*CFP: The Remix and EDMC Special Edition of Dancecult: Journal of
Electronic Dance Music Culture*
Guest Editor: Sheena Hyndman
This special issue seeks to address topics and issues related to the remix
as a component of electronic dance music culture. The remix, a form of
derivative song composition that combines existing recorded sound with
newly composed musical material, has become an increasingly popular subject
of study both within and outside academia. While derivative musical and
cultural expression is not a phenomenon exclusive to the present, the remix
is unique from past forms of derivative music making because of the way it
is defined by its relationship to the sound reproduction technologies of
the 20th and 21st centuries. This combination of derivativeness and
technology has encouraged an influx of scholarship addressing the
problematic relationship of the remix with intellectual property to the
exclusion of many other aspects of remixing, and in light of recent
technological developments, the flourishing of participatory culture and
the growing importance of the remix in the contemporary music industry,
there remains a great deal of territory to explore with respect to the
remix as an expression of contemporary music culture. Therefore, this
special issue seeks to broaden understandings of remixing as a key element
of electronic dance music culture by encouraging debate among composers,
performers, promoters, fans and detractors.
This special issue of Dancecult invites contributions from scholars in all
areas on the subject of the remix as an expression of past and contemporary
electronic dance music and culture. The goal of this special issue is to
broaden the understanding of remixed music beyond the most commonly
articulated tropes in existing scholarship. To this end, contributions from
scholars, performers, music industry insiders, admirers and critics are
welcomed and encouraged. While contributions from all areas of scholarship
will be considered, it is requested that submissions be underpinned by a
focus on remixing as it relates to electronic dance music culture.
/ / Suggested Themes / /
The editor encourages that contributions be grounded in musical scholarship
relating to remixing and EDMC. Potential topics include, but are not
limited to:
– The history of remixing;
– Remix genres and scenes;
– Audience consumption and listening practices;
– Attitudes towards derivativeness in music;
– The remix as an expression of past, contemporary, popular and/or
underground dance music cultures;
– The remix as a process of song composition;
– The remix as performance practice;
– The remix and the music industry;
– Authenticity and originality;
– Professional and amateur remixing;
– Types of compensation for producers of remixes;
– Music blogging;
– Cross-geographical and -temporal collaborative music making.
/ / Submissions / /
Feature Articles:
Feature Articles will be peer-reviewed and are 6000?9000 words in length
(including endnotes, captions and bibliography).
For policies, see:
https://dj.dancecult.net/index.php/dancecult/about/editorialPolicies#sectionPolicies
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This special edition will also feature articles for our «From the Floor»
section. Rather than being written in the formal style of the academic
essay, submissions for this shorter format (750?2500 words) are more
conversational, blog-like and informal in tone and may feature more
experimental and creative styles of reporting. From the Floor contributions
may take the form of dispatches from the field, mini-ethnographies,
interviews and photo essays, and contributors are encouraged to include
relevant multimedia components such as music, video and hypertext.
Articles must adhere to all style and formatting rules stipulated in
the Dancecult
Style Guide (DSG).
Download it here:
Multimedia Submissions: Dancecult encourages authors to complement their
written work with audio and visual
material. See the DSG for style and formatting requirements.
Language:
Although the language of publication in Dancecult is English, the editor
strongly encourages submissions from non-Anglophone scholars and will be
happy to provide linguistic/stylistic support during the writing process.
/ / Dates and Deadlines / /
This special edition is proposed for publication in Dancecult in November
2014.
If interested, please send a 250 word abstract and brief author biography
to Sheena Hyndman (sheena.hyndman@gmail.com) before January 31, 2014.
If your abstract is accepted for guest editor review, the deadline for full
article submission is May 31, 2014.
Beyond that, the deadline for online submission to Dancecult (for peer
review) is August 15, 2014.
Please send inquiries and expressions of interest to Sheena Hyndman:
sheena.hyndman@gmail.com.
—
Sheena Hyndman, PhD
Independent Scholar
Phone: (416) 561-0553
Email: sheena.hyndman@gmail.com
LinkedIn: http://www.linkedin.com/profile/view?id=90342896&trk=tab_pro
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