Scottish Awards for New Music 2018

October 9, 2017 in All Opportunities, Composers, featured, Other Opportunity, Performers by mwhiteside

SCOTTISH AWARDS FOR NEW MUSIC

 

CELEBRATING SCOTLAND’S VIBRANT

CONTEMPORARY MUSIC SCENE

 

7 MARCH 2018, GLASGOW

www.newmusicscotland.co.uk/awards2018

@scotnewmus

Following on from the inaugural event in 2017, New Music Scotland are pleased to launch the second annual Scottish Awards for New Music.  Created by New Music Scotland with support from the National Lottery through Creative Scotland’s Open Project Fund, Help Musicians UK, the Incorporated Society of Musicians, Holiday Inn Glasgow Theatreland, Steinberg, and EVM Marketing, the awards will celebrate and champion the highest standards and achievements of Scotland’s composers, musicians, sound artists, programmers, producers and ensembles. They will highlight and showcase the innovative, experimental and ground-breaking work taking place in Scotland, as well as the depth and breadth of the country’s contemporary music scene.

 

The Scottish Awards for New Music are welcoming nominations for music being made by Scottish and Scottish-based creators and facilitators of new music. The eleven categories, including three new ones for 2018, are listed below. Partnerships with Hands Up for Trad and Jazz from Scotland have enabled the creation of new categories which focus on experimental and ground breaking traditional and jazz music.  Nominations are open from Saturday 7 October 2017 until Monday 11 December 2017 and can be made by both members of the public and industry professionals.  Nominations can be made via the website where details of eligibility and submission criteria can be found: www.newmusicscotland.co.uk/awards2018.

 

 

An international panel of composers, performers, programmers and music industry experts will meet in January to discuss the nominations, following which a shortlist will be announced.  Profiles of the shortlisted entries will be available on New Music Scotland’s website in the weeks leading up to the awards evening on Wednesday 7 March 2018.

 

New Music Scotland Chair, composer Oliver Searle said, The Awards offer a fantastic opportunity to raise the profile of new music in Scotland and further afield, spreading news of the innovative new music scene to potential audiences around the globe. Rarely do you manage to gather so many of the key figures and institutions of new music making in Scotland together in one room. Coupled with the high profile supporters and partnerships involved in making this event a reality, the Scottish Awards for New Music 2018 promises to be an exciting event for Scotland’s new music sector.”

 

Alan Morrison, Head of Music, Creative Scotland, said, “Music is an art form that never sits still – it is always pushing back barriers and reshaping the cultural landscape. The Scottish Awards for New Music celebrate such experimentation and throw a spotlight on our most talented composers, musicians, sound artists and ensembles. Scotland is one of the most vibrant and collaborative countries in the world for new music, and these awards raise the profile of this exciting sector both nationally and internationally.”

 

 

 

 

THE CATEGORIES:

 

  • Electroacoustic/Sound Art Work
  • Dorico Award for Small Scale New Work sponsored by Steinberg (1-10 performers)
  • Large Scale New Work (11+ performers)
  • Recorded New Work
  • ISM Award for Collaboration in New Music
  • Community/Education Project
  • Contribution to New Music in Scotland
  • Help Musicians UK Award for New Music Performer(s) of the Year
  • Award for Creative Programming
  • Award for Innovation in New Folk Music in association with Hands Up for Trad
  • Award for Innovation in New Jazz Music in association with Jazz from Scotland

 

THE PANELLISTS will include:

 

  • Marc Dooley (Edition Peters)
  • Karen Power (Contemporary Music Centre, Ireland/Composer)
  • Marija Saraga (Muzički Biennale Zagreb/Croatian Composers’ Society)
  • Tom Poulson (musician)

 

TICKETS:

  • £20 before shortlist announcement
  • £25 after shortlist is announced (January 2018)
  • table booking options available from January 2018
  • tickets include a welcome drink and food

 

TO BOOK:

 

THE EVENT:

  • a paying bar will be available throughout the evening
  • the duration of the event is approx. 2 hours
  • SCOTTISH AWARDS for NEW MUSIC

Wednesday 7 March 2018

8.00pm, Drygate Brewery

85 Drygate

Glasgow, G4 0UT

 

CONTACT:

Andy Saunders pr@newmusicscotland.co.uk  07794 159214

 

 

Notes to Editors:

 

  1. New Music Scotland is a network of composers, performers, programmers, producers, educators, funders and audience. NMS facilitates the creation, production and promotion of experimental, innovative and imaginative new music. We believe that new music comes from many different cultural traditions and musical practices; what brings us all together is our passion for and belief in the intrinsic value of new music creation for individuals and society as a whole.
  2. Creative Scotland is the public body that supports the arts, screen and creative industries across all parts of Scotland on behalf of everyone who lives, works or visits here. We enable people and organisations to work in and experience the arts, screen and creative industries in Scotland by helping others to develop great ideas and bring them to life. We distribute funding provided by the Scottish Government and the National Lottery. For further information about Creative Scotland please visit creativescotland.com. Follow us @creativescots and www.facebook.com/CreativeScotland

 

  1. Steinberg is known the world over for its music and audio software and hardware solutions. The company has been developing, manufacturing and selling innovative products for musicians and producers in the music, film, post production and multimedia industries since 1984. Steinberg products are used by Grammy and Oscar award-winning composers, engineers and producers. The company also offers business customers license-management and copy-protection systems. Dorico is the company’s next-generation professional scoring software for composers, arrangers, engravers, copyists and educators.

Visit www.steinberg.net/dorico for more information.

 

  1. Help Musicians UK is the leading independent music charity. Since 1921, Help Musicians (HMUK) has provided help, support and opportunities to empower musicians at all stages of their lives.

HMUK is creating a sustainable future that recognises the worth of all musicians.  The charity works in partnership to transform the music industry through advocacy, campaigning, solutions and targeted investment for all those within it.

Find out more at: helpmusicians.org.uk   @HelpMusiciansUK

 

  1. The Incorporated Society of Musicians (ISM) is the professional body for those working in the music profession. They promote music and look after the interests of professional musicians.

The membership of approximately 7,000 covers both individual musicians and corporate bodies. Individual members include leading conductors, featured and non-featured artists, orchestral musicians working in all of the UK’s leading orchestras, composers, animateurs and arrangers.

The corporate membership of over 160 music organisations includes the Royal College of Organists, Association of British Choral Directors, Association of British Orchestras, Wells Cathedral School Choir Schools’ Association, Friends of the Musicians’ Chapel, Worshipful Company of Musicians Incorporated Association of Organists, Music Masters’ & Mistresses’ Association, Wigmore Hall and more.

