Articles

Bonjour,

L’association Octandre, pour la musique électroacoustique à Bordeaux, prépare sa saison 2016-2017. Vous trouverez ci-joint un appel à œuvres pour cette saison. Merci de partager là où ça pourrait intéresser !

Octandre a été créée en 1990 par Christian Eloy et les étudiants de la classe de composition électroacoustique du conservatoire de Bordeaux, et a largement collaboré avec le Studio de Création et de Recherche en Informatique et Musique Électroacoustique (notamment pour les trois concours « Prix Scrime » en 2000, 2003 et 2007) et avec d’autres associations bordelaises. Actuellement, Octandre cherche à renforcer son assise sur Bordeaux et à engager des collaborations en France et à l’international. Un site web est en préparation, ainsi qu’un profil Bandcamp qui rendra disponible la musique des membres ainsi que les CDs édités et, sur de courtes périodes, les œuvres retenues pour les événements de l’association.

Si vous souhaitez devenir adhérent à l’association (ou pour toute information), vous pouvez nous écrire à octandre.contact@gmail.com pour que nous vous fassions parvenir une facture d’adhésion (5,50€ via Paypal / carte bancaire, ou 5€ par chèque à l’ordre d’Octandre). Les membres profitent notamment d’une invitation à notre premier événement payant et d’une réduction sur le reste de la saison et sur nos ventes.

N’hésitez pas à nous écrire aussi si vous souhaitez lancer une collaboration !
Au plaisir de vous lire et de vous écouter…

Nicolas Marty for Octandre
http://octandre-asso.org – site web en préparation

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Hello,

Association Octandre for electroacoustic music in Bordeaux is preparing the 2016-2017 season. You’ll find attached a call for electroacoustic works for this season. Please share where you think it might be of interest !

Octandre was founded in 1990 by Christian Eloy and the students of his electroacoustic composition class in the Bordeaux conservatory, and widely collaborated with the Studio of Creation and Research in Electroacoustic Music (notably for the three « Prix Scrime » competitions in 2000, 2003 and 2007) as well as with other associations in Bordeaux. Currently, Octandre wants to reaffirm its place in Bordeaux and to open collaboration in France and abroad. A website is being designed, as well as a Bandcamp profile which will make available members’ music as well as Octandre CDs and, during short periods of time, works selected for the associations events.

If you wish to become a member of Octandre (or if you want any information), you may write us at octandre.contact@gmail.com so that we send you the subscription bill (5,50€ via Paypal / credit card, or 5€ via check to Octandre). Members get an invitation to our first paying event and reductions on the rest of the season and our paying items.

Don’t hesitate to write if you want to collaborate with us, either !
Waiting to hear from you…

Nicolas Marty for Octandre
http://octandre-asso.org – upcoming website

L’acousmonium KLANG est un ensemble de plus de 60 haut-parleurs dédié à la diffusion, à la transmission et à la promotion de la musique acousmatique et électroacoustique.

KLANG ! électroacoustique, LE nouveau festival de musique électroacoustique à Montpellier du 5 au 7 Juin, à LA Chapelle Gély, 170 rue Joachim du Bellay, 34070 Montpellier.

Plus d’informations sur Facebook

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Maison des arts sonores est heureuse de vous annoncer les lauréats 2016 au concours international de composition électroacoustique KLANG! (oeuvres mixtes pour orchestre et bande) :
– 1er prix est attribué à Fern Hill par Andrew Lewis (2014)
– 2e prix est attribué à Connotations par Panayiotis Kokoras (2015)

Les deux oeuvres sélectionnées seront données en concert par l’Orchestre National de Montpellier courant 2017 (nous vous tiendrons au courant de la date exacte dès que nous l’avons). Bien joué tout le monde, les œuvres présentées étaient d’excellente qualité !

Le jury était composé de Gilles Gobeil, Julien Guillamat, Jonty Harrison, Sophie Lacaze, Jérémy Lair, Michel Pascal, Denis Smalley et Annette Vande Gorne.

Le concours revient l’année prochaine pour la musique acousmatique et dans deux ans pour la musique mixte.

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Maison des arts sonores is very happy to announce the 2016 laureates for the international KLANG! composition competition 2016 (for mixed work, orchestra and tape) :
– 1st prize is assigned to Fern Hill by Andrew Lewis (2014)
– 2nd Prize is assigned to Connotations by Panayiotis Kokoras (2015)

Both work will be played by the Montpellier National Orchestra in 2017 (we will inform you of the date of the concert ASAP). Well done everyone, the submitted works were of excellent quality !

The jury was composed by Gilles Gobeil, Julien Guillamat, Jonty Harrison, Sophie Lacaze, Jérémy Lair, Michel Pascal, Denis Smalley and Annette Vande Gorne.

The competition is coming back next year for acousmatic music, in two years for mixed music.

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Julien Guillamat
Directeur artistique de la Maison des Arts Sonores, Montpellier, France.
Fondateur de KLANG acousmonium
www.klangacousmonium.fr

FESTIVAL 2 juin | 2 juillet Avec l’exposition Un art pauvre au Centre Pompidou – du 8 juin au 29 août

A LA UNE

Harry Partch-Heiner Goebbels : Delusion of the Fury

Vagabond et autodidacte, l’américain Harry Partch construisit de ses propres mains l’instrumentarium de son opéra Delusion of the Fury recréée ici dans une mise en scène de Heiner Goebbels. Présenté pour la première fois en France, ce drame visionnaire tient aussi bien du nô japonais que de la farce africaine : « Ainsi, le concept grec de la pièce sérieuse qui s’enchaîne avec une farce se trouve décliné en une seule soirée de théâtre. » (Harry Partch)

samedi 18 juin, 20h30
La Villette, Grande halle
Réservation

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CONCERTS

En présence de William S. Burroughs

Pour l’ouverture de l’exposition « Beat Generation », Laurent Poitrenaux et Clotilde Hesme lisent à deux voix et « en son » Providence, texte où Olivier Cadiot imagine une rencontre avec le poète américain. Puis le pianiste de jazz Benoît Delbecq convoque à son tour les « secret heroes » musicaux de la Beat Generation: Charlie Parker, Miles Davis, Thelonious Monk.

mercredi 22 juin, 20h30
Centre Pompidou, Grande salle
Réservation

Cantate égale pays

Aiguisée par la lecture des cantates de Bach, l’œuvre de Gérard Pesson marque sa première rencontre avec l’électronique et la lutherie virtuelle. Toute la poétique du compositeur français, un théâtre de lumières et d’intermittences, investit l’espace des cantates : une machinerie minutieuse de gestes instrumentaux, d’objets trouvés, détournés ou fabriqués.

samedi 11 juin, 20h30
Centre Pompidou, Grande salle
Réservation

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SPECTACLE

In vivo Danse-CAMPING / Xavier Le Roy
Académie

Quinze musiciens et quinze danseurs sont réunis pour travailler ensemble sur une partition de Bernhard Lang. Le pari du chorégraphe Xavier Le Roy est de la « recomposer » et la jouer sous forme de sons et gestes développés par chacun sans utiliser aucun autre objet ni instrument que son corps, le corps des autres, sa voix et la partition musicale !

