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AHRC Midlands3Cities funding for UK/EU students

The Midlands3Cities doctoral training partnership is a collaboration between the universities of Nottingham, Nottingham Trent, Leicester, De Montfort, Birmingham and Birmingham City. The DTP is in the third of five years, awarding up to 89 PhD Arts and Humanities Research Council (AHRC) studentships for UK/EU applicants for 2016 entry. M3C provides research candidates with cross-institutional mentoring, expert supervision (including cross-institutional supervision where appropriate), subject-specific and generic training, and professional support in preparing for a career.

**The Department of Music at the University of Nottingham** is inviting applications. We have particular interests in four broad, overlapping areas:

1. music, space and place
20th-century Amsterdam; 19th-century Paris and London; 18th-century Italy and Germany; Vietnam; the Far East; medieval cities; digital heritage

2. music—text—image
opera; film and TV; ballet; music and visual cultures; pervasive media; music for screen and stage; music and poetry; music and sculpture

3. musical creativity and community
18th-century pedagogy; jazz; popular music in the Far East; American popular tradition; composition; contemporary performance practice; performance with new technologies; music and health

4. music, politics and identity
music and conflict; music and democracy; composing for American vernacular instruments; music and revolution; the politics of musical modernism; music and social mobility; music and minorities, ethnicity and nationality

The deadline for AHRC M3C funding applications is **12 January 2016**, by which time students must have applied for a place to study and have provided two references to a university within the DTP.

For full details of eligibility, funding and research supervision areas (including use of the supervision search tool) please contact enquiries@midlands3cities.ac.uk

Information and proposal-writing workshops will be hosted in each of the three partner cities.
Register for the workshop in Nottingham (taking place on 21st November) through eventbrite http://www.eventbrite.co.uk/o/midlands3cities-doctoral-training-partnership-6326720187

CALL FOR PROPOSALS: PIECES, PAPERS AND DEMOS

INTER/actions: Symposium on Interactive Electronic Music
Sunday March 6, 2016
Bangor University School of Music
(North Wales, UK)

In collaboration with the Bangor Music Festival

INTER/actions is a symposium and mini-festival focusing on performance and interaction in electronic music. We aim to provide an environment to exchange ideas and instigate collaborations for composers, performers, sound artists and music technologists interested in the role of the performer in electronic music, whether in the traditional sense, or audience-as-performer. We are looking for creative proposals for performances, interactive installations and paper sessions.

Call for Proposals: Pieces
Deadline: December 18 2015


We invite composers and performers to submit works for instruments and interactive electronics, instruments and fixed media or gestural controllers for the festival concerts. Compositions must be fully documented with technical performance specifications. A concert recording, studio recording, simulation or video should be submitted, sufficient to give a reasonable idea of the final form of the piece / performance. Please send a link to an online audio excerpt or email an mp3 file along with full technical requirements and a score, if applicable, as well as a short biography (150 words) to interactions2016@gmail.com.

Performances will be able to make use of the following facilities:

8-channel loudspeaker playback (ATC)
Various microphones (including Schoeps Collette/MK4 and AKG414)
Soundcraft mixer with 16+16 inputs (switchable), 16 direct outputs, 8 groups, 2 mix, 4 AUX send, 2 FX send
Mac Pro computer with MOTU 24 i/o interface
3x MOTU 828 and 1 RME Fireface 800 FireWire/USB interfaces
Large-screen video projection
Steinway D Concert Grand Piano

Composers / performers who need additional equipment are requested to bring their own. Composers / performers who make use of their own software (for example, Max patches, SuperCollider) will be expected to take responsibility for installing and operating the software, including providing any libraries that may be required. We are not able to provide performers for the pieces. Selected composers are expected to attend the symposium to contribute to the sense of community.

Call for Proposals: Papers and Demos
Deadline: December 18 2015

We are open to proposals for 20-minute paper and demo presentations on topics including, but not limited to:

Performance practice in electronic music
Gesture
New interface design
Compositional issues
Improvisation in interactive contexts
Analysis of interactive works

Please send a 250-word abstract, as well as a short biography (150 words) to interactions2016@gmail.com.

Unfortunately, we are not able to make contributions to composer or performer expenses in this edition, but we will also waive the registration fee, making the symposium free to attend.

Call for Submissions – Special Issue: Computer Music for High-Density Loudspeaker Arrays

Public performances of computer music employing high-density loudspeaker arrays can convey powerful spatial experiences that are not available in home stereo or headphone listening. However, the development and dissemination of spatial aspects of computer music have been hindered by a stereo bias that has pervaded both commercial music distribution formats and institutional practice. The vinyl record, cassette, MiniDisc, and CD all enforce the stereo format. Even today, most festivals of computer music that present works in even modest multichannel formats such as octophonic, still limit musical submissions to the stereo format.

Despite the above-mentioned problems of dissemination, spatial aspects have long been an area of focus for electronic and computer musicians. Early examples of electronic music projected on high-density loudspeaker arrays (HDLAs), which we define here as systems addressing 24 or more independent loudspeakers, include music for the Phillips Pavilion at the Brussels World’s Fair in 1958, and music for the spherical auditorium at the Osaka Expo in 1970. Both the Phillips Pavilion and the spherical auditorium were temporary structures, dismantled shortly after the performance event. Unlike most contemporary computer music research, which can be pursued on personal computers more or less anywhere, work with HDLAs still challenges researchers with the basic problem of finding a viable workspace.

Fortunately, an increasing number of computer music research spaces housing HDLAs have become available, the majority of which were built in the 21st century. A few pioneering music festivals have recently emerged such as BEAST FEaST at Birmingham University, and inSONIC at ZKM, where music is selected for its suitability for performance over resident HDLAs. The Spatial Music Workshop at Virginia Tech invites participants to develop computer music for a 138-channel HDLA. The transition from distribution of music on a physical medium to distribution by digital download allows for complete freedom of the choice of format. While commercial net labels still favor stereo, this is no longer an inherent limitation of the medium. Informal distribution of computer music in upwards of 100 channels is already taking place between institutions that support musical performance on HDLAs. As the means for composing with HDLAs and disseminating the resulting music increases, it seems appropriate to present the most promising directions for this growing area of computer music research.

This call for submissions for a special issue of the Computer Music Journal focuses on recent developments and future prospects of computer music composed for high-density loudspeaker arrays.

Relevant topics include, but are not limited to:

* New methodologies for composing music using HDLAs
* Strategies for presenting computer music in a variety of HDLA systems
* Aesthetic approaches to spatialization for HDLAs
* Cognitive aspects of listener apprehension of HDLA-based music
* Sonification using HDLAs
* Reports on the design and use of mobile HDLA systems
* Reports on recent developments in wave field synthesis
* Room acoustics simulations using HDLAs
* Speaker design for HDLAs
* Software design for HDLAs

In addition to papers, we invite brief statements on the nature and prospects of computer music for HDLAs. We welcome a wide variety of aesthetic, technical, sociological, and other perspectives. A selection of these statements will be published in a special Forum section.

Deadline for paper submission is January 30, 2016. The issue will appear in 2016.

Submissions should follow all CMJ author guidelines (http://www.mitpressjournals.org/page/sub/comj),except that manuscripts should not be submitted online at cmjdb.com. Instead, submissions and queries should be addressed to
<ericlyon@vt.edu>, with the subject starting with [CMJ HDLA Computer Music].

 

Assistant professor of Audio Technology, College of arts and sciences, American university

Assistant professor of Audio Technology, Department of performing arts
College of arts and sciences, American university

The Department of Performing Arts in the College of Arts and Sciences at American University invites applications for a full-time, tenure-track position in Audio Technology at the rank of Assistant Professor beginning August 1, 2016.  Applicants should hold a terminal degree in an audio-related field or anticipate completion by August 2016.

Candidates should be effective teachers and must be strongly committed to excellence in scholarly research.  We welcome applications from candidates engaged in high-quality scholarship in the broad field of audio technology and are particularly interested in candidates with any of the following areas of specialization: acoustics, psychoacoustics, electronics, game audio, spatialized audio, and audio software/hardware design.  Teaching specialization in any of the above areas as well as live sound or broadcast audio is preferred, though all instructional areas will be considered.  In addition to scholarship and teaching, responsibilities will include participation in department, school and university activities.

