Sonica 2019 Open Call

April 10, 2019 in All Opportunities, Composers, electroacoustic, Other Opportunity by mwhiteside

Cryptic is seeking existing audiovisual installations by Scottish-based artists to be presented as part of their biennial visual sonic arts festival, Sonica, which returns to Glasgow from 31 October to 10 November 2019

Sonica is an 11-day biennial festival in Glasgow, dedicated to world-class visual sonic arts. Returning to Glasgow for its fifth edition, the award-winning festival will present cutting edge work by international artists alongside emerging UK talent across the city from Thu 31 October – Sun 10 November 2019. Since launching in 2012, the festival has presented over 800 events by 250 artists from six continents reaching audiences of over 160,000 people.

We are looking for innovative and creatively ambitious installations which are already existing and require no further development as this is something we are unable to fund. All Scottish-based artists, regardless of age or stage in their career, are welcome to apply. Artists who are currently in higher or further education are not eligible (this does not apply to PHD students who can apply.)

The selected artists will receive

A guaranteed fee of £500 to cover time and labour for a one-day install and half-day de-install of their existing installation, in line with the Scottish Artist Union’s 2019 rates of pay;
Travel expenses for artists based out with Glasgow;
Support in sourcing basic technical equipment where possible;
Support for install/de-install where possible;
Venue hire, PR and marketing support;
A platform for your work supported by an experienced, international arts company;
– An opportunity to participate in an international arts festival;
– An opportunity to build a new audience for your work;
– Valuable opportunities to develop networks alongside exceptional international and emerging artists.

If you would like to apply please download the submission guidelines and equal opportunities monitoring form below. Please consider the eligibility criteria and application content carefully before applying, ensuring you follow the guidelines. Cryptic is an equal opportunities organisation and welcomes applications from a broad range of applicants. We will work with all applicants to ensure their access needs are met during the selection process and will ensure that access requirements are not a factor in our decision making.

If you require additional support in completing your application or have any questions please contact Jennifer at or phone 0141 354 0544.

Applications should be sent as a single PDF file to: The PDF file name and email subject line should read YOURNAME Sonica Open Call 2019 Application. (e.g. Jim Smith Sonica Open Call 2019 Application.)

Application Deadline: 12 noon Wednesday 8 May 2019

Sonica 2019 Open Call Guidelines

Equal Opportunities Monitoring Form 2019

The Night With… Advertisement for Board Members

April 3, 2019 in All Opportunities, Composers, electroacoustic, Opportunity, Other Opportunity, Performers by mwhiteside

The Night With… is seeking to recruit two new board members with the capacity and skills to oversee the development of the charity. We are particularly interested in hearing from people with legal and/or HR skills, experience of international touring and record labels; and from those with a strong interest in contemporary classical music. The Night With… actively encourages applications from people who identify as female, LGTBQIA+, working-class, people with disabilities and those from Black, Asian and Minority Ethnic backgrounds. We’re also interested in hearing from people who work outside Scotland. We are keen to hear from people with all levels of experience. If you have not acted as a trustee before and would like to find out more about what the role would entail, please contact The Night With…’s Chair Carol Main on Board members are expected to attend four board meetings per year, and to participate in the life of the organisation between board meetings, attending performances, advising staff members and acting as an ambassador for The Night With… The roles are unpaid voluntary positions. Travel expenses can be arranged. Most meetings will take place in Glasgow or Edinburgh.


About The Night With…

Begun in 2016 by composer Matthew Whiteside, The Night With… is a salon style series based in Glasgow presenting interesting contemporary classical music in intimate, informal venues away from traditional concert halls.


Since 2016 there has been 18 concerts with 14 world premières in Glasgow, Edinburgh and Aberdeen with 624 audience members attending in total. Performers have included performers drawn from Scotland and further afield including Red Note Ensemble, Juice Vocal Trio, James Turnbull, Wooden Elephant, Joanna Nicholson, Frances Cooper and Carla Rees. Premièred composers have included Claire McCue, George Stevenson, Diana Salazar, Emily Doolittle, Timothy Cooper, Matthew Whiteside and Samuel Beagles.

2017 was the first The Night With… Call for Scores for self-defined emerging composers with no age limit. The scores were submitted and judged under a pseudonym, to prevent any bias, with five being selected for workshop and one being selected for première in the concerts. In 2017 the call for scores was for the Aurea Quartet (string quartet) and received 61 entries from 9 countries and Juice Vocal Ensemble (female vocal trio) received 42 entries from 15 counties.

In October 2018 The Night With… was founded as a Scottish Incorporated Organisation with a board consisting of Carol Main (chair), Andy Saunders (secretary), Matthew Whiteside (CEO & Artistic Director) and Nicholas Bone. We are in the process of launching the 2019 season.



About the Role

We recognise that different candidates will bring different skills and experience to the board, and would encourage anyone to apply who meets some of the criteria below.


  • General Commitment to supporting the mission and objectives of The Night With…
  • Willingness to act as an ambassador for The Night With…
  • Genuine passion and interest in the work The Night With… undertakes


Skills & Experience

  • Knowledge of charitable governance structures
  • Ability to review and interrogate financial reports
  • Strategic planning skills
  • Risk management skills
  • Passion and knowledge about classical music
  • Experience working within the arts


How to Apply

Please send an short cover letter outlining your interest in the position and a CV to our CEO & Artistic Director, Matthew Whiteside, Please send expressions of interest by 20th May

Find out more about The Night With…


Power SERG – Call for Works

April 3, 2019 in All Opportunities, Composers, electroacoustic by mwhiteside

Two performances organised by University of Aberdeen’s Sound Emporium Research Group (SERG in conjunction with Aberdeen University’s May Festival (

The SERG concerts will run on the 24th of May, 2019, at 1pm and 7pm. A more detailed programme will be available in late April.


SERG (Sound Emporium Research Group) is issuing a call for works to all UK-based sonic artists. There is no strict theming, however, we encourage submissions to be inspiring and engaging as the May Festival is well attended by the general public and children. In particular, we seek applications from postgraduate students and early-career composers/creators to fulfil SERG’s primary aim of supporting the next generation of sonic artists.

A limited number of bursaries are available to cover accommodation/travel expenses incurred by the performer/composer’s attendance at the concerts. See the application information provided below for information on how to apply for a bursary.

Performance Submissions:

We welcome contributions from a wide range of disciplines, and invite submissions on, but not limited to, the following:

  • Fixed Media (stereo, or multichannel up to 16 speakers)
  • Live Electronics
  • Instruments and Electronics
  • Live Coding
  • Audiovisual Works

Submissions should not be of a duration greater than 15 minutes. Unfortunately, we are unable to programme installations as part of these concerts.

As these are performances organised by postgraduate students, preference will be given to submissions from students and early-career sonic artists.

To apply, please email with the following information:

  • A .pdf including your programme note (up to 150 words), biography (up to 50 words) and any technical requirements for the performance.
  • A recording of the piece (if possible/appropriate). Audio file submissions accepted only as download/streaming links. Please do not use attachments to send audio files.
  • A note of whether you are applying for a travel/accommodation bursary. This should include estimation and breakdown of expenses.

Submission Deadline: 5pm, 17th April.

Selections announced: 26th April.

