Articles

CECIA: Open Call for Composers
Deadline: April 30, 2019

CECIA (Collaborative Electroacoustic Composition with Intelligent Agents) is an innovative art project that integrates the creative agency of 5 composers and Machine Learning algorithms in order to produce a coherent composition of electroacoustic music. The project aims to explore collaborative music creation, harnessing the creativity of electroacoustic composers and Intelligent Agents through a cloud computing platform.

To apply for the project please send the following material to cecia@zkm.de by April 30, 2019 with the subject « CECIA »:
•    A motivation statement (max. 300 words)
•    A short CV (max. two pages), including contact address, telephone number, e-mail and website.
•    Links to two previous works (audio or video recordings)

Incomplete applications can’t be considered. For additional questions, please contact us at cecia@zkm.de. The selected applicants will be notified by email by May 30, 2019.

The project « CECIA » (Collaborative Electroacoustic Composition with Intelligent Agents)« is organized within the framework of the » Interfaces project with the support of the Creative Europe program of the European Union.

Further information: https://zkm.de/en/cecia-open-call-for-composers

Department of Music 

University of California San Diego

 

 

The Department of Music at the University of California San Diego (music.ucsd.edu) invites applications for an Assistant Teaching Professor in the area of Electronic Music to begin July 1, 2019.

UCSD is an equal opportunity/affirmative action employer with a strong institutional commitment to excellence and diversity (http://diversity.ucsd.edu).

If you have questions, please contact Miguel Ramirez at maramire@ucsd.edu. 

JOB LOCATION

La Jolla, CA, USA

 

Details:

 

https://apol-recruit.ucsd.edu/apply/JPF01811

Hello everyone [en français plus bas],

You’ll find below a call for works for a mini-concert in Octandre’s next season.

Please send the works to both octandre.contact@gmail.com and 0paulhusky0@gmail.com before January 1st 2019.

Works will be considered when they are received, so it would be preferable not to wait December 31^st to send them.

Thank you!

The call :

It must last 3 minutes maximum,

it must be an electroacoustic piece (mono/stereo),

and it must make the audience LAUGH…

at the Spot concert of Jan 26th, 2019 (12:00 sharp) – Halles des Douves, Bordeaux.

The theme is : »free », but you’re free to chose another one. To join in, please send your piece by email before January 1st, 2019.

At least six pieces will be carefully selected and played during the concert, which will last twenty minutes.

Looking forward to it,

Paul Husky

*****FRANÇAIS*****

Bonjour à toutes et à tous,

Vous trouverez ci-dessous un appel à œuvres pour un mini-concert qui aura lieu lors de la prochaine saison d’Octandre.

Merci d’envoyer les œuvres à octandre.contact@gmail.com et à 0paulhusky0@gmail.com, avant le 1 janvier 2019.

Les œuvres seront écoutées au fil de leur réception, donc il serait préférable de ne pas attendre le 31 décembre pour les envoyer.

Merci!

L’appel à projets :

Il faut que ça dure 3 minutes maximum,

il faut que ce soit une pièce électroacoustique (mono/stéréo),

et il faut que ça FASSE RIRE le public…

du concert Spot du 26 janvier 2019 (12:00 pile) à la Halle des Douves à Bordeaux.

La thématique est libre, mais pour ceux qui le souhaitent la thématique est « libre ». Pour participer, merci d’envoyez votre pièce par mail avant le 1 janvier 2019. Un minimum de six pièces sera soigneusement sélectionné et diffusé lors du concert qui durera vingt minutes.

Ayant hâte d’y être,

Paul Husky

Ninth International Conference
Music/Sonic Art: Practices and Theories
At the Interface of Practice and Theory: Revisiting the Artistic Research Debate
MuSA 2018 – Karlsruhe (IMWI)
28 June – 1 July 2018

Hochschule für Musik, Karlsruhe – Institut für Musikwissenschaft und Musikinformatik (IMWI)
Am Schloss Gottesaue 7, 76131 Karlsruhe, Germany

SECOND CALL FOR PAPERS :

We are pleased to announce the Ninth International Conference on Music and Sonic Art: Practices and Theories (MuSA 2018), an interdisciplinary event to be held in Karlsruhe, Germany at the Institut für Musikwissenschaft und Musikinformatik (IMWI) (http://www.hit-karlsruhe.de/hfm-ka/imm/).

