Articles

International Conference on New Technologies for Music Notation and Representation

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

CALL FOR PAPERS

The second International Conference on Technologies for Music Notation and Representation is dedicated to issues in theoretical and applied research and development in Music Notation and Representation, with a focus on computer tools and applications, music creation and cognition.
Until very recently, the support provided by computer music developers and practitioners to the field of symbolic notation has remained fairly conventional. However, recent developments indicate that the field of tools for musical notation is now moving towards new forms of representation. Moreover, musical notation, transcription, sonic visualisation, and musical representation are often associated with the fields of musical analysis, ethnology, and acoustics. The aim of this conference is to explore all recent mutations of notation and representation in all domains of music.
This year they are extending the call to include cognition as well as ontological issues of performance practice arising from the use of traditional and/or graphical notation systems in live electronics.
In addition to paper submissions, they are interested in receiving proposals for workshops involving technologies of notation and representation. Anglia Ruskin University would also be happy to receive proposals involving presentation formats which challenge the paper/presentation model.

TOPICS OF INTEREST

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

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

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

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

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

SUBMISSION
More information & submission at http://tenor2016.tenor-conference.org

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

The Canadian Association for Sound Ecology is pleased to launch our Audio Postcards project with a CALL for SUBMISSIONS. Please consider submitting and distributing this call for submissions. International submissions are welcome, but must be of the Canadian soundscape.

AUDIO POSTCARDS Call for sounds!
This is a call for submissions to Audio Postcards sourced from across the Canadian soundscape. This call is open to ecological researchers, audio artists, composers, and the listening public. In 1 to 2 minutes, create or capture an aural image of a place, moment, or region of Canada. They are open to sonic explorations of weather, urban life, animals, environmental data, or just the sounds from your porch. The Canadian Association welcomes any submissions ranging from unedited field recordings to completely transformed electroacoustic compositions; their goal is to hear how YOU hear the acoustic environment!

For full details:
http://www.soundecology.ca/acoustic-ecology-2/audio-postcards-call-for-submissions/

De Montfort University – Leicester Media School
Faculty of Technology

This is an exciting opportunity to join an established subject team and research centre, with an international reputation for research and collaboration. This post is being offered under the Vice-Chancellor’s Lectureship scheme, which aims to enable individuals to grow and develop in their area of expertise in a fully supported teaching and research environment, with access to funding and development to enable them to progress along a teaching and research trajectory. This includes guaranteed initial ring-fenced time to develop research projects and outcomes.

The University is seeking an individual to enhance the breadth and skills of the existing team and bring imagination and innovation to developing the subject’s culture, research activities and portfolio of taught programmes. You will be able to offer a dynamic and distinctive contribution to the Music and Audio Subject Group, within the Leicester Media School, and wider university context.

Your creative practice and/or scholarship should fall within one or more of the following categories: sonic art; sound art; soundscape; sound design; live performance and interactivity; cross-arts, multimedia, new media arts, intermedia practice; public art; installation art; collaborative practice; games; network music and emerging online practices; algorithmic, generative, synthesis, mapping practices; hardware systems and electronics for music; experimental electronic music practice.

You will become a member of the Music, Technology and Innovation Research Centre (www.mti.dmu.ac.uk), potentially teach across a range of BA and BSc programmes, contribute to the development of Masters-level provision, and supervise research students. There are many opportunities to develop curriculum content, enhance the experience of students, enhance the reputation of the area nationally and internationally, and benefit from – as well as develop – new national and international collaborative relationships in academia and beyond.

You must have experience of teaching at undergraduate level and a relevant research profile.

For further information please contact the Subject Group Leader, Dr. Simon Atkinson.

Location:	Leicester
Salary:	£32,277 to £45,954 Grade F/G, per annum
Hours:	Full Time
Contract Type:	Permanent

Placed on:	22nd July 2015
Closes:	2nd September 2015
Job Ref:	VC2020

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

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

Three renowned keynote speakers will begin each day of the technical program: Prof. Barry Truax (Simon Frasier University, Vancouver, Canada) will speak about microsound and composition. Dr. Derry Fitzgerald (Nimbus Centre, CIT) will talk about source separation algorithms, and Dr. Stefan Bilbao (University of Edinburgh) will explain physical modelling synthesis. Each day will consist of multiple paper and poster presentations in areas from Interactive Performance Systems to Multimodality in Sound and music Computing to Auditory Displays and Data Sonification. A full program of the summerschool and conference can be found at http://www.maynoothuniversity.ie/smc15/index.php.