For more info, questions, or submissions, please email:

Call for Miniature Tape Works

June 23, 2017 in All Opportunities, Composers, electroacoustic by mwhiteside

The « Núcleo Música Nova » (Brazil) seeks Electroacoustic miniatures for concerts opportunities in Brazil (from July to November, 2017). These are the specifications:

– deadline: July 2nd, 2017;
– there are no fees nor artistic wages (we are from a public university; all concerts have free entrance);
– there is no age/nationality restrictions;
– only fixed-media electroacoustic works (aka Tape piece / Acousmatic work);
– only miniatures: no more than 2 minutes;
– up to 4 channels sound diffusion (8-channels is a possibility, although not guaranteed in every concert);
– send internet link (recommended) or mp3 (for now);
– send composer’s bio (short), photo, and program notes (short);
– send your work to with the subject TAPE MINIATURES – YOUR NAME;

Questions? Please contact us at

eviMus Festival – Call for works

June 20, 2017 in All Opportunities, Composers, electroacoustic by mwhiteside

The eviMus Festival and the KuBa – Kulturzentrum am EuroBahnhof present the “4. Saarbrücker Tage für elektroakustiche und visuelle Musik” in Saarbrücken (Germany). The eviMus Festival is a four-day Festival focussing on new music in all of its forms. All events are free and open to the public. All composers, regardless of nationality, age or career stage, are invited to apply. Since the number of applications exceeds the places available, there will be a selection process.

The submitted works must fulfill the following requirements:

1. Category A – Fixed media:
Four channel up to eight channel works for fixed media (Format: WAV or AIFF files, stereo works are not going to be considered)

2. Category B – Instrument/electronic:
Solo instrument/voice and fixed media or live electronics (stereo or more channels). The organization will decide if instrumentalists are available. Works for flute and electronic are desired.

3. Category C – Video:
Works for video and music are desired (stereo or more channels)

4. Category D – Installation:
Sound Installations and Interactive Media (composer has to provide all non-standard equipment)

Composers can submit several works (but only one work per composer will be include in the concerts). Works which last 8 minutes or less are preferred; no work should exceed 10 minutes.

How to apply:

All applications must be sent via DropBox (only as a “view”, not as an “editor) or Google Drive in a single folder to the email: info [at] evimus [dot] de.

The application must fulfill the following requirements:

1. PDF, ODT or DOC with contact information, composer’s biography, nationality, date of birth and a description of the idea of your work (program notes).

2. Audio file .AIFF or .WAV format 16bit or 24bit at 44,1kHz sampling rate containing a stereo version of the piece (Category A or B),
video file .MOV (Category C),
PDF file with the score for instrument and electronic (Category B),
Documentation with Fotos, Video, Description, etc. (Category D)

3. Additionally, for multichannel pieces (Category A), send the audio files corresponding to each of the channels inside a separate folder (Audio file .AIFF or .WAV format 16bit or 24bit at 44,1kHz sampling rate).

Please do not send email file attachments.

Composers can submit several works (but only one work per composer will be include in the concerts). Works which last 8 minutes or less are preferred; no work should exceed 10 minutes.

On the “4. Saarbrücker Tage für elektroakustiche und visuelle Musik” will also be room for discussions about the relation between music, technology and society. Everyone is welcome to participate. In order to organize these discussion-related sessions conveniently, everyone is welcome to submit papers with hypotheses, ideas or proposals. Also discussions of submitted works are appreciated.

Start of applications: 1st february 2017
Deadline for applications (Category A, C and D): 31th July 2017
Deadline for applications (Category B): 1st July 2017
End of selection process and notification: 10th August 2017
Final deadline for all performance material: 15th August 2017

Composers will be notified of the results by email.
The application is free of charge

Call for Cryptic Nights

June 6, 2017 in All Opportunities, Composers, electroacoustic by mwhiteside

Recognising the need for a regular, supportive platform for emerging Scottish based artists with fresh ideas, Cryptic launched Cryptic Nights in 2009 and has presented over 250 artists in partnership with the Centre for Contemporary Arts (CCA) in Glasgow. Many Cryptic Nights’ artists have gone on to have highly successful careers, most notably Rachel Maclean, Robbie Thomson, James Houston, Anna Meredith and Yann Seznec.

Crossing creative boundaries with live music, visual and sonic art, film and new media, Cryptic Nights presents a selection of the highest quality emerging talent.

The next deadline for applications to Cryptic Nights is 12noon on Monday 17 July 2017.

We are looking for ambitious, emerging artists based in Scotland, who create high quality, innovative, multimedia work with original music or sound-based elements at their core. With Cryptic’s support, artists will be guided in the development of an existing idea or piece of work.

Selected projects will receive:

– A guaranteed minimum fee of £500 per performance/installation with support, advice and space to take risks;
– A platform for your work supported by an experienced, international arts company;
– Venue, technical, PR and marketing support;
– Travel and accommodation bursaries for those living outside Glasgow where applicable;
– An opportunity to build a new audience and raise your profile;
– Free entry to other Cryptic Nights throughout the year;
– Valuable opportunities to develop networks.

Whilst Cryptic Nights is mainly based in CCA, Glasgow, we are also interested in innovative site-specific works. We do not support traditional theatre, dance or literature, and we prefer not to support work which has already been given a substantial platform or support from other arts organisations. We aim to fill a gap.

We understand that an artist’s creative career can emerge at any stage in life. The Cryptic Night’s programme is selected by a panel of arts professionals based on application criteria, quality of work and potential for development.

If you would like to apply, please download the submission guidelines below. If you require additional support in completing the application please contact Rachel at

Applications should be sent as a single PDF file (max 15MB) to The PDF file name and email subject line should read YOURNAME Cryptic Nights 2018/19 Application.

Deadline: 12 noon, Monday 17 July 2017

More info:

Open Call for Sonica 2017

May 31, 2017 in All Opportunities, Composers, electroacoustic by mwhiteside

Titan Crane Commission

In Partnership with West Dunbartonshire Council

For 2017, celebrating 110 years since the Titan Crane was built, Cryptic would like to commission a Scottish-based composer/sound artist to create a bespoke electronic soundscape for the wheelhouse of the crane. This new work would ideally reflect not only Titan’s role as an outstanding icon of the Clyde’s industrial heritage, celebrating its extraordinary innovative engineering, it would also celebrate the regeneration of Clydebank’s waterfront and its future.

The site-specific work will be presented in the Titan Crane during one of the weekends as part of Cryptic’s biennial visual sonic arts festival, Sonica, which returns to Glasgow from 26 October – 5 November 2017.

All Scottish-based composers and sound artists (regardless of age or stage in their career) are welcome to apply. We are looking for creatively ambitious artists with innovative ideas to transform the exciting and inspiring wheel house of the Crane into a memorable sonic experience. Artists who have previously presented work at Sonica or are currently in higher or further education are not eligible to apply.

The selected artist will receive:
– A guaranteed commission fee of £2,000 inclusive of artist’s fee and production costs;
– A platform for your work supported by an experienced, international arts company with support, advice and space to take risks;
– An opportunity to participate in an international arts festival;
– Venue, technical, PR and marketing support;
– An opportunity to build a new audience and raise your profile;
– Valuable opportunities to develop networks alongside exceptional international and emerging artists.

If you would like to apply please download the submission guidelines below. If you require additional support in completing your application please contact Rachel at

Applications should be sent as a single PDF file to: The PDF file name and email subject line should read YOURNAME Titan Crane Sonica 17 Application.
(e.g. Jim Smith Titan Crane Sonica 17 Application.)

Deadline: 12 noon, Wednesday 21st June 2017

More info here.

