READ THE FULL CALL FOR SUBMISSIONS

Research in music and sound art is not only a matter of listening and experiencing auditory phenomena. Neither is it limited to the study of scores and graphic notations. Many scholars also gain their knowledge through practical creation and experimentation with music, sound and sound art. Some of these result in musical performances or sound art exhibitions in their own right, some have the character of experiments and can be represented as such, while yet others may be both.

This special issue of Seismograf calls for articles and audio papers on research into sound, sound art and music that reflect the process of gaining new knowledge in practice. Whether the practice is composing, producing, performing or analyzing, we ask for contributors to reflect upon when, how and what kind of knowledge that appears in the process of working with sonic material. How did a particular practice lead to a certain result, and what surprises, mistakes, unintended turns, unexpected discoveries, unintentional outcome appeared along the way, and what did it tell?

The call invites scholars from various disciplines: musical performance or production; composition or artistic research; research in the physicality of sonic material, its vibrational matter or proces; or its social, psychological or physical consequences. What we are interested in, is the act of creativity and the practical dimension of the research process, and how it leads to new knowledge on the subject matter: Sounds of Science.

EDITORS OF SPECIAL ISSUE
Henrik Frisk (Professor in composition, KMH, Stockholm)
Sanne Krogh Groth (Associate Professor in Musicology, Lund University)