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

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

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

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

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

more infos and agenda of the full Conference in Lisbon HERE

Balance Unbalance 2016

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

Balance-Unbalance (BunB) 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.” (Dr. Ricardo Dal Farra, Balance-Unbalance founder).

The theme for BunB 2016 is “Data Science + Eco Action”.
How can we extract knowledge from large volumes of environmental and related data? How that can be used in benefit of the human society? What should we change in our thinking and in our behaviour? Individual vs community vs global: What matters? Why big or complex data is so relevant to our daily life? How the capture, analysis, curation, sharing, storage… and control of large data could rapidly change our world? What positive sides does it have? What not so positive, and even risks does it have? What data science has to do with humanitarian organizations? And with electronic art?

We want to inspire explorations of how artists can participate in this major challenge of our ecological crisis. We need to use creative tools and transdisciplinary action to create perceptual, intellectual and pragmatic changes. We want to discuss our proposals for the future from a diversity of cultural perspectives and socio-economic situations with open minds.

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The 5th edition of the BunB conference will be held from May 9 to 11 of 2016 in Manizales, Colombia. It will be produced by the Department of Visual Design of the University of Caldas, with support of the International Image Festival.

Balance-Unbalance is seeking for papers, transdisciplinary workshops, artistic activities and exhibitions, posters and panels considering to propose, analyze and discuss specific projects and actions that could help us to face the serious environmental crisis. BunB 2016 is also open to host a diversity of virtual components allowing global accessibility and significantly reducing the carbon footprint of a major international conference.

The official language of the event will be English but Spanish submissions are accepted. Keynotes and paper (oral) presentations in Spanish will be -simultaneously- translated to English. Workshops won’t be translated.

Deadline for submissions: October 10, 2015 (midnight, Colombia’s time)
Notification of acceptance: November 30, 2015

  • Papers (4-8 pages)
  • Posters (2-3 pages)
  • Panels (2-3 pages)
  • Artistic activities (2-3 pages)
  • Exhibitions (2-3 pages)
  • Transdisciplinary workshops (2-3 pages)
  • Virtual projects (2-3 pages)

In addition, a selection from accepted papers will be invited to publish in the Leonardo journal under a special section devoted to Balance-Unbalance.

Submissions will be only accepted via EasyChair ( Please make sure you select the correct submission category (paper, poster, panel, artistic activity, exhibition, transdisciplinary workshop, or virtual project). Submissions will be peer-reviewed. Template for submissions will be provided soon. All submissions in Spanish must include an abstract in English.

Please direct any questions about formatting and uploading submissions to:
General inquiries to:

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Balance-Unbalance 2016 organizers and management committee:

Dr. Ricardo Dal Farra. Director, Balance-Unbalance Conference
Dr. Felipe C. Londoño. Director, International Image Festival
Dr. Adriana Gómez. Academic program co-chair
Dr. Germán Mauricio Mejía. Academic program co-chair
Dr. Walter Castañeda. Artistic activities and exhibitions program chair
Dr. Leah Barclay. Virtual projects chair
Prof. Liliana Villescas. Transdisciplinary workshops chair
Prof. Carlos A. Escobar. Keynotes program chair

Paula López. Production manager
Cristina Sabogal. Associate production manager
María C. Hurtado. Communications and registration manager
Paula Henao. Administrative coordinator

TENOR 2016 – Call for Papers

July 22, 2015 in All Opportunities, Composers, Conference, Other Opportunity, Performers by newmusicscotland

International Conference on New Technologies for Music Notation and Representation


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

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

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

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

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


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

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

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

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

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


More information & submission at

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

12th Sound and Music Computing Conference July 26 – August 1st 2015

July 21, 2015 in All Opportunities, Composers, Conference, Other Opportunity, Performers by newmusicscotland

The 12th Sound and Music Conference and Summerschool, SMC15, will take place from July 26– August 1st Maynooth University, Co. Kildare, Ireland. The event will comprise a series of workshops during the Summer School, Paper and Poster presentation during the conference Technical Programme and evening Concerts.

