Produced radio segments wanted

August 1, 2016 in All Opportunities, Composers, Opportunity, Other Opportunity, Performers by mwhiteside

The Cutty Strange is a monthly radio hour that airs the first Thursday of each month at 1am EST on Wave Farm’s WGXC 90.7 FM in New York’s Upper Hudson Valley. The show centers around new and experimental music, focusing on transmission and broadcast arts works. As stated in a previous call, we are always accepting works that fit this criteria to be considered for air on the show.

This call is to open guest produced segments to the show, that focuses on a topic of the guest’s choosing. We are asking for interested persons to submit a short proposal, or already completed segment (see below) with the following information:

1. The topic at hand.
2. The subject(s) of the segment.
3. The music (if any) to be played.
4. The overall production idea (is it an interview, lecture series, multi-episode segment, info piece, opinion, etc.).
5. The estimated length of the segment.
6. How you feel this piece relates to the field of experimental arts.

These pieces should be produced by the guest producer, but we also accept submissions of scripts of segments that can be produced by our staff. In these cases, we will work with the guest contributor to make a piece that best reflects their ideas and ours here at The Cutty Strange. With that said, we are also interested in working with those who are producing pieces, to help achieve the highest possible quality radio work. We are very open to any and all ideas so long as the guidelines above are addressed. Ultimate approval of proposals and completed segments are subject to that of The Cutty Strange and WGXC.

For completed radio segments, please complete the above information, as well as stating if the piece has aired before, and of so, when and where?

If submitting a completed segment, please submit in MP3 format (constant bitrate 192kbps). Please be sure that the piece adheres to the profanity and indecency guidelines put forth by the FCC. Those that do not adhere to the guidelines, will not be aired. You can see the guidelines here:

One person or group may submit as many proposals or segments as they wish; there is no entry fee or limit. The Cutty Strange operates on a not-for-profit basis, there is no fee paid to you for airing your segment, and we are not interested in negotiating any such fees.

**Please EMAIL all inquiries to

Thank you all for your time.

Daniel Steffey
The Cutty Strange

Creative Europe Cooperation Projects Development Workshop – Edinburgh

July 18, 2016 in All Opportunities, Composers, Opportunity, Other Opportunity, Performers by mwhiteside

This workshop is aimed at arts, creative and heritage organisations who have already attended one of our regular information seminars and are seriously considering submitting an application for the Cooperation Projects deadline in October 2016. 

This interactive workshop led by the Creative Europe Desk UK team, will provide the chance to:

  • Begin to develop and test project ideas that respond to Creative Europe’s priorities and your existing programme and activities
  • Hear existing beneficiaries Carolyn Lappin, YDance, share their experience so far of delivering Creative Europe-supported project Let’s Dance.
  • Find out how working with European partners could help your organisation to develop your work and profile through long term transnational collaboration

This event is free and open to organisations in the creative and cultural sectors with some prior knowledge of Creative Europe’s Culture sub-programme. If you have not previously attended one of our regular information seminars, we would recommend signing up to one of these introductory sessions before attending this workshop.

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

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

New Music Scotland

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

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

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

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

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

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

The NMS day itself is free for all to attend, but places must be booked. To reserve your place, book here –
Schedule for the day:

10.30am-11am – Coffee and Tea on arrival

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

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

1pm-2.30pm – Networking Lunch

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

4pm: ENDS

7.30pm: Echoes and Traces at Glasgow Cathedral

If you have any problems with the eventbrite link or have any questions, please do not hesitate in emailing

We look forward to seeing you there!

The Cumnock Tryst – Festival Assistant

April 17, 2016 in All Opportunities, Opportunity, Other Opportunity by mwhiteside

For a few autumn days the East Ayrshire town of Cumnock becomes a meeting place for music. Founded by composer Sir James MacMillan, The Cumnock Tryst brings some of the world’s greatest musicians into local venues in and around Cumnock, with the community at the heart of all of its activities.

Now in its third year the 2016 festival will run 29 Sept – 2 Oct.

The Cumnock Tryst would like to recruit a Festival Assistant to be involved with this exciting and growing festival. If you are interested in festivals and music then these four days will be filled with fantastic events, that you will get the chance to experience and be a part of.

For more information see here: Festival Assistant job advert 2016

Banff Fellowship Residency for Scottish Artists

April 14, 2016 in All Opportunities, Composers, Opportunity, Other Opportunity, Performers, residencey and summerschool by mwhiteside

This residency program is for up to four Scottish artists in any discipline (including but not limited to visual and performing arts, music, photography, film, new media and writing) who wish to explore any aspect of Banff’s unique environment, its environmental history and culture; and who wish to use the opportunity to advance their practice and career.

What does it offer?

The residency will take place during October and November 2016, in order to coincide with the Banff Mountain Film and Book Festival (part of the award includes all access passes to the Festival) and the Mountain Adventure Writing Program.  Participants will also have the opportunity to meet with local historians and research within the extensive archives of the Whyte Museum of the Canadian Rockies, and to collaborate and create with other artists on campus.

The four artists will create in the Leighton Artists’ Colony, which is located in a secluded, wooded area on The Banff Centre’s 43-acre campus, providing an ideal space for creativity and intense productivity. This residency offers artists the ability to work independently, as well as to engage within the larger artistic community of The Banff Centre with advice, support, expertise and access to sites appropriate to the resident and the project. The successful artists will also be able to work collaboratively should they wish.

Who should apply?

