CFP: Analyzing and Interpreting Improvised Music

Here’s an interesting one:
Call for Articles – Issue 5: Analyzing and Interpreting Improvised MusicFor further information:
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Instant composing, real-time music, current music, free jazz, intuitive music – the genre indications on the part of artists point to a struggle surrounding a volatile subject. The focus of this issue is to present and discuss the scholarly methods for interpreting and analyzing these and similar genres and to identify their possibilities and limitations.

The topics in this area range from procedural questions of methodological and manual problems of transcription and translation from one sign system to another to problems of descriptive language right up to discussion of aesthetic premises, which, consciously or unconsciously, we bring to the subject. Ultimately, it comes down to the question of what subject we are dealing with when we analyze: a musical structure, a sonic result, a concert situation, a performance, a performance in the sense of performance art, a document of social communication, group processes, or the celebration (possibly arising from other contexts) of festival and performance cultures.
We warmly welcome all authors who are interested in the issue to send their articles for consideration. Editorially-supported languages are German, English, French, and Italian.

In addition to scholars from different disciplines we would also like to invite composers, musicians, and artists to express their views through reflections on their own art or the art of others.

The contributions should not exceed 45,000 characters in length (including spaces). The deadline for articles is 15 September 2012. Please send in submissions by e-mail to

One thought to “CFP: Analyzing and Interpreting Improvised Music”

  1. Hey dear RhythmChangers !

    There are not so many discussions about improvised music, and this rare one seems to be an intellectual one. That particular matter divides even the musicians in two: the one hand’s opinion is “shut up – just play or listen !”, the other says “let’s talk about it, what do you think … ” or “did you feel that … “. Shure about the essential need of verbal articulation inside a global community and between single human beeings, I have to declare my own straits in communicating my point of few of what a piece of music or a performance needs above all to be accepted as an “art(ificial?)” incident. But whatever you or me would tell about it, equally shure is, that it differs very much from person to person, depends on sooo much individual facts and connotations. It never leads to an objective conceptuality and we have to admit: we can try to pose our own opinion – perhaps even for a like-minded bunch of people, but never can’t determine it for everyone. Music and the individual sentiments while listening or performing this powerful gift of nature (no matter how simple or tricky in its momentary appearance) has too wide a range of subtile emotions and dependency of personal cessation to be caught in a general statement. – So, many thanks for your present initiative – keep communicating, retain the flow, use your knowledge … and your heart ! ThanX again

    kind regards


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