Journal on the Art of Record Production

Call For Articles for the Journal on the Art of Record Production
Issue 3: Editor – Simon Zagorski-Thomas
Deadline: 30th May 2008


Business Models and The Production Process
This would involve articles on issues such how changing production techniques on the question of authorship, copyright and even the ontology of music. It could also include articles on how artists and producers are developing new business models in the face of the rapidly changing industry.

Recording and Mix Techniques
This would involve articles on the various ways that producers and engineers shape the sound of a recording through the use of microphone selection and placement, the use of room ambience, equalisation, dynamic processing, effects, editing techniques, stereo or surround mixing techniques etc. They might describe techniques used / developed / made famous by particular individuals or more general treatises on common practice, the psychoacoustics of particular techniques etc.

Please submit completed pieces for peer review:
Full article: 5 – 7,000 words
Position paper: 3 – 5,000 words
Provocations: up to 1,000 words (pieces by industry professionals or academics designed to stimulate debate)

Please send submissions to Simon Zagorski-Thomas

The Arab Avant-Garde

The Arab Avant-Garde: Musical Innovation in the Middle East
Edited by Thomas Burkhalter, Kay Dickinson and Benjamin J. Harbert

We are currently soliciting chapter proposals for an anthology on the largely under-researched area of avant-garde music affiliated to the Arab world. All definitions of experimentalism and any disciplinary (or anti-disciplinary) approaches will be considered as we are hoping to produce as varied a volume as possible. The Arab avant-garde is to be taken as boundary work from both perspectives of pulling from the outside of tradition and of pushing from the inside of tradition; in other words, both iconoclasm and radical traditional expansion are equal targets. That said, discussions of the avant- garde as repeated practices of established boundary work or investigations into conventional vanguards are also welcome.

The Arab Avant-Garde, as a title, mobilizes two already complicated concepts whose alignment asks a number of challenging questions. Firstly, there are the issues of invoking the avant-garde – a term with particularly Eurocentric resonances – within a supposedly “other” geopolitical imaginary. Here one might wish to: draw on or challenge the models of alternative modernities; posit crucial lineages of radical innovation within or via the Arab world; critique or reaffirm the presumed stabilities of “tradition”; or insist upon shared global projects of cultural rejuvenation that do not prioritize points of arrival or departure.

Then there are issues of place to consider. To what extent is the Arab avant-garde partially constructed from “outside” as, for example, a marketing category and what are the political repercussions of this? What might we mean by “Arab” anyhow, and where, amidst this term, could we place stateless minority groups such as the Kurds or settled diaspora groups? How do the fraught histories of nationalisms and other unities frame the Arab avant-garde? And where might all this be situated, in terms of origins, performance or suitable places for scholarly attention, to name but a few crucial locales?

In order to address these intricate problematics, we encourage work from diverse disciplinary traditions, including and traversing: music, history, cultural studies, ethnography, Middle East area studies, sociology and subcultural geography. We would happily welcome straight academic essays, as well as more experimental submissions, interviews and translations. Word lengths to be negotiated.

Deadline for short abstract: 5.May 2008

Please email the abstract to:

Sounding Science Fiction

Call For Papers: New Edited Collection
Closing Date: July 1st 2008

Sounding Science Fiction will be an edited collection that examines the way that sound, in all its aesthetic and technological forms, is deployed to audio-sense a science fiction encounter, world, or universe. The collection will be concerned with sound design and sound signification, and with affect and feeling, so that questions of form, style, narrative, authorship, production, subjectivity, and embodiment, will all work their way into the book. Science fiction film and television, live cinema, music video, computer games, advertising, weblogs, digital art, mixed media installations, radio, and music, are all potential sites of investigation and analysis.

