Dear colleagues,
we are pleased to announce the publication of volume 2, issue 1 (Spring 2022) of the online journal Sound Stage Screen (https://riviste.unimi.it/index.php/sss).
ARTICLES:
Callas and the Hologram: A Live Concert with a Dead Diva
JOÃO PEDRO CACHOPO
Folkloric Voices in Neorealist Cinema: The Case of Giuseppe De Santis
GIULIANO DANIELI
The Afterlife of a Lost Art. On the Work and Legacy of Silent Film Pianist Arthur Kleiner
ANNA K. WINDISCH
REFLECTIONS:
Music Criticism in the Age of Digital Media (With Two Contributions by Benjamin MiNiMuM/Angèle Cossée, and Peter Uehling)
KLAUS GEORG KOCH
REVIEW-ESSAY:
Sound Theory at Grand Theory’s End
Review of Sound Objects, eds. James A. Steintrager and Rey Chow (2019)
JULIE BETH NAPOLIN
PERFORMANCE REVIEW:
“There’s Something Missing Here…”: Milo Rau, Opera, and the Search for the Real (Mozart)
CARLO LANFOSSI
Editors-in-Chief
Giorgio Biancorosso, The University of Hong Kong
Emilio Sala, Università degli Studi di Milano
We welcome submissions via the journal’s submission page at https://riviste.unimi.it/index.php/sss/about/submissions.
Sound Stage Screen (SSS) is a biannual peer-reviewed journal devoted to historical and theoretical research into the relations between music, performance, and media. An open-access journal, SSS addresses a wide range of phenomena, practices, and objects pertaining to sound and music in light of the interconnections between performing traditions and media archaeologies.
SSS promotes the dialogue across disciplines and practices as essential to the redefinition of the academic study of music, as an open field whose boundaries—historical, geographical, and theoretical—are constantly being negotiated. SSS embraces the web format to stimulate and sustain the exploration of ways to restore a sense of the continuum that ties music making and research. To this end, the journal encourages submissions stemming from practice-led research, research-led practice as well as cross-disciplinary collaborations from within and without academia.
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