Artists of any discipline are eligible to apply, including visual and performing arts, music, photography, film, new media and writing.  Applicants can be of any age and at any career stage, but must demonstrate exceptional talent, and a strongly focused interest in the mountain and environmental theme provided by this opportunity. Artists must be working residing in Scotland to quality for this residency.

See more at:

Distil Showcase Blog by Judith Walsh

April 11, 2016 in All Opportunities, featured, guest blog, Judith Walsh, Opportunity by mwhiteside

This annual musical get-together at Stirling Tolbooth – the Distil ShWP_20160408_013owcase – has a bit of magic about it. As far as new music events go, this one combines an addictive mix of contemporary artistic thought with a relaxed gig night. It draws a regular, committed, audience that includes a lot of industry people – artists and promoters, agencies and sponsors.

Run by Hands Up For Trad, the Distil project is now in its tenth year and, during that time, has helped create over 100 new pieces for mixed chamber ensemble. Ostensibly, it opens its doors to folk-rooted artists looking to develop their writing however, as has been so well-expressed over recent years, artists are now rarely defined by one genre. The concert on Friday night showcased nine new pieces, performed by Mr McFall’s Chamber and guests from the folk circuit. The eclectic ensemble has been the house band for a number of years, and its players (Robert McFall & Jackie Norrie on violins, Mairi Campbell on viola, Su-a Lee on cello, and Rick Standley on double bass) work closely with the composers in the run-up.

mcfalls distilThe composers are all gigging performers, most writing for their own concerts and bands, with some pursuing dedicated composition careers and training. From speaking with the artists, it seems the process of Distil – the atmosphere and resources it provides – is the most valuable part of the experience. Before their workshopping-rehearsal week with Mr McFall’s Chamber and the public showcase concert, they spend time at a residential in the beautiful surrounds of New Lanark. This time out is focused on thinking outside the usual creative parametres, by spending time with visiting high profile composers and creators in the fields of contemporary composition, world music, and improvisation.

From an audience perspective, the energy and experimentation of the featured artists is what dominates the Showcase. The pieces themselves may or may not have a longer life but the process shines through. That, coupled with the obvious enjoyment of the house band in presenting the new works, creates a great night of live music premieres.

Lauchlan’s Waltz Stuart Macpherson
Haven Ailie Robertson
The Road to Dalginross Karen Marshalsay
Seeking the Ice, Questing for the Sun Catriona Price
Hebridean Collective Mhairi Mackinnon
Still Joy / The Night of the Bright Mystery Fiona Rutherford
Distilled Alana MacInnes
Pingvellir:Thingvellir Tom Oakes
The Merry Lads of Ayr Simon Thoumire

Judith Walsh is on the board of New Music Scotland, General Manager of Mr McFall’s Chamber and Ludus Baroque, Project Manager of Live Music Now Scotland, and supporter of independent artists and arts projects.

Organised Sound: An International Journal of Music and Technology

March 20, 2016 in All Opportunities, Composers, electroacoustic, Opportunity, Other Opportunity, Performers by mwhiteside

Organised Sound: An International Journal of Music and Technology

Call for submissions

Volume 22, Number 3

Issue thematic title – Which words can we use related to sound and music?

Date of publication: December 2017

Submission deadline: 15 January 2017

Issue co-ordinator: Daniel Teruggi (

In late 2016 the full English translation of the Traité des Objets Musicaux by Pierre Schaeffer will be published by California University Press 50 years after its first appearance in French. This important milestone and the proximity to the 70th anniversary of the first Concert de bruits by Schaeffer in June 1948, which opened the road to musique concrète, offer a unique opportunity to analyse the way we talk about sound and music. One of the strong contributions of Schaeffer was to develop a vocabulary describing sound structure and behaviour, using terms applied to other senses to identify them thus setting the foundation for the analysis of sound in music and how our perception creates sense out of sound information.

Schaeffer opened the road to musical research and since then various theories, systems and environments for analysis have been proposed enriching the vocabulary and the approaches to the understanding of electroacoustic music and the function of sound within it. Today, we are rich in ideas and always looking for new ways to talk about sound and music putting in perspective the evolution of different currents of thought regarding the nature and use of sound and its incidence in musical and emotional perception.

Sound has always been the underlying component of music; however, sound today is seen as an invention process where the musician already expresses his or her musical intentions which condition the final results. There have been a number of attempts to classify sounds: either from a purely acoustical point of view or from a point of view of perception. There is also an intermediate mode, which is the description of the production process. However the important issues are: how do composers handle sounds in their representation and classification systems and what is the position of sound in musical thought?

Regarding music, there exist analytical theories or approaches with a strong tendency over recent years to consider how sound material conditions the analytical method to be applied. In this context it is important to investigate the relation between sound and music, and how musicality is or is not dependant on the sound environment. How does perception adapt itself to continuously changing sound environments? How do emotion and pleasure develop and build lasting schemes in our memory?

Possible areas of interest include:

–        Are there sounds more adapted to music, or is any sound a musical candidate?
–        What is the influence of musique concrète on musical thought today?
–        How is sound considered in analysing music? Is it just a component or a conditioner of analysis? In other words, how does sound sound?
–        Can music be ‘only sound’? Do continuous sound patterns function as music for our perception?
–        Looking at different ways of talking about sound: traditional, scientific or morphological
–        How important is electroacoustic music analysis in education and dissemination?
–        Can musical essence survive in terms of poor sound reproduction devices or formats?

As always, submissions related to the theme are encouraged; however, those that fall outside the scope of this theme are always welcome.



