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XI Concours International de Composition Electroacoustique / XI° International Destellos Competition on Electroacoustic Music – 2018

La Fondation Destellos annonce son appel d’œuvres pour le onzième Concours de Composition Électroacoustique et Vidéo Musique.
Cette année, la fondation est parrainée par la Fondation Rencontres Internationales de Musique Contemporaine de Buenos Aires, à l’occasion de son cinquantième anniversaire, qui décernera le Premier prix dans la catégorie mixte ainsi que la première de l’œuvre dans Festival Annuel.

Le concours est ouvert à des compositeurs/trices de toute âge et nationalité.
Seront attribués des Premiers Prix d’un montant de 600u$a pour chacune des catégories :
A – Musique Acousmatique
B – Musique Mixte pour Ensemble et électronique (octroyé par la Fondation Encuentros)
C – Vidéo Musique électroacoustique

Des seconds prix en collections de CD de musique électroacoustique, seront attribués, comme dans les éditions précédentes, par les institutions suivantes : Musiques et Recherches (Belgique), Motus et GRM (France) et Fondation Phonos (Espagne).

L’appel est ouvert jusqu’au 15 mars 2018. Règlement et formulaire dans : www.fundestellos.org/pageune.htm


The Foundation Destellos, call for works for the Eleventh Competition of Electreo-acoustic Composition and Visual music.
This year the foundation has the sponsorship of the International Encounters Foundation of Contemporary Music (Fundación Encuentros) of Buenos Aires, on the occasion of its fiftieth anniversary, which will award a First Prize in the mixed media category and the premier of the work in its Annual Festival.

The call is open to composers of any nationality, age and gender.
Will be attributed three first Prizes of an amount of 600 American dollars each, in the categories :
A. Acoustmatic music
B. Mixed media for Ensemble and Electronics (given by Encounters Foundation)
C. Visual music electro-acoustic

Also, as in former editions, will be granted second prizes, consisting in collections of CD of electroacoustic music offered by : Akusma<Motus, of France Foundation Phonos of Barcelona, Spain. Musiques et Recherches, Belgium, GRM (Groupe de Recherches Musicales), France.

The call is open till March 15th 2018. Guidelines and submission form in : www.fundestellos.org/pageone.htm

 

 

Octandre, appel à oeuvres binaurales / call for binaural works

Octandre cherche des oeuvres binaurales pour une session d’écoutes au casque le 16 décembre. Les œuvres seront considérées au fil de leur réception. Détails de l’appel : http://octandre-asso.org/activites/appels/appel-a-oeuvres-binaurales-2017-2018/
 
Octandre is calling for binaural works for a headphones listening session on December 16th. Works will be considered as soon as they are received. Details and submission: http://octandre-asso.org/en/activities/calls/call-for-binaural-works-2017-2018/

Call for proposals – Ambient@40

Deadline: 17.00 (GMT), Friday 5th January 2018.

 

In the forty years since the release of Brian Eno’s Music for Airports the concept and aesthetics of ambient music have proliferated, influencing artists as diverse as Taylor Deupree, Steven Wilson, David Lynch and The Orb, infusing drone, microsound, minimalism and experimental electronic music as well as aspects of contemporary instrumental music. The aim of this two-day conference is to re-appraise ambient music in relation to Eno’s milestone release.

 

Ambient@40 will be hosted in the newly opened Oastler Building at the University of Huddersfield from Friday 23rd to Saturday 24th February. The programme committee invites proposals for:

  1. a)individual papers (20 minute presentation with 10 minutes for questions and discussion);
  2. b)performance and paper (10 minute per performance, 10 minute presentation with 10 minutes for questions).

The committee welcomes proposals from academics, independent scholars, research students and practitioners.

 

The conference will run alongside the Electric Spring Festival (www.electricspring.co.uk) and an evening concert on Saturday 24th February at the Festival will close the conference.

 

The program committee will also invite a selection of those giving papers to write them up in the months following the conference (deadline June 2018) as book chapters for publication in late 2018 / early 2019.

 

Submission and selection process

All proposals should be submitted to Prof. Monty Adkins (m.adkins@hud.ac.uk) by the deadline, Friday 12th January 2018 (17.00, GMT). Individual paper submissions should include an abstract (350 words) and an author biography (200 words). Performance and paper submissions should include a brief overview of the audio presentation including technical resources required (300 words), links to online samples of audio work, an abstract (350 words) and an author biography (200 words).

 

The committee aims to notify proposal authors of its decision by Friday 19th January 2018. Those selected will be asked to confirm their acceptance and technical setup. The full programme will be announced online and booking opened on Monday 22nd January 2018. The Ambient@40 conference registration fee will be £50 (£30 for students/concessions).

SOUND/IMAGE 2017 – 10th/11th/12th November – University of Greenwich

SOUND/IMAGE 2017 takes place this weekend at the University of Greenwich, 10th, 11th and 12th November.

The Sound/Image colloquium explores the relationships between sounds and images, and the images which sounds can construct by themselves.

Through a series of complementary strands – talks, screenings, loudspeaker orchestra concerts – we will bring together artists and experts to investigate sound and sound-image phenomena.

This year we are delighted to invite Yves Daoust, Holly Rogers and Bret Battey as special guests for this third instalment of SOUND/IMAGE.

The weekend features a diverse array of international delegates, with six paper sessions, three loudspeaker orchestra concerts, four audio-visual screenings, installations and live audiovisual performances and a listening room.

Please visit Eventbrite to register: https://www.eventbrite.co.uk/e/sound-image-colloquium-2017-tickets-37242087085

We look forward to welcoming you to Greenwich this weekend.

Call for submissions : FETA Prize in Sound Art 2017

Presented by Foundations for Emerging Technologies and Arts

Overview: 

The FETA Prize in Sound Art was established in 2013 to promote a broad range of contemporary American sound and installation arts.  Artists working within the sonic arts such as sound installation, sound sculpture, sound poetry, soundscape, robotics, net art and similar may submit one work each for consideration. The prize is open to any individual of any age who is a permanent resident or citizen of any North, Central and South American country. All submissions must be anonymous. The prize will include $1,000 USD, feature spread on the FETA website and presentation of the wining work at the Emerson Dorsch Gallery in Miami, FL*.

Submission details and a link to the electronic application can be found at: 

http://www.fetafoundation.org/fetaprize/

Submission fee: $10

Timetable: 

November 15, 2017                             Electronic submissions deadline

December 15, 2017                              Prize Announcement

Judging Procedure: 

A committee of three preliminary judges selects 5 finalists. The recommendations are forwarded to the main judge who selects a single winner. The finalists and winner are announced.

About FETA:
Foundation for Emerging Technologies and Arts (FETA) is an organization established to cultivate composition, performance, production, and research of emerging electronic music, art and multimedia forms. FETA seeks to expand our understanding of the world around us through exploration and promotion of novel expressions that fuse arts with technologies. FETA’s programs have included the FETA Fest, 12 Nights of Electronic Music and Art series, Acoustica 21 series, SofIA, cybermusik.com and FETA@Miami Children’s Museum.

For more information contact us at kojs@fetafoundation.org

 PAST WINNERS:

2016 MICHAEL BOYD: Confessional
2015 BRYAN JACOBS: Subwhistle
2014 NICOLAS BERNIER: frequencies (synthetic variations)
2013 TED APEL: Call & Resonance

*The work will be presented for 2 continuous weeks in 2018, given that such presentation is realistic. Exact dates will be decided in tandem with the gallery. The winner will be responsible for shipping the work to Miami and the gallery will ship the work back.

With the support of Foundation of Emerging Technologies and Arts, Emerson Dorsch Gallery, Harold Golen Gallery and the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners.

Call for Applications

KEAR Two-Week Electroacoustic Composer/Researcher Residency 2017-18 – Residency for SPRING 2018

APPLICATION DEADLINE: Midnight (Eastern Standard Time) Friday 17 November 2017

AWARD: Travel funding, housing, and stipend

APPLY: complete the application

STUDIO INFORMATION: visit website

BGSUElectroacoustics welcomes applications for its fourth annual Klingler Electroacoustic Residency (KEAR) program. We seek a dynamic, innovative composer, researcher, or practitioner with a project requiring the use of our surround studio facilities. NOTE: This year’s residency will take place during **Spring 2018 only**, for which one composer will be selected to visit for two weeks to work on a composition and/or research project employing multi-channel spatialization (up to 10.2), first order Ambisonics, and/or controller-driven live performance.

