ISSTA 2017 International Festival and Conference on Sound in the Arts, Science and Technology

March 24, 2017 in All Opportunities, Composers, Conference, electroacoustic by mwhiteside

Sept 7th-8th 2017

Dundalk Institute of Technology, Ireland

Website: http://issta.ie/call-for-submission-2017/

Keynotes

Peter Kirn (Editor–in–Chief, CDM: Create Digital Music) http://cdm.link/

Dr Theresa Dillon (Artist–Researcher, Professor of City Futures at Watershed and University of the West of England, Bristol) http://www.polarproduce.org

Deadline for submissions

Submissions are due Monday 3rd April. Notifications will be sent by Friday 9th June.

ISSTA 2017: Sound–Makers: technologies, practices and cultures

Creative audio and visual practices are increasingly moving from the digital sphere into the ‘real’ world––moving from bits to atoms (Ishii and Ullmer, 1997)––as physical computing technologies continue to become more widely affordable and accessible. Custom–made and repurposed controllers, gestural interfaces and intentionally hackable or reconfigurable instruments now support the creation and control of music and audio-visual media outside the mouse and keyboard paradigm and beyond normative models based on previously–established practices.

These technologies are increasingly being championed by grassroots movements which are driven by the designers, makers and creators who build and use them. Maker groups, festivals and social spaces––frequently more diverse and inclusive than established communities within academia and industrial R&D––have emerged to engage new creators and audiences through music, visual and sound art performances. Spanning disciplines such as controllerism, modular synthesis, interface design, circuit bending and live sound art, many practitioners and researchers are increasingly looking beyond code, bringing, integrating sensors and soldering within their classroom, stage and studio practices.

The Irish Sound, Science and Technology Association (ISSTA) invites makers, creators, performers, thinkers and researchers to come together to share their insights on this emerging field.

Perspectives on our call may include (but are not limited to) the following:

·      New creative approaches using self-designed or hacked controllers

·      Maker movements and the democratisation of technology

·      The gendering of maker spaces/hackspaces and/or other questions of inclusivity or exclusion

·      Communities and maker spaces/hackspaces: chronicling experiences of establishing maker spaces and scenes

·      Open culture and creative technologies: sharing code, technologies and practices

·      Making/hacking and sustainability: installations and electronic music practices using recycled equipment

·      The Global West (or North) and the rest? Differences in global experiences of maker culture and spaces

·      Maker/hacker approaches and developments in education

We welcome the submission of papers, artworks, compositions/performances and workshops on these ideas and related topics for presentation at the 7th ISSTA International Festival and Conference on Sound, 7th-8th September 2017, at Dundalk Institute of Technology (DkIT).

Full call and submission details here: http://issta.ie/call-for-submission-2017/

Location

Equidistant between Belfast and Dublin, with excellent flight, public transport and motorway connections with both cities, DkIT is an education hub for creative technologies in Ireland’s Eastern Corridor region.

Call conditions

Submissions are due Monday 3rd April. Notifications will be sent by Friday 9th June.

The call is open to all practitioners regardless of nationality.

Participants are responsible for their own travel and accommodation and, where relevant, transport of materials; as a small, subscriber–funded organization, we are unable to provide artists’ fees but we do aim to keep registration fees as low as possible.   Registration for ISSTA 2017 is required for participation.

Registration Costs

Registration fees are as follows:
• Professional: €70 (€40 registration + €30 ISSTA membership)
• Postgraduate student: €50 (€30 registration + €20 ISSTA membership)
• Undergraduate student or unwaged: €25 (€15 registration + €10 ISSTA membership)
• Non-members €80

Eighth International Conference on Music /Sonic Art: Practices and Theories

March 21, 2017 in All Opportunities, Composers, Conference, electroacoustic by mwhiteside

MuSA 2016 – Karlsruhe (IMWI)
6 July – 9 July, 2017

Hochschule für Musik, Karlsruhe –
Institut für Musikwissenschaft und Musikinformatik (IMWI)
Am Schloss Gottesaue 7, 76131 Karlsruhe

CALL FOR PAPERS:

We are pleased to announce the Eighth International Conference on Music and Sonic Art: Practices and Theories (MuSA 2017), an interdisciplinary event to be held in Karlsruhe, Germany at the Institut für Musikwissenschaft und Musikinformatik (IMWI) (http://www.hfm-karlsruhe.de/imwi/). MuSA 2017 is jointly organized by IMWI and Middlesex University, London.

Conference dates: July 6 – 9, 2017.

Deadline for abstract submission: April 28, 2017.

Keynote presentations: To be confirmed

The principal aim of MuSA 2017 is to advance interdisciplinary investigations in – as well as between – Music and Sonic Art.  Proposals for sessions and individual papers for the Eighth International Conference on Music and Sonic Art: Practices and Theories are invited from academics, independent researchers, practitioners and post-graduate students. Presentation formats include academic research papers (20 minutes + 10 minutes for discussion); reports on practice-based/artistic research or educational programmes (20 minutes + 10 minutes for discussion); and workshops, panel sessions, lecture-demonstrations (30 minutes + 15 minutes for discussion). The Conference committee encourages presentations in which practice forms an integral part of the research. All proposals will be double-blind peer-reviewed. The Conference language will be English. Previous themes and topics can be seen at: musa2012.zilmusic.com; musa2013.zilmusic.com; musa2014.zilmusic.com; musa2015.zilmusic.com; zilmusic.com/musa2016

THEME AND TOPICS:

The theme of MuSA 2017 is Sounds without Borders. Amidst recent political events around the world that threaten to build walls among nations, disconnect communities, block the free movement of peoples across cultures, musical practices display a stark contrast to such divisive attempts in defying and travelling freely across many different kinds of – literal and metaphorical –‘borders’. MuSA2017 will explore the nature, conditions, and consequences of the capacity of musical practices to cross these ‘borders’. We, therefore, invite submissions on the following, and other related topics:

·      Music and politics across borders
·      Migration of musical styles across borders
·      Fluidity of musical experiences
·      Dynamics of musical identities
·      Dissolution of formal boundaries in the creation of music and sound art
·      Multimodal perception of music and sound crossing over sensory boundaries
·      Crossing the borders of performance styles
·      Crossing disciplinary boundaries in musical research
·      Crossing artistic boundaries in musical and sound art practices
·      Crossing the theory-practice divide
·      Bridging scholarly-disciplinary and artistic discourses
·      Travelling across ‘reason’ and ‘emotion’

Other topics that are in line with the Conference’s broad aim of promoting interdisciplinary research within and across Music and Sonic Art will also be considered.

MuSA 2017 will continue to include the popular, one-day event devoted to ‘Re-thinking the Musical Instrument’, focusing in particular on the role of literal and metaphorical borders in the origination, making and playing of musical instruments.

Some of the topics that will be explored during this one-day event include:

·      The acoustical, musical, cultural, symbolic, and ritualistic qualities of musical instruments and the relationships between these (theoretically) distinct kinds of qualities;
·      The discourses that exist in relation to musical instruments in different genres, styles and traditions;
·      The gestural affordances and ergonomic principles of musical instruments and the musical meanings that emerge as a result of these affordances and principles;
·      Performers, improvisers and their instruments: phenomenologies of music making in the context of particular kinds of musical instruments;
·      Composer and instruments: the material, acoustical and expressive qualities of instruments and their relationship to musical languages composers create;
·      Relationships between creativity in performance, nature of musical interpretation and musical instruments;
·      The role of the musical instrument in the creation of musical identities;

We invite proposals on any research area related to the nature and use of western acoustical instruments, traditional ethnic instruments and digital/virtual instruments.

ABSTRACT FORMAT:
Please submit an abstract of approximately 250-300 words as an e-mail attachment to j.dack@mdx.ac.uk

Please specify whether you wish your abstract to be considered for the one-day ‘Re-thinking the musical instrument’ event.

As contributions will be ‘blind’ peer-reviewed, please do not include information that might facilitate identification from the abstract. In addition, please include separately the name(s) of the author(s), institutional affiliation (if any) and short biography (approximately 100 words). Deadline for the receipt of abstracts is Friday, 28 April 2017. Notification of acceptance will be sent by 12 May 2016.

REGISTRATION:
The Conference fees are: €120 for delegates (day rate: €40), €100 for presenters (day rate: €35), and €60 for students and others who qualify for concessions (day rate: €20).

If additional information is required please do not hesitate to contact Prof. Dr. Mine Doğantan-Dack or any member of the Conference Committee:

Prof. Dr. Mine Doğantan-Dack ­­– dogantanm@yahoo.com

Prof. Dr. Thomas A. Troge (IMWI, Karlsruhe) – troge@hfm.eu

Prof. Dr. Denis Lorrain (IMWI, Karlsruhe) – lorrain@hfm.eu

Vis. Prof. Dr. Marlon Schumacher (IMWI, Karlsruhe) – schumacher@hfm.eu

Prof. Dr. Paulo Ferreira-Lopes (Universita Cattolica Porto/HfM-Karlsruhe) – pfl@hfm.eu

Prof. Miroslav Spasov (Keele University, UK) – m.spasov@keele.ac.uk

Dr. John Dack (Middlesex University, UK) – j.dack@mdx.ac.uk

Adrian Palka (Coventry University, UK) – arx110@coventry.ac.uk

Timothy P. Schmele (IMWI, Karlsruhe)  – t.schme@gmail.com

Administrative support: Gundi Rössler (IMWI, Karlsruhe) – roessler@hfm.eu

Call for Works: The Musical Metacreation Concert at the Eighth International Conference on Computational Creativity, Atlanta, Georgia, June 2017

March 9, 2017 in All Opportunities, Composers, Conference, Performers by mwhiteside