Call for Electroacoustic Works

May 14, 2017 in All Opportunities, Composers, electroacoustic by mwhiteside

At RMN Music, we want to discover the next generation of composers that are making works of Electroacoustic Music 

Deadline – 31st May

Luciano Berio, Pierre Boulez, Pierre Schaeffer, Edgar Varèse, Iannis Xenakis, Steve Reich, Milton Babbit, John Cage … Electronic Music, Live Electronics, Electroacoustic Music, Music Concrète, Acousmatic, Soundart, Sound Installation, Soundscapes…

If you use technology to generate, transform, manipulate, create sounds and compositions then this project is what you were looking for.


 We decided to launch this Call for Electroacoustic Works to discover and promote the next generation of composers that create music with instruments different from the tradition.

We are looking for sounds that have never been heard before, innovative ideas, original compositions, outstanding productions, anything able to shape the music culture of tomorrow’s young composers, musicians and audience.

We plan to select the best works and to produce a top quality release to add to our current catalogue. The fresh new album will be produced by RMN Classical and released worldwide through RMN Music. The release will be distributed worldwide in a high-quality edition on iTunes, Apple Music, Google Play Music, Amazon Music, Spotify and many other stores. We are currently setting up a physical distribution for all of our releases and we’re glad to add this services to the prize as soon as this will be available.


Professional production of the album, Commercially published by RMN Classical, Worldwide distribution via RMN Music, Design of the cover artwork, Preparation of the liner notes and other promotional text, Get a share of the sales of the album and keep the copyright of your own work & more…

Plase consider read the full guidelines and prize at the link below:

Call for Electroacoustic Works

Applause Music Concert Series Call for Scores (Fixed Media/Electro Acoustic)

May 14, 2017 in All Opportunities, Composers, electroacoustic by mwhiteside

The Applause Music Concert Series is seeking works for Tape/Mixed Media for up to four channels (4.1 sound). Electro-Acoustic works will also be considered, but it will be up to the composer to secure their own perform to play the piece. The selected compositions will be performed in Fort Worth, Texas on July 15th, 2017.

To submit, please send an email to with the following information:

1. Your Name
2. Title of the Work and its Length
3. 1 attached score (if applicable)
4. A mp3 or link to soundcloud/youtube of the work submitted

Those selected are highly encouraged to join us for the concert, but attendance is not required to be selected.

Scores must be submitted by June 15th, 2017. There is no entry fee for this call for scores.

CEMIcircles Electronic/electro-acoustic Festival Call for works

April 27, 2017 in All Opportunities, Composers, electroacoustic by mwhiteside

The Center for Experimental Music and Intermedia (CEMI) at the University of North Texas invites electronic music composers of all nationalities and ages to submit works for the CEMIcircles Concert Series.

CEMI is an interdisciplinary center focused on music and arts technologies, hosted within UNT’s Division of Composition Studies. CEMI fosters the integration of electroacoustic music, live performance, video/film, plastic arts, and theater. Since its 1963 inception, CEMI has evolved into a unique creative environment, world-renowned for innovative works and musicians.

The CEMIcircles Concert Series will showcase recent computer music works in one or more events in the Merrill Ellis Intermedia Theatre, in the Fall 2017 and Spring 2018 (date: TBD).

Preference will be given to pieces under 12 minutes of duration. These should consist of either fixed audio/video or live electronics with or without acoustic/electronic instruments. In the latter case, composers must either perform their own work or provide their own performer(s).

Submitted works will be curated and selected by the CEMI personnel, with the assistance of CEMI Director, Panayiotis Kokoras. The concert will take place in the Merrill Ellis Intermedia Theatre, featuring a 28.3-channel audio system, three-screen immersive HD video projection, and full stage customizable lighting including “smart light” units. More information here:

– One submission per composer
– Submission Fee: none
– Deadline: Friday, May 5

Online Submission Form:

More info:

Applications for Rough Mix 2017 now open

March 29, 2017 in All Opportunities, Composers, cpd, electroacoustic, residencey and summerschool by mwhiteside

Deadline 17th April

Rough Mix 2017 multi art form creative development residency in Peebles – call for applications to this paid opportunity
Magnetic North’s 2017 multi-art form creative development residency Rough Mix will take place in Peebles from 19th-30th June. It will run at the Eastgate Theatre and Arts Centre and is open to both early career and experienced artists.

The residency is is a paid opportunity for artists from any art form based in Scotland, the rest of the UK or internationally. All participants receive a fee and travel costs within the UK. There are two prioritised places: one for an artist identifying as Deaf or disabled and one for an artist from a Black, Asian or Minority Ethnic background.

ROUGH MIX is a creative lab for early-stage ideas and practice development: a two-week practical opportunity for artists to try out new ideas or new ways of working. It brings together a small core group of practitioners from different disciplines and gives them time to start developing new projects in a supportive and collaborative atmosphere. The practitioners work together with a group of performers and two early-career artists over a two week period before giving a work-in-progress showing at the end.

You can download information about how to apply from our website.

Call for works

March 27, 2017 in All Opportunities, Composers, electroacoustic by mwhiteside

Deadline – August 2017

The Screendance Centre of Burgundy ( is currently preparing a collective dance film project for 2018 based on the 1653 Ballet de la Nuit (Ballet of the Night) by Louis XIV. The project consists or creating a 13 hours long dance film, split into 13 distinct one-hour long segments, that will be screened in May 2018 in the Castle of Cerisy (Normandy) from sun set to sun rise, before being uploaded to the Numéridanse page of our Centre ( Each of the 13 segments will be shot by a different screendance maker, using a different piece of electro-acoustic music.

The final projet will be similar to past initiaves from our Centre, such as:
– a collective dance film based on the Rite of Spring by Vaslav Nijinski (Sacre/ilège(s) :…)
– another collective dance film based on the Totentanz by Franz Liszt (Danses Macabres :…).

We are looking for 13 electro-acoustic musicians ready to compose one hour long pieces of music for this project, one for each segment of the night, divided as follows (according to the original libretto of the ballet:

1 & 2- First Watch: Night
3- The Courst of Miracles
4 & 5- Second Watch: Venus and the Graces
6- The Mute Comedy of Amphitryon
7 & 8- Third Watch: Hercules in Love
9- Witches’ Sabbath
10 & 11- Fourth Watch: Orpheus
12- The Dreams
13- Grand Ballet: The Sun

The pieces of music will need to be sent back to us by the end of August 2017 at the latest, so as to leave enough time for the filmmakers and choreographers to make their film by the end of February 2018.

We are currently working on getting a stipend for each composer and filmmaker involved in the project, but at present this project is on a volunteer basis for those looking to experiment and collaborate internationally.

Application deadline: April 1st 2017

Please signal your interest in the project by sending a message to with a CV and a sample(s) of past compositions.

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



Peter Kirn (Editor–in–Chief, CDM: Create Digital Music)

Dr Theresa Dillon (Artist–Researcher, Professor of City Futures at Watershed and University of the West of England, Bristol)

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:


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


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) ( 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:;;;;


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.

Please submit an abstract of approximately 250-300 words as an e-mail attachment to

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.

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 ­­–

Prof. Dr. Thomas A. Troge (IMWI, Karlsruhe) –

Prof. Dr. Denis Lorrain (IMWI, Karlsruhe) –

Vis. Prof. Dr. Marlon Schumacher (IMWI, Karlsruhe) –

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

Prof. Miroslav Spasov (Keele University, UK) –

Dr. John Dack (Middlesex University, UK) –

Adrian Palka (Coventry University, UK) –

Timothy P. Schmele (IMWI, Karlsruhe)  –

Administrative support: Gundi Rössler (IMWI, Karlsruhe) –

Segnali 2017 – Call for Audiovisual works and live audio-video performances

March 16, 2017 in All Opportunities, Composers, electroacoustic by mwhiteside

deadline 27th March 2017

Entry proposals are being accepted for audiovisual work and live audio-video performances for the seventh annual international electronic music festival, Segnali – Audiovisual and Performance Arts, which returns from 2nd-6th of May.