The Summer School will run over four days, July 26-29, and comprises workshops from Ardmore Studios on Foley Sounds, a workshop on modern digital studio mastering techniques by MSB Mastering, Ireland, Sound Texture Synthesis(Dr. Sean O’Leary, IRCAM), Parallel computing and GPUs for audio processing (Prof. John Ffitch, University of Bath). There will also be an industry talk on GPU by Movidius, a workshop on FPGA Technology and Audio by Xilinx and a DIY fuzz-guitar workshop by MAKER.IE. Stephen Howell of Microsoft Ireland will present a workshop on Kinect programming.

Three renowned keynote speakers will begin each day of the technical program: Prof. Barry Truax (Simon Frasier University, Vancouver, Canada) will speak about microsound and composition. Dr. Derry Fitzgerald (Nimbus Centre, CIT) will talk about source separation algorithms, and Dr. Stefan Bilbao (University of Edinburgh) will explain physical modelling synthesis.  Each day will consist of multiple paper and poster presentations in areas from Interactive Performance Systems to Multimodality in Sound and music Computing to Auditory Displays and Data Sonification. A full program of the summerschool and conference can be found at

For more information on any of the events or please contact:

Joe Timoney/Tom Lysaght (

2nd Annual Web Audio Conference – submissions now open

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Important Dates
October 1, 2015: submission deadline

December 1, 2015: author notification

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

April 4-6, 2016: conference

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

Submission Templates and Submission System

Submission templates are available on the conference web site at

The submission system is open at


July 7, 2015 in All Opportunities, Composers, Conference, Other Opportunity, Performers by mwhiteside

The story of the genesis and development of electronic/electroacoustic music is often told in the same familiar way. Experiments in musique concrète in Paris and elektronische Musik in Cologne played a central role in European developments, while activities in New York such as those of the Columbia-Princeton Electronic Music Center, John Cage and his Music for Tape-Recorders group, and Louis and Bebe Barron are frequently proffered as the most prominent American contributions. These activities were significant, of course; but they were not the only progenitors of modern-day electronic music. There are many, many other ways in which the story of electronic music’s history and development could be told.

For example… What does electronic music look like if we focus on the contributions of individuals whose work is less widely known; less widely recognised? What happens if we step away from the Western European and North American institutions that are normally figured as central to the genesis and development of electronic music? Or, what happens if we question, or explore the mechanisms of, their authority? What happens if we change our object(s) of study; if we look at artefacts and objects rather than composers and works, for instance? Are there tools, techniques, instruments that played an important role in shaping electronic music that remain under-recognised or misunderstood? What about when we listen to the marginalised voices; what versions of electronic music’s history do they tell? Or, what happens if we change our methods of study, so as to highlight aspects that hitherto went unnoticed, such as underlying social, political, or economic dimensions? How does current music draw on the origins of the form?

This conference is being staged as part of an AHRC-funded project exploring the work of the English musician and musicologist Hugh Davies (1943-2005). In the late 1960s, Davies produced a comprehensive inventory of electronic music compositions, entitled International Electronic Music Catalog (1968), in which he documented the output of 560 studios in 39 countries. This challenged the hegemony of the Paris, Cologne, and New York schools, whose activities dominated the literature of the 1950s and 60s. As such, Davies provided what was perhaps the first alternative version of electronic music’s history. While this conference is not directly ‘about’ Hugh Davies, then, it does explore some of the broader issues raised by his work.

There are many ways in which an ‘alternative’ history could be framed. The purpose of this conference is to explore all possibilities; to focus upon different ways of telling the story of electronic music; to explore its alternative histories.

Call for Papers

We seek proposals for papers/presentations that fall under the rubric of ‘alternative histories of electronic music’, as sketched out above. We welcome submissions that focus on any one or combination of the following (note that these are suggestive rather than prescriptive):

