Online Tutorial for sound terminology, theory and practice, across multiple disciplines by Barry Truax
Below is a message from Barry Truax:
I am delighted to announce completion of my comprehensive online Tutorial for sound terminology, theory and practice, across multiple disciplines, that I hope will be of interest to those of you contemplating online teaching this coming academic year.
The Tutorial is designed to function in parallel with the Handbook for Acoustic Ecology, for which I’ve been editor since the 1970s. It is organized into 20 self-contained (but heavily cross-referenced) modules, half in the area of acoustic sound (focusing on acoustics, psychoacoustics, environmental acoustics, speech acoustics, audiology, noise measurement and soundscape studies), the other half in electroacoustics including studio based composition and sound design (and convolution, microsound, voice-based and soundscape composition). In the past, I have spread this material over two courses, but I believe that students in each area need to know at least some of the material in the other.
I have been teaching this material for over 45 years and have accumulated a large resource base that I would like to share with the community. Each module includes graphics, sound examples, video demonstrations, links to the Handbook, a review quiz in multiple choice, true/false format, some intriguing sidebars, and many personal listening and studio experiments for students to try.
The statistics are: 20 teaching modules, 3 indexes, over 550 .wav soundfiles, over 700 graphics including many spectrograms, 20 videos, 50 demo’s, exercises and experiments, 15 sidebars with some rather unique material, and 16 quizzes (with 740 answers). Along with the Handbook folder, the size of the Tutorial is now at 4.5 Gb.
The target audience is 3rd and 4th year undergraduates, as well as any graduates or others who have not had a solid foundation in the area.
The Tutorial is created with HTML5 Audio and is designed for Safari or Firefox as a browser given the formats being used. There is now a link to the Tutorial on the index page of the WSP Database that you can access using this url (contact me if you don’t have the guest password):
For individual use, it will stay in this location, but for use in classes, I’m planning on making it a download directly to the Instructor. Of course everything is negotiable, but it would probably make the most sense to have a licensing arrangement with your school for its use. The SFU server is not ideal for group access as it’s not on a secure site here.
Feel free to send queries or comments.
All the best
Barry Truax (email@example.com)
OPEN CALL: Artist Residency Programme at the Spatial Sound Institute
There are less than two weeks left to submit applications for the Artist Residency Programme 2021 at the Spatial Sound Institute.
This year’s focus is on the development of new pedagogical approaches that make use of spatial sound technologies and listening-based practices, thus proposals addressing these topics will be given priority in the evaluation process.
The programme is open to participants from various disciplines and at various stages of their artistic or scientific career.
- Read more about the call for proposals and how to apply here.
- Read the preamble to this year’s programme here.
- Apply online or request an offline package here.
Closing date for applications: 31 August 2020.
Open Call for (Audio) Moves: SONOHR
Movement is visible, palpable, a full-body experience. Movement is political, artistic, social. We look to movement to relax and we get uneasy when our world of movement is restricted. Where does the power to move come from? And what about the power to stand still? How do we feel when our freedom of movement is indefinitely restricted? Or when we have to move, even if we don’t want to? Audio is a disembodied medium that leads us through imaginary spaces. Our festival aims to demonstrate the varied ways movement can be translated into sound in terms of content, tone, format and imagery. The question we’re asking is: how does audio move (us)? The SONOHR Radio & Podcast Festival from 26 to 28 February 2021 is looking for program ideas that usher movement into our theatre or that put people in motion in public spaces.
- Audio pieces up to 20 minutes max.
- Live formats such as performances, interactive session, live podcasts up to 60 minutes max.
- Innovative formats, audio- and soundwalks, audio games or similar layouts that can either be experienced regardless of location or are flexible enough to be adapted to Bern
The festival offers remuneration for your performance and compensation for the playback of chosen audio pieces and program sessions. Generally speaking, productions cannot be co-financed in their entirety, but small production contributions, such as for the adaptation of an existing audiowalk, is possible.
WHO IS THE OPEN CALL AIMED AT?
At producers and authors of audio pieces, radio features, podcasts or audio art, at sound researchers, trainers or inventors of rich, new sound formats. This year the festival is particularly addressing those submitting from Switzerland and other European countries where their national languages are spoken (e.g. Belgium, Germany, France, Italy, Luxembourg, Austria). Entries in languages other than German, French, Italian and English can only be submitted with an English or German script. The correspondence language is English.
ENTRY DEADLINE: AUGUST 3, 2020
In addition to this open call, in June 2020, SONOHR will announce the yearly competition for contemporary Swiss radio plays from freelance authors and private radio stations. The festival will take place from 26 to 28 February 2021 in the REX cinema in Bern.
JSS Call for Papers: Sound Studies, Soundscapes, and Sound Art of the Balkans
City sounds and sounds of nature; sounds of progress and nostalgic sounds; sounds of revolution and change, and sounds of restauration; sounds deliberately produced or emerging unintentionally, serving a disciplinary function or expressing forms of freedom; musical as well as non-musical (functional) sounds; sounds of war and sounds of friendship.