Key Dates
April 20th          – submission deadline.
May 10th           – notification.
June 18th          – concert rehearsals.
June 19th        – MuMe concert. http://musicalmetacreation.org/mume-2017-concert/
June 19th-20th    – MuMe Workshop http://musicalmetacreation.org/mume-2017
June 19th-23rd     – International Conference on Computational Creativity.
Overview
Creators of musically metacreative systems are invited to submit works for a concert of musical metacreation, as part of the Eighth International Conference on Computational Creativity, at the Georgia Institute of Technology, Atlanta. Submitted works can be of any musical style but must involve a performative element and must involve the use of computational creativity techniques in the creation of the work. Examples from previous MuMe concerts include, but are not limited to: reproduction of musical style using machine learning; the evolution of musical structures using interactive genetic algorithms; rule-based systems; systems based on emergence or self-organisation; systems that perform music data mining to create remixes, and so on.
Information on the link for submission, selection committee, musicians, concert venue and available equipment will be made available in a follow-up call for works and all up-to-date information can be found here.
Types of Work
Any work related to MuMe that can be presented in a performance context will be considered. This includes:
Improvising agents that perform alongside live musicians.
Automated composition systems that generate music in realtime or pre-compose music for performers, as well as automated DJ systems.
Systems that use AI methods for other creative objectives, such as harmonising, intelligent looping, or finding suitable matches for a target phrase.
Systems that generate lyrics.
Music that uses evolution, emergence or ecosystemic concepts.
We are also interested in submissions of musebots and other types of interactive installation works relevant to MuMe.
Submission Process
Please submit a one page A4-portrait PDF describing your work before the submission deadline. Your submission should:
Describe the work.
Explain how the work relates to the MuMe theme.
Give a relatively detailed technical description of the system*.
Give detailed performance requirements. As necessary, this may include a stage plan, equipment needs, technical support needs, and performing musicians (you can use additional PDF pages for any supporting items).
A link to any additional documentary material such as audio or video recordings, or online software (highly recommended).
Credits and biography (name, affiliation, short biography up to 150 words).
* It is common to receive submissions that are highly ambiguous about what the proposed system actually does. Works will be rejected if this is the case. The description does not need to be highly technically detailed but it should remove any fundamental ambiguity.
Selection Process
Submissions should not be anonymised.
All submissions will be reviewed by three independent members of the selection committee. Once these reviews have been completed the reviewers and the chairs will discuss these works and reviews. The chairs will provide a meta-review, the three original reviews, and a final decision. Reviewers will be anonymous to the authors, but not to each other. The final decision lies with the chairs, in consultation with the committee.
Selection Committee,
Andrew Brown, Griffith University
Michael Casey, Dartmouth College
Nick Collins, Durham University
Roger Dannenberg, Carnegie Mellon University
Alice Eldridge, University of Sussex
Jason Freeman, Georgia Institute of Technology
Caleb Herron, Artistic Director, Chamber Cartel
Cat Hope, Sir Zelman Cowen School of Music
Anna Jordanous, University of Kent
Alex McLean, University of Leeds
James Maxwell, independent artist
Robert Rowe, NYU Steinhardt School of Culture, Education, and Human Development
Margaret Schedel, Stony Brook University
Gil Weinberg, Georgia Tech Center for Music Technology

Venue
The Mammal Gallery

91 Broad St SW, Atlanta, GA 30303

14 minutes by metro from Georgia Tech; 40 minutes on foot.

Mammal has a two channel club sound system, with limited microphones.

The Mammal Gallery – A Space for Creative Minds

Musicians
Members of Chamber Cartel
Upon Acceptance
Artists are required to be in attendance and set up their own equipment. At least one artist must register for the ICCC conference and MuMe workshop.
A schedule for performances, rehearsals and soundchecks will be made available in the week before the concert. Rehearsals will be on the Sunday 18th June unless otherwise arranged. Soundchecks will be prior to the concert on the afternoon of Monday 19th June.
Workshop Organizers

Pr. Arne Eigenfeldt
School for the Contemporary Arts
Simon Fraser University, Canada

Dr. Oliver Bown
Design Lab, Faculty of Architecture, Design and Planning
The University of Sydney, Australia

Pr. Philippe Pasquier
School of Interactive Arts and Technology (SIAT)
Simon Fraser University, Canada

Home


https://www.kadenze.com/programs/generative-art-and-computational-creativity

Kıvanç Tatar
School of Interactive Arts and Technology,
Simon Fraser University, Vancouver, Canada.

International Academy for Composers & Sound Artists

February 14, 2017 in All Opportunities, Composers, Conference, electroacoustic, residencey and summerschool by mwhiteside

DELIAN ACADEMY FOR NEW MUSIC
International Academy for Composers & Sound Artists
June 12 – 19, 2017
Mykonos, Greece

WHO WE ARE

The Delian Academy for New Music is an international summer academy for composers and sound artists located on the island of Mykonos, Greece.

Curated under the auspices of Georges Aperghis and Grypario Cultural Center, the Academy derives its name from the nearby island of Delos, the birthplace of god Apollo, and a UNESCO world heritage site.

Unlike top-down organization programs, our Academy is a participant-driven meeting where attendees co-decide and create the agenda for a series of symposia, workshops, and concerts with the guidance of faculty and staff.

The 2017 edition will take place from June 12 to June 19 in Grypario Cultural Center of Mykonos. Participating composers will have the chance to take part in masterclasses, presentations, workshops and have their music performed by our ensemble in residence. The main language of the Academy will be English. Additional languages may be used in private masterclasses.

FACULTY AND STAFF

GEORGES APERGHIS, Honorary President

PANAYIOTIS KOKORAS, Acoustic and Electronic Composition, Music Technology

DIMITRI PAPAGEORGIOU, Composition

ALEXANDROS SPYROU, Artistic Director

ENSEMBLE IN RESIDENCE

OERKNAL

The Delian Academy for New Music is excited to collaborate with Oerknal, a collective of young professional musicians based in The Netherlands. Selected composers can submit a new or existing piece to be performed in Grypario Concert Hall in Mykonos.

The available instrumentation is flute, clarinet, piano, violin and violoncello. Any combination, from solo to quintet with or without electronics is welcome.

APPLY

APPLICATIONS DEADLINE MARCH 5, 2017

1. All applications must be submitted by email at delian.academy@gmail.com

2. Please submit the following:

– Biography
– 2-3 scores (pdf) and recordings (mp3). The submitted works do not need to match the instrumentation available.
– Application letter including name, surname, email, phone number, website (if available), and category of participation (1 or more) you would like to be considered for.
– Letter of scholarship application (if needed)
​​
3. In case you need to share large files through a file hosting service (e.g. dropbox, wetransfer etc.) please make sure the link remains active until the selection process.

4. There are no age or nationality restrictions

5. There is no application fee

6. All applications will be evaluated by faculty members in cooperation with our ensemble in residence.

The Delian Academy for New Music does not discriminate on the basis of race, color, national origin, sex, age, pregnancy, disability, creed, religion, sexual orientation, or gender identity. All individuals are encouraged to apply.

Please visit www.delianacademy.com for more information

highSCORE Festival 2017 (8th edition)

January 26, 2017 in All Opportunities, Composers, Conference, Opportunity, Other Opportunity, Performers by mwhiteside

highSCORE Festival 2017 (8th edition)
Contemporary Music Festival with Master Classes
Pavia, Italy – August 7-19 – Application deadline: April 14, 2017

There are two composition programs and a contemporary music performance program.

highSCORE Festival is today’s leading Italian Contemporary Music Festival offering masterclasses, one of the “ten summer festivals to get the contemporary music blood pumping” (Composition: Today).
Set every summer in historical Pavia (Northern Italy), it is an invaluable venue for emerging composers wanting to produce and promote their work, inspire audiences with their music, secure future commissions and job opportunities, and join other musicians to create a vibrant artistic community. Musicians work closely with a renowned faculty, talented visiting artists and special guests from around the world for two intense weeks of masterclasses, lectures, workshops and concerts. With Fabio Vacchi (guest of honor). Faculty: Amy Beth Kirsten, Riccardo Lorenzetti, David Ludwig, Umberto Petrin, Christopher Theofanidis and Dmitri Tymoczko among others.

www.highscorefestival.com

ICAD 2017

January 25, 2017 in All Opportunities, Composers, Conference, electroacoustic by mwhiteside

The 23rd International Conference on Auditory Display (ICAD 2017)
The Pennsylvania State University, University Park Campus, June 20-23, 2017

CALL FOR:
Papers/Posters
Installations/Demonstrations
Concert Works
Workshops
Student ThinkTank

Please check the conference website for updates and detailed submission information: http://icad.org/icad2017/
To submit proposals online via EasyChair, go to https://easychair.org/conferences/?conf=icad17

Key Dates
February 20, 2017 – Deadline for rough draft submissions
March 6, 2017 – Deadline for final submissions (anonymized)
March 13, 2017 – Deadline for workshop submissions
April 10, 2017
– Acceptance of notification sent to authors
– Deadline for ThinkTank proposal submissions
June 19, 2017 – Student ThinkTank
June 20-23, 2017 – ICAD 2017 conference

Co-chairs: Mark Ballora, School of Music/School of Theatre • Jeff Rimland, College of Information Sciences and Technology
Paper chair: Margaret Schedel
Music chair: Rob Hamilton
Worshops chair: Derek Brock
ThinkTank chair: Hiroko Terasawa

Theme: Sound in Learning
Scientific literacy is typically gained through the study of graphs and various types of visualizations. Many of these have been in existence since the late 18th century, and are part of the standard research vocabulary.

The twentieth and twenty-first century have made dynamic, multi-modal displays feasible. Visualization is essential for many applications — it draws on the strength of the eyes for assessing static qualities such as size, color, or texture. But many applications could greatly benefit from displays the address the ears, with their particular sensitivity to dynamic changes and capability for following multiple simultaneous streams.

Auditory information is also received faster than visual information. Hearing sets the stage for what we see. Sound is quickly transmitted to areas of the brain that carry out basic functions at an emotional, survival level. The legacy of our ancestors’ quick “fight or flight” response is the human creature’s unique appreciation of music.

Because of all this, sound should be a part of learning science and other topics. Young students being introduced to information through sound will likely have a more holistic and engaging experience than is possible with visual materials alone. If a generation of students were raised to learn about science by listening as well as looking, what implications would this have for the scientific climate twenty or thirty years in the future?

As this conference takes place 25 years after the first ICAD, it also offers an opportunity to reflect on the progress that has been made since that first gathering in Santa Fe in 1992.

ICAD is a highly interdisciplinary academic conference with relevance to researchers, practitioners, musicians, and students interested in the design of sounds to support tasks, improve performance, guide decisions, augment awareness, and enhance experiences. It is unique in its singular focus on auditory displays and the array of perception, technology, and application areas that this encompasses. Like its predecessors, ICAD 2016 will be a single-track conference, open to all, with no membership or affiliation requirements.

ICAD 2017, the 22nd International Conference on Auditory Display, will be held at the University Park campus of the Pennsylvania State University June 20 to 23, 2017. The conference venues are the Colleges of Arts and Architecture and Information Sciences and Technology. The graduate student ThinkTank (doctoral consortium) will be on Monday, June 19, before the main conference.
Note that ICAD dovetails with Acoustics ’17 Boston, enabling participation in both as a “double header.”