Notes for Contributors and further details can be obtained from the inside back cover of published issues of Organised Sound or at the following url: (and download the pdf)

Properly formatted email submissions and general queries should be sent to:, not to the guest editors.

Hard copy of articles and images and other material (e.g., sound and audio-visual files, etc. – normally max. 15’ sound files or 8’ movie files, both only when requested, should be submitted to:

Prof. Leigh Landy
Organised Sound
Clephan Building
De Montfort University
Leicester LE1 9BH, UK.

Editor:  Leigh Landy
Associate Editors:  Ross Kirk and Richard Orton†
Regional Editors:  Ricardo Dal Farra, Jøran Rudi, Margaret Schedel, Barry Truax, Ian Whalley, David Worrall, Lonce Wyse
International Editorial Board:  Marc Battier, Manuella Blackburn, Joel Chadabe, AlessandroCipriani, Simon Emmerson, Kenneth Fields, Rajmil Fischman, Eduardo Miranda, Rosemary Mountain, Tony Myatt, Jean-Claude Risset, Mary Simoni, Martin Supper, Daniel Teruggi

Career Development Bursaries

March 15, 2016 in All Opportunities, Composers, Opportunity, Other Opportunity by mwhiteside

This scheme helps young professional musicians access exceptional career development opportunities in the UK and internationally.


We want to invest in talented artists who are performing or creating great music and are already making an impact in their field. You could be an instrumentalist, singer, conductor, composer, songwriter or a small group, working in any musical genre.

You must be primarily UK-based and aged between 21-35.


These bursaries can be to fund opportunities which will have a significant impact on your artistic development at a crucial point in your career. Grants will range from £500 to £2,000. Activities could include:

  • Participation in masterclasses, academies and short courses (such as residential programmes at Aspen Music School, Yale, Lucerne Festival Academy and Banff Centre)
  • A time-limited period of mentoring with a leading expert in your field, focused on specific repertoire or technique
  • Travel for research and creative collaboration
  • A short period of intensive coaching with a world-class tutor in advance of a major performance or project


First read the guidelines which set out in more detail who can apply and what we’re looking for. Then take note of how to apply before submitting your online application.

Forthcoming deadlines:

  • Friday 15 April 2016 at 5.00pm
  • Friday 17 June 2016 at 5.00pm

Dates are subject to change.

Sound and Sculpture Conference (SSC)

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

Call for Paper Presentations, Fixed / Live Pieces and Installations
DEADLINE: 1st March 2016
The theme of this conference is open to interpretation and we welcome different and unique proposals, however topics for works and papers could include:
• The use of sound as sculpture
• The use of sculptural space in art
• Sound and 3-D presence
• Composing physicality in sound
• Composing/sculpting for space
• Sculptural instrument design
• The use of physical/visual sculpture as a sound instrument
• Sculpture/visual art as a graphic score
• Sound/music composition inspired or informed by visual artwork or visual art theory
• Cross discipline or multimedia works (involving sound/music and sculptural art)
• Examples (or issues) of musicality in visual art
• Musical or sonic approaches to visual arts
• Visual art that uses sound or music in some context

The conference will make use of the HISS (Huddersfield Immersive Sound System), allowing works of up to 16 channels. A section of the papers presented will be chosen to be published by the Huddersfield University Press.

Please submit the following requirements to with the subject ‘SSC’ Paper Presentations – 20 minutes Please submit:

An abstract of 500 words or less Technical requirements i.e. projector, speakers A short biography of 100 words or less (including website links)

Fixed Media Music – up to 20 minutes Please submit: An abstract of 500 words or less Technical requirements i.e. number of channels (UP TO 16), speaker set up A short biography of 100 words or less (including website links) Link to a stereo/mono sound file of the work (Soundcloud or other)

Live Performance – up to 20 minutes (Please note SSC cannot provide any performers) Please submit: An abstract of 500 words or less Technical requirements i.e. number of channels (UP TO 16) A short biography of 100 words or less (including website links) Link to a stereo/mono sound file or video of the work (Soundcloud, Youtube or other)

Installations Please submit: An abstract of 500 words or less Technical requirements and type and size of space needed A short biography of 100 words or less (including website links) Link to a stereo/mono sound file or video of the work or past work (Soundcloud, Youtube or other)
University of Huddersfield inspiring tomorrow’s professionals.

Cross Discipline Residencies

January 19, 2016 in All Opportunities, Composers, Opportunity, Other Opportunity, Performers, residencey and summerschool by mwhiteside

It’s an exciting time for us as our new Artist Centre steadily grows to completion. This winter and spring we would like to offer you the time and space to pursue your practice or work on a creative project whilst in residence at Cove Park.

Our individual, self-contained live/work pods and cubes are perfect for researching, reading and writing, and were designed to offer artists of all disciplines (working singular or together) an uninterrupted focussed space to devise, explore, experiment or hone a creative project. We also have three 30 sqm studios available to those needing additional room for small group work or individual making-space.

On our outstanding 50-acre site overlooking Loch Long, just 1 hour from Glasgow, we welcome artists from across the world and from all disciplines, allowing enriching and nourishing creative exchange.

Your residency can be part of your professional development or an opportunity to step back and out of everyday life, to imagine new ways of working or plan or complete a commission. We have a sliding scale of reasonable hire charges to help you plan an invaluable stay at Cove Park.

Residencies available throughout January – April 2016.

To send an enquiry please contact Catrin Kemp (Assistant Director).

