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 for IRCAM Forum Workshop Demo ]

[ Call for Musical Works ]

[ Call for paper ]


[ 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


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:


:::: This Year’s Judges ::::
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.


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?

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


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

Musician/Technology Resource Developer Commission

August 27, 2016 in All Opportunities, Composers, electroacoustic, Opportunity, Other Opportunity, Performers by mwhiteside

Deadline: 16 September 2016 at 10:00

The Arts and Creative Learning Team, City of Edinburgh Council, seeks a musician to develop a resource for use in Primary 1 to 3 classes on the topic of ‘Music and Technology’.
This resource will be presented in an A4 folder, with DVDs and CDs. A copy will be given to every Primary establishment in Edinburgh, including Special schools. It will be developed through workshops in collaboration with selected Primary schools over a period of ten weeks. The content produced, which may be original or from non-copyright repertoire, should be available for City of Edinburgh Council to use and reproduce both on paper and online. The resource will be filmed as a guide for teachers.
We are offering an all inclusive fee of £250 per day, based on 10 days in school with a further 5 for preparation, and are keen to work in close collaboration with the selected musician. All copyright will be assigned to City of Edinburgh Council. The musician will be fully acknowledged and may use the commission within their own portfolio.

– Fee: £250 per day
– Completion date: 1 February 2017
– Launch of resource: May 2017

Applications should include:
– Commitment to delivering by the deadline
– Confirmation that the content can be used as outlined
– Examples of work (any format including links to websites are acceptable)
– CV
– Names and contact details of 2 referees

For more information and/or to submit your application please contact: Frances Rive frances.rive@edinburgh.gov.uk

This opportunity is funded by Creative Scotland through the Youth Music Initiative.

Location: All Scotland

For further information, please contact Frances.rive@edinburgh.gov.uk (Frances Rive), or call 0131 469 3155,

The deadline is Friday 16 September 2016 at 10:00.

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 thecuttystrange@gmail.com

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. 


Visiting Arts with Creative Scotland present World Cultures Connect Professional Exchange: International Working across the Arts.

June 30, 2016 in All Opportunities, Composers, Other Opportunity, Performers by mwhiteside

We are offering a one of a kind opportunity for creative practitioners and producers from Scotland to join 12 visiting practitioners from Trinidad & Tobago, Malawi, Ethiopia and the Pacific Islands in the final stage of the World Cultures Connect Creative Skills training programme, as part of the Culture Works Connections project. Find out more about World Cultures Connect Creative Skills here.
Facilitated by lead trainers from Visiting Arts and guest international speakers, this special event taking place on Wednesday 24th August at Edinburgh Festival Theatre will comprise an interactive training session, involving practical exercises and group discussions, exploring the current climate for international working within the arts. This will be followed by a networking and exchange session encouraging participants to share their experiences, forge new connections, identify potential partnership opportunities and discover new routes towards profitable collaborative relationships.

Who should apply?

·         If you are in a position to discuss creative international collaboration, whether you are an artist or speaking with authority on behalf of a creative organisation, we welcome your application.

·         You should have at least 5 years’ experience realising artistic/creative projects, either at home or abroad.

·         You should be open to and interested in cultural exchange and both the challenges and opportunities it may present for your work.

·         International participants are drawn from the fields of performing and visual arts and literature, you should be prepared to work in one of these disciplines.

To apply please click here to read the full details and complete the online form by Monday 4th July, 5pm.

For more information please contact comms@visitingarts.org.uk.

Culture Works Connections is supported with the financial contribution of the European Union and the assistance of the ACP Group of States.

ISME Call for Colunteers

May 4, 2016 in All Opportunities, Other Opportunity by mwhiteside

Call for ISME Volunteers


We are looking for volunteers to assist in the delivery of the 32nd International Society for Music Education world conference in Glasgow from 24th- 29th July 2016. The conference is hosted by the Royal Conservatoire of Scotland and will take place over four venues including Glasgow Royal Concert Hall, Theatre Royal and National Piping Centre as well as RCS Renfrew Street campus.

The conference will attract around 1,500 international musicians, educators and policy makers and will feature a dynamic mix of keynotes, papers, workshops, symposia and poster presentations.

Confirmed keynote speakers are Evelyn Glennie, Joan Armatrading, Randy Weston and Darren Henley.

A full music festival will run alongside conference activities featuring performers from across the globe and a further 1,500 participants.

Volunteers will be required to monitor sessions, helping us to run them smoothly and keep to time, fix minor technical issues, alert staff of any problems and provide general assistance to delegates as part of the ISME 2016 team.

In return, volunteers will have the opportunity to access sessions and other conference activities, spending approximately 50% of your working time sitting in on sessions. All effort will be made to ensure you are assigned to work in your own areas of personal interest.

You, and a guest, will also be invited to attend any festival performances you wish.