Paper/Poster Topics
Topics for ICAD 2017 include new and emerging themes, as well as more traditional ICAD ones.
There will be two special calls for themed paper tracks:
Games
Philosophy/Aesthetics

In addition, themes include (but are not limited to):
Sonic Information Design
Stream-based Sonification and Auditory Scene Design
Acoustic Sonification
Small Data (personal, intimate) sonification and the quantised self
Sonification, soundscape and screensound
Sonification in Health and Environmental Data (soniHED)
Musification – sonifications and music
Sonification, personal fabrication and maker culture
Sonification in the Internet of Things
Auditory Data Mining and Big Data sonification
3D and Spatial Audio
Aesthetics, Philosophy, and Culture of Auditory Displays
Accessibility
Applications
Design Theory and Methods
Evaluation and Usability
Human Factors and Interaction
Mappings from Data to Sound
Psychology, Cognition, Perception, and Psychoacoustics
Sonification and Exploration of Data through Sound
Sound as Art
Technologies and Tools

Workshops/Tutorials
ICAD workshops and tutorials provide in-depth opportunities for conference attendees to discuss and explore important aspects of the field of auditory display with like-minded researchers and practitioners.  Sessions can range from applications and programming methodologies to interdisciplinary research skills, emerging research areas, and challenge problems.

Concert Works
This submission category is intended to provide a framework for the presentation of artistic works involving sonification. The peer review is of the combination of the written and media submission.

Installations/Demonstrations
Installations and demonstrations will be in place throughout the conference.

Student ThinkTank (Doctoral Consortium)
The Student ThinkTank will take place Monday June 19, the day before the main conference begins. Graduate students working in research relevant to the conference and its themes are encouraged to apply to participate.

MUME 2017 – 2nd Call for Participation

January 23, 2017 in All Opportunities, Composers, Conference, electroacoustic, Performers by mwhiteside

======================
2nd CALL FOR SUBMISSIONS
======================

((( MUME 2017 )))
5th International Workshop on Musical Metacreation

MUME 2017


June 19-20, 2017, Georgia Tech, Atlanta, USA.

MUME 2017 is to be held at Georgia Institute of Technology in conjunction with the Eighth International Conference on Computational Creativity, ICCC 2017.
http://computationalcreativity.net/iccc2017/

=== Important Dates ===
Workshop submission deadline: March 10, 2017
Notification date: April 20th, 2017
Camera-ready version: April 28th, 2017
Workshop dates: June 19-20, 2017
======================

MUME aims to bring together artists, practitioners, and researchers interested in developing systems that autonomously (or interactively) recognize, learn, represent, compose, generate, complete, accompany, or interpret music. As such, we welcome contributions to the theory or practice of generative music systems and their applications in new media, digital art, and entertainment at large. We also welcome contributions discussing advances in generative systems as well as their philosophical, and societal implications.

Topics
===========================
We encourage paper and demo submissions on MUME-related topics, including the following:
— Models, Representation and Algorithms for MUME
— Systems and Applications of MUME
— Evaluation of MUME

Submission Format and Requirements
=================================
Please make submissions via the EasyChair system at:
https://easychair.org/conferences/?conf=mume2017

The workshop is a one day and a half event that includes:
-Presentations of FULL TECHNICAL PAPERS (8 pages maximum)
-Presentations of POSITION PAPERS and WORK-IN-PROGRESS PAPERS (5 pages maximum)
-Presentations of DEMONSTRATIONS (3 pages maximum).

All papers should be submitted as complete works. Demo systems should be tested and working by the time of submission, rather than be speculative. We encourage audio and video material to accompany and illustrate the papers (especially for demos). We ask that authors arrange for their web hosting of audio and video files, and give URL links to all such files within the text of the submitted paper.

Submissions do not have to be anonymized, as we use single-blind reviewing. Each submission will be reviewed by at least three program committee members.

Workshop papers will be published as MUME 2017 Proceedings and will be archived with an ISBN number. Please use the updated MuMe paper template to format your paper. Also, please feel free to edit the licence entry (at the bottom left of the first page of the new template). The MUME 2017 latex and Word template is available at:

http://musicalmetacreation.org/buddydrive/file/mume2017_templates/

Submission should be uploaded using MUME 2017 EasyChair portal:
https://easychair.org/conferences/?conf=mume2017

For complete details on attendance, submissions and formatting, please visit the workshop website: http://musicalmetacreation.org

Questions & Requests
======================================
Please direct any inquiries/suggestions/special requests to the Workshop Chair, Philippe Pasquier (pasquier@sfu.ca).

Noisefloor 2017

January 17, 2017 in All Opportunities, Composers, Conference, electroacoustic by mwhiteside

We are delighted to announce the return of the Noisefloor festival. Noisefloor is an experimental sound and image festival showcasing the work of local, national and international artists.

Concerts and screenings will be taking place during the period 2nd-5th May 2017. The diverse nature of the festival will provide opportunities for artists to explore the fluidity between the five themed concerts set out below.

The Noisefloor festival would like to invite submissions for the following events:

  • Fixed acousmatic concert – curated by Doug Rouxel
  • Popular music and interactive systems concert – curated by Si Waite
  • Visual music concert – curated by Dave Payling
  • Acoustic instruments with electronics concert – curated by Marc Estibeiro
  • Experimental film screening – curated by Daniel Hopkins

Venue: Staffordshire University, Stoke-on-Trent, ST4 2DE
Deadline for submissions: 6th February 2017
Notification of acceptance:  6th March 2017

Please submit your contact details, artist bio, programme notes and links to audio / video to our online form here.

Activating Inclusive Sound Spaces

January 10, 2017 in All Opportunities, Composers, Conference, electroacoustic by mwhiteside

Huddersfield July 1st -2nd 2017
Submission deadline: February 24th 2017
Registration will open in early February
Conference website:https://inclusivesoundspaces.wordpress.com/blog/
Conference email: AISSinfo@hud.ac.uk

This conference invites critical discourse on the activation of sound spaces in relation to gender, race, culture and identity. We will host performances, sound installations, short position papers and critical scholarly works that explore how industrial, non-industrial and individual music/sonic practices appropriate and shapes sound and technology.

A significant amount of data (presented on festivals, labels and clubs, union membership, academic conference attendance, and course application statistics) concretely demonstrates that our music and sound industries are predominantly male and ethnically homogeneous (white). Research has shown how assumptions are made about who is associated with digital music and sound production practices, raising fundamental questions about how our environments and communities influence and shape our music and sound practices and industries.

Special guest speakers include Professor Pamela Burnard and Mira Calix.

For those with access to institutional funding, the delegate fee is £50
This event is free to anyone without access to institutional funding due to support from Athena Swan (The University of Huddersfield).
In addition to this, if you do not have institutional support you can apply for a travel/accommodation/child care bursary. Funds are limited and so we encourage postgraduates and post docs to seek institutional support first.

Perform//present//discuss
The event will include sound installations, performances, sandpit conversations and paper sessions in order to bring together a range of voices for meaningful exploration of issues, leading to a special edition publication and new research collaborations.

We encourage submissions from:
– Independent practitioners: anyone creating/producing/performing sound works.
– Activists engaged in strategies for influencing change.
– Scholars (musicologists, sociologists, pedagogists) who offer an academically critical perspective, framed by gender studies, queer theory, and race.
– Educators engaged in music technology curriculum delivery or development
– Industry (Sound and music interface development, festivals, clubs, studios, media production, audio development, music journalism).

Thematic prompts:
Understanding challenges to diversity and access to music and sound technology institutions: documenting evidence of inclusive and exclusive spaces
Strategies that disrupt institutional spaces
Defining institutions and spaces of music and sound technology
Feminist perspectives on music technology paradigms
Men and masculinity in sound and music technology
Creating social change and mobility for better access to all fields of music and sound technology

Submitting contributions:
Performances – 15 to 30 minutes:
Please submit a 200 word introduction to your practice and a brief 200-500 word outline of your performance work (with examples) and a summary of your technical requirements. These word limits are guidelines but we do ask that you communicate your intentions concisely with associated links.

Though we cannot pay for performances, thanks to Athena Swan funding we will offer expenses of £100 for up to 5 performers (in addition to the bursary outlined above).

Fixed sound installations – to run continuously for two days.
We invite fixed and interactive media installations/electro acoustic works for 1 to 8.1 speakers (or other equipment you provide). Please submit a 300 word abstract (word count not including references) and technical details for performance. Works that responds directly to or engage with the following thematic points will be prioritised.

Papers – a) 20 minute academic papers or b) 10 minute position papers (which might be grounded in personal practice or activism).
Please submit a 300-500 word abstract (word count not including references) stating clearly if you are submitting a or b. Work that responds directly to or engage with the following thematic points will be prioritised.

–    how do individuals and communities disrupt, transform or subvert established spaces/practices, and facilitate intersectionality, inclusivity and emancipation;
–    are social structures shaping a gendering of music technology and sound fields, if so how?
–    have music and sound technology institutions become gendered, and if so in what ways?
–    what can be offered through a critical perspectives on men and masculinities in sound and music technology fields.
–    how do individuals and communities navigate gendered spaces in these practices.
–    how does a gendered environment influence personal, institutional, technological, cultural and sonic change;
–    how can music production and education institutions influence diversity, impact on the range of people that access and in turn, shape them?

Call for Papers – EMS17

December 27, 2016 in All Opportunities, Composers, Conference, electroacoustic, Performers by mwhiteside

The Electroacoustic Music Studies Network and the School of Architecture and Design of the Nagoya City University
are happy to announce the 2017 EMS Conference and would like to invite you to participate.

Theme: Communication in/through Electroacoustic Music

Dates and place: 5 – 8 September 2017 – Nagoya City University, Nagoya, Japan

For the Call, please visit the EMS17 Web page at http://www.ems-network.org/ems17

Deadline date for receipt of proposal for presentation in English: April 1, 2017

Paper acceptance decisions will be emailed to applicants by May 1, 2017.

BALANCE-UNBALANCE 2017

December 22, 2016 in All Opportunities, Composers, Conference, electroacoustic, Opportunity, Other Opportunity, Performers by mwhiteside

BALANCE-UNBALANCE (BunB – http://balance-unbalance2017.org) is an International Conference designed to use ART as a catalyst to explore intersections between NATURE, SCIENCE, TECHNOLOGY and SOCIETY as we move into an era of both unprecedented ecological threats and transdisciplinary possibilities.

The BALANCE-UNBALANCE conference will bring artists together with scientists, economists, philosophers, politicians, management and policy experts, sociologists and engineers from across the world with the intent of engendering a deeper awareness and creating lasting intellectual working partnerships in solving our global environmental crisis.