Work created within the last three years is eligible and welcome to be submitted for consideration. Final pieces must be no longer than 15 minutes in duration though proposal documentation for audiovisual work regarding live performances may last up to 30 minutes. Selections may be successful this year, or the committee may choose to defer some successful pieces until next year’s programme.

Each video submitted for selection must be accompanied by a full technical specification written in English or in Italian, which specifies as follows:

the creator(s) of the images
the creator(s) of the music and sound
a short biography of the creator(s) (max 500 characters including spaces)
a short synopsis describing the work (max 500 characters including spaces)
country/countries of production
year of production
duration of the work in minutes and seconds
the original digital format
specifications for the video projection of the work
three pictures (JPG 300 dpi) of the work and one of the authors
authorisation to use extracts of the work for promotional purpose only should the submission be successful
authorisation for the treatment of personal data used during the selection process.

There is no registration fee however shipping expenses are responsibility of the entrants.

The work being submitted for consideration must be received no later than Monday the 27th of March 2017 and may be sent by post, uploaded, or transferred online in high quality video formats (HD, H.264, mpeg4, mpeg2, mpeg, mov, avi).

Please address postal entries to: Prof. Angelo Benedetti – Dipartimento di Nuove Tecnologie e Linguaggi Musicali-Cattedra di Musica Elettronica Conservatorio di Musica “Francesco Morlacchi” Piazza Annibale Mariotti 2 – 06124 Perugia, Italy.

For electronic submissions please contact the organisiation at:

Decisions made by the selection committee will be final. Those who are successful will be notified as soon as possible.

The Senegali – Audiovisual and Performance Arts international festival is promoted by the Francesco Morlacchi Conservatory of Music of Perugia, the Pietro Vannucci Academy of Fine Arts of Perugia, the Umbria Region, and the Oreste Trotta Regional Sound Archive.

Call for works for live, performative electronics

March 6, 2017 in All Opportunities, Composers, electroacoustic by mwhiteside

Listening to Ladies and Ctrl-Z are excited to announce a call for scores, due Thursday June 1st, 2017 .
Composers of any age and nationality who identify as women, nonbinary, or gender fluid are invited to submit scores for live performative electronics for a series of concerts to take place in California and New York in the Fall of 2017 (venues/dates to-be-determined). The program will showcase hugely important yet often overlooked contributions to the history of electronic music by women alongside new pieces written by non-cis-male composers working on the cutting edge of experimental electronic and electroacoustic music. The resulting program will be recorded and released by Ctrl-Z in late 2017/early 2018.

Ctrl-Z is a live electronics group that focuses on composed works for live electronics, either written explicitly for the medium or interpreted as such. Pieces are typically realized with a diverse array of electronic equipment, including computers (with custom Max/SuperCollider/PD patches as well as commercial software), modular synthesizers, homemade circuitry, test equipment, and video/projection equipment. Since the available catalog of compositions written for these types of ensembles is fairly small, there is not an extensive literature to reference when writing. However, previous works performed by Ctrl-Z have employed the following kinds of notation:

1) Text (instructions written on how to realize the work with the a timeframe/timeline)
2) Graphic notation (graphics with definitions and keys to realize sound)
3) Traditional notation (staff notation to realize timbre variations in classic pitch/rhythm structures).
Please note if traditional notation is exclusively used, there should be reason as to why electronic
instruments must be used as opposed to acoustic instruments.
4) Color (using colors to delineate timbre variations)
5) Video/Projection (using graphics or video to realize sonic ideas in a way that is fixed to the
timescale of the video)

In many instances, works performed by Ctrl-Z have utilized combinations of the above notation techniques. To this in mind, we strongly encourage all submitters to not hold back on their creativity when exploring musical ideas for live electronics.
Ctrl-Z is currently made of three members, but we often bring on additional performers to augment the group. While we do not discourage pieces using acoustic instruments, we will not consider electroacoustic works with electronics are simply functioning as audio processing for acoustic instruments. We are seeking works for l ive performative electronics . If a submission includes a written instrumental part, in addition to parts written live performative electronics, we will surely consider it.

Interested composers can submit up to two pieces can be of any length. Works may have been previously performed, and there is no submission fee. We will accept 2-4 works, which will be programmed for our Fall concerts, and released on record. However, if we find more than the allotted number of chosen pieces to be of high quality, we will add them to our catalog to be potentially played/recorded at a later time.

Email the following to by 23:59 EST, Thursday June 1st, 2017:
1) PDF score(s)/photo(s) of the piece(s) (maximum is 2 pieces). Program notes are not required, but if they are included with the score, please remove your name and any other personal/identifying information that may appear in them (please keep/display the titles of the pieces though).
2) MP3 sound files for each piece submitted (if applicable).
3) A separate PDF containing: the title(s) of the piece(s), the name of the composer, and contact
information for the composer – email, phone number, and website address if available. You may also include a brief bio (no more than 150 words) on this document (optional).

Again, remember to ensure that no information identifying you is on the score or in the filenames (please keep/display the titles of the pieces though).

The number of compositions selected for inclusion is dependent on the pool of works received.
The compositions will be selected by the Ctrl-Z performers with administrative help from Listening to Ladies staff. Selected composers will be notified by email by Friday June 16th, 2017. Selected composers must be prepared to supply parts and other performance materials for their compositions by Saturday July 1st, 2017 in order to allow the performers enough time to rehearse them (if applicable).

THE COMPOSERS WILL RETAIN ALL OWNERSHIP, PUBLISHING, PERFORMANCE, AND DISTRIBUTION RIGHTS TO THEIR WORK. We do not seek exclusivity or any rights to artistic works. We will perform, record, release, and promote the music, but the composer reserves all rights to do with the work what they see fit, forever. Details regarding the recorded release of works will be discussed in full with the top selected composers once the call is finished and they have been notified.
If you have questions, please email Elisabeth Blair at

Ctrl-Z is a group dedicated to the performance of composed music for live electronics. Founded by Ryan Page, Daniel Steffey, and Nick Wang in 2015, the group often finds itself in collaboration with other musicians, who perform on both electronic and acoustic instruments, to realize these works. Using an array of modular synthesizers, computers, homemade circuitry, test equipment, and other machinery, they have commissioned new works for the medium, as well as realized classic pieces, or adapted open-ended instrumentation scores to fit their means of performance. Music in their repertoire includes works by John Cage, Pauline Oliveros, Luc Ferrari, Johanna Beyer, Lou Harrison, Ryan Ross Smith, Alvin Lucier, and those in the group, among others. They are always accepting new pieces submitted by living composers, as well as realizing more classic works by pioneers of the genre. For more information you can visit:

Listening to Ladies showcases non-cis-male composers through online features, a concert series, and a podcast. Learn more at

Call for Works MUSLAB 2017

February 22, 2017 in All Opportunities, Composers, electroacoustic by mwhiteside

Camin-Art Asociation and MUSLAB Ensemble

Composers, regardless their age and nationality are invited to submit their works of electro-acoustic music, electroacoustic music and video, Video Mapping.

Guidelines for submission of works:

Deadline for receipt of entries will Date: July 1 2017
They will participate works composed after January 2008
The duration of the work will be between 5 and 15 minutes
Only one work per category defined by composer admitted
Entries must be signed by the author or authors (no pseudonyms)
Works that have been previously submitted to competitions and concerts may participate if accompanied by a letter of consent for presentation and recording this show.
There is no charge for registration


Category A (Audio only):is open to electroacoustic music compositions of autonomous art (music band), a single independent movement duration.
Category B (Audio and video): is open to compositions of autonomous electroacoustic music and Video, one independent movement.
Category C (Video only): is open to compositions of Visual Art – Video Art.