Conference dates: 28 June – 1 July 2018

Deadline for abstract submission: Friday, 27 April 2018.

Keynote Presentation: Markus Noisternig (Researcher at IRCAM, CNRS, Sorbonne Universities—UPMC in Paris, Senior Lecturer at the Institute of Electronic Music in Graz, Lecturer at the Karlsruhe College of Arts and Design)

Proposals for sessions and individual papers for the Ninth International Conference on Music and Sonic Art: Practices and Theories are invited from academics, independent researchers, practitioners and post-graduate students. Presentation formats include academic research papers (20 minutes + 10 minutes for discussion); reports on practice-based/artistic research or educational programmes (20 minutes + 10 minutes for discussion); and workshops, panel sessions, lecture-demonstrations (30 minutes + 15 minutes for discussion). The Conference committee encourages presentations in which practice forms an integral part of the research. All proposals will be ‘blind’ peer-reviewed. The Conference language will be English.

THEME AND TOPICS :

The theme of MuSA 2018 is At the Interface Between Practice and Theory: Revisiting the Artistic Research Debate. The last decade has witnessed the establishment of artistic research in music and sonic arts as an original approach that brings together theory and practice. While much has been written about the integral role of artistic practice in this kind of research, much remains to be learned from exploring the multiple ways in which theory and practice can be brought to bear on each other. MuSA2018 thus aims explore the interface between theory and practice in the context of artistic research. We invite submissions on the following, and other relevant topics, in relation to the theory-practice interface in the context of artistic research :

– Conceptual and non-conceptual processes
– Multimodality
– Know-that and know-how
– The role of the subjective dimension
– Role of technology
– Embodied processes
– Value judgments
– New knowledge and insights

Other topics that are in line with the Conference’s broad aim of promoting interdisciplinary research within and across Music and Sonic Art will also be considered.

As in previous MuSA conferences MuSA 2018 will continue to include the popular, one-day event devoted to ‘Re-thinking the Musical Instrument’, focusing on the origination, making and playing of musical instruments.

Some of the topics that will be explored during this one-day event include :

– The acoustical, musical, cultural, symbolic, and ritualistic qualities of musical instruments and the relationships between these (theoretically) distinct kinds of qualities;
– The discourses that exist in relation to musical instruments in different genres, styles and traditions;
– The gestural affordances and ergonomic principles of musical instruments and the musical meanings that emerge as a result of these affordances and principles;
– Performers, improvisers and their instruments: phenomenologies of music making in the context of particular kinds of musical instruments;
– Composer and instruments: the material, acoustical and expressive qualities of instruments and their relationship to musical languages composers create;
– Relationships between creativity in performance, nature of musical interpretation and musical instruments;
– The role of the musical instrument in the creation of musical identities;

We also invite proposals on any research area related to the nature and use of western acoustical instruments, traditional ethnic instruments and digital/virtual instruments.

ABSTRACT FORMAT :

Please submit an abstract of approximately 250-300 words as an e-mail attachment to j.dack@mdx.ac.uk

 As contributions will be ‘blind’ peer-reviewed, please do not include information that might facilitate identification from the abstract. In addition, please include separately the name(s) of the author(s), institutional affiliation (if any) and short biography (approximately 100 words). Deadline for the receipt of abstracts is Friday, 27 April 2018.Notification of acceptance will be sent by 11 May 2018.

REGISTRATION :

The Conference fees are: €120 for delegates (day rate: €40), €100 for presenters (day rate: €35), and €60 for students and others who qualify for concessions (day rate: €20).