2016-17 Residents:

Adrian Moore (Sheffield, UK)

Robert Normandeau (Montreal, QC)

2015-16 Residents:

James Andean (Leicester, UK)

Louise Harris (Glasgow, UK)

2014-15 Residents:

John Young (Leicester, UK)

Jonty Harrison (Birmingham, UK)

2013-14 Residents:

Adam Basanta (Montreal, QC)

Brad Garton (New York, NY)

ELIGIBIILITY

All electroacoustic composers, researchers, and practitioners are welcome to apply. Preference will be given to applicants whose proposal makes a compelling argument for using the multi-channel and/or Ambisonics (MC/A) studio resources. Preference will also be given to established professionals in the field.

AWARD DETAILS

Selected composers will receive:

  • Airfare or mileage reimbursement to/from Bowling Green (up to $1500 and adhering to Bowling Green State University travel regulations)
  • On campus housing
  • $150 Meal card for on-campus dining
  • $150 stipend
  • Unlimited access to the BGSUElectroacoustics MC/A studio for two weeks (14 days)

AWARDEE OBLIGATIONS TO BGSUElectroacoustics

While the resident’s primary activity will be working on his/her proposed project, we seek a resident willing to engage with our creative community during his/her visit by spending some informal time with our faculty and students, and sharing their expertise in a few formal settings as follows:

  • Present two music technology course lectures – topics to be agreed upon with the course instructors. (75 minutes each)
  • Teach up to four 30-minute lessons to students composing electroacoustic pieces.
  • Present one informal lecture and demonstration on the project at the residency’s end. (75-90 minutes)
  • Other activities may include interviews (audio and/or video), photography sessions, and other press-related endeavors with BGSU Marketing and Communications, to be used by BGSU at its discretion for publicity and archival purposes.
  • Commitment to serve as a judge for one future KEAR scheme.

AWARD CRITERIA

  • Proposed projects should clearly and convincingly illustrate the necessity of working in the BGSUElectroacoustics MC/A facility.
  • Awarded composers must reside in Bowling Green and work on their proposed project for two weeks (14 days total.) Shorter durations will not be permitted. Longer periods may be possible but the resident must pay his/her own expenses after completing the sponsored 14-day residency.
  • In-progress projects may be completed during the residency period.

APPLICATION PROCESS

Interested applicants must submit an electronic application form including the following:

  • Project title and detailed description (850 word maximum)
  • Signed residency agreement
  • Maximum of three web links pointing to work examples (soundfiles, score, video demonstrations, research papers, software, etc.) Hard copy materials will not be accepted.

o   Composers should submit up to three electroacoustic compositions with a 30-minute sum-total maximum duration. Multi-channel works are permitted but please include a stereo version for the jurors.

o   Researchers should submit up to three papers and/or software programs.

Submit online here.

Applications will be reviewed by a three-member international jury.

Selected residents will be notified by 20 December 2017, after which time additional details will be provided.

Questions about the process may be addressed to Elainie Lillios – lillios at bgsu.edu

DEADLINE

Applications must be received by midnight (Eastern Standard Time) on Friday 17 November 2017. Late or incomplete applications will not be considered.

VISUAL-MUSIC & FULLDOME EXPERIENCES – Wednesday Oct. 18th, Concordia University

VISUAL-MUSIC & TRANSDISCIPLINARY FULLDOME EXPERIENCES
A lecture by Ricardo Dal Farra

Early experiments in visual-music were joining new technologies with an explosion of innovative explorations in creating new forms of art.

Surfing between cinema, video-art, expanded and new media forms, 2D and 3D animation, sound art, concert or electroacoustic music,
visual-music started to find a place also in planetariums and other fulldome spaces.

Wednesday, October 18th at 5:30 pm.

Concordia University – Music Department Research Talk Series 
Guy and De Maisonneuve – MB building, 8th floor – room MB8.255
Montreal, QC – Canada
 

Dr. Ricardo Dal Farra is a composer and new media artist, educator, historian, and curator. He is an Associate Professor at the Music Department of Concordia University.
Dal Farra has been researcher and consultant on media arts history for UNESCO, France; director of the Hexagram Centre for Research-Creation in Media Arts and Technologies, Canada; coordinator of the international research alliance DOCAM – Documentation and Conservation of the Media Arts Heritage; senior consultant of the Amauta – Andean Media Arts Centre in Cusco, Peru; associated researcher of the Music, Technology and Innovation Research Centre at De Montfort University, UK; and director of the Multimedia Communication national program at the Federal Ministry of Education, Argentina.
Dal Farra has presented his electroacoustic and visual-music work in more than 40 countries, and recordings of his pieces are published in 23 international editions (including CDs by Computer Music Journal and Leonardo Music Journal, on MIT Press).
Funded by The Daniel Langlois Foundation for Art, Science and Technology of Montreal, he created the largest collection publicly available of Latin American Electroacoustic Music.
Dr. Dal Farra is founder-director of the international conference series Understanding Visual Music – UVM (held in Canada, Argentina, and Brazil) and Balance-Unbalance – on how the media arts can help to solve the environmental crisis (held in Argentina, Canada, Australia, United States, Colombia and the UK).

Call for submissions : Organised Sound: An International Journal of Music and Technology

Volume 24, Number 2

Issue thematic title: Borrowing, quotation, sampling and plundering

Date of Publication: August 2019

Publishers: Cambridge University Press

 

Issue co-ordinators: Manuella Blackburn (blackbm@hope.ac.uk) and Raúl Minsburg (rminsburg@untref.edu.ar)

 

Deadline for submission: 15 September 2018

 

The activity of borrowing is ubiquitous within the arts. In some cases this repurposing technique becomes essential lifeblood for creative practices such as ‘upcycling’ within visual arts, ‘crate digging’ in the world of hip-hop music, ‘fan fiction’ in literary spheres and ‘spin-offs’ in television productions. Borrowing in these instances is a necessity, enabling existing concepts and creations to live on in new formats, catering for contemporary tastes and audiences. Like these examples, sonic arts practices often engage with borrowing activity in some shape or form. This issue seeks to discover and present current perspectives and practices of sound borrowing in its broadest sense. The borrowings in these cases might be historical, cultural, existing music, sound objects, excerpts, or samples.

 

Borrowing activity can appear under headings of sampling, quoting, referencing, and plundering, but sometimes there can be confusion and discrepancies between both definition and use Are there perhaps new terms we can apply when examining borrowing activity more closely? What constitutes borrowing within compositional practices? And what methodologies exist for re-homing these materials into new creative work?

 

The prevalence of sound libraries, personal and public archives and audio maps frequently encourage practitioners to borrow and share pre-recorded audio, in many instances bringing the once unobtainable sound straight to our fingertips. Sounds from remote rainforests, outer space, ocean floors and precarious cliff edges are now available for download, and appeal due to the fresh, novel sonic inspiration they offer. What are the benefits, pitfalls or challenges associated with accessing and using these existing sound resources and how does the composer navigate any potential loss when he/she forfeits the personal and memory-forging sound recording process?

 

Borrowings that take place across cultural, historical or genre divides can lead to new fusions and hybrid creations. It is important to consider what can be communicated and perceived in audio borrowings that are transitory, moving between musical traditions, bygone eras and styles. What happens to a sound’s identity once borrowed, transformed, re-worked and re-contextualised? What conflicts arise between the borrowed sound and composer’s regional, national or cultural origin? Further to this, what attitudes exist towards borrowings? What do we regard as respectful when it comes to borrowing in these instances? And where do we draw the line before borrowing turns into stealing or some form of plagiarism?

 

Topics for investigation might include:

–       Sound libraries and sound archive use

–       Terminology for sound borrowing, quotation, referencing or homage

–       Quotations and plundering

–       Sound identity and recontextualization

–       Remixing, recycling and rehashing sound

–       Sound swapping and sound sharing

–       Repertoire engaging with sound borrowing

–       Historical recordings in contemporary practice

–       Open source and Creative Commons licensed materials

 

 

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

 

SUBMISSION DEADLINE: 15 January 2018

 

SUBMISSION FORMAT:

 

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

 

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

 

Properly formatted email submissions and general queries should be sent to: os@dmu.ac.uk, not to the guest editors.

 

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

 

Prof. Leigh Landy

Organised Sound

Clephan Building

De Montfort University

Leicester LE1 9BH, UK.

 

Accepted articles will be published online via FirstView after copy editing prior to the paper version of the journal’s publication.

 

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, Garth Paine, Mary Simoni, Martin Supper, Daniel Teruggi

Festival, séminaire et radio octobre 2017

1. Festival « En Chair et en son »
2. Séminaire Atelier #1 : Partitions « Observer/Conserver »
3. Radio : Territoires du son

1. EN CHAIR ET EN SON #3

du 26 au 28 octobre

Le Cube, Issy-Les-Moulineaux

5 cessions dans cette nouvelle édition du festival, alliant danse Butoh et acousmatique.