Find out more at: www.ism.org

Alba New Music seeks Trustees

August 3, 2017 in All Opportunities, Other Opportunity by mwhiteside

 

Trustees wanted to serve on management board.

We are seeking Trustees to join our board of management.  Ideally with a knowledge of the Scottish contemporary music scene and a background in finance or fundraising.

We are also seeking a candidate with good secretarial skills.

This is a non remunerated position.

We meet 4 times per year in Edinburgh

For further details or an informal meeting please contact,

Alan Munro, Chairman

Amunro11@live.co.uk or 07706024810

Alba New Music

ArtsIceland – Residency in the Westfjords of Iceland

March 11, 2017 in All Opportunities, Composers, Other Opportunity, Performers, residencey and summerschool by mwhiteside

ArtsIceland – residencies 2017-18
We offer 2-12 week residencies for art professionals in the Westfjords of Iceland.

Description of residency program:
ArtsIceland in collaboration with Outvert Art Space offers artists and other art professionals a space to live and work for two to twelve weeks in the Westfjords of Iceland. Our residencies are self-directed.

Disciplines, work equipment and assistance
We welcome artists of all disciplines that can profit from the space and environment on offer. Studios are equipped with basic furniture.

Accommodation and Studio/ workspace
We offer two residencies with a private room and a private studio for visual artists, writers, filmmakers, musicians and others who may profit from the environment/spaces on offer. Kitchen facilities are shared. We also offer three residencies with a private room and shared studio space, bathroom and kitchen in a separate house.

Fees and support
Artists pay a moderate fee for their stay at the residency. Included in the fee is the accommodation and studio space, internet, heating&electricity, bedding&towels. Also uncluded are weekly meetings with staff and one local excursions. Artists are assisted in organizing an artist talk or other event to present their work to the general public.

Expectations towards the artist
Artists are expected to keep their studio and accommodation clean.

Application information
Applications should include the following:

A – Application form completed with all the requested information.
B – CV (pd-format – max. three A4 pages).
C – 5 samples of work (texts, images, sound samples or videos with a brief description (100 words each)).

To apply for the program please fill out the application form which can be found on our website: www.kolsalt.is/residency-information.html.
Requested documents (CV and samples of work) should be sent to artisiceland@kolsalt.is.

Selection process: Applications are reviewed by a panel of professionals and applicants will be notified of the results within 3 weeks of the application deadline.

highSCORE Festival 2017 (8th edition)

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

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

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

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

www.highscorefestival.com

PRSF – Beyond Borders

January 18, 2017 in All Opportunities, Composers, Opportunity, Other Opportunity, Performers by mwhiteside

Funding of up to £15,000 is available for projects that include repeat performances of music written in the past five years, new commissions and recordings.

This opportunity stimulates collaboration between organisations and bands/ensembles in England, Northern Ireland, the Republic of Ireland, Scotland and Wales. It enables music creators to produce exceptional new material to be performed in at least three of these countries.

Launched in 2010, the scheme has supported over 50 projects so far, bringing together organisations and music creators across the UK and abroad.

Please find out more here http://www.prsformusicfoundation.com/partnerships/flagship-programmes/beyond-borders/

Deadline 23rd Feb

Time Out mini-residency: Peer-to-peer support for composers

January 13, 2017 in All Opportunities, Composers, nms opportunity, Opportunity, Other Opportunity, peer to peer, residencey and summerschool by mwhiteside

Deadline 10th February.

We are very pleased to announce that we are now taking applications for our next Peer to Peer Time Out mini-residency. This year we are looking for composers who have taken a break from their career and are just getting back into making new music.

Taking place in Fife this is a 2-day professional development opportunity for older composers re-embarking on their artistic career. Open to Scotland based composers who may have trained at a younger age and for different reasons (be they family, financial) have taken a break from making new music.

Composers are often by the nature of their work somewhat isolated, with few opportunities for interaction with other composers or for continuing professional development. The aim of this course is to give composers the opportunity to work together, share their difficulties and benefit from each other’s strengths in a safe non-judgmental environment.

The residency will include:

• Facilitated getting to know each other time
• A question-answer session with an experienced composer
• One-to-one skills sharing sessions
• One-to-one work sharing with peer response
• Group discussion and problem solving

For more information please download the opportunity brief and/or email nicola@newmusicscotland.co.uk

The Scottish Awards for New Music seeks recent graduate to design inaugural award

January 9, 2017 in All Opportunities, nms opportunity, Other Opportunity by mwhiteside

This is a rare opportunity for a recent visual arts graduate to create a new piece of work that will be presented to winners at the inaugural Scottish Awards for New Music.

The Scottish Awards for New Music will celebrate and champion composers, musicians, sound artists and ensembles that are making innovative and experimental new music right now.

Created by New Music Scotland, the awards will recognise the diversity and quality of music being made by Scottish and Scottish-based new music creators and help create a wider audience for their work.

For more information please download the project brief and/or contact nicola@newmusicscotland.co.uk

Deadline: 27th January 2017

Decision on winning design: 3rd February

Awards to be created and delivered: 3rd March

Award Ceremony: 8th March

Introduction to Funding for Creatives (Glasgow)

January 7, 2017 in All Opportunities, Composers, cpd, funding, Opportunity, Other Opportunity, Performers by mwhiteside

Wednesday 15th February 2017
10am – 12.30pm
1.30pm – 4pm
6.30pm – 9pm

Glow Arts, Unit 8,
Barras Art & Design
54 Calton Entry
Glasgow G40 2SB.

Come along to our ‘Introduction to Funding’ workshop on the 15th February 2017 to find out more about where to find support, know if the fund is right for you, decoding the jargon and how to communicate your project idea to funders clearly

The workshop will cover the following areas:
Introduction to sources of support for creative projects.
How to know which fund is right for you?
Decoding the jargon.
How to communicate your idea clearly.
What’s in a budget?
Where to get help going forward.

The workshop will be delivered by Jennifer McGlone, who has been working in the creative sector for over 15 years as a Musician, Development Officer, Consultant, Fundraiser and Project Manager. She spent seven years working as a Development Officer for Scottish Arts Council/ Creative Scotland working on the Youth Music Initiative, CashBack for Creativity, Traditional Arts programmes and has assessed hundreds – maybe into the thousands of applications in this time. Since leaving she has been invited back on several occasions as an external assessor/ advisor to the organisations and has been working with individuals and organisations to support their fundraising bids.

Any questions get just email us at jennifer@glow-arts.co.uk

Tickets £30 – Limited to 10 spaces per workshop.

Book before 13th January 2017 for £10 discount – (15Feb17£10 – Code at Checkout).

