The evolution of electroacoustic music in Greece reflects a unique convergence of cultural, historical, educational and artistic conditions. Although introduced relatively late compared to more industrially developed countries, Greek electroacoustic music rapidly developed a dynamic identity of its own, balancing international influence with specifically local aspects.

From early tape experiments of the 1960s and the foundational activities of composers such as Iannis Xenakis, Anestis Logothetis, Michalis Adamis and Theodoros Antoniou to the institutional efforts of organisations such as the Hellenic Association of Contemporary Music (Ε.Σ.ΣΥ.Μ.), the Goethe Institute of Athens, the Contemporary Music Research Center (Κ.ΣΥ.Μ.Ε.) and since 2002 the Hellenic Electroacoustic Music Composers Association (HELMCA), the field has been shaped by periods of intense activity as well as gaps in continuity.

Educational initiatives and the establishment of electronic music studios—often in response to individual visionaries rather than state planning—have contributed to the formation of successive generations of Greek composers. In recent decades, the field has expanded beyond academic boundaries, incorporating transdisciplinary practices, spatial sound environments, live electronics and new media aesthetics, while also engaging in dialogue with Greece’s traditional musical heritage and broader Mediterranean identity. This increase in activity was reflected in, per capita, a high number of people involved in this area compared with many other nations.

This issue seeks to explore the multiple dimensions and narratives of Greek electroacoustic music, both historical and contemporary, and to offer a platform for critical reflection, analysis and documentation.

Topics for consideration include (but are not limited to):

Historical trajectories of electroacoustic music in Greece, including early studios, institutions and festivals.
Biographical or analytical studies of Greek electroacoustic composers and their international influence.
Aesthetic and technological innovations within the Greek context: from analog to digital, fixed media works to performance.
Electroacoustic music and political, social or philosophical discourse in Greek artistic practice.
Educational frameworks and pedagogical models in Greek institutions related to sound and technology.
Intersections between electroacoustic music and other disciplines (dance, theater, visual arts, architecture, etc.).
Reflections on the role of archiving, preservation, and documentation of Greek electroacoustic works.
Transcultural dialogues and diasporic perspectives in Greek electroacoustic creation.
Emerging practices, local scenes and the impact of DIY, AI, internet, post-digitalism and independent networks.

We especially welcome submissions that bring forward underrepresented voices, regional narratives, or interdisciplinary case studies, and those that contextualise Greek electroacoustic music within broader international frameworks.

Furthermore, as always, submissions unrelated to the theme but relevant to the journal’s focus areas are always welcome.

Please note that Organised Sound seeks issue-driven submissions relevant to the journal’s readership. It does not seek artists’ statements or work/project descriptions without an underlying central question and broad contextualisation.

SUBMISSION DEADLINE: 15 May 2026

SUBMISSION FORMAT:

Notes for Contributors including how to submit on Scholar One and further details can be obtained from the inside back cover of published issues of Organised Sound or at the following url: https://www-cambridge-org.demo.remotlog.com/core/journals/organised-sound/information/author-instructions/preparing-your-materials.

General queries should be sent to: os@dmu.ac.uk, not to the guest editors.

Accepted articles will be published online via FirstView after copy editing prior to the full issue’s publication.

Editor: Leigh Landy; Associate Editor: James Andean

Founding Editors: Ross Kirk, Tony Myatt and Richard Orton†

Regional Editors: Liu Yen-Ling (Annie), Dugal McKinnon, Raúl Minsburg, Jøran Rudi, Margaret Schedel, Barry Truax

International Editorial Board: Miriam Akkermann, Marc Battier, Manuella Blackburn, Brian Bridges, Alessandro Cipriani, Ricardo Dal Farra, Simon Emmerson, Kenneth Fields, Rajmil Fischman, Kerry Hagan, Eduardo Miranda, Garth Paine, Mary Simoni, Martin Supper, Daniel Teruggi, Ian Whalley, David Worrall, Lonce Wyse