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  • The Journal of Ubiquitous Music
    Vol. 1 No. 1 (2024)

    The Journal of Ubiquitous Music (j-ubimus) is aimed at advancing knowledge on practices and research in ubiquitous music. This editorial project, based at the Graduate Program in Arts of the Federal University of Espírito Santo, is also linked to the Ubiquitous Music Symposium (UbiMus). Selected articles from this event may be invited to lead a volume. Therefore, each volume of j-ubimus is designed to accommodate a central article supplemented by other articles that reference and/or complement the topics covered.

    For the first volume, the editorial board has selected the following articles:

    DIY musical instruments: From Handmade Electronic Circuits to Microcontrollers and Digital Fabrication - Andrew R. Brown · John Ferguson

    A Commentary on DIY musical instruments: From Handmade Electronic Circuits to Microcontrollers and Digital Fabrication - Joseph Timoney

    DIWhy and How: Commentary on “DIY musical instruments” - Brown and Ferguson Alex Hofmann

    Eröffnung von Comprovization für Laien Ein Erfahrungsbericht - Guido Kramann

    DIY Musical Instruments and Communities: From Handmade Electronic Circuits to Microcontrollers and Digital Fabrication - Nicolò Merendino

    Our goal is to produce an inclusive and multilingual journal; therefore, we encourage submissions in Portuguese, Spanish, French, Italian, or English. 

     

     

  • Journal of Ubiquitous Music
    Vol. 2 No. 1 (2026)

    Journal of Ubiquitous Music - Volume II

    Managing Editors: André Sonoda, Luzilei Aliel, Carlos Mario Gómez Mejía

    Developmental Editor: Marcello Messina

    Senior Advisors: Damián Keller, Leandro Costalonga 

    Ubiquitous music research stands at the crossroads of multiple forces that have shaped the ways of thinking, designing, and deploying technological resources for post2020 music-making. For us, the 2020 milestone is particularly significant because the period of the covid-19 pandemic highlighted the brittleness of the support infrastructure for musical interaction and the fragility of key 20th-century approaches to musical thought. The pandemic tsunami brought into focus the proposals laid out during the first wave of ubimus initiatives (2007-2014), suggesting that several of the emerging threads could be consolidated as sociotechnical frameworks. It is interesting to revisit some of the observations made by ubimus researchers in April 2020, when the lasting consequences of the pandemic period on artistic and educational practices were not as clear as today.