·         Pathways from electronic music’s past to electronic music’s present that are ‘a little bit different’ from what one might expect.
·         Individuals, institutions, inventions, or perspectives that have been neglected or under-represented up to now.
·         Alternative methodological and/or theoretical perspectives; studies that encourage us to look at the history of electronic music in a different way.
·         Ethnographic, anthropological, and/or interdisciplinary approaches; implementation of methods native to science and technology studies (STS); other methodological approaches that are apt to reveal ‘alternative histories’.
·         Alternative narratives; studies that compel us to attend to, or listen to, different things as we navigate electronic music’s history.
·         Marginalised voices; stories of electronic music’s history and development that have been sidelined, for whatever reasons.
·         Non-Western European, Non-North American developments, and/or activities that happened outside those typically considered in electronic music histories.
·         Unconventional or DIY approaches; work that has flouted the norms and expectations of its epoch.
·         Developments that have shaped or changed the direction of electronic music, but which remain as yet under- or un-recognised.
·         Notions of genre/style/idiom as a lens for alternative histories.
·         Studies that might be thought of as continuing the work that Hugh Davies started with his International Electronic Music Catalog, for example by focusing on the electronic music of under-represented nations.
·         Tools, techniques, instruments (etc.) that played an important role in shaping electronic music, but which remain under-recognised or misunderstood.
·         Interrogating the (perhaps invisible) driving forces behind institutions of cultural production, so as to reveal why certain models of electronic music dominate, or appear to dominate.
·         Historic perspectives on relationships between electronic music and other musical/cultural practices.
·         We are interested in how electronic music came to be the way it currently is; and in the developments and perceptions that have shaped this. Proposals are therefore likely to incorporate a strong historical element, either focusing directly upon historic developments, and/or framing the current state of affairs in the light of historic perspectives. (Proposals from individuals to discuss their own creative work are discouraged unless they provide strong insights in the above areas.)

Submissions are welcomed from all disciplines, but particularly from electroacoustic music studies, science and technology studies, history/philosophy of science/technology, and sound studies.

Submission Guidelines

Please submit an abstract of approximately 500 words, plus brief biographies of approximately 100 words for each author, using the template provided, by email to The template can be downloaded here in MS Word and RTF (Rich Text Format).


Call for papers: 7 July 2015
Deadline for abstracts: 31 October 2015
Notification of results: 1 December 2015
Conference: 15-16 April 2016

Publication Plans

There are plans for a thematic issue of Organised Sound ( A separate call for submission will be released in due course. Conference delegates interested in publication are encouraged to conceive of their conference papers/presentations such that they could be developed into full-length journal articles (c. 6-7000 words); a deadline for submission of articles for peer review is provisionally anticipated around 5 months after the conference (September 2016).

Contacts and Other Information

For any enquiries please contact

This conference is being staged as part of an Arts and Humanities Research Council funded project led by Dr James Mooney, School of Music, University of Leeds, in partnership with Dr Tim Boon, Head of Research and Public History, The Science Museum.

Dr James Mooney
Lecturer in Music Technology
Principal Investigator, Hugh Davies Project
School of Music, University of Leeds

CONFERENCE: ‘Alternative Histories of Electronic Music’
Deadline for abstracts: 31 October 2015
Conference: 15-16 April 2016, Science Museum, London

Creative Europe Match-Funding Opportunity

July 1, 2015 in All Opportunities, Other Opportunity by newmusicscotland

‘Creative Europe’ is the EU programme which supports the European cultural and creative sectors. With a budget of €1.46 billion for 2014-2020, the programme aspires to support artists, cultural and audiovisual professionals and organisations in the performing arts, fine arts, publishing, film, TV, music, interdisciplinary arts, heritage, and the video games industry. The funding aims to support the delivery of activity across Europe, promoting collaboration and helping the sectors to reach new audiences and develop skills and knowledge.

An open call for funding of ‘Cooperation Projects’ is anticipated to be made in July 2015 with a deadline of early October 2015, and Aberdeen City Council are providing the opportunity for interested organisations to apply for match-funding towards an application.

The aim is to support organisations which deliver activity in the city to work collaboratively with partners from across Europe and up to £15,000 per year towards the cost of one application to the Cooperation Projects strand is available. This will result in a contribution of up to £60,000 across the maximum four year project cycle.

To apply, interested organisations should visit the website and read the guidelines before submitting a ‘Creative Europe Match-Funding Application’

Location: Aberdeen City

For further information, please contact or call 01224 522 341, or visit

New Music Scotland: SHOWCASE CALL: “In Cahoots”

June 14, 2015 in All Opportunities, Composers, featured, Other Opportunity, Performers by newmusicscotland

New Music Scotland


New Music Scotland is hosting “In Cahoots”, a Conference on collaborations between new music and other art forms on the 23rd and 24th October 2015 in Aberdeen during the sound festival. Within the Conference there will be curated performances and showings of new collaborative work, and there will also be a limited number of slots available to feature new music and sound art created and performed by Scottish practitioners.