Avec notamment les danseurs Masaki Iwana, Moeno Wakamatsu et Juju Alishina, les ‘maîtres’ venus du Japon, des pionniers comme Sylvia Hanff en Pologne et de la jeune relève tels Tamara Pitzer d’Allemagne, Dominique Starck, Alyona Ageeva de Russie, Marek Jason Isleib d’Italie et Marlène Jöbstl d’Espagne.
Et les compositeurs David Fenech, Pierre Boeswillwald, dVincent Laubeuf, Alexandre Bellenger, Nicolas Marty… et de tant d’autres.

Le programme complet c’est ici : http://en-chair-et-en-son.fr/en-chair-et-en-son-programme2017.html

Tarifs : 12 ou 16 euros ; pass 20 ou 25 euros ; réservations ici
Lieu : Le Cube – Centre de création numérique
20, cours Saint Vincent, 92130 Issy-les-Moulineaux

2. MotusLab participe au Séminaire Atelier #1 : Partitions « Observer/Conserver »

Lieu : CDMC-Centre de documentation de la musique contemporaine
16 Place de la Fontaine aux Lions, 75019 Paris
Date : 13 Octobre 2017/ 9H00-18H30
Réservation à : contact@lautremusique.net
Partenaires : Institut Acte (Paris 1-CNRS), Motus (compagnie musicale), Le Cube, Cdmc, Maison-Ona, Galerie Planète Rouge

3. LES TERRITOIRES DU SON sur RSF 94.2 – SAISON 12

La radio du Val de Drôme (France) chaque lundi de 23h00 à 23h45 (rediffusion le dimanche suivant à la même heure), ainsi que sur le site Internet de la station :site Internet de la station :

Podcast à télécharger en cliquant ici

C’est la rentrée des Territoires du Sonla douzième saison s’amorce comme toujours avec l’arrivée de l’automne. Un bien étrange été 2017 on l’on ne sait s’il a vraiment fait beau. Le mois de juillet en tous cas n’aura pas été bien chaud, dira-t-on même qu’il a été glacial avec la disparition du co-fondateur de la musique concrète/acousmatique, Pierre Henry, disparition qui a sonnée comme un coup de tonnerre assourdissant. On se serait attendu à beaucoup plus d’hommages officiels et spontanés et de papiers dans la presse, bizarre et sinistre « modernité ». En même temps, dans cette période de notre histoire, « ce monde lacéré » où la violence envers les peuples par le massacre et les catastrophes naturelles s’abat de façon « apocalyptique », à une fréquence de plus en plus rapprochée, la mort d’un homme de vieillesse dans son lit, entouré de sa famille paraît douce. Cette pensée est un peu apaisante, n’est-elle pas. Ainsi, Pierre Henry a soudainement rejoint Pierre Schaeffer, Karlheinz Stockhausen et Luc Ferrari et a quitté ce monde nous laissant en héritage un répertoire unique et incroyable. Il paraît bien-sûr tout naturel de consacrer à cet immense compositeur un mois entier de programmation pour commencer et clôturer cette nouvelle saison, des heures de musique exceptionnelle, « Le voyage » vers un Ailleurs « intérieur et extérieur » magnifié, sophistiqué, intime, grandiose, pour une continue « vision du futur » et accessoirement, nous faire oublier que l’hiver et ses longues nuits sera bientôt là. Bonne rentrée à tous et n’oubliez pas d’ouvrir grand vos oreilles.

Lundi 2 octobre 2017 (rediffusion dimanche 8 octobre)
Mois spécial Pierre Henry 1/10

‘Echo d’Orphée, pour P. Schaeffer’ (1988, intégral, 39:58)

Lundi 9 octobre 2017 (rediffusion dimanche 15 octobre)
Mois spécial Pierre Henry 2/10
‘L’homme à la caméra’ (1993)
d’après le film de Dziga Vertov
Entrée des spectateurs, Coeur et rail, Mine I, Cortège, Central téléphonique, Mine II, Sport, Motos et manège
(extraits, 39:18)
Lundi 16 octobre 2017 (rediffusion dimanche 22 octobre)
Mois spécial Pierre Henry 3/10
‘Intérieur / Extérieur’ (1996)
Commande du festival d’Automne, Paris.
La Terre, Prémonition, Conflit, Etranglement, Châtiment, Enfer, Renaissance, Formation, Ciel
(extraits, 42:32)
Lundi 23 octobre 2017 (rediffusion dimanche 29 octobre)
Mois spécial Pierre Henry 4/10
‘La Reine Verte’ (1963, intégral, 29:27)
Musique pour le ballet de Maurice Béjart.
‘Bidule en Ut’ (1950, 01:51)
‘Tokyo 2002’ (1998, 05:38)
Lundi 30 octobre 2017 (rediffusion dimanche 5 novembre)
Mois spécial Pierre Henry 5/10
‘Dracula’ (2002)
Basée sur la Tétralogie de Richard Wagner.
Episodes 1,3,4,6,7,8
(extraits, 43:43)
Programmation et réalisation de Bérangère Maximin.
Production Home Sweet Home studio et Motus pour la station RSF 94.2
www.motus.fr
Motus est en résidence à la Muse en Circuit, centre national de création musicaleMotus est soutenue par : Ministère de la Culture et de la communication / Drac Ile-de-France au titre de l’aide aux ensembles conventionnés · Sacem-la culture avec la copie privée · Ville de Paris · Région Ile-de-France et la Spedidam

Motus est membre de Futurs composés, réseau national de la création musicale

Call for submissions : Organised Sound, An International Journal of Music and Technology

Issue thematic title: Perceptual Issues Surrounding the Electroacoustic Listening Experience

Date of Publication: April 2019

Publishers: Cambridge University Press

 

Issue co-ordinator: Sven-Amin Lembke (sven-amin.lembke@dmu.ac.uk)

 

Deadline for submission: 15 May 2018

 

The great diversity in compositional and stylistic approaches in electroacoustic music yields listening experiences that touch on a wide array of issues related to auditory perception. From the early days of musique concrète, the roles of different modes of listening have been discussed. While proponents of écoute reduite were concerned with approaches to sever the bond between sound and its physical source or cause and with how to develop auditory skills to achieve this ‘reduced’ listening mode, other electroacoustic practitioners have remained sceptical of its general feasibility in real-world listening conditions, instead embracing ‘source bonding’ as central to their own work with recorded/found sounds. Even among the members of the latter approach, the palette ranges from unrestrained recontextualisation of sounds into imaginary settings to the stricter adherence to acoustic ecology found in soundscape composition. But note, not only the sound source carries meaning.

 

Under the assumption of écoute reduite, i.e., involving a focus on sound qualities as opposed to sound identities, the concept of spectromorphology sets the scene to numerous auditory parameters, related to either traditional musical parameters or more recent electroacoustic notions of spectral and spatial categories with their respective dimensionalities. Furthermore, the vocabulary used for expression and narration commonly employs analogies to extra-sonic phenomena, such as gestures, shapes, motion or growth, with these analogies involving any of the musical parameters. The combinatorial possibilities arising from these pairings result in manifold musical options as well as perceptual outcomes. Alongside the evolution of electroacoustic music, some practitioners have attempted to develop theoretical or conceptual frameworks regarding electroacoustic vocabulary and language. Some offer greater detail, some are less specific in terms of their perceptual implications, while all would still benefit from further perceptual validation. Where do these theories currently stand concerning the perceptual reality of contemporary listening experiences, for instance, when source identification does play a role, and where may they still be headed?

 

With regard to the performance or diffusion of electroacoustic works, the established convention of the acousmatic experience clearly emphasises the auditory realm by obscuring visual cues but also by expanding into the spatial dimension, thus achieving greater immersion of listeners. Even a good percentage of performed electroacoustic music retains this acousmatic character. Within this physical realm of spectrum, space, and time, how are musical parameters used effectively, taking into account potential differences in the nature and origin of sounds (synthesis, samples, treatment)? What can be said about perceptual constraints or affordances along the physical dimensions or about the necessity of more perceptually balanced dependencies or scales? Indeed, electroacoustic practice has continually involved experimentation and innovation, at times having made effective use of auditory illusions or trompes d’oreilles (e.g., Risset’s infinite glissando), and reminding ourselves of the perceptual issues involved may reinforce this trend in the future.

