New deadline for submitting articles for "The visualization of music” dossier – September 15th

2025-08-05

Lumina invites authors to submit articles for the dossier “The Visualization of Music.” Submissions are open until September 15th, and the dossier will be published on December 30th, 2025.

Editors

Jhonatan Mata (PPGCom UFJF – Brazil)

Nilson Assunção (UFJF – Brazil)

Heloísa de A. Duarte Valente (Universidade Paulista – UNIP, Brazil)

José Luís Fernández (UBA–UNTREF–UNLZ)

 

The recent – ​​and still pulsating – worldwide acclaim of the film “I’m Still Here” (2024) signals issues that go beyond the legitimate thrill of its more than 90 awards and nominations, including Brazil’s first Oscar statuette in the International Film category. In the biographical drama directed by Walter Salles, the function of sound – and music in particular – is fundamental. And it oscillates between instances of the acousmatic and performance (Zumthor, 2014), especially when the songs dialogue directly with the characters’ speeches. And it encourages us, in the proposition of this new dossier of Lumina Magazine, to think about the displacements of music from a scenario of self-sufficiency based on its pure acoustic dimension to another – of complementarity and even equivalence with images. Taking into account that the idea of ​​“pure music” is quite recent in human culture and is a result of Beethoven’s intervention and his sonata model in the farewell to the 18th century, this special edition prioritizes work proposals that recognize the opposite: the power of words, gestures, visual accompaniments (scenery, choreography, graphic arts), theatrical performance, narrative or figurative references in the relationships between audiovisuals and music.                                 

Among the many possibilities for study, we highlight the new angles that cinema and television have to face the “musical question”, the musical tracks that gave rise to audiovisual works, from Blue Velvet (David Linch, 1986) to Saudosa Maloca (Pedro Serrano, 2024), the popularization and diversification of musical film/video biographies, the relevance of soundtracks for the “visualization” of formats such as series, soap operas and documentaries. From an architectural perspective, we also suggest articles that deal with the relationship between music and the space for which it was (or was not) conceived and that contrast the notions of portable music in its dialogues with music conceived for specific moments and places. We are also interested in the reconfigurations of the music video in the streaming era (GARRET, 2020), in its aesthetic dimensions (SOARES, 2013), consumption, circulation and audience participation. In the field of arts and graphic design, printed publications and the development of inserts for physical media - with an emphasis on vinyl - are examples of objects of study that reinvigorate an industry driven by factors such as nostalgic appeal and ritualistic experiences of materiality and fetishism with music.

 

Thematic areas

  • The visualization of music in a broad sense: aesthetic, ethical, and narrative reconfigurations considering the various supports, media, and screens.

  • New audiovisual/sound genres and formats and the relationships between image and sound in these spaces.

  • Memes, fandoms, and influencers: musical activism and the platformization of music from multiple screens.

  • Tensions and dialogues between audiovisuals and music in the context of Artificial Intelligence.

  • Dissemination and consumption of music and audiovisuals in a scenario of mass self-communication.

  • Theoretical-methodological propositions about the topic at hand.

  • Studies that prioritize interdisciplinarity: marketing, scenography, performing arts, visual arts, design, architecture, plastic arts, among other areas, and the dimension of image and sound in this approach.

  • Audiovisual coverage of musical events and mega-events.

  • The “musical question” and its importance/new approaches in cinema and television.

  • Analysis of confluences and distinctions between audio and music in streaming.

  • The contemporary music video: discourses and narratives that privilege the visualization of music.

  • Political and social issues involving audio/music and video.

  • Amateur and professional productions in a scenario of convergence and recirculation of image and sound: social networks, engagement, participation, and media fluency.

  • Relationships between journalism and music based on images.

 

Important Dates

Call for papers: June 17 to September 15

Submission to reviewers: From the first submissions until September 19

Reviewers’ feedback: Until October 23

Revision period: October 23 to December 15

Publication: December 30, 2025