Channels : Stéréo, 3.0, 4.0, 5.1, 6.0, 7.0, 8.0

Formats : .aif, .wav, .mov, .mp4

Submission at:

You must online register and attach a file format (ZIP) with the following documents:

1) The application form completed and signed. (fill in Adobe acrobat)
2) One picture in good resolution.

3) A short biographical sketch of the composer. ½ page.

4) Notes of the work. ½ page.

5) Signed letter of consent.

6) El peso del archivo comprimido debe ser menor de 10 MB

A link to download your piece compleate version stereo or mutichannel version- formats : .aif, .wav, .mov, .mp4 . (you can use wetransfer or dropbox)

7) Also attach a copy in .mp3 stereo format (with your piece)

If the documentation is not complete it will not be taken into account

(IMPORTANT Do not use storage servers that delete files sent after a time as wetransfer. Your files should always be available until the date of publication of the results)

By participating with his work in the Exhibit, the composer gives his consent, rights and authorization to disseminate his work, exempting the CaminArt Association and MUSLAB from any payment or liability with associations or entities of copyright, and grants permission To broadcast his work in the concerts activities and radio broadcasts where the MUSLAB International Electroacoustic Music Show is transmitted.

All works that are recorded with a record company must have a letter stating this fact and the license of the recorder that can be broadcast within the MUSLAB International Electroacoustic Music Show.

If the author chooses to participate in the selection for the production of a CD-DVD that will be sent to different fonotecas and libraries of the world, he must send a letter where he gives his consent to record his work in the edition of this Sample MUSLAB CD-DVD. The composer retains copyright but authorizes the dissemination of his work.

The audio recordings submitted to the competition will not be returned to the composers and will remain in the files of the CaminArt Association and will be donated to the National Fonoteca.
The International Electroacoustic Music Show is not a contest; Is a call and an opportunity to promote sound art related to the creation of visual effects in public spaces, training in new technologies and an artistic contribution to strengthen social coexistence. Will be held in open spaces and forums in Mexico Argentina and Brazil

The CaminArt Association and the MUSLAB Ensemble have made an invitation to renowned composers, musicologists, all with extensive experience in electroacoustic music to form a Selection Committee that will review the quality of the sound and visual works to be presented.

These works will be presented and distributed independently of the authors’ assistance, however, for those creators who are interested in attending the show and confirming their presence, the Committee will make an effort to schedule their work in the days of their stay In any of the venues. In order to accommodate you in the best possible conditions, we would be happy to inform you of your possible assistance together with the sending of the works and tentative dates of your trip.
Travel, lodging or meals will not be covered, however, creators willing to travel will be supported by sending letters or invitations addressed to the bodies that they indicate or with which they are managing support to cover such expenses.

The Selection Committee may decide not to include a work within the show or to change the program.

All participants will be notified when their work is received and once it has been selected.

The pieces will be scheduled for presentation between October 1 and December 31, 2017 in the different venues of the sample.

The participating compositions may be broadcast by radio.

CALL FOR SOUND PROPOSALS. INTER- #9: negative space (surround, stereo, other).

February 14, 2017 in All Opportunities, Composers, electroacoustic by mwhiteside

CALL FOR SOUND PROPOSALS. INTER- #9: negative space (surround, stereo, other).

INTER- is an quarterly event series presenting sound art and experimental studio production. We support 5.1, quad, stereo and are open to other ways and means.

For the next INTER- event we are looking for responses to notions of *negative space*.

If the dominant politics can be understood in terms of the deterritorialisation and reterritorialisation of space – physical, social, psychic, personal, economic, public, virtual, digital – what could it mean to pursue negative spaces in/through sound?

Proposals of all kinds are welcome – across aesthetic, conceptual and technical boundaries.

The closing date for proposals is *Monday 6th March 2017*
INTER- #9 takes place on *Wednesday 12th April 2017* at Stereo in Glasgow.



INTER- : sonic spaces in between (surround, stereo, other)

INTER- is an quarterly event series presenting sound art and experimental studio production. We support 5.1, quad, stereo and are open to other ways and means.

These nights are about creating a focused, public listening context for experiments in recorded sound. We are particularly fascinated by the *in-between* spaces of contemporary sound and listening – between sound production and reception, between real and virtual aural environments.

We aim to support work and practices which might not fit easily into other performance contexts. We hope these events can help to draw together practices across electroacoustic composition, studio production and field-recording (amongst others) and be part of the exchange between sound and music methods taking place across Glasgow and further afield…

For each event we prioritise submissions for artists working in the Glasgow area, but frequently programme work from around the world.

Previous participants include – Bethan Parkes, HMBKR, Mark Vernon, Matthew Shoen, Nikki Kane, Felipe Otondo, Jamie Cooper, Slavek Kwi and Linda O Keeffe, Nathan Quirk, Luca Nasciuti, Angus McIntyre & Nicola Reade, Robert Stokowy, Roberto Zanata, Nicola Scrutton, Isobel Anderson, Tullis Rennie, Paul Nataraj, Angus Carlyle + Rupert Cox, Rory Comerford, Seth Rozanoff, Jox Oiz, Lauren Sarah Hayes, Anna Terzaroli, Lina Tobler, Paolo Pastorino, Tim Cooper, Aisling Quinn, Adam Stanović, Symeon Yovev, Robert McLeod, Xavier Madore, Zoë Irvine & Pippa Murphy, Brian Connolly, Nikos Stavropoulos, J Simon van der Walt, Liam Slevin, Thiago Ruiz, Paul Johnston, Laurence Chan, Michele Del Prete, Tony Morris, David Philp, Matthew Grouse, Patrick Shand, Gordon Delap, Damon Lee, Nicolas Marty, Oliver Carman, Jamie Ferguson, Zubuntu, James Andean, Czech Vodus, Coryn Smethurst, Daphne Potamiti, Konstantinos Karathanasis, Paul Jamieson, Adriana Minu, Alexander Bauer and Luis Valdivia.



Please send proposals to
with the email title ‘INTER- 9 proposal’
by the closing date of *Monday 6th March 2017*

including the following:
– proposal info – 500 words max
– any relevant links to work examples (streamable audio preferred i.e. we prefer to avoid downloading complete works at the selection stage)
– detailed tech requirements including file format and whether playback (laptop etc.) can be provided for your work
– brief artist bio

Due to the nature of the event (high tech requirements and limited audiences) we can’t pay artists for showing their work at this stage. Free tea/coffee/soft drinks and a discount on our vegan menu is provided for people presenting work.


International Academy for Composers & Sound Artists

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

International Academy for Composers & Sound Artists
June 12 – 19, 2017
Mykonos, Greece


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.


GEORGES APERGHIS, Honorary President

PANAYIOTIS KOKORAS, Acoustic and Electronic Composition, Music Technology


ALEXANDROS SPYROU, Artistic Director



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.



1. All applications must be submitted by email at

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 for more information

Enlighten Festival of Light and Sound Art – Call for Artists

February 13, 2017 in All Opportunities, Composers, electroacoustic by mwhiteside

Deadline midnight on 1st April 2017

Four funded residency opportunities for mid-career artists across Europe to take part in new international partnerships developing installations that combine light and sound.

