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September 2022, Week 4

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From:
Alexander Monea <[log in to unmask]>
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Alexander Monea <[log in to unmask]>
Date:
Thu, 22 Sep 2022 16:08:48 +0000
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*Reminder CFP: Anonymous Creativity: Library Music and Screen Cultures
in the 1960s and 1970s (edited by Nessa Johnston, Elodie A. Roy, and
Jamie Sexton)*

**

*Please see below for details of CFP – deadline is September 30, 2022!*

We invite chapter proposals for an edited collection focusing on library
music in the 1960s and 1970s and its contemporary afterlife.

Library music – sometimes referred to as stock or production music – is
music created specifically for synchronisation in radio, film,
television, and other media. Unlike traditional scoring, library music
is not created for integration into a specific media artefact but is
designed to capture more general themes or moods. Despite being used in
a variety of media as far back as the 1920s, library music has yet to
gain extensive academic attention. This collection aims to historicise
and theorise aspects of library music production during what is often
referred to as its ‘golden age’ – the period from the 1960s to the early
1980s – which witnessed a huge rise in library music production (linked
to the emergence of television production and an increase in independent
filmmaking).  Library music composers were key contributors to the sonic
identity of audiovisual media of the period, providing thousands of
signature tunes, themes, and incidental music for film and television
programmes. Despite their ubiquity and enduring cultural resonance,
their contributions are often unacknowledged, and very little is known
about the conditions in which library music was written, commissioned,
recorded, circulated, and used. There has been some important academic
work on library music (e.g. Nardi 2012; Wissner 2017; Durand 2020), but
there is still much to be discovered within this relatively overlooked mode.

//

Proposals on library music from this period are welcomed from – but not
limited to – researchers in the fields of film and television music,
film history, media studies, fan studies.

Possible themes/topics include, but are not limited to, the following:

   * *Labour Relations and Modes of Production*

Examples of which might include:

       o Relationship between Unions, publishers, composers, and musicians
       o Internationalisation, global interdependencies and
         country-specific modes of production
       o Histories / case studies of specific recorded music libraries
       o Histories / case studies of recording studios
       o Promotion and circulation of library music recordings
   * *Creativity, Originality, and Standardisation*

Examples of which might include:

       o Constraints and rationalised creativity: briefs, limitations and
         referentiality
       o Library music albums and distributed creativity: the role of
         artistic directors, studio engineers, sleeve designers, etc.
       o Changing techniques, technologies and instruments and
         relationship to technological and industrial resources (e.g.
         magnetic tape, vinyl records, etc)
       o Case studies of specific library music composers (studies of
         female composers will be especially welcome).
       o Modes, genres, and styles (notably experimental forms of library
         music and its relation to popular trends and to the avant-garde).
       o The status of session musicians.
       o The use of pseudonyms and collective names and its implications.

   * *The Uses of Library Music*

Examples of which might include:

       o Across various programmes / media artefacts.
       o Across countries.
       o Case studies of how specific directors / film genres used
         library music.
       o Case studies on the life cycle of specific library tracks and/or
         albums.
       o Licensing and copyright.
       o Uses by the BBC and commercial television.

   * *Recyclability, Recirculation, and Remediation: Contemporary
     Revaluation of Historical Library Music Cultures*

Examples of which might include:**

       o Memorialisation, historiography and heritage practices: the role
         of individual collectors and institutions; institutional and
         non-institutional modes of archiving, documenting, digitising
         and collecting library music.
       o Artistic, critical and commercial remediations: reissuing,
         sampling, DJ-ing.
       o Reception: audiences, fans, collectors, nostalgia, cult value.
       o The material and visual culture of library music and its legacy
         on contemporary music.

This book stems from a Leverhulme funded project which investigates
British, French, and Italian library music, but is not limited to those
countries. While we are focusing on library music produced in the 1960s
and 1970s, we are interested in the use of such music beyond this
period; for example, older library music is still synchronised in media,
and has been used as sample material by a range of musicians.

We have received potential interest from Bloomsbury in this collection,
though we will not formally submit a proposal until we have fully
confirmed the content of the collection. We currently estimate chapters
being between 6000-8000 words.

Please send abstracts of 300 to 500 words and a 150-word biographical
note – as well as any other questions – to
[log in to unmask]<mailto:[log in to unmask]> <mailto:[log in to unmask]<mailto:[log in to unmask]>>

   * Deadline for chapter proposals: September 30, 2022
   * Notification of acceptance: By November 4, 2022
   * We anticipate the deadline for the submission of chapters to be late
     2023.
//

//

*References*

Durand, Júlia. 2020. ‘“Romantic Piano” and “Sleazy Saxophone” Categories
and Stereotypes in Library Music Catalogues’, /Music, Sound, and the
Moving Image/, Issue 14, Volume 1, pp. 23-45.

Nardi, Carlo. 2012. ‘Library Music: Technology, Copyright and
Authorship’ in /Current Issues in Music Research: Copyright, Power and
Transnational Music Processes/, eds. Iván Iglesias, Pedro Roxo, Salwa E.
Castelo-Branco and Susana Moreno Fernández (Lisbon: Colibri), pp. 73-83.

Wissner. Reba. 2017. ‘Music for Murder, Machines, and Monsters: ‘Moat
Farm Murder’, The Twilight Zone, and the CBS Stock Music Library.’
/Music, Sound and the Moving Image. /Volume 11, Issue 2, pp. 157-186.



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