Print Publication

An edited collection, Exhibiting Sound, will arise from critical dialogue throughout the length of the project, between academics, students, artist-practitioners, cultural/heritage industry professionals, and the general public. This book, to be published by McGill-Queens University Press, will engage with wider audiences on broader issues: sound exhibition for artistic, social scientific, humanistic, or scientific purposes.

Ethnologies Special Issue – Exhibiting Soundscapes

From instrument collections to ballad anthologies, the exhibiting of music is deeply ingrained in the history of ethnomusicology and folklore. This generation’s achievements related to sharing music through digital technology, social media, and new technological pathways create exciting challenges for those presenting, curating, and displaying it.
In response, Ethnologies is publishing a special issue, showcasing the theme, “Exhibiting Soundscapes.” The guest editors, Michael Frishkopf (U Alberta) and Marcia Ostashewski (Cape Breton University) call for papers that engage with any aspect of curating or displaying music.

Subthemes may include:

• Online multimedia (e.g., virtual worlds, sound mapping, social media)
• Digital repositories
• Film and video as a means of exhibiting music and ethnographic practice
• Music in art museums and art galleries, music in ethnographic museums, music in virtual museums, and archives
• Public and private collections of recordings
• Folksong and tune collections (print and other forms)
• Practical challenges of exhibiting music
Submissions may address such critical questions as:
• How should musical practices and oral traditions be represented and exhibited?
• What issues arise in selecting and representing music, as an intangible social process, through curatorial practices such as tangible exhibits?
• What are the potentials and problems of organological research and instrument collection? How have these changed over time?
• What models and possibilities are arising in the Digital Humanities that could facilitate exhibiting musical knowledge?
• How can exhibitors of music negotiate the challenges and tensions imposed by intellectual property laws and the rising demand for “open access?”
• What does “exhibit” mean and how does it implicitly exclude (with its implications of visual priority and a set of static object artifacts)? How is music, being aural-centric and deeply time-bound, supposed to fit into that?

To have your submission considered for publication, please send it in .doc format to her (, copying the journal’s main editor, Laurier Turgeon (, and Van Troi Tran (, his assistant. The deadline is April 1, 2015. Submission will be submitted to a blind peer review.
Submission guidelines:

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