“We are living in a world reaching a critical point where the equilibrium between a healthy environment, the energy our society needs to maintain or improve this lifestyle and the interconnected economies could pass more quickly than expected from the current complex balance to a complete new reality where unbalance would be the rule and human beings would need to be as creative as never before to survive. Environmental problems, economic uncertainty and political complexity have been around for a long time. What was different before was the speed and depth of transformations compared with today’s sudden changes. The frequent occurrence and severity that certain weather and climate-related events are having around us is increasing, and the ability of human beings on modifying adjacent surroundings as well as distant places have turn into a power capable of altering the planet […] The arts could play a major part in helping the global society to understand the magnitude of the crisis we are facing, and in promoting the awareness around environmental matters. it could also be a very good vehicle to disseminate proposals able produce changes in our behavior and decisions, influencing our chances for the future. Artists could promote inter and transdisciplinary actions focusing on our responsibility regarding the turning point we are living in defining the future of -human- life on Earth.”

For further information on the BALANCE-UNBALANCE agenda read: Breaking Paradigms: Electronic Arts & Humanitarian Actions by Ricardo Dal Farra.

SUBMISSIONS:

BALANCE-UNBALANCE 2017 invites papers, transdisciplinary workshops, artistic activities and artefacts (including VR and Fulldome content), posters and panels that respond to the provocation provided by the ‘Sense of Place’ theme. These initiatives should propose new opportunities for digital/electronic/media arts to catalyse transdisciplinary activity and behaviour change to help solve our global environmental crisis.

BunB 2017 wishes to build on the work of previous BunB Conferences by cultivating virtual and networked models which allow increased diversity, access and dissemination whilst significantly reducing the carbon footprint of a major international conference.

BALANCE-UNBALANCE 2017, A Sense of Place is the 6th edition in the conference series: http://balance-unbalance2017.org

BunB 2016 – Manizales, Colombia: www.balance-unbalance2016.org
BunB 2015 – Arizona, United States: www.balance-unbalance2015.org
BunB 2013 – Noosa, Australia: www.balance-unbalance2013.org
BunB 2011 – Montreal, Canada: www.balance-unbalance2011.hexagram.ca
BunB 2010 – Buenos Aires, Argentina: www.ceiarteuntref.edu.ar/eq-deseq-en
About the theme for BunB 2017: “A Sense of Place”.

Our increasingly mediated relationship with the environment brings new insights to the invisible forces that affect complex ecologies. From meteorological data flows to temporal climate change models, our relationship with our environment is becoming more abstract, simulated and remote – tempering our desire to act. Could it be that we know more and experience less? BunB17 maps the coordinates of our Sense of Place – the horizontal landscape to the vertical transcalar spaces of the macro/micro.

The 6th edition of the BunB conference will be held from August 21 to 23 of 2017 in Plymouth, UK. Produced by i-DAT in collaboration with the Sustainable Earth Institute and Art and Sound at Plymouth University, BunB17 is being produced in collaboration with the North Devon’s UNESCO Biosphere Reserve, Beaford Arts and Fulldome UK.

Deadline for submissions:

January 16, 2017 (midnight, UK time).
Notification of acceptance: February 28, 2017.

Call for participation: http://balance-unbalance2017.org/call-for-participation/

Audio Mostly 2017 “Augmented and Participatory Sound/Music Experiences”: 1st Call for Contributions

December 21, 2016 in All Opportunities, Composers, Conference, electroacoustic, Opportunity, Other Opportunity, Performers by mwhiteside

The Audio Mostly organising committee would like to welcome researchers, interaction designers, engineers, artists, practitioners, audio professionals, and anyone interested in sound as a medium of interaction, to Audio Mostly 2017. The conference will be held on 23-25 August 2017 at Queen Mary University of London (QMUL), UK.

Audio Mostly is an interdisciplinary conference on design and experience of interaction with sound that prides itself on embracing applied theory and reflective practice. Its annual gatherings bring together thinkers and doers from academia and industry that share an interest in sonic interaction and the use of audio for interface design. This remit covers product design, auditory display, computer games and virtual environments, new musical instruments, and education and workplace tools. It further includes fields such as the psychology of sound and music, cultural studies, system engineering, and everything in between in which sonic interaction plays a role. The 2017 edition will be a lively and sociable mix of technical presentations, posters, demos, concerts, and workshops.

Audio Mostly 2017 is organised by the Centre for Digital Music (C4DM) at Queen Mary University of London (UK), which is a world-leading multidisciplinary research group in the field of music/audio science and technology.

As in previous years, the Audio Mostly 2017 proceedings will be published by the Association for Computing Machinery (ACM) and made available through their digital library (TBC). Papers, demos and workshop proposals will be double-blind peer reviewed.

Conference Theme “Augmented and Participatory Sound/Music Experiences”

At the intersection between augmentation (“the action or process of making or becoming greater in size or amount”) and participation (“the action of taking part in something”) lies the idea of expanding how we interact with our environment and becoming actively involved in situations. Applied to science, the arts, health and the environment, these themes invite to push back the frontiers of design and interactions, to propose new artistic formats adapted to audience creative interventions, or to improve accessibility and empower people. Both augmentation and participation are linked to the sense of agency; augmentation generally implies increased degrees of freedom or access to new information, and participation in design or the arts involves a redistribution of the roles between designers/artists and users/audiences. The concept of augmentation can be applied to a wide range of objects (e.g. musical instruments, concert stage, garments, everyday objects), situations/actions (e.g. live performance, mixing, cooking), and reality itself with “augmented reality” systems and displays providing new sensory information. Participation can be applied at different stages of the production-consumption chain. For instance, participatory design gathers designers and users to conjunctly create artefacts, and participatory art leads to shared contributions from artists and audience participants.

What is the potential of sound/music in facilitating augmentation and/or participation?

Augmentation and participation both have the potential to transform our emotional or personal association with situations, people and objects.

How does augmentation and/or participation applied to sound/music affect our life and experiences? What are their advantages and what are their drawbacks?

Audio Mostly 2017 encourages the submission of papers, music, demos, and workshops addressing such questions and others related to the conference theme and topics. We welcome multidisciplinary approaches involving fields such as human computer interaction, music informatics, information and communication technologies, sound design, visualisation, composition, perception/cognition and aesthetics.

Please visit our detailed call for contributions for the full list of topics and further information:
Call for papers: http://audiomostly.com/contributions/call-for-papers/
Call for music: http://audiomostly.com/contributions/call-for-music/
Call for demos: http://audiomostly.com/contributions/call-for-demos/
Call for workshops: http://audiomostly.com/contributions/call-for-workshops/
Website: http://audiomostly.com/

Important dates
Deadline for paper, music, demo and workshop submissions: 31 March 2017
Notification of acceptance: 22 May 2017
Camera-ready paper submission: 23 June 2017
Early registration deadline: 7 July 2017
Conference: 23-25 August 2017

Colocation with 3rd Web Audio Conference (WAC)
The conference will be collocated with the 3rd Web Audio Conference (WAC) “Collaborative Audio” (21-23 August 2017), with one day, Wednesday the 23rd, a common day between the two events. Participants will have the opportunity to attend both events at a discounted rate.

Contact
For more information or questions, please contact the organizing committee at: am2017-enquiries@qmul.ac.uk

We look forward to receiving you in London in 2017!

Conference Committee

General Chair
George Fazekas, QMUL
Paper and Program Chairs
Mathieu Barthet and Tony Stockman, QMUL
Demonstration and Poster Chairs
Fabio Morreale and Johan Pauwels, QMUL
Music Chair
Adib Mehrabi, QMUL
Organising Committee
Gary Bromham, Damir Juric, Beici Liang, Angela McArthur, Hazar Emre Tez, Sue White, William James Wilkinson

Sound Thought 2017

December 21, 2016 in All Opportunities, Composers, Conference, Performers by mwhiteside

Labora[R]tio: Collaborate, Articulate, Integrate

Latin: work, effort

Centre for Contemporary Arts, Glasgow

May 10th – 12th, 2017

www.soundthought.co.uk

 

Sound Thought is an annual festival of music and sound research, composition, and performance run by postgraduate students from the University of Glasgow. Sound Thought presents a unique opportunity for postgraduate researchers by providing them with a platform to present their research in a collaborative, interdisciplinary environment alongside the work of contemporary practitioners. Sound Thought 2017 marks the 10th anniversary of the festival, having been initially established in 2007.

This year’s theme, “Labora[R]tio” will be explored by exhibiting the work of postgraduate researchers, academics, artists, and contemporary practitioners, contextualized by the following themes pertinent to the creative process –

Articulate: Extrovert vs. Introvert       

Finding a unique voice within the creative arts – perspectives

Collaborate: Long distance vs. local

Exploring spaces and engagement – connections

Integrate: Software vs. Hardware

Formulating aesthetic strategies through technologies – developments

Call for Submissions and Proposals

Sound Thought welcomes submissions from postgraduate researchers, academics, professionals, and practitioners of music, sound art, and electronic and audiovisual media, as well as from artists in other fields.

Submission of papers, lecture-recitals, performances, fixed-media works, and installations of any artistic discipline are welcome, so long as they interact with the creative process in music and the arts. If you have an additional form or idea, please feel free to contact us to discuss your idea. We also welcome the submission of works currently in progress.

Please complete an application form available from soundthought.co.uk and send to soundthought2017@gmail.com.

The deadline for submissions of abstracts and proposals is February 5, 2017.

Notices of acceptance will be provided week commencing March 5, 2017.


Submission Guidelines

Please complete the submission form in order to provide us an idea of your work and how it relates to this year’s theme.

PAPERS and LECTURE-RECITALS:

Individual or joint papers should be approximately twenty minutes, allowing an additional ten minutes for questions. Lecture-recitals should be approximately forty-five minutes in duration.

ELECTROACOUSTIC / AUDIOVISUAL WORKS and SOUND INSTALLATIONS:

Please submit for consideration proposals for any of the following: acousmatic/electroacoustic works, audiovisual works, sound installations, and field recordings of up to 15 minutes’ duration.

An 8 channel diffusion system is available for electroacoustic works, as is equipment for presenting audiovisual work. Installation artists may be required to bring their own technical equipment (please let us know what you can/can’t bring in your proposal).

Proposals for sound works should also provide:

An excerpt from, or the complete work you are proposing

OR

An example of your previous work

Please include a link to a website where the work can be streamed or send as an attachment via Dropbox or Google Drive.

LIVE PERFORMANCES:

Live performances of works of any style (acoustic, audiovisual, acousmatic, etc.) are encouraged. Performances should not exceed approximately thirty minutes (multiple shorter works are also welcomed).