The questions that energise this call for papers centre on:

  • How does one sound science fiction?
  • How do the sounds of science fiction affect/move/interpolate audiences?
  • What semiotic, ideological, spatial, phenomenological, psychoanalytical relations are in play when one sounds science fiction?
  • What is the relationship between science fiction sound and image, or sound and space, or sound and exhibition context?
  • When one hears (but does not see) science fiction, what images are brought to the mind, what feelings of the ‘future’ are created?

Essays could take any number of approaches to the topic, but could include:

  • Otherworldly sounds
  • Hearing the uncanny
  • Sound as prophecy and enlightenment
  • Alien sounds and otherness (sex, race, gender, class)
  • Sound design (and full future world immersion)
  • Sound effects/affect
  • Composition/composers
  • Sounding future weapons/warfare/cities/movement/travel/invasions/space
  • Sounding Global (catastrophe)
  • The interiority of science fiction sound (existential sound)
  • Sound as trauma, loss, dystopia
  • Sounding science fiction paranoia
  • The carnality of science fiction sound
  • Posthuman sound
  • Sounding cyborg
  • Contrapuntal music and the science fiction image/artefact
  • Sounding scientific/rationalist (in dialogue, speech, voice-over)
  • Live science fiction sound
  • The sound image
  • The ‘moment’ of sound (close textual analysis of a key sequence)
  • Authoring science fiction sound: key auteurs of sound design Cultish science fiction sound

Sounding Science Fiction’s multi-disciplinary and multi-site focus will build on the work done in single case studies such as William Whittington’s Sound Design and Science Fiction (2007), and on edited collections such as Philip Hayward’s Off The Planet: Music, Sound And Science Fiction Cinema (2004), which take film/cinema as their central/sole text.

Proposals of approximately 500 words can be sent electronically, preferably as a word attachment, to:

Sean Redmond
Senior Lecturer in Film Studies,
Victoria University of Wellington,
New Zealand

Psytrance: Local Scenes and Global Culture

Call for contributors for an edited collection

Psytrance: Local Scenes and Global Culture
Edited by Graham St John

This volume seeks contributions to the study of psytrance (psychedelic trance) culture. In particular, it will feature research attending to psytrance as a product of intersecting local and global trajectories. International and interdisciplinary, the collection will host contributions from scholars researching psytrance in worldwide locations, employing various methods, within multiple disciplines: including anthropology, sociology, cultural studies, media studies, ethnomusicology and studies in religion.
Rooted in Full Moon parties held on the beaches of Goa, India, in the 1970s and 1980s and incubated within “Goa Trance” scenes flourishing around the world in the mid-1990s, psytrance culture mushroomed globally over the past ten years. Inheriting from ecstatic and visionary pursuits of 1960s psychedelia, sharing music production technologies, DJ techniques and the culture of electronic dance music scenes, and harnessing the communication capabilities of the internet, psytrance would develop distinctive sonic and visual aesthetics, organizations and events, discourse and practice. This cultural proliferation would depend upon the growth of exotic sites of travel, exchange and performance (from Goa to Koh Phangan, Thailand, Bahia to Bali, Ibiza to Nevada’s Burning Man and so on). With events attracting enthusiasts from dozens of nations, in the early 2000s psytrance festivals would become what are likely the most culturally diverse music and dance events on the planet. By 2008, psytrance music, style, and texile fashions are evident in scenes the world over, with the music and culture translated among populations across Europe, in Israel, North America, Australia, New Zealand, South Africa, South America, Mexico, Japan, and elsewhere.