Book before 20th January 2017 for £5 discount. (15feb17£5 – Code at Checkout).

Location: Glasgow City

For further information, please contact jennifer@glow-arts.co.uk (Jennifer McGlone), or visit http://glow-arts.co.uk/events/

The deadline is Wednesday 15 February 2017 at 18:00.

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:

EDINBURGH

JANUARY SATURDAY CLASSES:

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

JANUARY SUNDAY CLASSES:

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

GLASGOW

JANUARY SATURDAY CLASSES:

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

JANUARY SUNDAY CLASSES:

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 glasgow@academyofmusic.ac.uk (Thomas Sutherland), or call 01412214458, or visit https://www.academyofmusic.ac.uk

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

5-Day Course for choral conductors & vocal leaders

January 7, 2017 in All Opportunities, choral, Other Opportunity, Performers by mwhiteside

Deadline: 28 February 2017 at 12:30

Sing for Pleasure is offers training throughout UK for conductors and vocal leaders. Whether you are trying your hand at conducting for the first time, improving your musicianship skills or refreshing knowledge gained on previous courses, you can look forward to a challenging and enjoyable time in a relaxed but stimulating atmosphere.

SfP conducting training is at four levels. The Foundation level is for complete beginners and those with limited experience of leading singing and conducting. Students on the Intermediate 1 course will normally have some experience of conducting and vocal leadership. The Intermediate 2 course is designed for those who have attended previous Sing for Pleasure courses, though experienced conductors are occasionally accepted directly onto this level. The Advanced course is also designed for those who have attended previous SfP courses.

The 5-Day Course in Glasgow focuses on the Foundation and Intermediate 1 levels.

COURSE AIMS:
– Preparing music and gesture thoroughly
– Singing the various voice-parts to enable them to be learnt quickly and efficiently
– Creating rapport and enjoyment
– Developing simple, clear, economical conducting gestures
– Achieving a musical performance, even with the simplest repertoire
– Controlling rehearsals and maintaining a good pace
– Analysing one’s own achievements and the work of others in a constructive way.

COST:
SfP Members £375 (non-members £415). The cost includes course handouts and a comprehensive resource pack.

Through the generosity of the John Lewis Partnership, some bursaries are available. Please refer to the website for further details.

SINGERS:
There are a few places available (at no cost) for singers who wish to come along just to sing and observe. Please complete the online application form and state your interest to come as a singer.

VENUE:
The venue for the Glasgow course is the Music Department, 14 University Gardens, Glasgow. G12 8QH.

TUTORS:
Our highly skilled team of tutors are all members of Sing for Pleasure and bring a range of experiences as professional conductors, musicians, teachers, trainers, adjudicators and workshop leaders. Our tutor for the Glasgow course is Katy Lavinia Cooper. (www.katylaviniacooper.co.uk).

DATES:
The Glasgow course will run on:
11 March
8 April
29 April
20 May
3 June

Location: Glasgow City

For further information, please contact events@singforpleasure.org.uk (Ula Weber), or visit http://www.singforpleasure.org.uk

The deadline is Tuesday 28 February 2017 at 12:30.

Kelvin Ensemble – Student Conductor applications

December 30, 2016 in All Opportunities, Opportunity, Other Opportunity, Performers by mwhiteside

The Kelvin Ensemble are looking for a Student Conductor for next semester!
This is a really exciting opportunity for any aspiring conductors. Applications are welcome from matriculated students of 18 years or older.
While you will not be taking all rehearsals, you will be required to become familiar with the scores for our repertoire, and be fully prepared for any rehearsals you will take.

Full details including the Terms and Conditions of the post can be found here: http://bit.ly/2iaMrys

And the application form can be accessed here: http://bit.ly/2iknu46

Good luck!

Creative Entrepreneurs Short Course

December 25, 2016 in All Opportunities, Opportunity, Other Opportunity by mwhiteside

A short, intensive, career development course specifically designed to give performing artists the skills to take their career into their own hands, and bring new creative projects to life.

Talent and exemplary craft make up only one part of the patchwork of skills performing artists and creative practitioners need to succeed in today’s world. Confidence, resourcefulness, resilience and being commercially savvy have become just as vital, whatever the stage of one’s artistic career.

This course is designed to help performing artists explore new creative projects, and to couple them with the business know-how to make them happen.Whether you are an actor, musician, dancer, producer, solo performing artist, or part of a wider ensemble, our aim is to take your artistic ideas as a starting point and to give you the resources and skills to bring them to life.

The course is structured as a series of personal impact workshops to help you:

  • Identify your ‘Unique Selling Point’ and the distinctiveness of your artistic proposition
  • Practice your ‘sales pitch’ and approaches to investment & fundraising
  • Develop a business plan, considering aspects such as finance, promotion & networking, marketing & social media
  • Gain access to the tools, resources and support to master the business side of things with confidence and clarity.

The course will feature an exclusive seminar and Q&A with a leading creative entrepreneur in the performing arts, followed by drinks and networking on the evening of Saturday 12 March.

Who is this course for?

This short course is for performing artists who want to make new artistic projects happen. It is relevant to artists at all career stages, and applies to all disciplines of the performing arts (drama, music, technical theatre, and dance). Applicants are likely to include artists running a portfolio career, freelancers or sole traders looking to start a distinctive new project.

Dates

Friday 10 – Sunday 12 March 2017

Find out more

To find out more and book your place visit www.gsmd.ac.uk/creativeentrepreneurs

BALANCE-UNBALANCE 2017

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

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

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

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

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

SUBMISSIONS:

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

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

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

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

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

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

Deadline for submissions:

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

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

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

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

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

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

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

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

Conference Theme “Augmented and Participatory Sound/Music Experiences”

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

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

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

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

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

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

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

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

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

We look forward to receiving you in London in 2017!

Conference Committee

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

SoundScape Summer School

December 18, 2016 in All Opportunities, Composers, Opportunity, Other Opportunity, Performers, residencey and summerschool by mwhiteside

Creating the Music of Tomorrow

• Composers: Apply by January 1, 2017
• Performers: Apply by March 1, 2017
• soundSCAPE encourages applications from performers on ANY instrument, including vocalists and conductors.

Eastman Broadband, 2017 Ensemble in Residence
• BroadBand is a flexible ensemble based in Rochester, New York, featuring current students and recent alumni of the Eastman School of Music.
• Composer applicants selected to write for BroadBand will be notified by January 15, 2017.
• Two applicants in percussion will be selected to perform with BroadBand at soundSCAPE.