If additional information is required please do not hesitate to contact Prof. Dr. Mine Doğantan-Dack or any member of the Conference Committee:

Prof. Dr. Mine Doğantan-Dack ­­– md787@cam.ac.uk (University of Cambridge)
Prof. Dr. Thomas A. Troge (IMWI, Karlsruhe) – troge@hfm.eu
Prof. Dr. Paulo Ferreira-Lopes (Universita Cattolica Porto/HfM-Karlsruhe) – pfl@hfm.eu
Prof. Dr. Miroslav Spasov (Keele University, UK) – m.spasov@keele.ac.uk
Prof. Dr. Marlon Schumacher (IMWI, Karlsruhe) – schumacher@hfm-karlsruhe.de
Prof. Dr. Marc Bangert (IMWI, Karlsruhe) – bangert@hfm.eu
Prof. Dr. Damon T.Lee DMA (IMWI, Karlsruhe) – damon.lee@hfm.eu
Patrick Borgeat (IMWI, Karlsruhe) – borgeat@hfm.eu
Timothy P. Schmele (IMWI, Karlsruhe)  – t.schme@gmail.com
Dr. John Dack (Middlesex University, UK) – j.dack@mdx.ac.uk

Administrative support: Gundi Rössler (IMWI, Karlsruhe) – roessler@hfm.eu

We are particularly keen to encourage applications in contemporary musicology, electroacoustic music, sonic art, installation, mixed music, audiovisual music.

The scheme facilitates practice-led research where there is a strong element of theoretical research underpinning the creative work produced.

Please read the eligibility guidelines here.

http://ec.europa.eu/research/participants/portal/desktop/en/opportunities/h2020/topics/msca-if-2018.html

We will support and mentor up to 10 post-doctoral applications for this prestigious award within the School.

This is a scheme with which we have had previous success and look forward to mentoring strong applications again.

MSCA_IF_advert_MHM_2018

((( MUME 2018 )))

The 6th International Workshop on Musical Metacreation

http://musicalmetacreation.org

June 25-26, 2018, Salamanca, Spain.

MUME 2018 is to be held at the University of Salamanca in conjunction with the Ninth International Conference on Computational Creativity, ICCC 2018.

=== Important Dates ===

Workshop submission deadline: March 2nd, 2018

Notification date: April 30th, 2018

Camera-ready version: May 25th, 2018

Workshop dates: June 25-26, 2018

======================

Metacreation applies tools and techniques from artificial intelligence, artificial life, and machine learning, themselves often inspired by cognitive and natural science, for creative tasks. Musical Metacreation studies the design and use of these generative tools and theories for music making: discovery and exploration of novel musical styles and content, collaboration between human performers and creative software “partners”, and design of systems in gaming and entertainment that dynamically generate or modify music.

MUME intents to bring together artists, practitioners, and researchers interested in developing systems that autonomously (or interactively) recognize, learn, represent, compose, generate, complete, accompany, or interpret music. As such, we welcome contributions to the theory or practice of generative music systems and their applications in new media, digital art, and entertainment at large.

Topics

===========================

We encourage paper and demo submissions on MUME-related topics, including the following:

— Models, Representation and Algorithms for MUME

—- Novel representations of musical information

—- Advances or applications of AI, machine learning, and statistical techniques for generative music

—- Advances of A-Life, evolutionary computing or agent and multi-agent based systems for generative music

—- Computational models of human musical creativity

— Systems and Applications of MUME

—- Systems for autonomous or interactive music composition

—- Systems for automatic generation of expressive musical interpretation

—- Systems for learning or modeling music style and structure

—- Systems for intelligently remixing or recombining musical material

—- Online musical systems (i.e. systems with a real-time element)

—- Adaptive and generative music in video games

—- Generative systems in sound synthesis, or automatic synthesizer design

—- Techniques and systems for supporting human musical creativity

—- Emerging musical styles and approaches to music production and performance involving the use of AI systems

—- Applications of musical metacreation for digital entertainment: sound design, soundtracks, interactive art, etc.

— Evaluation of MUME

—- Methodologies for qualitative or quantitative evaluation of MUME systems

—- Studies reporting on the evaluation of MUME

—- Socio-economical Impact of MUME

—- Philosophical implication of MUME

—- Authorship and legal implications of MUME

Submission Format and Requirements

=================================

Please make submissions via the EasyChair system at:

https://easychair.org/conferences/?conf=mume2018

The workshop is a day and a half event that includes:

-Presentations of FULL TECHNICAL PAPERS (8 pages maximum)

-Presentations of POSITION PAPERS and WORK-IN-PROGRESS PAPERS (5 pages maximum)

-Presentations of DEMONSTRATIONS (3 pages maximum) which present outputs of systems (working live or offline).