All necessary training will be provided.

We look forward to welcoming you for a week of stimulating discussion, innovative presentations and world class performance as part of the ISME 2016 Volunteer Team.

If you would like to register interest, or if you have any questions, please contact j.knotts@rcs.ac.uk.

Volunteer certificates can be provided on request.

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: https://www.banffcentre.ca/programs/banff-fellowship-residency-scottish-artists#sthash.eupct51V.dpuf

Lucca International Festival workshops for composers, limited number of auditors positions available

March 30, 2016 in All Opportunities, Composers, Other Opportunity, Performers, residencey and summerschool by mwhiteside

Lucca international Festival 2016

Conservatory and University student auditors from any country are invited to apply for a limited number of auditor places which entitle daily morning masterclasses in composition (and instruments), attendance of afternoon International conference presentations and open rehearsals with composers, evening performances and lodging in beautiful Medieval Lucca apartments for 600 Euro, inclusive. Please send bio and work sample to Muzarte@msn.com by mid May.

Earlier applications will have priority.



March 24, 2016 in All Opportunities, Other Opportunity by mwhiteside



£26,523 to £29,583 per annum (plus 1% from 1 July 2016)

(plus relocation package of up to £7,500)


Following the successful launch of our third Big Noise centre in Torry Aberdeen last year, this is an exciting opportunity to join the programme as Operations Manager as we continue to roll out the second year of the programme in the Torry community.


Based on the internationally celebrated Venezuelan El Sistema programme, our vision is to transform lives with music.   We deliver our work through the creation of Big Noise programmes within communities, and we currently run three programmes in Raploch in Stirling, Govanhill in Glasgow and Torry in Aberdeen. We work with children from pre-school and primary school, adults and eventually children from secondary school.


We are looking for an Operations Manager who will support the Team Leader to ensure high quality procedures, processes and operational functions are embedded to ensure safety and maximise the success of the programme.


A skilled project manager with a passion for music, you will also have experience of working with volunteers and children along with the belief in the impact and transformative power music has for children and the wider community.


For further details please visit our website http://makeabignoise.org.uk/jobs/ where you can view the full job/person specification and complete our online application form (no CVs please). All successful applicants will be subject to PVG check.


For any additional information please e-mail hr@sistemascotland.org.uk or telephone 01786 462923.


We will be holding an open information event for interested applicants on Thursday 31 March – for further details please see the recruitment materials on our website.


Closing date for applications is Monday 11 April 2016 at 10am

The selection process will be held on Thursday 21 April 2016 in Aberdeen

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 (dteruggi@ina.fr)

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:

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, 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.

Call out for TF2016 Mentor Scheme

March 15, 2016 in All Opportunities, Composers, Other Opportunity, Performers, residencey and summerschool by mwhiteside

Tempting Failure is an international festival of performance, visual and noise art coming to London this July with our 5th Anniversary festival.

We are now accepting applications for our mentoring programme for ‪#‎TF2016. An amazing opportunity for final year students set to graduate this year or have graduated within the last year from either an MA or BA degree.

It offers them one on one support with a leading international artist in the production of a new work to be premiered at the festival, alongside a programme of emergent, and established career artists from around the world.

This programme provides invaluable support and professional development, acting as a gateway to the art world.

This year we are thrilled to offer you the chance to work with:

Poppy Jackson

Manuel Vason

AMINAL (Kelly Marie Mailler & Jonny Rowden)

Clive Henry

Ernst Fischer

We are are looking for noise, sound or performance artists to apply.

The DEADLINE is Midnight 20th March.

For more information on how to apply visit: http://www.temptingfailure.com/mentoring

This is an exciting and challenging opportunity for young artists at the beginning of their careers – please do not hesitate to contact a member of the Tempting Failure team for further information.


RSNO seeks new Assistant Conductor

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

Scotland’s national orchestra is inviting applicants for the position of RSNO Assistant Conductor, commencing in the autumn of 2016.

The RSNO Assistant Conductorship is a two-year post and benefits from the continued support of the John Mather Charitable Trust. The scheme is a rare opportunity for conductors keen to develop their talent and experience, and previous post-holders have found that their time with a major symphony orchestra significantly improved their career prospects.

Current RSNO Associate Conductor Jean-Claude Picard has been appointed from the position of RSNO Assistant Conductor for the final year of his extended tenure with the Orchestra. As well as leading the RSNO for programmes as part of the Orchestra’s Season, its Learning and Engagement activities and for partners Children’s Classic Concerts, Picard has conducted performances for the Glasgow 2014 Commonwealth Games cultural celebrations and the Ryder Cup Opening Ceremony at Glasgow’s SSE Hydro. Jean-Claude has also worked alongside internationally recognised visiting soloists and conductors to the RSNO.