 

Venue Tech Specs

Please feel free to get in touch regarding venue technical specs. Sound Thought events will take place in the CCA’s theatre, cinema, and clubroom. There are opportunities for installations to be placed throughout the building; please get in touch to discuss with the committee. Any questions can be sent to soundthought@gmail.com.

Delegate Fee                                                                                                 

As the festival is run entirely by postgraduate students, we are requesting a £15 delegate fee from selected contributors to aid with the festival’s technical requirements. We do not have the funds to cover travel or accommodation expenses but are happy to provide a letter of acceptance for your institution.

Linux Audio Converence

December 18, 2016 in All Opportunities, Composers, Conference, electroacoustic by mwhiteside

Name: LINUX AUDIO CONFERENCE 2017 (LAC2017)
URL: https://lac2017.univ-st-etienne.fr/
Dates: May 18-21, 2017
Location: Saint-Etienne University, FRANCE

February 10, 2017: Deadline for Papers / Posters / Workshops/ Speed Geeking / Music / Multimedia Installations

Submission Details: prospective authors are invited to contribute to LAC2017 through online submission page at: https://lac2017.sciencesconf.org/

Please visit conference website: https://lac2017.univ-st-etienne.fr/, for details.

We are sure that you will have a wonderful experience of visiting Saint-Etienne during the LAC 2017.

We look forward to welcoming you in FRANCE in 2017!

Laurent Pottier

——————————-

Email: lac@linuxaudio.org
WWW: https://lac2017.univ-st-etienne.fr/

Sound + Environment 2017 – Call for Works and Papers

December 16, 2016 in All Opportunities, Composers, Conference, electroacoustic, Performers by mwhiteside

We are seeking proposals for papers, workshops, compositions, installations and interventions at ‘Sound + Environment 2017’ (University of Hull, 29th June – 2nd July 2017).

‘Sound + Environment 2017’ is a four day conference bring together artists and scientists to explore the ways in which sound can deepen our understanding of environments. Confirmed keynotes so far are BAFTA award-winning sound artist and field recordist Chris Watson and Australian sound artist Leah Barclay. The conference will see the launch of a specially commissioned surround-sound installation from Chris Watson tracing the course of the Humber River from ‘Trent Falls to Spurn Point’. A number of other sound installations and performances will be featured in collaboration with Hull UK City of Culture and the PRS New Music Biennial.

Through exploring scientific and artistic approaches together, we hope to engage with sound in order to create complementary ways of investigating, understanding, and taking action.

Please see: soundenvironment.net for further information.

The Sound of Memory Symposium: Sound-track/Sound-scape

December 15, 2016 in All Opportunities, Composers, Conference, electroacoustic by mwhiteside

Call for Submissions. Deadline 22 Feb 2017.

Proposals are invited for academic papers, study reports, posters, acousmatic compositions informed by the environment, sound art, sound installations, workshops and artworks pertinent to the symposium theme. PhD students and early career researchers are especially encouraged to submit.

Dates for the Symposium
22-24 April 2017

Locations
Zilkha Auditorium: Whitechapel Gallery. 72-82 Whitechapel High St, London, E1 7QX
Goldsmiths, University of London. New Cross, London SE14 6NW

Brief Description
The Sound of Memory Symposium explores creative works and ideas situated at the interface of composers working in acoustic ecologies and artists working within social ecologies, where the primary engagement is a form of sonic ethnography. The overarching thematic is an exploration of how individual and cultural memory resonates in the shaping of social space. The Symposium will explore the broad domain of acoustic ecologies and soundscape’s engagement in place. The symposium is co-hosted by the Sound-Image-Space Research Centre (School of Music and Fine Art, University of Kent), the School of Sound, and Goldsmiths University of London.

Themes/ Forms

  • Memory and community: vernacular texture and social actant
  • Acoustic memory: hearing the past in the present
  • Trauma / conflict: Acoustic echo / Landscape / Ear witnessing
  • Space as a simultaneity of stories:Speech that matters- word/text poetry

The above list is not exhaustive. The Sound of Memory Symposium aims to situate questions, foster inter-disciplinarity, explore sound, voice, text, listening, audibility and inaudibility, within musical, visual, social and cultural contexts.

Keynote speakers: Zilkha Auditorium and Goldsmiths, University of London
Hildegard Westerkamp
Sarah Turner
Lawrence Abu Hamdan

Keynote Concert for ‘Earth Day’ Saturday 22.04.2017: Goldsmiths Great Hall
Hildegard Westerkamp

Concerts on 23.04.2017 and 24.04.2017 will take place at Goldsmiths Great Hall, and will include commissioned works and a selection from the Call for works. Workshops, installations and listening rooms will be at various locations throughout the symposium at Goldsmiths.

Submission Instructions
Please submit your works through EasyChair: https://easychair.org/conferences/?conf=som2017

Authors will be notified that their work is accepted by 17 March 2017.

Papers and Posters:
Deadline for submission of abstracts and short biography is on 22 February 2017. Presentations of papers will last for c.20 min with c.10 min for questions/discussion. Submit a pdf file containing your abstract (500 words max) and biography (150 words max) through EasyChair.
After selection, the deadline for submission of complete papers ready for publication at the symposium proceedings is on 30 March 2017.

Compositions:
Deadline for submission is on 22 February 2017. Submit a pdf file through EasyChair that contains the following:

  • Technical requirements.
  • Programme notes.
  • Short biography (150 word max).
  • A web link to an audio file (wav) of your work (Dropbox is preferred). A selection of works will be diffused live with our MAAST diffusion system that uses c.40 loudspeakers.

Installations, Sound Art, A/V:
Deadline for submission is on 22 February 2017. Submit a pdf file through EasyChair that contains the following:

  • Technical requirements. Programme notes.
  • Short biography (150 word max).
  • Documentation for the proposed work, and a web link with a recording or video clip as appropriate.

Some limited sound equipment may be provided, but artists are responsible for providing all necessary components for their installation, and they are required to confirm with the Organising Committee the feasibility of their setup at the installation space.

Workshops:
Proposals for workshops pertinent to the theme are invited.

Organised by
The School of Music and Fine Art, University of Kent

Partners
Sound and Image Research Centre (SISRC; University of Kent)
The School of Sound
Unit for Sound Practice Research (SPR; Goldsmiths, University of London)

Funded by
School of Music and Fine Art (SMFA)
Unit for Sound Practice Research (SPR; Goldsmiths, University of London)

Organising Committee
Sarah Turner, University of Kent, UK
Dr Aki Pasoulas, University of Kent, UK
Dr John Levack Drever, Goldsmiths, University of London, UK
Dr Holly Rogers, Goldsmiths, University of London, UK

Enquiries
Contact email address for enquiries: MFAReception@kent.ac.uk

MUME 2017 – Call for Participation

December 12, 2016 in All Opportunities, Composers, Conference, electroacoustic, Performers by mwhiteside

((( MUME 2017 )))
5th International Workshop on Musical Metacreation
http://musicalmetacreation.org
June 19-20, 2017, Georgia Tech, Atlanta, USA.

MUME 2017 is to be held at Georgia Institute of Technology in conjunction with the Eighth International Conference on Computational Creativity, ICCC 2017.

=== Important Dates ===
Workshop submission deadline: March 10, 2017
Notification date: April 20th, 2017
Camera-ready version: April 28th, 2017
Workshop dates: June 19-20, 2017
======================

We are excited to announce the 5th International Workshop on Musical Metacreation (MUME 2017) to be held June 19-20, 2017, in conjunction with the Eighth International Conference on Computational Creativity, ICCC 2017.

Metacreation involves using tools and techniques from artificial intelligence, artificial life, and machine learning, themselves often inspired by cognitive and life sciences, for creative tasks. Musical Metacreation explores the design and use of these tools for music making: discovery and exploration of novel musical styles and content, collaboration between human performers and creative software “partners”, and design of systems in gaming and entertainment that dynamically generate or modify music.

MUME aims to bring together artists, practitioners, and researchers interested in developing systems that autonomously (or interactively) recognize, learn, represent, compose, generate, complete, accompany, or interpret music. As such, we welcome contributions to the theory or practice of generative music systems and their applications in new media, digital art, and entertainment at large.

Topics
===========================
We encourage paper and demo submissions on MUME-related topics, including the following:
— Models, Representation and Algorithms for MUME
—- Novel representations of musical information
—- Advances or applications of AI, machine learning, and statistical techniques for generative music
—- Advances of A-Life, evolutionary computing or agent and multi-agent based systems for generative music
—- Computational models of human musical creativity
— Systems and Applications of MUME
—- Systems for autonomous or interactive music composition
—- Systems for automatic generation of expressive musical interpretation
—- Systems for learning or modeling music style and structure
—- Systems for intelligently remixing or recombining musical material
—- Online musical systems (i.e. systems with a real-time element)
—- Adaptive and generative music in video games
—- Generative systems in sound synthesis, or automatic synthesizer design
—- Techniques and systems for supporting human musical creativity
—- Emerging musical styles and approaches to music production and performance involving the use of AI systems
—- Applications of musical metacreation for digital entertainment: sound design, soundtracks, interactive art, etc.
— Evaluation of MUME
—- Methodologies for qualitative or quantitative evaluation of MUME systems
—- Studies reporting on the evaluation of MUME
—- Socio-economical Impact of MUME
—- Philosophical implication of MUME
—- Authorship and legal implications of MUME

Submission Format and Requirements
=================================
Please make submissions via the EasyChair system at:
https://easychair.org/conferences/?conf=mume2017

The workshop is a day and a half event that includes:
-Presentations of FULL TECHNICAL PAPERS (8 pages maximum)
-Presentations of POSITION PAPERS and WORK-IN-PROGRESS PAPERS (5 pages maximum)
-Presentations of DEMONSTRATIONS (3 pages maximum) which present outputs of systems (working live or offline).

All papers should be submitted as complete works. Demo systems should be tested and working by the time of submission, rather than be speculative. We encourage audio and video material to accompany and illustrate the papers (especially for demos). We ask that authors arrange for their web hosting of audio and video files, and give URL links to all such files within the text of the submitted paper.

Submissions do not have to be anonymized, as we use single-blind reviewing. Each submission will be reviewed by at least three program committee members.

