Sound is arguably one of the most fear-provoking aspects of horror. Ghost stories and horror films employ sonic tropes such as creaking floor boards, sudden loud thumps, or ephemeral children’s choirs in order to enhance suspense through the evocation of unseen terror. “The spectre of sound”, as Kevin Donnelly has called it, creeps up on us dorsally, evading the relative comfort of visual recognition. Sonic horror tropes have also been used to imbue other genres, such as musical theatre and popular music, with elements of horror. Whether through whispers darkly, in the sinister connotations of the harpsichord timbre, via the decontextualising power of white noise, or in the uncanniness of complete silence, horror’s performativity relies on sonic guises.
Horror Studies is seeking essays for a special issue devoted to horror and sound. “Sonic Horror” will explore the manifold roles of music, sound, and silence in horror. Possible topics may include, but are not limited to:
* Sonic and musical references in horror literature
* Horror and recording technology
* Horror film and television soundtracks
* Survival and psychological horror videogame soundtracks
* Horror themes in rock/metal/Goth lyrics
* Horror samples and references in rock/metal/Goth musical settings
* Horror themes in subcultures of popular music
* Horror in opera and music theatre
* Silent horror
Essays of approximately 8500 words (including apparatus) should be sent to Isabella van Elferen (I.vanElferen@kingston.ac.uk) by January 31st, 2016. Horror Studies uses Harvard Style in its formatting; authors should consult http://www.intellectbooks.co.uk/journals/view-Journal,id=151/ and download the full style sheet.
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