Entrée libre dans la limite des places disponibles.
jeudi 30 juin, 19h/Centre Pompidou, Grande salle

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RENCONTRE

Innovation en lutherie instrumentale

Organisée par Adrien Mamou-Mani de l’équipe Acoustique instrumentale de l’Ircam-STMS, cette journée a pour but de confronter les points de vue de fabricants, chercheurs, ingénieurs et interprètes autour de la question de l’innovation en facture instrumentale dans différents aspects. Des démonstrations de réalisations innovantes ponctueront également la journée.

Entrée libre dans la limite des places disponibles.
samedi 18 juin, 9h30-18h
Ircam, salle Stravinsky

3 Academic job opportunities at the Sonic Arts Research Centre, School of Creative Arts, Queen’s University Belfast.

The School of Creative Arts, Queen’s University Belfast is recruiting three academics to help deliver an ambitious programme of teaching and research.

The three positions are aligned with new undergraduate programmes which take advantage of excellent industry links and an interdisciplinary practice-focused approach to teaching. Interdisciplinarity forms the drive towards the creation of a new School which will bring together Music, Sonic Arts, Drama, Film, English and Modern Languages. Situated within the Faculty of Arts Humanities and Social Sciences, the School has strong collaborative links with Science and Engineering. Over the next five years, the University is seeking to further establish its international reputation and these positions will make an important contribution towards this goal.

– Lecturer/Lecturer(Education) Design and Prototyping
– Lectureship in Music
– Lecturer/Senior Lecturer in Audio

Deadline for applications is 13th June 2016.

Professor Pedro Rebelo
Head of School
School of Creative Arts

WHITE NOISE

A research event at London College of Communication, University of the Arts London.

November 11th – 12th 2016
CALL FOR CONTRIBUTION
Deadline July 8th, 2016

We are delighted to announce a call for the 3rd Sound::Gender::Feminism::Activism research event to take place in London on November 11th and 12th 2016. This is a bi-annual research event initially established in 2012 as a network for researchers, artists and performers working within intersectional fields of sound, gender, feminism and activism.

SGFA::2012 delivered presentations and audio-visual artworks from thirty-six researchers, artists and performers from the UK, Europe, United States and Australia.
SGFA::2014 incorporated performances, lectures, workshops and presentations from over thirty global participants. A publication that celebrates the presentations and participants from the previous two events will be launched at SGFA 2016.

SGFA::2016 seeks to query an expanded concept of White Noise. Working out from white noise’s original sonic conception of a random frequency, broad-based signal that masks everything else, white noise is all around us. White Noise is what Jennifer Stoever-Ackerman has termed a “sonic protocol” an often unquestioned norm based upon “culturally specific and socially constructed conventions that shape how sound is made, used and interpreted at a given moment”.

SGFA::2016 invites submissions for both twenty and ten minute contributions relating to the question :
How does whiteness, transmitted as an often sub-audible yet ubiquitous frequency, establish and maintain perceptual limits of what and who can be heard and how can this be changed ? How can we “confront and broadcast the underlying whiteness of the field and of the generic terms that provide so much currency in it: terms like “the listener,” “the body,” “the ear” and so on” (Stadler 2015) in ways that do not replicate racism, colonialism and gender violence but rather enable the audible transmission of alternative histories, forms, relations and ways of being ?

SGFA 2016 will expand upon the previous research events through a combination of presentation formats over the course of two days; both twenty minute formal research papers and ten minute emerging researcher/artist presentations for the sharing of recent or ongoing work are sought.

This is an open call and we welcome responses from all relevant disciplines and will accept a variety of formats from academic presentations, proposals for artworks and documentation of artworks to more experimental contributions.

Please send expressions of interest, including the theme, topic and format of your presentation of around 200 words and a short biography of no more than 200 words by Friday 8th July, 2016 HERE.

Kindly supported by http://www.crisap.org

Giga-Hertz Award 2016
Application deadline extended until 10 June 2016 !

The application deadline for the Giga-Hertz Special Prizes is extended until 10 June 2016. (The receipt stamp of ZKM is relevant, not the postmark !)

The two Giga-Hertz Special Prizes, which are jointly awarded by the ZKM | Institute for Music and Acoustics and the Freiburg EXPERIMENTALSTUDIO of the SWR, are each endowed with 5,000 €. They serve to initiate and promote of new projects and are directed at composers of electronic and acousmatic music.

This years focus is on interactive music taking advantage of sensoric systems. Against this background, artists should be motivated to apply particular musical works that have been realized with this interactive technology . In addition, however works can continue to be submitted , which have been realized with digital or electronic technology.

Artificial Retirement invites artists, researchers, and educators motivated by failure, imperfection, and destructive progression to create artworks, workshops, and performances. We are looking for creative practitioners who find beauty in encountered errors. The aim of this project is not only to celebrate present modern technology, but also to challenge and investigate human behavior towards technology. If we can create well-functioning technology, we also have the freedom to malfunction it.

The keywords for this exhibition are error, malfunction, imperfection, destruction.Participants may examine what we discard and eliminate without thoughtful process when we use technology / redefine the concepts of ‘successful’ and ‘failed’ / find new meanings for our daily functioning technology, etc. We are looking forward to meeting your meaningfully malfunctioning poetic digital gadgets.

Participants who wish to show and run their visual arts, time-based arts, and workshops are all welcome to apply. Work must involve digital or mechanical materials in process, practically and/or conceptually. All involved with Artificial Retirement will be invited to have an artist talk & discussion session with public.