 

We invite contributions with the aim to contextualise electroacoustic practice into relevant perceptual constraints and affordances, by drawing on past experience, contemporary practices or sketching out future endeavours. This should ideally consider and incorporate established knowledge from psychoacoustics or related issues on the perception and cognition of music. This Organised Sound issue welcomes a dialogue between the disciplines of electroacoustic music and psychology, including empirical work, but we kindly ask for submissions to address an audience of electroacoustic music studies, i.e., an audience not necessarily versed in standard methods of psychological research.

 

Contributions can address or be oriented toward, but not restricted to, the following themes:

 

  •   Listening modes, e.g., how they still inform contemporary composition; the need for listening training or evidence regarding its success
  •   The role of source bonding, e.g., embracing vs. avoiding, if not even ignoring
  •   Spectromorphology, e.g., its musical parameters such as texture, gesture, their psychoacoustic correspondences; how auditory scene analysis (Bregman, 1990) may serve as a perceptual framework for the listening experience
  •   Physical dimensions spectrum (frequency, amplitude), space, and time, their use in perceptually and musically effective ways; explorations of psychoacoustically informed dependencies, scales or control strategies
  •   Cross-modal perceptual analogies of audition to vision (e.g., shape), to proprioception (e.g., gesture, motion), to tactition (e.g., texture) and their possible extrinsic links and surrogacies
  •   Auditory illusions or trompes d’oreilles
  •   Does intention-reception equal intention-perception? To what extent do intentions align with the perceptual realities?

 

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

 

SUBMISSION DEADLINE: 15 May 2018

 

SUBMISSION FORMAT:

 

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

 

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

 

Properly formatted email submissions and general queries should be sent to: os@dmu.ac.uk, not to the guest editors.

 

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

 

Prof. Leigh Landy

Organised Sound

Clephan Building

De Montfort University

Leicester LE1 9BH, UK.

 

Accepted articles will be published online via FirstView after copy editing prior to the paper version of the journal’s publication.

 

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, Garth Paine, Mary Simoni, Martin Supper, Daniel Teruggi

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Concert 26 octobre MAMCS Strasbourg : A very close look from far away

Jeudi 26 octobre 2017 – 20h
Spectacle musical « A very close look from far away »
Auditorium du MAMCS – 1 place Jean Arp, Strasbourg
Entrée libre, tout public

Elektramusic débute sa nouvelle saison à l’Auditorium du MAMCS avec un spectacle musical de l’ensemble AxisModula. Cet ensemble de musique de chambre à géométrie variable, créé à Strasbourg, défend une démarche active et engagée envers les répertoires des XXe et XXIe siècles et un accompagnement du public à l’écoute, notamment par une volonté scénographique forte.

A very close look from far away

Un son dont on perçoit la provenance nous est-il plus proche ou plus lointain ? Qui n’a jamais ressenti la transformation de l’espace et du son qui s’opère lorsque l’on ferme les yeux pour écouter la musique lors d’un concert ?

A partir de ces réflexions, issues d’un travail avec la compositrice Elnaz Seyedi, A very close look from far away sinue entre un labyrinthe de tableaux destinés à l’œil aussi bien qu’à l’oreille. Chacun d’eux questionne les notions de distance, de perspective, de subjectivité du regard et de l’écoute, le recul nécessaire à la compréhension de l’objet observé. A very close look from far away ouvre ainsi le dialogue avec d’autres compositeurs, dont les points de vues et les sensibilités se répondent comme autant de facettes miroitantes et morcelées d’une même question en suspens.

Ensemble AxisModula

Sarah Brabo-Durand chant | Nina Maghsoodloo piano
Iida Hirvola violoncelle | Guillaume Gravelin harpe
Miyuki Okumura flûtes | Andrea Baglione scénographie

Avec des oeuvres de

Elnaz Seyedi | Behind the seas pour flûte,voix et piano
Tōru Takemitsu | Toward the sea pour flûte et harpe
Dai Fujikura | Flicker pour piano et violoncelle
Ali Gorji | En brèche pour voix seule
Elnaz Seyedi | Sense of a possibility pour violoncelle et harpe
Kenji Sakai | Je est un autre III pour piano et voix

-> Nous contacter pour plus d’information

-> Évènement Facebook

Ce projet bénéficie du soutien de la Haute Ecole des Arts du Rhin, de la Région Grand Est, de la DRAC Grand Est, de Ecce Kreativ, de On-Neue Musik et de la Folkwang university Essen. Ce concert bénéficie du soutien de la ville de Strasbourg et de la Direction des Musées de la ville de Strasbourg.

CALL FOR WORKS – 2017 SOUND / IMAGE Colloquium

We are delighted to announce the call for submissions for the 2017 SOUND / IMAGE Colloquium, 10-12 November 2017 at the University of Greenwich, London.

Through a series of complementary strands – talks, screenings, loudspeaker orchestra concerts – we bring together artists and experts to investigate sound and sound-image phenomena.
 
We are seeking papers and compositions which explore the relationships between sounds and images, and the images which sounds can construct by themselves.

CALL FOR WORKS:

  • Paper Submissions
  • Audiovisual (Fixed Media) Compositions
  • Acousmatic Works
  • Audiovisual Live Performances


The deadline for submissions is 1 September 2017.

Further details of the call can be found in the attached document and on the conference website: http://www.gre.ac.uk/ach/events/soundimage

For any queries please write to: Sound-Image@greenwich.ac.uk

CALL FOR WORKS – BEAST FEaST 2018 : BEASTopia!

BEAST FEaST 2018: BEASTopia!
Thursday 26 – Saturday 28 April 2018
University of Birmingham, UK
Three days of music, meeting and ideas
 
 
BEASTopia!
Ideas of democracy and equality regularly feature in discussion of electroacoustic music. As an artform, electroacoustic music is rooted in the modernist idea that no sound lies outside the realm of music, hence, we might say, ‘all sounds are created equal’. Additionally, it is often claimed that the development of electroacoustic music is partly dependent upon the democratisation of technology, as large, expensive mainframe computers only accessible to academic researchers have gradually given way to home computers, laptops and smartphones—this giving rise to a ‘music from the bedroom studios’. Whether seeking sonic inspiration in the roar of political crowds, or by creating works that deliberately blur the boundaries and hierarchies between composers, performers and listeners, electroacoustic composers and sound artsits have frequently sought inspiration in principles of democracy and equality.
CALL FOR WORKS, TALKS, AND INSTALLATIONS
For BEAST FEaST 2018 we invite submissions that touch on any aspect of the theme of democracy and equality in relation to electroacoustic music. We seek to represent the broadest range of electronic music practices and practitioners at the festival, and we aim for diversity of music, background, and ethnicity, as well as balance in gender representation. We therefore encourage all to submit to our call for works, and ask that you repost this call as widely as possible.
———————–
MUSIC SUBMISSIONS
Works and performances of electronic music of any style are welcome. We encourage you to exploit the capabilities of the BEAST system and schematics are available via the online application system. Works involving video are welcome, as are works involving live performance (including instrumentalists).
Please be aware that any costs or fees arising from including performers will most likely need to be borne by the submitter. Due to limitations on space, and our desire to include as many artists as possible, we will only be able to consider works of under 14 minutes duration, and will prioritise shorter works. Since we feel that community is a crucial part of BEAST FEaST, and because of the very high level of interest in past years, we regret that we will only be able to consider works by artists who can commit to attending the festival. At the time of submission applicants will be required to submit a programme note and biography (in final, print-ready copy), technical requirements and a brief statement of how the work fits the festival theme. Incomplete or over-length submissions will not be considered.
—————————–
INSTALLATION SUBMISSIONS
We invite proposals for installations that reflect the festival theme and respond to the campus surroundings.
Accepted installations will be expected to run for the whole duration of the festival (Thursday to Saturday evening) and artists will be expected to handle their own installation/de-installation. Any transportation costs arising will most likely need to be borne by the submitter. At the time of submission applicants will be required to submit an programme note, biography (in final, print-ready copy), technical requirements and a brief statement of how the installation fits the festival theme.
——————————
TALK SUBMISSIONS
We invite short informal talks in the tradition of TED. Academic topics are welcome, as are intellectually demanding ones, but talks should be pitched for a general festival audience rather than a group of specialists. We also invite proposals for high speed PechaKucha style presentations.
The BEASTdome system (30+ channel periphonic setup) will be available for all presentations, so multichannel demonstrations are possible and welcome. Applicants will be required to submit an informal description of the talk, biography (in final, print-ready copy), technical requirements and a brief statement of how the talk fits the festival theme.
————————-
COSTS
We know that many artists struggle with costs when attending events of this type. We aim to keep these as low as we can, but must balance that with our goal of keeping the call open to as many as possible. We regret that given the numbers involved we are not able to offer fees or travel support for artists selected via this call. That said, we are happy to confirm that as in past years there will be no conference fee, that talks and installation access will be free and open for all, and that accepted artists will be offered a low price discount pass to attend all other concert events in the festival. We are naturally happy to support applications for external travel funding for accepted artists.
————————-
Submissions are open until Friday 15 September 2017, 23:59 UTC+1
Only work submitted via the online submission portal will be accepted

Open call for III FIME – Festival Internacional de Música Experimental (São Paulo – Brazil)

Open call for III FIME – Festival Internacional de Música Experimental

The III FIME – Festival Internacional de Música Experimental (International Experimental Music Festival) will take place in São Paulo from November 10 to 19, 2017

As in the past two editions, most of FIME’s program will be comprised by artists selected by means of a call for proposals. Thus, the Festival will be open to accept very diverse proposals, in an intentionally broaden scope of what we are considering “experimental music”, without a priori classifications of style or genre.