We invite Scottish or Scottish based artists to submit completed projects for consideration. We welcome submissions of performances, sound installations, new media projects etc. The submissions do not need to be cross-art form, although any cross-art form submissions will be particularly welcome. There are a limited number of slots, so we would welcome shorter submissions, of approximately 15-30 minutes. We would also prefer submissions to be as technically self-sufficient as possible.

Attendance is an essential requirement if selected.

Please provide, in compressed electronic format (e.g., .zip), all relevant information/materials for the realization of the project. Contact details must also be provided.

Please send by email to

Unfortunately we will be unable to pay fees for the showcase, but will cover travel and accommodation costs, and the showcase participants will be given free delegate passes for the Conference.


Deadline for submissions: 31st July 2015


Bringing together performers, composers, promoters of new music in Scotland, to:

  • create a context for dialogues between practitioners and new work;
  • share ideas of best practice;
  • promote the diversity of new music and sound art;
  • create and maintain a supportive environment for innovation.

Berliner Philharmoniker invites young conductors, composers, stage directors & music educators to apply 14 June latest !

June 11, 2015 in All Opportunities, Composers, Other Opportunity by newmusicscotland

Berliner Philharmoniker invites young conductors, composers, stage directors & music educators to apply 14 June latest !

Young conductors, composers, choral conductors, stage directors and music educators from Germany, the UK and France are invited to apply for the International Community Arts Academy.

The project

The Monster in the Maze is a new children’s opera by the English composer Jonathan Dove and will be realised in Berlin, London and Aix-en-Provence, conducted by Sir Simon Rattle and with the community chorus led by choral conductor Simon Halsey.

The three productions – organised by different creative teams – will be accompanied in each country by the participants of the International Community Arts Academy.

Who should apply ?

This course is suited for young conductors, composers, choral conductors, stage directors and music educators who :
have worked already to some extent in the field of participatory musical performance, or music education and outreach;
have a keen interest to develop their careers in this field;
have not necessarily worked as part of productions run by professional arts organisations to date;
are prepared to participate actively in discussions and workshops surrounding the three performances as part of this course;
are resident in the UK, Germany and France.
Are you interested to learn more or apply ? Download the call here ! Applications are accepted until 14 June latest (extended deadline).

Fourth Annual Fresh Minds Festival

June 2, 2015 in All Opportunities, Composers, Other Opportunity by newmusicscotland

Texas A&M University

Submissions due: August 1, 2015. Online submission—click here

Performance: September or October 2016 (the following school year). Watch for the finalized date.

Texas A&M University invites fixed media works of visual music or other non-narrative fine art animation, video, or film in which the sound/music and visuals play equally important roles in the work, for a presentation on the Texas A&M University campus called the Fresh Minds Festival. The event will be mass curated by hundreds of TAMU students learning the elements of visual and musical design with the goal of presenting a program of works that are engaging and rewarding to curious newcomer audiences. This is an event filling the gap between “for experts only” and “people’s choice” type events. Each year, several hundred students co-curate the festival. Each year’s evaluation cycle is launched with the screening of the previous year’s finalists.

A faculty panel will use the students’ evaluations of submitted works to shape a program. Creators of selected works are encouraged but not required to attend the event. Multiple entries will be accepted. There is no entry fee.

Due to the large number of students participating in the selection process, works will reviewed in stereo on student-owned equipment, delivered via internet links for evaluation. Works selected for the event will be presented in full quality in surround sound, spatialized live by TAMU students.

Submissions due August 1, 2015. Finalists will be notified by June 1, 2016 (the evaluation period includes the fall and spring semesters to maximize student participation). The concert presentation will be in fall 2016 to kick off the next evaluation cycle. Watch for the finalized date.