For more information on any of the events or please contact:
Joe Timoney/Tom Lysaght

PhD Studentships in Spatial Audio and Vision
S3A: Future Spatial Audio for Immersive Listener Experience at Home
Five fully-funded PhD Studentships are available for UK students to join the flagship S3A project pioneering the future of spatial audio from production through to reproduction at home. The goal of S3A research is to introduce practical technologies for spatial audio that will revolutionise how listeners experience sound. S3A is a collaborative project between the Universities of Surrey, Salford and Southampton and the BBC Research and Development.

PhD studentships are available in the following areas:

Area of research
Institution/Contact

1.   Audio perception: games, binaural, emotional response to sound and audio quality

Salford – Prof. Trevor Cox
t.j.cox@salford.ac.uk

2.   Spatial audio recording and production

Surrey – Dr. Philip Jackson
p.jackson@surrey.ac.uk

3.   Spatial audio reproduction with loudspeakers or headphones

Southampton- Dr. Filippo Fazi
filippo.fazi@soton.ac.uk

4.   Perceptually optimised capture and reproduction of extended sources in 3D audio systems*

Surrey/BBC – Dr Russell Mason
r.mason@surrey.ac.uk

5.   Immersive audio-visual content production*

Surrey/BBC – Prof. Adrian Hilton
a.hilton@surrey.ac.uk

*BBC industrial case studentship

Although PhD researchers will be based at the relevant host institution, research will be conducted within the S3A wide project team providing opportunities for collaboration and extended secondment to other S3A partners. Further information about the S3A research project is available at  S3A-spatialaudio.org

Entry Requirements
Candidates should hold a 1st or 2:1 Bachelor’s degree and preferably a Masters with distinction in an appropriate discipline (e.g., engineering, computer science, signal processing, applied mathematics, physics, experimental psychology). They should be able to demonstrate excellent mathematical, analytic, programming skills and/or experience in perceptual studies depending on the PhD research topic. Preference will be given to applicants with experience in one or more areas of: sound perception, music and media production, audio and speech signal processing, multi-channel and 3D audio technologies, image and video processing, computer vision, acoustics, array processing, blind source separation, detection and tracking, statistical signal processing and machine learning.

Funding
Funding is available for UK nationals only and covers full tuition fees (home rate) and a stipend at the rate specified by the Research Council (rate for 2015-2016 is £14,057 p.a. tax-free). The award will be for a period of 3 years starting in October 2015.  Industrial case studentships will attract an enhanced stipend (~£18,000 p.a. tax-free).

[Students from EU countries other than the UK are generally eligible for a fees-only award]

How to Apply: send (i) cover letter indicating your preferred PhD research area, (ii) curriculum vitae, (iii) outline research proposal (max. 2 pages), (iv) details of two academic referees, and (v) copies of transcripts and certificates of qualification to Liz James e.james@surrey.ac.uk. For specific information on PhD research projects please contact the lead investigator listed above.

Suitable candidates will be shortlisted within one week of the closing date, then invited to complete the formal application process including an interview.

The closing date for applications and support documents is 15 July 2015.

Puce Muse 2015
Appel à commande (#1)
à destination des artistes multimédias utilisateurs avertis du logiciel MAX/MSP

PUCE MUSE, en partenariat avec le CDMC et la SACEM, passe commande de musiques visuelles composées pour la Méta-Mallette*, dispositif de musique et image assistées par ordinateur.
Elles sont jouées dans la saison PUCE MUSE et appelées à être vendues en téléchargement par les détenteurs d’une licence Méta-Mallette via le site web ressources www.meta-librairie.com.
Cet appel s’adresse à des artistes multimédias ou tandems musicien / vidéaste, utilisateurs avertis du logiciel MAX, qui composeront une pièce pour META-MALLETTE 4.0 via son SDK (kit de développement).