Possible themes to be explored in the collection:

  • The roots of psytrance and the development of electronic trance music.
  • The hybridization of aesthetics, genres, and subcultures in psytrance culture.
  • The role of new communications media and music technologies in production, performance and culture.
  • Globalization and psytrance music and culture.
  • The cultural economy of psytrance.
  • Gender, race, class and psytrance.
  • Psytrance and counterculture.
  • Psychedelics, entheogens, and the trance experience.
  • The trance dance “experience” illuminated performance and/or trance theory.
  • Sonic/visual appropriation/sampling.
  • Trance carnivals and transgression.
  • Pilgrimage and festivals.
  • Fandom, and trance enthusiasts.
  • New spirituality, visionary culture, and psytrance.
  • Distinctions between “travellers” and “tourists”.
  • Theories of subculture, neotribalism, scenes, and psytrance.
  • Contradictions and hypocrisy within psytrance countercultures.
  • While the volume will address these and other themes, contributors should keep in mind the principal objective of the collection: to investigate the local, regional, or national translations of psytrance, on the one hand, and its global character on the other. Chapters will at the very least attend to either the local or global dimensions of psytrance music and culture. Submissions focusing on the interfacing of local/global dimensions will be especially appreciated.

    Interested contributors should send a 250-300 word abstract to Graham St John by May 1 2008. Please send abstract and direct questions to Graham


    Popular Music in Canada

    Call for contributions for an Edited Collection on Popular Music in Canada
    Edited by Charity Marsh and Holly Everett

    Working Title: Spanning the Distance: Reflections On Popular Music in Canada

    The editors invite proposals for a volume of essays that take up one or more of the following five themes:

    Popular Music Studies in Canada: Where Are We Now?
    Space, Place, and Performance in Canada
    Sounding Canadian: Representation, Identity, and Difference in Canada’s Music Scenes
    Media, Technology, and the Industry: The Question of Local/Global Relations in Canada
    Regionalism and Popular Music Scenes in Canada

    With this collection of works the editors aim to encourage dialogue concerning the place of popular music and popular music studies within Canada’s cultural landscape and the academy. Inspired by the 2006 meeting of the Canadian chapter of the International Association for the Study of Popular Music (IASPM) in Regina, Saskatchewan, we also hope to offer a range of perspectives that are both discipline-specific and interdisciplinary. Contributions drawn from the full spectrum of popular music(s) are encouraged.Deadline for Submissions:

                Deadline for Proposals: May 15, 2007
                Deadline for Completed Articles: August 15, 2007
                Review Process: August to November 2007
                Deadline for Final Edits: January 15, 2007

    Please send proposals of 300 to 500 words to and by May 15, 2007. Upon acceptance, completed essays should be approximately 10,000 words and will be due by August 15, 2007.  If you have any questions please email:
    Dr. Charity Marsh at or Dr. Holly Everett at

    Music and trauma

    I am writing to invite contributions to a collection of essays on music in relation to trauma. Essays in the collection will relate aspects of trauma to aspects of music in a range of ways. Trauma may be understood as individual or collective/social; as the result of particular traumatic events or as the “insidious trauma” of sustained negative experiences, e. g. of racism or sexism etc. Any musics – popular, vernacular, concert, ritual, etc. – may figure in these essays. Essays may be case studies, or more general or theoretical treatments. The collection will represent a range of disciplines within music scholarship, and will draw on various non-musical disciplines within which trauma has been discussed, including psychiatry, psychoanalysis, literary studies, historiography, etc.

    Contributions already agreed upon deal with childhood sexual abuse, childhood experiences of war, spousal abuse, responses to the Holocaust, and responses to AIDS; authors come from primary backgrounds in musicology, music therapy, ethnomusicology, and composition. I hope this call for proposals will yield further expansion of topics and approaches; additional treatments of topics already represented will also be welcome. Essays will be around 8000 words in length, though some variety is possible. Here is the anticipated schedule:
    1. submission of proposals for essays by September 23, 2007; my decisions shortly thereafter;
    2. my preparation of a prospectus for submission to press, October 2007; formal abstracts, author bios, and other supporting materials due to me by October 7 if possible;
    3. completed essays due to me in May 2008;
    4. my editing of essays and submission to press by September 2008.

    Please send, by September 23, a description of work that you wish to contribute, to me as the collection editor: Fred E. Maus, University of Virginia, at A description along the lines of an abstract would be helpful, as would any draft material (such as the text of a conference presentation) that you can supply.