Salary and benefits are competitive.  Review of applications will begin on October 19, 2015 and will continue until the position is filled. Please submit applications via: apply.interfolio.com/31531.  Include a letter of application, curriculum vitae, and three letters of recommendation. Additional materials will be requested at a later date. Please contact Richard Streeks, Faculty Coordinator, streeks@american.edu  if you have any questions.

American University is an equal opportunity, affirmative action institution that operates in compliance with applicable laws and regulations. The university does not  discriminate on the basis of race, color, national origin, religion, sex (including pregnancy), age, sexual orientation, disability, marital status, personal appearance, gender identity and expression, family responsibilities, political affiliation, source of income, veteran status, an individual’s genetic information or any other bases under federal or local laws (collectively « Protected Bases ») in its programs and activities. American University is a tobacco and smoke free campus.

 

Propositions for MUSICA NOVA 2015

The competition MUSICA NOVA was for the first time realized in 1969.

Composers, irregardless of their age and nationality are invited to submit their works of electro-acoustic music created after 1st January 2012.

Category A is open to compositions of autonomous art electroacoustic music (tape music), or only one independent movement.

Category B is open to compositions of autonomous art electroacoustic music, or only one independent movement, for acoustic instrument/voice/ensemble plus electronic media. Send one of realized complete version of the composition, sent only electro-acoustic without the instrumental or voice part will be excluded.

Each composer may submit only one entry to each category in duration of no longer than 20 minutes, and the work may not have been awarded a prize in another competition, nor been submitted to previous MUSICA NOVA competitions.
Competition entries in both categories must be submitted with the name of the composer specified.
Members of the jury cannot take part in the competition.
The jury of the competition shall be appointed by the leadership of the Society for Electroacoustic Music and composed of leading composers of electroacoustic compositions, musicologists, critics, and recording engineers specializing in the electroacoustic music field.

CD must be sent to the following address postmarked:
– Lenka Dohnalová – Arts and Theatre Institute, Celetná 17, 110 00 PRAHA 1, Czech Republic
no later than 31st October 2015.

Entries into category A and B, recorded on a sophisticated technical level and in stereo /or format 5.1/ must be submitted in the medium of CD or DVD, and indexed by absolute time.
Entries into categories A and B shall be accompanied by a score (if necessary), technical and artistic description, name of studio where work was produced, their durata, graphs, etc., to be judged by the jury Entries into categories A and B shall be accompanied by a brief artist statement, short biography, nationality, address, telephone number, fax, and e-mail (attached form), see attached form

N.B: You can register electronically on musicanova.seah.cz and upload your composition (in MP3 format) on the FTP server for better preparation working of jury. Your composition will be accessible only for you and jury.

The entry fee for each composition is 25 € (or equivalent).
If you register electronically, you can pay on-line via paypal (paypal@seah.cz)
or
Way of payment: IBAN: CZ48 0800 0000 0000 1404 5349,
BIC: GIBACZPX, address of the bank: Ceska sporitelna, a.s., Konevova 4, 130 00 Praha 3, Czech Republic

Please, hold the distinction of address postal for sending CD (Lenka Dohnalová – Arts and Theatre Institute, Celetná 17, 110 00 Prague 1, Czech Republic) and address official that could be write on the bank order or checks /SEAH, Jeronýmova 7, 130 00 Prague 3/. If your transfer charges would be to expensive, write to: lenka.dohnalova@divadlo.cz, please.
The audio recordings entered in the competition shall not be returned to the composers and shall remain in the Society for Electro-acoustic Music archives.
By entering his/her work in the competition, the composer consents to public performances free of charge of his/her work in concerts and/or radio broadcasting. The composer retains the copyright.
Prizes shall be awarded for the winning entries after the jury has announced its verdict, which cannot be appealed. The jury can decide to either combine, divide or not award some of the prizes.
Prizes in Categories A and B include: First Prizes (equivalent of 15 000 Kč), Honorable Mentions and Special Prizes for Czech composer.

All entrants shall be notified of the verdict by the jury on the awarding of prizes and honorable mentions by 15 November 2015.
Awarded compositions will be presented during the award concert in December 2015 in Prague.
The awarded compositions will be performed in concerts organized by the Society for Electro-acoustic Music and broadcast by radio, also sent to EBU. The outcome of the competition will be published in the network of International Music Council too.

INFORMATION:

Official address of the organiser:
Society for Electroacoustic Music,
Jeronýmova 7, 130 00 PRAGUE 3,
Czech Republic

http://musicanova.seah.cz

La lettre d’information du GRM – octobre 2015

> MPAA 9, 10 et 11 octobre 2015
PARIS/MPAA Saint-Germain
MAISON DES PRATIQUES ARTISTIQUES AMATEURS – 4 RUE FÉLIBIEN 75006 PARIS MÉTRO : ODÉON/MABILLON –
Entrée libre sur réservation : 01 46 34 68 58

Vendredi 9 à 19h30 

Concert Hommage à Luc Ferrari :
Visage 5, Petite symphonie intuitive pour un paysage de printemps, J’ai été coupé, Tautologos 2 et Archives génétiquement modifiées
Diffusion : Jonathan Prager

Samedi 10 à 19h30

Hervé Birolini – Exartikulation (Commande Ina GRM en partenariat avec le Vivier)
Vincent Laubeuf – Dans le bruit on ne sait pas (Création, Commande Ina GRM)
Diego Losa – Horizons ou le regard du voyageur (Création, Commande Ina GRM)
Bertrand Dubedout – Zazpiak A (Création, Commande d’Etat)
Trevor Wishart – The secret resonance of things

Dimanche 11 à 18h00

Concert  » Découverte  » / Lauréats du concours Banc d’essai
Lautaro Vieyra- Suite Liquide
Chloe Sanchez – La croisière se lâche
Benjamin Miller – Arc
Simon Perez – Las cifras y las palabras
Alexandre Del Torchio – Prolifération propagation
Marc Ainger – Shatter
Loïse Bulot – Hesperia
Abril Padilla – Grimja
Gaëtan Parseihian – Voyage Electrik
Hideki Umezawa – Débris dans le jardin

Programmes radio GRM

> Tapage Nocturne

Présenté par Bruno LETORT et François BONNET

Le nouveau rendez-vous sur France Musique : tous les dimanches soirs de 23h à minuit :

France Musique/Tapage Nocturne

> ELECTRAIN DE NUIT

Présenté par François BONNET et David JISSE
Réalisation : Alexandre BAZIN

Le rendez-vous mensuel de l’Ina GRM sur France Musique : dans la nuit du Samedi au Dimanche

Dimanche 17 octobre

France Musique/electrain de nuit

 

Découvertes et nouveautés

Franck VIGROUX & Mika VAINIO – Peau froide, Léger Soleil
Jean-Baptiste FAVORY – Cosmos privé
Duane PITRE – Bayou Electric
Eryck ABECASSIS – Ilumen

Concerts Présences électronique

Keith FULLERTON WHITMAN – Performance
Thierry BALASSE – Garlic
Ilpo VAISANEN – Performance

Prix Destellos

Gilles GOBEIL – Un Cercle hors de l’Arbre
David HINDMARCH – The Cup of Plenty
Nikos STAVROPOULOS – Ballistichory

 

 

Creative Fellowships at the University of Birmingham

The University of Birmingham wishes to appoint two full-time Creative Fellows with effect from 1stJanuary 2016 or as soon as possible thereafter. Each post is fixed term for six months. We seek to provide successful applicants with the time, space and support to lead and complete an original project in their chosen creative discipline/s. Fellows are expected to contribute to the intellectual, creative and cultural life of the University through the delivery of seminars, workshops or tutorials. Creative Fellowships are fixed-term for 6 months and the work of the Fellows will feature in the annual University of Birmingham Arts Festival at The Other Place, Stratford-Upon-Avon. The Fellowships are open to practitioners in the fields of creative writing, theatre, filmmaking and music.