III FIME will receive artistic performances proposals until July 30, 2017. After such date, the curatorship of the event will evaluate the received proposals and contact the proponents of the selected through  proposals of the selected ones.

III FIME – Festival Internacional de Música Experimental is organized by Ibrasotope.

Infos: http://www.fime.art.br/

Les stages d’été de Musiques & Recherches

LES 5 STAGES D’ÉTÉ DE M&R 
Max for Beginners – du 1-08-2017 au 6-08-2017 par Benjamin Thigpen
Toutes les infos ici.
Advanced Topics in Max – du 8-08-2017 au 13-08-2017 par Benjamin Thigpen
Toutes les infos ici.
Stage de composition de musique électroacoustique (analogique sur bande) – du 15-08-2017 au 20-08-2017 par Annette Vande Gorne
Toutes les infos ici.
Vous avez dit acousmatique – du 22-08-2017 au 27-08-2017 par Annette Vande Gorne
Toutes les infos ici.
Stage d’interprétation spatialisée des musiques acousmatiques – du 29-08-2017 au 2-09-2017 par Annette Vande Gorne
Toutes les infos ici.
Musiques & Recherches
3 Place de Ransbeck
1380 – Belgique
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Offre de Service Civique

Elektramusic et l’Atelier Culturel proposent conjointement une offre de mission de Service Civique accessible à toutes et à tous, à partir de septembre 2017 pour une durée de 8 mois. Les détails de l’offre et la fiche de poste sont disponibles dans le document joint et les candidatures sont à nous adresser par email cité dans la fiche de poste.

Fiche de poste Service Civique

ISMIR 2017 Call for Music

ISMIR 2017 will host a community performance night. The program will be made of a selection of submitted and invited pieces. Please find below the call for music.
For more info, please refer to https://ismir2017.smcnus.org/call-for-music/
Deadline: 2017.07.28
ISMIR 2017 welcomes submissions of proposals for the community performance night on Thursday, Oct.26, 2017. We are accepting proposals of performances in any of the following categories:
  • Musical instrument or vocal performance
  • Original work that intersects musical information technology
  • Other types of “Got Talent” performances
The performance should be between 4 and 10 minutes. We encourage performances that incorporate Chinese and classical music elements. Individual and group submissions are welcome.
Music submissions should include 3 elements:
  1. Compressed recording of the tape part or audiovisual: a complete MP3 file, or MP4 in case of audiovisual. Please limit to 100 MB. We prefer an url link to the media file.
  2. Performance instructions (if applicable): a music score with complete description of the performance and technical needs (if necessary, include a technical diagrams and stage layouts.) documents should be submitted as a single PDF file.
  3. Program notes: in a separate PDF file, short biographies of the composer(s) & performer(s) and a description of the work (each with a maximum of 100 words). Part of these texts will be included in the concert’s program.
Please submit your performance proposal to the submission website: http://ismir2017-music.smcnus.org/. The music submission is due on July.28, 2017.
All submissions will be subject to review by a committee composed by the music chairs and concert curator, with access to all submitted materials online.
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Accent 4 et Alsace 20 partenaires d’Elektramusic

Pour accompagner les nouvelles activités d’Elektramusic en 2017-2018 (dont un très beau projet que nous vous dévoilerons bientôt …), nous sommes ravis de compter deux partenaires presse qui pèsent lourds à Strasbourg et dans la région.

Il s’agit d’une part d’Alsace 20, la chaine Alsace qui rayonne sur Strasbourg et la Région et que vous pouvez retrouver sur le canal 30 de la TNT mais aussi sur internet à l’adresse : www.alsace20.tv

 

Nous sommes également ravis d’être accompagné par Accent 4, la radio musique classique en Alsace que vous pouvez retrouver sur les ondes en 96.6 à Strasbourg, 90.4 à Colmar et 98.8 à Sélestat, et sur le web à www.accent4.com

Séances de formation au logiciel Pro Tools

Elektramusic vous propose de courtes séances de prise en main du logiciel Pro Tools. Que vous soyez musicien, passionné par le son ou simple curieux, ces séances par petits groupes vous permettront de faire un tour d’horizon du célèbre logiciel d’enregistrements et montages audio et de découvrir ses principales fonctionnalités.

Ces séances s’adressent à de grands débutants et s’organisent à la demande en constituant des petits groupes.

Durée approximative : 2h
Coût : Gratuit
Inscription et proposition de dates par formulaire.

Juin 2017 – Gare du Nord – Bâle

Juni 2017

Liebes Publikum

Wie wird eigentlich aus einer neuen Komposition eine aufführungsreife Interpretation? Der Komponist Martin Jaggi und das Mondrian Ensemble laden mit ihrem Format «Partitur» zu einer kommentierten öffentlichen Probe ein: die Zuschauer erleben mit, wie die Musikerinnen zusammen mit dem Komponisten anhand der Partitur – die per Projektion mitverfolgt werden kann – das Werk erarbeiten. Das neue Stück wird zwei Tage später im Rahmen des Konzerts«Carte Blanche für Martin Jaggi», welches Martin Jaggi im Auftrag des Mondrian Ensembles zusammengestellt hat, uraufgeführt. Auf dem Programm steht ausserdem Musik von Iannis Xenakis, Morton Feldman und Francisco Guerrero Marín – alles Komponisten, die Jaggi inspiriert haben.

Das Züricher Ensemble Tzara präsentiert «Peculiar Transcriptions» – ein Konzert, in dem Field Recordings aus Kopenhagen, London und Brüssel in musikalische Gesten übersetzt werden. Diese wiederum entwickeln mithilfe von LED-Lichtern in völliger Dunkelheit eine eigene Choreographie. Die Klangkünstlerin Cathy van Eck hat für das Ensemble eine interaktive Klanginstallation erschaffen, die vor und nach dem Konzert zu erleben ist.

Und nochmal Gäste aus Zürich: das Collegium Novum bringt mit Werken von Samir Odeh-Tamimi, Jan Krejcík, George Aperghis und Enno Poppe «Offene Landschaften» in den Gare du Nord. Der Komponist Enno Poppe ist als Dirigent mit dabei und dirigiert u.a. «Öl», ein Werk, das ihn international bekannt gemacht hat.

Unsere Saison geht damit zu Ende. Am 19. Oktober 2017 eröffnen wir die neue Spielzeit 2017/18 mit dem Musiktheater «Lamento», einer Verbindung von «L’Orfeo» von Claudio Monteverdi und Salvatore Sciarrinos Oper «Luci mie traditrici», in der Regie von Désirée Meiser. Das Projekt ist eine Koproduktion des Gare du Nord mit der Hochschule für Musik Basel und der Schola Cantorum Basiliensis im Rahmen des 150. Geburtstages der Musik-Akademie Basel. 

In der Zwischenzeit ist die Bar du Nord im Sommer für wichtige Fussballspiele  geöffnet – siehe www.garedunord.ch/bar.