How do the Balkans sound? How can their sonic ambiances be characterized? What can be heard there? How should we listen to them, experience them, affect and be affected by them? What is their political, social, religious, ethical, economic, aesthetic influence or meaning? How do Balkan sound artists respond to these influences and meanings? How are sound studies developing in South-Eastern Europe?
The Journal of Sonic Studies is searching for scholarly and artistic contributions that deal with the connections and relationships between the history, culture, society, and politics of the Balkan countries and the production, distribution, and reception of sounds, noises, and silence. The broader aim of this special issue is to establish “sound” as an analytical category that provides us with challenging perspectives on and a new understanding of this part of Europe. Therefore, our call does not focus on a particular historical period or research methodology, but seeks to bring together scholars and artist-researchers who share an interest in Balkan sound studies, soundscapes, and/or sound art.
Themes for submission may include but are not limited to:
- The sonic identity of any Balkan space
- Differences between various Balkan soundscapes or differences with West-European soundscapes
- Balkan (contemporary) sound art
- The role, position, and function of music in contemporary South-East European societies
- Sonic histories of the Balkans
- Listening cultures of Balkan countries
- Politics of sounds or the sounds of politics in the Balkans
- The role of silence in Balkan societies and/or discourses
- The role of sounds in Balkan religious practices
- Rural “versus” urban soundscapes in Balkan countries
The Croatian musicologist Diana Grguric will act as guest editor of this special issue.
Potential contributors are invited to submit completed essays by January 10, 2021.
For more information, or to submit an “exposition”, please contact Marcel Cobussen (MA.Cobussen@hum.leidenuniv.nl) and/or Diana Grguric (firstname.lastname@example.org)
New book review online
Gallery Sound - Caleb Kelly. New York: Bloomsbury, 2017
Reviewed by Zeynep Bulut
New book review online
Voicetracks: Attuning to Voice in Media and the Arts - Norie Neumark. Cambridge, MA: MIT Press 2017.
Reviewed by Vincent Meelberg
Journal of Sonic Studies 19 is Online
The editorial team of The Journal of Sonic Studies (JSS) is happy and proud to announce that JSS19 is online now. Please click here for the Table of Contents and the links to all articles. JSS19 takes you on a sonic journey through Latin America with stops in Mexico, Brazil, Colombia, and many other countries. Topics include, among others, the musical sounds of street vendors, the sounds of street protests, several sound art and compositional projects, natural versus human soundscapes, radio art, calls for listening and silence, sounding the political, and sonification. Please enjoy these sonic encounters with this fascinating continent.
Call for works: Online sound art exhibition | April 24 - May 17
- £150 fee for selected work
- Deadline 17 May 2020, (midnight BST)
This online exhibition calls for sound works that explore the sonic condition of our cities around the world, interrogating how our urban spaces have been built in sound, and what our sonic agency is within them.
Over half the world’s population live in urban environments; there are over 1000 cities worldwide including 30+ ‘megacitites’ that house more than 10 million people each. Within just 10 years this will increase, and two thirds of the global population will live in urban environments. How have we built our urban environments in sound? How do these environments audibly differ from one another, and how are they similar? How is the urban sound environment constructed from the architecture, infrastructure, culture, society, laws, geographic region, voices, technologies etc that contribute to the sound environments? What was considered in the building of these sonic spaces, what was decided, and was this accidental or arbitrary? What are the sounds, the silences, and the rules for listening and audibility that operate within these spaces? When is it immovable, or mobile, and what are we contributing to this sound environment at an individual level? How, through creative sound-based acts, can we push and pull at this sonic urbanity – to test its edges, its weaknesses, its strengths, to explore the intentions behind it and to insert our own? How can we re-hear, re-think or re-sound what this sonic urban is, not as a design aspiration of the future, but as a survey of the present.
This open call invites relational sound works that interrogate our sonic urbanism and sound out our sonic agency within it – works that trigger a hearing below the surface of our urban sonic landscapes in order to find something else within those same vibrations, to hear the unspoken or the cancelled out, the restraints or opportunities that might be found there, demonstrating our possibilities within these often seemingly impermeable spaces.
While hosted online, selected artworks will require activation directly in public space by audiences (once this is possible again) – the online component to the work should be limited to a score / instruction / materials / direction or other, that leads to the realisation of the work within public space. The audience will be required to activate these works in order to experience them, to sound them out / listen to them / consider them / perform them in public spaces. Any city or urban space around the world is intended to be the stage for these activations, and a process for feedback from audiences will be an ongoing aspect of the exhibition. By enacting these works in multiple sites, it is hoped that a shared hearing and exploration of our sonic cities side by side will be possible, a togetherness across the geographic distances, and new resonances that might prise open new ways of being within our cities.
