FWD: Organised Sound Vol. 1 No. 2

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Date: Wed, 18 Oct 1995 18:44:45 +0100
From: Tony Myatt
Subject: Organised Sound Vol. 1 No. 2

Organised Sound
An International Journal of Music and Technology

CALL FOR SUBMISSIONS

Volume 1, Number 2
Issue thematic title: THE TIME DOMAIN
Date of Publication: August 1996
Publishers: Cambridge University Press

Articles to be considered for publication in the above issue are now
invited.

THE TIME DOMAIN

John Cage showed that the minimum requirement for musical composition
is to define duration or to delineate a period of time.

The responses of composers, performers and engineers to aspects of time
are many and various. The application of computer-based systems has
increased their scope by permitting precise explorations and
investigations of time-based procedures. It could be said that the
serial nature of computer technology has emphasised the linear nature
of time, and simultaneously allowed us to destroy our traditional
time-based perceptions of sound events. Recording and manipulating
sound material permits electroacoustic composers to take sound material
'out of time', to implement time distortions and to re-present sound
events; to be creative with our traditional perceptions of time.

This theme will allow authors to discuss any aspect of time as it
relates to their work. This could include papers relating to the
processing of pre-recorded sound in the time domain, engineering
approaches to the time domain, the perception of time, time domain
representations and scores, sound recording/editing techniques or
aspects of sound synthesis related to time. Authors might also
consider wider ranging topics such as the derivation of musical
form/structure, how composers allocate their time while composing (with
or without technology), or any other topics which arise from
considering sound and silence in the time domain.

TIMETABLE FOR SUBMISSIONS

Articles and other material for the editors' consideration should be
submitted by:

January 8th, 1996.

If submitted in hard copy, three copies should be posted to:

The Editors,
Organised Sound,
c/o Department of Music,
University of York,
Heslington,
YORK
YO1 5DD
UK

EMail submissions are encouraged, and should be mailed to:

os@cage.york.ac.uk

Full details of submission requirements can be requested from the
Editors.

GENERAL AIMS OF ORGANISED SOUND.

This journal is intended for student, amateur and professional
musicians, musicologists, engineers and members of the public
interested in the application of computers to music. It features papers
relating to any musical activity using computers, and any engineering
activity that has a demonstrable musical aim. Other audio arts, such as
multi-media works or sound sculptures are included. It also provides a
focus for engineers who are involved in the development of musical
tools. Approximately 60% of the article content for each issue will
be related to a named theme.

The editors have formulated the following broad aims:

To provide a platform for musical and related technological
discussion;
To further the dialogue between engineers and
musicians;
To provide tutorial texts for students of computer
music;
To disseminate musical material through the production
of a compact disk related to articles contained in the journal
(one per annum);
To encourage musical uses of multi-media;
To encourage (young) specialists in the field to publish and share
the results of their work.

FUTURE ISSUES

Volume 1, Number 3: ALGORITHMIC COMPOSITION

Co-Editors: Ross Kirk, Leigh Landy, Tony Myatt, Richard Orton.
Corresponding Editors:
Lelio Camilleri, Daniel Oppenheim, Miller Puckette, Barry
Truax, David Worrall
International Advisory Board:
Marc Battier, Francois Bayle, Peter Castine, Alcedo Coenen,
Francis Dhomont, Simon Emmerson, Rajmil Fischman, Takayuki Rai,
Jean-Claude Risset, Francis Rumsey, John Rimmer, Conrado Silva,
Christiane Ten-Hoopen, Daniel Teruggi, Jukka Tiensuu, Trevor
Wishart, Scott Wyatt, Iannis Xenakis.

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