Wir freuen uns auf Ihren Besuch!
Herzliche Grüsse aus dem Musikbahnhof

Juni 2017 im Gare du Nord

Di 06.06. 20:00–21:00 Konzert • 19:30 & 21:00 Installation
«Peculiar Transcriptions» – Ensemble Tzara
Field Recordings aus Kopenhagen, London und Brüssel werden in diesem Konzert in völliger Dunkelheit mittels LED-Lichtern in instrumentale Gesten umgewandelt. Vor und nach dem Konzert ist eine interaktive Klanginstallation von Cathy van Eck zu erleben.
Mi 07.06. 19:00–20:00 öffentliche Probe
«Partitur» – Mondrian Ensemble & Martin Jaggi

In dieser öffentlichen Probe erarbeitet das Mondrian Ensemble zusammen mit dem Komponisten Martin Jaggi ein Werk , das er für die vier Musikerinnen geschrieben hat. Die öffentliche Probe wird von  SRF2 Kultur aufgenommen.
Fr 09.06. 20:00–21:30
«Carte Blanche für Martin Jaggi» – Mondrian Ensemble

Ein Konzertprogramm von Martin Jaggi mit einer Uraufführung von ihm selbst sowie Werken von Iannis Xenakis, Morton Feldman und Francisco Guerrero Marín.
Das Konzert wird von  SRF2 Kultur aufgenommen.
So 11.06. 20:00
«Offene Landschaft» – Collegium Novum Zürich
Das Collegium Novum Zürich präsentiert Werke von Samir Odeh-Tamimi, Jan Krejcík, George Aperghis und Enno Poppe. Der Komponist Enno Poppe wirkt auch als Dirigent mit, die MusikerInnen spielen mit «Öl» u.a. ein Werk, das ihn international bekannt gemacht hat.
Spielzeitpause
Gare du Nord macht ab Mitte Juni Spielzeitpause.
Die Bar du Nord ist im Sommer für wichtige Fussballspiele geöffnet – siehe Homepage.
Wir wünschen Ihnen einen schönen Sommer!
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Retrospective Sébastien Béranger et Célia Eid

Elektramusic a le plaisir d’accompagner depuis l’origine les créations vidéomusicales de Sébastien Béranger et Célia Eid et vous invite à découvrir la rétrospective qui leur est consacrée le

Mardi 6 juin à de 18h à 20h
Salle Villa-Lobos
Ambassade du Brésil en France
34 cours Albert 1er, 75008 Paris

Dans le cadre de la quatrième Semaine de l’Amérique Latine et des Caraïbes

Le duo formé par Celia Eid (Brésil) et Sébastien Béranger (France) s’appuie sur l’équilibre fragile entre l’œil et l’oreille. Dans un monde où l’image est prédominante, le son tient une place primordiale. La transversalité est essentielle. La relation entre le geste pictural et le geste musical, le rapport entre la matière, le travail de la main et les techniques numériques sont au cœur de leur démarche. Comme dans la musique de chambre, Celia Eid & Sébastien Béranger forment un duo, c’est-à-dire un instrument singulier où toutes les composantes proposent un objet unique. Cette soirée rétrospective présente dix ans de travaux communs. A travers trois pièces ponctuées d’improvisations libres, le duo propose les spécificités et les lignes directrices de son travail.

Avec
Sébastien Béranger (électroacoustique)
Célia Eid (création vidéo)
Nina Maghsoodloo (piano)

Inscription gratuite par mail à : geo@bresil.org
Description de l’événement 
événement facebook

Destellos Competition – Extended deadline / date limite prolongée / fecha limite extendida

X° Destellos Competition 2017

The Foundation Destellos, call for works for the  Competition of Electro-acoustic Composition, open to composers of any nationality, age and gender.

The deadline has been extended until June 5, 2017.

Guidelines an submission form : www.fundestellos.org

—————-
X° Concours Destellos 2017

La Fondation Destellos, annonce son appel d’œuvres pour le Concours de Composition Électroacoustique.
La date limite pour l’envoi des pièces a été prolongée jusqu’au 5 juin 2017.
Règlement et formulaire d’inscription : www.fundestellos.org

————-
X° Concurso Destellos 2017

La Fundación Destellos, informa que la convocatoria para el IX° Concurso de Composición Electroacústica y Acusmática continuará abierta hasta el 5 de Junio 2016.
Reglamento y formularios : www.fundestellos.org

SOUND & THE CITY – INTERFERENCES, Bordeaux

SOUND & THE CITY — INTERFERENCES
— an exploration of the invisible city
Bordeaux, 2017 May 19th > July 2nd
http://monoquini.net/

——————
PROGRAM

From May 19th to July 2nd, in various places and spaces of the city of Bordeaux, performances, exhibitions, screenings.

———————
A. EXHIBITIONS


Erin Sexton
— Hyperdimensional variations II
@ Galerie Rezdechaussée
66 rue Notre Dame — 33000 Bordeaux
Opening: Tue 23 May 7pm
Everyday from Wed 24 May to Sat 7 May,
2pm > 8pm

Manuel Knapp
@ Galerie des Étables
1 rue des Étables — 33800 Bordeaux
Opening : Fri June 2nd, 7pm
Everyday from Tue June 6, to Fri June 23
2pm > 8pm (closed on Sunday and Monday)
With the support of the Paris Austrian Cultural Forum

——————
B. PERFORMANCES & CONCERTS

Mario de Vega
Victor Mazón Gardoqui
— Sound performances
Fri 19 May, 7pm

@ Café Pompier
7 place Renaudel — 33800 Bordeaux

Martin Howse
Terra Muta
Sat 20 May, 8pm
@ Auditorium of the Botanical Garden
Esplanade Linné — 33000 Bordeaux

Art Kill Art
Yann Leguay
— Sound performances
Fri
26 may, 7:30pm
@ Fabrique Pola
20 rue Armand Caduc — 33800 Bordeaux

Yi King Operators
— Sound divination séance
Sat 24 June
@ secret location
informations / reservations: info[at]monoquini.net

Aki Onda
Closing concert
@Galerie des étables
Sun 2 june, 4pm
Participation libre

———————
C. ELECTRICAL WALKS BORDEAUX

CHRISTINA KUBISCH

Electrical Walks is a public walk with special, sensitive wireless headphones by which the acoustic qualities of aboveground and underground electromagnetic fields become amplified and audible. The transmission of sound is achieved by built-in coils which respond to the electromagnetic waves in our environment. The palette of these noises, their timbre and volume vary from site to site and from country to country. They have one thing in common: they are ubiquitous, even where one would not expect them. Light systems, wireless comunication systems, radar systems, anti-theft security devices, surveillance cameras, cell phones, computers, streetcar cables, antennae, navigation systems, automated teller machines, wireless internet, neon advertising, public transportation networks, etc. create electrical fields that are as if hidden under cloaks of invisibility, but of incredible presence. Electrical Walks is an an invitation to a special kind of investigation of city centres (or elsewhere). With the magnetic headphone and a map of the environs, on which the possible routes and especially interesting electrical fields are marked, the visitor can set off on his own or in a group. The perception of everyday reality changes when one listens to the electromagnetic fields; what is accustomed appears in a different context. Nothing looks the way it sounds. And nothing sounds the way it looks.

Practical infos
Departures @ L'Inox, 7 rue des Capérans, 33000 Bordeaux
Every day from  Tue 27 June to Sat 1st July, 1pm to 8pm
(Last depart: 7pm)

— City walks with Christina Kubisch
Tue 27 June & Wed 28 June, 3pm / 5pm

— Meeting with Christina Kubisch
Mon 26 June, 6PM
@ Goethe Institut,
35 cours de Verdun, Bordeaux
With the support of the Bordeaux Goethe Institute

———————
D. SCREENINGS

THE QUIET ZONE
Karl Lemieux & David Bryant
(Canada, 2015, 16mm, vostfr, 14 min.)

ZONE BLANCHE
Gaëlle Cintré
(France, 2015,, 16mm, 22 min.)

@ L'Inox
7 rue des Capérans, 33000 Bordeaux
Screening every hour
Every day from Tue 27 June to Sat 1 July, 1pm > 8pm
Free Entrance

&

WAS WIR NICHT SEHEN
Anna Katharina Wohlgenannt
(Autriche, 2014, HD, 78mn, vostfr, Sound : Christina Kubisch)

 

Prix Marcelle 2017

À la suite des concerts Ultrasons qui se sont déroulés en janvier et en avril 2017, le jury des professeurs et des chargés de cours en composition du programme de musiques numériques de l’Université de Montréal a décerné le Prix Marcelle 2017 à:
Gian Tenio Carlone
Finissant au bac en musiques numériques
Le Prix Marcelle a été ainsi nommé en hommage à Marcelle Deschênes qui a été professeur de composition à la Faculté de musique et qui a fondé le programme de composition électroacoustique en 1980. Le prix est donné depuis 2004 grâce à un fonds doté par Kevin Austin.
Félicitations au gagnant !