Location: Argyll and Bute

For further information, please contact (, or call 01436850123, or visit

Contemporary Music Review

January 15, 2016 in All Opportunities, Composers, Opportunity, Other Opportunity, Performers by mwhiteside

Contemporary Music Review provides a forum for musicians and musicologists to discuss recent musical currents in both breadth and depth. The main concern of the journal is the critical study of music today in all its aspects—its techniques of performance and composition, texts and contexts, aesthetics, technologies, and relationships with other disciplines and currents of thought. The journal may also serve as a vehicle to communicate documentary materials, interviews, and other items of interest to contemporary music scholars.

One of the key features of Contemporary Music Review is that each issue focuses on a particular theme. Past themes range from critical symposia on the work of specific composers or schools, to collections summing up pertinent analytical, technical or creative projects. There are no necessary restrictions as to genre, disciplinary perspective or geographical emphasis.

Contemporary Music Review does not generally consider individual papers; however, the editors do accept proposals for themed issues from potential guest editors on an ongoing basis. Proposals are currently being accepted for issues to be published from the beginning of 2017 onwards.

If you would like to guest edit an issue of Contemporary Music Review please contact the editors providing the following:

• A 200 word abstract outlining the theme of the proposed issue and detailing why it is of contemporary interest
• EITHER a list of titles and authors for 7 or 8 planned articles (preferably with individual 200 word abstracts), OR a call for abstracts to be published on the Contemporary Music Review website providing guidelines for potential authors and proposing a timeline for submission
• An up-to-date CV for each guest editor

For further details or to submit please write to:
Patrick Valiquet, Associate Editor

NOISE – Chair Vacancy

January 9, 2016 in All Opportunities, Opportunity, Other Opportunity by mwhiteside

NOISE is seeking a dynamic and capable Chairperson to lead the charity through its next exciting phase. Founded in 2011 by Artistic Director James Robert Carson and based in Glasgow, NOISE is committed to the promotion of opera as an innovative art form. Our vision is to develop new audiences for opera, and to break down barriers to this genre. NOISE creates portable productions that tour to novel performance spaces. We believe in commissioning and promoting writers, composers, singers, instrumentalists and creative artists based in and working for Scotland. The company is inspired by specific places, their history and the stories of the people connected with them.

This is an exciting time for this relatively new company. The success of our first venture The Sloans Project (2011, 2013) was recognised in winning Arts & Business Scotland’s Entrepreneurial / Sustainability Award in 2014. This was followed by the critically acclaimed Shetland-inspired opera, Hirda (2015). In 2015, NOISE welcomed Gareth Williams as Music Director. NOISE now wishes to build on this momentum and develop new opera projects to inspire communities around Scotland. We wish to secure our place as a firmly established asset in Scotland’s cultural landscape. This ambition will require us to define our strategy and expand our funding portfolio.

This period of development poses an exciting opportunity for the new Chairperson, who will work with trustees and the Artistic Director in guiding the strategic direction for the company and developing a robust governance framework. We will are particularly interested in applicants who have good trustee experience and an interest in the performing arts. This role may suit a first-time Chair.

NOISE is seeking someone who can :
• Lead the board of trustees with assurance and clarity
• Lead on defining NOISE’s 3-year strategy
• Effectively promote NOISE’s work among audiences, funders and other stakeholders
• Ensure that the board has the best blend of skills to deliver its charitable responsibilities and achieve its aims
• Demonstrate knowledge of robust governance procedures • Demonstrate experience of committee and collective decision-making
• Contribute to fundraising strategy
• Demonstrate a passion for the work and aspirations of the company
• Commit time on a voluntary basis (estimated at an average of 8- 10 hours a month)

Applications for the role should take the form of a cover letter and CV.

Location: Glasgow City

For further information, please contact (, or visit

The deadline is Monday 15 February 2016 at 17:00.

Seeing Sound 4

December 14, 2015 in All Opportunities, Composers, Conference, electroacoustic, Opportunity, Other Opportunity, Performers by mwhiteside

We are pleased to announce that Seeing Sound 4 will take place on the 9th and 10th of April 2016 at Bath Spa University in the UK.

Seeing Sound is an informal practice-led symposium exploring multimedia work which foregrounds the relationship between sound and image. It explores areas such as visual music, abstract cinema, experimental animation, audiovisual performance and installation practice through paper sessions, screenings, performances and installations.

Seeing Sound 4 will take place at Bath Spa over the 9th and 10th of April 2016. It represents a move away from the winter months, and a physical move also – although still hosted on our idyllic Newton Park campus, the event will be hosted in our new state-of-the art Commons building. We will make full use of the two-storey MediaWall that stands at its centre in a programme which foregrounds video synthesis and expanded cinema.

We are now open for submissions of papers, fixed media works and performance works and – as a special call this year – are looking for imaginative proposals for the MediaWall and atrium space of our new building. The deadline for all submissions is 29 January 2016.

More information can be found on the Seeing Sound site –

Collide Collude Collaborate Creative Lab

October 26, 2015 in All Opportunities, Composers, Opportunity, Other Opportunity, Performers by mwhiteside

Calling visual artists (of any discipline), musicians, composers and sound artists with an interest in collaborative working!

Join artists Kathy Hinde and Matthew Olden for a 1 week lab where you will collaboratively create an interactive installation incorporating light, sound and other media. The installation will be viewable at Seventeen during the 2016 SPECTRA festival in February.

The Lab will include hands-on practical, skills-based workshops alongside idea development sessions, followed by support through creative mentoring and technical support.