Eligibility: All artists are encouraged to submit work, including professionals and students, except for artists currently employed or enrolled at TAMU, works created while employed or enrolled at TAMU, or works screened in previous Fresh Minds events. Resubmissions of works that were submitted and even screened in previous years but were not awarded prizes are encouraged. Live works and installations that can also stand on their own as fixed audiovisual media are welcome; they will be evaluated on their merit as fixed media concert works, but we will present the live or installation version if feasible. The faculty panel reserves the right not to give an award if no submissions are deemed suitable.

Duration: 4–12 minutes

Prizes and funding for visiting artist travel: TBA

Online submissions. Complete the form linked below to submit a URL to your video work accessible via the world wide web. You must fully own or have explicit permission to use all materials (sounds, images, text, etc.) in the work you submit in order for your work to be considered. Content deemed inappropriate for this venue will be declined. The video player at the URL you provide must be immediately visible at this link, without requiring logins or searching a list of videos. We recommend that you use a standardized video site like YouTube or Vimeo. You may make your video “unlisted” or protect it with a passcode if desired. Avoid less common formats, as technical issues may impede our curators’ ability to evaluate your submission. If your work is selected for performance, you must deliver a full quality video file by August 1, 2016.

Direct inquiries to: freshminds at

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

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

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

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

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

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

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

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

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

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

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

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

Full contributors’ biographies can be found on Eventbrite.

Creative Sound, Image and Technology summer school

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

Organisation/promoter name: Nick Fells, University of Glasgow

Time: 10am-4pm

Date: 22-26 June

Venue: Audio Lab, 14 University Gardens, University of Glasgow G12 8QH


The Creative Sound, Image and Technology summer school is aimed at anyone wishing to increase their knowledge and experience of working with sound, image and technology in creative ways.

Open to absolute beginners, as well as those with some digital media experience, the course is suitable for composers, performers, visual artists, sound artists, producers, teachers and students, or anyone wanting to experiment, explore and expand their skills. You don’t need any particular musical, visual, technical or artistic background, so if you’ve never used any of these technologies before don’t be put off; the course starts with the basics and progresses from there.

The course is centred on MAX, a highly flexible software tool for sound, graphics, music and interactivity, produced by Cycling74 (  Participants will develop their technical understanding and explore the creative potential of MAX in supervised hands-on sessions.

Prices (if applicable): £250 standard price; £130 student price; £350 institutional/CPD price

Booking info (if applicable):


Contact email:

Work With Red Note

February 26, 2015 in All Opportunities, Other Opportunity by newmusicscotland

Red Note Ensemble are advertising three 3 job opportunities commencing in April 2015.

The three jobs are:

* Administrator (0.8FTE)
* Director of the Access, Engagement and Participation (AEP) Programme (0.5FTE)
* Fundraiser

Noted Innovation Fellowship

January 16, 2015 in All Opportunities, Other Opportunity by newmusicscotland

WildKat PR is offering a new fellowship for up and coming talent in arts administration. This fellowship has been created as a way to offer financial support, industry opportunities and mentorship.

The idea is to customize the fellowship around the recipient, in order to maximize their full potential and impact on the industry.

The fellowship will also include placements with WildKat’s various partners including: festivals, concert halls, orchestras and artist managers.


This includes:

  • -Get support to implement your personal idea/ project that will help shake up the classical music industry and/ or the cultural sector
  • -Gain knowledge and experience about PR, via WildKat PR
  • -Create your brand (website, image, brochure, logo), with the help of Classical Music Design
  • -Have free and full access to industry events and network
  • -Get personalized mentorship
  • -Receive £3500 to help fund your project

Residencies at the CCA

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

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

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

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

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

Sky Academy Arts Scholarships

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

Sky Academy invites IdeasTap members to apply for one of five £30,000 Arts Scholarships (€38,000). These life-changing bursaries, which include a programme of expert mentoring, allow each scholar to focus exclusively on their creative practice for an entire year. Get ready to give up that day job…

The scholarships are open to artists aged 18-30 and are designed to help emerging talent from a range of disciplines to develop their work and take their careers to the next level. In addition to financial support, winners are paired with business and creative mentors from Sky and their industry to support them along the way.

