Friday, February 22, 2008

CMMAS Journal

The Mexican Center for Music and Sonic Arts (CMMAS) is pleased to solicit submissions for the upcoming launch of a new journal devoted to activities in electroacoustic music and sonic art. This journal, entitled SonicIdeas/IdeasSonicas will be published both online and in printed format. The aims of the journal are to encourage, develop and disseminate information about activities and developments in the field, and in particular to foster interaction between Spanish and English speaking composers, performers, researchers, and listeners.

The journal will be open to all aesthetic and scholarly viewpoints and approaches.

The journal will seek to publish novel and challenging perspectives on approaching technology and its influence on music and sound art, and will seek to promote serious research and debate on these topics.

Authors whose contributions are published assign CMMAS the non-exclusive rights to disseminate their work in every form of media, within legal limits. Authors must posses, and provide proof of such possession with their submission, the legal right to reproduce any secondary copyright materials. Submitted articles may have been previously published.

The journal will publish articles in either Spanish or English; submissions will be accepted in either language, and will be published in the submitted language. Dual-language publication will also be considered on a case-by-case basis. Articles on any aspect of electroacoustic music/sonic art will be considered, as will reviews, analyses, historical studies, tutorials and other pedagodical articles, and studio/regional/festival reports. Other proposals are welcomed. Authors must submit their proposed articles via email or on disc. Documents must be submitted as Microsoft Word documents, including all necessary graphics and musical examples. Audio examples will be considered for the online version of the journal.

The deadline for submisions for the first issue is March 10, 2008. Authors should submit their proposed material, a brief (ca. 100 word) biography and contact information, including instituional affiliation, if any.

Formatting guidelines:

2.5 cm left and right margins
Page numbers centred at the bottom of the page, 1.25 cm from the bottom of the page
Times New Roman, 12pt font
Justified text
Headings: centred and bold in 14pt font, preceeded and followed by an 18pt space.
Italics are to be used for all quotations, note names and titles
Quotations longer than four lines should be formatted as a block quote (left indent by 1 cm), and preceeded and followed by an 18pt space (line spacing within the block quote is 20pt).
Underlining or other forms of emphasis should not be used.
Footnotes: 10pt font; text left-indent by 1cm (from footnote number); to be numbered through. Footnote numbers are to be put in superscript.
Line spacing 20pt; 12pt for footnote
The first line of each paragraph should be indented by 1cm.
Single spacing within paragraphs
Illustrations, such as musical examples or tables, should be integrated within the body of the text, centered with a 10pt caption (captions are to be below the illustration) and numbered.
The layout of the different types of contributions should start as follows:
Articles and short contributions (e.g. conference reports) should begin with the title (centred, bold and in 14pt font), followed by 18pt spacing. This is to be followed by the name of the author (centred): "by [First Name, Surname]" (no title), followed by 18pt spacing.
A review should begin with the name of the author and the title of the publication/recording(s) reviewed, followed by the publication information (centred, bold, 14pt font; the title in italics): First Name Surname: title, Place: Publishers, Year. Followed by 18pt spacing. Then the name of the reviewer (in normal font): "Review by [First Name, Surname]" (no title), followed by 18pt spacing.

Michael Matthews, Guest Editor (HYPERLINK ""
Centro Mexicano par la Música y las Artes Sonoras
Casa de la Cultura, planta alta
Morelos Nte. # 485, centro
C.P. 58000, Morelia, Michoacán

Tel (+ 52) 443 317-5679

Dr. Rodrigo Sigal
Centro Mexicano para la Música y las Artes Sonoras
Mexican Centre for Music and Sonic Arts
Festival Internacional Visiones Sonoras (
Conoce la Red de Arte Sonoro Latinoamericano en
Also visit:

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Sunday, February 10, 2008

Maryland Humanities Grant

Due Date: 3/3 for review

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Art of Record Production - Call for Papers

The Fourth Annual Art of Record Production Conference 2008
Nov. 14 - 16, 2008
Hosted by William Moylan at The University of Massachusetts Lowell,
Lowell, Massachusetts, USA
Apologies for cross posting

Call For Papers

Conference Summary:
The ARP Conference gathers together industry professionals, academic
scholars, and musicians who utilize and study recording technology as
a principle means of creative expression. It is the aim of this
conference to facilitate the exchange of ideas between these groups,
drawing upon broad areas of expertise, and providing a unique
opportunity for individuals to inform, challenge, and stimulate the
discourse surrounding the intersection of technology and music. ARP
provides a platform for the exchange of ideas and multiple
perspectives across disciplines.
The conference addresses a range of topics such as; how creative
expression is achieved through technological practices; how changes
in recording technology have impacted upon and informed musical
practices; the so-called "democratization" of access to modes of
creative expression and the resultant opportunities for the
distribution of recorded work in the age of computer-based recording
and the Internet.
The conference will comprise academic papers, industry speakers and
panels, practical demonstrations and masterclasses as well as
plentiful opportunities for networking and informal debate.

The 2008 Conference will deliver four streams of papers and panels
around the following topics:

1. The Studio as Musical Instrument.
In 1983 Brian Eno described the recording studio as his musical
instrument. After several decades of technological change, it is
worth considering how the definition of what constitutes a "studio"
has shifted, and the various technological, economical, and political
impacts these shifts have had and continue to have on contemporary
music. What does “The Studio as Musical Instrument” mean today? How
has recording practice affected composition, arranging and song
writing practice? How have “composer,” “performer,” “engineer,”
“conductor,” or “musician” been redefined? How has the “recording
studio” changed music and music making? Please send proposals for
this stream to:

2. Recording Practice and Performance.
How have changes in recording practice affected performance practice
amongst recording musicians? How has technology influenced the sound
art which results? How do record producers, musicians and sound
engineers communicate in the studio? How do they view each other? How
have the control surfaces of the studio been absorbed into and
influenced musical performance? How do issues such as comfort and non-
verbal communication between musicians balance against separation and
audio quality in the recording process? How is the creative power
distributed between musicians, producers, record companies and
technicians? Please send proposals for this stream to:

3. The Empowered Artist
The means for composing, performing, recording, promoting and
distributing sound recordings is available to all artists. Is the
‘capability’ to do it all being matched by the ‘ability’ to do it
well? Are the potentially conflicting challenges of business and
creation being juggled without undermining the economic or artistic
value of what results? How has low-cost audio production technology
impacted the recording industry, both economically as well as in re-
casting the creative technologies contained in professional
facilities? Please send proposals for this stream to:

4. Production and the Listener

How aware are listeners of the possibilities and actualities of
production? How aware are the industry professionals who are not
involved in production? How do production practices impact on notions
of authenticity? Are alternative mixes regarded by listeners as
aesthetically equivalent? Do producers work with specific listening
environments or audiences in mind? How has this impacted on the
historical development of record production? Please send proposals
for this stream to:

Other subject areas will be considered and we encourage the
submission of papers on any topic associated with the art of record

Proposals for individual papers and poster presentations should not
exceed 300 words.

Proposals for panels should include the names and brief CVs of all
panel members and their individual contributions and should not
exceed 1000 words.

The deadline for proposals is the 15th April 2008.
General enquiries can be addressed to:

Best wishes,

Simon Zagorski-Thomas
The Art of Record Production - Conference and Journal

AES Educator's Forum

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