Kathy Hinde

Kathy has a background in visual art and music. She creates sculptural, audio-visual artworks inspired by the natural world that often
incorporate new technology combined with a passion for repurposing older, perhaps considered obsolete, technology.

Matthew Olden

Matthew has a background in making electronic music and he currently programmes bespoke software for interactive installations of his own devising, as well as software solutions for other artists and musicians. He works with MaxMSP, PureData with a broad knowledge of how to implement these programming environments with sensors and microprocessors.


Introductory session: Tuesday 10 Nov @ 4pm, Seventeen, Belmont St, Aberdeen
Lab: Monday 11 – Sunday 17 Jan 2016, 12-8pm

★ Open to students and recent graduates aged 18+. Places limited to 8 so apply now!

If you’re interested in taking part in the Creative Lab please contact for more details and an application

Application deadline Wednesday 4 November

32nd Biennial ISME World Conference

October 20, 2015 in All Opportunities, Composers, Conference, Opportunity, Other Opportunity, Performers by mwhiteside


The International Society for Music Education 32nd World Conference will take place in Glasgow, Scotland from 24th – 29th July 2016. Around 2,000 music educators, artists and academics from all over the world are expected to attend the conference which will feature a dynamic mix of high profile keynote speakers, workshops, presentations, symposia and posters. The conference programme will be complemented by a music festival which will run alongside the academic programme and will represent music from across the globe.


Get involved in ISME 2016


The ISME world conference is an incredible opportunity for educators and practitioners to exchange knowledge on a global scale. We hope to make ISME 2016 as engaging and dynamic as possible and therefore welcome submissions in a variety of formats from spoken papers and posters to symposia, workshops and demonstrations. This list is by no means exhaustive so if you would like to propose an alternative format please do – innovation is strongly encouraged!

Deadline 31 October 2015. Submission information can be found on the ISME website.


A full festival programme will run throughout the duration of the conference with performances ranging from classical to pop to jazz and will take place over the four main conference venues, the Royal Conservatoire of Scotland, Glasgow Royal Concert Hall, the Theatre Royal and the National Piping Centre.

Deadline extended to 13 November 2015. Submission information can be found on the ISME website.


Exhibitor space will be available to hire at the Glasgow Royal Concert Hall for the first three full days of the conference (Monday – Wednesday). Your company’s presence at the exhibition will give you an opportunity to engage with delegates on a more personal level and to promote the work you do to a global audience.

Please contact Meeting Makers for a quote and to reserve a space.





ISME 2016 is delighted to offer potential sponsors the opportunity to demonstrate your support and commitment to the music education and wider creative sector in a vibrant and high-profile cultural environment. Participating in our sponsorship programme will extend your visibility beyond the exhibition hall to achieve maximum exposure for your brand.

Please contact Meeting Makers to request a copy of our sponsorship prospectus or to discuss your needs.


One of the most comprehensive ways to engage with ISME 2016 is to attend as a delegate. As previously mentioned you will be treated to both an exciting array of papers, symposia, workshops and posters as well as a full festival programme catering to a wide variety of tastes. Early bird fee prices run until March 2016.

Registration will open on 15 February 2016.


All performers and presenters must be ISME members at the time of submission and presentation/performance. More information about how to become a member, as well as submission instructions, are available on our website.

Please don’t hesitate to contact our conferences department for more information or to discuss your involvement in 2016.

In Cahoots Soundlab

October 7, 2015 in All Opportunities, Composers, Conference, Opportunity, Other Opportunity, Performers, residencey and summerschool by mwhiteside

An opportunity for young artists to take part in a soundlab with composer Stephen Deazley. Soundlab is a place where young musicians, composers, artists, actors, directors, dancers, choreographers and anyone from any art form can come together to collaborate, create and exchange ideas. A free playspace allowing risk-taking and sharing. The lab runs 12-6 on Friday 23rd october and 10-5 on Saturday 24th.

For information please email Nicola Henderson –

The full conference programme is available here

ACMC2015: The 2015 Annual Conference of the Australasian Computer Music Association

September 25, 2015 in All Opportunities, Composers, Conference, Opportunity, Other Opportunity, Performers by mwhiteside

You are invited to submit proposals for the 2015 annual conference of the Australasian Computer Music Association at the University of Technology Sydney, Wednesday 18th November – Saturday 21st November 2015.

This year’s conference theme is: MAKE!

Make music! Make tools! Make connections! Make time! Make space!

What does it mean to make, what is being made, and how? How do our identities, gender and institutions facilitate or frustrate making?

Proposals for the following submission types responding to these themes and to the associated conference theme of gender should be submitted through the EasyChair conference system.

Refereed papers
Refereed abstracts, Artist talks, and Studio Reports
Posters and Demonstrations
Performance/Sound Work and Paper

Important Dates:
Deadline for music and paper submissions: Friday 9th October 2015
Conference: Wednesday 18th- Saturday 21st November 2015

IRCAM Artistic Residency

September 21, 2015 in All Opportunities, Composers, Opportunity, Other Opportunity, Performers, residencey and summerschool by newmusicscotland

Information: irc-residency(at)
Call for Proposals 2016 for year 2017:  September, 2015 – November 2015 on the Ulysses platform.

Via the artistic research residency program, the Research/Creation Interfaces department seeks to reinforce the interaction between the scientific and musical community by appealing to the computer music community at large. This program offers scholarships to artists and young professionals wishing to take advantage of a period of residency at IRCAM in order to pursue their music research projects in a stimulating collaborative environment.