This open call comes at a time when many of our urban spaces have changed significantly, our streets are currently in / have gone through a time of being empty of their usual animation, replaced with another way of being, our access restricted, and so the urban sonic landscape shifted considerably. Some apparently unstoppable sounds did cease, while others were revealed, increased or joined in. The urban sonic present suddenly changed – what does this reveal to us about the structure of our sonic city? Both artworks exploring this new Covid-19 urban sonic present, and artworks made previously, relevant to the previously animated urban sonic (that will resume / is resuming, in some configuration …), are welcome. The exhibition will only launch once outdoor urban spaces are widely accessible again for non-essential usage – when it would be possible to enact these creative works. We imagine this exhibition to coincide with our return to our shared urban spaces, and to celebrate our being within them together again.
How to apply: please download the >> Call for works PDF 116kb << for full details.
Curated by Lisa Hall for CRiSAP.
Long-distance collaborative project | N gallery
Call for works
As the physical distance between us and other people, places and everything that constitutes our daily routines grows larger, so does the need of a creative person to keep creating new works and feel connected with the world. In response to this, n gallery is organising a call for artists, thinkers and scholars from all disciplines to collaborate from a distance and produce new works which will be presented online. The only prerequisite is that the collaboration between participants does not require their simultaneous physical presence, but occurs strictly by distance. There is no particular theme or duration of the works. Since it is not known how many of you will respond to this call it is not known how many online events will be required to present the works. However, for practical purposes there are 3 distinct categories in which you may apply.
Ngallery will curate this project by linking the participating artists with each other, and with the overall programming of the works.
The works will be presented at the physical space of ngallery (with or without audience depending on the situation at the time) and they will be available online. There is no funding for this project, either for the creative or the organisational side. However there is a strong wish to fundraise in order to document the works of this project after it is completed.
CATEGORY 1: COMPOSERS & PERFORMERS
One composer will be linked to one performer to create a new work, by distant collaboration. The performer will preferably video-record the piece. If video recording is not possible then a sound ﬁle will suﬃce.
How to apply:
All interested composers and soloists should send an e-mail (email@example.com) putting in the subject line the category you are interested in (eg. CATEGORY 1). Please send one sample of your work and a very short text describing what you wish to do in this project (150 characters max). In this way, we can get an idea of your artistic goal and try to make interesting links between composers and performers. If there are more than one performers living in the same space (ie. roomates, family, collective) and they wish to form an ensemble, this is also possible.
CATEGORY 2: SOUND & OTHER ARTS
One sound artist will be linked to one artist from a diﬀerent discipline to create a new work, by distant collaboration. All artistic disciplines apply in this category, eg. video, poetry, painting, dance, acting, architecture, radio performance, etc. and they should be able to provide the end performance as video.
How to apply :
All interested artists should send an e-mail (firstname.lastname@example.org) putting in the subject line the category you are interested in (eg. CATEGORY 2). Please send one sample of your work and a very short text describing how you would like to contribute to this project (150 characters max). In this way, we can get an idea of your artistic goal and try to make interesting links between artists. If there are more than one artists living in the same space (ie. roomates, family, collective) and wish to form a larger group, this is also possible.
CATEGORY 3 : OPEN
This is the most open category where artists, thinkers and scholars can apply. Any combination is possible and welcome, from a lecture and a collaboration on a scientiﬁc paper to a podcast, a children’s story, a discussion etc.
How to apply :
All interested applicants should send an e-mail (email@example.com) putting in the subject line the category you are interested in (eg. CATEGORY 3). Please send one sample of your work and a very short text describing how you would like to contribute to this project (150 characters max). Please note that because CATEGORY 3 is the most open of all, we kindly ask you to be as clear as possible regarding your ideas of what you wish to create. You may also let us know what you have in mind in terms of the discipline you wish to be linked to, although we cannot guarantee that this will be possible.
Deadline for submitting your interest in the project : April 10th, 2020 Starting date of the collaborations : April 20th, 2020 Deadline for completed works : June 15th, 2020 Dates of presentations of the works : TBA
Call for papers | Urban Nostalgia: The Musical City in the 19th and 20th Centuries. EHESS, Paris, 105 boulevard Raspail (Salle 13), 3 juillet 2020. Deadline to apply : 6 April 2020
The aim of this workshop is to explore space through music, approaching the history of the city via the notion of nostalgia. Often described as a form of homesickness, nostalgia is, by definition, the feeling that makes us wish to repossess or reoccupy a space. Such spaces appear to us as both near and distant, tangible and remote, and it seems that attempts at reclaiming them are frequently musical in nature. We know, for instance, that particular compositions have played important roles in helping people to navigate or mitigate a sense of displacement. In these circumstances, affective experiences may be bound up with trauma or joy, as is the case of song during wartime or musical imaginaries among migrants. Under other conditions, we might identify a ‘second-hand nostalgia’ in the guise of a musically-inflected tourism that seeks to reactivate (for pleasure and/or profit) the historical aura of an urban site. What are we to make of the abundance of personal, inter-personal, and propositional episodes that posit music as some kind of a bridge to the urban past?
