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Issue 3: Temporality in Music, Call for Papers The University of Huddersfield, Centre for Research in New Music’s CeReNeM Journal announces a call for papers on the subject of temporalities in music, with a particular emphasis towards experimental and minimal musics. All approaches relating to the temporal experience are encouraged, including:
Please submit all entries and enquiries to Dr Richard Glover at r.glover@hud.ac.uk. The deadline for all submissions is 17 February 2012. This is a peer-reviewed journal. All manuscripts will be reviewed by editors prior to acceptance. The journal is free of charge and will only be available online. Papers should be no more than 8000 words and should adhere to the journal’s guidelines. |
CeReNeM Journal
The journal acts as a forum for discourse surrounding the research projects and activities of the University of Huddersfield’s Centre for Research in New Music. Articles, interviews and scores are made freely available as downloadable pdfs.
Journals are edited by members of CeReNeM’s research community which includes staff, visiting research fellows and postgraduate students.
The Editorial Board comprises Prof Liza Lim, Dr Monty Adkins and Dr Philip Thomas.
Staff-edited journals are peer-reviewed. If you are interested in serving as a peer-reviewer for the CeReNeM journal, please contact Professor Liza Lim with details of your area of interest attaching your curriculum vitae.
click here to read the guidelines for submission.
Issue One is edited by PhD candidates Robert Dahm and Ray Evanoff and comprises interviews, articles and scores with a focus on intersections between postgraduate research and the 2009 Huddersfield Festival of Contemporary Music.
Specialist training in music – summer courses, festivals and symposia
Issue Two is edited by Robert Dahm (http://robertdahm.wordpress.com/). Articles by postgraduate composers from across the UK and internationally examine the landscape of early career opportunities provided by summer schools, festivals and symposia and their role as a stimulus for exchange, critical reflection and training for composers and performers today.
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