Fixed Term for 6 months.

eContact! – new website / nouveau site web

eContact!
Online Journal for Electroacoustic Practices /Journal en ligne des pratiques électroacoustiques

BREAKING NEWS!!! The brand new website for eContact! is live and now on its own domain! http://econtact.ca

Yves Gigon has made Herculean efforts over the past year on a massive upgrade to the eContact! website and we are very proud to finally release the site publicly. The journal and the rest of the CEC’s website are seamlessly integrated and many new and improved features will make your visit more enjoyable, fruitful and memorable, including:
– a superb new look;
– a fluid layout that adapts to viewing on desktops, laptops, tablets, smartphones;
– tools for easy sharing on social media.

There are also pages of all articles listed by author and by title, making finding articles in the journal even easier: http://econtact.ca/catalogue_author.html

……………………………………………………………………………………………

NOUVELLE DE DERNIÈRE HEURE!!! Le tout nouveau site Web de la revue eContact! est maintenant en service et a son propre nom de domaine: http://econtact.ca/index_fr.html

Yves Gigon n’a ménagé aucun effort au cours de la dernière année pour réaliser une mise à niveau en profondeur du site Web de la revue eContact!, et nous sommes très fiers d’en annoncer publiquement la mise en service. La revue et l’ensemble du site Web de la CEC sont parfaitement intégrés et de nombreuses fonctionnalités, nouvelles ou améliorées, rendront la visite du site plus agréable, efficace et mémorable, notamment :
– une nouvelle facture visuelle;
– une mise en page qui s’adapte en fonction de l’appareil sur lequel le site est consulté — ordinateurs de table et portables, tablettes, téléphones intelligents;
– des outils facilitant le partage sur les médias sociaux.

Les pages de chaque article sont maintenant répertoriées par auteur et par titre, ce qui facilitera encore davantage la recherche d’articles : http://econtact.ca/catalogue_author.html

Computer Music Journal issue on high-density loudspeaker arrays

Call for Submissions – Special Issue: Computer Music for High-Density Loudspeaker Arrays

Guest Editor: Eric Lyon

Public performances of computer music employing high-density loudspeaker arrays can convey powerful spatial experiences that are not available in home stereo or headphone listening. However, the development and dissemination of spatial aspects of computer music have been hindered by a stereo bias that has pervaded both commercial music distribution formats and institutional practice. The vinyl record, cassette, MiniDisc, and CD all enforce the stereo format. Even today, most festivals of computer music that present works in even modest multichannel formats such as octophonic, still limit musical submissions to the stereo format. […]

This call for submissions for a special issue of the Computer Music Journal focuses on recent developments and future prospects of computer music composed for high-density loudspeaker arrays.

Relevant topics include, but are not limited to:

* New methodologies for composing music using HDLAs

* Strategies for presenting computer music in a variety of HDLA systems

* Aesthetic approaches to spatialization for HDLAs

* Cognitive aspects of listener apprehension of HDLA-based music

* Sonification using HDLAs

* Reports on the design and use of mobile HDLA systems

* Reports on recent developments in wave field synthesis

* Room acoustics simulations using HDLAs

* Speaker design for HDLAs

* Software design for HDLAs

In addition to papers, they invite brief statements on the nature and prospects of computer music for HDLAs. They welcome a wide variety of aesthetic, technical, sociological, and other perspectives. A selection of these statements will be published in a special Forum section.

Deadline for paper submission is January 30, 2016. The issue will appear in 2016.

Submissions should follow all CMJ author guidelines (http://www.mitpressjournals.org/page/sub/comj),except that manuscripts should not be submitted online at cmjdb.com. Instead, submissions and queries should be addressed to Eric Lyon with the subject starting with [CMJ HDLA Computer Music].

Find all information online here : http://www.computermusicjournal.org/HDLA-issue.html

Meredith Monk à l’honneur

Elektramusic est ravi que sa marraine, l’artiste américaine Meredith Monk ait reçu la médaille des arts par le président Barack Obama à la maison blanche ce 10 septembre 2015. De nombreux articles et documentaires viennent rendre hommage à la carrière et à la voix exemplaire de Meredith Monk parmis lesquels nous vous recommandons :

– un reportage sur CBS News
– et l’article associé sur CBS

Elektramusic adresse toutes ses félicitations à notre marraine pour cet hommage largement mérité !

A Call for Acousmatic Works, Mexico, by September 18

Tecnológico de Monterrey Campus Metropolitan Area of Mexico City, in collaboration with Centro de Cultura Digital, Fonoteca Nacional, Escuela Superior de Música and Yamaha de México S.A. de C.V, announces the Call for Works for the First Electroacoustic Music Festival “ECOS URBANOS”.

The Festival will have the participation of invited composers and lecturers from different countries, and it will take place from September 21th to 25th, 2015 at different locations in Mexico City.

The deadline for submissions is 09:00 AM September 18th, 2015. Applications sent after the deadline will not be considered valid.

 

BEAST FEaST 2016 Call for Works/Talks

BEAST FEaST 2016 – Real/Unreal

Thursday 28 – Friday 30 April 2016
The University of Birmingham, UK

CALL FOR WORKS / TALKS

BEAST invites you to three days of music, meeting, and ideas. As part of this event, they invite submissions in the form of musical works and presentations. These may include anything to do with electronic music or related fields, but in particular they invite submissions relating in some way to the following theme:

Real/Unreal

Electronic music exists across the boundary of the physical and the virtual. The word electroacoustic highlights this contrast, with analog and digital signals necessarily making the transition between electrical representation and acoustic reality. Dualities of this nature are central to practice and thought: concrete/electronic, insubstantial/solid, acousmatic/synthesised, imaginary/real, natural/synthetic, abstract/representative, truth/lies, etc., etc.

BEAST FEaST 2016 invites contributions which in some way explore, exacerbate, blur or dissolve all of these intriguing, challenging, (ir)relevant, and potentially false oppositions.

MUSICAL SUBMISSIONS

Works/performances of electronic music of any style are welcome. Of particular interest are works for large numbers of channels, but they will try to accommodate the technical requirements of any accepted work. Works involving video are welcome, as are works involving live performance (including instrumentalists), but note that any costs or fees arising from including performers may need to be borne by the submitter. Installation submissions are also welcome. While there is no hard limit on duration, submitters should understand that for practical reasons, BEAST will be more likely to be able to include shorter works than longer ones. As well, since they feel that community is a crucial part of BEAST FEaST, they will prioritise works by artists who can commit to attending the festival. Works not programmed in BEAST FEaST 2016 may be included in other BEAST events in this or future seasons.

Online submission system (includes sample system schematics): https://bham.onlinesurveys.ac.uk/beastfeast-2016-musicsubs

TALK SUBMISSIONS

For this year they are inviting informal talks in the tradition of TED. Academic topics are welcome, as are intellectually demanding ones, but should be pitched for the festival audience rather than a group of scholars. Talks should be 20 mins in duration, or multiples thereof. The BEASTdome system (30+ channel periphonic setup) will be available for these presentations, so multichannel demonstrations are possible and welcome.

Online submission system: https://bham.onlinesurveys.ac.uk/beastfeast-2016-paper

DEADLINE FOR ALL SUBMISSIONS: Saturday 30 September 2015

Info: email (submissions sent to this address rather than the online system will not be accepted)

http://beast.bham.ac.uk

CALL FOR WORKS – San Francisco Tape Music Festival – Deadline Sept 30th

The San Francisco Tape Music Festival
January 8/9/10, 2016

http://sfsound.org/tape/

The San Francisco Tape Music Collective and sfSoundRadio are seeking acousmatic works for performance in our next festival.

They accept « fixed » electroacoustic works only (no real-time electronics, performers, or visual components) to be presented over a multi-speaker system.
Compositions in stereo (performed with live diffusion), multi-channel, or ambisonics are welcome.

Only ONE submission is allowed per person in one calendar year.

More info and link to online submission form here.

DEADLINE is SEPTEMBER 30, 2015, 11:59pm PDT.

Associate Professorship/Professorship in Music: call for applications

The University of Oxford, in association with Lady Margaret Hall, proposes to appoint a University Lecturer in Music with effect from 1 October 2016 or as soon as possible thereafter. The combined University and College salary will be on a scale from £44,620 – £59,914 per annum (as at 1 August 2015).