One option is to turn to digital humanities and to recent trends in mapping the musical layers and pathways of city life. Yet, how well do such methods account for the emotional force of nostalgia and for the flickering between presence and absence that seems to characterise the musical grasp of the past? It is notoriously difficult to geo-locate affect and it is for this reason that we are looking to the kinds of mapping that music enables without the use of digital tools. How might we revisit compositions, correspondence, film music, opera, music criticism, etc. as techniques of urban nostalgia? Of course, these questions are not entirely new. But even as the so-called ‘urban musicology’ offers alternatives to traditional narratives of musical history, replacing big names with city streets, it sometimes remains unclear what the deeper relationships between musical practice and urban experience may be. We seek to address this lacuna by asking:
1) how composers, interpreters and other cultural actors have codified the city in musical terms;
2) how particular cities have afforded particular kinds of listening for particular groups at articular times;
3) and how music has contributed to the repertoire of clichés about urban identity, whether understood from ‘within’ or from the ‘outside’.
Another context for this conference is the growth of sound studies, which has made the notion of a ‘soundscape’ an unavoidable point of reference when describing links between music and urban atmospheres. In light of such work we aim to consider what the idea of a musical landscape or musicscapemight offer to historically-sensitive and site-specific scholarship.
The workshop welcomes papers with a broad disciplinary grounding, including (but by no means limited to) musicology, history, cultural and sound studies, cultural geography, art history, and literature. They are also looking to include research – and researchers – that expand the geographical frame beyond Europe and Northern America, the areas favoured thus far by sound studies and technology and media studies.
Keynote lecture by Richard Elliott (Newcastle University), title tbc
Please note the quick turnaround for this call: abstracts of no more than 250 words are to be sent to firstname.lastname@example.org no later than 6 April 2020. Accepted proposals will be announced on 17 April 2020. Please, include a short biography of no more than 100 words and your institutional affiliation. Proposals in both English and French will be accepted.
4th International Congress on Ambiances, 2nd-4th December 2020 - General Call for Proposals
Entitled "Ambiances, Alloaesthesia: Senses, Inventions, Worlds", the 4th International Congress on Ambiances focuses on the renewal of the forms of feeling in a world that is undergoing major changes. Composed by “allo” which stands for “other, of another kind”, using the term alloaesthesia aim to characterize: other senses, or senses of another kind, and suggests to be comprehensive of the emergence of potential new kinds of senses and sensibilities. This Congress aims to consider how the contemporary environmental, social, technological, political and ethical changes are likely to affect the sensitive worlds, their ambiances, and the ways of experiencing them. How these changes question the research on ambiances and atmospheres, at epistemological, theoretical, methodological and practical levels?
These questions will be addressed through these three thematic axes:
Axis 1/ New sensitizations
Present times, on a global scale, are marked by the multiplication of environmental (such as global warming, massive damage to the biosphere, etc.), political and social (as evidenced by the rise of conflicts, the emergence of the "society of vigilance", etc.) emergencies, which are carried in a massive and almost unavoidable way by the media and social networks. Together, they contribute to redefining the landscapes of ordinary life. In what way does this situation, characterized by various threats and associated anxieties, renew our modes of attention, presence and action in the world? How do these attentions redefine the sensitivities, in that they refer to what I am sensitive to (what touches me) and how we become sensitive to (how am I affected)? How do our sensitive experiences reconfigure themselves in these new worlds of uncertainty? How do they crystallize into new ways of designing and managing spaces? And how do these modes circulate and are communicated?
Axis 2/ Human and non-human sensitivities
How can we question the pressures resulting from the evolution of the sensory environment on the non-human sensorium in a world more than ever affected by human actions, which can be designated in certain circumstances as Anthropocene? In what ways can ecological and ethological approaches, through observations on non-human living beings, question potential evolutions of human sensitivity? How, by extension, do they renew the ways of understanding ambiances? Conversely, how are the concept of atmosphere, and how the scientific approaches, on the one hand on architectural and urban ambiances, and on affective atmospheres on the other hand, likely to put into question disciplines that challenge the senses, the action, the interactions between body and environment, grounded within different epistemologies, and other methodological traditions?
Axis 3/ Artificial and extended sensibility
In what ways does the development of technologies allowing the consultation and representation (notably through visualization, auralization, etc.) of a very large amount of information contribute to alter (notably through restriction or extension) our sensitive potential within a datascape? How do the spaces measured, captured, reproduced by machines, sensors and algorithms create new worlds, and new sensory universes for humans? How do physiological alterations (may these be temporary, such as the wearing of augmented reality devices, or durable, such as certain biotechnologies), and prostheses (whether these prostheses are located within the body, or are new holds and affordances provided by spaces) define new sensitive worlds? How do these environments overflow into our daily environments? What resources do works of fiction and anticipation provide to think about these changes? What resources or limitations do these new sensory worlds provide for action?