Festival Sinfonietta
• Comprised of performance applicants and members of Eastman BroadBand with Festival Faculty.
• accepting auditions on flute, oboe/english horn, clarinet, bassoon, trumpet, horn, trombone, piano, saxophone, percussion, violin, viola, cello, bass.
• Composer applicants selected to write for the Sinfonietta will be notified by January 15, 2017.

Small Chamber Groups
• Ranging from two to six players, each group will include a member of Eastman BroadBand or Festival Faculty along with participant performers.
• accepting auditions on all instruments (as listed under Sinfonietta above), including guitar, voice (all types), and any other instrument.
• Composers selected to write for chamber groups will be notified by January 15, 2017.

soundSCAPE facilitates the flowering of new music and the exchange of ideas and culture between musicians of tomorrow’s generation. Each summer in idyllic Maccagno, Italy, soundSCAPE attracts composers and performers from around the world for two weeks of concerts, lectures, master classes and workshops. The essence of the festival is process and collaboration – soundSCAPE has been the starting point for new music initiatives that have flourished long beyond the festival, all around the globe. We approach all music with open ears and a passion for making your voice heard… please join us for a celebration of new music in 2017!

Established in 2005, soundSCAPE is directed by Nathanael May.

soundscapefinal-1

OPEN CALL: Japan Performing Arts Scoping Trip

December 10, 2016 in All Opportunities, Composers, Other Opportunity, Performers by mwhiteside

Creative Scotland and British Council are organising a scoping visit to Japan/TPAM – Performing Arts Meeting Yokohama (and the Yokohama Dance Collection) bringing producers and facilitators from the performing arts sector to refresh and foster existing and new connections between Scotland and Japan.

The delegation will be formed of up to 8 Scottish delegates and the visit will take place from 11th to 19th February 2017 (travel dates will be confirmed in the offer letter).

The Partnership between British Council and Creative Scotland aims to catalyse relationships which can take a long-term approach and provide a framework seeking to build on existing collaborations, providing scope for new opportunities between Scottish and Japanese artists, arts professionals and arts organisations; where collaborations can flourish and sustainable networks are formed.

Deadline for expressions of interest:
30th December 2016

For more information goto:
https://scotland.britishcouncil.org/open-call-japan-performing-arts-scoping-trip

Location: All Scotland ,International

For further information, please contact isabel.mouramendes@britishcouncil.org or visit https://scotland.britishcouncil.org/open-call-japan-performing-arts-scoping-trip

The deadline is Friday 30 December 2016 at 17:00.

Bang on a Can Summer Music Festival at MASS MoCA July 17 – Aug 6, 2017

November 28, 2016 in All Opportunities, Composers, Other Opportunity, Performers, residencey and summerschool by mwhiteside

The Bang on a Can Summer Music Festival at MASS MoCA (Massachusetts Museum of Contemporary Art) is a three-week residency and musical utopia for innovative composers and performers dedicated entirely to adventurous contemporary music. We will write it. We will perform it. We will think about it and we will talk about it. Composers will have their works performed. Players will perform in ensembles sitting alongside their teachers. There are daily recitals in the museum galleries, and the residency concludes with a six-hour blow-out Marathon Concert featuring performances by the student/faculty ensembles. The program also includes world music workshops, an orchestra of original instruments, technology and music business seminars and more.

Past  participants have said: Bang on a Can has changed my life. I never thought it would be possible to find a community that is devoted to new music with such a high caliber of musicianship, such enthusiasm and mutual supportiveness, and such a sense of joy for everything we do. I know I’ll be looking to recreate this feeling in my future collaborations, always.

Bang on a Can is really everything I want the music world to be — inclusive, engaging, innovative, fun, thought-provoking, beautiful, challenging, and rewarding. The festival brings all of that and more directly into focus, and it has made all the difference in the word to have been a part of it.

The faculty will be drawn from among the most innovative musicians of our time from ensembles including Bang on a Can All-Stars, eighth blackbird, California EARUnit and more:  Gregg August, bass; Ashley Bathgate, cello; Vicky Chow, piano; David Cossin, percussion; Michael Gordon, composition; David Lang, composition; Brad Lubman, conducting; Nicholas Photinos, cello; Vicki Ray, piano; Todd Reynolds, violin; Mark Stewart, guitar; Ken Thomson, saxophone/clarinet; Julia Wolfe, composition; and more special guests!

The Bang on a Can Summer Music Festival at MASS MoCA is located in the beautiful Berkshire mountains in western Massachusetts. MASS MoCA presents exhibitions and performances by renowned artists and cultural institutions, but it also is a place where the process of creativity is explored.  Bang on a Can is thrilled to work with them in building a bridge between the arts.

http://bangonacan.org/summer_festival/info_for_applicants

Open call for residency in Andalucía, Spain, Post Religion

November 27, 2016 in All Opportunities, Composers, Other Opportunity, Performers, residencey and summerschool by mwhiteside

A multidisciplinary residency for individuals or collectives

We’re offering creative practitioners a space to develop their ideas or projects unhindered. This is the only residency within the municipality of Álora, a pueblo blanco in Andalucía Spain.

Duration: 7 days in Álora, Andalucía Spain

Eligiblitlity: Practitioners any age, from any nation, in the beginning to mid level stages of their career

This residency includes:

-Furnished, clean accommodation, kitchen, bathroom, and roof terrace

-Private work space

-Time and space to contemplate and create

-The human right of high speed wifi

-Tea, coffee, water, wine and/or beer

-Towels, bedding and a final cleaning

-Assistance with the visa process and travel planning (if needed)

-Collection and return to nearby train station and airport

-Assistance on site with your project (if needed)

-One-to-one interdisciplinary mentoring

-Follow up feature story in London based print magazine

-A small stipend to help offset associated costs

-Becoming part of an international community, receiving ongoing support and access to resources

Fee: The application is based on a “pay what you want” model, but please contribute a minimum of £1 (towards processing fees).  We receive no external funding, and have a suggested donation of £10, which goes towards our administrative costs and running the residency.  The amount you donate does not correlate with your chance of being accepted.

Applications for the Spring Residency (February 1st-April 1st 2017), should be submitted by January 10th 2017. 

* There is no theme or fee to participate, but meals and flights are not included (a small stipend is included to help offset some of these costs).

For details on how to apply, please visit: www.postreligion.co.uk/residency

Vacancy – Head of Department in Creative Technology at Bournemouth University, UK

November 25, 2016 in All Opportunities, Composers, electroacoustic, Opportunity, Other Opportunity, Performers by mwhiteside

Bournemouth University has recently advertised for a Head of Department in Creative Technology, which spans music technology and games technology. http://www.jobs.ac.uk/job/AVN845/head-of-department-in-creative-technology/ The new buildings mentioned in the advert will also include purpose-built music studios and teaching facilities.