Applications are welcome from candidates with expertise in music since 1930, with a view to complementing the teaching and research interests of current postholders within the Oxford Faculty of Music. This expertise may embrace a range of interdisciplinary and theoretical approaches to music studies, and may be in any musical tradition, including Western art music, popular, folk and world musics, experimental music, and music for film and mass media. Please note that this is not a position for candidates who are primarily composers.

Further particulars, including details of how to apply, can be obtained here: FPs Music LMH

Applications must be submitted by email no later than 12.00 noon on Monday 28 September 2015.

 

CALL FOR SOUND WORKS – INTER- #3: Experimental sounds for speakers (multi-channel, surround and other)

INTER- #3 will take place on Thursday 17th September at Stereo in Glasgow.

The proposal deadline is Thursday 3rd September.
https://www.facebook.com/events/465863123593811/

ABOUT INTER-:

INTER- is a new event series presenting experimental sound work for speakers.

« between » « among » « in the midst of » « mutually » « reciprocally » « together » « during »

These nights are about creating a focused, public listening context for deep experiments in/with/of sound. Stereo aim to support work and practices which might not fit easily into other performance contexts. They hope these events can help to draw together practices across electro-acoustic composition, club/dance production and field-recording (among others) and be part of the exchange between sound and music methods taking place across Glasgow, and much further afield…

They can facilitate stereo, quad and 5.1 playback and are very open to other ways and means.

Proposals of all kinds are welcome – across aesthetic, conceptual and technical boundaries.

Stereo is particularly interested in presenting work and practices which :
– use recording, editing, producing and listening to explore contemporary spaces – real, virtual, liminal
– explore new approaches to environmental recording
– develop reflexive relationships with the recordist/listener

They are excited to see what develops through these events.

Perhaps a broad range of :
– utopian/dystopian soundscapes
– fragments
– phone clips
– youtube rips
– club/dance diffusions
– field-recordings
– sonic self-narratives
– …

HOW TO SUBMIT A PROPOSAL:

Please send you proposal to Stereo
with the email title INTER- #3 proposal
by the closing date of Thursday 3rd September

including the following:
– proposal info – 500 words max
– any relevant links to work
– detailed tech requirements including file format and whether playback (laptop etc.) can be provided for your work
– brief artist bio

Sonic Jello: 64-channel immersion for the body, belly and brain Concerts and Sound Installations

Montréal, August 20, 2015 – L’École des médias-UQAM and Hexagram-UQAM are happy to invite you to Sonic Jello: 64-channel immersion for the body, belly and brain, a series of events taking place between September 2 to 5, 2015 at Agora Hydro-Québec, located in Complexe des sciences Pierre-Dansereau, in the Coeur des sciences Pavilion (CO-1750) at 175 President-Kennedy Avenue, Montreal (Place-des-Arts Metro). Free admission. Please see the programming below for details.

Artists
Lorella Abenavoli, Robert Chrétien, Patrice Coulombe, Daniel Courville, Étienne Grenier, Steve Heimbecker and André Eric Létourneau.

Through the year-long artist residency granted to Steve Heimbecker by the Canada Council New Media Residency program, the School of Media – Department of Communication, UQAM, and HEXAGRAM UQAM, seven artist-composers have been working to create a series of new 64-channel sound immersion / spatial music compositions. Sonic Jello: 64-channel immersion for the body, belly and brain is the public presentation of these new and exciting works.

«Hosting the TSM project at École des médias, in partnership with Hexagram-UQAM, represents a unique opportunity for our researchers to explore processes associated with sound spatialisation. Acoustic space forms a language. It allows the expression of poetry which is inherent to the space we share with the Other. Steve Heimbecker’s TSM offers the audience an immersive experience that takes place outside the customary framework established by prevalent sound spatialisation practices. In this regard, it fosters the invention of techniques and know-how specifically intended for sound design, hence the diversity of the projects presented by researchers and UQAM’s long-time collaborators that were invited by Steve in the context of this residency.»

André Éric Létourneau
Professor, Research fellow (École des médias and Hexagram)

PROGRAMMING

Wednesday September 2
14.00-18.30
Sound Installation
Verticale, L. son d. la m..té. d. .a sève d..s un a.bre au pr..temps (3)
Lorella Abenavoli
18.30
Nocturnal Discussion and launch
André Eric Létourneau, Lorella Abenavoli, Steve Heimbecker

Thursday September 3
12.00-17.00
Sound Installation
Verticale, L. son d. la m..té. d. .a sève d..s un a.bre au pr..temps (3)
Lorella Abenavoli
19.30
Doors
20.00
Concert
Pareidolia, Patrice Coulombe
Inallagmatiser les flux, André Eric Létourneau
Ascent Trilogy I, Steve Heimbecker
21.30
Nocturnal Discussion
Patrice Coulombe, André Eric Létourneau, Steve Heimbecker

Friday September 4
12.00-17.00
Sound Installation
The Well-Tempered Chaos, Daniel Courville
19.30
Doors
20.00
Concert
The Well-Tempered Chaos, Daniel Courville
Passage à vide, Robert Chrétien
Ascent Trilogy II, Steve Heimbecker
21.30
Nocturnal Discussion
Daniel Courville, Robert Chrétien, Steve Heimbecker

Saturday September 5
19.30
Doors
20.00
Concert
Claque-muraille, Étienne Grenier
Ascent Trilogy III, Steve Heimbecker
21.30
Nocturnal Discussion
Étienne Grenier and Steve Heimbecker
22.00
Closing

For further information, please contact Lorella Abenavoli

The Barry Schrader CalArts Farewell Concert

After what will have been 45 years on the faculty of the CalArts School of Music, Barry Schrader decided to retire at the end of this academic year. Starting as a graduate student at CalArts in 1970, he was hired on the faculty by Mel Powell, then the Dean of the School of Music, in 1971. It’s been an incredible adventure to have experienced the evolution of the school from its beginnings at the temporary Burbank Villa Cabrini campus to its current incarnation as The Herb Alpert School of Music at CalArts. Along the way he has been fortunate to have had superb composers and performers as colleagues and friends, a host of talented students, and also to have met and
worked with many brilliant people in various areas of the arts throughout the world.


To mark his retirement from CalArts, Barry Schrader decided to present a farewell concert containing a variety of works from a forty-year period. This program will be held on Saturday, September 26, at 8:00 pm in CalArts’ Roy O. Disney Hall. Admission is free, and there will be a reception following the concert. He’ll also be giving away a limited number of his CDs to those that attend the event.

The concert will feature Mark Menzies on violin playing Fallen Sparrow, and Vicki Ray on piano performing Ravel. Also on the concert will be the original quadraphonic version of Trinity, along with short sections of Monkey King and The Barnum Museum. Adam Beckett’s groundbreaking 1973 film Heavy-Light will be shown, along with Michael Scroggins’ early computer video, 1921>1989.

For those that wish to hear and view the concert online, it will be available live on the live ROD Webcast.

EarZoom featuring Music Tech Fest – #MTFCentral

IRZU is glad to announce the EarZoom sonic arts festival 2015, which will be featuring Music Tech Fest – #MTFCentral – taking place in Ljubljana, Slovenia between the 18th and 21st September 2015.

Music Tech Fest is the festival of music ideas which gathers developers, musicians, researchers, labels, startups and makers in the quest for new formats for music. The festival has previously been hosted by the Barbican Centre in London, the MAC Centre in Wellington New Zealand, Microsoft NERD Centre in Cambridge MA, Factory Berlin, Centre Pompidou in Paris and the Sliperiet Centre in Scandinavia. Music Tech Fest is now on a mission to capture developer and music maker talent from Central Europe with #MTFCentral 18-20 September at the impressive Cankarjev Dom in Ljubljana.

At #MTFCentral developers and makers will have access to #MusicBricks – exclusive tools developed by some of the best music tech research centres in Europe – which will allow them to invent new controllers, apps and music environments. They will be joined by the likes of Graham Massey (808 State), Matt Black (Coldcut, Ninja Tune), Reeps One and Nitin Sawhney to invent the future of music.