Submission Deadline: June 26th 2016
Notification of Acceptance: July 15th 2016
Exhibition & Workshop & Artist Talk Period: August 19th 2016 – September 11th 2016
Preview/ opening performance: August 19th 2016
Closing performance: September 11th 2016

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Submission Guidelines
Please submit the listed materials below as PDF according to your interest.
All submissions should be sent to jungin@fluxfactory.org.

Artworks for exhibition / Performances

• Description of your work (max 500 words – include images, sketches, or any supporting media links.)
• Artist statement or bio (max 200 words)
• Work samples (up to 5 examples with images, video or sound links with brief descriptions.)
• CV

Workshops

• Description of workshop idea (max 500 words – Please include logistics to explain how it can be manageable)
• Statement or bio (max 200 words)
• Work examples if you have similar workshop experience (up to 3 samples with images or any media links to support with brief descriptions)
• CV

We only accept electronic medium for the submission. No DVDs or CDs. Do not submit any music or video files as email attachment. It might exceed the email storage allowance and block your application. Upload your media files to online platform such as Vimeo, Youtube, or Soundcloud, and provide those media links in your PDF.

Jung In Jung
JungIn.Jung@hud.ac.uk
www.junginjung.com

PhD Research Student
Sound Music Image Collaboration Research Centre (S.M.I.C)
University of Huddersfield
University of Huddersfield inspiring tomorrow’s professionals.
Artificial Retirement is one of Flux Factory’s 2016 major exhibitions and will be curated by Jung In Jung.

Date : 2016 May 19 at 8:21:48 AM GMT-4

The Escola Superior de Música de Catalunya (ESMUC, Barcelona – Spain) is now accepting applications for the Postgraduate program in Sound Creation and Performance with Technologies.

Over the last years computers have readily been incorporated into the vast majority of creative processes. With regard to music, they promoted the development of novel methodologies in sound synthesis, algorithmic creation and real-time control of musical processes, to mention just a few. The increasing availability of digital technologies, both in terms of cost, size and portability, broaden such creative possibilities in music and sound up to the extent that the very concepts of musical instrument, sound creation and live performance need to be redefined.

These are precisely the three main areas to be covered in the Postgraduate program :
– Design and development of new musical instruments, interfaces and interactive music systems for live performance.
– Sound creation with digital technologies with a focus on real-time processes.
– Live performance with digital technologies.

Incorporating computer based into the creative processes of different artistic disciplines (be it dance, video, photography, sculpture, etc.) asks for a highly cross-disciplinary profile, in which technology becomes de facto a lingua franca. The Postgraduate program in Sound Creation and Performance proposes a space for learning and reflection on the diversity of musical art forms which interrelate sound creation, performance and technology. To this end, it offers a curriculum which promotes critical thinking to allow the student to go a step further in sound and music creation. For that reason the curriculum is structured around creative and collaborative projects, to be undertaken by students throughout the course.

Our methodology will therefore combine:
– Theoretical sessions to provide an overview of the historical landmarks in sound creation, sound creation paradigms and key features provided by creation support tools (both software and hardware).
– Practical, collective sessions, where the students will be asked to design simple musical instruments and interfaces and interpret classic or own works. In such sessions, students should be prepared to explain their proposals and justify all decisions taken.
– Collective tutoring to address issues raised during the creative process, by means of debate, encouragement of a critical attitude and promotion of the creator’s own view.
– Lectures and practices will take place entirely at the ESMUC, which will provide the facilities of a Higher School of Music with a multidisciplinary vocation, complemented with key infrastructures such as recording and post-production studios and electronic lab, among others.

More informations

Enric Guaus
Professor at Dept. of Sonology
Escola Superior de Música de Catalunya
Barcelona, Spain

The University of Birmingham have an opening for a junior lecturer (this is equivalent to a tenure-track position in North American terms) which might be of interest to people on this site. It’s fairly broadly defined as 20th/21st century musical studies, so could include composition, musicology, performance, technical aspects, etc.

http://www.jobs.ac.uk/job/ANO012/lecturer-in-music-20th-21st-century-musical-studies/

Deadline: 27 May
Contact Scott Wilson if you’re interested and would like to know more.

KEAR Two-Week Electroacoustic Composer/Researcher Residency 2016-17

APPLICATION DEADLINE: Midnight (Eastern Daylight Savings Time) on Monday 25 April 2016
AWARD: Travel funding, housing, and stipend
APPLICATION:
View application data: http://bit.ly/21OjYef
Complete the application: http://bit.ly/1RJ2fWd

STUDIO FACILITY INFORMATION: http://bit.ly/1UodIL2

BGSUElectroacoustics welcomes applications for its fourth annual Klinger Electroacoustic Residency (KEAR) program. We seek a dynamic, innovative composer, researcher, or practitioner with a project requiring the use of our surround studio facilities. One composer will be selected each academic semester (fall and spring) 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.

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:
· Transportation costs to/from Bowling Green (up to $2300 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 overview and detailed description
· 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.

Review application questions http://bit.ly/21OjYef

Submit online: http://bit.ly/1RJ2fWd

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

Selected residents will be notified by 20 May 2016, after which time additional details will be provided.

DEADLINE

Applications must be received by midnight (Eastern Daylight Savings Time) on Monday 25 April 2016. Late or incomplete applications will not be considered.

Detailed studio equipment lists and photos can be found on the studio website: http://bit.ly/1UodIL2

MUME 2016
4th International Workshop on Musical Metacreation
http://musicalmetacreation.org/mume-2016/call-for-participation/

June 27, 2016

MUME 2016 is to be held in Paris at Université Pierre et Marie Curie (UPMC), in conjunction with the Seventh International Conference on Computational Creativity, ICCC 2016.

 Important Dates 

Workshop submission deadline: May 1, 2016
Notification date: June 1, 2016
Camera-ready version: June 10, 2016
Workshop date: June 27, 2016

We are delighted to announce the 4th International Workshop on Musical Metacreation (MUME 2016) to be held June 27, 2016, in conjunction with the Seventh International Conference on Computational Creativity, ICCC 2016. MUME 2016 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/index.php/mume-2012/
– MUME 2013 (held in conjunction with AIIDE 2013 at NorthEastern): http://musicalmetacreation.org/index.php/mume-2013/
– MUME 2014 (held in conjunction with AIIDE 2014 at North Carolina): http://musicalmetacreation.org/index.php/mume-2014/

Metacreation involves using tools and techniques from artificial intelligence, artificial life, and machine learning, themselves often inspired by cognitive and life sciences, for creative tasks. Musical Metacreation explores the design and use of these tools 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 aims 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
– 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=mume2016

The workshop is a full day 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 2016 Proceedings and will be archived with an ISBN number.
Submissions should be formatted using the AAAI, 2-column format; see instructions and templates here: http://www.aaai.org/Publications/Author/author.php

Submission should be uploaded using MUME 2016 EasyChair portal: https://www.easychair.org/conferences/?conf=mume2016

For complete details on attendance, submissions and formatting, please visit the workshop website: http://www.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 ICCC2016 conference system.

