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Dear colleagues,

Please find below the CFP for the edited collection, 'Singing Out: The
Musical Voice in Audiovisual Media'. A full version can be found at
https://urldefense.proofpoint.com/v2/url?u=http-3A__bit.ly_3aKTAPz&d=DwIFaQ&c=Cu5g146wZdoqVuKpTNsYHeFX_rg6kWhlkLF8Eft-wwo&r=PHu0YcldevQqIedM86l0iexbqE-AeZLl-lupNToNx6I&m=i_OgyXm78vRLaWBlX_x3lgYbqsAeXGX5VuOos1JV7bY&s=UjPNa7o1P23_KZ033cPt8D4SxYnd_TrbanCtGNR-JPo&e= .

Best wishes,
Catherine and Beth

*Singing Out: The Musical Voice in Audiovisual Media*

From the musical numbers of *The Jazz Singer* and the reality drama of BBC
2’s *The Choir*, through to the playback stars of commercial Hindi cinema
and the competitive performance of karaoke video games, singing has and
continues to play a central and special role in multimedia. The act of
singing emphasises the gendered, raced, aged, and classed body, and the
identifying markers of the voice itself. It draws attention to vocal
production in a way that is not only sonically compelling, but also often
emotionally acute. It can heighten communication, act as an aid to memory
and product placement, and invite judgement from both professional and
armchair critics – something the TV talent show has commodified as
entertainment in itself. Singing both demarcates and breaks down textual
and conceptual boundaries: between narrative and number; professional and
amateur; transparency and manipulation; authenticity and the performative;
and pathos and camp. As Laing (2000) argues, song ‘transfigures’ speech: it
offers both performers and listeners an intensity of experience, of
emotion, of being that gives it a special status both on the soundtrack and
in the circulation of musical texts outside it.

The collection will explore a broad range of singing voices and sung
moments, from lavish musical sequences to the ‘artless’ singing discussed
by Gorbman (2011), and from television and cinema through to video games,
online and mobile platforms, advertising, and multimedia installation work.

This is an all-singing and open call for submissions, but suggested
possible topics are listed at https://urldefense.proofpoint.com/v2/url?u=http-3A__bit.ly_3aKTAPz&d=DwIFaQ&c=Cu5g146wZdoqVuKpTNsYHeFX_rg6kWhlkLF8Eft-wwo&r=PHu0YcldevQqIedM86l0iexbqE-AeZLl-lupNToNx6I&m=i_OgyXm78vRLaWBlX_x3lgYbqsAeXGX5VuOos1JV7bY&s=UjPNa7o1P23_KZ033cPt8D4SxYnd_TrbanCtGNR-JPo&e= . We invite
contributions from film, media, cultural studies, and music researchers,
creative practitioners, and industry professionals, and are keen to hear
from as broad and representative a range of voices as possible.

**Formal proposal (c. 300 words) to be submitted by 1st May 2021 to
singingcollection -at- gmail.com. The final timeline for the project will
be confirmed with the publisher, but chapters will be due in spring 2022.**

Informal enquiries can be sent to either Dr Catherine Haworth (c.m.haworth
-at- hud.ac.uk) or Dr Beth Carroll (e.carroll -at- soton.ac.uk).


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