 

#MusicBricks wraps the top tools developed by some of the best European music tech centres (Ircam at the Centre Pompidou, Music Technology Group in Barcelona, TU Vienna and Fraunhofer IDMT) into APIs, GUIs and TUIs. The toolkit includes a postage stamp sized micro board with low latency for gesture driven music apps which has proven extremely popular. In month 6 of the project #MusicBricks generated half a million in social reach and 8 startup ideas which are now being supported to prototype.

 


Presenters/Performers:

Adam John Williams / Airstrument (Ariel Angel, Rani Dar) / Aleš Hieng Zergon & Robertina Šebjanič / Andrea Santini / Ann Rosén & Sten-Olof Hellström / Benjaman Schogler / Brane Zorman / Chris Reilly / Cirkulacija 2 (Borut Savski, Stefan Doepner and Boštjan Leskovšek) / Dolphin (Rojan Gharibpour) / Dušan Zidar /  Ear we go (Cárthach Ó Nuanáin, Ángel Faraldo, Martin Hermant, Daniel Gómez) / Eden Grey / Elio Icaza Milson / Enboard (Juan Felipe, Gómez Steven Bolaños) / Erzetich Audio (Blaž Erzetč) / FindingSomEthing BondingSoUnding (Francisco Teixeira, Horacio Tome-Marques, Fanni Fazakas) / Giorgio Klauer / Graham Massey / Håkan Lidbo / High Note (Vahakn Matossian, Pere Calopa Piedra) / Interactive Cube (Balandino di Donato, Per-Olov Jernberg) / Jamie Bullock / JMZM (Zoran Medved & Josip Maršic) / Leonardo Gabrielli / Luka Prinčič / Makelight United (Joanna Alpe, Luka Topolovec, Tine Postuvan) / Matevž Pesek / Matt Black / Miha Mohorčič and Karmen Gostiša / MMessy Oscillators (Deborah Hustić, Boris Vidošević, Barbara Munitić, Ana Horvat, Dina Jokanović, Igor Petrović, Damir Prizmić, Igor Brkić) / Namosh / Nick Rothwell / Nina Farič / Phil Heeley / Reeps one (Harry-Yeff) / Rob Canning / Rolf Gehlhaar / Run Dreamer (Rani Dar) / Sebastian Lexer / Simon Penšek / Slavko Glamočanin / sonda3 / Sonible (Peter Sciri, Alexander Wankhammer) / Sound in Translation (Juan José, Bosch Vicente) / Spencer Salazar / Stefan Klaverdal / Stephen Hetherington / Synthomir (Damir Prizmić, Igor Brkić) / Tadej Droljc / Tamara Friebel / Tank Thunderbird / Thermidi Orchestra  (Dušan Zidar, Tina Dolinšek, Robertina Šebjanič, Dare Pejič, Ida Hiršenfelder, Luka Frelih, Tilen Sepič, Simon Bergoč, Saša Spačal) / Thickear (Geoff Howse) / Tom Fox / Trobla (Matej Rodela) / Uzvocevalci (Zvonka T. Simčič, Bogdana Herman, Borut Savski, Franc Cegnar, Miha Tomšič) / Vahakn Matossian / Yoshihito Nakanishi

Festival Futura 2015

Du 20 au 22 août 2015
Nuit blanche, dans la nuit du 22 au 23 août.

Contre(r) l’habitude

Le festival Futura commence jeudi 20 à 11h00 avec la présentation de l’acousmonium par Jonathan Prager.

Au programme :
80 compositeurs et artistes sonores joués sur le grand acousmonium Motus par nos 6 interprètes : Eric Broitmann, Guillaume Contré, Tomonari Higaki, Olivier Lamarche, Jonathan Prager et Nathanaëlle Raboisson.
Cette année, 2 compositeurs invités Agnès Poisson et Frédéric Kahn.
De l’acousmatique, de la vidéo, du hörspiel, du documentaire sonore

Concerts jeudi à partir de 13h30
Christophe Ruetsch, Isabelle Stragliati, François Buffet, Vincent Guiot, Franco Degrassi, Linda Antas, Nicolas Marty, Wang Zhaogu Lola Ajima Hausfrau, Yves Justamante, Loïse Bulo, Pierre Moreno, Cara Arndt, Jules Wysocki, Julien Beau, Kasper T. Toeplitz, Patrick Ascione, Tod Dockstader, Frédéric Kahn, Camille Lorin-Béquié, Nicolas Vérin, Robert Cahen, Dieter Kaufmann

Concerts vendredi à partir de 11h00
Alexis Langevin-Tétrault, Manfredi Clemente, Kyohei HAYASHI, UMEZAWA Hideki + AMIMORI Shohei, SHIMIZU Kei, ICHIHARA Yoshiki, Collectif Séneçon, Emilie Mousset, Maylis Raynal, David Torres Tolosa, Gilles Gobeil, Solveig Risacher, Sophie Delafontaine, Hans Tutschku, Olivier Lamarche, Cendrine Robelin, Martina Claussen, Eric Broitmann, Lucie Prod’homme, D’incise, Jacques Stiblerk, Agnès Poisson, Tomonari Higaki, Kei SHICHIRI

Concerts samedi à partir de 11h00
Bernard Donzel-Gargand, Edgar Nicouleau, Maxime Corbeil-Perron, Armando Balice, Julie Mondor, Pom Bouvier B, Philippe Leguerinel, Livia Giovaninetti, Vincent Laubeuf, Paul Ramage, François Dumeaux, Ayako SATO, Guillaume Contré, Frédéric Kahn, Pierre Schaeffer, Ivo Malec, Luc Ferrari

Nuit blanche
Julien Beau, Isandro Ojeda-García, David Zo Meroni, Samuel Bester, Simon Leroux, Pierre Gorny, Gustavo Kortsarz, Andrea Cohen, Kazuya Ishigami, Erikm, Dante Tanzi, Thomas Hilbert, Iris Lancery, Charles-Edouard Platel, Thomas Collin , Sophie Berger, Leo Cicala, Ocean Viva Silver, Christine Mannaz-Dénarié, Dominique Balaÿ, Daniel Martin-Borret, Claude Hermitte, Tod Dockstader, Yann Paranthoën, Bernard Parmegiani

Installation sonore
Martin Rumori

www.festivalfutura.fr

Organisation : Futura / Motus compagnie musicale

Festival Futura du 20 août 11h00 au 23 août à 8h00 du matin
Lieu : Espace Soubeyran, 26400 Crest (Drôme)
Tarifs :
– Un concert 7 euros
– Pass festival 20 euros

Renseignements
Email Festival Futura
tél 33 (0)6 5246 5656

Transport / accueil / hébergement
Office de tourisme de Crest
Place du docteur Maurice Rozier F26400 Crest
tél +33 [0]4 7525 1138 · fax +33 [0]4 7576 7965
Email Crest Tourisme
www.crest-tourisme.com

Avec le soutien de
Sacem, Ville de Crest

Partenariat presse-media
RSF La radio du Val-de-Drôme, Mouvement magazine culturel indisciplinaire, Resmusica.com

Partenaraires
Arts Council Tokyo (Tokyo Metropolitan Foundation for History and Culture) [Tokyo · Japon]
ACSM116 [Tokyo · Japon]
Fondation Destellos [Argentine]
Fondation Luigi Russolo [Italie-France]
M.ar.e (Music & Electronics Art) [Italie]

Prizes Destellos Competition

Foundation Destellos – VIII° Competition in Electroacoustic music

(Extract of results of the VIII electroacoustic composition contest.)

After arduous deliberations and analysis of the selected works, the jury –composed by Pete Stollery, Panayiotis Kokoras, Ingrid Drese, Jens Hedman, and Mario Mary – just announced the results of the VIII electroacoustic composition contest.

The large participation and the variety of styles and aesthetics made it difficult to determine the rewards. The results obtained were:

First prizes in the two categories were not attributed.