Successful candidates will be invited to the RSNO Centre in May for audition with full orchestra, where applicants will be invited to conduct a mixture of repertoire. Following the audition three candidates will be invited to the final round of interviews, from which the new RSNO Assistant Conductor will be selected.

As RSNO Assistant Conductor, the successful candidate will conduct a variety of the Orchestra’s concerts, and will also play an active role in engaging audiences and communities throughout Scotland. In addition to many conducting opportunities, a key aspect of the RSNO’s Assistant Conductor role is to receive a supportive mentoring and learning environment, through ongoing professional evaluation and guidance from RSNO Music Director Peter Oundjian and player-mentors in the Orchestra. Furthermore, the new appointment will have the opportunity to work with many guest conductors, and develop the multi-faceted leadership, organisational and public address skills required of modern conductors.

RSNO Associate Conductor Jean-Claude Picard: “What I have learned at the RSNO through my previous role as Assistant Conductor has by far exceeded my expectations. The experience I have gained here is beyond measurement. This position offers, to name but a few, the opportunity to closely work with world class musicians, conductors, and administrative staff, conduct numerous performances each year, from children’s concerts to main winter season presentations, and develop one’s skills as a public speaker. I do believe that what the RSNO offers through this position is one of the finest learning opportunities in Europe for emerging conductors.”

Applicants are invited to send a covering letter, CV, repertoire list, video work sample and full contact information for three professional references by email only to amy.glover@rsno.org.uk.   Deadline for applications is Monday 8 February 2016.

The RSNO is an equal opportunities employer. The RSNO is supported by the Scottish Government and local authorities in Scotland.

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 catrin.kemp@covepark.org (catrin.kemp@covepark.org), or call 01436850123, or visit http://covepark.org/

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


Opportunity for Promoters and Programmers!

January 13, 2016 in All Opportunities, featured, Other Opportunity by mwhiteside

What? Time Out – A 2-day mini-residency and professional development opportunity for Promoters and Programmers
When? 18-20 March 2015
Where? Pitcairlie House, Newburgh, Fife

Programmers and promoters (including producers or performers who promote their own ensemble),  often find themselves focusing on the organisational aspects of their roles, caught up in a never-ending list of deadlines, unanswered emails, evaluations and budgetary concerns. The aim of this residency is to give programmers and promoters the opportunity to share their experiences, enrich their practice and explore in depth issues, concerns, possibilities and opportunities in a safe non-judgmental environment.

The weekend will be facilitated by Susanna Eastburn of Sound and Music.

The application form gives full details on the residency weekend and how you can apply to take part here: Application Form

Closing date – 5 February 2015
For more information contact Nicola Henderson – nicola@newmusicscotland.co.uk

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 jamesrcarson@hotmail.com (jamesrcarson@hotmail.com), or visit http://www.noiseopera.com/

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 –

Learning and Participation Manager

December 4, 2015 in All Opportunities, Other Opportunity by mwhiteside

sound, a new music organisation based in North East Scotland which runs the soundfestival and other year-round activity is seeking to appoint a part-time freelancer to design and run its learning and participation activities from 1st February 2016.

Aiming to increase access to new music, the Education and Participation strand cuts across sound’s activity, and involves young people both in and outside school as well as members of the local community and audience members generally.

The purpose of the role is to put together a learning and participation strategy and to design activities to deliver the strategy. Support will be given by the organisation’s full-time coordinator in the delivery of events and content.

The successful candidate will have a background in the arts sector, with experience in a similar role, and an interest in contemporary music/culture. He/she will be a self-motivated individual, capable of working on their own initiative and able to think creatively as well as work as part of a team. We are looking for someone strategic, well organised and flexible, with excellent written/verbal communication skills and IT knowledge. A working knowledge of North East Scotland would be helpful.

The post is a part-time freelance post based on an estimated 46 days of work over 1 year. Work can be conducted wherever is most practical, however a desk is available in sound’s office in Woodend Barn in Banchory.
The contract will be paid £4,800.

Letters of application accompanied by a CV should be e-mailed to: fiona@sound-scotland.co.uk

If any material needs to be posted, the address is:
Fiona Robertson
c/o Woodend Barn
AB31 5QA


The closing date for applications is 12pm on Monday 4th January 2016 and interviews will take place in the week of the 11th January 2016.