Beyond this general framework and these three themes, the Congress aims to be representative of the thematic and disciplinary diversity, of the most contemporary researches on Ambiances and Atmospheres. To do so, in addition to three main axis reporesented within the call, the Congress will feature several thematic session.
Submissions for paper presentations, panels & workshops, posters and artistic interventions are due Friday March 20, 2020.
Click here to submit your proposals !
Mindscapes Music Commission Call for Proposals
Manchester-based SICK! Festival and Brighter Sound are seeking musicians, composers and sound artists for a major new commissioning programme entitled MINDSCAPES.
MINDSCAPES is a year-long programme of co-operation and co-production between cultural institutions in The Netherlands and Manchester. Working with Dutch artists and arts organisations spanning performance, visual arts and digital media, the project explores the impact that our environment has on our mental wellbeing.
The project will consider how artists might make interventions into different environments, in ways that can have a profound and lasting impact on mental health. How might artists from different practices influence, shape and inhabit urban spaces in ways that combat social alienation, anxiety and depression?
MINDSCAPES provides a unique space for cross-sectoral thinking and reflection, where a range of perspectives from the Greater Manchester and Netherlands can come together and consider the most effective ways to deploy cultural activity for a social benefit.
ABOUT THIS COMMISSION
MINDSCAPES is seeking a Dutch musician (individuals or collectives) to develop a new project responding to a number of parameters.
The project must:
● Respond to the thematics of MINDSCAPES as set out above
● Reflect the lived experience of individuals and communities in Manchester
● Be developed in dialogue with communities (and potentially artists) from Manchester
● Respond to the specific conditions of the city. The interpretation of this is open to the artist and could include physical, architectural, public, social, institutional, domestic or digital space, or explore interactions between these
● Take an innovative approach to presentation space
● Have potential to engage a broad, diverse audience
● Be able to demonstrate significant potential legacy and/or impact for participating individuals and communities
● Be developed in Manchester and be ready for public presentation by October 2020
Participating artists/musicians will need to spend a significant amount of time working in Manchester (1-2 months in total) or sufficient time to ensure the project is developed and presented with thorough engagement with the city and its inhabitants.
The organisations can offer a commission fee of €4,700 to develop and deliver the project. The project will be produced by Brighter Sound. There will be a separate production budget for the delivery of the project.
HOW TO APPLY
If you’re interested in applying, please send a letter of application (no more than one page of A4), or an audio/video recording outlining:
● Your name and contact details
● Your musical practice (including links to your work)
● Your interest in the thematics of MINDSCAPES
● Your experience of working with community groups
● How these might be incorporated into a commissioned project
Please send your application to email@example.com using the subject line ‘MINDSCAPES Commission’ by Sunday 15 March, 2020, 11pm.
2 For more information or if you have any questions please contact
The organising partners are committed to supporting and meeting the needs of people with learning difficulties or disabilities. If you have any specific access requirements, please call them to discuss alternative options on +44 161 830 3899.
New book review online
Listening to War: Sound, Music, Trauma, and Survival in Wartime Iraq - J. Martin Daughtry. Oxford: Oxford University Press, 2015
reviewed by Norie Neumark
New book review online
Hush: Media and Sonic Self-Control - Mack Hagood. Durham: Duke University Press, 2019
reviewed by Alexandra Supper
New book review online
The Sound of Things to Come: An Audible History of the Science Fiction Film - Trace Reddell. Minneapolis: University of Minnesota Press, 2018
reviewed by Andy Birtwisle
Dear sound artists all over the world! - A friend of us is planning a dictionary
Below is a call for help/collaboration from Bernd Herzogenrath:
dear sound artists all over the world!
I am planning a dictionary, an almanac of 'sound words', that is: words related to sound - onomatopoetical, mythological, practical, etc., words of personal importance to you and your craft, words from your memory, related to sound, and – i wanted to ask mainly sound artists for whom English is not the first language, to contribute such a word or concept in their own mother-tongue (maybe even untranslatable) with a personal, explanatory, poetic entry – words that have the potential to maybe even change our perspective on listening-musicking-thinking ... and if English words, then non-standard English, for example Welch, Gaelic, different dialects words.
for this, i wanted to ask you if you could 'help me out', both by contributing, and by sharing this with your contacts in the world of international fellow sound artists ... ideally, we would have every language on earth (and beyond?) covered …
if you are interested in contributing, i would welcome a first contact until, say, new year’s eve (dec 31, 2019)
depending on how many contributors we can gather, the contributions will either consist of (short) essays, or dictionary-style entries.
short proposals should be due by march 15, 2020, finished contributions by end of 2021, so that we can envision a publication in summer 2022.
Please contact me at firstname.lastname@example.org thanx a lot for your help in this!
Please spread WILDLY!!
Prof. Dr. Bernd Herzogenrath
Symposium Sonic West: collective urbanism through a multiplicity of listening
You are warmly invited to the symposium Sonic West: collective urbanism through a multiplicity of listening, a one-evening event that will be held at OBA De Hallen/Belcampo. A number of artists, authors, theorists and practitioners will reflect upon the ongoing participatory social sound project Sonic West.