All papers should be submitted as complete works. Demo systems should be tested and working by the time of submission, rather than be speculative. We encourage audio and video material to accompany and illustrate the papers (especially for demos). We ask that authors arrange for their web hosting of audio and video files, and give URL links to all such files within the text of the submitted paper.

Submissions do not have to be anonymized, as we use single-blind reviewing. Each submission will be reviewed by at least three program committee members.

Workshop papers will be published as MUME 2018 Proceedings and will be archived with an ISBN number. Please use the updated MuMe paper template to format your paper. Also please feel free to edit the licence entry (at the bottom left of the first page of the new template). We created a new MUME 2018 template based on AAAI template. The MUME 2018 latex and Word template is available at:

http://musicalmetacreation.org/buddydrive/file/mume2018_templates

Submission should be uploaded using MUME 2018 EasyChair portal:

https://easychair.org/conferences/?conf=mume2018

For complete details on attendance, submissions and formatting, please visit the workshop website: http://musicalmetacreation.org

Presentation and Multimedia Equipment:

==========================================

We will provide a video projection system as well as a stereo audio system for use by presenters at the venue. Additional equipment required for presentations and demonstrations should be supplied by the presenters. Contact the Workshop Chair to discuss any special equipment and setup needs/concerns.

Attendance

=======================================

It is expected that at least one author of each accepted submission will attend the workshop to present their contribution. We also welcome those who would like to attend the workshop without presenting. Workshop registration will be available through the ICCC 2018 conference system.

History

=======================================

MUME 2018 builds on the enthusiastic response and participation we received for the past occurrences of MUME series:

• MUME 2012 (held in conjunction with AIIDE 2012 at Stanford):

http://musicalmetacreation.org/mume-2012/

• MUME 2013 (held in conjunction with AIIDE 2013 at NorthEastern):

http://musicalmetacreation.org/mume-2013/

• MUME 2014 (held in conjunction with AIIDE 2014 at North Carolina):

http://musicalmetacreation.org/mume-2014/

• MUME 2016 (held in conjunction with ICCC 2016 at Université Pierre et Marie Curie):

http://musicalmetacreation.org/mume-2016/

• MUME 2017 (held in conjunction with ICCC 2017 at Georgia Institute of Technology):

http://musicalmetacreation.org/mume-2017/

Questions & Requests

======================================

Please direct any inquiries/suggestions/special requests to the Workshop Chair, Philippe Pasquier (pasquier@sfu.ca).

Workshop Organizers

===================

Pr. Philippe Pasquier (Workshop Chair)

School of Interactive Arts and Technology (SIAT)

Simon Fraser University, Canada

http://metacreation.net/

https://www.kadenze.com/programs/generative-art-and-computational-creativity

Pr. Arne Eigenfeldt

School for the Contemporary Arts

Simon Fraser University, Canada

Dr. Oliver Bown

Design Lab, Faculty of Architecture, Design and Planning

The University of Sydney, Australia

Kıvanç Tatar (MUME Administration and Publicity Assistant)

PhD Candidate

School of Interactive Arts and Technology,

Simon Fraser University, Vancouver, Canada.

———————-

http://musicalmetacreation.org

======================

MUME Steering Committee

Andrew Brown

 Griffith University, Australia

Anna Jordanous

 University of Kent, UK

Bob Keller

 Harvey Mudd College, US

Róisín Loughran

 University College Dublin, Ireland

Michael Casey

 Dartmouth College, US

Benjamin Smith

 Purdue University Indianapolis, US

Dear Colleagues,

Next semester I am starting the Rutgers Interactive Music Ensemble (RIME), a performance ensemble that incorporates technology, including laptops, controllers, sensors, and robots, with acoustic instruments.

I am looking for repertoire to perform, so if you have pieces for laptop ensemble, mixed ensemble, or open instrumentation that could incorporate electronics please consider submitting them to my call for works by 1/5/2018: https://goo.gl/forms/jIOhklVuhJS41Wqs1 

As this is an new endeavor, I am not sure of the exact instrumentation at this time, however if your piece isn’t selected next semester, I will keep it in consideration for future semesters. If your piece is selected you will be notified and I will provide you with copies of our concert program(s).