Workshop papers will be published as MUME 2017 Proceedings and will be archived with an ISBN number. Please use the updated MuMe paper template to format your paper. Also please feel free to edit the licence entry (at the bottom left of the first page of the new template). We created a new MUME 2017 template based on AAAI template. The MUME 2017 latex and Word template is available at:

http://musicalmetacreation.org/buddydrive/file/mume2017_templates/

Submission should be uploaded using MUME 2017 EasyChair portal:
https://easychair.org/conferences/?conf=mume2017

For complete details on attendance, submissions and formatting, please visit the workshop website: http://musicalmetacreation.org

Presentation and Multimedia Equipment:
==========================================
We will provide a video projection system as well as a stereo audio system for use by presenters at the venue. Additional equipment required for presentations and demonstrations should be supplied by the presenters. Contact the Workshop Chair to discuss any special equipment and setup needs/concerns.

Attendance
=======================================
It is expected that at least one author of each accepted submission will attend the workshop to present their contribution. We also welcome those who would like to attend the workshop without presenting. Workshop registration will be available through the ICCC 2017 conference system.

Questions & Requests
======================================
Please direct any inquiries/suggestions/special requests to the Workshop Chair, Philippe Pasquier (pasquier@sfu.ca).

Call for Abstracts – CIRMMT Symposium on Force Feedback and Music

October 24, 2016 in All Opportunities, Composers, Conference, electroacoustic, Opportunity, Other Opportunity, Performers by mwhiteside

The Centre for Interdisciplinary Research in Music Media and Technology
(CIRMMT) and the Input Devices and Music Interaction Laboratory (IDMIL),
McGill University, are organizing a 2-day workshop on December 9-10, 2016
to discuss the state-of-the-art and the possible future directions of
research on force-feedback and music (FF&M).

Summary of Important Information:
*CIRMMT Symposium on Force Feedback and Music
*When: December 9 ­ 10, 2016
*Where: CIRMMT, McGill University, Montreal, Qc, Canada (www.cirmmt.org)
*Deadline for abstract submission: Monday November 14 16 2016
*Acceptance notification: Thursday November 17 2016
Context:
Though haptics research in music is a very active research field, it seems
presently dominated by tactile interfaces, due in part to the widespread
availability of vibrotactile feedback in portable devices. Though now
recent‹with some of the its early contributions dating back to the end of
the 70s‹research on force-feedback in musical applications has
traditionally suffered from exogenous issues such as hardware cost, as
well as the lack of community-wide accessibility to software and hardware
platforms for prototyping musical applications. Despite this situation, in
recent years several works have addressed this topic proposing software
platforms and simulation models.

We believe that it is then time to probe the current state of research on
Force-feedback and music (FF&M).

Topics:
We invite the submission of abstracts summarizing innovative work
addressing force-feedback applications to music and media, including, but
not limited to, the following topics:
– Music and media applications of force-feedback systems
– FF models of musical actions
– Audio and mapping systems adapted to force-feedback applications
– Open-hardware and open-source solutions for developing and sharing
force-feedback/musical projects
– Evaluation of system quality vs cost in musical applications
– The pros/cons of existing hardware and software systems
– The obsolescence of hardware and software systems and ways to deal with
it
– Perceptual issues in FF&M

Abstract submission:
To propose a contribution, please send a one page summary of your proposal
detailing:
a) the research you carry out
b) its current results
c) its future perspectives

Deadlines and how to submit:
The deadline for abstract submission is *Monday November 14 2016*.

Please send your one-page abstract to marcelo.wanderley@mcgill.ca, with
the email subject: [FF&M 2016] Contribution by “XXX”
Selection results will be announced on Friday Nov 18.

The CIRMMT Symposium on Force Feedback and Music is sponsored by the Input
Devices and Music Interaction Laboratory, McGill University, the
Inria-FRQNT MIDWAY “équipes de recherche associées” project, the Centre
for Interdisciplinary Research in Music Media and Technology and McGill
University.

Prof. Marcelo M. Wanderley
IDMIL/CIRMMT, McGill University
Organizer

2016 Joint WOCMAT – IRCAM Forum Conference

September 29, 2016 in All Opportunities, Composers, Conference, electroacoustic, Opportunity, Other Opportunity, Performers by mwhiteside

Venue: Kainan University, Taiwan,
No.1 Kainan Road, Luzhu Dist., Tauyuan City 33857 , Taiwan R.O.C

Date:Dec. 9-10, 2016

Submission

[Submission for IRCAM Forum Workshop Demo ]
http://wocmat-ircam.strikingly.com/blog/ircam-submission-for-ircam-forum…

[ Call for Musical Works ]
http://wocmat-ircam.strikingly.com/b…/call-for-musical-works

[ Call for paper ]
http://wocmat-ircam.strikingly.com/blog/call-for-paper

Lecture

[ Keynote Speaker ]
Prof. Leigh Landy
Director – Music, Technology and Innovation Research Centre, De Montfort University
Topic: Music and Technology in a Rapidly Changing Environment: Are we ahead of the game or just keeping up?

[ Invited Speaker ]
Prof. Ken Paoli
College of Du Page, USA.
Topic: Macrostructural Aspects of Algorithmic Composition; Using Schenkerian Concepts to Shape Sections of a Composition and to Construct Larger Compositions.

[ IRCAM (Six Researchers) Speech and Workshop ]

Registration Fees

Full Price: 90 Euros / 3190 NTD (Early Bird)
100 Euros / 3540 NTD (Late Registration)
Students: 50 Euros / 1770 NTD(Early Bird)
60 Euros / 2130 NTD (Late Registration)
Member of TCMA (Taiwan Computer Music Association) /Co-Organisers: 30 Euros / 1070 NTD
Member of IRCAM Forum / Kainan University: Free

Due Date

Thursday July 7 communication and Open for submission (music and paper)
(WOCMAT, IRCAM, newsletter, forumnet, emailing)
Thursday October 20 Close for submission
Thursday October 27 Result revealed
Thursday October 27 Open for early registration
Thursday November 10 Close for early registration
Thursday December 8 Close for online registration

Contact

Email: wocmat2016@gmail.com
Facebook: https://www.facebook.com/wocmat2016ircam/

Call for Proposals

September 23, 2016 in All Opportunities, Composers, Conference, Performers by mwhiteside

Encouraging a broad and inclusive approach, we invite submissions that address a wide variety of topics, methodologies, and questions, including (but not limited to):

  • Histories: what is the role of performance and/or performers in the histories of experimental musics?
  • Praxis: is it possible to speak of an indeterminate ‘performance practice’? Where do the exceptions and inconsistencies lie?
  • Analysis: (how) can the performance of indeterminate music be analysed in ways appropriate to its particular modalities?
  • Notation: what are the relationships between indeterminate notation and performance?
  • Socialities: in what ways does indeterminate music organise collective musical experience?
  • Pedagogies: how do we teach and learn about the performance of indeterminate music?
  • Indeterminacy outside experimental music: how is indeterminacy in performance manifest more widely?
  • Technologies: (in what ways) have technologies changed our relationship to indeterminacy in music?

Proposals are invited for:

  • Spoken papers (20 minutes followed by 10 minutes of questions)
  • Lecture-recitals (35 minutes followed by 10 minutes of questions)
  • Performances of relevant works to be presented in a concert

Proposals of 250­–300 words should be sent as a Word attachment to performingindeterminacy@leeds.ac.uk, should clearly indicate whether they are for a spoken paper, lecture recital, or performance, and must include the following: title, author(s), affiliation(s) (if any), email address for contact, and technical requirements. For lecture-recitals, please include programme details of any repertoire to be performed (details are excluded from the word count).

The deadline for proposals is Friday 2 December 2016 at midday (GMT). Decisions on proposals will be communicated by the end of January 2017.

It is hoped that some papers from the conference will contribute to a special themed journal issue, ‘Performing Indeterminacy’, guest-edited by the conference committee.

OPEN CALL MIXTUR 2017

September 19, 2016 in All Opportunities, Composers, Conference, electroacoustic, Performers by mwhiteside

OPEN CALL MIXTUR 2017

Festival Mixtur, in collaboration with Fabra i Coats – Fàbrica de Creació, opens a call with the aim of promoting artistic and musical projects for the Festival Mixtur  in 2017 and 2018 (except for the category 1A, whose call will be annual). Proposals must be submitted before October 20th 2016 at 23.59h for all categories. The form must be filled online. Open Call Mixtur 2017 includes 3 different categories:

DFDFDF FDF

CATEGORY 1: OPEN CALL FOR WORKS

This category includes four different modalities:

– MODALITY 1A: Instrumental or mixed works (with or without video)

– MODALITY 1B: Electroacoustic works

– MODALITY 1C: Audiovisual works (audio + video)

– MODALITY 1D: Sound Installation

CATEGORY 2: COMMISSION 

This category includes three different modalities:

– MODALITY 2A – Instrumental or mixed works

– MODALITY 2B – Electroacoustic works

– MODALITY 2C – Audiovisual (audio + video)

CATEGORY 3: CALL FOR PERFORMERS  

This category includes three different modalities:

– MODALITY 3A- Soloists or groups specialized in contemporary music

– MODALITY 3B- Soloists or groups specialized in free improvisation

– MODALITY 3C- Multidisciplinary soloists or groups

The results of this call will be published at this website on November 20th 2016. 

http://mixturbcn.com/en/convocatoria-mixtur-2017/

Classical NEXT Call for Proposals

September 12, 2016 in All Opportunities, Composers, Conference, electroacoustic, Performers by mwhiteside

As most of you know, Classical:NEXT’s exceptional and highly acclaimed programme is made “by the community, for the community”: An independent jury assembles a handpicked selection of artists, speakers and projects each year from proposals coming in from all over the globe.

All movers, shakers and everyday innovators from all sectors of the scene are invited to submit their proposals for the Showcases, Club Showcases, Conferences and Project Pitches to be held at Classical:NEXT 2017 in de Doelen, Rotterdam, the Netherlands.

The submission deadline for Classical:NEXT 2017 is Friday, 30 September 2016.

We are calling for outstanding “NEXT” artists, projects, future-oriented topics and interactive conference formats from all corners of the classical music world whether that be early, contemporary, traditional or experimental.

You can make a proposal online easily and for free, regardless of whether you have attended Classical:NEXT before or not. http://www.classicalnext.org/

See our press release here. And don’t forget to spread the word!

All the best,
The Classical:NEXT team

Trans X Call for Submissions

September 8, 2016 in All Opportunities, Composers, Conference by mwhiteside

New Adventures in Sound Art (NAISA) is pleased to announce the 2017 edition of the TransX Transmission Art Symposium, February 17 – 20, 2017.