Second Prizes in category Acousmatic :
« Un cercle hors de l’arbre » by Gilles Gobeil and
« Ventriloquy » by Andrew Babcock

Second Prize in mixed media:
« La sonrisa de una lagrima » by Demian Rudel Rey

Mentions in acousmatic music :
« The cup of plenty » by David Hindmarch
« frostbYte Wildflower » by Daniel Blinkhorn
« Tout autour de la montagne » by Louise Rossiter
« Ballistichory » by Nikos Stavropoulos

Mention in Mixed media:
« Soliton » by Keita Matsumiya

Nominations in acousmatic music:
« Devorer l’espace »  by Alexis Langevin-Tétrault
« Neshamah » by Joao Pedro Oliveira

Nomination in Mixed media:
« Hiperestesia »  by Juan Mollo

Lecturer/Senior Lecturer in Music (Interactive Composition) – University of Melbourne

Melbourne Conservatorium of Music

Faculty of VCA and MCM

Salary: $92,654 – $110,022 p.a. (Level B) or $113,496 – $130,866 p.a. (Level C), plus 17% superannuation. Level of appointment is subject to qualifications and experience.

The Melbourne Conservatorium of Music seeks a music, sound technology and interactive media specialist with expertise in digital music and sound technology, production and interactive media. The appointee will contribute to the ongoing development of the undergraduate and graduate curriculum in Interactive Composition. They will bring a strong focus on commercial music, sound production, analogue and digital technology and interactive media in areas such as video games, interactive site installation, live performance, advertising and film, television and animation.

Close date:  27 Sep 2015 – 11:55pm Aus. Eastern Standard Time

More information here

 

Call for Papers – International Confederation for Electroacoustic Music (CIME/ICEM) – Lisbon Conference: 2, 3 & 4 October

International Confederation of Electroacoustic Music (CIME / ICEM)

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

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

Miso Music Portugal and the International Confederation for Electroacoustic Music – CIME/ICEM invite all researchers, musicologists, composers and musicians, individual or associated to one of CIME/ICEM Federations or Members, and particularly interested in Archiving and Preservation of Electroacoustic Music, to submit their proposals of papers for the APEM Conference, taking place on October 2, 3 and 4 at « O’culto da Ajuda« , Miso Music Portugal’s new venue in Lisbon.

Please submit, your paper proposal, in connection with the APEM conference theme, until August 31, 2015, with the following information to misomusic and with the email subject « APEM CIME ICEM Conference »:
1) Author(s); 2) Email; 3) Title; 4) Abstract (limited to approximately 1500 characters); 5) Mode of presentation: in person or via Skype.

More infos and agenda of the full Conference in Lisbon here

PhD Studentship for UK students, Bangor University

(The following opportunity is available to UK applicants – apologies to those from elsewhere)

Bangor University invites applications for an AHRC-funded PhD studentship, commencing on 1st October 2015. This is a three year studentship including fees and a stipend of £14,057.
The studentship is open to a range of Arts and Humanities disciplines, including (but not limited to) Electroacoustic Composition / Sonic Art
The application deadline is MONDAY 31 August and interviews are scheduled for MONDAY 14 September.
Applicants must apply using the University’s Postgraduate On-Line Application Form, indicating ‘AHRC-Studentship’ when prompted. Candidates must also provide a transcript of their BA and (if applicable) MA degree results and identify that they are applying to the School of Music.

The online application form is available here:

Welsh Version
English Version 

See also http://www.jobs.ac.uk/job/ALS960/phd-studentship/

Informal enquiries may be directed to Andrew Lewis

Call for works – Sonic Arts Forum Concert – Deadline 22 August 2015

The Sonic Arts Forum (SAF) will be curating a concert at the Oriel Sycharth Gallery in Wrexham on the 8th of September 2015 in collaboration with Glyndwr University.

They are looking for works for fixed media for this concert. These works will be played over the Sonic Arts Forum Octaphonic speaker system.
If you would like your work to be considered for this concert please send a brief biography, and brief programme note, each of no more than 100 words (in Word format – not PDF), and a wetransfer link of a stereo version of your piece (.wav format) to Coryn Smethurst

Please indicate if a multichannel version is available – if you are selected the multichannel files will be requested.

Deadline 12 noon (UK) Saturday 22 August 2015

 

Balance-UnBalance 2016 Call for Participation

The call for participation in the 5th edition of Balance-UnBalance 2016 has been announced.
It will be held from May 9 to 11 of 2016 at University of Caldas in Manizales, Colombia.

Balance-Unbalance (BunB) is an International Conference designed to use art as a catalyst to explore intersections between NATURE, SCIENCE, TECHNOLOGY and SOCIETY as we move into an era of both unprecedented ecological threats and transdisciplinary possibilities.

The Balance-Unbalance conference will bring artists together with scientists, economists, philosophers, politicians, management and policy experts, sociologists and engineers from across the world with the intent of engendering a deeper awareness and creating lasting intellectual working partnerships in solving our global environmental crisis.

The theme for BunB 2016 is « Data Science + Eco Action ».

For more information for submissions please follow the link below :
http://www.balance-unbalance2016.org 

Foundation for Emerging Technologies and Arts announces a call for works

American Classical Guitar Miniatures:
Acoustic, Electroacoustic and Electronic Music
Jorge Gomez Abrante, guitar

American Classical Guitar Miniatures project aims to enrich the contemporary repertoire by women composers from the North, Central and South Americas. The compositions can be written for either classical guitar solo, guitar with fixed media or fixed medium solo (must involve a guitar sample by Jorge Gomez Abrante).

American Classical Guitar Miniatures is a part of the 2016 Foundation for Emerging Technologies and Arts’ initiative to celebrate female artists, composers, technologists and performers, expanding awareness about music and digital arts from diverse cultural backgrounds in the Americas. The women composers from all American countries are invited to submit a proposal for up to 2 works. The maximum duration of each proposed work will be 1 minute. Out of the selected submissions, a concert-length program will be constructed and premiered in June 2016 in Miami, FL. Future performances around the US and abroad will also be organized.

Instrumentation:

1. Classical guitar.
2. Fixed Electronics in raw audio format.
3. Visuals in a form of a digital projection are also welcome.
4. Theatrical gestures, acting, speaking, singing and objects/sound implementation are possible.
5. Graphic notations, video scores, text scores as well as traditional score formats are acceptable.

Submit:

1. Up to 2 proposals in a form of a text (150 to 200 words), each proposal detailing the conceptual and technical aspects of the possible composition.
Proposals can be submitted in English and/or Spanish.
2. Short bio (150 words maximum) in English. Please include the nationality statement and country of current residence.
3. A link to 1 sample work.

Send all the application materials in a single email to Jorge Gomez Abrante.
There is no application fee.

Timeline:

September 30, 2015: deadline for proposals.
October 10, 2015: selected composers are announced.
January 1, 2016: completed pieces are submitted.
June, 15, 2016: premiere of the program in Miami, FL.

With the support of the FETA Foundation, the John S. and James L. Knight Foundation, Harold Golen Gallery and Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners.

University of Oregon – Music Technology Position Announcement

MUSIC PROGRAM:
Notice of Faculty Vacancy
MUSIC TECHNOLOGY

POSITIONS: RANK & SALARY:

Assistant Professor of Music Technology (Announcement #15287). Tenure-track appointment at the rank of Assistant Professor. Salary commensurate with training and experience.

INITIAL CONTRACT: DUTIES:

Primary responsibilities for position will be to teach undergraduate and graduate music technology courses such as Musical Performance Networks, SensorMusik, History of Electroacoustic Music, and Laptop/Electronic Device Ensemble. Essential duties will also include teaching (twice per year) the large lecture course Elements of Electronic Music, a class designed to fulfill university-wide general education requirements in the arts and humanities. Advise graduate and undergraduate research projects including theses and dissertations. The successful applicant must also maintain an active career presenting his or her creative and scholarly work associated with music technology with a national or international record of excellence. In addition he or she will be expected to serve on committees and perform other appropriate university service.

September 16, 2016, through June 15, 2019

QUALIFICATIONS:

Master’s degree in music required; doctorate or equivalent outstanding professional experience preferred. Evidence of excellence in teaching at the college level expected. Demonstrated expertise is valued in real-time performance of data-driven instruments, computer music, interactive music, data sonification, intermedia creation, algorithmic composition, installation design, and theories and concepts in aesthetic innovation. The successful candidate will demonstrate high potential for recruiting and building an outstanding program.

etc

Please click here for details.

