Untitled by High Pitch Magazine

High Pitch Magazine was born out of a desire to create a space where sound — its textures, politics and aesthetics — could be critically explored beyond traditional music or art criticism and without being confined to a particular genre or subfield. Particularly interested in the work of contemporary artists who use sound in experimental ways, we wanted to broaden the discussion of sound art and audio practices and create a platform that wasn’t just about reviewing work, but fostering conversations about listening, making and theorising sound.

Sound has long been a crucial yet often subordinated element in visual and performance art and its discourses — from early avant-garde experiments to contemporary installations that challenge the boundaries between sensory experiences. Despite its pervasive presence in artistic practice and daily life in general, sound remains largely peripheral in mainstream critical discussions. High Pitch seeks to push sound to the center of these conversations, treating it not as an accessory to visual culture but as an essential and autonomous medium. Drawing on fields such as sound studies, media theory, and critical aesthetics, we examine how artists use sound to engage with space, embodiment, and socio-political realities.

The name High Pitch resonates on multiple levels. In sound, higher frequencies are often associated with clarity and urgency at the edge of human hearing. In voice, a high(er) pitch can signify excitement, strain, and stretch into discussions beyond pitch — how higher voices are perceived, shaped by and reflecting social hierarchies and cultural norms. Hence, it seemed only fitting to center our first issue on voice. Issue 01 Vocal Cords delves into the concept of voice as a technology — an intrinsic tool connected to the body yet extending beyond it. This issue features contributions that examine the intersection of voice and computing technologies, explore the limitations of our hearing culture, investigate the historical regulation of voice, and consider the implications of “giving voice.” Inspired by bell hooks’ idea that the engaged voice is always evolving, this issue serves as an ongoing collection of critical inquiries and stories. This means that as we move forward, we will continue to add articles to the digital editions that fit the theme.

Similarly, the platform as a whole is an evolving project, largely shaped by those who contribute to it, either by pitching to the editors or by being commissioned. Each issue brings together essays, interviews, experimental texts and audio works that challenge narratives about sound. They also feature a score selected by curator and researcher Elena Biserna. We welcome submissions from artists, theorists and listeners of all backgrounds. The submission process is deliberately open-ended. For those interested in getting involved, we welcome pitches and proposals on an ongoing basis. Additionally, we personally reach out or post open calls for submissions when preparing upcoming issues. We are particularly interested in pieces that push the boundaries of what sound writing can be. We value descriptive, textured writing and language that is engaging and accessible — avoiding dense, jargon-heavy prose or “zombie nouns.”

As we submit this short piece to the Almanac publication, we see it as an extension of our objective — to connect sound practitioners, theorists and listeners. We hope this piece serves as an invitation to engage with the magazine in one way or another.