Jump to the Application Form

The second round of residencies offered from the newly formed ENLIGHT project invites three European artists to undertake collaborative residencies developing public-realm artwork with technical teams based in Manchester, Stavanger and Rome.

Curated Place with SPECTRA Festival  in partnership with MIRIAD at the Manchester School of Art (UK), I/O Lab in Stavanger (Norway), and Fondazione Mondo Digitale in Rome (Italy), are offering artists the opportunity to participate in a new programme and network producing and promoting light and sound artworks – exploring the meeting point of art, technology and design. Artists will be invited to undertake several short residencies with their host organisations – supported by their teams of technologists and technicians to create a new public realm work for exhibition in our existing festivals. The residencies are squarely focused on completing production for exhibition outside of traditional art spaces and developing the skills and networks of all involved.

Residencies will take place in the following production windows with hosts:
Manchester: July 2017 – October 2017
Norway: July – October 2017
Italy: July – October 2017

All artists will be required to exhibit their final work at the 2018 SPECTRA Festival in Aberdeen (Feb 2018) the 2018 Rome Media Festival (Early May 2018) and The Stavanger Article Biennial (August 2018).

Theme: A New Light

Light plays a fundamental role in the story of Europe, shaping the rhythms and boundaries of social interaction within cities; defining the drive of the enlightenment; and providing the means through which we now overcome the restrictions of geography and time thanks to modern digital communications. As such it precedes, defines, and now enables our cultural landscape.

Across every state in the Union light has played a central role in how both physical and social space has been defined providing a universal language for expression and interpretation. However, each state has negotiated its own unique relationship with illumination through the peculiarities of their built environment, the oral and written histories crystalized within them and the historical social, scientific and cultural interactions with the medium. This complex story delineates those subtle differences and similarities that define a shared European heritage and delineates where out future shared space of identity could lie.

We are inviting artists to escape the ahistorical white cube and set their work within the environment of the cities where we work, inviting creative proposals for developing new works and artists professional practice that will explore how new collaboration with teams that allow artists to explore new technical ground can reinterpret the experience of the built environment in public realm installations using light and sound.

Deadline: midnight on 1st April 2017


Applicants must hold a valid passport from and reside in one of the following countries (passport and residency need not be the same state):

EU Member States:
Austria, Belgium, Bulgaria, Croatia, Cyprus, Czech Rep, Denmark, Estonia, Finland, France, Germany, Greece, Hungary, Ireland, Italy, Latvia, Lithuania, Luxembourg, Malta, Netherlands, Poland, Portugal, Romania, Slovakia, Slovenia, Spain, Sweden, UK

EEA / EFTA countries:
Norway and Iceland (Switzerland is currently not part of the Culture Programme and is excluded)

“Candidate” countries:
Albania, Bosnia and Herzegovina, Former Yugoslav Republic of Macedonia, Montenegro, Republic of Serbia, Moldova, Georgia


Artists who have a track record of exhibition and collaboration, who are established in their own region and are at a stage in their career to successfully engage in international collaborations are invited to apply for the opportunity to work with a host arts organiasation in Norway, Italy or the UK through a series of intensive residencies to develop new works.

Through the residency the artist will be required to work closely with their partnering host to develop a new light-based artwork for presentation outside of traditional gallery spaces. We are looking for artists who enjoy working flexibly and are eager to engage in an experimental process – not simply a commission.

Successful applicants will develop a new work with one of the three partnering organisations with support and mentoring from the broader ENLIGHT network in Norway/Italy/UK before having the work exhibited at partners’ festivals in 2018.

Commitment to the Project:

The project will run a split residency format with each artist being invited to work with hosts over three visits.

The applicant will be required to carry out an initial meeting with their host organisation to meet, familiarise themselves with the tools, resources and personnel available, and devise a project direction then work before leaving to develop these ideas.

The artist will then be invited to undertake two residential visits during the residency window periods (exact timing to be agreed with successful applicant). By the end of the process artists will be required to have an installation ready for exhibition. The premiere installation will take place over three days prior to the Aberdeen festival in February 2018 and artists will be required to be present during the 4 day festival if their work needs operational oversight. A further two exhibitions will take place at the Rome Media Festival and Stavanger Article Biennial.

We will provide:
• Hosts’ support and personnel to develop their ideas, and the resources of the host organization outlined below (SEE CHART).
• All travel, accommodation and a sustenance budget
• An artist bursary of €2000 fee ring-fenced from all other costs
• Marketing for the project
• Introduction to local cultural partners and peers in the host cities
• An exhibition of the work in Aberdeen/Rome/Stavanger

How to apply
Artists should apply through the application form and provide:
• Their choice of partnering organisation and why
• An outline of how their involvement in the project would impact on their professional development (300 words)
• A brief proposal (500 words maximum) outlining their ideas of how they would approach the collaboration creatively, thematically and practically.
• A strategy for engaging new audiences in the work (300 words each)
• Two examples of their work to date (preferably demonstrating an ability to work in a collaborative fashion and delivering works outside traditional gallery settings.
• Images and tech specs of previous work presented
• A press-ready biography
• Press clippings of previous work
• An up to date CV

A shortlist for interview will be selected by the project partners.

Shortlisted candidates will be interviewed by Skype/Facetime in early April 2017.

Resources for Artists

  • Fondazione Mondo Digitale

Video Lab
Game Lab
Fab Lab
Immersive Lab
Robotic Center
Expert consultations and technical support
Art Critics, Art Curators, Experts
Collaboration with other artists (sound artist, videoartist, ecc.)

  • Manchester School of Art

3D Print Services – Powder Printing
Our 660 colour powder printers can provide full colour, high detail prototypes, ideal for architectural presentations and visual prototypes that require colour information and fine structures. The finished model is robust but not strong enough for real world applications.

3D Print Services – Plastic extrusion printing
Our CubePro printers provide good rapid prototyping and can produce objects like toys and phone cases that can be used straight off the printer in material that are ready to use in real world applications.

AV Store
The AV Store offers short term loans of camcorders, lighting, digital cameras and other audio-visual equipment to faculty students and staff.

Animation Capture Suite
The computer equipment and cameras in the Animation Capture Suite can be used to create stop motion animations.

Photography Resources
Photography studios, darkrooms and film processing facilities are available in the Chatham building.

Edit Suites
The Edit Suites provide post-production video editing facilities using Final Cut Pro and sound editing tools.

Wood, Plastics and Foam
There are extensive workshop facilities to support students working with wood, plastics and foam.

Facilities for jewellery making, traditional blacksmithing and forging, metal fabrication, machining and welding.

Workshops for mould making, casting, throwing, glazing and firing using electric and gas kilns.

Facilities for both hot and cold glass working.

Computer Aided Manufacture (CAM)
A digital router and laser cutter are available in the CAM Workshop.

Chemical Workshop
For spraying and other processes involving chemicals.

  • i/o/lab

Laser cutter
Multiple CNC Mills for soft metal, plastics and wood
Multiple 3D printers
Large plotter
CNC vinyl and paper cutters
Electronics equipment
Various power and handtools



Curated Place is a creative production company specializing in developing, delivering, managing and marketing major projects across international borders and with numerous partners. They commission and present new music and visual art across Europe and beyond, and have developed successful large scale projects for Royal Botanic Gardens Kew, CityCo, Essential Edinburgh, The City of Edinburgh and Aberdeen City Council. As well as founding and directing the Moving Classics European Network for New Music they produce and lead creative direction on all aspects of the Enlighten Manchester Festival of Light and Sound Art and Aberdeen’s Spectra Festival of Light Art which attracts over 40,000 visitors each year.


