Call For Papers: Crossings: A Counter-Disciplinary Journal
Issue #8: "The Power of Music" (Fall/Winter 2005)
Deadline: October 1st, 2005

What is the power (potential) of music? The proliferation of music and
musical cultures on a global scale remains relatively unexplored in
theoretical debates about and within Post-structuralism. While there
is an extensive and growing literature on the power of the image in
the post-war era, there is no similarly oriented literature concerning
the power of sound, voice, and music. Why? This exclusion is all the
more remarkable when we consider the unparalleled rise of new and
unique forms of music in the post-war era, not to mention the
importance that music has come to play in our everyday lives. Music is
everywhere, and proliferating wildly in its pragmatic, political, and
existential contexts. What is this growing love for music, and how is
it connected to other things that we love—to unique ways of thinking
and living, styles, subcultures, and desires? What are the stakes for
thinking and doing music in the post-war era? And what of the efforts
to contain this power (potential), both pragmatically (e.g.
censorship, the spectacle), and with historicizing, mediated,
narratives (e.g. "Behind the Music"). What could it mean, in contrast,
to think music "historically" (in Benjamin's or Foucault's sense)?
That is, what can the power of music do as an unrealized and unknown
potential? How is it always and already affecting us? And how is it
that the radical immanence (and intimacy) of music so often resists
our attempts to theorize and give expression to it?

Crossings seeks articles that enter into composition with the unknown
potential of music in the post-war era. The editors are particularly
interested in theoretical perspectives that make connections with
specific styles and forms of music. In particular, we encourage
engagements with so-called "lost," neglected, or marginalized music(s)
of the past (for example, the recent re-discovery of late 60's garage,
psychedelic, and sunshine pop music). Moreover, we encourage scholars
with knowledge of, and connections to, specific music cultures to
write immanently: that is, from within those cultures.

Possible topics include, but are not limited to:

—Political Economy of Post-war Music(s)
—Indie Music Culture
—Karaoke
—Turntablism
—Hip-Hop
—Rap
—Psychedelic
 —Children's music
—Lost Music(s)
—Bluegrass
—Music and the Spectacle (Media)
—Music and Affect
—Walls of Sound
—Noise
—Music and Everyday Life
—Bollywood
—Walter Benjamin
—Radio
—Deleuze and Guattari
—(Post) Modern Opera
—Electronic Music
—Silence
—Minimalism
—Experimental Music
—Lounge-Core
—Exotica
—Emo-Core
—Punk
—New Wave
—Disco
—Politics of Music
—Rock N' Roll
—Voice
—Globalization and World Music
—Air Guitar
—Heavy Metal
—Soul
—Funk
—Reggae
—Technologies of Sound
—Ambient
—Remixing

Submissions should be in MSWord or WordPerfect format, double-spaced,
and conform to the Chicago Manual of Style, 15th edition, endnote
citation format. Hard copy manuscripts should be submitted in duplicate
and should be accompanied by a disk version (IBM compatible 3 1/2"
disk). Manuscripts will not be returned unless accompanied by a
self-addressed, stamped envelope. A style sheet is available in Adobe
Acrobat format on-line at: http://crossings.binghamton.edu/style.pdf.

Additional information can be found at: http://crossings.binghamton.edu

Send all manuscripts and inquiries by October 1, 2005 to:
Robert C. Thomas and Taras Sak, xings_at_binghamton.edu

Or,
Crossings
Department of English
P.O. Box 6000
Binghamton University
Binghamton, New York 13902-6000

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Received on Fri Jun 03 2005 - 10:34:01 EDT