NAISA is now inviting submissions for papers, performances and workshops/tutorials:
Rooted in the earliest experiments with radio, Transmission Art has continued to flourish into the 21st Century with experiments using wireless communications technology over the past 100 years, including the exploration of a variety of mobile-based and digital platforms, and lesser-known forms of transmission, such as VLF. The terrain of transmission art is dynamic and fluid, always open to redefinition.

The TransX Transmission Art Symposium, part of the Deep Wireless Festival of Radio & Transmission Art, will focus on Transmission Art and Radio Art, with particular interest in contributions that summarize, examine or reframe traditions and histories of transmission art practices, technology, broadcasting, education and pedagogy. Additionally, we are very interested in presentations that go beyond the local contingent to give a sense of how new technologies of international transmission activity might be experienced. Proposed presentations, performances and Workshops/Tutorials that combine the themes of Transmission Art and our 2017 theme “Sound Response” are also especially welcome.
https://naisa.ca/trans-x-submission-form/

Alchemy in Experimental Sound Art

August 12, 2016 in All Opportunities, Composers, Conference, electroacoustic, Performers by mwhiteside

Alchemy in Sound (National Library of Wales, Aberystwyth, Friday 3rd March 2017) is a 1 day symposium exploring the links between sound and alchemy.  We are looking for papers and music/sound art which engage with either:

 

Alchemical texts (eg Dee, Ashmole, Philalethes),

Psychological perspectives on Alchemy (eg Jung) or

Alchemy as a metaphor or process.

 

The conference is open to various compositional and theoretical approaches.  Works involving electronics are particularly welcome.

Papers should be up to 20 minutes in length.

Music/sound art should not exceed 12 minutes in length.

Submissions should include

  1. Abstract/ Programme Notes (500 words) including any technical requirements (PDF format).
  2. Link to work (stereo) via Soundcloud or Bandcamp.
  3. Biography (250 words) (PDF format)

and be e-mailed to Dafydd Roberts, dir@aber.ac.uk, with SOUND in the subject field.

 

Llwybr Sain/Noise Projection

Is a network for sound artists and researchers from all disciplines. Based in West Wales the network seeks participation from all geographies, local and further afield who have an interest in experimental sound making. The network will provide informal opportunities to exchange ideas and perspectives on making sound art, promote new sound performance and foster examination of sound art in relation to a latitude of perspectives including and not restricted to its philosophy, aesthetics, history, curation, psychology, and technologies.

https://www.facebook.com/Noise-Projection-786507214826130/events

2017 CMS International Conference

August 9, 2016 in All Opportunities, Composers, Conference, Performers by mwhiteside

THE COLLEGE MUSIC SOCIETY
2017 INTERNATIONAL CONFERENCE
SYDNEY, AUSTRALIA
JULY 9–13, 2017

Submission Deadline: 12 noon MDT on Thursday, September 22, 2016

2017 CMS International
Conference

The College Music Society is pleased to announce an exciting opportunity for faculty, students, retirees, and independent musicians from all educational and professional settings to present their work in Sydney, Australia, as part of its 2017 International Conference.

The Program Committee has issued three open calls for this program:

• Call for Demonstrations, Forums, Panels, Papers & Workshops
• Call for Lecture-Recitals & Performances
• Call for Scores with Composer-Provided Performer

We hope you will consider applying and plan to join us Down Under!

http://www.music.org/index.php?option=com_content&view=article&id=2305:2017-international-conference-overview&catid=197&Itemid=2161

DAÏMÔN // Media Arts Center

July 26, 2016 in All Opportunities, Composers, Conference, electroacoustic, Performers, residencey and summerschool by mwhiteside

For its 2017 programming, DAÏMÔN wishes to receive submissions which propose innovative explorations of narrative in media art.
We are seeking projects which interrogate new ways of making narrative and creating meaning in the digital era. How can narrative be articulated in interactive and installation-based artistic practices? What new forms of writing are made possible by digital media and technology? DAÏMÔN encourages artists to push the boundaries of their practices and to develop new approaches through the use of video; sound, electronic and digital art; and photography. Only projects involving a certain degree of artistic exploration will be considered.
DEADLINE : September 1st 2016

Details here: http://www.daimon.qc.ca/event.php?lg=en&id=33
DAÏMÔN on Facebook https://www.facebook.com/centredaimon/

TENOR 2017

July 21, 2016 in All Opportunities, Composers, Conference, Performers by mwhiteside

Third International Conference on Technologies for Music Notation and Representation
A Coruña, Spain, 24-26 May 2017

The third International Conference on Technologies for Music Notation and Representation is dedicated to issues in theoretical and applied research and development in Music Notation and Representation, with a strong focus on computer tools and applications, as well as a tight connection to music creation. Until very recently, the support provided by the computer music to the field of symbolic notation remained fairly conventional. However, recent developments indicate that the field of tools for musical notation is now moving towards new forms of representation. Moreover, musical notation, transcription, sonic visualisation, and musical representation are often associated in the fields of musical analysis, ethnology, and acoustics. The aim of this conference is to explore all of recent mutations of notation and representation in all domains of music.

Paper proposals
Proposals will be accepted as oral presentations or posters.
The duration of an oral presentation will be 15 minutes followed by a question period of 5 minutes.
Standard presentation equipment will be provided including a video projector.
All accepted papers will be published in the conference proceedings, under an ISSN/ISBN reference, and will be archived online after the conference.

Workshop proposals
In addition to paper submissions, we are interested in receiving proposals for workshops involving technologies of notation and representation.
We would also be happy to receive proposals involving presentation formats which challenge the paper/presentation model (e.g. a paper+music presentation).

http://tenor2017.tenor-conference.org

OPEN CALL FOR SONIC ARTISTS sonADA 2016: Reverse-Play-Forward

July 19, 2016 in All Opportunities, Composers, Conference, electroacoustic by mwhiteside

OVERVIEW

sonADA (Sonic Arts Days in Aberdeen), a sonic arts and experimental performance organisation in Aberdeen, invites sound/sonic artists and musicians to perform at sonADA 2016, sonADA’s annual experimental music and performance festival, which is to be held from 29 September to 1 October 2016.
The theme for sonADA 2016 is Reverse-Play-Forward, which challenges both artists and
audiences to think about how our time has been contextualised by the heritage of our past and dreams and desires of our future. We will invite six to eight sound/sonic artists from this open call who will be performing together with six featured UK and international artists and another six sonADA sound artists.

DETAILS

Deadline: 31 July 2016
Submission materials:
Artist’s contact details
Performance plan for up to 15 minutes – up to 500 words, use drawings or diagrams if necessary
A portfolio of up to 3 previous works – if possible, please send us links to the works, such as Vimeo, Youtube, SoundCloud, etc. You can also send your portfolio via WeTransfer or Dropbox, etc.
Your availability between 29 September to 1 October – you are strongly encouraged to attend all three days during the festival if possible.
There is no submission fee
Submit all the required materials to sonadamusic@gmail.com
Notification of the Result: 5 August 2016, 5PM.
Artist fee for the performance: £100

WHO SHOULD APPLY?

The call is open to all artists whose performance is strongly related to sound. We are particularly looking for artists who can respond to the theme through their artistic and performance practice. Furthermore, we are interested in receiving applications from artists who work with unusual instruments, and/or create sounds through different and unique approaches to performance.
While the call is open to anyone, potential artists should consider that sonADA cannot cover travel/accommodation expenses.

CONTACT DETAILS

For more information about the call, please contact sonadamusic@gmail.com

FURTHER INFORMATION

For more information about sonADA, please visit our website at www.sonada.org
For our festival, please visit sonADA 2015’s website: http://sonada.org/sonADA2015/

New Music Scotland- Networking and Discussion Day 2nd September 2016

July 11, 2016 in All Opportunities, Conference, featured, News, Opportunity by mwhiteside

New Music Scotland

Networking and Discussion Day
2nd September 2016
Royal Conservatoire of Scotland, Glasgow 10.30am – 4pm

You are invited to join us for our third networking and discussion day. A day where we all come together to celebrate the successes of the last 12 months, to discuss the challenges that we face and to plan how to overcome these and shape new opportunities.

Our main discussion of the day will be ‘Working in Europe post-Brexit – what are the implications for funding and free movement of artists and how should we best prepare?’ The panel will include Geoffrey Brown from Euclid, Susanna Eastburn from Sound and Music, Norah Campbell from the British Council and Janet Archer from Creative Scotland.

In the afternoon Kyle Brenders from the Canadian New Music Network (skypeing in now following funding challenges) will join Alan Morrison from Creative Scotland, Susanna Eastburn from Sound and Music and Aidan O’Rourke to discuss ‘Making a Living from New Music’. The session will be chaired by Oliver Searle.

The day will include networking sessions, the NMS AGM (at which you are invited to contribute to planning the future direction of the organisation) and a networking lunch.

After a short break in the evening, you are invited to join us at the Echoes and Traces concert at Glasgow Cathedral featuring new works from Sally Beamish, Aidan O’Rourke, Matthew Whiteside, Allie Robertson and more. Attendees at the NMS Day are offered ‘Pay What You Can’ tickets for the concert. To take advantage of this fantastic offer, please email nicola@newmusicscotland.co.uk to reserve your tickets (payable in cash on the door). If you would like to pay the regular price, tickets are available online at £10-£15.

The NMS day itself is free for all to attend, but places must be booked. To reserve your place, book here – https://www.eventbrite.co.uk/e/nms-networking-and-discussion-day-tickets-26461435867.
Schedule for the day:

10.30am-11am – Coffee and Tea on arrival

11am – 12pm – AGM – all are welcome at this, but only members can vote. You can become a member on the day!

12pm-1pm – PANEL DISCUSSION: Working in Europe post-Brexit – what are the implications for funding and free movement of artists and how should we best prepare?

1pm-2.30pm – Networking Lunch

2.30pm-4pm – PANEL DISCUSSION: Making a Living from New Music

4pm: ENDS

7.30pm: Echoes and Traces at Glasgow Cathedral

If you have any problems with the eventbrite link or have any questions, please do not hesitate in emailing nicola@newmusicscotland.co.uk

We look forward to seeing you there!

SGFA::2016

May 25, 2016 in All Opportunities, Composers, Conference, electroacoustic by mwhiteside

SGFA::2016

Deadline July 8th, 2016

WHITE NOISE

A research event at

London College of Communication,
University of the Arts London

November 11th – 12th 2016

CALL FOR CONTRIBUTION Deadline July 8th, 2016

We are delighted to announce a call for the 3rd Sound::Gender::Feminism::Activism research event to take place in London on November 11th and 12th 2016.

