Address for submissions:
Send material for review directly to us at:
Dan Warburton
Editor in Chief
Paris Transatlantic Media
47 rue Richer
75009 PARIS
France
Advertising:
No thanks.
"A veritable treasure trove
of interviews and reviews."
- Anne Hilde Neset, The Wire #236
4/4 stars
- LudwigVan
Top Ten Websites
- Chamber Music America Magazine
"Chatty and informative"
- Richard Dyer, The Boston Globe
"A hip new ' zine!"
- Bob Bishop, The Paris Free Voice
And from our readers:
"...Hip, Global, Wild, International, Fun, Uncensored, Thoughtful,
Hard-Hitting,, 21st-Century, Avant-Garde, Provocative, Comprehensive,
"The CNN of New Music," Irreverent, Intelligent, and Innovative..."
We have (of course) had a negative comments, accusing us of "irrelevance,"
"superficiality," "Eurocentrism," "European-bashing,"
and the inevitable flood of mail when we piss people off. Damned if you
do, damned if you don't.
Please bear in mind that some of the archived interviews on this site
are up to ten years old, but they still contain much useful material,
and we leave them posted on the internet as a service to our readers.
Questions about Paris Transatlantic
What is Paris Transatlantic?Paris Transatlantic is a digital magazine dedicated to the promotion of contemporary and improvised music worldwide, reaching beyond traditional academic coverage through a lively format and (we hope) exciting controversial writing.
Why Paris?
The magazine was founded in Paris by a group of North American musicians,
and Paris still serves as a communications hub for our operations. Its
central location and its active international arts scene are invaluable
resources for us. The magazine does not limit its writing to Paris though:
our goal is global coverage.
Our writers:
We have a network of correspondents in cities from Tokyo to Boston;
from Moscow to Stockholm who submit information, critiques, and concert
and CD reviews from around the world. The Paris office filters, researches,
edits, and translates thousands of words every month for publication.
What kind of music?
Contemporary classical, Electronica, Jazz (non mainstream.. Diana
Krall doesn't need our help), Improvisation, Performance Art, Post Rock,
new dance and film music: anything new, unusual, and non-commercial. Again,
Britney and Céline can manage just fine without reviews in PT.
What's inside?
A wealth of information, ranging from the humor of our Grapevine to
serious philosophical analysis of contemporary trends. Most issues feature
an interview with a major figure or extended feature on contemporary musical
arts. We feature a range of today's talented young composers, improvisors,
and performers in our pages who do not yet have the name recognition to
merit the attention of the commercial media.
What is our target audience?
Not just musicians – we write for the general arts public.
Our Subscribers:
In its three years of publishing, the PNMR Society created an impressive
subscriber base in North America and Europe. Now, through Paris Transatlantic,
our internet version, via reviews, criticism, commissioning, audience
building, outreach, publishing, and sponsoring performances, we reach
universities, musicians, artists, scholars, intellectuals, jazzers, media
representatives, and festivals: professionals and amateurs of new music
alike.
Who publishes the magazine?
The PNMR Society, based in Paris, published the journal on a limited edition,
private basis for three years. Subsequently we became ParisTransatlantic.com,
and we are now published by Transatlantic Media. Publisher Guy Livingston
holds degrees from Yale University, The New England Conservatory, and
the Royal Conservatory of the Netherlands. Editor-in-Chief Dan Warburton
holds degrees from Eastman School of Music and Cambridge University.
Information for Libraries
The collected print issues of the PNMR are an essential source of information, containing fourteen exclusive interviews with major figures in contemporary music, many of whom are rarely interviewed in English. News, calendars and concert reviews from such places as Russia and Japan are also invaluable. The PNMR magazine provided a rich portrait of new and modern music not limited to one city or style. Please contact us about pricing for the complete set of four years of archives (18 issues).
Writer's Guide:
Focus: To bring culturally diverse and geographically separated new musics into one publication.
Articles should be written with enough detail for the new-music expert and enough background for the amateur. We are particularly interested in the music of young emerging composers and performers, and the state of new music performance around the globe. Hard-hitting and provocative.
General Writing Categories:
Capsule reviews(Albums) About 200 words, including where necessary full and accurate listings of performers, instruments, composers and titles. Album titles in italics (in general, though I'm the first one to break my own rules), track titles in inverted commas. Don't forget to mention the label.
Concert Reviews
500 words minimum. Quotations from composers and/or performers are encouraged.
Context (related compositions, other similar composers, previous works,
overall stylistic discussion, etc.) is essential. Readers need to feel
they were there.
Profiles (700 words minimum.) and Interviews (about 5,000 words, plus a medium-sized photo (.gif or .jpg format) - introduce a new music personality to us. The article should contain biographical information on the subject as well as questions and answers. It is your responsibility to get the subject's approval before you interview them. By all means check facts with the person before submitting the interview, but remember the person who has the final say on content is the editor, not the person interviewed.
Open categories:
Surprise us! Provocative analyses of new trends - musical and cultural
- are encouraged.
Notes on punctuation:
Please use it.
Non-American writers.
We proof all text and correct errors before publication. We can also accept
and translate articles from French, Dutch, German and Italian.
Note:
We will not retype articles, except in exceptional cases. Documents sent
from Macintosh or IBM computers should be emailed with documents attached
as .doc or .rtf files. Consult existing articles online for questions
of format.
Acceptance:
All submissions will be considered for publication. The best ones will
be printed as space becomes available. We reserve the right to edit for
length style, and grammar. Please notify us if the article is being submitted
elsewhere, or has already been published. Author retains the copyright,
and may reprint/submit the article elsewhere. Once we have printed an
original version of an article, all future versions, reprints, or copies
should acknowledge prior publication in Paris Transatlantic.
Paperwork:
Writers must submit the name, address and contact information of any organization
or individual receiving mention in our pages. It is essential that we
have a reliable method of notifying artists and venues of reviews. We
will be responsible for sending published material.
Remuneration:
As a small arts publication we regretfully cannot pay our contributors.
Deadline for submission:
20th of the month for the month following.
Contact:
Dan Warburton at PTEditor @ aol.com
Our Staff
Contributors include
David Cotner (USA) Nate Dorward (Canada) Jon Dale (Australia) Lawrence
English (Australia) John Gill (Spain) Stephen Griffith (USA) Richard Hutchinson (USA) Vid Jeraj (Croatia) Guy Livingston (Netherlands
/ USA) Joe Milazzo (USA) Massimo Ricci (Italy) Derek Taylor (USA) Dan
Warburton (France) Kristoffer Westin (Sweden)
Webmaster
Guy Livingston
Board of Directors |
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Publisher |
Guy Livingston Hugh Livingston Co-Founders Derek Bermel Joshua Cody Christopher Elson |