[Commlist] Edited Collection CFP – Contemporary Screen Music and Sound Production

*Edited Collection CFP – Contemporary Screen Music and Sound Production*


In the introduction to /The Routledge Companion to Screen Music and 
Sound /(2017)/, /Miguel Mera, Ronald Sadoff and Ben Winters write, 
‘screen music and sound has consistently ignored aspects of process in 
favor of the interpretation of completed texts’ (p. 5). Such calls for 
analysing media production processes have been made since at least the 
1980s (Maltby 1983; Bordwell, Staiger, and Thompson 1985), and have been 
taken up in archival studies of historic film music production (e.g. 
Merkley 2007; Jacobs 2014; Luko 2016; Lewis 2017; Platte 2017; Wright 
2019). However, the /contemporary/ production of music and sound for 
audiovisual media has only recently begun to receive attention—in 
studies of mainstream Hollywood cinema (e.g. Sapiro 2016; Sadoff 2006), 
music video (Burns and Hawkins 2019), and advertising (e.g. Klein 2009; 
Deaville 2021), among other areas—and remains largely a mystery to those 
outside the industry. Given the proliferation of new platforms and 
methods of creation, there is a plethora of textual forms, modes of 
production, and creative networks for practitioners, students, and 
researchers to understand.

This edited collection aims to delineate and interrogate the structures 
and practices of music and sound production in contemporary audiovisual 
media. We invite proposals spanning a broad range of genres, platforms, 
methodologies, processes and contexts.

Possible topics may include, but are not limited to:

  * Case studies tracing the music/sound production processes for
    specific media texts (across film, television, video games,
    trailers, advertising, music videos etc.)
  * Production of music for internet-based media (e.g. YouTube, TikTok,
    Instagram etc.)
  * Diversity and inclusion in music/sound production; issues of
    identity and representation
  * The impact of technologies on production processes and documentation
    (cloud-based platforms; digital audio workstations; virtual
    instruments etc.)
  * Production personnel, including interview-based chapters (e.g.
    composers, orchestrators, sound recordists, dubbing mixers et al.;
    invisible labour; “star” and “non-star” figures etc.)
  * Training for production roles (informal learning, higher education
    training courses, career trajectories)
  * On-screen depictions of music/sound production (e.g. “making-of”
    documentaries)
  * Methodologies for studying production (e.g. questions of access;
    qualitative methods; autoethnographic work; how production can
    inform reception etc.)
  * Forms of production in different cultural and national contexts
    (regulatory policies; institutions; ethical dimensions;
    adaptation/reproduction; amateur/professional)
  * Licensing music for media (commercial considerations; library music
    etc.)

We would be delighted to hear from academics, creative practitioners, 
industry professionals, and archivists spanning a broad range of 
disciplinary perspectives (music, film, media, cultural studies etc.), 
whose work engages with the production of music and/or sound for 
audiovisual media. We welcome proposals from postgraduate and early 
career researchers.

Please send a 300-word abstract and a 150-word biography to:

(screenmusicproduction /at/ gmail.com) 
<mailto:(screenmusicproduction /at/ gmail.com)> by 31^st  January 2022. The 
editors (Toby Huelin, Elsa Marshall and Ian Sapiro) also welcome 
informal enquiries to the same email address. The timeline for the 
project will be confirmed after discussion with the publisher, but we 
anticipate that initial chapter drafts will be due in the first quarter 
of 2023.


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