MIRIAD (Manchester), Part of Manchester School of Art at Manchester Metropolitan University, carries forward Manchester’s proud 175 year tradition in art and design education, whilst offering an innovative and modern approach to research and study. MIRIAD engages with the changing territories of knowledge and new technologies, to interrogate dominant cultural viewpoints and identify emergent patterns in the international cultural landscape and global environment. It also encourages debate and disseminates knowledge to a variety of audiences through publication, exhibition, new technologies and media, events and consultancies. MIRIAD’s main aim is to develop research capabilities commensurate with sustainable national and international levels of excellence. MIRIAD’s external collaborations and projects are extensive – a recent survey showed that last year it undertook 180 external collaborations, 130 professional activities and had 82 links with industry.


i/o/lab (Stavanger), is an artist-run organization with expertise within the field of art, technology and science. i/o/labs projects have on several occasions been referred to as one of the most innovative and interesting art projects in the region and nationally. Our expertise extends from production to dissemination and knowledge of art within new technology and science.The dimensions of i/o/lab is to provide innovative and artistic projects through creating meeting places between art and research to multiple audiences in the community where projects are partly based in public spaces.

We represent the region’s most innovative arts festival focusing on media art that expresses contemporary technology and trends, Article Biennial, which has been arranged in the Stavanger region since 2006. The purpose of Article Biennial is to promote art forms commenting on our digital world and affecting ethical and political issues concerning our time.


Fondazione Mondo Digitale (FMD) (Rome), is committed to the creation of an inclusive learning society in which innovation, education, inclusion and fundamental values work together. The potential benefits offered by knowledge, new technologies and innovation must be made available to everyone without any form of discrimination. The FMD mission is to promote the sharing of human knowledge, social innovation, and social inclusion, with particular orientation to the categories at greatest risk of exclusion (the elderly, immigrants, unemployed young people, etc.). The Foundation has developed projects with artists since 2014. The main project is the Rome Media Art Festival. It is a large event aiming at bringing the younger generations closer to a new way of conceiving and using digital technology for creativity, visualization and communication. The event seeks to establish a bridge between schools, museums, research centres, universities, companies. Furthermore, the FMD implements artist’s reside.

SOUND CHECK – Call for Proposals

February 3, 2017 in All Opportunities, Composers, electroacoustic by mwhiteside

What do amps and alloys, 3D printers and piccolos have in common? How does your favourite tune sound when it’s played on a physically impossible instrument? What’s the difference between noise and music anyway?

Banish the bland with one-of-a-kind instruments that make sounds like no other. Join musicians, makers, computer engineers, and artisans to explore the technologies changing how we hear, experience, and make music.

How will blurring boundaries between sound, science, fabrication and performance lead to new sonic discoveries?

Get hands-on with experimental materials, virtualisation, and DIY technologies. Whether you’re imagining a twenty-metre trumpet, a synth for six players, or a drum kit for slime mold, everyone can test a real or a simulated version of their wildest sonic ideas in our SOUND CHECK LAB. Join a workshop on instrument building, or take a masterclass in digital improvisation, and collaborate with other visitors to explore the outer edge of tomorrow’s sound.

SOUND CHECK is that moment between practice and performance, designs and reality, where new musical tools make us hear our world differently.


For our open call we’re especially interested in projects that explore themes and topics such as:

  • Open-source kits and plans for building instruments
  • Work that pushes the possibility of sound through physics, biology or chemistry
  • Projects that feature fab-lab equipment to make instruments or music (3D printer, laser cutter, etc.)
  • Musical interfaces that are designed for maximum accessibility or ultimate self-expression
  • Instruments or installations which encourage collaboration across generations, skill-levels and genres
  • Custom, handmade or original instruments
  • DIWO (Do It With Others) workshops, installations or sonic labs
  • Community-oriented practices which engage underserved communities through music
  • Projects that repurpose or upcycle e-waste, trash or underused materials (i.e. circuit bending, e-waste synthesisers, cigar box guitars)
  • Instruments that can be played in collaboration with humans and non-humans (plants, slime molds, artificial intelligence)
  • Community oriented maker projects (i.e. a modular synth that gets added to weekly by different groups or schools)

Please note for this exhibition we are not seeking projects whose primary focus is:

  • Data sonification
  • Non-musical sound installations or kinetic art

More info –

Deadline – 20th February

KcEMA Call for works for Soprano and electronics, featuring Liz Pearse

January 26, 2017 in All Opportunities, Composers, electroacoustic by mwhiteside

On April 14, 2017, The Kansas City Electronic Music and Arts Alliance will present a concert of works for soprano and electronics featuring local artist Liz Pearse.


The program will include Milton Babbitt’s Philomel, Kaija Saariaho’s Lohn, and recent works by composers based in the greater Kansas City area (including Lawrence, Columbia, etc.).

To submit your work for consideration:

– Include a score and a sample of the electronics.
– Recordings are preferred but not required. If submitting a recording, please link to SoundCloud, YouTube, etc.
– Works must be for 2-4 channels.
– Materials must be submitted by Feb. 20.
– Performance-ready materials for selected pieces are due by March 1.
– Send all materials to

Please address any questions about submissions to

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

Concert Works
Student ThinkTank

Please check the conference website for updates and detailed submission information:
To submit proposals online via EasyChair, go to

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:

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
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

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 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


((( 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.

=== 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.

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:

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:

Submission should be uploaded using MUME 2017 EasyChair portal:

For complete details on attendance, submissions and formatting, please visit the workshop website:

Questions & Requests
Please direct any inquiries/suggestions/special requests to the Workshop Chair, Philippe Pasquier (

SoundKarD Open Call for works 2017

January 19, 2017 in All Opportunities, Composers, electroacoustic by mwhiteside

Deadline – 10th February

SoundKarD are running an inaugural call for pre-existing works for voice, keyboard and electronics (specification below) to feature in our 2017/2018 concert programme. We are particularly keen to receive works that have been written in the past 5 years.

Submissions needn’t use staff notation and we welcome works that incorporate improvised material.

This call is open to all composers regardless of nationality, age or career stage. All submissions should be sent electronically in PDF (score/text) and mp3 format (details below).

Instrumentation • Voice – soprano, range A3 to C5 (A3 being A below middle C). • Keyboard – piano (with or without extended techniques), harmonium, organ or keyboard. • Electronics – fixed tape or live electronics. Quadraphonic works are welcome, however a stereo version should be made available. Submissions Guidelines

All submissions should be sent electronically to We recommend you use a file-sharing platform (such drop box, sound cloud etc.) if submitting large format media files.

Submissions should include:

1) Cover page with the following information;

• Title of work • Year • Duration • Contact information • Link to a recording or video of the work (where available) • Work bio (premier/commission information) • Biography (200 words)

2) Program Note (300 words maximum) in PDF. 3) Performance score in PDF. 4) Stereo MP3 recording of the work (if not available to listen online). 5) Technical specifications outlining electronics should be provided in PDF.

The deadline for submissions is midnight (GMT) Friday February 10th 2017. Composers will be notified by email by the end of March, 2017.