Vous trouverez le détail de cet appel en cliquant sur le lien suivant : www.cdmc.asso.fr/fr/actualites/agenda-musique-contemporaine/concours-app… 

Appel à commande (#2)
à destination des musiciens improvisateurs d’instruments acoustiques

Cet appel s’adresse à des musiciens improvisateurs d’instruments acoustiques, aimant pratiquer différentes techniques de jeu. Le musicien apportera son ou ses instrument(s) et sera enregistré et filmé à PUCE MUSE, une demi-journée. Sont exclus de l’appel à commande (parce que déjà choisis) les instruments suivants : flûte, clarinette, vibraphone.

Vous trouverez le détail de cet appel sur le lien suivant : www.cdmc.asso.fr/fr/actualites/agenda-musique-contemporaine/concours-app…

Date limite des candidatures pour les 2 appels : 24 juillet 2015 à 12h.

Renseignements :
Puce Muse / Espace Musical
Tel : +33 (0)1 45 12 04 50
Courriel : administration@pucemuse.com
Site web : www.pucemuse.com

Une expérience live interactive

Chloé compose spécialement pour la Fête de la musique une performance live utilisant les nouvelles technologies web audio, tout juste sorties des labos de recherche de l’Ircam. Inspirée par ces nouvelles possibilités, l’artiste conçoit une expérience sonore inédite et interactive : les sons circulent de ses machines à vos smartphones. Participez au concert en lançant certaines séquences musicales collectives avec votre téléphone.

Écoutez, jouez ! Infos : http://manifeste2015.ircam.fr/events/event/chloe-meets-ircam/

Testez votre smartphone à partir du 28 mai

Création musicale Chloé

Équipe de recherche Ircam (Interaction son-musique-mouvement) Norbert Schnell, Sébastien Robaszkiewicz, Jean-Philippe Lambert, Benjamin Matuszewski
Ingénieur son Ircam Joachim Olaya

Coproduction Ircam-Centre Pompidou, KTDJS, Ministère de la Culture et de la Communication.
Les technologies Web Audio utilisées dans cette performance sont développées dans le cadre des projets de recherche CoSiMa (Collaborative Situated Media) et Wave (Web Audio Visualisation and Editing) soutenus par l’Agence nationale de la recherche, et coordonnés par l’Ircam

June 21, 2015 – June 28, 2015

Dedicated to showcasing the best electroacoustic music and video art from all over the world, the New York City Electroacoustic Music Festival includes electroacoustic music recorded alone in up to eight channels, works involving live electronics, works combining musical instruments or voices with recorded or live electronics, video and multimedia works, and audio and video installations.

Vous avez toujours été sensible à la dimension spatiale du son ? Comment l’entendre se déplacer provoque des images, des impressions sur ce qui est en train de se passer, des émotions ?

Ce stage est destiné à tout qui souhaite utiliser les technologies modernes pour reproduire les mouvements du son dans l’espace. Il analysera la dimension spatiale d’œuvres acousmatiques dans un premier temps. Dans un deuxième temps, le stage se consacrera à l’interprétation et aux gestes nécessaires pour mettre en relief les espaces créés par le compositeur et recréer soi-même les mouvements dynamiques et spatiaux. Il se clôture par un concert public des stagiaires le dernier soir, dans la prestigieuse salle 1900 de l’Espace Senghor/Centre culturel d’Etterbeek.

Le stage est donné par Annette Vande Gorne, pionnière de la spatialisation en Belgique.
Date limite d’inscription : 20 juin 2015
Maximum 10 participants
Dates : 01/09/2015 au 05/09/2015
Horaires : mardi au samedi de 10 à 17h
Coût : 350€

Offre Exceptionnelle : pour 50 € supplémentaires suivez également le stage d’interprétation acousmatique Futura du 24 au 29 août à Crest (Drome, France).

http://www.musiques-recherches.be/fr/agenda/concert-acousmatique/item/5517-2014-12-01-13-20-49

An actual cloud in the ZKM museum? An uprooted house suspended by a crane in Karlsruhe city center? Spectacular installations, innovative works of art at the interface of natural science, urban area performances, concerts, lectures and conferences – come and experience 300 days of GLOBALE – The New Art Event in the Digital Age.