If you have any questions please contact me at this email or: skemper@mgsa.rutgers.edu

Best,

Steven

BANGOR MUSIC FESTIVAL

Call for works, stereo or multi-channel acousmatic

We invite submissions of stereo or multi-channel acousmatic works for a

concert on a SPACE theme (that is, stars, planets, galaxies, the cosmos etc.)

(We will be selecting just one or two of the submitted works to complete an existing programme)

We very much look forward to hearing your work!

Andrew Lewis

 

The small print:

• The concert is on 3 February 2018, in Bangor, North Wales (UK). It is part of the Bangor Music Festival
• We are looking for acousmatic music / fixed-medium sonic art (broadly defined) or similar
• The link with the theme must be present in some way (Spatialisation on its own is not a sufficient thematic link)
• Works may be a maximum of 15 minutes duration (but shorter works are more likely to be chosen)
• Works may be stereo or multi-channel, up to 24 channels
• There are no limits on age or nationality of composer
• Works may have been performed before
• The piece may have been composed at any time (Established or ‘classic’ works are acceptable!)
• There is no fee
• There is no remuneration for performance
• Composers do not have to attend
• We cannot pay travel or accommodation or meet any other expenses
• We reserve the right not to programme any submitted work

• Works may only be submitted via a weblink (WeTransfer, Drop Box etc.) allowing the download of a SINGLE ZIP file
• Your ZIP file must be named: COMPOSER_NAME_Title_of_Work.zip
• You ZIP file must contain ALL materials, as follows:
  • An interleaved audio file
  • A programme note and composer biography (each 250 words max)
  • Multi-channel works must be accompanied by a stereo reduction, for reference
  • Multi-channel works must be accompanied by a channel map, showing locations of channels/speakers

SUBMIT YOUR WORK HERE

 

THANK YOU!

 

Deadline for submission: 23:59 GTM, Friday January 5 2018

 

The concert will take place in Theatre Bryn Terfel, Pontio…

3° CONCORSO NAZIONALE SCUOLE IN MUSICA

riservato agli studenti delle Scuole Secondarie di I grado ad Indirizzo Musicale e dei Licei Musicali e Coreutici

1° PREMIO MUSICALE “LÀSZLÒ SPEZZAFERRI”

riservato agli studenti dei Conservatori di Musica e degli Istituti Musicali Pareggiati

Cari Docenti, Studenti e Amici,

è con grande piacere che annunciamo la Terza Edizione del Concorso Nazionale “Scuole in Musica”, in programma a Verona dal 21 al 25 Maggio 2018 presso il meraviglioso Palazzo della Gran Guardia in Piazza Brà.

Dopo il successo delle prime due edizioni, che hanno portato a Verona oltre 2000 studenti ogni anno provenienti da ogni parte d’Italia, la Terza Edizione 2018 si arricchirà della sezione dedicata agli studenti dei Conservatori Italiani. Dal 2018 nascerà infatti il Premio Musicale “Làszlò Spezzaferri”, in nome del grande violoncellista, compositore e insegnante che nel 1968 contribuì a trasformare l’allora Liceo Musicale di Verona in Conservatorio di Musica e ne fu direttore fino al 1982.

Si andrà quindi a completare questa grande Festa della Musica Italiana con tutte le fasi dell’educazione musicale previste dal nostro ordinamento, iniziando dai primi passi mossi dai giovanissimi musicisti delle Scuole Secondarie di I grado ad Indirizzo Musicale, fino alle esibizioni professionistiche dei laureandi in discipline musicali che frequentano i nostri Conservatori di Musica e Istituti Musicali Pareggiati.

Sarà la chiusura di un cerchio, il completamento di un’opera che è la formazione dei musicisti del domani, coloro che siederanno dietro le prossime cattedre e nelle file delle prossime orchestre, che riempiranno le platee dei teatri e i loro palcoscenici, perché “nessuno in Europa saprà competere con il vostro talento”, diceva il Ministro inglese Tatcher rivolgendosi agli Italiani.