Pour mémoire, les récipiendaires des années passées:

2004 – Georges Forget (maîtrise)
2005 – Raphaël Néron-Baribeau (bac)
2006 – Delphine Measroch (maîtrise)
2007 – Myriam Hamer-Lavoie (bac)
2008 – Stéphan Kozminchuk (bac)
2009 – Antonin Provost (bac)
2010 – Dominic Thibault (maîtrise)
2011 – Renaud Hallée et Thierry Gauthier (bac), ex-aequo
2012 – Simone D’Ambrosio (maîtrise)
2013 – Sylvain Pohu (doctorat)
2014 – Patrick St-Denis (doctorat)
2015 – Guillaume Campion-Vallée (maîtrise)
2016 – Ana Dall’Ara Majek (doctorat)
2017 – Gian Tenio Carlone (bac)

Online survey on musical timbre perception

The Audio Communication Group (Technical University of Berlin) are investigating the perception of musical timbre.
We are currently looking for experienced performers of the violin, clarinet, piano, or classical guitar to complete a very short online survey. They must be native English speakers.
Please consider taking a moment to forward the survey link to potential participants.

 

Call for Introducers, Leeds, UK

The Sonic Arts Forum will be holding an event in Leeds (UK) on Saturday 15th of July, 2017.

This is an opportunity for creative people, working with sound as a significant element in their practice, to introduce their work and receive feedback in a friendly, and supportive, environment.

Over the past 14 years our events have featured introductions from a wide spectrum of artists, musicians, technologists and noise-makers working with live electronics, field recordings, fixed media, audio vision, installation, algorithmic composition etc in a wide variety of different ways. We are an inclusive group with introducers coming from a range of backgrounds: from postal work to academia, and much inbetween.

If you would like to introduce your work please send a short summary of the work you would like to introduce, and an example stereo file / quicktime file, via wetransfer, or a weblink, to coryncomposer@gmail.com

Deadline 31st of May, 2017.

NB Introducers will need to physically attend in order to introduce.

https://www.facebook.com/events/745393202299214/?notif_t=plan_user_associated&notif_id=1494930689606224

Summer Workshops of M&R

SUMMER WORKSHOPS OF M&R 
 
Musiques & Recherches – 3 place de Ransbeck – 1380 Ohain – Belgium

workshop of   MAX level 1

http://www.musiques-recherches.be/fr/agenda/item/5566-stage-max-for-beginners

from 1-08-2017  to 6-08-2017 by Benjamin Thigpen

workshop of   MAX level 2

http://www.musiques-recherches.be/fr/agenda/item/5565-max-stage-level-ii

from 8-08-2017 to 13-09-2017 by Benjamin Thigpen

workshop of electroacoustic music composition (analog)

http://www.musiques-recherches.be/fr/agenda/item/5567-composition-analogique-sur-bande

from 15-08-2017 to 20-08-2017 by Annette Vande Gorne

(Course mainly given in French)

workshop of electroacoustic music composition (digital)

http://www.musiques-recherches.be/fr/agenda/item/5568-vous-avez-dit-acousmatique

from 29-08-2017 to 02-09-2017 by Annette Vande Gorne

(Course mainly given in French)

 

workshop of spatialised interpretation of acousmatic musics

http://www.musiques-recherches.be/fr/agenda/item/5569-2016-10-20-13-31-48

from 30-08-2016  to  3-09-2016 by Annette Vande Gorne

(Course mainly given in French)

Journées d’informatique musicale – Paris 18-20 mai 2017

Il n’est pas trop tard pour vous inscrire aux prochaines Journées d’informatique musicale.
Elles se dérouleront sur trois sites : l’Université Pierre et Marie Curie, L’Ircam et le Musée de la musique de la Philharmonie de Paris.
Inscriptions (en ligne exclusivement) : https://jim2017.sciencesconf.org/resource/page/id/5
Chaque année, les Journées d’Informatique Musicale réunissent des chercheurs, développeurs et différents acteurs de la vie musicale utilisant l’informatique comme outil de diffusion, de création, d’interprétation ou de pédagogie. Les JIM sont pilotées par l’Association Française d’Informatique Musicale (AFIM) et sont soutenues par la Direction générale de la création artistique du ministère français de la Culture et de la Communication.

En 2017, les JIM se tiendront à Paris du 18 au 20 mai 2017 et seront organisées par le Collegium musicæ qui réunit pour l’occasion six institutions de la Comue Sorbonne Universités :

• IReMus, Institut de Recherche en Musicologie (UMR 8223, CNRS/Université Paris-Sorbonne/BnF/MCC)
• LAM, Équipe Lutheries-Acoustique-Musique de l’Institut Jean Le Rond d’Alembert (UMR7190, CNRS/UPMC/MCC)
• Ircam, Institut de Recherche et Coordination Acoustique/Musique
• Musée de la musique, Cité de la musique-Philharmonie de Paris
• PSPBB, Pôle supérieur d’enseignement artistique Paris Boulogne-Billancourt
• SCC, Équipe Systématique et Catégorisation Culturelles (UMR 7206, CNRS/MNHN/Université Paris 7)

En outre, l’édition 2017 accueille aussi un appel à œuvres électroacoustique pour les jeunes compositeurs organisé en collaboration avec :

• Motus, Compagnie musicale
• TPMC, Tout pour la musique contemporaine
• CDMC, Centre de documentation de la Musique Contemporaine

Appel à projets électroacoustiques

L’association Halle des Douves, regroupements d’associations basées à Bordeaux, lance en 2017 Radio Douves, une webradio qui diffusera en continu au rez-de-chaussée du Marché des Douves à Bordeaux et qui sera disponible à l’écoute en ligne.

L’association Octandre, membre de la Halle des Douves, souhaite proposer des « capsules » électroacoustiques destinées à apparaitre aléatoirement au sein de la programmation continue de la webradio, pour introduire la musique électroacoustique à un grand nombre de personnes qui n’iraient pas la chercher par eux-mêmes. Nous souhaitons créer ces capsules à partir d’œuvres électroacoustiques de tous genres, mais de courte durée, pour faciliter la découverte par les novices.

Si vous êtes intéressé·es par cette idée, merci de nous envoyer vos propositions d’une durée maximum de 3-4 minutes, mono ou stéréo, au format mp3 (obligatoire pour la diffusion webradio), à octandre.contact@gmail.com.

New MAs at Bath Spa (UK) – MA Sound Arts, MA Sound Design and MA Sound Production

We’re delighted to announce three new MAs at Bath Spa University – MA Sound Arts, MA Sound Design and MA Sound Production.

MA Sound Arts takes a broad overview of artistic practice in sound, including experimental and emergent areas. MA Sound Design focuses on sound for moving image, and MA Sound Production draws from both electronic music production and electroacoustic composition.
The three are interlinked under the MA Sound structure, allowing students to mix modules across the three pathways, and work alongside students working in other areas. Students can additionally choose modules across other Bath Spa Music MAs in areas such as Composition, Performance, Songwriting and Musicology.
More information can be found here:

2017 FRANZ LISZT Composition Scholarship

14 MAY = DEADLINE / DATE LIMITE

2017 FRANZ LISZT Composition Scholarship for acousmatic composition and Master Class with Robert Normandeau (CAN)

The University of Music FRANZ LISZT Weimar biannually grants a scholarship for a young composer of acousmatic music. This year¹s stipend will be awarded in conjunction with a master class given by Canadian composer Robert Normandeau.

Four to five applicants will be invited to Weimar to take part in Robert Normandeau¹s master class from July 14th through 16th. As part of the master class, each participant will present one of their own acousmatic compositions and prepare the work for concert interpretation over the SeaM loudspeaker orchestra. At the end of the master class, one participant will be awarded the 2017 FRANZ LISZT Composition Scholarship.

The scholarship recipient will be granted free accommodation as well as a monthly grant of EUR 1000 for a period of three months in order to live and work in Weimar. In addition, the recipient will have the opportunity to take part in the academic and artistic life of the University of Music FRANZ LISZT and the school¹s Studio for electroacoustic Music (SeaM Weimar). The quantity and type of artistic work to be produced during the stay in Weimar is not prescribed. The recipient is free to shape his/her work in the manner he/she chooses. The period of the stipend should occur within the school¹s academic semester.

The mentor for the scholarship and master class is Prof. Robin Minard. The competition is open to young composers of all nationalities not over 35 years of age. Graduates of the University of Music FRANZ LISZT are not eligible to apply for the scholarship. Applications should consist of a cover letter as well as a curriculum vitae and two acousmatic works, one of which will be interpreted in concert on the SeaM loudspeaker orchestra. The concert work should not exceed a duration of 15 minutes.

The application deadline is May 14th, 2017.
Participants pay a participation fee of EUR 150.
Accommodation as well as a subsidy for travel expenses will be paid for by the University of Music FRANZ LISZT Weimar.