Drummer and composer Ollie Howell, one of our 2014 scholars, said: “The freedom this scholarship provided me with gave me the confidence to really push myself creatively, and to dream as big as I can with my project. The constant support from Sky and IdeasTap throughout this year has opened up so many new avenues for my work, and has really helped me to evolve as an artist. It’s been one of the best experiences of my life.”

There have been 15 Sky Academy Arts Scholars to date: Daisy Evans (opera), Phoebe Boswell (visual art), Felix Mortimer (theatre), Laurence Payot (visual art), Drew Roper (animation), Lu Sisi (digital art), Mark Simpson (music), Sabrina Mahfouz (performing arts), Aakash Odedra (dance), Kate Whitley (creative producing), Tom McDonagh (shadow puppetry), James Lomax (visual art), Eleesha Drennan (dance), David Shearing (theatre) and Ollie Howell (music)

More information:

Radiophrenia call for Recordings

November 14, 2014 in All Opportunities, Composers, Other Opportunity, Performers by mwhiteside

Radiophrenia – a temporary FM art radio station broadcasting in Glasgow during April 2015, announces an open call for sound and transmission artworks.

We are seeking soundscapes, spoken word pieces, radio experiments, found sound, innovative approaches to drama and documentary and radical and challenging new programme ideas. The station will be housed in Glasgow’s Centre for Contemporary Arts with a broadcast schedule including live shows, pre-recorded features and a daily series of live to air performances. Radiophrenia aims to promote the medium of radio as an art form and encourage experimental approaches to making radio that are not catered for by mainstream stations.

There are 4 categories for submissions:

Live to air performances and presented shows of 30 / 60 / 90 /120 minutes duration.
Pre-recorded radio programmes – including documentaries, radio plays and crafted features of 30 / 60 / 90 / 120 minutes duration.
Shorter radio or sound works of under 20 minutes duration that will be compiled into longer shows.
Experimental, long-form radio pieces of over 2 hours duration.

Please note that this project is intended to feature material and approaches that are not already catered for by mainstream programming. We are therefore unlikely to consider DJ mixes, music shows or other conventional genres unless there is a clear and distinctive conceptual basis that differentiates them from broadcasting available elsewhere.

How to submit:
All radio works and programme ideas should be submitted either as completed pieces (for existing works) or as a detailed written proposal. Not all submissions or proposed works will be accepted. Priority will be given to works that are created especially for the medium of radio and that respond to radio’s unique attributes as a means of disseminating ideas.

Audio submissions should be uploaded to dropbox (accounts are free) or via a free online file sending service such as yousendit or wetransfer. Downloadable links to Soundcloud files are also acceptable. Please do not send audio files as email attachments. The preferred audio format for submissions is high quality MP3’s (256kbps or higher). Please send links or share dropbox files with

Please include with each submission; the title and a short synopsis of the work (100 words max), a brief biography and your name and contact details. The call is open to artists, musicians and producers at any career stage. We regret that there are no fees for contributors.

To be kept up to date join the mailing list by sending an email to

Deadline for submissions: February 28th 2015.

Broadcast: April 2015 (exact dates TBC).

Supported by Creative Scotland.

Balance–Unbalance International Conference: Water, Climate, Place: Reimagining Environments

November 4, 2014 in All Opportunities, Composers, Other Opportunity, Performers by mwhiteside

Proposal submission deadline: November 10, 2014

Balance-Unbalance, an international conference, brings multiple disciplines together to explore intersections between nature, art, science, new technologies, aid agencies and society with the goal of developing cross-disciplinary initiatives using innovative art and technology to advance ecological awareness and sustainability practices and to inspire wide-ranging community engagement in the face of unprecedented environmental challenges.

Balance-Unbalance 2015 will focus on water, climate, and place, seeking dialogues and creative projects engaged with water and climate problems around the globe. These dialogues may take the form of scholarly and creative presentations, including research papers, transdisciplinary workshops and activities, panel discussions or roundtables, sound and media art, musical performances, installations, soundwalks, and posters. Balance-Unbalance 2015 will provide a forum for the growing body of sustainability research in the arts, humanities and sciences and for creative activities inspired by environmental concerns. We welcome proposals from but not limited to artists, art and humanities scholars, scientists, engineers, economists, and policy makers to advance discussions and collaborative efforts that lead to solutions for a sustainable future.

