CFP: The Soundtrack Album: Listening to Media


We invite new work that will deepen and expand the discourse about soundtrack albums. The soundtrack album endures across decades, formats (vinyl, 8-track, cassette, compact disc), and delivery systems (radio, physical media, online, streaming services). Perhaps the most obvious, and yet under-examined, media paratexts, soundtrack albums have never simply promoted a Broadway show, film, television program, video game, comic book, or recording artist. Rather, they directly shape our understanding, enjoyment, and criticism of the media texts they accompany. Soundtrack albums are themselves complex media texts whose production and reception require careful analysis. Several academic presses have expressed strong interest this project.

We seek a global address of soundtrack albums and contributions from a multi-disciplinary slate of authors, including children’s media scholars, musicologists, sound studies scholars, and media industry scholars. Authors are invited to consider the history of soundtrack albums, and how artists, industries and listeners continue to use, define, and create such audio material. Suggested topics include (but are not limited to):

  • Albums for books, broadway shows, and media beyond film and TV
  • Soundtrack albums in global contexts such as Indian filmi records
  • Disney and other children’s media albums
  • Sequel soundtrack albums such as More Dirty Dancing
  • The history of soundtrack album sales and promotion
  • Works such as Judgment Night where the film “creates” new audio texts
  • Fan-made (“unofficial”) soundtrack albums
  • Albums featuring music “inspired” by the film
  • Audio material that invites audiences to re-interpret (re-hear) audio-visual media
  • Soundtrack albums whose critical and/or financial success surpasses the film’s success
  • Albums for “concert” films such as Woodstock and Wattstax
  • Playlists, streaming audio services and emerging (re-)definitions of the soundtrack album
  • Cult soundtrack albums for cult and non-cult films
  • Synergy and cross-promotion between audio-visual texts and albums
  • “Curated” soundtrack albums by artists such as RZA and Trent Reznor
  • Soundtrack albums for imaginary films such as Barry Adamson’s Moss Side Story
  • Audio compiliations that include music from more than one film or TV program

For consideration, please provide a brief bio and 400-600 word proposal
via this Google form: no later than August 1, 2017. Please contact Paul N. Reinsch ( or Laurel Westrup ( with any questions.


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