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, 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), School of Interactive Arts and Technology, Simon Fraser University, Vancouver, Canada.

EN CHAIR ET EN SON

Rencontres internationales danse butō et musique acousmatique

Organisé par AEA (Aventures Electro Acoustiques),
Motus compagnie musicale,
Le Cube, Centre de création numérique.
Issy les Moulineaux (92), du 6 au 8 octobre 2016.

Date limite de dépôt des propositions : 1er mai 2016

Tous les détails ici

CONCERT DANS LE CADRE DU FESTIVAL TRANSITIONS SONORES

Semaine des arts de l’Université Paris 8
22 mars 2016 à 18h00

« Transitions sonores » propose une réflexion pratique et théorique sur les thèmes de l’écologie sonore, de l’écoute et de la décroissance dans les arts. En filigrane, se posent les questions de l’engagement de l’artiste dans le milieu sonore et dans le contexte économique, politique, social actuel. Des artistes et des théoriciens sont invités à faire des propositions sur ces sujets.

Au programme :

Hildegard Westerkamp Für Dich, 20’56 »
Cheryl Leonard Ablation Zone, 5’13 »
Julia Bejarano Lopez Una caracola de Pájaros, 9’11 »
Vincent Guiot Reste(s), 7’35 »
Hughes Germain Bruit blanc, 9’58 »
Marie-Hélène Bernard Trois croquis vietnamiens, 7’45 »
à l’acousmonium Nathanaëlle Raboisson, Hugues Germain, Vincent Guiot et Hildegard Westerkamp joueront leur pièce.

Entrée libre
Lieu : Amphi X – Université Paris 8
Organisation : Université Paris 8 (João Fernandes, Alejandro Reyna, Guillaume Loizillon, Makis Solomos)

Plus d’info sur leur site internet

Concert avec le soutien de la SPEDIDAM

ACMC2016: SONIC ENVIRONMENTS, JULY 10-11, QUEENSLAND CONSERVATORIUM, BRISBANE, AUSTRALIA

In July 2016, the Australasian Computer Music Association is joining forces with the Australian Forum for Acoustic Ecology and NIME 2016 (New Interfaces for Musical Expression) to host an interdisciplinary conference at the Queensland Conservatorium on the theme of Sonic Environments.

Drawing inspiration from contemporary acoustic ecology, Sonic Environments invites composers, performers, academics, field recordists, acoustic ecologists and technologists to present research and creative works exploring the ecological, social and cultural contexts of our sonic environments. This conference aims to expand our current understandings of acoustic ecology and the role of sound and technology in understanding rapidly changing environments across the world. The conference theme encourages interdisciplinary perspectives on sound and aims to explore the possibilities of emerging technologies ranging from augmented reality sound walks and generative ecological compositions to networked performance connecting communities and immersive sound in virtual reality. We also invite research exploring aural awareness and investigations of natural and anthropogenic sounds and their relationship with the environment.

Sonic Environments is hosted in collaboration with NIME 2016 (New Interfaces for Musical Expression) the premier international conference in designing human-computer interfaces and interactions for musical performance.
Call for papers, presentations and creative works closes on April 6th, 2016.

Conference papers will be double-blind peer reviewed and published in the conference proceedings.

Toronto International Electroacoustic Symposium (TIES) 2016
August 10 – 13, 2016

Accepting submissions NOW until March 16, 2016

New Adventures in Sound Art (NAISA), the Canadian Electroacoustic Community (CEC), and the Canadian Music Centre (CMC) are pleased to announce the 10th edition of the Toronto International Electroacoustic Symposium (TIES), and delighted to welcome multifaceted artist John Oswald as Keynote Speaker this year. Governor General award-winning and prolific media artist, composer and saxophonist, John Oswald is known for his famous Plunderphonics recordings among a host of other provocative and original projects.
The symposium will take place in Toronto from 10-13 August 2016 at Geary Lane and at the Canadian Music Centre.

We are now inviting proposals for papers, lecture-recitals, special sessions of 2 to 4 panellists, compositions and performances to be presented at TIES 2016 (submission deadline: 16 March 2016).
For more detailed information about the call for submissions, go to http://naisa.ca/opportunities/calls-for-submissions/ties-call-for-submissions/  and to send a submission, go to http://naisa.ca/ties-submission-form/

Taukay music publishing company is proud to announce new projects associated with the International Composition Competition « Città di Udine ». The winning compositions and some finalist works will be performed publicly and we will produce a CD of the live performance.

Additionally, we are working to select some of the submitted compositions to be used in a collaboration with the contemporary dance company Arearea. Our goal is to give more space to contemporary music and to its interaction with other performing arts.

The rules and conditions of the international composition competition « Città di Udine » (eleventh edition) are online on Taukay’s website.

We are accepting submissions in two categories:

– compositions for chamber instrumental group or solo instrument
– electroacoustic music.

Deadline: March 31th 2016
More info on: www.taukay.it
Contacts: competition@taukay.it

Le Groupe de Recherche en Immersion Spatiale (GRIS) de la Faculté de musique de l’Université de Montréal que dirige Robert Normandeau est fier de vous offrir la version 3 d’OctoGRIS, un plugiciel de spatialisation sonore multiphonique.