Please address applications to:
University of Music FRANZ LISZT Weimar
attn. Prof. Robin Minard
Platz der Demokratie 2/3
D-99423 Weimar
Germany

or by email to: robin.minard(at)hfm-weimar.de

Questions should be addressed to:
Administration Office
University of Music FRANZ LISZT Weimar
Johanna Hartmann
+49 3643 | 555 150
johanna.hartmann(at)hfm-weimar.de

Spatialisation Competition « Espace du Son »

SPATIALISATION COMPETITION “ESPACE DU SON
For the performance of acousmatic works
(EN version – FR version prevails in case of discrepancies)

Acousmatic

The pre-recorded work composed in studio, projected on loudspeakers in concert, without intervention of live sound sources.

The spatialised performance of acousmatic pieces consists in directing sounds on multiple loudspeakers spread across the concert room. The Musiques & Recherches acousmonium has 76 loudspeakers and an analogic console that allows 44 paths of spatial projections. The performance competition is « manual », i.e. without computer-based systems memorising spatial configurations. The performer is operating the console during the competition. His/her physical presence during the performance is therefore required.


The competition is open to the public. It will take place at the Théatre Marni in Brussels during the 24th international acousmatic festival « L’Espace du Son », which will take place from the 8th to the 12th of November, 2017.
Registrations and other documents requested in the Competition Regulations must be sent by email to Musiques & Recherches at concours@musiques-recherches.be by June 8, 2017, 09:00 am (Brussels time) at the latest. There are no registration fees. The competition is open to anyyone under the age of 55 in 2017.

Each of the 8 participants selected for the finals will perform four stereo works, including: a work imposed by the jury, a work of his/her choice (personal compositions are not allowed), two works drawn from an 8-work list from the acousmatic repertoire proposed to the participant after his/her registration. These two works will be drawn one day before his/her performance

The maximal duration of each work is 10 minutes. The prizes will be awarded at the end of the festival.

Organised Sound: An International Journal of Music and Technology / Call for Submissions

Call for submissions



Volume 23, Number 3

 Issue thematic title – Sound and Kinetics: performance, artistic aims and techniques in electroacoustic music and sound art

 Date of publication: December 2018

 Submission deadline: 15 January 2018

 

Issue co-ordinators: Jøran Rudi (joranru@notam02.no) with Neal Spowage (nspowage@dmu.ac.uk)

Technology- and sound-based music reaches well beyond the concert hall, and experimental music often blends with visual arts and other disciplines into various genres of sound art. This continuing re-conception of music brings other relationships than the use of, for example, intervals, rhythms and those within sound itself into the artistic discourse, and contributes to the development of critical perspectives.  With new technology, immediacy, agency, object design and wider corporeal physical presence cross paths with the fixed medium, live and site-specific worlds. And the use of live physical interfaces instigate and enhance creative processes.

 

The use of physical objects in combination with electronic means springs from a mixed genealogy of musical automatons, algorithmic composition, acoustics and kinetics, to name a few in addition to the more conventional electroacoustic music. The introduction of noise, mechanical sound and electronic manipulation of recorded material are obvious predecessors to the new, kinetic art, and the use of sounding physical objects has correlated the electroacoustic musical paradigm with the visual arts.

 

Current developments in kinetic sound art frequently exploit the possibilities for precision and comprehensive control made possible by affordable computers and a steadily growing array of sensors and small DIY electronics.  Transactions of some kind are taking place between humans and objects, instruments or interfaces, and this empowers new generations of composers and artists in their rehumanisation efforts of technology-based expressions. New media and symbolic relationships that transgress the boundaries of conventional electroacoustics are activated, and include the materiality and physical presence in the resulting works.

 

Themes

* How does the genre of kinetic sound art connect to conventional musical activity?

* The roles of physical objects in relation to sonic expression.

* Composition and performance with objects

* Physical aspects of the agency of sound.

* Does kinetic sound art influence and expand our musical perception?

* Does kinetic sound art change our listening, and does it bring in a radical perspective?

* Is it possible to extract a new type of essence from key works of this trend?

* Composition strategies in flux – and are they changing with technology?

* Which historical narratives might be interesting in describing the development of kinetic sound art?

* Learning from the history of physicality in experimental sonic works

* Arenas and venues – are there particular links to the broader artistic awareness?

* Audiences and viewers

 

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

 

 

SUBMISSION DEADLINE: 15 January 2018

 

SUBMISSION FORMAT:

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

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

 

Properly formatted email submissions and general queries should be sent to: os@dmu.ac.uk, not to the guest editors.

 

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

 

Prof. Leigh Landy

Organised Sound

Clephan Building

De Montfort University

Leicester LE1 9BH, UK.

Accepted articles will be published online via FirstView after copy editing prior to the paper version of the journal’s publication.

 

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, Garth Paine, Jean-Claude Risset, Mary Simoni, Martin Supper, Daniel Teruggi

Elektra sur Alsace 20

Alsace 20, la chaine locale strasbourgeoise a consacré une partie du journal de l’Eurométropole à une présentation du concert piano et électroacoustique qu’Elektramusic a organisé le 23 mars 2017 à l’Auditorium du MAMCS/Musée d’art moderne et contemporain de Strasbourg.

  • Nina Maghsooldoo (piano)
  • Paul Clouvel (électroacoustique).
Post image

Prix Elektramusic à Mixage Fou

Nous avons été ravis d’être partenaire du concours Mixage Fou et nous tenons à féliciter :

- Bastien Lambert // Prix partenaire : Sensomusic et Elektramusic

- Kaspar Torn // Prix partenaire : Sensomusic et Elektramusic

- Robin Sebe // Prix partenaire : Sensomusic et Elektramusic

Mixage Fou est un concours de création sonore ouvert à tous et au format original puisque les participants doivent utiliser une banque de sons imposés pour créer leur œuvre qui ne doit pas dépasser 80 secondes.

Ici l’intégralité du palmarès du concours 2017

X° Destellos Competition – Call for works / Llamado a obras

X° Concours de Composition Destellos –  2017

La Fondation Destellos, a le plaisir d’annoncer son appel d’œuvres pour le Dixième Concours de Composition Électroacoustique avec, cette année, l’aperture de la catégorie Vidéo-musique.
Les objectifs du concours sont la promotion et développement de la création artistique utilisant les nouvelles technologies. Stimuler la créativité des jeunes générations d’artistes et leur proportionner des nouvelles voies de diffusion de ses œuvres.

          Seront attribués des premiers prix d’un montant de 600 dollars, dans les catégories :

A. Musique Acousmatique

B. Electroacoustique Mixte

C. Video-musique électroacoustique

          Des seconds prix seront octroyés par les organisations: Akusma>Motus (France), GRM (France), Fondation Phonos (Espagne), Musiques et Recherches (Belgique), consistants en des collections de Cds de musique électroacoustique.

          Les œuvres primées seront créées à travers le Réseaux de diffusion Destellos. (www.fundestellos.org/reseau.htm)

Date limite d’inscription : 20 Mai 2017

Réglement et formulaires: www.fundestellos.org/pageune.htm

———————————-

The Foundation Destellos, call for works for the Tenth Competition of Electro-acoustic Composition, this year with the new category Visual music.

The objectives of this competition are the promotion and development of the artistic creation in relation with new technologies. Likewise, it is an intention of the Foundation Destellos to stimulate the creativity of the young generations of artists and to provide them new routes of diffusion of their works.

          This year will be attributed three first prizes of an amount of 600 American dollars each, in the categories:

                      A. Acousmatic music

                      B. Mixed media

                      C. Visual music electro-acoustic

          Also, as in former editions, will be granted second prizes, consisting in collections of CD of electroacoustic music offered by:

   • Akusma<Motus, of France

   • Foundation Phonos of Barcelona, Spain.

   • Musiques et Recherches, Belgium

   • GRM (Groupe de Recherches musicales), France

          Likewise, Destellos Network will create the prized pieces into the two years after the competition. www.fundestellos.org/network.htm

Deadline : May 20th. 2017

Rules and submission form : www.fundestellos.org/pageone.htm

http://www.fundestellos.org/Bio.htm

Sur les ondes de l’électroacoustique

L’école de journalisme de Strasbourg (CUEJ) est venue rendre une visite à Elektramusic lors d’une répétition pour un concert au musée d’art moderne et contemporain de Strasbourg (MAMCS).

Nous remercions les étudiants de cette école de s’intéresser à notre discipline et nous vous invitons à visionner ci-dessous une interview des compositeurs Christian Eloy et Paul Clouvel.

Elektramusic au MAMCS