Closing date is midnight Tuesday 3rd January 2017.

LAB FOR OLDER ARTISTS IN THE EARLY STAGES OF A NEW ARTISTIC CAREER, AT COVE PARK

November 23, 2016 in All Opportunities, Composers, Opportunity, Other Opportunity, Performers, residencey and summerschool by mwhiteside

Open to Scottish-based artists in all artforms who are aged over 50, and led by Nicholas Bone and Alice McGrath from Magnetic North.

Dates: Arrive on evening of Wednesday 22nd February and leave on the morning of Tuesday 28th February

Location: Cove Park, near Helensburgh
Deadline for applications: midday on Wednesday 4th January Successful candidates will be notified by: Monday 16th January APPLICATION GUIDELINES

The lab

This lab is a partnership between Cove Park, Magnetic North, Luminate – Scotland’s creative ageing festival, and a-n The Artists Information Company. It offers an opportunity for six older artists working in any art form to take part in a facilitated process, exploring how creativity can be nourished and how artists can challenge themselves to develop. There will also be time for individual reflection and work.

The aims of the lab are to:
o Create a supportive atmosphere for discussion
o Stimulate dialogue about creative processes
o Give space and time for artists to reflect on their own creative practice o Make time for individual reflection

The lab is open to artists who have recently embarked on a new artistic career including those who have trained at a young age and have returned to their practice later in life, those who have worked in the arts in different capacities and are now changing direction, and those who have come new to their artform in their later years. We are keen to receive applications from artists who are about to embark on their new career, as well as those who have already begun to work professionally.

More information http://www.magneticnorth.org.uk/images/docs/Older-artists-lab-2017—call-for-applications.pdf

ANNOUNCING THE FIRST SCOTTISH AWARDS FOR NEW MUSIC

November 22, 2016 in All Opportunities, Composers, featured, Home, News, Opportunity, Other Opportunity, Performers by mwhiteside

ANNOUNCING THE FIRST
SCOTTISH AWARDS FOR NEW MUSIC

CELEBRATING SCOTLAND’S VIBRANT
CONTEMPORARY MUSIC SCENE

8 MARCH 2017, GLASGOW
www.newmusicscotland.co.uk
@scotnewmus 

The inaugural Scottish Awards for New Music will take place on Wednesday 8 March 2017 at 8.00pm at the Drygate Brewery, Glasgow.  The Awards have been created by New Music Scotland with financial support from Creative Scotland, to celebrate and champion the highest standards and achievements of Scotland’s composers, musicians, sound artists and ensembles. They will highlight and showcase the innovative, experimental and ground-breaking work taking place in Scotland, as well as the depth and breadth of the country’s contemporary music scene.

The Scottish Awards for New Music are welcoming nominations for music being made by Scottish and Scottish-based creators of new music. The nine categories are listed below. Nominations are open from Thursday 24 November until Tuesday 20 December 2016 and can be made by both members of the public and industry professionals.  Nominations can be made via the website where details of eligibility and submission criteria can be found: www.newmusicscotland.co.uk/awards2017.

The winners of each of the nine categories will be selected by an international panel of composers, musicians and music industry experts and announced at the awards evening in Glasgow on 8 March 2017. Profiles of the shortlisted entries will be available on New Music Scotland’s website in the weeks leading up to the event.

New Music Scotland Chair, composer Oliver Searle said, “We are excited about the launch of these awards in Scotland, in recognition of the range of innovative new work being created, promoted and performed. New Music Scotland recognises the diversity and quality of new music that exists here, providing a further opportunity to raise awareness of the range of musical activity that is essential in making Scotland such a culturally vibrant place to live and work.”

Alan Morrison, Head of Music, Creative Scotland, said, “The Scottish Awards for New Music offer a fantastic opportunity to celebrate work that resonates locally, nationally and internationally. Excellence and experimentation thrive across all of the award categories, proving yet again that Scotland is home to musicians and composers who are truly world-class. Creative Scotland also hopes that these new awards raise the profile of such artists in our society, allowing the public to engage with some of the most thrilling music currently being made here.”
 

 

THE CATEGORIES:

  • electroacoustic/sound art work
  • small scale new work (1-10 performers)
  • large scale new work (11+ performers)
  • recorded new work
  • innovation
  • collaboration
  • community/education project
  • achievement in new music
  • new music performer(s) of the year

THE PANELLISTS:

  • Jessica Cottis (conductor)
  • Brian Irvine (composer)
  • Dr. Evonne Ferguson (Director of the Contemporary Music Centre Ireland)
  • Rose Dodd (composer)
  • Tom Poulson (musician)
  • Susanne Eastburn (Chief Executive, Sound and Music)
  • Kate Molleson (music writer)
  • Emmanuel Cocher (Director of the Institut français d’Ecosse)

Classical:NEXT 2017 Registration Now Open

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

Registration of Classical:NEXT is now available online for the reduced Smart Rate price. We appreciate you writing a post or small news item to notify your readership.

Please note: The first programme details for the 2017 edition, including major conference topics, speakers and some musical highlights will be announced in a press release on Wednesday, 30 November.

On the Classical:NEXT Registration: As of today, classical and contemporary music professionals from all sectors can register online for the sixth edition of Classical:NEXT in Rotterdam, the Netherlands. Classical:NEXT is classical music’s leading industry event, with a focus on innovating classical and contemporary music.

Classical:NEXT 2017
de Doelen international Concert Hall and Congress Centre
Rotterdam, the Netherlands
17 – 20 May 2017

Dedicated Online Registration System:
www.classicalnext.com/net/registration/classicalnext/2017

Prices for Classical:NEXT 2017 will stay exactly the same for the third time in a row. Stands are expected to sell out fast again. The country umbrella stands below are already confirmed, and more stands and delegations from all over the globe will follow in the coming weeks and months.

Australia (Sounds Australia)
Belgium – Flanders (Flanders Arts Institute)
Beligum – Wallonia (Wallonia / Brussels Music)
Canada (Canada Council for the Arts)
Denmark (Danish Arts Foundation)
Estonia (Music Estonia)
Finland (Music Finland)
France (Business France)
Latvia (Latvia/Letland)
Lithuania (Music Lithuania)
Luxembourg (music:LX)
Spain – Catalonia (Creative Catalonia)
Sweden (Export Music Sweden)
Switzerland (Fondation Suisa)
The Netherlands (Dutch Pavilion)
UK (British Music Stand)
UK – Scotland (Creative Scotland)
On Classical:NEXT: The organisers of the event are Piranha Arts (based in Berlin, Germany) together with local partner de Doelen, Rotterdam’s concert hall and home to the Rotterdam Philharmonic Orchestra. Classical:NEXT will again feature a stand expo, conference and showcase formats including live concerts and video project pitches. 1,200 delegates attended the last edition this May.

