[microsound-announce] Call for article submissions for Sonic Ideas/Ideas Sónicas #3
julio at bitbongo.com
Sun May 24 05:58:08 EDT 2009
*Morelia, Michoacán; May 5, 2009
Call for article submissions for Sonic Ideas/Ideas Sónicas #3: *
*a journal of the Mexican Center for Music and Sonic Arts
(Centro Mexicano para la Música y las Artes Sonoras, CMMAS)*
The Mexican Center for Music and Sonic Arts (CMMAS) is opening a call for
submissions for the third issue of Sonic Ideas/Ideas Sónicas, a journal
devoted to activities in electroacoustic music and sonic art. This journal
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 is open to all aesthetic and scholarly viewpoints and
approaches. Sonic Ideas/Ideas Sónicas’ core idea is to publish novel and
challenging perspectives on technology and its influence on music and sound
art, and it seeks to promote serious research and debate on these topics.
The journal is aimed at a broad group of English and Spanish speaking
readers, including researchers, artists, musicians, composers, performers,
and musicologists. We hope that in Sonic Ideas/Ideas Sónicas they will find
a source of dynamic and up-to-date information, endowed with intelligent and
challenging perspectives on technology and its influence on music and sonic
arts. Likewise, we hope that it will become a forum within an academic
framework while remaining relevant to the interests and projects of its
This third issue of SonicIdeas/IdeasSónicas will deal with perspectives on
the use of pulse for rhythmic construction in electronic music, sonic art
and any musical genre where new instrument technologies or new compositional
methods aided by technology are a central element. The ease with which sound
is currently sequenced by means of musical informatics opens up a vast area
for exploration into the use of rhythm in sound creativity. Furthermore, we
are interested in investigating the relationship between musical styles and
the explicitness of pulse in rhythmic composition. Is the use of loops and
looping techniques more of a resource in electronic than in electroacoustic
music? Is there an inherent relationship between rhythmic complexity and
depth of musical content? Do regional tendencies and geography account for a
greater or lesser incorporation of explicit pulse as a structuring element
in musical creation?
Musical informatic tools allow entirely 'acoustic' composers to create
computer-aided music with very precise control of rhythmic ideas. Do these
tools invite the composer to think in terms of pulsation? Do these tools
foster innovation in non-electronic contemporary music? Composers can give
useful and interesting evidence on the role of pulse and rhythmic
construction in their work. In this way, specific musical examples that
illustrate rhythmic strategies can be shared with the research community,
and the abstract inspiration for these strategies can be usefully
illustrated. Therefore we invite music and sound creators, in particular, to
contextualize their work within contemporary critical thinking on issues of
rhythm. We also invite musicologists to offer illustrated reflections on the
subject by comparing and contrasting the work of various musical creators.
Contributed sound examples in .mp3 format will be made available for
streaming from the CMMAS website.
*Other topics of interest include: *
* The rhythmic sound object and derived new musical forms.
* The structuring power of pulse.
* Issues of cueing and syncing in mixed genre electroacoustic music.
* Machine listening in terms of rhythm.
* Electronic music and dance.
* Dance music.
* Rhythmic styles in popular yet experimental electronica.
* Realtime rhythmic transformation strategies.
* Cognitive processes relating to rhythm.
* The computer as a tool in rhythmic creation.
* Mathematics in rhythmic structuring.
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 pedagogical 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
submissions is October 1st, 2009*. Authors should submit their proposed
material, a brief (ca. 100 word) biography and contact information,
including institutional affiliation, if any.
*Formatting guidelines: *
* A4 page size
* 2.5 cm left and right margins
* Page numbers centred at the bottom of the page, 1.25 cm from the bottom of
* Times or Times New Roman, 12pt font; 18pt line spacing
* Single spacing within paragraphs, double spacing between paragraphs
* Justified text
* The first line of each paragraph should be indented by 1cm.
* Headings: centred and bold in 14pt font, preceded and followed by an 18pt
* 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 and right indent by 1 cm), preceded by a 6pt space and followed by an
18pt space (line spacing within the block quote should be 20pt).
* Underlining or other forms of emphasis should not be used.
* Indicate footnotes with a superscript number in the text. Place the
footnotes at the bottom of the page on which they appear. Use 10pt type for
footnotes. Precede the footnote with a horizontal rule. Footnotes are to be
numbered consecutively through the article.
* 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
a) *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.
b) *Reviews* 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.
*Julio d'Escriván, Guest Editor*
*Email: julio at sonicideas.org*
*Centro Mexicano para 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*
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