For more information please visit:

Proposals will be peer-reviewed and should include the following information and be submitted via EasyChair:

an abstract of 350 words, including the proposed title of the presentation for 20-minute paper presentations with 10 minutes for questions and answers, posters, installations and performances
or a 500-word abstract for a 90-minute panel or workshop
a link to images, sound recordings or video of proposed media art works
equipment requests
name(s) of the presenter(s), affiliation, e-mail address, and phone number
a short biography of no more than 150 words

Proposal submission deadline: November 10, 2014
Notification of presenters: January 10, 2014

RSNO Ticket Offer

October 14, 2014 in All Opportunities, Composers, Other Opportunity, Performers by newmusicscotland


R Strauss              Metamorphosen
Beethoven         Overture to Fidelio
Bartók                   Concerto for Orchestra

Thomas Søndergård       Conductor

Thomas Søndergård conducts an orchestral showcase with the RSNO and its virtuoso musicians as the star. Amidst the ruins of burning opera houses, Strauss responded to the destruction of German culture at the hands of Allied bombers with a sorrowful elegy for 23 solo strings. Bartók was facing physical, mental and professional ruin when he fled his homeland to escape Nazi Germany, but the commission for a Concerto for Orchestra revitalised him and he produced one final, vibrant masterpiece filled with colour and spontaneity.

RSNO is offering NMS members £5 tickets for performances in Edinburgh on 24th October  and Glasgow on 25th.
Contact the box offices in person or by phone and quote the code “Twenty Three” This will give you access to the best available seats  for just £5. This offer is not available via online booking.

Edinburgh Usher hall Box Office: 0131 228 1155

Glasgow Royal Concert Hall Box Office: 0141 353 8000

University of Nebraska Kearney New Music Festival XIV

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

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

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

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

The following should be sent to

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

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

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

4. List of any technical needs.

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

The following should be sent to

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

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

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

Please send all questions to

New Music Gathering

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

International Festival for Innovations in Music Production and Composition

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

Thursday & Friday 12–13 March 2015

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

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

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

Call for Proposals

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

The 2014 programme is almost ready to reveal…in the meantime though, our Composition Competition is now up and running – in collaboration with the wonderful Royal Scottish National Orchestra

As part of the 2014 West End Festival’s Cottier Chamber Project, the Royal Scottish National Orchestra will perform 2 chamber concerts on Sunday 15th June. The second of these, at 8.30pm, will include a performance of Stravinsky’s The Soldier’s Tale, and the première of a new work.

The work should be c.8 minutes long, and should commemorate the 700th anniversary of the Battle of Bannockburn. It may be scored for any combination of:
violin, double bass, clarinet, bassoon, cornet, trombone, percussion and narrator (male voice)

Proposals and abstracts should be submitted by Friday 14th March. A number of works will then be selected for a workshop (held in front of an invited audience) on Monday 24th March, 2014, following which the winning work will be selected for completion and performance on the 15th June.

There is no age or nationality restriction on composers, though it will be an advantage if applicants are able to attend the workshop session.

Proposals and abstract scores should be submitted to:
Physical scores:
Andy Saunders, The Cottier Chamber Project, The White House, 50 Havelock Street, Dowanhill Park, Glasgow. G11 5JE
PDF scores:

£500 Project funding for 16 – 30 Year Olds

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


temp_file_IdeasTap_Logo_19654_145_146_8020 groups or individuals will win £500 to go towards their creative projects.

Roll up, roll up! £500 for creative projects!

Yes, you heard us right. We’re offering 20 awards of £500 to creative individuals and groups.

Ideas Fund Innovators is our funding scheme open to all creative disciplines. We’ve got 20 lots of £500 to give away – 10 for 16 to 22-year-olds, and 10 for 23 to 30-year-olds.

In the past we’ve funded everything from dance and film projects to music videos and photography collectives. Whatever creative field you work in, we’ll consider your application – take a look at some previous winners.

We’re looking for projects that are inspiring, original, innovative and that we think you can realistically deliver. We’ll be inviting a panel of expert judges to pick their favourites.

Find out more and apply via IdeasTap by 7 February at

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