Nouveau lien:
OctoGRIS3 est un plugiciel Open Source disponible avec les manuels (en français ou en anglais) sur SourceForge: https://sourceforge.net/projects/octogris/?source=directory

Toronto International Electroacoustic Symposium 2016
Call for Submissions / Appel à contribution
Toronto, 10-13 August 2016
http://cec.sonus.ca/events/TIES/call.html

The Canadian Electroacoustic Community (CEC), New Adventures in Sound Art (NAISA) and the Canadian Music Centre (CMC) are pleased to announce the 10th edition of the Toronto International Electroacoustic Symposium (TIES), and delighted to welcome multifaceted artist John Oswald as Keynote Speaker this year. Governor General award-winning and prolific media artist, composer and saxophonist, John Oswald is known for his famous Plunderphonics recordings among a host of other provocative and original projects.
The symposium will take place in Toronto from 10-13 August 2016 at Geary Lane and at the Canadian Music Centre.
We are now inviting proposals for papers, lecture-recitals, special sessions of 2 to 4 panellists, compositions and performances to be presented at TIES 2016 (submission deadline: 16 March 2016).

For more detailled information and to send a submission, consult the following link: http://cec.sonus.ca/events/TIES/call.html
Contact: ties@naisa.ca

IX° Destellos Competition 2016

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

Will be attributed first prizes of an amount of 600 American dollars each, in the categories:
A. Acousmatic music
B. Mixed media

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 Spanish Electroacoustic Music Association (AMEE)

Likewise, Destellos Network will create the prized pieces into the two years after the competition.

———–

Concours Destellos 2016 – Appel d’œuvres

La Fondation Destellos, annonce son appel d’œuvres pour le Neuvième Concours de Composition Électroacoustique.
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 : Deux premiers prix d’un montant de 600 dollars, dans les catégories :
A. Musique Acousmatique
B. Electroacoustique Mixte

Des seconds prix seront octroyés par les organisations: Akusma>Motus (France), GRM (France), Fondation Phonos (Espagne), Musiques et Recherches (Belgique), l’Association espagnole de musique électroacoustique (AMEE), consistants en des collections de Cds de musique électroacoustique.
Les œuvres primées seront créées à travers le Réseaux de diffusion Destellos.

Concours de Bourges
The 3rd International Composition Contest for Acoustic Instrument and electroacoustic device Sampo

MusInfo is pleased to announce the second edition of the International composition contest for acoustic instrument and electroacoustic device Sampo. With this initiative MusInfo proposes to open a new space intended to uphold the work of contemporary composers and sound artists in the field of « live-electronic » music.
Composers are invited to write a short study of 2 to 4 minutes maximum. The electroacoustic device is represented by the software P-Soft supplied by MusInfo. The composers whose studies are chosen will receive a commission from the Opus Centrum ensemble who collaborates with MusInfo. They will be invited to write a full length composition that will be played and recorded next year.
The electroacoustic device will be supplied to composers by MusInfo for the period of composition. This year the studies may be written for the following instruments: violin or clarinet.

Participation requirements:
The contest is open from March 1st until April 3rd 2016.
The call is open to composers of any age.
There are no fees for inscription.
The contest is open to any short study (from 2 to 4 min long) written for P-Soft and an acoustic solo instrument (violin or clarinet). No other software or audio files may be used.
The software needed to participate in the contest is available for download at the following address: http://www.sampo.fr
Examples of scores for the device and help concerning the composing process are available at the address: Software and Manual

The composers should send
• the software « bank » file
• the instrument score in PDF format
• the participant information (name & address)

to the following address: concours-bourges2016@musinfo.fr
The files must be marked with the title of the work and the name of the author.
The works will be presented to the jury anonymously.
If the composer wishes to send a recording of his work, he should do it by using WeTransfer: https://www.wetransfer.com/
The international jury will nominate the winners of the contest during the Art & Science Days 2016 in Bourges.
The jury can decide not to nominate any winner.

Prize:
The winners’ studies will be interpreted during the Art & Science Days 2016 in Bourges.
The winners will receive the electroacoustic device conceived by MusInfo at their home for a period of 2 to 3 months in order to write their new composition.
The new composition will be created during the Art & Science Days 2017 by the Opus Centrum ensemble.

contact MUSINFO: concours-bourges2016@musinfo.fr
http://www.musinfo.fr/index.php/en/creation/contest/2016-contest

Journal of Sonic Studies 13 – Call for Papers

After special issues on listening, sound and television, sonic epistemologies and methodologies, sound design, sounds of/in space, a pervasive sound narrative, urban sound art, and South-East Asian soundscapes, it is time for an open CfP. For the thirteenth issue of the Journal of Sonic Studies we invite theorists and artists to submit complete articles on any aspect of auditory culture. Possible topics may include, but are not limited to, the history of auditory culture, the ontology of sound, the epistemology of sonic studies, the possible (interdisciplinary) approaches to productively study auditory culture, and the specificity of sonic studies.
We are searching for scholarly and artistic contributions that deal with the relation between the production, distribution or reception of sounds, noises or silence and history, culture, society, ethics, technology, religion, art, new media or politics. The broader aim is to establish “sound” as an analytical category that provides us with challenging perspectives on and a new understanding of contemporary culture.

Deadline
Potential contributors are invited to submit completed essays by August 31, 2016.

For more information, or to submit an essay, please contact noise@sonicstudies.org

The Journal of Sonic Studies is a peer-reviewed, online, open access journal providing a platform for theorists and artist-researchers who would like to present relevant work regarding auditory cultures, to further our collective understanding of the impact and importance of sound for our cultures. The editors welcome scholarly as well as artistic research and also expect all contributions to have a firm theoretical grounding.

Priority is given to contributions that explicitly use the Internet as a medium, e.g. by inserting A/V materials, hyperlinks, and the use of non-conventional structures. JSS invites potential contributors to use the Research Catalogue as the platform in which the submission is presented (see http://www.researchcatalogue.net/). Other submission guidelines can be found at http://sonicstudies.org/guidelines.

Cicada Consort Call for Stereo Electronic Works
Call For Stereo Electronic Works

Cicada Consort is proud to announce that we have procured a facility dedicated to playing a continuous stream of stereo fixed media electronic works for the entirety of the marathon! This means that audience members will be free to move between the purely electronic venue and the concert hall just across the lobby, giving them an even larger variety of music to choose from.

We are looking to fill up a roughly 8 hour slot of music, so please pass this call on to your friends and colleagues!

Submit all stereo recordings to cicadaconsort@gmail.com, using the following subject format: Cicada Consort CFEW: [Composer Name] – [Title of Work]
For all large files, please use a service such as Google Drive or Dropbox.
All names will, of course, be included in both the printed program and the program on the website. Given the constant stream nature of the performance, the names of the composers and the works will be projected on screen for audience reference.
If there is any material in your work that may not be suitable for children, please do inform us of this in your email.