Makers, artists, community members, students, designers, activists, politicians, theoreticians, humans and non-humans are invited to come and think about the the societal significance and use of community art projects concerning itself with the sonic aspects of social life. The project Sonic West will be used as a concrete example to discuss questions like can shared listening practises lead the way to a more just city? This evening both speakers involved in the project as well as speakers with an outside view will reflect upon these questions and entice those present to ‘hear into’ a future more shared city.
Programme and details
Sonic West: collective urbanism through a multiplicity of listening
Thursday 21 November 17:30
OBA De Hallen, Belcampo Entresol
Doors open: 17.30
17.45 Welcome and introduction
Michiel Huijsman, Artist, initiator Soundtrackcity, curator Sonic West
Justin Bennett, Artist, curator Sonic West:
Public space as acoustic territory
Mayke Haringhuizen and Fani Konstantinidou, artists in residence Sonic West:
The sound of Green Space
The multiplicity of sonic perception
Donia Jourabchi and Taufan ter Weel, artists in residence Sonic West:
Arie Altena, editor and writer. Author of ‘Wat is Community Art?’
<title presentation tba.>
18.55 Paneldiscussion, Q&A
Arie Altena, Justin Bennett, Mayke Haringhuizen, Michiel Huijsman, Fani Konstantinidou, Donia Jourabchi and Taufan ter Weel
19.15 Drinks and bites
This symposium is English spoken. More about this event and Sonic West at:
Reservation is required due to limited seats. You can make reservations with an Email to email@example.com
New book review online
Composing Electronic Music: A New Aesthetic - Curtis Roads. Oxford: Oxford University Press, 2015
Reviewed by Richard Barrett
New book review online
Sonic Agency: Sound and Emergent Forms of Resistance - Brandon LaBelle. London: Goldsmiths Press, 2018.
Reviewed by Johnny Herbert
Call for papers: Un/Sounding the Relational City
“Un/Sounding the Relational City” is the Spring 2020 conference organized by the Music Department of New York University’s Graduate School of Arts & Science. The conference invites participants to ask how the sonic politics of urban space and the rhetoric of soundness provide a critical vantage into the role of sound and music, real or imagined, in organizing or disorganizing urban life. The conference will feature programming in the form of traditional academic paper presentations as well as live performances and audiovisual work.
Please check http://as.nyu.edu/music/events/2019-2020-events/un-sounding-the-relational-city.htmlfor more information on the conference.
Conference dates: February 28-29, 2020
For more information contact: firstname.lastname@example.org
Conference committee: Brian Fairley, Sofy Yuditskaya, Charlie Kozey, D Baron, David Catchpole, Samuel Chan, Annie Garlid, Nir Cohen, Heather Woodson-Gammon, Michael Seltenreich, Zeke Levine, Merche Blasco
Faculty Advisor: Brigid Cohen
Call for Presentations
Journal of Sonic Studies - New issue online: Materials of Sound II (guest editor: Caleb Kelly)
This is the second issue of the Journal of Sonic Studies focused on the Materials of Sound. In the first issue (see issue no. 16) the papers were focused on creative sonic production that engaged materials. In this issue, material sounds are found within cultures, cities, religions, movement, environmental catastrophe, and the murmurs of the crowd. The authors hear these sounds that, for the most part, are already in the world. These sonic occurrences form the basis of a developing understanding of the materials involved.
By thinking about sound as more than its physical properties, more than a series of waves, we can begin to learn about complex material realities. The essays in both journal issues depart from the question: what can sound tell us about materials?
Editorial: Materials of Sound II - Caleb Kelly
The Failed Assemblage of Batroun Concrète: A Biopsychosocial Approach to Post-acousmatic Composition - Seth Ayyaz
Eroding Together: Mattering Processes of Sound - Samuel Thulin
Animas: Disaster, Data, and the Resonance of a River - Brian House
Beyond the Azhan: Abu Dhabi’s Cacophonous Soundscape - Diana Chester
The Murmur of the Crowd - Andrew Brooks
ISSTA 2019: PERFORM! Irish Sound, Science and Technology Association Annual Conference and Festival – Call for papers
CIT Cork School of Music, Union Quay, Cork, Ireland
October 31 and November 1, 2019.
Keynote lecture and performance: Robert Henke
Keynote workshop/performance: Ellen King
Performance haunts our electronic music and sonic arts.
The technologies which facilitate our sonic creations transmit, but also sometimes obscure, the gestures of our sound production. Speakers, microphones and interfaces could be said to displace as they transmit or transduce. How much of the electronic music we hear is actually performed? How have our technologies changed our ideas of performance?
