are not theorised through a musical sensibility – understood in relation to a musical expression and musical questions – nor have they the influence to critique and advance traditional musical practices and our critical engagement with them. Rather, what is highlighted in current sound arts discourse are the conceptual and contextual concerns it shares with visual arts history.
The lack of a jointly elaborated critical framework has consequences for how we perform, install, curate, listen to and write about sonic works. It influences and determines our listening strategies and defines our references as well as the way that sonic materiality and symbolic codifications are understood, discussed and practiced.
This issue of Organised Sound invites a discussion of the relationship between sound art and music, to focus on the relevance of this relationship and to debate how it might impact on the way we listen to and critique sound work, and ultimately also on how we practice sound art and music.
The full CFP can be found at:
Organised Sound – http://journals.cambridge.org/oso