Subject: area of interest?
From: Paschall de Paor (pdepaor@glam.ac.uk)
Date: Tue Apr 25 2006 - 08:40:56 EDT
FYI
cheers
Paschall de Paor
> Please forward as appropriate
> JARP Call For Articles
> The Journal on the Art of Record Production will be launched in September 2006
> The first two issues will be guest edited by Simon Frith and Albin Zak. The
> ARP website (www.ArtOfRecordProduction.com
> <http://www.ArtOfRecordProduction.com> ) is now up and running in skeletal
> form but the aim is to combine the on-line journal, the conference proceedings
> and a more general research resource (interviews, reminiscences, biographies,
> contributions from industry professionals, forum discussions, links, academic
> articles) which academics and industry professionals can contribute to. If
> anyone's interested in contributing or helping out with the website please
> contact me on: simon.zagorski-thomas@tvu.ac.uk
> Guidelines for article submissions are as follows:
>
> Peer reviewed submissions:
> Full article: 5 7,000 words
> Position paper: 3 5,000 words
>
> General website submissions:
> Interviews
> Reminiscences
> Biography
> Contributions from industry professionals
> Forum discussions
> Links to other sites
> Send submissions to ArtOfRecordProduction@tvu.ac.uk
> Website: www.ArtOfRecordProduction.com <http://www.ArtOfRecordProduction.com>
>
> Issue 1: Guest Editor Simon Frith
> Deadline: 23rd June 2006
>
> Themes:
>
> The recording studio as a space/place
> This would involve articles on particular recording studios, on issues of
> studio design, on the history‹and philosophy - of the studio, on the
> relationship of the recording studio to other musical spaces‹concert hall,
> sound stage, rehearsal room, etc.
>
> The record producer and the law
> This would involve articles on the various ways producers are contracted, the
> nature of authorship and copyright as they affect producers, the notion of the
> Œindependent¹ producer, etc
>
> Record production and sound design
> This could involve articles not just on the role of sound engineering in the
> music recording process but also on how record producers fit in the wider
> world of sound designers‹for film, television, theatre, live concerts, etc.
> How have the latter worked with/been influenced by the former and vice versa?
>
> Issue 2: Guest Editor Albin Zak
> Deadline 20th October 2006
>
> Themes:
>
> Recording figures mostly missing from the historiographic record.
> Alongside producers this could include engineers, session players, arrangers,
> etc. We also welcome research on recording scenes in particular cities or
> regions.
>
> Alternatives to the established mainstream entertainment production and
> delivery system.
> Everyone knows that major labels and big-time studios are having trouble
> coping with the new realities of project studio production and internet
> distribution. But it¹s far from clear how significant a shift is being
> generated at the grass roots. We welcome case studies from various parts of
> the world detailing music production and distribution scenarios operating
> outside the corporate models that dominated the past century.
>
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