FETA Prize in Sound Art 2015 Awarded to Bryan Jacobs

With 42 blind submissions from 5 countries in the Americas, Bryan Jacobs is selected as the 2015 winner of the FETA Prize in Sound Art for his work Subwhistle.

The FETA Prize in Sound Art was established in 2013 to promote a broad range of contemporary American sound and installation arts. In the third edition, we received 42 submissions from artists residing in Brazil, Canada, Chile, Mexico and the US. Through a two-stage blindfold evaluation process, the judges Ted Apel, Betsey Biggs, Abinadi Meza and Stephan Moore selected a small pool of finalists: Adam Basanta’s The Sound of Empty Space, Myriam Bleau’s Soft Revolvers, Sky Macklay’s Harmonibots, Navid Nahab’s Practices of Everyday Life| Cooking, Nolan Lem’s HiveMind and Bryan Jacobs’s Subwhistle. Our honorable master judge John Driscoll then selected the winning work Subwhistle by Bryan Jacobs. In addition to a 1,000 USD monetary prize, the writer Michelle Aldredge will profile Bryan Jacobs and his work in the Gwarlingo online magazine.

About Subwhistle:
« Subwhistle uses low frequency sound to play slide whistles. Displaced air from each of 4 subwoofers is directed into the whistles’ mouthpieces. The air oscillates at the frequency of the speaker, usually between 10 and 30 hertz.
All the sound we hear in this video is generated acoustically from the slide whistles. The low rumblings of the subwoofers can occasionally be heard. The resulting sound is somewhere between chirping birds and analogue synths. The pitch of each whistle is fixed however they can be tuned by the amplitude of the subwoofers. The installation cycles through five randomly selected previously composed sequences.  This work is one in a series of computer-controlled instrument, autonomous sound sculptures. » BJ

About Bryan Jacobs:
Bryan Jacobs is a sound artist and composer based in New York City. His music has been performed by ensembles such as the Cleveland Chamber Symphony, The McGill Contemporary Music Ensemble, Wet Ink, International Contemporary Ensemble, Talea Ensemble, Ensemble Pamplemousse, and defunensemble.  He has had performances at Festival Ai-maako (Chile), La Muse en Festival (Paris, France), Festival Archipel (Geneva, Switzerland), Musica nova (Helsinki, Finland), MATA festival, St. John’s Church (Limerick), Santa Fe Chamber Music Festival, and others.  His acoustic and electroacoustic compositions have earned him national and international awards and scholarships from the American Academy of Arts and Letters, Bourges International Electroacoustic Music and Sound Art competition, Centre for Computational Musicology and Computer Music, RTÉ Lyric FM, and McGill University among others.  He has participated in residencies at La Muse en Circuit in Paris and Zentrum für Kunst und Medientechnologie in Karlsruhe, Germany.  He has performed his own compositions for guitar and electronics at the Stone (NYC), Miller Theater (NYC), and the Wulf (LA). In addition to his artistic endeavors, Bryan is the co-founder of Qubit, a New York based new music initiative that presents mostly emerging artists whose work involves creative uses of technology.

For images, video and additional information about Subwhistle, please visit:

https://www.youtube.com/watch?v=s7wKJu_4geo
http://bryanjacobsmusic.com/subwhistle.html

For more information about the FETA prize in Sound Art, please visit our website: http://www.fetafoundation.org or contact Spencer Topel.

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

FEASt Festival

Florida International University, Miami FL
November 7 2015

SUBMISSION DEADLINE: October 7 2015

The 5th annual FEASt Festival is seeking works for live-electronics, laptop ensemble, and performer(s) with fixed media. Pieces for up to eight channels will be considered. Works with a video component will also be considered provided that the video component is clearly documented and can be projected with our equipment.

FEASt is also accepting installations. If you would like to submit an installation, please include a thorough explanation (including images and sound files) and complete the same process required for other works. The FLEA (FIU Laptop and Electronic Arts) Ensemble will be in residence to perform accepted works for laptop ensemble.

Preference will be given to works under 10 minutes in duration. Selected composers are responsible for providing additional performers and are expected to attend the concert.

Submissions must arrive by October 7, 2015.

There is no submission fee.

SUBMISSION REQUIREMENTS:
You must be a current student (undergraduate or graduate level).

Please email the following information to feastfest
• Name of composer
• Name of School Affiliation + Year in School
• Contact information (email)
• Name of piece
• Instrumentation (if applicable)
• Number of audio channels
• Technical requirements
• Duration of piece

Please attach
• Program notes (PDF)
• Score (if applicable)
• Documentation of piece (stereo mp3 file or YouTube link please)

For more information email feastfest

FESTIVAL FUTURA – CONTRE(R) L’HABITUDE

Espace Soubeyran, Crest, Drôme

du 20 au 22 août
(Nuit blanche dans la nuit du 22 au 23)

Rappel : la 23e édition de ce festival consacré aux musiques acousmatiques, c’est à partir du 20 août.
Avec notamment les portraits d’Agnès Poisson et Frédéric kahn, le concert anniversaire Ivo Malec, les hommages à Luc Ferrari, Tod Dockstader, Patrick Ascione, les acousma-vidéo de Robert Cahen/Nicolas Verin, Kei Shichiri/ Tomonari Higaki, Theres Cassini/Dieter Kaufmann, l’installation sonore de Martin Rumori

Nouveau tarifs : 7 euros le concert / 20 euros le pass festival
A l’espace Soubeyran, 26400 Crest

Plus d’information ici.
Organisé par Futura et Motus, avec le soutien de la Sacem et de la ville de Crest
Partenariat Presse : Mouvement, ResMusica.com et Radio Saint Féréol

Comme il n’est pas possible de flécher dans la ville de Crest, voici un lien avec un plan pour se rendre au festival depuis la gare de Crest.

Participation in a short, online Multimedia study INVITATION until Aug 12

An honours student at the University of New South Wales, Thomas Krizanec, is running an online study on responses to multimedia. The study takes about 15 minutes to complete, and will remain open until August 12. People from Australia (apologies to our overseas colleagues) who complete the study by this date will go into a $50 prize draw. Responses will be treated anonymously, in line with our ethics declaration.

You will be asked to watch four film clips and make some ratings and judgements about each. Here is the link

http://www.surveys.unsw.edu.au/f/161151/16d8/

UNSW would be most grateful if you could find the time to participate and/or distribute this invitation.

L’AUDIBLE FESTIVAL

Instants Chavirés au Théâtre L’Échangeur et au LULL (Bagnolet) :
L’AUDIBLE FESTIVAL (4ème édition)
18, 19 & 20 septembre 2015

DIFFUSIONS / CONCERTS / PROJECTIONS / INSTALLATION /
MUSIQUES ÉLECTROACOUSTIQUES

Avec :
ANTHONY PATERAS / LASSE MARHAUG / OLLIVIER COUPILLE / GREG POPE & JOHN HEGRE / GORDON MONAHAN / NATASHA BARRETT / MATS LINDSTRÖM / CAROLE RIEUSSEC / GERT-JAN PRINS & MARTIJN VAN BOVEN / CHRISTINE GROULT / OLIVIER LAMARCHE / JÉRÔME NOETINGER

Et les oeuvres de :

ROBERTA SETTELS / AKOS ROZMANN / PATRICK ASCIONE / CHRISTINE MANNAZ-DÉNARIÉ/ ESTHER VENROOY / TOSHI ICHIYANAGI / JO THOMAS / KATHARINA KLEMENT / TAKASHI ITO / JAMES WHITNEY / GEORGES REY / RICHARD TUOHY / HANGJUN LEE / CHRIS WELSBY/ ARIADNA ALSINA/ MARCO MARINI /GORKA ALDA /ANA DALL’ARA MAJEK / ESTEBAN ANAVITARTE / LILY GREENHAM / PAULINE OLIVEROS /
ELSE MARIE PADE / GISÈLE RICARD
http://instantschavires.com/spip.php?article1225
http://instantschavires.com/spip.php?article1226
http://instantschavires.com/spip.php?article1227

ICLC 2016 SURVEY

After the smashing success of the first International Conference on Live Coding in Leeds, it is their great pleasure to begin the organization of the conference’ continuation, beginning with ICLC 2016 at McMaster University, in Hamilton, Ontario, Canada.
To help inform the determination of the dates for ICLC 2016 (somewhere within September and October 2016) and gather other feedback, they’ve created an online survey. It would be greatly appreciated if you could complete it before 31 July 2015, if you have any interest in participating in ICLC 2016.