Apply to the RPS Julius Isserlis Scholarship

November 18, 2016 in All Opportunities, Opportunity, Other Opportunity, Performers by mwhiteside

The Royal Philharmonic Society’s (RPS) Julius Isserlis Scholarship is now open for applications, offering up to £30,000 to study abroad for one or two years.

According to the RPS, the initiative is open to all classical instrumentalists of any nationality aged 15-25 who are permanent UK residents.

Applications are selected for audition. Auditioned candidates will be expected to prepare a recital programme of 45’ duration as well as give an outline of their proposed course of study abroad and two references.

Applications must be made on the official form which can be downloaded below. Applicants will have to submit a recording of their playing and a fee of £30 for non-RPS members or £15 for RPS members is payable.

Previous recipients include Rebecca Burch, who travelled to Dagaare, Ghana to pursue percussion, and harpist Emily Hoile, who travelled to New York to further her musical development.

Visit the RPS website to find out more.

co-incidence, an experimental music residency

November 7, 2016 in All Opportunities, Composers, electroacoustic, Other Opportunity, Performers, residencey and summerschool by mwhiteside

*The application is free and DUE DECEMBER 10th*

**This Residency will take place from JANUARY 24th – 30th, 2017**

“co-incidence, an experimental music residency” is a gathering of experimental composer-performers for six days hosted by Non-Event at Washington St. Gallery in Somerville, MA, US (Boston).

Attending will be:

Resident Artist – Michael Pisaro

Six Guest Artists, determined via application

Co-Directors – Luke Martin & Aaron Foster Bresley

Open to the Public

This project is based on an expanded view of what constitutes art, music, and the traditional concert. Following the example of the revolutionary arts community Black Mountain College, it will bring together a group of radical artists operating in the boundary-zones of their practice to take part in a residency curated as ‘social sculpture.’ Reflecting the values of experimental music, co-incidence will be allowed to grow organically, strongly influenced by the artists who attend: the directors simply provide a time, space, and loose framework. There will be encouraged but not required peer-to-peer meetings between artists in lieu of official lessons, the people attending will not be labeled as student or faculty.

The residency is tuition free. Housing and food are not provided (besides a welcome dinner, and all meals on Sunday the 29th). To offset this cost, we are giving a $400 stipend to each guest artist. We estimate housing and food costs to be between $500 and $600. Upon acceptance, we will assist as possible in finding accommodations and providing recommendation letters for grants.

Please see a description of our collaborators, the application, and further details on our website: http://www.coincidenceresidency.com/

If you have any questions, please email us at: coincidence.residency@gmail.com.

Artist Residency – RHSC and DCN

November 6, 2016 in All Opportunities, Composers, Opportunity, Other Opportunity, Performers, residencey and summerschool by mwhiteside

Deadline: 09 November 2016 at 17:00

Description

We are seeking expressions of interest from a contemporary artist or artists for a 12 month artist residency as part of the Art and Therapeutic Design (ATD) programme for the new Royal Hospital for Sick Children (RHSC) and Department of Clinical Neuroscience (DCN) hospital in Little France, Edinburgh.

This is a fantastic opportunity for a contemporary artist (or artists) to research, develop and deliver a residency project which could include an exhibition, workshop, digital production, performance, event or publication. The focus for the activities or interventions should be on building meaningful collaborative practice with community projects in the geographical vicinity of the Little France Campus with particular attention to those representing minority or hard to reach groups.

We are looking for an artist (or artists) with a track record of innovative socially engaged practice who can demonstrate confidence, motivation, vision and creative aptitude for developing arts within healthcare settings and with minority or disadvantaged communities. There will be scope for the selected artist to pursue personal interests in the choice of specific communities or themes they explore.

Budget

A total sum of £38,000 ex VAT has been allocated inclusive of all fees and expenses for this residency. This is broken down as artist residency fees of £28,000 (140 days @ £200) plus a materials budget of £10,000 to cover production or event delivery costs.

As part of the ATD 19.1 residency programme there will also be access, via discussion and approval, to a shared budget for mentoring, discussions and dissemination/publication.

Submission Deadline

Submissions should be sent in electronic form to Lucy Harwood by 5pm on Wednesday 9th November 2016. Please see project briefs for full submission requirements.

Full Brief

More information and a full brief can be found at http://www.ginkgoprojects.co.uk/opportunities/artist-residency-rhsc-dcn

Location: Edinburgh City

For further information, please contact hanskclausen@gmail.com (Hans Clausen, Lead Artist), or visit http://www.ginkgoprojects.co.uk/opportunities/artist-residency-rhsc-dcn

Fellowships – DCN

November 6, 2016 in All Opportunities, Composers, Opportunity, Other Opportunity, Performers by mwhiteside

Deadline: 09 November 2016 at 17:00

Description

We are seeking expressions of interest from creative practitioners for the Art and Therapeutic Design (ATD) programme for the new Department of Clinical Neuroscience (DCN) hospital in Little France, Edinburgh. The opportunities are:

– Language & Cognition Fellowship
– Music Fellowship
– Design Fellowship

The fellowships are a fantastic opportunity to promote and showcase the working activity and research interests currently found within the DCN through a programme of dynamic art/science commissions. Innovation and design development using current research practices is key to each fellowship within the programme. This project seeks to build relationships between artists, staff and external research partners to demonstrate best practice and contribute to on-going dialogue with respect to the benefits of creative practice in clinical environments.

The three DCN fellowships are a unique opportunity designed to build relationships and creative capacity between the hospital and wider city communities over a 12 month period. It is anticipated that much of the development work will take place off site however we expect both temporary and permanent outcomes to find a place both within the existing DCN at Western General and/or the new building at Little France.

Budget

Each fellowship is valued at £40,000 ex VAT including all materials and expenses. This is broken down into fellowship fees and a materials budget to cover production or event delivery costs. This is based on a fee allocation of £30,000 (150 days @ £200 per day) and £10,000 for support, materials and expenses.

As part of the project there will also be access, via discussion and approval, to a shared budget for mentoring, discussions, and for dissemination/publication.

Submission Deadline

Submissions should be sent in electronic form to Lucy Harwood by 5pm on Wednesday 9th November 2016. Please see project briefs for full submission requirements.

