Found this interesting reading, and thought some others in the list would, so I'm passing it on: Leonardo Music Journal Call for Proposals We invite proposals for the next two issues of the Leonardo Music Journal. The guidelines below are intended to create an identifiable focus for each issue, but should not be regarded as a limited set of assigned topics or as specific questions to be answered. They should serve instead as springboards for personally relevant writing, and are open to individual interpretation. Please contact the Leonardo Music Journal or Nicolas Collins, Editor-in-Chief, directly with proposals, suggestions or questions , at: email@example.com. LMJ 9: Power and Responsibility: Politics, Identity and Technology in Music In our contemporary saviness, we no longer think of music as the creation of solitary genius scribbling in a garret. We are far more likely to see it as a collaboration between individual ambitions and socio-economic constraints and inspirations. Composers themselves are likely to parse the responsibility for musical decisions out among numerous parties: a composer, pseudo-autonomous hardware and software, improvising musicians, variables of architectural space, or the interaction of an audience. These issues converge on questions of identity and power politics: is the orchestra necessarily fascistic? Does electronic technology have an inherent sexual identity (is it all "boy's toys")? What is the difference between a Japanese composer writing for the piano and a German composer writing for the koto? Do composers in "young countries" (Australia) necessarily have less cultural baggage than those in older ones (Italy)? Are the virtues of democracy the same as those of music? And how do we deal with Mr. Gates? In this issue of Leonardo, we want to examine how contemporary composers define their role within a network of shared responsibility. How do you allocate power? How do you justify its use? How do you define your musical and social communities, and how do you position yourself within them? Deadlines: December 1, 1998: rough proposals, queries January 15, 1999: submission of finished article April 1: article returned with reviewer comments for revision May 15: revised version due LMJ 10: Southern Cones -- Music in Africa and South America For the end of the millennium we want to shift the focus away from technological music's traditionally Eurocentric domain and concentrate instead on contributions to modern music coming out of Africa and South America. Access and attitudes towards technology shift radically with geography, causing both predictable and unexpected effects on the arts. We encourage writing by residents of these continents who work with technology and music (composers of "serious" and "pop" music, recording engineers and producers, studio musicians, concert promoters, musicologists, etc.), as well as persons of any citizenship for whom Southern cultures have been musically significant.