Deadline for submissions: Monday, 17 April 2023

We are seeking contributions to the fourth and final volume in our Analytical Essays series,
subtitled Electroacoustic, Multimedia & Experimental Music, 1950–2015. This collection of
essays will complete our award-winning series on music by women composers published by
Oxford University Press (Concert Music, 1960–2000 [2016], Secular & Sacred Music to
1900 [2018]), and Concert Music, 1900–1960 [2022]).

We have already secured several essays for the volume, on music by composers including
Laurie Anderson, Björk, Beatriz Ferreyra, Pauline Oliveros, Tanya Tagaq, and Hildegard
Westerkamp. We are looking for contributions that will complement existing essays and assist
our goal of diverse representation (geography, identity, genre, time period, etc.). In particular,
we seek analyses of works in the following areas:

  • Music by Black composers, for example Pamela Z, Natalie Joachim, Matana Roberts
  • Music by Mantombi Matotiyana or other African composers
  • Electroacoustic music, particularly by pioneering composers such as Daphne Oram, Bebe
  • Barron, Delia Derbyshire, Maryanne Amacher, Eliane Radigue, and Laurie Spiegel
  • Film music, e.g. by Hildur Guðnadóttir
  • Music by Meredith Monk.

Essays should provide a detailed, focused, and insightful exploration of a particular work by the
composer written between 1950 and 2015, using whatever analytical approaches are most
illuminating. We strongly encourage potential contributors to review our published volumes, in
particular Volume 3 (Concert Music, 1960–2000), to familiarize themselves with the typical
length, format, and analytical focus of the essays in this series (although we welcome
innovative approaches to analysis that the more experimental music in this volume will no
doubt require).

To submit a proposal, please send an abstract of approximately 350 words to and by 11:59pm PDT on Monday April 17, 2023.

Authors whose proposals are selected will be contacted by the end of May and invited to
submit complete drafts.

Laurel Parsons and Brenda Ravenscroft, co-editors