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| Call for Papers: LMJ 13 (year 2003) "Groove, Pit and Wave -- Recording, Transmission and Music" Despite Thomas Edison's assumption that the gramophone was nothing more than a sonic autograph album, suitable only for playing back the speeches of famous people, over the last 100 years recording has radically transformed the composition, dissemination and consumption of music. Similarly, the business-like dots & dashes of Morse and Marconi have evolved into a music-laden web of radio masts, dishes, satellites, cables and servers. Sound is encoded in grooves on vinyl, particles on tape and pits in plastic; it travels as acoustic pressure, electromagnetic waves and pulses of light. The rise of the DJ in the last two decades has signaled the arrival of the medium as the instrument -- the crowning achievement of a generation for whom tapping the remote control is as instinctive as tapping two sticks together. Turntables, CD players, radios, tape recorders (and their digital emulations) are played, not merely heard; scratching, groove noise, CD glitches, tape hiss and radio interference are the sound of music, not sound effects. John Cage's 1960 "Cartridge Music" has yet to enter the charts, but its sounds are growing more familiar. For this issue of the Leonardo Music Journal we invite authors to submit articles on the role of recording and/or transmission in the creation, performance and distribution of music. Deadlines: Contact Editor-in-Chief Nicolas Collins (ncollins@artic.edu) with proposals. LMJ13 CD Curator Philip Sherburne LMJ is pleased to announce that Philip Sherburne is curating the CD accompanying Volume 13 of LMJ. Sherburne is a journalist and critic based in San Francisco. He studied literature and photography at Vassar College and Brown University, earning a Master's in English Literature in 1997. Since 1996, he has written on electronic and experimental music, sound art and culture for publications such as The Wire, XLR8R, Frieze, Artbyte, *Surface, Parachute, CMJ, SF Weekly, Grooves, URB, Signal to Noise and Alternative Press. Sherburne has long been interested in the role of materialism in electronic music, emphasizing how processes, tools, and technology impact upon form. A fan of dance music as much as of "serious" composition, he is motivated in his work particularly by developments in genre and subgenre, such as microsound minimal techno, microhouse, and various breakbeat styles. When he's not sitting at his desk, he can often be found behind the turntables on a variety of regular San Francisco club nights. His weekly column appears every Friday at http://www.neumu.net/needledrops. Philip Sherburne can be reached at psherburne@mindspring.com. |
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