If you have any questions or would like more information, please contact us at


CALL FOR WORKS SIME 2017 – (24./28. April)

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

Electroacoustic fixed music –
Stereo, quadrophonic or octophonic works.
The International Electroacoustic Music Week SIME 2017 solicits works for the festival SIME 2016. The festival will take place in the University of Lille III -France. The call is opened for composers of any nationality and age.
Each composer can submit only one work.
Maximal duration of works should be 15’.
For multichannel works’ submissions, composers should send a stereo version for the Jury.
The submission is on line. Composers have to send:
a) Personal information: Name, surname, nationality, date of birth, email, telephone
b) Title and comments of the work (150 words maximum).
Composers have to send this complete information in PDF form to:
c)The work : Audio submissions exclusively in Dropbox link (no other format is allowed), in stereo format should be sent to We remember that If the work is multichannel, in case of selection, the composer should send us afterwards the 4- or 8-channel version.
The subject of the e-mail is: Submission SIME 2017
Current languages: English, French, Spanish.
Submissions not respecting these conditions will be discarded.
The submission should include the name of the composer and the title of the piece.
Submission’s deadline: 01. February 2017
An international Jury constituted by relevant personalities of the musical field will select the works to include in SIME 2017. Decisions of the Jury are unappealable.
The list of selected pieces, together with the name of the Jurys, will be published the 01.03.2017.
For further information please contact:

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.


January 15, 2017 in All Opportunities, Composers, electroacoustic by mwhiteside

The Babeș-Bolyai University, the Art and Design University, and the Gheorghe Dima Music Academy are pleased to announce the 2nd edition of Elektro Arts. The Festival will take place on May 12th and May 13th, 2017 on the beautiful venues of Cluj-Napoca.

The Festival will be hosting a Call for Electroacoustic Works, which has always been committed to showcasing Digital Art.

Established or emerging sound artists are invited to submit their original works from the wide spectrum of electroacoustic music. Despite of the style variety, preference will be given to music for 1-6 channels fixed media.

The works must be received by March 31st, 2017. Complete details of the submission process are found online at

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:
Conference email:

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.

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?

Free Sound Production Short Course

January 7, 2017 in All Opportunities, Composers, cpd, electroacoustic, Opportunity, Other Opportunity, workshop by mwhiteside

Academy of Music and Sound – Glasgow

Deadline: 13 January 2017 at 11:55

This program will give you hands on experience with Logic Pro X, microphones, MIDI recording and a host of other useful skills and knowledge that will help you in home recording or set you up for further study in sound production.

On successful completion, you will be awarded a BTEC Level 3 Award in Sound Production to evidence your new-found recording abilities and throughout the whole process you will receive guidance and support from one of AMS’ specialist trainers.

This course is available free of charge, however spaces are strictly limited so we recommend that you book ASAP.

Please note, this course is available to anyone aged over 16 years old.

The next intake will start on the following dates:



Class 1: Saturday 14th of January
Class 2: Saturday 21st of January
Class 3: Saturday 28th of January
Class 4: Saturday 4th of February
Class 5: Saturday 11th of February


Class 1: Sunday 15th of January
Class 2: Sunday 22nd of January
Class 3: Sunday 29th of January
Class 4: Sunday 5th of February
Class 5: Sunday 12th of February



Class 1: Saturday 14th of January
Class 2: Saturday 21st of January
Class 3: Saturday 28th of January
Class 4: Saturday 4th of February
Class 5: Saturday 11th of February


Class 1: Sunday 15th of January
Class 2: Sunday 22nd of January
Class 3: Sunday 29th of January
Class 4: Sunday 5th of February
Class 5: Sunday 12th of February

For further information, please contact (Thomas Sutherland), or call 01412214458, or visit

The deadline is Friday 13 January 2017 at 11:55.

Open Circuit Festival 2017

December 29, 2016 in All Opportunities, Composers, electroacoustic by mwhiteside

As part of Open Circuit 2017 the University of Liverpool is pleased to announce a call for acousmatic and audio-visual works. Several works will be selected for performance on a multiple loudspeaker system by Dr Oli Carman and Mr Matt Fairclough on 27th March 2017 in the Leggate Theatre of the Victoria Gallery and Museum.

Works must have been composed after 2015 and should fall within one of the following categories:

1. Stereo acousmatic works with a duration of up to 12 minutes.

2. Audiovisual compositions in which audio and video have the same artistic relevance, with a duration of up to 10 minutes.


Please send the following materials via a download link (wetransfer, dropbox) to to register your interest in the call.

For Acousmatic works; Brief bio (500 words) Programme Notes, Duration of Work. Stereo audio file (44.1kHz, 24bit)

For audiovisual works; Brief bio (500 words), programme notes, web link to video file (e.g YouTube, Vimeo)


The deadline for the submission of materials is Friday 20th January 2017.

International Trombone Festival Composers Workshop with Eric Ewazen

December 29, 2016 in All Opportunities, Composers, electroacoustic by mwhiteside

The International Trombone Festival announces a new Composer’s Workshop for composers interested in writing for trombone in the 21st century — learning new techniques, interacting with performers and getting readings of their music at the 2017 International Trombone Festival. The distinguished composer, Eric Ewazen, and University of Redlands faculty composer Anthony Suter will lead the workshop.

The daily sessions will include:

• Presentations by each of the composers of the music they’ve written which will include looking at their scores plus recordings or mp3s of computer performances of their music. Discussion of their interest in adding to the trombone repertoire, and how their music can “fit” the instrument.
• A talk discussing Mr. Ewazen’s approach to writing for trombone, which will include a look at some of the great and iconic pieces for trombone written by other composers.
• A session with invited trombonists demonstrating and talking to the composers about trombone technique — what they consider to be easy, hard, trombonistic repertoire etc. Also included will be demonstrations on the technical aspects of the instrument, sound production, idiomatic ranges, etc. plus a look at extended techniques and mutes.
• Individual lessons with Eric Ewazen for each of the student composers.
• The participating composers’ pieces will be performed by some of the distinguished guest artists participating in the festival.

Upon acceptance, the composers will be asked to write a piece for trombones involving solos, duets, trios or trombone quartets. The solos can have piano accompaniment. The composers will each bring in these pieces they have written for trombones to the first session. They can modify their pieces during the course of the Festival. Reading sessions will be held with performers from the Festival, culminating in a workshop performance of the works.

Eligibility: The workshop is open to all composers.

Tuition: The workshop is free and includes registration for the 2017 International Trombone Festival.

Room and Board: Each composer is responsible for his or her own room, board and transportation. Information on housing and travel options for the ITF is available on our website:

How to Apply: Submit a resume, sample score (pdf) and links to recordings to by January 15, 2017.

The International Trombone Festival (ITF) is the world’s largest annual trombone festival. The International Trombone Festival, Inc. is a registered 501(c)(3) non-profit organization. ITF is responsible for producing the annual International Trombone Festival. Its sole member is the International Trombone Association although it is wholly independent of the ITA with its own board, its own staff and its own budget.

2017 Electrobrass Conference

December 29, 2016 in All Opportunities, Composers, electroacoustic by mwhiteside

2017 Electrobrass Conference
April 7th-9th 2017 Tennessee Technological University Cookeville, TN
Composition Competition – Call for Works

The Electrobrass Conference is seeking music that features a brass instrument and electronics for a Composition Competition! 6-10 finalists and their works will be determined from the submission pool, and they are invited to attend the conference and have their work performed, with the performances spread across the duration of the conference alongside other finalists, clinicians, presenters and other professionals. At the end of the conference, 1st, 2nd, and 3rd place winners will be announced, with cash prizes given.

Eligibility: All composers/artists of any age, gender, race, creed, etc are eligible to submit works. The maximum number of submissions per composer/artist is 3.

Instrumentation: Either solo brass instrument with either fixed or live electronics, or chamber ensemble with at least 1 brass instrument (5 players maximum) with either fixed or live electronics.

Duration: No lower limit, but do not exceed 14 minutes.

Submission Deadline: January 20th 2017, 11:59pm.

For complete information and submission details, please visit:

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