Sound::Gender::Feminism::Activism is a bi-annual research event initially established in 2012 as a network for researchers, artists and performers working within intersectional fields of sound, gender, feminism and activism. SGFA::2012 delivered presentations and audio-visual artworks from thirty-six researchers, artists and performers from the UK, Europe, United States and Australia. SGFA::2014 incorporated performances, lectures, workshops and presentations from over thirty global participants. A publication that celebrates the presentations and participants from the previous two events will be launched at SGFA::2016.

SGFA::2016 seeks to query an expanded concept of White Noise. Working out from white noise’s original sonic conception of a random frequency, broad-based signal that masks everything else, white noise is all around us. White Noise is what Jennifer Stoever-Ackerman has termed a “sonic protocol” an often unquestioned norm based upon “culturally specific and socially constructed conventions that shape how sound is made, used and interpreted at a given moment”.

SGFA::2016 invites submissions for both twenty and ten minute contributions relating to the question;

How does whiteness, transmitted as an often sub-audible yet ubiquitous frequency, establish and maintain perceptual limits of what and who can be heard and how can this be changed?

How can we “confront and broadcast the underlying whiteness of the field and of the generic terms that provide so much currency in it: terms like “the listener,” “the body,” “the ear” and so on” (Stadler 2015) in ways that do not replicate racism, colonialism and gender violence but rather enable the audible transmission of alternative histories, forms, relations and ways of being.

SGFA::2016 will expand upon the previous research events through a combination of presentation formats over the course of two days; both twenty minute formal research papers and ten minute emerging researcher/artist presentations for the sharing of recent or ongoing work are sought.
This is an open call and we welcome responses from all relevant disciplines and will accept a variety of formats from academic presentations, proposals for artworks and documentation of artworks to more experimental contributions.

Please send expressions of interest, including the theme, topic and format of your presentation of around 200 words and a short biography of no more than 200 words by Friday 8th July, 2016 to SGFA2016@crisap.org.

Kindly supported by http://www.crisap.org

audibleVISIONS: symposium on video and sound art

April 11, 2016 in All Opportunities, Composers, Conference, electroacoustic, Performers by mwhiteside

audibleVISIONS is a two day conference that will address the contemporary exchange, influence and synthesis of video and sound-based art: AudioVisuals (AV).

https://audiblevision.wordpress.com/

We welcome and encourage submissions relating to sound and video based audio-visual media in interactive, live, fixed and collaborative works and have particular interest in research proposals including, but not limited to, the following areas:

-the relation between sound and movement

-social works

-generative work

-video and sound processing

-interactivity

Papers

250-word abstracts for papers of 20 minutes’ duration, followed by discussion

AV Works

250-word abstract for a audiovisual work (complete or extract) lasting no more than 20 minutes, followed by discussion.

Registration

Attendance for audibleVISIONS is free (including refreshments). However places are limited so please book in advance.

For all enquires, submitting Call for Works and Registration please contact:

Sarah Westwood swest013@gold.ac.uk

Deadline for Call for Works Wednesday 27th April 2016 midnight

Deadline for Registration Monday 9th May 2016 midnight

When submitting work, please include audibleVISIONS and which category in the subject. Please also state your home university and programme.

*Each artist is allowed to submit for both Call for Papers and Call for AV work, but may only submit one proposal per category. A separate application should be submitted for each category. audibleVISIONS is part of Goldsmiths Graduate School Festival 2016 and we encourage post-graduate and graduate students to apply but also welcome all applicants to apply.

Goldsmiths, University of London will host audibleVISIONS conference on 11-12 May 2016, in association with Sound Practice Research Unit, Electronic Music Studio and the Department of Music. This conference will bring together invited artists, scholars and students researching and practicing in music, sound and visual Arts- for live, interactive and fixed electronics for AV media.

Call for Works Sine & Squares Festival 2016 Analogue Electronics and Modular Synthesis

March 31, 2016 in All Opportunities, Composers, Conference, electroacoustic by mwhiteside

18-20 November 2016 – Manchester, UK
Submission deadline: 1st June 2016
Website: sines-squares.org

About
“Sines & Squares” seeks works for its second international festival on Analogue Electronics and Modular Synthesis, celebrating the recent resurgence of analogue and modular synthesizers. Details of the event and how to submit are shown below.
The Festival will include:

Concerts including live performances including fixed media works on the theme featuring the baby MANTIS System (large-scale sound diffusion system)
“Patchbay Sessions” with musical interludes (paper presentations and discussion proposals which are intercalated with short etude pieces.
Workshop/s to build Modular Electronics
Keynote speaker/s masterclass
Demonstrations on systems; e.g. Buchla, Serge, Eurorack, Hordijk and EMS, and also paper sessions
Modular Raffle (including systems and art work donated by sponsors and participants)
Call for works theme:
The main focus of the event will be on analogue and hardware synthesis but could include appropriate work realised with or referencing digital tools (for example Supercollider, game-engines, Reaktor, Max). The proposal should have a clear emphasis on synthesis, be innovative and unique.

WHAT ARE WE LOOKING FOR?

1] Musical Works
Composers / Improvisers may submit one work in any the following categories:

Short live performance pieces involving modular synthesizers or similar systems
Works for fixed media with up to eight channels emphasising the event’s themes
Audiovisual works emphasising the event’s themes
Works for interactive media in live performance emphasising the event’s themes. Modular Synthesis may be combined with game-audio / game engine technologies to mention but a few.
Duration: For this call we are looking for works/performances preferably under 12 minutes.
2]    “Patchbay Session Proposals” (which include papers or discussion proposals).
“Patchbay Sessions” are informal paper and discussion presentations.
– We are looking for short abstracts / outlines on any area of Analogue Electronics and Modular Synthesis, including for example, performance, design, patching, aesthetics, gender, history, innovation, to name but a few.
‘The format of the proposal is very open, as long as it fits within the given 20 minutes duration.

Submission Fee:
There is no submission fee for this call for works
Attendance:
Author/s of selected work must attend the festival should they had a piece or paper accepted.

Important
We regret we are unable to pay for the costs of transport, accommodation, etc. for participants whose works were accepted. We regret we cannot provide performers for the accepted submissions.

SUBMISSION DETAILS:
Method: Accepted submissions via wetransfer.com (or similar)
Email:
submissions@sines-squares.org
with cc/ to:
richard_scott@rwnc.co.uk
All submissions must also include the following form:

SUBMISSION FORM DOWNLOAD:
Download Submission FORM – or copy this link: http://bit.ly/1UsSgo8

TECHNICAL FORMATS ACCEPTED:
Music and Audiovisual Submissions: Music only in stereo wav, aif or flac format (e.g. 44.1 kHz /96 kHz/ 16 bit/24 bit). No MP3.
Multichannel submissions accepted but must also be accompanied with a stereo reduction.
Audiovisual submissions only on .mov
Forms including links to online materials (Vimeo, Soundcloud, YouTube, etc.) are also accepted (as long as they are accessible!)

WE PROVIDE:
Sines & Squares will provide the baby MANTIS System (minimum of 16 channel Genelec speakers) in the 350-seat Cosmo Rodewald Concert Hall (Manchester) and a minimum of 4-channel system at the charming Islington Mill Studios, Salford. We also will provide video projection, mixing console, microphones, cabling and equipped room for the paper and discussion sessions and professional technical support. Composers / performers should bring all the necessary gear (e.g. modular synths, computers, sound cards, etc) to realise their works.

FURTHER INFORMATION:
Sine & Squares Festival on Analogue Electronics and Modular Synthesis is organised by the NOVARS Research Centre, at The University of Manchester, UK and in liaison with Islington Mill Studios, Salford. Contact:
————————————————
info@sines-squares.org
with cc/ to
richard_scott@rwnc.co.uk
————————————————
http://sines-squares.org
http://www.novars.manchester.ac.uk
————————————————
The organisation reserves the right to modify the details and conditions of this form and call.
31 March 2016

SCI Call for Submissions SCI Journal of Music Scores

March 15, 2016 in All Opportunities, Composers, Conference by mwhiteside

The Society of Composers, Inc. is pleased to announce a call for works for Volume 56 and 57 of the Society of Composers Journal of Music Scores. To see an archive of past SCI Journals, please visit: http://www.societyofcomposers.org/publications/sciscores.html.

Deadline: May 31, 2016, 11:59 pm EST.
Prize: Inclusion on Volume 56 or 57 of the SCI Journal of Music Scores.
Fee: None.

Submission Guidelines

All submissions must be made at http://www.musicavatar.org. Submissions sent via email, post, or other methods will not be considered.

Only current members of SCI are eligible to apply. To become a member of SCI, visit: http://www.societyofcomposers.org/join/howtojoin.php

Composers may submit one composition for consideration. This work may be for any instrumentation, for any number of performers, and in any style, including electroacoustic music. Composers whose works have been included in the previous five volumes of the Journal are ineligible to apply.

All submitted scores and recordings must be ANONYMOUS. Any element that may reveal the composer must be removed. This includes composer’s name from all pages (front matter and copyright included), dedications, catalogue information, and file names.

Scores should be no more than 25 pages long and must be legible when reduced to 8.5×11 dimensions (portrait or landscape acceptable).

All score submissions must be uploaded a single, anonymous .pdf document containing the entirety of the score and all front matter. Multi-movement works must include all movements in a SINGLE .pdf file.

Submitting a recording is optional but preferred. Multi-movement works must include all movements in a single audio file. For submissions, accepted audio formats include .aif, .wav. and .mp3.

A panel of professional composers will judge each anonymous entry independently. Scores will be adjudicated for both their musical content and for the quality and clarity of their engraving. The resulting scores will be tabulated with the highest scoring works selected for inclusion. Submitting composers will be notified of the panel’s decision by the end of the summer.

Any questions can be directed to Annie Neikirk: submissioncoordinator@societyofcomposers.org

FAQ

Q. Why should I submit to the Journal?

A. The Journal is a peer-reviewed submission. This distinction often weighs heavily in promotion and tenure processes.

Q. How are the pieces selected to appear in the Journal?

A. A panel of professional composers from across the country critiques the anonymous works independently. Those pieces that receive the highest combined scores are selected for inclusion.

Q. Can I submit the same work to the SCI CD Series?

A. Yes, but you must additionally follow the directions for the SCI CD Series call. You will be uploading your document twice in such a case. The judging panel is different for each call.

Q. When will the Journal be published?

A. Be aware that it generally takes a year or more from the time the works are selected to the time they go to print. SCI appreciates your understanding of the time and effort involved in printing a professional publication in our all-volunteer organization.

Q. Can I submit this year if my work was selected for a previous journal?

A. Composers who have had works included in the last five volumes of the Journal are ineligible to apply.



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