The final date for submissions is March 5th, 2016.

http://www.cicadaconsort.org/call-for-electronic-works.html

Cicada Consort Call for Stereo Electronic Works
Call For Stereo Electronic Works

Cicada Consort is proud to announce that we have procured a facility dedicated to playing a continuous stream of stereo fixed media electronic works for the entirety of the marathon! This means that audience members will be free to move between the purely electronic venue and the concert hall just across the lobby, giving them an even larger variety of music to choose from. http://www.cicadaconsort.org/call-for-electronic-works.html. We are looking to fill up a roughly 8 hour slot of music, so please pass this call on to your friends and colleagues!

Submit all stereo recordings to cicadaconsort@gmail.com, using the following subject format:
Cicada Consort CFEW: [Composer Name] – [Title of Work]
For all large files, please use a service such as Google Drive or Dropbox.

All names will, of course, be included in both the printed program and the program on the website. Given the constant stream nature of the performance, the names of the composers and the works will be projected on screen for audience reference. If there is any material in your work that may not be suitable for children, please do inform us of this in your email. The final date for submissions is March 5th, 2016.

 

 

FONDATION DESTELLOS

« Image & Résonance IV »

Cycle de Vidéo Musique Electroacoustique 2016

La Fondation Destellos convoque à la présentation d’œuvres de Vidéo-Musique électroacoustique, pour son quatrième cycle « Image&Résonance » 2016.

Cette initiative, qui a commencée en 2010, signifie l’aperture d’un nouvel espace destiné à faire connaître les travaux des artistes sonores et visuels contemporains. Les présentations se dérouleront pendant toute l’année, dans la salle de l’Espace Culturel Los Gallegos. Cet espace qui hébergea 290 personnes est situé en Centre Ville de Mar del Plata, Argentine.

L’appel est ouvert jusqu’au 15 avril 2016, et s’adresse à des compositeurs et artistes visuels de tout âge et nationalité.

—————–

« Image & Resonance IV »

Cycle of Electroacoustic Visual Music 2016

The Foundation Destellos announce the forth Cycle of Electroacoustic Visual Music « Image & Resonance ».

With this initiative, began in 2010, the Foundation proposes to open a new space intended to uphold the work of contemporary sound and visual artists. The presentations will take place along the year in the Hall of Cultural Space Los Gallegos of Mar del Plata, Argentine. This space of 290 seats is placed downtown in the city.

The call will be open to composers and visual artists of any age, till April 15th 2016.

——————–

« Imagen & Resonancia IV »

Ciclo de video música electroacústica 2016

La Fundación Destellos convoca a la presentación de obras de Video Música Electroacústica, para su cuarto ciclo « Imagen&Resonancia » 2016.

Esta iniciativa, que comenzara en el 2010, constituye la apertura de un nuevo espacio destinado a hacer conocer los trabajos de artistas sonoros y visuales contemporáneos. Las presentaciones se desarrollarán durante todo el año, en la sala del Espacio Cultural Los Gallegos cuya sala, situada en el centro de Mar del Plata, alberga 290 personas.

El llamado esta abierto a compositores y artistas visuales de toda edad, sexo y nacionalidad hasta el 15 de abril del 2016.

1st Conference on Computer Simulation of Musical Creativity
Complete CfP: https://csmc2016.wordpress.com/call-for-papers/

Deadline for paper submission:
15 March 2016
17-19 June 2016

University of Huddersfield, UK

Computational simulation of musical creativity is an emerging, exciting and significant area of research. In the last few years, numerous systems that compose, improvise and perform music have been developed. These systems pose several theoretical and technical challenges, and are the result of an interdisciplinary effort that encompasses the domains of music, artificial intelligence, cognitive science and philosophy.

The main goal of this conference is to bring together scholars from different backgrounds, interested in virtual emulation of musical creativity, providing an interdisciplinary platform to promote, present and discuss their work.

Submissions can cover both theoretical and/or practical aspects of computer simulation of musical creativity. Interdisciplinary proposals at the intersection of music, computer science, psychology and philosophy are welcome.

Further information can be found on the conference website https://csmc2016.wordpress.com/ .

eContact! 17.2
The Quiet Legacy of Hugh Le Caine, Canadian Pioneer in Electronic Music / L’héritage tranquille de Hugh Le Caine, pionnier de la musique électronique au Canada
Featured Contributor / Collaboratrice invitée : Gayle Young

[EN] As the first electronic music studios in Canada were being conceived, their directors didn’t consult a catalogue and order commercially produced instruments and gear — they headed to Ottawa to meet Hugh Le Caine, whose pioneering electronic instrument designs played an important role in the formation of early generations of electronic music composers in Canada.
http://econtact.ca/17_2

[FR] Les directeurs des premiers studios de musique électronique au Canada ne consultaient pas des catalogues en ligne pour ensuite commander des instruments et des appareils produits commercialement lorsqu’ils concevaient ces studios; ils se rendaient Ottawa pour rencontrer Hugh Le Caine, dont les conceptions novatrices en matière d’instruments électroniques ont eu une influence importante sur les premières générations de compositeurs de musique électronique canadiens.
http://econtact.ca/17_2/index_fr.html

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

Editorial by jef chippewa

« SAY WHAT YOU WANT AND I WILL BUILD IT FOR YOU. »

Hugh Le Caine’s Polyphonic Synthesizer
by Paul Pedersen
« Participle Dangling, in Honour of Gertrude Stein »: Composing with Hugh Le Caine’s Special Purpose Tape Recorder at UTEMS in 1966
by Pauline Oliveros
Hugh Le Caine and the McGill EMS
by alcides lanza
UTEMS AND LE CAINE’S INSTRUMENTS IN THE 1960s

Learning How to Listen: Composing on Hugh Le Caine’s instruments in UTEMS ca. 1962
by Robert Aitken
Composing with Hugh Le Caine’s Fabulous Inventions in the University of Toronto’s Studio C, circa 1969
by Richard Henninger
Remembering Hugh Le Caine
by Norma Beecroft
Remembering Hugh
by David Jaeger
ELECTRONIC MUSIC HISTORY(IES)

Le Caine, Mirrored Through Memory
by Kevin Austin
An Artistic Genealogy of Hugh Le Caine 1939-1989
by jef chippewa
« MODULO », A Musical Documentary and Tribute to Hugh Le Caine
by Travis Boisvenue and Ryan Paul Gibson
INTERVIEWS

