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Music, Sound, and the Moving Image – Sonderausgabe sucht Artikel

Eine Sonderausgabe von “Music, Sound, and the Moving Image” sucht Artikel zum Thema “Musical Screens”. Deadline ist der 01. Mai.

Aus der Ausschreibung:

“Special Issue Editor: James Tobias, Associate Professor, UC Riverside
(james.tobias@ucr.edu)

Deadline for 300 word proposals: May 1 2014
Deadline for Full Papers: 1 November 2014
Publication Date: 2015

This special issue of Music, Sound, and the Moving Image will be
dedicated to position papers analyzing “Musical Screens” in transmedia
contexts. We seek contributions that will attempt to stake out the
crucial histories, contemporary practices, and methodological
innovations for understanding musicality across digital screen cultures,
and amidst ongoing digital media transitions.

Contemporary transmedia production and reception practices make clear
the ways in which networked platforms (including mobile devices) expand
modalities of production, distribution, and reception for media
commodities. At the same time, digital transitions have made patently
clear the value of musical meanings, values, and effects as cinema,
television, and radio industries have incorporated online distribution,
amp up digital rights and licensing strategies, and invest in social
media. Musical invention and digital transitions are firmly entangled
across globalizing mediascapes, presenting new challenges for cultural
critiques of subjectivity, affect, sociality, and cultural and
subcultural form. Finally, advances in computation continue to enable
new possibilities and new affordances for visualization and sonification
that are especially relevant to studies of musicality across media.

In these contexts, historical uses of musical or sonic instrumentality
for affective transformations, whether positive (as in “music therapy”)
or destructive (i.e., in theaters of war or in interrogation practices)
make clear a broader set of problems around ethical uses of musical
media and media effects more generally.

This special issue of Music, Sound, and the Moving Image dedicated to
musical invention, digital transitions, and cultural critique thus calls
for both position papers that will stake out the key range of relevant
methods and concerns for the analysis of music and musicality in digital
screen cultures as well as of the histories and ethical potentials
relevant to them.

We are especially interested in transdisciplinary approaches which might
mobilize affect theory, new theories of labor and media, ethics, studies
of gender and sexuality including or beyond queer theory, critical race
and ethnicity theories, post-colonial or de-colonial theories, etc.,
along with film or video music studies, production and reception
studies, etc.

Send 300 word proposals for papers by no later than May 1st 2014 to:
james.tobias@ucr.edu.

Topics for position papers may include but need not be limited to:

1. Industrial or hyperindustrial transformations and musical media
commodities
2. Musicals and musicality in digital cinemas or digital music video
3. Music and the animated image
4. Ludomusicologies; musicality and musical meaning in digital gaming
5. Technologies of sound, listening or the voice and the digital screen
6. Interaction design, musical authoring, graphical musical interfaces
7. Cross-media, cross-cultural, or cross-sensory mappings of musical
sound and image in screen technocultures
8. Visualization and/or sonification
9. Computation, code, and the musical screen
10. Science, music, and screen cultures
11. Music, labor, intellectual property, and value in screen cultures
12. Material transformations, musical sociality, and media ethics
13. Musical ethics and media ethics
14. Music, history, and the media archive
15. Affect, corporeality, and musical effects in screen cultures
16. Mobility and musicality
17. Music and media temporalities or chronotopes
18. Intersections with gender, critical race and ethnicity, sexuality,
disability, post-colonial/de-colonial,post-psychoanalytic or
post-phenomenological studie”

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