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 "mailto:michaelmatthews1@mac.com"michaelmatthews1@mac.com)
Centro Mexicano par la Música y las Artes Sonoras
Casa de la Cultura, planta alta
Morelos Nte. # 485, centro
C.P. 58000, Morelia, Michoacán
México

Tel (+ 52) 443 317-5679
HYPERLINK "http://www.cmmas.org/"www.cmmas.org


**********************************
Dr. Rodrigo Sigal
Director
Centro Mexicano para la Música y las Artes Sonoras
Mexican Centre for Music and Sonic Arts
rodrigo@rodrigosigal.com
www.rodrigosigal.com
www.cmmas.org
+52-443-3175679
**********************************
Festival Internacional Visiones Sonoras (www.visionessonoras.org)
Conoce la Red de Arte Sonoro Latinoamericano en www.redasla.org
Also visit: www.dam-music.org

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Maryland Humanities Grant

http://www.mdhc.org/grants/

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

http://www.ArtOfRecordProduction.com
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: arp08_smi@artofrecordproduction.com

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:
arp08_rpp@artofrecordproduction.com

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:
arp08_tea@artofrecordproduction.com

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: arp08_pl@artofrecordproduction.com


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

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: simonzt@artofrecordproduction.com

Best wishes,
Simon

Simon Zagorski-Thomas
The Art of Record Production - Conference and Journal
http://www.artofrecordproduction.com

_______________________________________________
AES Educator's Forum
AESeducators@aes.org


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Sonic Fragments: Narrative and Mediation in Sound Art

http://www.nmartproject.net/netex/?p=209

2/15/08

Sonic Fragments is a sound art festival and symposium exploring how these mediations effect meaning in our lives, and how artists are actively engaging narrative and mediation in their work. We are hoping for a diverse and interdisciplinary dialogue between scholars and artists, between theory and practice.


Sonic Fragments: Narrative and Mediation in Sound Art
Princeton University, Princeton, NJ
March 28-29, 2008

Call for work

We hear while we are in the womb, long before we see. For the rest of our lives, hearing essentially precedes the rest of the sensorium, as we move through a world of sonic fragments which affect us phenomenally and emotionally but of which we are often unaware.

These fragments are mediated by our environment, our bodies, our individual and collective memories, and the technologies that pervade contemporary life: from books to radio to television to iPods. Through these mediations sounds give rise to stories, which though they might be as hazy as an aura, begin to narrate the world we move through as they themselves move through our bodies and minds.

Sonic Fragments is a sound art festival and symposium exploring how these mediations effect meaning in our lives, and how artists are actively engaging narrative and mediation in their work. We are hoping for a diverse and interdisciplinary dialogue between scholars and artists, between theory and practice.

Central to the festival will be the presentation of works written specifically for mobile mp3 players which engage the spaces, places, objects, and paths on or near the Princeton University campus. We are soliciting works of ten minutes or less. These works will be available on mp3 players at a kiosk throughout the festival, downloadable from the festival website, and may also be compiled onto a limited edition CD-R for later distribution.

Sound works may be created for any location on or near campus. We are hoping that people will engage Princeton’s weird nooks and crannies as well as its wonderful art collection, perhaps atop one of the many Neogothic towers, inside Henry Moore’s sculpture Oval with Points, or in front of Ellen Gallagher’s large-scale Blubber. We hope that each piece will exhibit a distinct relationship to its site. Existing works which are not site-specific will not be considered.

A few resources to help you find a site:

Most crucially, you must visit and just poke around.
New Jersey Transit (about 1 hr, 15 minutes from NYC)
http://www.njtransit.com

But to get a taste of what the campus is like…

Princeton University
http://www.princeton.edu

Wikipedia Entry on Princeton University
http://en.wikipedia.org/wiki/Princeton_University

Campus Scenes
http://www.princeton.edu/pr/pictures/#scenes

Flickr Photos of Princeton
http://flickr.com/search/?q=princeton

Orange Key Virtual Tour
https://www.princeton.edu/oktour/virtualtour/index.htm

Princeton University Art Museum
http://www.princetonartmuseum.org

Putnam Collection of Sculpture
https://www.princeton.edu/oktour/virtualtour/Hist10-OvalPoints

Princeton University: An Interactive Campus History
http://etcweb.princeton.edu/Campus

Please send an email containing the following to sonicfragments@gmail.com by February 15:

1. A short (200-word max) description of your project as it relates to the site
2. A short (100-word max) bio
3. The completed piece (10 minutes or under)
4. A photo or graphic which can be used as your ‘album art’ – we suggest a photo of the site.

Please use the sonicfragments@gmail.com address as it can accept large files.

Deadline: February 15, 2008

For more information, please contact Betsey Biggs at:

http://www.princeton.edu
sonicfragments@gmail.com

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organized sound journal - sound art

Organised Sound: An International Journal of Music and Technology


SUBMISSION DEADLINE: 15 July 2008

Call for submissions

Volume 14, Number 1
Issue thematic title: Sound Art
Date of Publication: April 2009
Publishers: Cambridge University Press

Issue co-ordinator: Jøran Rudi (joranru@notam.uio.no).


This issue of “Organised Sound” will focus on sound art, a genre of acoustic expression that has a long history in both music and the visual arts. Currently, sound art is becoming a highly dynamic focus for new cross-disciplinary activity. Partially this has to do with young composers' eagerness to search out for new forms of public performance as well as new arenas. This has also led to a new way of looking at the relationship work/audience/performer/ composer.

These conceptually new approaches to music and art can be traced to developments in technology and society in general. It is interesting to note the extent to which this interest has developed outside the established networks and hierarchies of, for example, electroacoustic music.

Themes of interest include:
- conceptually oriented investigations of sound as material
- site- and context-specific art
– the use of soundscape within sound artworks
- process-oriented rather than entity-oriented definition of artworks
- use of audio and music technology whilst departing from the approaches to listening and analysis that are predominant in traditional forms of electroacoustic music.
- new technological means allow artists to pursue new arenas
- convergence in tools -> dissolving lines of distinction

Some questions that are related to the challenges posed by sound art:
How do these changes affect the relationship between concept and craft; what are the implications in terms of critical listening and our ideas of emergent qualities?
What are the implications of the use of different artistic spaces?
Is this a new way of tying art again into society, and if so, which groups in society will benefit? In other words does this represent a renaissance of social art?
Or is this yet another village in society, possessing more or less transparent demarcation lines?
With regard to the established field of electroacoustics: how do we describe the changes in aesthetics?
How can sound art and process-music (for lack of a better term) benefit us in reassessing our field, aesthetically and functionally?

We invite submissions from composers, performers, artists and researchers working in the realm of digital media and sound. Submissions related to the theme are encouraged; however, those that fall outside the scope of this theme are always welcome.

Deadline for submissions is 15 July 2008. 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 14/3.


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SUBMISSION DEADLINE: 15 July 2008

SUBMISSION FORMAT

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

http://www.journals.cambridge.org/oso

Email submissions should be sent to (please see SUBMISSION FORMAT above): os@dmu.ac.uk

Hard copy of articles (only when requested) and other material (e.g., images, sound and audio-visual files, etc.) 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: Joel Chadabe, Kenneth Fields, Eduardo Miranda, Jøran Rudi, Barry Truax, Ian Whalley, David Worrall
ICMA Representative: Mary Simoni
International Editorial Board: Marc Battier, Laurant Bayle, Hannah Bosma, Alessandro Cipriani, Simon Emmerson, Rajmil Fischman, David Howard, Rosemary Mountain, Tony Myatt, Jean-Claude Risset, Francis Rumsey, Margaret Schedel

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