BEGIN:VCALENDAR VERSION:2.0 PRODID:-//wp-events-plugin.com//7.2.3.1//EN BEGIN:VEVENT UID:26@sssmg.org DTSTART;TZID=America/New_York;VALUE=DATE:20190215 DTEND;TZID=America/New_York;VALUE=DATE:20190216 DTSTAMP:20181222T163254Z URL:https://www.sssmg.org/wp/events/call-for-chapter-contributions-edited- anthology-of-nostalgia-and-video-game-music/ SUMMARY:Call for Chapter Contributions: Edited Anthology of Nostalgia and V ideo Game Music DESCRIPTION:A elfin hero clad in a green tunic explores an ancient ruin. Gu ided by the player\, the hero solves a puzzle\, unlocks a door\, and disco vers a large chest. The hero opens it\, and hoists an item overhead from t he chest\, now curiously emitting rays of light. Then a brief\, triumphant musical motif plays:\n\n \;\n\n<\;DA NA NA NAAAAAAA!>\;\n\n \ ;\n\nThis fanfare serves as a potent nostalgic trigger for fans of the Leg end of Zelda series. If you have ever adventured alongside Link (the game ’s protagonist)\, then this music is likely echoing in your mind. You ma y be humming or singing it out loud. This four-note motif perhaps suggests a feeling of achievement\, the joy of exploration and finding\, or maybe a relief that comes with finding tools needed to overcome obstacles. Heari ng the music as an adult may recall childhood pleasures\, or it may awaken the desire to seek out adventure. Four mere notes can inundate you with m emories\, associations\, and bittersweet emotion. This nostalgia engages t he impossible. It taps into our virtual thinking—a longing for memories irretrievable\, romanticized\, or even imagined. \n\n \;\n\nThis text invites chapter submissions that examine nostalgia’s relationship to vid eo game music and sound. We endeavor to theorize the nostalgia that drives fans to replay old games\, clamor for re-releases\, remix game themes\, a nd reimagine familiar tunes in live performances in venues ranging from Yo uTube\, to the jazz club\, and even the concert hall. Nostalgia has grown into a palpable yet amorphous theme within discourses on game sound\, part icularly in the work of musicologists and music theorists. We aim for this volume to both engage this research\, and to interrogate its unexamined a ssumptions via multifaceted\, cross-disciplinary chapters. Although concei ved within an academic purview\, we recognize and respect the importance o f this topic to a range of disciplines\, subcultures\, and readers. Accord ingly\, by diversifying this text’s methods and perspectives\, we seek t o broaden this book’s appeal to both a public and academic readership. W e intend for this collection to address nostalgia through the following to pics\, of which provide the broadest boundaries for submission:\n\n \; \n\n Articulating Nostalgia: We must code a language that faithfully desc ribes the nostalgic effect of video game music. Can you help define the ef fect many recognize\, but few can articulate?\n Engaging Nostalgia: How d oes nostalgia work in video game music? What special role does video game music play in creating nostalgic connections?\n Confronting Nostalgia: Do es this nostalgia create problems or conflicts? For example\, can someone  “own” nostalgia? Does it hurt creative production? Can nostalgia bec ome exploitative? \n\n \;\n\nFor consideration\, please submit the fol lowing information to Nostalgia.VGM[at]gmail.com by February 15: an articl e abstract of no more than 350 words and a 100-word description on which s ection of the anthology best suits your project and why.\n\n \;\n\nCo Editors\n\nCan Aksoy\, Sarah Pozderac-Chenevey\, and Vincent E. Rone\n\n&n bsp\;\n\nCo-Editor Bios\n\n \;\n\nCan Aksoy is a professor of English at Los Angeles City College\, visual artist\, and dancer. He specializes i n contemporary american literature\, representations of business culture\, consumerism\, risk theory\, and pop-culture. Can’s work explores how ec onomic theory evaluates literary canon\, and unveils its connectivity with videogames\, film\, and popular music. An avid gamer since childhood\, he has also held a strong interest in video game music ever since recording the Sonic the Hedgehog soundtrack from the game’s music select screen to his walkman. \n\n \;\n\nSarah Pozderac-Chenevey is a PhD candidate in musicology at the University of Cincinnati College-Conservatory of Music\ , finishing up a dissertation on the narrative use of pre-existing music i n video games. She has presented her research at Music and the Moving Imag e\, Music and Media V: Music on Small Screens\, and the North American Con ference on Video Game Music\, and her work on video game music and nostalg ia has been published by Divergence Press. She is also active as a profess ional vocalist in Northeast Ohio\, where she lives with her husband\, daug hter\, and small dog.\n\n \;\n\nVincent E. Rone is an active musicolog ist\, organist\, composer\, and director of choral music at Bayonne High S chool in New Jersey. He specializes in music used to suggest the fantastic al in sacred\, film\, and video game music. Vincent’s work has been publ ished in the Journal of Musicological Research\, Journal of Music and the Moving Image\, as well as chapter contributions in publications by the Chu rch Music Association of America and the American Guild of Organists. His work on video game music is forthcoming in a collected anthology on the my thopoeic significance of The Legend of Zelda series. CATEGORIES:Conferences END:VEVENT BEGIN:VTIMEZONE TZID:America/New_York X-LIC-LOCATION:America/New_York BEGIN:STANDARD DTSTART:20181104T010000 TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST END:STANDARD END:VTIMEZONE END:VCALENDAR