E allora, ragazzi, “Studiate! Anche se nella vita è meglio furbi che colti. Anzi, proprio per questo. Per non arrendervi a chi vi vorrebbe più furbi che colti. Perché la cultura rende liberi, critici e consapevoli. Non rassegnatevi a chi vi vorrebbe opportunisti, docili e senza sogni.”

Quindi a voi, giovanissimi artisti, l’invito più caloroso al 3° Concorso Nazionale Scuole in Musica e al 1° Premio Musicale Làszlò Spezzaferri”, con i vostri meravigliosi insegnanti che quotidianamente alimentano i vostri fuochi e i vostri genitori che silenziosamente vi indicano la giusta strada.

Con l’augurio che questa esperienza possa accendere un piccolo faro sul vostro grande cammino musicale!

Ilaria Loatelli

Direttore Artistico

3° Concorso Nazionale Scuole in Musica

1° Premio Musicale “Làszlò Spezzaferri”

Piazza Brà 7, Verona

www.concorsoscuoleinmusica.it

info@concorsoscuoleinmusica.it

+39 3926049042

Improtech Paris – Philly 2017
Workshop – Festival, December 11th – 13th, 2017 in Philadelphia

http://ikparisphilly.ircam.fr/

11th – 13th, Workshop keynotes, presentations, demos and performances at U.Penn, Drexel U. and ICA, from 9:30 – 18:00
11th, Evening concert #1 at the Annenberg Center for the Performing Arts
13th, Evening concert #2 at The Rotunda

Workshop, concert #2  : open to all and free, please RSVP at http://ikparisphilly.ircam.fr/pages/rsvp.html

Concert #1 free for students, tickets at https://www.annenbergcenter.org/event/improtech-paris-philly-concert-1

Improtech Paris – Philly (ikPP) gathers scholars, technologists, musicians, makers, around the idea of musical improvisation with machines and digital intelligence, taking notice of the emergence and development of this new creative field. ikPP creates a link between the european and american research and creation scenes through the symbolic matching of two of their more eminent emblems, Paris and Philadelphia, just as it did a few years ago with Paris and New York (http://repmus.ircam.fr/improtechpny)

Five years after its first iteration in New-York the ImproTech workshop – festival formula is back again to see the technological, aesthetical, and sociological evolutions that happened since the last gathering. The meeting place in Philadelphia seems a natural destination, for its unique improvised music scene and history, and its perpetual enchantment with so many ever floating historical musical figures.The ImproTech Paris – Philly workshop will take place at the University of Pennsylvania and Drexel University from Dec. 11 to Dec. 13 2017, with two evening concerts at the Annenberg Center for the Performing Arts (dec. 11th) and The Rotunda (dec. 13th), and social events at the Institute of Contemporary Art (ICA).

Scholars, musicians, students or makers will come from different places  to talk about their work, demo, teach and perform. ikPP will flourish on the explosive encounter of prominent research labs and scholars, well established musical figures of Jazz and contemporary music, and the young avant-garde / underground scene of Philadelphia and surroundings.

ImproTech brings together artists, musicians, composers and researchers from several continents, all motivated by the possibilities offered by creative improvised interactions between humans and machines of all sorts.

Workshop

Keynote Speakers : David Rosenboom (CalArts), Bob Ostertag (UC Davis)Round Table : The Figure of the Musician / Researcher, David Wessel Legacy, with Roscoe Mitchell and Matt Wright (CCRMA), Marc Chemillier, George Bloch

36 presentations including talks, demos, performances

Concerts

ImproTech Paris-Philly :: Concert #1 offers a staggering sampling of such creative alliances, featuring legendary figures of free improvisation, Roscoe Mitchell, Bob Ostertag and Bernard Lubat; experimental music icons David Rosenboom and Michael Young; and renowned favorites of the new scene, Steve Lehman, LaDonna Smith, Susan Alcorn, Miya Masaoka, Mari Kimura, Hatchers, György Kurtág Jr and Pierre Couprie. These artists will interact/interface with electronics, synthesis in many forms, mathematical/algorithmic music systems, artificial intelligence agents, spatialization systems and hybrid instruments.