Step into the all-encompassing, otherwise invisible infosphere in the museum-scale, audio-visual installation by Japanese media artist Ryoji Ikeda. Though perhaps not »sitting on a cloud« then by means of a conversion – you can experience the way in which art and science complement one another and, with new tools, transform things into a reality that one had previously thought as impossible.

And this is just the beginning…

From June 19, 2015 till April 17, 2016, the ZKM offers exhibitions and events on central twenty-first century themes: globalization and digitalization. The new art format thematizes their effects and shows the decisive tendencies of the twenty-first century by way of the most recent art productions that go beyond the art market.

Use the culture pass KULTURmalVIER [Culture four times], which is also linked with an attractive Deutsche Bahn Offer. We look forward to welcoming you!

Call for EMSAN/JSSA Day 2015
Gifu-Salamanca Electroacoustic Music Festival
Gifu (Japan)

The Japanese Society for Sonic Arts (JSSA) and the Electroacoustic Music Studies Asia Network (EMSAN-IReMus) are glad to announce the EMSAN/JSSA Day 2015 symposium. It will be held during Electroacoustic Music Festival at Salamanca hall (EAMS), at Gifu-Salamanca Hall (in the buildings Gifu Fureaï Plaza). Salamanca hall is located in Gifu, Japan. Presentations about the main theme and any other topics concerning Asian Electroacoustic Music will be welcomed.Information :

(1) Date and time　: September　11th (Fri.) 2015, 13:00-16:00
(2) Conference venue :  Gifu-Salamanca Hall (in the buildings Gifu Fureaï Plaza), 5-14-53 Yabuta-minami Gifu, Japan
(3) Time limit for each presentation : 20 minutes.
(4) Language : Presentation can be made in English or in Japanese. No translator provided. Japanese presentations must have abstracts and slides written in English.
(5) Proceedings : The presentations will be published after the event on the EMSAN-IReMus Web site, in PDF format, in the peer-reviewed symposium proceedings.
(6)  Main Theme :  Transmission and Communication in Asian Electroacoutic Music.

The development of Electroacoustic music has led to new forms of arts. They are supported by innovative types of communication technology; musique concrète was related to radio studio, realtime live-electronics was made possible by high-speed audio processing, telematic music is relaying on network transmission, and so on. The term « transmission » can be interpreted in a broad sense: It can be a computing system, which enables peer-to peer communication, as well as a social system like broadcasting and social networking. How has been and will be the situation of transmission and communication in the past, present and future of Asian electroacoustic music?
(7) Important Dates
Deadline of the abstracts and bio with a photo : August 5th , 2015
Announcement of the presentation programs : August 10th , 2015
(8) Submission addresses : Abstracts and a bio with a photo should be sent by email before August 5, 2015 to both these addresses:
marc.battier@paris-sorbonne.fr
mikakom@sda.nagoya-cu.ac.jp

The EMSAN/JSSA Day 2015 symposium is supported by the Japanese Society for Sonic Arts (JSSA) and the French Institut de Recherche en Musicologie (IReMus-UMR 8223).

Radio du Val de Drôme (France) chaque lundi de 21h00 à 21h30 (rediffusion le dimanche suivant à 15h00), ainsi que site Internet de la station : http://live.francra.org:8000/RadioSaintFerreol.m3u

Lundi 6 avril (rediffusion dimanche 12 avril)
Séquence découverte
Stephen Montague ‘Slow Dance On a Burial Ground’ (24:34)
Séquence éclectique
The Bug ‘Save Me’ (05:33)

Lundi 13 avril (rediffusion dimanche 19 avril)
Séquence découverte
Zavoloka ‘Viter’ (19:52)
suivi de
Coh ‘SU-U’ (16:59)

Lundi 20 avril (rediffusion dimanche 26 avril)
Séquence découverte XL
Jonty Harrison ‘ReCycle’ (pièce intégrale, 47:39)

Lundi 27 avril (rediffusion dimanche 3 mai)
Séquence éclectique XL
Kevin Drumm ‘Sheer Hellish Miasma’ (extraits, 41:49)

Programmation et réalisation de Bérangère Maximin.
Production Home Sweet Home studio et Motus pour la station RSF 94.2

Nouveauté CD – collection Motus > Aujourd’hui

CD hommage consacré à la musique du compositeur Christophe Bertrand, qui nous a quitté, joué par les ensembles In Extremis et Court-Circuit. Disponible en ligne ici ou sur clicmusique.