In the post-digital age, we often see an intermingling of technologies, terminologies and approaches, encompassing electroacoustic/computer/electronic music and sound-art. The terminology and descriptors are now becoming irrevocably entangled as a surge of new performers rise amidst the deluge of new hardware and software tools. As this cross–pollination occurs, the so-called cultural underground that originally supported this music appears to be very much ‘overground’ and alive, peddling its wares (equipment as well as music) with increasing prolificacy and achieving ever–increasing globalised acceptance. Should a new language be invented to define and discuss this music, or should the existing one be augmented? Or should we simply stop, listen, and enjoy the performance?
In 2019, ISSTA returns to Cork, to be hosted by the CIT Cork School of Music in association with Cork Sound Fair. The small city centre is teeming with live music performances, from gigs in small venues and pubs to regular festivals that welcome thousands of visitors to the city. Its musical history is rich in diversity. The Arcadia Ballroom, the Cork Orchestral Society, the Jazz Festival, the Opera House among others all brought national and international performers to audiences in the city. In the 21st century the City has experienced a musical Renaissance and today Cork has a wide array of active promoters and venues. We look forward to welcoming artists, technologists, theorists and other researchers to discuss the issues above at ISSTA 2019 in Cork.
Submission deadline is June 7, 2019; (midnight Irish and UK time).
Submission is via the Easychair system. Submitters should set up an Easychair account.
There are instructions for authors here:
Further details are available on the Cork School of Music website.
The call is open to all practitioners and researchers regardless of nationality. Participants are responsible for their own travel and accommodation.
Registration for ISSTA 2019 is required for participation.
We aim to provide review notification by August 6th.
New book review online
Singed: Muted Voice-Transmissions, After the Fire - Daniela Cascella. London: Equus Press, 2017
Reviewed by Adam Potts
Symposium - Transformations of the Audible, May 16–18, 2019, The Hague
Sonorous phenomena are always on the verge of becoming something else. As it unfolds, sound constitutes spaces, mediates presence, articulates time. Furthermore, it may prompt emotions, generate awareness, organise patterns of behaviour or trigger a sense of belonging. As sound becomes audible, sound is constantly being articulated within a series of adjacent circumstances.
Although these adjacencies have traversed the history of music, the past two decades have seen an unprecedented interest in sound from a range of artistic fields outside of music, as well as from a variety of academic disciplines. While Sound Art as an autonomous field reaches back to at least the late sixties, the last decades have seen the role of sound proliferate into a ubiquitous presence in museums and galleries across the globe. At the same time, the young field of Sound Studies has raised awareness of the role of the acoustic in defining ways of knowing, sensing and engaging with our surroundings.
Composer Peter Ablinger stated in 2005 that he is “not interested in sounds, but in audibility”. Coming from an artist using sound as its main material, such a statement is significant: it appeals to a practice that instead of taking sound as a given deals with the mutable nature of hearing. Ablinger poses a challenge which is not that of working merely on organising sound, but in setting up conditions for the exploration of the way audibility is constituted.
Transformations of the Audible aims to interrogate the factors and conditions that inform the way audibilities are constituted. For this purpose it will gather artists, scholars, students and artist researchers from three domains – that of music, the arts and the scholarly field of sound studies – to address how artistic practices dealing with sound are traversed by and simultaneously operate on the ways in which listening takes place.
Transformations of the Audibleis initiated by the Institute of Sonology - University of the Arts The Hague, on the occasion of composer Peter Ablinger's visiting professorship, in partnership with Leiden University Academy of Creative and Performing Arts and arts organisation WEST Den Haag. The event will gather international experts in the field together with scholars, active researchers and practitioners from the local scene. It will comprise lectures, panel discussions and artistic presentations, taking place at WEST Den Haag, the Royal Academy of Art and the Royal Conservatoire.
Presenters and panel members include:
Heloisa Amaral, Peter Ablinger, Joanna Bailie, Douglas R. Barrett, Richard Barrett, Giuliano Bracci, François Bonnet, Marcel Cobussen, Elizabeth Dobbin, Melissa van Drie, Ricarda Franzen, Raviv Ganchrow, Penelope Gouk, Eleni Kamma, Brian Kane, Julia Kursell, Yannis Kyriakides, Cat Lamb, Sander van Maas, Matteo Marangoni, Martina Raponi, Tao G. Vrhovec Sambolec, Linnea Semmerling, Suzan Tunca, Dafne Vicente Sandoval, Jed Wentz.
As part the symposium works by Peter Ablinger, Joanna Bailie, Catherine Lamb, Jakob Ullman and Simon Steen-Andersen will be performed, by Heloisa Amaral, Dafne-Vicente Sandoval, Ensemble Modelo62 and Andreas Borregaard.