Full Brief

More information and a full brief can be found at http://www.ginkgoprojects.co.uk/opportunities/fellowships-dcn

Location: Edinburgh City

For further information, please contact mark@ginkgoprojects.co.uk (Mark Daniels, Project Curator), or visit http://www.ginkgoprojects.co.uk/opportunities/fellowships-dcn

The deadline is Wednesday 09 November 2016 at 17:00.

Call for Abstracts – CIRMMT Symposium on Force Feedback and Music

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

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

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

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

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

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

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

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

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

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

2016 Joint WOCMAT – IRCAM Forum Conference

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

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

Date:Dec. 9-10, 2016

Submission

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

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

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

Lecture

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

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

[ IRCAM (Six Researchers) Speech and Workshop ]

Registration Fees

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

Due Date

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

Contact

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

Guthman Musical Instrument Competition

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

2017 Call for Submissions
is Now Open!

Georgia Tech’s 2017 Margaret Guthman Musical Instrument Competition is an annual event designed to showcase the world’s next generation of musical instruments and unveil the best new ideas in musicality, design, and engineering. Wired magazine called the competition an “X-Prize for music,” and contestants liken it to a TED Conference for new musical instrument designers. The Guthman Competition will take place March 8-9, 2017, at Georgia Tech’s Ferst Center for the Arts, in Atlanta, Georgia.

The deadline for submissions is October 20, 2016. Approximately twenty semi-finalists will be invited to demonstrate, discuss, and perform with their instruments as they compete for $10,000 in cash prizes.

Submit your instrument at:
http://www.guthman.gatech.edu/2017submissions

/////////////////////////////////////////////////

:::: This Year’s Judges ::::
Moog CEO MIKE ADAMS
Professor ELAINE CHEW
Performer DAEDELUS

/////////////////////////////////////////////////

To learn more about the competition,
Visit guthman.gatech.edu or our Facebook page.
We’d love to hear your comments!

Call for Applications – Self-funded winter residencies

September 29, 2016 in All Opportunities, Composers, Opportunity, Other Opportunity, Performers, residencey and summerschool by mwhiteside

Subsidised Self-Funded Residency Opportunities.
Cove Park has just opened its brand new Artists Centre. For the first time we are able to run year-round residencies for individuals or groups of up to 12, and are inviting applications from those who wish to spend 10 days – 4 weeks with us this autumn and winter, at a special subsidised rate.

As part of our work to ensure Cove Park is an open, equal and inclusive organisation, with opportunities for artists and makers of all cultures, ages, creative disciplines and at all stages of their career, we are offering subsidised self-funded residencies throughout November & December 2016 and January 2017.

Proposals are invited from UK-based artists (individually or in groups) working in any creative discipline who would benefit from time, space and creative exchange on Scotland’s west coast.

Further information about costs and dates are available here. The deadline for applications is Friday 14th October 2016.

Royal Opera House Links partnerships

September 21, 2016 in All Opportunities, Opportunity, Other Opportunity, Performers by mwhiteside

ROH Links is year-long partnership programme that helps people and projects to thrive, drawing on the skills, expertise and perspectives of people working at the Royal Opera House and encouraging wider networking.

The Royal Opera and Royal Ballet would like to invite up to four companies, ensembles, venues and/or independent creative producers to become ROH Links partners for one year, starting in January 2017, with potential for extension as required. The programme, which has been developed in partnership with Arts Council England, is tailored to each partner’s needs. However, support from the ROH is likely to include 15 hours per annum of 1:1 meetings and shadowing opportunities with senior Company and other Royal Opera House staff. Partners also participate in Conversation Days (see below) and are encouraged to learn from each other, from former participants and from other colleagues in the cultural sector. We would also value the opportunity to learn from your perspectives and approaches. There is no cost to either party.

Successful applicants will demonstrate a compelling artistic vision and the potential to have a transformative impact on the future of opera and/or ballet. We are especially interested to hear from companies and individuals whose work reaches or has potential to reach under-served communities, nurtures diverse talent, is tailored to younger audiences and/or makes innovative use of digital media. Applicants must also outline their capacity to participate fully and to build on their learning (including Board engagement where applicable).

Areas for development may include (but are not limited to) fundraising, marketing, audience engagement, learning and participation, producing, digital content, planning, systems, human resources, legal and governance.

‘Our relationship with ROH has very much exceeded our original expectations. We have found the ROH staff to be incredibly friendly and open and we have been impressed by the willingness of staff at all levels of the organisation to engage.’

‘Taking on ROH advice, we launched a new individual giving scheme in spring 2014 and we are now exceeding our fundraising targets in this area.’

‘We have changed how we promote our shows via social media – developing a more sophisticated and discursive dialogue.’

‘We can confidently say the impact of this scheme has contributed significantly and invaluable to our growth, success and future plans.’

To apply, please download and complete this form and return it to Allie Duthie at allie.duthie@roh.org.uk by 11am on 21 October. Discussions with potential partners will take place on 21 November (ballet, dance and combined arts) and 16 November (opera, music and combined arts).

If you would like to talk to us in advance, please call Lindsey Glen on 020 7212 9384 or speak with staff within The Royal Opera or The Royal Ballet.

Conversation Days

In addition to the formal ROH Links Partnerships, we are also planning a networking event next spring, including panel discussions on income generation, digital activity and business planning. To register your interest, please contact Allie Duthie at allie.duthie@roh.org.uk.

http://www.roh.org.uk/about/roh-links

Ableton Live Masterclass

September 9, 2016 in All Opportunities, Composers, electroacoustic, Opportunity, Other Opportunity, Performers, residencey and summerschool by mwhiteside

Ableton Certified Trainer Timo Preece will deliver 2 master classes on 24th & 25th September 2016 focusing on the development of streamlined workflow techniques for designing, sketching and composing music quickly and efficiently with Ableton Live 9.

Visit http://thenoisefloor.co.uk/master-classes-ableton-live-edinburgh/ for full details and booking information.

Proper technique is a crucial component to almost every type of development but it can also be one of the most difficult things to learn on your own. Being tuned into efficient, productive workflow can often be the difference between finishing your productions or not.

Learn valuable strategies, tips, tricks and innovative methods for improving productivity, efficiency and quality from an experienced industry professional and expert Ableton Certified Trainer: Timo Preece (Berlin-Germany). Attendees are encouraged but not required to attend both the Saturday and Sunday sessions. Each session’s content will be related but also stand on its own. Feel free to bring a laptop with Ableton Live installed, although this won’t be required for the sessions.

The workshops are limited to 6 students per day to ensure an intimate learning environment and will take place at The Noisefloor, Edinburgh’s unique DIY music and sound production studio. Attendees will be able to take advantage of exclusive, discounted rates on future use of the studio.