Le concert de sortie de disque aura lieu le 9 avril au Musée d’art moderne et contemporain de Strasbourg à 20h00.

Tarifs : de 6,5 € à 10 €
Lieu : Auditorium des Musées, Musée d’Art moderne et contemporain, 1 place Hans Jean Arp, 67000 Strasbourg
Informations et réservations : Musées de Strasbourg, 03 88 52 50 00
En savoir plus…

Concert en hommage à Luc Ferrari
Au Collège de Bernardins, à Paris – Mercredi 29 avril à 20h30

Avec Elise Caron, voix, Denis Chouillet, piano, Jonathan Prager (Motus), acousmonium

Tarif : 15/10€
Lieu : Le Collège des Bernardins, 20 rue de Poissy 75005 Paris
Organisation : La Muse en Circuit
En savoir plus…

Concerts de la classe de composition du CRR et du PSPBB
Au Cirque électrique, à Paris – 15, 16 et 17 avril

Mercredi 15 avril 19h00 – Concert 1
musiques de Étienne Blanchard, Giammarco Magno, Hiroaki Haiyama, Marie Tsuruzawa , Kana Kuroyanagi, Michèle Bokanowski
Interprètes : Étienne Blanchart, Maylis Raynal, Vincent Guiot, Jonathan Prager

Jeudi 16 avril 19h00 – Concert 2
musiques de David Torres, Stéphane Bélijar, Na Young Joo, Jonathan Oberlander, Vincenzo Deluci, Vincent Guiot, Yuka Nagamatsu, Mitsuho Seki, Chiaki Amano, Yoric Spick
Interprètes : les compositeurs et Jonathan Oberlander, Vincent Guiot

Vendredi 17 avril 20h00 – Cirque à son
Spectacle acousmatique et théâtral conçu et réalisé par Vincent Guiot et Romain Vasset
Composition collective des étudiants en composition de Denis Dufour et Jonathan Prager au CRR de Paris et au PSPBB
Mise en Scène : Eva Guland
Comédiens : François Le Roux, Milan Boëhm et Vincent Guiot
Interprète sur acousmonium Motus : Vincent Guiot
Lumière : Chloé Borgella

Entrée libre
Lieu : Cirque électrique, place du Maquis du Vercors, 75018 Paris (Métro Porte des Lilas)
Organisation : CRR de Paris / Dac-Ville de Paris en partenariat avec Le Cirque électrique
Production : Motus

Lectures et acousmatique
Mairie du 2ème arrondissement de Paris – Mardi 14 avril – 20h30

Un programme mélangeant musique acousmatique et lectures. Où il est question du réel, du quotidien avec notamment son aspect tragique. Motus invite pour l’occasion le poète Patrick Dubost.

Lecture 1 : Patrick Dubost
Philippe Leguerinel Les ornières ont disparu [ 2013-14] 15’00
Lecture 2 : Patrick Dubost
Bernard Parmegiani Le présent composé [1991] 23’50
Lecture 3 : Patrick Dubost
interprètre sur acousmonium : Jonathan Prager

Entrée libre
Lieu : salle des expositions de la Mairie du 2e arrondissement de Paris, 2 rue de la Banque
Métro Bourse
Organisation : Mairie du 2ème arrondissement de Paris
Production : Motus
Avec le soutien de la Spedidam

Le Prix Vidéoformes est une compétition qui rend compte de la diversité des écritures, des univers artistiques et des formes innovantes de la vidéo d’aujourd’hui.