Being Allowed to Make « Mistakes » While Composing With Hugh Le Caine’s Electronic Music Instruments: Interview with Hungarian-Canadian composer István Anhalt
by James Montgomery and Gayle Young
Privileging the Human Aspect of Electronic and Computer Music Systems: Interview with Canadian composer and researcher Bill Buxton
by Norma Beecroft
Hugh Le Caine’s Visionary Electronic Music Instrument Designs: Interview with Canadian composer Gustav Ciamaga
by Norma Beecroft
Hugh Le Caine’s Virtuosity in Electronics: Interview with Canadian composer James Montgomery
by Gayle Young
Seeing Down to the Fundamentals of Sound With Hugh Le Caine: Interview with Le Caine biographer Gayle Young
by Ryan Paul Gibson
OTHER ITEMS
Hugh Le Caine Photo Album

—

CALL: eContact! 18.4 — Media-Specific Music
http://econtact.ca/call.html#184

UPCOMING eContact! Issues
17.4 — Analogue and Modular Synthesis
http://econtact.ca

Communauté électroacoustique canadienne (CEC) Canadian Electroacoustic Community
HOME http://cec.sonus.ca \|\ JOURNAL http://econtact.ca
http://FACEBOOK.com/cec.sonus \|\ http://TWITTER.com/cec_ca

FONDATION DESTELLOS
« Image & Résonance IV »
Cycle de Vidéo Musique Electroacoustique 2016

La Fondation Destellos convoque à la présentation d’œuvres de Vidéo-Musique électroacoustique, pour son quatrième cycle « Image&Résonance » 2016.
Cette initiative, qui a commencée en 2010, signifie l’aperture d’un nouvel espace destiné à faire connaître les travaux des artistes sonores et visuels contemporains. Les présentations se dérouleront pendant toute l’année, dans la salle de l’Espace Culturel Los Gallegos. Cet espace qui hébergea 290 personnes est situé en Centre Ville de Mar del Plata, Argentine.

L’appel est ouvert jusqu’au 15 avril 2016, et s’adresse à des compositeurs et artistes visuels de tout âge et nationalité.

 —————–

« Image & Resonance IV »
Cycle of Electroacoustic Visual Music 2016

The Foundation Destellos announce the forth Cycle of Electroacoustic Visual Music « Image & Resonance ». With this initiative, began in 2010, the Foundation proposes to open a new space intended to uphold the work of contemporary sound and visual artists. The presentations will take place along the year in the Hall of Cultural Space Los Gallegos of Mar del Plata, Argentine. This space of 290 seats is placed downtown in the city.

The call will be open to composers and visual artists of any age, till April 15th 2016.

In the framework of the research project AHMI – Audio-Haptic modalities in Musical Interfaces, the Institute for Computer Music and Sound Technology, Zurich University of the Arts (ZHdK), organized a 2-day international workshop with support from the Swiss National Science Foundation.

The workshop will host international experts in fields such as haptic and sensing technology, HCI, auditory and touch psychophysics, multisensory perception and cognition, design of haptic musical interfaces, evaluation of musical instruments.

The full program is available here.

Participation is open but limited to 30 guests. Please contact  stefano.papetti@ZHDK.CH for more informations and inscriptions

Le Laboratoire de musique contemporaine de Montréal annonce sa cinquième série d’ateliers pour les compositeurs et interprètes émergents + un nouveau volet d’improvisation

Montréal, le 22 Janvier 2016 – Le Laboratoire de Musique Contemporaine de Montréal est heureux d’annoncer sa 5ième édition qui se déroulera du 27 mai au 5 juin 2016 à l’université Concordia, en plein cœur du centre-ville de Montréal. Fondé en 2011 par un groupe de sept musiciens de la scène montréalaise, le LMCM est un atelier destiné aux artistes émergents œuvrant dans le domaine de la musique contemporaine et des arts sonores. Celui-ci a comme mission le réseautage et le développement artistique et musicale de ses participants par le biais d’ateliers, classes de maître, concerts et autres activités collectives.
Nous offrons, pour la première année, un nouveau volet à l’évènement : un atelier pour les improvisateurs. Les participants pourront y découvrir une multiplicité de perspectives et d’approches à l’improvisation. Ils auront l’occasion de collaborer avec d’autres participants, de guider des sessions d’improvisation et de rencontrer des improvisateurs de la scène montréalaise tout en développant leur projet individuel qui sera présenté à la fin du Lab.
Le laboratoire s’étendra sur une période de dix jours, permettant ainsi aux compositeurs, interprètes et artistes sonores d’approfondir leur travail tout en participant à de nombreux évènements tels que des conférences, classes de maîtres, concerts, repas collectifs et évènements spontanés. Le tout sera clôturé par une série de concerts mettant en scène le travail collectif de tous.

L’appel est ouvert à tous les compositeurs, artistes sonores et instrumentistes émergents de toutes les nationalités et ce jusqu’au 20 Février 2016.

Pour plus d’informations, veuillez consulter notre site web

ICMC 2016 will be hosted in the city of Utrecht, by HKU University of the Arts Utrecht, HKU Music and Technology and the annual new music festival Gaudeamus Muziekweek. The conference begins with a concert on the evening of Sunday 11 September 2016 and ends with a concert on the evening of Friday 16 September.
There will be a similar schedule for each day, starting with a round table (short lectures and discussions) on the theme of the day, followed by papers, posters and concerts.
The main theme of the conference will be Is the sky the limit? This theme will be addressed in five sub-themes:
1. Is the sky determined by technology or aesthetics?
2. Is the sky local?
3. Educating for the sky
4. Does the sky need a composer or musician?
5. Stretching the sky
The call for music is open: (http://www.icmc2016.com/open-call-for-music)

We encourage the submission of musical works (and installations) that are related, but in no way limited, to the conference topics.
Submissions must be sent electronically through the submission system of the ICMC 2016 website.
(http://www.openconf.org/icmc2016/music) Non-ICMA members can submit one work for consideration while ICMA members may submit two compositions. Only one work per composer will be programmed. Please assign each composition to one of the following categories:

solo instrument + electronics
ensemble (2-10 musicians) + electronics
laptop improvisation & live coding
audiovisual music
acousmatic and spatial music
the virtuoso new interface
multimedia performance
beat-based electronics (jazz/pop/dj/idm influenced electronic music)
piece + paper
computer-aided acoustic composition (up to 10 musicians)
installation
miscellaneous/off-ICMC