The full weekend course will cover topics including:

– Streamlined navigation of Live’s interface
– Roadmaps and templates for efficient music production
– Instrumentation, beat creation tips and techniques
– Automation, modulation, effect processing and beyond
– Efficient signal routing
– Optimizing Live for maximum efficiency
– Creative strategies and over coming obstacles
– Shortcuts without cutting corners
– and more…

The instructor, Timo Preece, is an accomplished audio technologist, multi-media consultant, sound designer and electronic musician. Find out more here: www.gravityterminal.com

Price: £99 per session

Organised Sound: An International Journal of Music and Technology

September 3, 2016 in All Opportunities, Composers, electroacoustic, Other Opportunity, Performers by mwhiteside

Call for submissions

Volume 23, Number 2

Issue thematic title – New Wor(l)ds for Old Sounds

Date of publication: August 2018

Submission deadline: 15 September 2017

Issue co-ordinators: Erika Honisch (erika.honisch@stonybrook.edu) and Margaret Schedel (margaret.schedel@stonybrook.edu), Stony Brook University

Evidence for the ‘sonic turn’ in and beyond the humanities is everywhere: in the calls for papers of recent interdisciplinary conferences, in the popularity of sound-oriented blogs, in the formation of sound studies interest groups in academic professional societies, in the collaborations of electroacoustic composers with social scientists, and, not least, in the purview of Organised Sound itself. It is less evident—given the general emphasis in sound studies on contemporary sonic cultures and practices—that a significant line of inquiry focuses on the richly sonic past. Studies exemplifying this historicist impulse draw attention to the acoustic properties of ancient and early modern spaces, and those of more recent built environments (Blesser and Salter, 2007; Fisher, 2014); they search archival documents for the sounds of colonial encounter (Rath 2005) and the hubbub of England in the Victorian period and earlier (Picker 2003; Cockayne, 2007); they find traces of the noisy mediaeval city in manuscript illuminations (Dillon 2012); they document sound and its silencing to trace shifting urban identities and values (Bjisterveld 2008; Thompson, 2002); they investigate the properties of instruments and technologies, from monochords to metronomes, developed to chart interval space and measure musical time (Grant, 2014); they consider the collision of early recording technology with traditional Western musical aesthetics (Rehding, 2005). Collaborative digital projects recreate past sound worlds, embedding reconstructed sounds in 3D virtual space, as in Mylène Pardoen’s The Sounds of Eighteenth-Century Paris, or situating records (both aural and textual) of sound in specific locations, as with the ever-expanding London Sound Survey.

The interest in timbre, changing technologies, and acoustics that animates these projects also drives the work of practitioners and historians of electroacoustic music. Indeed, the vocabulary and methodologies developed by electroacoustic musicians to build a sonic lexicon, research the sounds of the past, and contextualise the impact of technology on sonic creativity are ideally suited to historically oriented sound studies.

The purpose of this themed issue of Organised Sound is to explore the many points of resonance between the questions raised by electroacoustic specialists and those taken up by scholars who work on the sounds of the pre-electric past. How can we build bridges between these two exciting fields? With this in mind, for the ‘New Wor(l)ds for Old Sounds’ issue, we invite contributions that experiment with the possibilities of applying the insights afforded by electroacoustic technologies, practices and vocabularies to sounds and spaces before the widespread adoption of electric sound in North America and Europe, roughly 1925. By its very etymology ‘electroacoustic’ implicates the electric; so while we could have simply proposed a crossover issue between sound studies and electroacoustic music, we have chosen instead to be deliberately provocative to encourage our authors and readers to expand their conception of the traditional scope of Organised Sound. We are interested in providing a forum for the projection of electroacoustic music studies to other pre-electric objects and, conversely, testing out methodologies as well as the relevance/applicability of historical knowledge to the current and future initiatives falling squarely within the journal’s subject domain, electroacoustic music studies.

More specifically, we wish to probe how electroacoustic language might be fruitfully used to discuss technologies, compositions, and listening practices before the advent of recording and electronically generated sound. What kinds of sounds emerge when we examine textual documents or historical musical instruments using a vocabulary of timbre informed by electroacoustic music? What do the re-creative possibilities of electroacoustic technology tell us about the obsolete or imaginary musical instruments described in music theory treatises (Athanasius Kircher, Musurgia Universalis, 1650); the utopian sound-houses described by Francis Bacon (The New Atlantis, 1624); the ‘invisible music’ channelled into the palace of Christian IV of Denmark (Spohr, 2012); the acoustic properties of the cavernous Salle des Machines in Berlioz’s Paris? And on the other hand, how do pre-electric practices and technologies continue to inform current electroacoustic practices? Taken together, such questions invite a rethinking of the relationship between past and present conceptions of timbre, space, and sonic ecology, and the history of sound-based listening.

Contributors might take up the following questions:
What is an electroacoustic vocabulary for the pre-electric sonic past?
What can we learn if we apply new electroacoustic methodologies to examine familiar historical objects (musical texts, musical instruments, resonant spaces)?
How are current electroacoustic practices shaped and informed by pre-electric musical technologies?
How are current electroacoustic technologies used in the study of pre-electric music?
Which electroacoustic technologies can be deployed to answer questions about the acoustic properties of colonial village greens, of Gothic cathedrals, of Baroque theatres, of the factories and mills of the Industrial Revolution?
What do we learn when electroacoustic practitioners and historians take up questions that drive sound studies research (for example, the interest on aural cultures and listening communities) to shed light on the history and priorities of electroacoustic music?
and….?

As always, submissions related to the theme are encouraged; however, those that fall outside the scope of this theme are also welcome. Articles which compare pre-electric and post-electric sound-worlds and sonic practices are encouraged but in order to be considered ‘on theme’ a substantial portion of the text must address the period before 1925.

We invite contributions from all disciplines, but particularly from electroacoustic music studies, history, sound studies, musicology and ethnomusicology, music theory, and history of science.

SUBMISSION DEADLINE: 15 September 2017

SUBMISSION FORMAT:

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:

http://journals.cambridge.org/action/displayMoreInfo?jid=OSO&type=ifc (and download the pdf)

Properly formatted email submissions and general queries should be sent to: os@dmu.ac.uk, 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, Alessandro Cipriani, Simon Emmerson, Kenneth Fields, Rajmil Fischman, Eduardo Miranda, Rosemary Mountain, Tony Myatt, Jean-Claude Risset, Mary Simoni, Martin Supper, Daniel Teruggi



New Music Scotland is proudly powered by WordPress and BuddyPress. Just another WordPress Theme by Themekraft.