Since 2013, the fifth edition of this residency is open to other artistic forms: theatre, dance, video.

Each year – via online submission – a limited number of candidates is selected by a panel of international experts based on the following criteria: project content; scientific and artistic motivation; quality and innovative character of the project; mastery of the technologies needed for the project; demonstrated ability to manage a collaborative research project.

Each selected candidate will benefit from a residency at IRCAM for a specific period, associated with one or more of the institute’s project teams. The candidate will receive a scholarship of 1200 euros. IRCAM does not cover travel and lodging expenses.

During the research residency, candidates will work in the context of the Research and Development department in order to pursue their work. They will collaborate with members of one or more teams thus enabling them to deepen the musical and technological issues explored through experimentation as well as participate in the intellectual life of the institute.

At the end of their stay, the selected candidates will be asked to document and share the results of their work via written publications and public presentations given to the IRCAM community as well as the international computer music community at large.

TENOR 2016 – Call for Papers

September 19, 2015 in All Opportunities, Composers, Conference, Opportunity, Other Opportunity, Performers by newmusicscotland


Cambridge, UK, 27-29 May 2016
Anglia Ruskin University

The second International Conference on Technologies for Music Notation and Representation is dedicated to issues in theoretical and applied research and development in Music Notation and Representation, with a focus on computer tools and applications, music creation and cognition.

Until very recently, the support provided by computer music developers and practitioners to the field of symbolic notation has remained fairly conventional. However, recent developments indicate that the field of tools for musical notation is now moving towards new forms of representation. Moreover, musical notation, transcription, sonic visualisation, and musical representation are often associated with the fields of musical analysis, ethnology, and acoustics. The aim of this conference is to explore all recent mutations of notation and representation in all domains of music.

This year we are extending the call to include cognition as well as ontological issues of performance practice arising from the use of traditional and/or graphical notation systems in live electronics.

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


Musical creation
– Notation in electronic and electroacoustic music
– Notations for interactive music
– Notation for sound installations
– Notation for the multimedia and mixed arts
– Live coding
– Ontologies of notation

Musical notation
– Innovative computer applications for music notation
– Languages for music notation
– Gesture notation
– Notation and mobile devices
– Exchange formats for music notation
– Online tools and languages for music notation and representation

Analysis, notation & pieces studies
– Analysis of contemporary notations
– Semiotics of new notation forms
– Ontology of the notation of interactive music
– Data mining, music notation corpus, databases
– Notation in mind: notation and cognition

Representation, transcription
– Sound visualisation
– Interactive representation
– Transcription in ethnomusicology and representation of non-written musics
– Non-western or ancient music trans-notation
– Representation and transcription in acoustic ecology and soundscapes
– Optical music recognition

Listening, teaching
– Listening guides
– Live and offline annotation
– Notations for music pedagogy


More information & submission at

Deadline for paper and workshop proposal submission:
Monday November 16, 2015

New Music Scotland Conference 2015

September 2, 2015 in All Opportunities, Composers, Conference, featured, News, Opportunity, Other Opportunity, Performers by newmusicscotland

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New Music Scotland Conference and Showcase 23rd and 24th October 2015. For more info and how to book go here:

Call for Papers for the “Archiving and Preservation of Electroacoustic Music” Conference in Lisbon (APEM)

August 13, 2015 in All Opportunities, Composers, Conference, Opportunity, Other Opportunity, Performers by newmusicscotland

Concerts and Conference in Lisbon: 2, 3 & 4 of October 2015

Call for Papers for the “Archiving and Preservation of Electroacoustic Music” Conference in Lisbon (APEM)

Miso Music Portugal and the International Confederation for Electroacoustic Music – CIME/ICEM invite all researchers, musicologists, composers and musicians, individual or associated to one of CIME/ICEM Federations or Members, and particularly interested in Archiving and Preservation of Electroacoustic Music, to submit their proposals of papers for the APEM Conference, taking place on October 2, 3 and 4 at “O’culto da Ajuda”, Miso Music Portugal’s new venue in Lisbon.
Please submit, your paper proposal, in connection with the APEM conference theme, until August 31, 2015, with the following information to azguime[at] and with the email subject “APEM CIME ICEM Conference”:
1) Author(s); 2) Email; 3) Title; 4) Abstract (limited to approximately 1500 characters); 5) Mode of presentation: in person or via Skype.

more infos and agenda of the full Conference in Lisbon HERE

2nd Annual Web Audio Conference – submissions now open

July 12, 2015 in All Opportunities, Composers, Conference, Opportunity, Other Opportunity, Performers by newmusicscotland

The 2nd Web Audio Conference (WAC) will be held April 4-6, 2016 at Georgia Tech in Atlanta.

WAC is an international conference dedicated to web audio technologies and applications. The conference welcomes web developers, music technologists, computer musicians, application designers, researchers, and people involved in web standards. The conference addresses research, development, design, and standards concerned with emerging audio-related web technologies such as Web Audio API, Web RTC, WebSockets and Javascript. It is open to industry engineers, R&D scientists, academic researchers, artists, and students. The first Web Audio Conference was held in January 2015 at IRCAM and Mozilla in Paris, France.

The Internet has become much more than a simple storage and delivery network for audio files, as modern web browsers on desktop and mobile devices bring new user experiences and interaction opportunities. New and emerging web technologies and standards now allow applications to create and manipulate sound in real-time at near-native speeds, enabling the creation of a new generation of web-based applications that mimic the capabilities of desktop software while leveraging unique opportunities afforded by the web in areas such as social collaboration, user experience, cloud computing, and portability. The Web Audio Conference focuses on innovative work by artists, researchers, and engineers in industry and academia, highlighting new standards, tools, APIs, and practices as well as innovative web audio applications for musical performance, education, research, collaboration, and production.