Important Dates

Submissions open: December 10, 2015
Deadline for submissions: February 1, 2016
Acceptance notification: April 14, 2016
Final deadline for all performance material: May 14, 2016
Composer registration deadline: May 14, 2016

More info on the conference website.
Urgent questions: martijn.buser@icmc2016.com

The call for papers is open: (http://www.icmc2016.com/open-call-for-papers)

We encourage the submission of papers on research that is related, but in no way limited, to the conference themes. Submissions must be sent electronically through the ICMC 2016 website.
Please assign each paper to one or to several (but no more than three) of the following categories:

Acoustics of Music
Aesthetics, Theory and Philosophy
Algorithmic Composition
Analysis of Electroacoustic Music
Analysis/Synthesis
Artificial Intelligence and Music
Composition and Improvisation
Composition Systems and Techniques
Computational Musicology
Computer Systems in Music Education
Digital Audio Signal Processing and Audio Effects
Distributed and Mobile Music
History and Education
History of Electroacoustic Music
Interaction and Improvisation
Languages for Computer Music
Live Coding
Mathematical Music Theory
Music Information Retrieval
New Interfaces for Musical Expression
Perception and Cognition of Sound and Music
Physical Modelling and Instrumental Acoustics
Piece and Paper
Representation and Models for Computer Music
Software and Hardware Systems
Spatialisation Techniques
Studio Reports
Virtual Reality

Papers related to the conference themes:
Is the sky the Limit?
Is the sky determined by technology or aesthetics?
Is the sky local?
Educating for the sky
Does the sky need a composer or musician?
Stretching the sky ….

Important Dates

Submissions open: December 10, 2015
Deadline for submissions: February 1, 2016
Acceptance notification: April 14, 2016
Final deadline for ‘camera ready’ paper: May 14, 2016
Author registration deadline: May 14, 2016

More info on the conference website.

Urgent questions: hans.timmermans@icmc2016.com

The conference website (updated frequently) is: http://www.icmc2016.com/


Application Deadline: January 25, 2016

I-Park, located in rural East Haddam, CT (U.S.), announces its 2016 multi-disciplinary artists-in-residence program. The program is open to composers and those working in the field of sound art/design/sculpture. Other creative disciplines represented: visual arts, architecture, moving image, creative writing and landscape/garden/ecological design. Self-directed residencies are being offered from May through November, 2016. Most residencies are 4-weeks in duration. International applicants are welcome. I-Park provides comfortable, private living quarters in a renovated 1850’s era farmhouse, a private studio and a meals program.
I-Park’s music studio is outfitted with an upright piano, numerous digital keyboards, MIDI interface and synthesizer modules, basic studio and field recording equipment and a selection of obscure/specialty, including percussion, instruments and audio gear.
While the typical residency revolves around studio work, those wishing to create sound installations in the landscape will have broad access to I-Park’s expansive grounds.
Work samples are evaluated through a competitive, juried process. A $30 application fee helps defray the cost of the independent selection panel. Accepted composers/sound artists are responsible for their own work materials as well as transportation to and from the area. The program is otherwise offered at no cost to invitees.
I-Park will also be hosting two Special Programs in 2016, a Composers + Musicians Collaborative Residency and a Family-Friendly Residency (an experimental program dedicated to artists with dependent children). These programs will have a separate application deadline. Visit the I-Park website at www.i-park.org for more information on these Special Programs.

Program details, application form and comprehensive FAQ are available online at www.i-park.org. For more information, contact I-Park at info@i-park.org or 860-873-2468.

Jean-Claude Risset est un pionnier de la musique assistée par ordinateur. Il a travaillé avec Max Mathews et John Pierce au Bell Labs (USA). En France, il a participé avec Pierre Boulez à la création de l’IRCAM. En dialogue avec Annette Vande Gorne, il retrace son parcours à travers des extraits musicaux de son œuvre.

.Où ? L’Espace Senghor, Chée de Wavre, 366 – 1040 Bruxelles

.Comment venir ? Bus 34/ 59/ 60/ 80 – arrêt : Senghor ou Etangs – Métro 1/ 5 – arrêt : Schuman ou Maelbeek – En voiture, Parking public : Av. du Maelbeek, 61A – 1040 Etterbeek

.Contacts ? T + 32 (0)2 3544368 – F + 32 (0)2 3510094

.Tarifs ?  12 ou 6€ prévente 6€ – Réservations & préventes T +32 (0)2 230 31 40
Plus d’info : http://www.musiques-recherches.be/fr/agenda/concert-acousmatique/item/5531-concert-pionnier-jean-claude-risset

BGSU has a music technology assistantship opening for AY 15/16. We’re seeking creative, qualified students to join our vibrant composer community.

Attached is a generic flyer listing all assistantships and a specific flyer outlining the music technology assistantship responsibilities. The Music Technology Assistantship is a 10 hour per week appointment. Music Technology assistants help with music tech courses by attending class, taking attendance, grading, helping students during tech help sessions, and doing occasional teaching. They also help maintain the studios by disarming/alarming the facilities daily, running software updates and completing various other maintenance endeavors. Lastly, they assist with composition-related concert productions by setting up microphones, mixers, sound systems, etc.

Knowledge of OSX (Yosemite) and OSX Server is preferred. Some knowledge of UNIX is helpful but not required. We also prefer students who have experience setting up sound systems, using microphones, running cables, etc. Knowledge of Ableton Live, Logic Pro and Max/MSP is also an asset.

Please note that there is NO SPECIALIZATION in music technology/electroacoustics at the master’s level; our degree is in composition. All of our composers write both acoustic and electroacoustic music (as desired.) Applicants must submit a portfolio that includes instrumental music. Students wanting an assistantship must complete an interview during one of the College’s scheduled audition days: January 23 and February 6 or 27.

BGSU students’ electroacoustic compositions have had great success recently with international and national performances at ICMC, SEAMUS, Electronic Music Midwest, Electroacoustic Barn Dance, and others. Our alums have gone on to doctoral programs (including tech assistantships) at the University of Virginia, University of Florida, Northwestern University, Indiana University, The Eastman School of Music, and other fantastic programs.

WEBSITE
APPLY NOW