Call for Papers\u00a0<\/b><\/p>\n
Infractions of the Musical Paradigm: Practices, Technologies, and Reconfigurations of the Sonic<\/b><\/p>\n
<\/p>\n
Editors: <\/p>\n Submission deadline: <\/b>August 20, 2026 <\/p>\n Contributions should be sent to the following email addresses:<\/b> divulgazioneaudiotestuale[@]gmail.com\u00a0<\/span><\/p>\n <\/p>\n Twentieth-century musicology has revealed the complexity of the musical beyond the limits of the work, elaborating within the field of semiology the notion of a <\/span>\u201cmusical fact\u201d<\/span><\/i> \u2014 a concept that includes, within the musicologist\u2019s perspective, not only \u201ctexts\u201d and their grammars but also the contextual phenomena that make those texts the nodes of a complex anthropological, social, and epistemological network.<\/span> Among the countless consequences of musical experimentalism (especially of Cagean origin), the impact of technology on the anthropological profile of the musician (in the broadest sense of the term), and the rise of ethical claims within digital culture (free software, hacking), we find, at the end of the twentieth century, practices that profoundly alter the value systems of the musical paradigm. The new culture of digital lutherie, institutionalized at the beginning of the twenty-first century in the NIME conferences, for example, raises questions about a possible inversion of the traditional means\u2013ends relation between instruments and the music produced through them. Similarly, the expansion of the musical into the territories of (variously defined) <\/span>sound art<\/span><\/i> seems to dismantle the traditional boundaries of the temporally dominant musical work, replacing them with spatially oriented forms that allow the listener to dynamically reconfigure their temporal boundaries.<\/span><\/p>\n Live coding and the Toplap Manifesto\u2019s injunction to \u201cshow your screens,\u201d Pietro Grossi\u2019s playful, private practice of algorithmic composition, or the music created for video games\u2014where continuously generative and variable forms blur the distinction between performer and listener\u2014are further examples of this paradigm transformation. Finally, many improvisational or aleatory practices seem to replace the consolidated communicative schema of the concert (sender, code, message, medium, receiver) with entirely different anthropological archetypes such as play, travel, conviviality, ritual, or political utopia, while in many contexts music tends to become more a matter of <\/span>events<\/span><\/i> than of <\/span>messages<\/span><\/i>.<\/span><\/p>\n All the examples gathered here share some form of infraction against the values of the paradigm but by no means exhaust the wide landscape of \u201cniches and microworlds\u201d (to borrow Massimo De Carolis\u2019s term) through which the modes of musical production and reception, in the post-digital era, seem to fragment and disperse into innumerable streams.<\/span><\/p>\n Relevant areas for contributions\u2014which may take the form of theoretical reflections, documentation of experiences, or critical and technical inquiries, always from the perspective of some alteration, manipulation, or rewriting of the values of the musical paradigm as described above\u2014include but are not limited to:<\/span><\/p>\n Call for Papers\u00a0 Infractions of the Musical Paradigm: Practices, Technologies, and Reconfigurations of the Sonic Editors: Luigino Pizzaleo, \u201cG. Rossini\u201d Conservatory,\u00a0 Pesaro Antonio Mastrogiacomo, Academy of Fine Arts of Reggio Calabria\u00a0 Submission deadline: August 20, 2026 Notification of acceptance: September 20, 2026 Publication date: October 30, 2026\u00a0 Contributions should be sent to […]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-543","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.ilsileno.it\/dat\/en\/wp-json\/wp\/v2\/pages\/543","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.ilsileno.it\/dat\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.ilsileno.it\/dat\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.ilsileno.it\/dat\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.ilsileno.it\/dat\/en\/wp-json\/wp\/v2\/comments?post=543"}],"version-history":[{"count":14,"href":"https:\/\/www.ilsileno.it\/dat\/en\/wp-json\/wp\/v2\/pages\/543\/revisions"}],"predecessor-version":[{"id":651,"href":"https:\/\/www.ilsileno.it\/dat\/en\/wp-json\/wp\/v2\/pages\/543\/revisions\/651"}],"wp:attachment":[{"href":"https:\/\/www.ilsileno.it\/dat\/en\/wp-json\/wp\/v2\/media?parent=543"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n<\/b>Luigino Pizzaleo, \u201cG. Rossini\u201d Conservatory,\u00a0 Pesaro <\/span>
\n<\/span>Antonio Mastrogiacomo, Academy of Fine Arts of Reggio Calabria\u00a0<\/span><\/p>\n
\n<\/span>Notification of acceptance: <\/b>September 20, 2026
\n<\/span>Publication date: <\/b>October 30, 2026<\/span>\u00a0<\/b><\/p>\n
\n<\/span>There have also been attempts to apply to more complex musical systems the conceptual structure of so-called scientific paradigms \u2014 notably in the case of the \u201cStockhausen paradigm\u201d described by Alcedo Coenen in the 1990s, following the analogous concept discussed earlier by Thomas Kuhn. This structure is articulated in terms of values, models, generalizations, and exemplars. It is precisely the <\/span>values<\/span><\/i> of the paradigm\u2014explicit and implicit, encapsulated in a culture\u2019s responses to fundamental questions such as: what is music, who produces it, for whom, where, when, to what purpose, and with what motivations and instruments\u2014that form the focus of our inquiry.<\/span><\/p>\n\n