Special Issue of Current Musicology: Experimental Writing on Music

Spring 2013
David Gutkin, Editor-in-Chief

For this issue we are looking for writing on music that departs from the implicit and explicit norms of academic music scholarship in favor of a more experimental or creative approach to language and form. “Experimental writing on music” is a broad criterion and we would like to keep it that way. Thus, the following should simply be taken as examples of some possible avenues to pursue: 

-       Writings that address relationships between music (or sound) and language not solely as a topic but in the immanent technique of the writing itself

-       Innovative uses of language, graphics, or the materiality of text and page that facilitate novel ways of conceptualizing music

-       Non-traditional music-theoretical analyses

-       Pieces that deal with more broadly cultural and political aspects of music/sound in formally compelling ways

 -       Writings that might be out of place in other publications (this might include fragmentary or essayistic pieces)             

 If you have other ideas on how to write about (or with, in, through) music, please don’t think twice. “Experimental writing” does not mean that the music under consideration need be considered experimental. Digital/internet media may be used. Submissions may be of any length. Scholars of music, but also poets, philosophers, composers, dancers, visual artists and other writers are encouraged to submit.

published at Columbia University

please submit to djg2139   @    columbia.edu by December 15, 2012.