The URL for the survey is: https://www.surveymonkey.com/r/3BBBHMB

New version of PYO software

 

PYO 0.7.6 is now available to download on pyo’s web site: http://ajaxsoundstudio.com/software/pyo/
PYO’s documentation:
http://ajaxsoundstudio.com/pyodoc/

 

What’s new:

Library:
– Fixed CPU usage of PeakAmp.
– Fixed the « segmentation fault » that occur sometimes when deleting an object.
– Added pyoArgsAssert call in each object’s methods.
– Added new objet: RawMidi, a raw Midi handler.
– Fixed Centroid output with silence as input.
– Added missing types to OscDataSend and OscDataReceive (char, blob, True, False, None and MIDI packet).

E-Pyo:
– Added code block selection (#–> and #<– are delimiters).
– The background server now prints to the output panel.
–  Fixed project tree.

Cluster is seeking proposals for inclusion in its 2016 festival

Revolving around an annual core festival that takes place in Winnipeg, Manitoba, Cluster: New Music + Integrated Arts Festival is a platform for artists to create, experiment, and collaborate, resulting in the presentation of fresh work to new and diverse audiences.

This year, Cluster’s theme is DISMANTLE. More specifically, they are calling for works that dismantle the notion of SOLO for a special showcase event on March 12, 2016.
Cluster is looking for self-contained artists and projects that cross boundaries and take risks. Traditionally scored music should be submitted with specific performer/collaborators.
Send them your proposals by August 1st, midnight using their online form, found here.

Have any questions? Please email and they’ll do their best to help you out.
Find submissions details here.

Postgraduate on Sound Creation | Sound Art Master | University of Barcelona

The SOUND CREATION POSTGRADUATE – MATERIALS AND TOOLS focuses on understanding the ideas and techniques required to articulate an art production proposal in the field of sound art, along with the technology needed to undertake it. It uses reference texts that address new ways of looking at (and hearing) sound, helping students to articulate new ideas fully contextualized within the framework of international contemporary art.

Professors : Josep Cerdà (director, Sculpture and Sonic Objects), Josep Manuel Berenguer (coordinator, Psychoacoustics and Experimental Music), Carmen Pardo (Ethics and Aesthetics of Sound Art), Roc Jiménez de Cisneros (Elements on Musical Generation), Ray Gallon (Radio Art), Carlos Gómez (Soundscape Recording), Barbara Held (Sound Installation) and Martí Ruíz (Sculpture and Sonic Objects)

Pre-registration from 05/01/2015 to 09/22/2015
Registration from 09/22/2015 to 10/13/2015
Beginning of course 10/13/2015
End of course 04/02/2016

Pre-enrolment is open

Academic programe : http://www.ub.edu/masterartsonor/en/subjects
+INFO : http://www.ub.edu/masterartsonor/en

Contact :
Josep Cerda | José Manuel Berenguer

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This postgraduate can be followed independently or as a part of modules that configure The MASTER STUDIES IN SOUND ART OF UNIVERSITY OF BARCELONA (70 Credits ECTS) :
-POSTGRADUATE ON SOUND CREATION – MATERIALS AND TOOLS (30 credits ECTS, October – January)
-POSTGRADUATE ON SOUND DESING – PROJECTION AND ESPACE (30 crèdits ECTS, February – June)
-FINAL MASTER WORK  (10 credits ECTS, next October – January)

The Master in Sound Art of University of Barcelona collaborates with Hangar.org, Santa Mònica and Convent de Sant Agustí, that provide spaces and suport for public and academic activities of the Master, and Orquestra del Caos, that organizes The Zeppelin Sound Art Festival and Hangar Multifocal research activities, giving to students the chance to work and participate in experiences in programming and managing multiple microphone and loudspeaker environments.

Metanast open call – MANTIS Festival 2015

Metanast is a Manchester based artists’ collective specialising in electroacoustic composition, live electronics performance, and creative coding. The collective supports links between academic and the wider sonic arts culture through friendly and inclusive concerts which are open to all artists who wish to showcase their work irrespective of their background. Metanast promotes collaboration, interdisciplinarity, and experimentation with new and established technologies, and facilitates discourse between academic researchers and independently practising artists.

Continuing their collaboration with the University of Manchester’s NOVARS centre, Metanastwill be curating a concert for this year’s edition of MANTIS Festival, 17 – 18 October 2015. They are currently seeking submissions of works to be performed on Sunday 18th October 2015. Artists will have at their disposal the Sonic Arts Forum octophonic diffusion system and a projector and screen for visual elements. Works can either be in the form of live performances or fixed-media pieces, with submissions welcome from both individuals and those collaborating with artists from other disciplines.

The theme for this open call is Techno-logical extensions. The theme is open to interpretation by the submitting artists, and should be reflected in the programme notes accompanying each work.

Submissions should be forwarded to Metanast with MANTIS Festival 2015 in the subject line, and must include contact details, a brief project proposal, programme notes and an artist’s bio (100 words each maximum) as word files, please do not send PDFs. Audio works must be sent through wetransfer or dropbox, with multichannel pieces rendered to stereo (multichannel files will be requested once a work has been confirmed for programming). Submission of audiovisual works should be via link to Youtube or Vimeo, if selected a video file will be requested.

The deadline for submission is Tuesday 25th August 2015. Travel expenses for those travelling to the event from within the UK to perform may be negotiable. Any profits from the event will be divided among the attending artists. Successful submissions will be notified no later than 1 September 2015.

For further information contact Manoli Moriaty

metanast.wordpress.com
facebook.com/groups/sonicarts/ mantis-novars.blogspot.co.uk/

NOMADES

The 8th edition of NOMADES… will take place at ONOMATO Künstlerverein – Düsseldorf / July 31st. 2015, at 8pm.

NOMADES… is an international cycle of audiovisual works and electroacoustic music created and curated by Claudia Robles-Angel. Its purpose is to disseminate fixed media audiovisual works around the world, in which image and music share the same degree of importance. The cycle also includes pure electroacoustic music pieces.
This NOMADES… concert curated at ONOMATO features a worldwide selection of diverse and current positions by composers/artists about audio-visual composition.

Works by: Andrew Hill (UK), Elsa Justel (ARG), João P. Oliveira (PT), Irene Pacini (IT), Sylvia Pengilly (US), Ivan Penov (MK), Claudia Robles A (CO), Claudia Rohrmoser (AT), Kotoka Suzuki (JP) and Fred Szymanski (US).

More information about NOMADES…
Onomato website

Friday, July 31st 2015, at 8 pm

ONOMATO Künstlerverein
Birkenstraße 97
40233 Düsseldorf

Free admission


 

iFIMPaC – Call for submissions

In celebration of Leeds College of Music’s 50th Anniversary IFAI presents iFIMPaC 2016

Thursday, 10 March 2016 and Friday, 11 March 2016

The International Festival for Innovations in Music Production and Composition is a metropolitan festival and takes place at Leeds College of Music and venues around the City of Leeds.
The festival creates a unique environment for composers, producers, performers, academics and students to perform and discuss their compositional/production work as practice-led research. This year’s event will continue its association with Nonclassical where we will be running a Nonclassical club night (www.nonclassical.co.uk).

Concerts and events

Submissions will be selected for either:
– Concert hall with diffusion rig and projection
– ‘Nonclassical’ club night event curated by Gabriel Prokofiev (www.gabrielprokofiev.com)
– ‘Off The Beaten Track’ evening event curated by Matthew Bourne (www.matthewbourne.com/news)

Please read the full call and submit by following the link below:
http://bit.ly/iFIMPaC2016