Yati will be co-editing an upcoming special issue for Contemporary Music Review on Co-compositional Practice and Style in Contemporary Music and Sound Art. We are looking for submissions for articles for this issue!
1st April 2023: Deadline for 250-500 word abstract submission for article submissions.
information here: https://think.taylorandfrancis.com/special_issues/co-compositional-practice-style-contemporary-music-sound-art/?utm_source=TFO&utm_medium=cms&utm_campaign=JPG15743
In this special issue, we are calling for contributions that explore practices and styles of co-composition in contemporary music and sound art. The term of co-composition is used to define compositional creative processes that are concerned with generating and transforming musical and extra-musical material in tandem to produce new expressive forms. Such new musical and multimodal experiences result from the differences and interdependent relationships between the elements of co-composition (Manning 2013). The notion of co-composition focuses on the space in-between media categories as perceived by a combination of senses ‘across registers of sensation that bathe our bodies in complexity, a co-composition of world-bodying that changes the environment and the bodies composed by it at every turn’ (Manning 2020, 173).
Drawing from Manning’s performative definition of co-composition, music and sound art produced together with visual, performative, or textual components can be viewed as a co-compositional situation that invites not only new compositional strategies, but also new modes of performing and experiencing. Thinking in a co-compositional manner can be defined as to navigate the complexity of including multiple modalities in a single creative practice (Panourgia 2020). Co-compositional music and sound art can be characterised as practices that are interlinked, either in philosophy, theory or in production jointly with other media and artistic disciplines such as image, text, object, film, or dance.
This special issue of Contemporary Music Review invites papers on co-compositional practice and creative methods, taking interest and drawing on referential lineage such as Krzysztof Penderecki (and musical theatre), Arnold Schoenberg (and his paintings), Rimsky-Korsakov's “Pictures at an Exhibition,” Klaus Huber (and Jean Tinguely’s kinetic sculptures), and to include current composers and sound artists working with film, visual and performing arts, spatial practices, and other experimental forms. These investigate how composers integrate their musical practice with external influences and explore how this multimodal and collaborative composition style helps to make their music unique. Compositional practice itself will be at the focus of these papers, with new techniques, including the use of electronics and audio-visual composition emphasised and cross-compared with traditional practice.
Timeline
01 April 2023: Deadline for 250-500 word abstract submission
01 May 2023: Deadline for editor feedback
01 February 2024: Deadline for complete manuscript submission
Please submit papers and proposals to yatidurant@immsane.com and e.panourgia@filmuniversitaet.de