The following collection, previously titled "The Power of Music,"
will no longer be published as a forthcoming journal issue of
"Crossings: A Counter-Disciplinary Journal," but will be published as
an edited book collection with a major academic press. The deadline
for submissions and inquiries has been extended to November 15th,
2005. The contact person remains Robert C. Thomas at theory_at_sfsu.edu

Call For Papers: Book Collection
"Sonic Debris: The Unknown History of 21st Century Music"
Deadline: November 15, 2005

What is the 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 (particularly with regard to affect), 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
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 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?

This volume seeks articles that enter into composition with the
unknown potential of music in the post-war era. We 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.
Theoretical or critical fictions about specific musical genres,
artists, or forms, in the context of post-war theoretical concerns,
are strongly encouraged.

Possible topics include, but are not limited to:

-Political Economy of Post-war Music
-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.

Send all manuscripts and inquiries by November 15, 2005 to:
Robert C. Thomas at theory_at_sfsu.edu

or via snail mail to:
Robert C. Thomas
Department of Humanities
1600 Holloway Avenue
San Francisco, CA 94132

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Received on Mon Sep 26 2005 - 17:36:33 EDT