Sound Stage Screen (SSS) is a biannual peer-reviewed journal devoted to historical and theoretical research into the relations between sound, performance, and media. 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: from opera to musical multimedia, and from cinema to interactive audio-visual platforms. An open-access journal published in English by the University of Milan (Italy), SSS wishes to redefine the academic study of music as an open field whose boundaries—historical, geographical, and theoretical—are constantly being negotiated.
Promoting a dialogue across disciplines and practices is essential to this rethinking. 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 will encourage submissions stemming from practice-led research, research-led practice as well as cross-disciplinary collaborations from within and without academia. Whether it hosts a discussion of the revival of works from the past or fosters the gestation of new forms, the journal will also provide a much-needed forum in which theorists and practitioners may revisit the divide between their respective practices. We champion the rapprochement between theory and practice because we believe this to be one of the main goals of musicology.
SSS encourages the submission of articles in areas such as:
- auditory cultures, listening practices, historicization of sound;
- theory and history of recording, media inscription, and studio practices;
- theory and history of sonic installations, and sound and video art;
- concert production and the dramaturgy of musical performance;
- adaptations and remediations of music theater;
- experimental archaeology (i.e. reconstruction and performance of the music from the past; reconstruction of sound technologies in theater and cinema);
- musical personae and technological mediation;
- the division of labor in stage, film, and media production;
- stagecraft traditions and the spectacularization of performance;
- sonic experiences of the web: streaming, sharing, and interactive engagement.
Open Access Policy
This journal provides immediate open access to its contents on the principle that making research freely available to the public supports a wider global exchange of knowledge. Open Access Policy is based on rules of Budapest Open Access Initiative (BOAI).
The University of Milan has an archival arrangement with the National Central Libraries of Florence and Rome within the national project Magazzini Digitali.
The names and email addresses entered in this journal site will be used exclusively for the stated purposes of this journal and will not be made available for any other purpose or to any other party.