We are pleased to announce the launch of SoundEffects, a new international peer-reviewed journal on sound and sound experience operating on the Open Journal System.
SoundEffects brings together a plurality of theories, methodologies, and historical approaches applicable to sound as both mediated and unmediated experience. The journal primarily addresses disciplines within media and communication studies, aesthetics, musicology, comparative literature, cultural studies, psychology and sociology. In order to push the boundary of interdisciplinary sound studies into new areas, we also encourage contributions from disciplines such as health care, architecture, and sound design. As the only international journal to take a humanities-based interdisciplinary approach to sound, SoundEffects is responding to the increasing global interest in sound studies.
We look forward to introducing our first volume in August 2011 (please check our first call for articles below). One of the advantages of SoundEffects as opposed to paper journals is that we can offer authors the possibility to attach sound bites to their articles (please check the Author Guidelines).
The editors of SoundEffects: Birger Langkjær, Erik Granly Jensen, Birgitte Stougaard Pedersen and Iben Have.
SoundEffects is sponsored by the Danish Research Foundation
The journal is supported by the following International Advisory Board: Michael Bull (University of Sussex); Annabel J. Cohen (University of Prince Edward Island); Steven Connor (Birkbeck College, London); Nicholas Cook, (University of Cambridge); Christoph Cox (Hampshire College); Lydia Goehr (Columbia University); Antoine Hennion (Centre de Sociologie de l'Innovation, Paris); Kathleen Higgins (University of Texas, Austin); Douglas Kahn (University of New South Wales, Sydney); Phillip Tagg (Universities of Huddersfield and Salford).
Call for abstracts. Second issue: Conceptualizing Sound and Music
|Sound is notoriously difficult to talk about. One reason may be that it seems so difficult to 'translate' sound as an acoustic phenomenon into something that can be analyzed in words. The third issue of SoundEffects wishes to discuss how we conceptualize sound and music. What do we do when we talk about sound and music? How do we turn sound and the experience of sound, including musical sounds, into words? Classical musicology and cultural studies may be considered two opposite approaches. Whereas classical musicology often describes formal patterns within the music itself but is less concerned with questions of musical meaning, cultural approaches have often focused on ritual aspects and the cultural meanings of sound but tend to forget the sound itself. Despite its importance in all kinds of contexts across culture, aesthetics and everyday environments, sound studies have no institutional home, belonging rather to several research traditions which each have their own norms. This makes it difficult to establish research in sound studies that cuts across those partial traditions. If sound studies are to be a true cross-disciplinary and interactive field, we need to find ways to talk about sound, including music, that make sound conceptually accessible to all kinds of scholarly traditions. To do this, we need a language for talking about sounds. We therefore invite contributions that apply or suggest methodologies, theories and kinds of analysis combining talking about sound and music as both an acoustic phenomenon and a meaning-making practice.|
Articles may cover:
- Talking about sound
- Specific sound analysis
- Making sense of sound in media contexts
- Approaches to sound: theories and methodologies
- Historical perspectives on sound and meaning
- Sound as a cross-disciplinary subject
An abstract of 300 words should be sent by mail to email@example.com no later than October 15, 2011. Full articles are due on September, 2012.