Contributions to the second edition of the Web Audio Conference are encouraged in the following areas:

Web Audio API, Web MIDI, Web RTC, and other existing or emerging web standards for audio and music
Development tools, practices, and strategies of web audio applications
Innovative audio and music based web applications
Client-side audio processing (real-time or non real-time)
Audio data and metadata formats and network delivery
Server-side audio processing and client access
Client-side audio engine and audio rendering
Frameworks for audio synthesis, processing, and transformation
Web-based audio visualization and/or sonification
Multimedia integration
Web-based live coding environments for music
Web standards and use of standards within audio based web projects
Hardware and tangible interfaces in web applications
Codecs and standards for remote audio transmission
Any other innovative work related to web audio that does not fall into the above categories

We welcome submissions in the following tracks: paper, poster, demo, performance, and artwork. All submissions will be single-blind peer reviewed. The conference proceedings, which will include both papers (for papers and posters) and abstracts (for demos, performances, and artworks), will be published online in SmartTech, Georgia Tech’s archival open-access repository.

Papers: Submit a 4-6 page paper to be given as an oral presentation.

Talks: Submit an abstract to be given as an oral presentation.

Posters: Submit a 2-4 page paper to be presented at a poster session.

Demos: Submit an abstract to be presented at a hands-on demo session. Demo submissions should include a title, a one-paragraph abstract and a complete list of technical requirements (including anything expected to be provided by the conference organizers).

Performances: Submit a performance making creative use of web-based audio applications. Performances can include elements such as audience device participation, web-based interfaces, WebMIDI, WebSockets, and/or other imaginative approaches to web technology. Submissions must include a title, a one-paragraph abstract of the performance, a link to video documentation of the work, a complete list of technical requirements (including anything expected to be provided by conference organizers), and names and one-paragraph biographies of all musicians involved in the performance.

Artworks: Submit a sonic web artwork or interactive application which makes significant use of web audio standards such as Web Audio API or WebMIDI in conjunction with other technologies such as HTML5 graphics, WebGL, and/or interactivity. Works must be suitable for presentation on a computer kiosk with headphones. They will be featured at the conference venue throughout the conference and on the conference web site. Submissions must include a title, one-paragraph abstract of the work, a link to access the work, and names and one-paragraph biographies of the author(s).

Tutorials: If you are interested in running a tutorial session at the conference, please contact the organizers directly (webaudio at gatech dot edu).

Important Dates
October 1, 2015: submission deadline

December 1, 2015: author notification

March 1, 2016: camera-ready papers and abstracts due

April 4-6, 2016: conference

At least one author of each accepted submission must register for and attend the conference in order to present their work.

Submission Templates and Submission System

Submission templates are available on the conference web site at

The submission system is open at

Rhyme or Reason – An intensive programme on notation, improvisation and score Led by LUX Scotland in collaboration with Collective

May 27, 2015 in All Opportunities, Composers, Opportunity, Other Opportunity, Performers, residencey and summerschool by newmusicscotland

An intensive programme on notation, improvisation and score
Led by LUX Scotland in collaboration with Collective

Monday 22 – Friday 26 June 2015 | 12-9pm

Rhyme or Reason is a five-day, intensive study programme that will investigate the role of notation, improvisation and score across the visual arts and other disciplines including music, writing and geography. Contributors include Giles Bailey, Struan Barr, Ben Cook, Beatrice Gibson, Laura Guy, Will Holder, Isla Leaver-Yap, Anna McLauchlan and Conal McStravick.

What are the consequences of our provisional and private forms of language? How can these intimate instructions translate into forms of broadcast and communication? As a form of writing or sketching that is closely linked to musical scores and ideas of indeterminacy, notation thrives on personalisation and permutation. Rhyme or Reason will explore why and how practitioners are using notation and score when developing work today – thinking through the relationship between structure and improvisation, and the complex politics of working with or representing others.

Rhyme or Reason will offer a small group the chance to take part in a focused and discursive study programme. It will include seminars led by LUX Scotland; a collaborative research workshop led by Giles Bailey; a screening of Paul Sharits’ films presented by Ben Cook; a group discussion with Beatrice Gibson; a reading, repetition and re-performance workshop by Laura Guy; a technical group production workshop led by Struan Barr; a seminar by Will Holder looking at scoring and notational strategies; a series of physical workshops with Anna McLauchlan; and an active research session with Conal McStravick.

Rhyme or Reason will also include two public events: a recital of the work of Robert Ashley, led by Will Holder on Monday 22 June and a screening curated by Beatrice Gibson on Thursday 25 June.

The programme is set against the backdrop of Crippled Symmetries, a new film by artist Beatrice Gibson, which uses American modernist William Gaddis’ epic satire JR as a score for its production. Co-commissioned by Collective, Grazer Kunstverein and FLAMIN (Film London Artist’s Moving Image Network) the film will premiere in Scotland at Collective in August 2015 as part of the Edinburgh Art Festival.

Tickets cost £100 / £75 (concession).
Book here via Eventbrite.
The ticket includes admission to all sessions Monday – Friday and includes the public evening events. Separate tickets for the recital and screening evening events will be on sale from 27 May.

Concessions are available for students, senior citizens, unemployed persons and those in receipt of means tested benefits.