See below for the full description of the role

Learning and Participation Manager Role Description

Call for Participation: Writing Workshop 2016 For the Darmstadt Summer Course 2016

November 16, 2015 in All Opportunities, Other Opportunity by mwhiteside

For the fourth time the Darmstadt Summer Course 2016 will be offering a Writing Workshop. Although the concept of the project has been revisited and adapted every time, its core is still the same: focused support and concentrated training for young journalists in the field of contemporary music. The success of this format also shows its need – since 2010, applications have tripled and the quality of applications has increased at the same time.
After a successful test in 2014 the Writing Workshop 2016 will again be offered bilingual in German and English. We are delighted to have two very well known UK publicists on board: Anne Hilde Neset and Peter Meanwell, who will share the two project weeks. The German-speaking part will be directed by Stefan Fricke who has worked for the Writing Workshop since the very beginning and has played a key role in emerging the format. In the 2016 edition – again with the active support by Eberhard Bätza who will supervise the „temporary studio“ – an even stronger emphasis is given on the media broadcasting, web and blogging.
Application deadline for the Writing Workshop is 1st March 2016, please see the PDF “Call Writing Workshop” for details.

within the 48th International Summer Course for New Music Darmstadt
Period: 29 July to 14 August 2016
Course direction: Anne Hilde Neset and Peter Meanwell (EN – one week each),
Stefan Fricke (DE)
Audio production: Eberhard Bätza
Course contents (in two languages; DE/EN):
– Practice-oriented lectures and coaching
– Lecturers from different fields of contemporary music
– Interviews with composers and musicians
– Overview of the job profile of a new music journalist
– Overview of contemporary music genres
– Creation of own contributions (print, radio, on-line)
– Insight into different media with main focus on feature writing and art radio
– Curation of the Darmstadt Summer Course Blog
– Media cooperation with Darmstädter Echo and British Broadcasting
Company (BBC) with the chance to publish texts/features
Participants should
– study or have studied musicology or music
– have a thorough knowledge of the music history after 1945
– already have written and and, ideally, published texts about new music
– want to write about music at a professional level
– have an understanding of ideas relating to ‘Music criticism‘, ‘Culture in the
media‘ and ‘Music and language‘
Applications, with the following documents, should be submitted by 1st March 2016:
Curriculum vitae; 2 text samples and/or a recommendation from a university tutor; a
short statement as to why you would like to take part in the Writing Workshop.
The number of participants is limited. The course directors are responsible for the
selection. Selected applicants must officially register as participants of the
48th International Summer Course for New Music Darmstadt.
Fees and conditions:
The participants of the Writing Workshop will receive a form by which the recognition of
the project can be organised individually at their home university already in advance.
Please send in application documents in electronic form to:

Music Composition as Interdisciplinary Practice: call for project proposals

November 10, 2015 in All Opportunities, Composers, Conference, Other Opportunity, Performers by mwhiteside

Music Composition as Interdisciplinary Practice is an AHRC-funded research network. Recently established, It consists of practitioners and scholars interested in how the practice of music composition intersects with other practices and disciplines inside and outside the arts. We are looking for exciting proposals for interdisciplinary projects of which music composition (broadly defined) forms a part. Proposals need not come from composers and may involve individuals or collaborators. Three successful proposals will be programmed in a one-day festival of interdisciplinary work held at the state of the art Ivy Arts Centre on the University of Surrey’s campus in Guildford on December 7th 2016.


Successful applicants will become part of the network and each receive £500 towards the costs of developing their projects. To involve the selected artists as fully as possible in the network we can provide assistance towards the costs of travel and accommodation, as well as a registration fee waiver, to attend the symposium at York University on 28th-29th June 2016 that forms the centrepiece of our activities. We will also fund travel to attend the festival in Guildford. Because of budget limitations we are only able to accept proposals from UK-based artists.


Because the network has been set up to explore interdisciplinarity itself the artists selected must undertake to document the process of developing their projects and to disseminate this via the network website. The precise nature of this documentation is negotiable with the network organisers. Our objective is to provide data about different kinds of artistic interdisciplinarity and the creative processes that such work involves. Selected artists will have the opportunity to contribute the insights from their work to a journal special edition to be compiled after the network has concluded; we hope Contemporary Music Review will agree to host this.


How to apply


If you would like to take advantage of this opportunity please submit the following information by Monday 29th February 2016:


  •  A CV or biography that provides a clear indication of your track record as an artist
  •  Links to examples of your work e.g. on Soundcloud, Vimeo, YouTube, etc
  •  A one-page proposal that explains your project clearly and concisely, shows how it is interdisciplinary, suggests how it may contribute to understanding artistic interdisciplinarity and lists any collaborators




You should have completed undergraduate study or have equivalent professional experience, you should be based in the UK, you should be free to attend the festival on 7th December 2016 and, ideally, the symposium in York on 28th-29th June 2016.


Proposals should be emailed to the Principal Investigator, Tom Armstrong, at t.armstrong@surrey.ac.uk


Successful applicants will be notified by 18th April 2016.

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 anne@sound-scotland.co.uk 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 – nicola@newmusicscotland.co.uk

The full conference programme is available here http://www.newmusicscotland.co.uk/conference2015-programme/

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. https://easychair.org/conferences/?conf=acmc2015

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)ircam.fr
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 http://tenor2016.tenor-conference.org

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

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