611 vidéos reçues de 52 pays : Allemagne, Angleterre, Argentine, Autriche, Belgique, Bénin, Bosnie, Brésil, Bulgarie, Cameroun, Canada, Chili, Chine, Chypre, Colombie, Corée, Danemark, Espagne, Ethiopie, Finlande, France, Grèce, Hong Kong, Hongrie, Inde, Indonésie, Iran, Irlande, Israël, Italie, Japon, Liban, Maroc, Mauritanie, Mexique, Norvège, Pays-Bas, Philippines, Pologne, Portugal, Roumanie, Russie, Serbie, Slovénie, Suède, Suisse, Taiwan, Thaïlande, Turquie, Ukraine, USA, Venezuela. Elle présente un panorama international à travers une sélection de 68 vidéos réparties en 10 programmes.

Un jury formé de professionnels internationaux décernera un palmarès annoncé samedi 21 mars :
Prix VIDEOFORMES 2015 / Ville de Clermont-Ferrand
Prix VIDEOFORMES 2015 / Conseil Général du Puy-de-Dôme
Prix VIDEOFORMES 2015 / Prix spécial NUMERO 23
Prix VIDEOFORMES 2015 / Prix Université Blaise Pascal des étudiants

Jury professionnel 2015 :
Abir Boukhari (artiste et directrice artistique de AllArtNow, Damas, Syrie)
Philippe Franck (directeur de Transcultures, artiste et enseignant, Mons, Belgique)
Paul Ouazan (co-responsable de l’Atelier de Recherche d’Arte France, Paris, France)

SOUNDkitchen EARspace
Call For Works

SOUNDkitchen are working with Frontiers Festival 2015 to present EARspace on 21 March 2015 at HFWAS in Digbeth, Birmingham: hfwas.co.uk.

EARspace is an informal multichannel listening space consisting of an 8.1 loudspeaker system. EARspace will present a continuous programme of works for the duration of the event in the manner of a sound installation. There will be no fixed seating or a defined ‘front’ and the 8 speakers will be arranged in a circle or ellipse around the exterior of the listening space.  Audience members will be free to enter and exit the space at will.

Frontiers Festival 2015 takes a close look at technology in contemporary music, and in particular at the intersection between electronics and acoustics. The development of audio technology, both analogue and digital, has resulted in the proliferation of music that expands the palette of sounds composers have at their disposal beyond conventional instruments to all manner of new sonic possibilities. We are seeking fixed media, experimental electronic sound works (acousmatic, sound art, soundscape, radiophonic, noise, etc..) that address either of the following themes:

1. Work that references conceptually or sonically acoustic instruments.
2. Work that references conceptually or sonically, specific items of audio technology that have influenced experimental electronic music production (e..g. analogue tape, microphone, vinyl, sampler, synthesizer, portable audio recorder, midi, digital tools, coding software, circuit bending etc.)

Fixed media works of up to 8.1 channels are accepted. Works for quad, 5.1, 7.1 8 etc. configurations will be accommodated as closely as possible to the composer’s requested loudspeaker placement within the circular array. Stereo works may be diffused or duplicated across additional loudspeakers.

Deadline: Midnight, Wednesday 11 March 2015

SOUNDkitchen: soundkitchenuk.org
Frontiers Festival:  www.frontiersmusic.org

Pour les dossiers d’inscription c’est au lien suivant :
http://www.hear.fr/academie/dossiers-concours-2015-2016.php

Voir en bas de la page pour le lien pour le formulaire d’inscription en “création et interprétation électroacoustique”

 

Lewis University and Kansas City Kansas Community College are pleased to announce an international call for submissions for the Electronic Music Midwest Festival, featuring guest performer Keith Benjamin (trumpet), to be held November 19-21, 2015 at Kansas City Kansas Community College. Each concert will feature an 8.1 speaker diffusion system. Acclaimed trumpeter, Keith Benjamin, will be the featured performer and composers are encouraged to submit works for his consideration. Any composer regardless of region, age or nationality may submit one work.

Deadline: May 20, 2015
Entry Fee: none

For complete guidelines, visit http://www.emmfestival.org/data/callforsubmissions.html