A small number of bursary places are available. Please get in touch via by Friday 5 June with a short statement (no longer than 150 words) outlining your interest in Rhyme or Reason and your motivations for attending.

Full contributors’ biographies can be found on Eventbrite.

Residencies at the CCA

November 22, 2014 in All Opportunities, Composers, Opportunity, Other Opportunity, Performers by mwhiteside

The CCA are now inviting submissions for three residency opportunities across 2015/16.

Our Creative Lab Residencies welcome submissions from artists working in or exploring live art, contemporary performance, movement, new theatre, film, video, time-based media and interdisciplinary projects. The deadline for submissions is 10am on Tue 13 January, and full details can be found here.

CCA is working with AC Projects to offer the Creative Lab Music Residency, a research and development residency specifically for musicians and composers who have an interest working collaboratively across art forms. The deadline for submissions is 10am on Tue 13 January, and full details can be found here.

We are into our eighth year of an exchange programme with the Conseil des Arts et des Lettres in Quebec (CALQ). The exchange will focus on contemporary music, sound installation, audio art, cinema, video and digital art. The deadline for submissions is Tue 27 January and full application details are available here.

Cryptic Nights

September 26, 2014 in All Opportunities, Composers, Opportunity, Performers by mwhiteside

·         An artist at the start of their creative career based in Scotland?
·         Create high quality innovative work with original music or sound-based elements that cross artistic boundaries?
·         Create remarkable moments that engage audiences?
·         Presents work that inspires, invigorates and excites;
·         Crosses creative boundaries with live music, visual and sonic art, film and new media;
·         Dynamically engages audiences beyond traditional art forms with a Cryptic edge;
·         Supports emerging artists’ artistic development and enables them to take risks;
·         Gives audiences the opportunity to see inspiring and engaging work they would not usually have an opportunity to experience.
Your project can be a second outing of an existing work. Cryptic Nights provides an opportunity to develop it further.
Whilst Cryptic Nights is mainly based in CCA, Glasgow, we are also interested in innovative site-specific works, as well as projects that can be performed in a black box or gallery space.
·         Traditional theatre, dance or literature;
·         The creation of a new work;
·         Work which has already been given substantial support/platform by another organisation.
·         A guaranteed fee of £500 per performance with support, advice and space to take risks;
·         A performance platform for your work supported by an experienced, international arts company;
·         Venue, technical, PR and marketing support;
·         An opportunity to build a new audience and raise your profile;
·         Free entry to other Cryptic Nights throughout the year;
·         Valuable networking opportunities.
Download the Application Form:
Download the Equal Opportunities Monitoring Form:
Deadline: 23 October 2014
Applications should be sent to:
We would prefer to receive audio and video files through Soundcloud or Vimeo. If this is not possible, please provide two hard copies of your audio/visual documentation to:
Cryptic Nights, Cryptic, CCA, 350 Sauchiehall Street, Glasgow G2 3JD
Please enclose a self-addressed envelope if you would like your materials to be returned.

University of Nebraska Kearney New Music Festival XIV

September 2, 2014 in All Opportunities, Composers, Opportunity, Other Opportunity, Performers by mwhiteside

University of Nebraska Kearney New Music Festival XIV
March 9-10, 2015

The University of Nebraska Kearney and the UNK student chapter of the Society of Composers International is excited to announce two calls for its New Music Festival XIV, held on March 9-10, 2015 at the UNK campus in Kearney, Nebraska. All composers, theorists, and lecturers are welcome to submit scores and lecture proposals. Deadline for receipt is November 15, 2014. There is no fee to submit to the festival. If selected, participants are responsible for their own transportation and accommodations.

Call for Scores: We are looking for solo and chamber scores no more than 15 minutes in duration. Works involving electronics, graphic notation, and open instrumentation are also welcome.

The following should be sent to

1. PDF scores with the date of composition and duration. Composers may submit up to two (2) scores for consideration. Do not send parts at this time.

2. Links to recordings. If no links are available, you may attach a sound file. MIDI files will be accepted.

3. A PDF with the following information:
a. Composer’s name, contact information, and a short bio.
b. Program notes and performance history for all submitted scores.
c. Whether or not you are able to bring your own performer(s).

4. List of any technical needs.

Call for Lectures: We are also looking for proposals of lectures and presentations pertaining to any topic of new music composition and/or research. Presentations should be no longer than 20 minutes. One session will be devoted to presentations.

The following should be sent to

1. Abstract between 250 and 500 words.
2. List of any technical needs.

Electronic submission is preferred for both calls. If electronic submission is not possible, submissions may be addressed to:

Anthony Donofrio, Department of Music and Performing Arts
University of Nebraska Kearney
2506 12th Avenue
Kearney, NE 68849

Please send all questions to

International Festival for Innovations in Music Production and Composition

September 1, 2014 in All Opportunities, Composers, Opportunity, Other Opportunity, Performers by mwhiteside

Thursday & Friday 12–13 March 2015

Keynote speaker and artist: Trevor Wishart (biog)
Second Keynote: TBC

The International Festival for Innovations in Music Production and Composition takes place at Leeds College of Music and the City of Leeds from Thursday 12 to Friday 13 March 2015. iFIMPaC is an annual event focusing on practice related innovations in Music Production and Composition. iFIMPaC creates a unique environment for composers, producers, music industry representatives, academics, educators and students to discuss their compositional, pedagogical and production work as practice-led research. This year’s event will be in association with Nonclassical where we will be running a Nonclassical club night.

For more information on submission and attendance go to the conference’s website here.

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