The 15th issue of the Journal of Sonic Studies (http://sonicstudies.org) is online, which again is an issue consisting of papers by authors who responded to our last open call for papers. While no underlying or overarching theme was set for this issue, the papers we selected all seem to explicitly address the relation between sound and culture. More specifically, they discuss the ways in which sound is used and experienced in culture, both present and past.
Journal of Sonic Studies Issue 15 Online Journal of Sonic Studies Issue 15 Online weiterlesen
Journal of the Musical Arts in Africa Volume 14 Issue 1-2, June – December 2017
The Journal of the Musical Arts in Africa ( JMAA) is published by NISC (Pty) Ltd in association with the South African College of Music at the University of Cape Town. It is an accredited, internationally refereed journal that aims to combine ethnomusicological, musicological, music educational and performance-based research in a unique way to promote the musical arts on the African continent. This journal also incorporates book, audio and audiovisual media and software reviews. Journal of the Musical Arts in Africa Volume 14 weiterlesen
19th Century Music Vol. 41 No. 2, Fall 2017
19th-Century Music covers all aspects of Western art music between the mid-eighteenth and mid-twentieth centuries. We welcome—in no particular order—considerations of composers and compositions, styles, performance, historical watersheds, cultural formations, critical methods, musical institutions, ideas, and topics not named on this list. Our aim is to publish contributions to ongoing conversations at the leading edge of musical and multidisciplinary scholarship. 19th Century Music Vol. 41 No. 2 weiterlesen
Computer Music Journal Volume 41 Number 3 Fall 2017
We begin this issue’s articles with an interview by a former interviewee. Edmund Campion, who was featured in our Winter 2004 issue, converses here with noted composer Kaija Saariaho and with her spouse, the multimedia artist and composer Jean-Baptiste Barrière. The interviewees start by discussing recent work, such as Saariaho’s 2015 opera Only the Sound Remains. She states that in earlier works the electronics were mostly an extension of the orchestration, but now the electronic part has assumed a more important role. When writing for electronics, Saariaho starts with her aural imagination, then with her technical collaborator she finds a means to realize that vision; she doesn’t write with a tool’s constraints in mind. Computer Music Journal Volume 41 Number 3 Fall 2017 weiterlesen