ImproTech Paris-Philly :: Concert #2 features Moor Mother, Madam Data, Mental Jewelry , Dafna Naphtali, Sarah Belle Reid, Georges Bloch, Rémi Fox, Max Eilbacher, Charles Kely Zana-Rotsy, Marc Chemillier, Bhob Rainey (electronics), Lance Simmons, Ada Baba, Adam Vidiksis

Participants Highlight

« A legend of avant-garde jazz and contemporary music, Mr. Roscoe Mitchell is a founding member of the world renowned Art Ensemble of Chicago, the Association for the Advancement of Creative Musicians (AACM), and many music ensembles. »« Described as “a state-of-the-art musical thinker” and a « dazzling saxophonist,” by The New York Times, Steve Lehman (b. New York City, 1978) is a composer, performer, educator, and scholar who works across a broad spectrum of experimental musical idioms…His recent recording, Mise en Abîme (Pi, 2014) was called the #1 Jazz Album of the year by NPR Music and The Los Angeles Times. And his previous recording, Travail, Transformation & Flow (Pi, 2009), was chosen as the #1 Jazz Album of the year by The New York Times…»« Composer, performer, historian, instrument builder, journalist, activist, kayak instructor, Bob Ostertag’s work cannot easily be summarized or pigeon-holed. He has published more than twenty CDs of music, two DVDs, and five books. His writings on contemporary politics have been published on every continent and in many languages. Electronic instruments of his own design are at the cutting edge of both music and video performance technology. … He is rumored to have connections to the shadowy media guerrilla group The Yes Men… »

 » As the founding member of the critically acclaimed Antipop Consortium, HPrizm aka High Priest (beats, composer, futurist, mc, producer) has consistently challenged all artistic boundaries. In the course of his career, Prizm has shared stages with a wide array of artists, ranging from The Roots to Radiohead, Mos Def, Vijay Iyer, Public Enemy, Beastie Boys, (…) . As a composer, his pieces have been installed in the Whitney Biennial (NYC) as well as the Mazzoli Gallery (Berlin). Most recently, along with the Antipop Consortium, Prizm has collaborated with legendary film director David Lynch (…). «

 

« Matmos have released over ten albums on labels such as Matador and Thrill Jockey. They also have a history of rich collaborations with artists like Bjork, Antony, So Percussion, Terry Riley, The Kronos Quartet »

 

«Camae Ayewa is an interdisciplinary artist based in Philadelphia. Moor Mother (Goddess) is her low fi/dark rap/chill step/ blk girl blues/witch rap/coffee shop riot gurl songs/southern girl dittys/black ghost songs/love chants/african warrior spells/kongo hoodoo/holly hill Mississippi root jams/project housing bop/baptism jazz/quantum futurism/anthropology of conscience/superdefstar gospel/Lima dream music/slaveship punk/soultronic beats/death poems project, with which she has toured worldwide and performed at numerous festivals »

« KEROAÄN is a collaborative research project between IAN M FRASER and REED EVAN ROSENBERG exploring composition of electronic music by an artificial intelligence. Pieces are diffused in real time with no human intervention whatsoever as the machine agent manipulates the qualities of chosen non-standard synthesis and microsound techniques. In live diffusions, the machine agent additionally controls laser apertures and an array of strobe lighting which collectively act as a visual projection of the agent’s internal state as it structures the performance. A distinctly non-human logic pervades the resultant arrangements of chaotic sounds and high-intensity lighting, presenting an immersive, alien environment. »

 

….

More highlights at http://ikparisphilly.ircam.fr/pages/highlights.html

Improtech Paris – Philly 2017  is brought by

Ircam,  Collegium Musicae, University of Pennsylvania and djazz project

with direct funding from Agence Nationale de la Recherche (ANR Grant ANR-14-CE24-0002-01),  Sorbonne Universités, and Région Nouvelle Aquitaine – Cultures connectées, with support from :

 

The Cultural Services of the French Embassy & FACE Foundation, New York University,  Studio de Création et de Recherche en Informatique et Musique Électroacoustique (SCRIME), California Institute of Arts (CalArts), Drexel University (ExCITe Center), Princeton University, Pr. Dmitri Tymoczko,  Stanford University CNMAT, University of California at Irvine, HyVibe, ICA – Institute of Contemporary Art, Philadelphia,  Annenberg Center for the Performing Arts, Philadelphia, The Rotunda, Philadelphia, Ars Nova Workshop, Philadelphia 