Transformations of the Audible is curated and chaired by Gabriel Paiuk
Registration opens on April 8th - for more information on how to register follow this link:
Tenth International Conference on Music and Sonic Art: Practices and Theories (MuSA 2019) – Call for Papers
We are pleased to announce the Tenth International Conference on Music and Sonic Art: Practices and Theories (MuSA 2019), an interdisciplinary event to be held in Karlsruhe, Germany at the Institute for Music Informatics and Musicology, University of Music Karlsruhe (http://hfm.eu/imwi/)
Conference dates: 31 May – 2 June 2019
Professor Jane Ginsborg (Royal Northern College of Music, UK)
Deadline for abstract submission: Friday, 29 March 2019
Proposals for sessions and individual papers for the Tenth International Conference on Music and Sonic Art: Practices and Theories are invited from academics, independent researchers, practitioners and post-graduate students. Presentation formats include academic research papers (20 minutes + 10 minutes for discussion); reports on practice-based/artistic research or educational programmes (20 minutes + 10 minutes for discussion); and workshops, panel sessions, lecture-demonstrations (30 minutes + 15 minutes for discussion). The Conference committee encourages presentations in which practice forms an integral part of the research. All proposals will be ‘blind’ peer-reviewed. The conference language will be English.
THEME AND TOPICS:
The theme of MuSA 2019 is Collaborative Creativity / Creative Collaboration. The twenty-first century has witnessed some profound transformations in the institutional ethos of arts and humanities research, one of these being the sharp decline of the romantic image of the lone researcher and artist, breaking through the frontiers of knowledge or creating works of genius independently, and the simultaneous rise of a culture of collaboration. While much has already been written about the value of collaborative artistic and scholarly work, particularly in relation to the creative synergies it generates, much remains to be explored with regard to the notion of collaborative creativity or creative collaboration. MuSA2019 aims to explore the psychological, social, institutional-political, artistic and philosophical issues surrounding this notion. We invite submissions on the following, and other relevant topics, in relation to collaborative creativity and creative collaboration in Music and Sonic Art:
- Creative collaboration and authorship
- Creative collaboration in historical context
- Psychological mechanisms of collaborative creativity
- Creative collaboration and copyright
- Collaborative creativity and technology
- Pedagogies of creative collaboration
- Expertise and creative collaboration
- Creative collaboration and material cultures
- Social contexts of collaboration
- Artistic identities and creative collaboration
- Embodied, embedded, enacted and extended approaches to creative collaboration
Other topics that are in line with the conference’s broad aim of promoting interdisciplinary research within and across Music and Sonic Art will also be considered.
As in previous MuSA conferences MuSA 2019 will continue to include the popular, one-day event devoted to ‘Re-thinking the Musical Instrument’, focusing on the origination, making and playing of musical instruments.
Some of the topics that will be explored during this one-day event include:
• The acoustical, musical, cultural, symbolic, and ritualistic qualities of musical instruments and the relationships between these (theoretically) distinct kinds of qualities;
• The discourses that exist in relation to musical instruments in different genres, styles and traditions;
• The gestural affordances and ergonomic principles of musical instruments and the musical meanings that emerge as a result of these affordances and principles;
• Performers, improvisers and their instruments: phenomenologies of music making in the context of particular kinds of musical instruments;
• Composer and instruments: the material, acoustical and expressive qualities of instruments and their relationship to musical languages composers create;
• Relationships between creativity in performance, nature of musical interpretation and musical instruments;
• The role of the musical instrument in the creation of musical identities;
We also invite proposals on any research area related to the nature and use of western acoustical instruments, traditional ethnic instruments and digital/virtual instruments.
Please submit an abstract of approximately 250-300 words as an e-mail attachment to email@example.com
As contributions will be ‘blind’ peer-reviewed, please do not include information that might facilitate identification from the abstract. In addition, please include separately the name(s) of the author(s), institutional affiliation (if any) and short biography (approximately 100 words). Deadline for the receipt of abstracts is Friday, 29 March 2019. Notification of acceptance will be sent by 8 April 2019.
CONFERENCE FEE– includes registration, lunch, coffee/tea and conference concerts
€150 for delegates (day rate: €50), and €75 for students (day rate: €25)
If additional information is required please contact Prof. Dr. Mine Doğantan-Dack
Prof. Dr. Mine Doğantan-Dack (University of Cambridge) – firstname.lastname@example.org
Prof. Dr. Christoph Seibert (HfM Karlsruhe) – email@example.com
Dr. John Dack (Middlesex University, UK) – firstname.lastname@example.org
Prof. Miroslav Spasov (Keele University, UK)
Prof. Dr. Marc Bangert (HfM Karlsruhe)
Prof. DMA Damon T. Lee (HfM Karlsruhe)
Prof. Dr. Paulo Ferreira Lopes (HS Mainz/HfM Karlsruhe)
Dr. Stefanie Steiner-Grage (HfM Karlsruhe)
Nanna Schmidt (HfM Karlsruhe)
Timothy P. Schmele (HfM Karlsruhe)
Administrative support: Gundi Rössler (HfM Karlsruhe) – email@example.com
New book review online
Noise and the Brain: Experience Dependent Developmental and Adult Plasticity - Jos J. Eggermont. Academic Press, 2013
Reviewed by Robert V. Harrison