Improtech Paris – Philly 2017

Musical improvisation with digital intelligence (IDI)

Workshop – Festival, December 11th – 13th, 2017 at the University of Pennsylvania

11th – 13th, Workshop keynotes, presentations, demos and performances at U.Penn, Drexel U. and ICA, from 9:30 – 18:00
11th, Evening concert at the Annenberg Center for the Performing Arts
13th, Evening concert at The Rotunda

Improtech Paris – Philly (ikPP) gathers scholars, technologists, musicians, makers, around the idea of musical improvisation with digital intelligence (IDI), taking notice of the emergence and development of this new creative field. ikPP creates a link between the european and american research and creation scenes through the symbolic matching of two of their more eminent emblems, Paris and Philadelphia, just as it did a few years ago with Paris and New York.

Five years after its first iteration in New-York the ImproTech workshop – festival formula is back again to see the technological, aesthetical, and sociological evolutions that happened since the last gathering. The meeting place in Philadelphia seems a natural destination, for its unique improvised music scene and history, and its perpetual enchantment with so many ever floating historical musical figures.

The ImproTech Paris – Philly workshop will take place at the University of Pennsylvania from Dec. 11 to Dec. 13 2017, with two evening concerts at the Annenberg Center for the Performing Arts (dec. 11th) and The Rotunda (dec. 13th), and social events at the Institute of Contemporary Art (ICA).

Scholars, students, musicians, makers will come from many places in europe and the US to talk about their work, demo, teach and perform. ikPP will flourish on the explosive encounter of prominent research labs and scholars, well established musical figures of Jazz and contemporary music, and the young avant-garde / underground scene of Philadelphia and surroundings.

Information: http://ikparisphilly.ircam.fr

Le dispositif de compositeurs associés dans les scènes pluridisciplinaires
cofinancé par la SACEM et la DGCA

Le but de ce dispositif est de proposer aux directeurs de scènes pluridisciplinaires ou scènes de création non dédiées exclusivement à la musique,  le cadre d’une collaboration avec un compositeur pour contribuer à l’enrichissement de leurs activités artistiques respectives.

Vous trouverez toutes les informations sur le lien suivant : cliquez ici

La commission 2018 aura lieu les mercredi 28 et jeudi 29 mars 2018.
Les dossiers doivent être déposés par voie électronique à la  DGCA et à la Sacem au plus tard le vendredi 23 février 2018.

Centre de documentation de la musique contemporaine
www.cdmc.asso.fr

Festival : ISCM – World Music Days Dates : 19 au 26 mai 2018 Lieu : Pékin, Chine L’ISCM – International Society for Contemporary Music lance un appel à œuvres pour les prochains ISCM – World Music Days qui se tiendront du 19 au 26 mai 2018 à Pékin en Chine. Il y a deux possibilités pour répondre à cet appel à œuvres : 1 – CANDIDATURE VIA LA SECTION FRANÇAISE En passant par Futurs Composés, section française de l’ISCM depuis octobre 2013, qui sélectionnera 6 œuvres, pour représenter la France et les soumettra au jury International des ISCM – World Music Days. Au moins une des œuvres proposées par chacune des sections nationales sera assurément présentée lors des prochains ISCM – World Music Days. Les 6 compositeurs sélectionnés par la section française seront valorisés sur l’ensemble de la saison de Futurs Composés. La priorité sera accordée aux pièces courtes, achevées après 2012. Date limite de candidature : Lundi 11 décembre 2017 (participation gratuite) > Informations : contact@futurscomposes.com Détails et règles de participation : http://www.futurscomposes.com/activites/ISCM-2018/ 2 – CANDIDATURE INDIVIDUELLE En candidature individuelle et en envoyant directement votre candidature au jury de l’ISCM, conformément aux frais d’inscription et règles de procédure de l’ISCM WMD 2018 (frais d’inscription : 50€). Date limite de candidature : 31 décembre 2017 (Heure de Pékin) > Informations : cliquez ici Les résultats de l’appel à œuvres seront communiqués par le jury international début février 2018. Retrouvez toutes les informations sur le site du Beijing Modern Music Festival : ici