EMS17 Electroacoustic Music Studies Conference

Nagoya City University: 4-8 September 2017 decorative dots

EMS17 Conference Theme:
Communication in/through Electroacoustic Music.

Venues decorative dots

Nagoya City University, School of Architecture and Design (Kita-chikusa campus)
*Big Lecture Room (capacity of 250 persons)

Main Theme decorative dots

The conference theme considers cultural/intercultural communication in/through electroacoustic music. Communication is possible among people who share certain common bases such as language, logic, sense, perception, listening contexts, etc. What are the common bases for electroacoustic music? How are these manifested in intercultural situations? Topics concerning technical application within electroacoustic music regarding communication systems such as interaction, telematics, SNS etc. are also welcomed.
Other paper themes are welcome concerning any topics within the field of electroacoustic music studies. For example, presentations can be given on research on electroacoustic music history, aesthetics, analysis of a piece, social aspects, terminology, taxonomy, sound ecology, genres and styles, pedagogy, research trends, etc.

Keynote Speech
To be announced

Conference Co-Chairs
Mikako Mizuno
JSSA (Japanese Society of Sonic Arts)

Steering Committee
Marc Battier
Leigh Landy
Daniel Teruggi


The conference is also open to other topics relevant to the history and/or contemporary practice of electroacoustic music. We encourage the submission of papers relating to any aspect of the field, including but not limited to analysis, perception, listening, terminology, composition, performance, cultural issues and education.

– What types of discourse are relevant to electroacoustic works?
– Which analytical methods are currently being developed?
– Can one adapt existent analytical methods of music to electroacoustic works, many of which involve no prescriptive notation?
– How can we further develop the field of study of electroacoustic musics?

Transcription and representation of sound, new audio-visual tools:
– How are analytical tools being produced and disseminated in the community?
– Which means are available for communicating this sonic art form through symbolic and graphic representations?
– Does the study of electroacoustic musics require specifically designed tools or can it take advantage of methods conceived for other musics?

Taxonomy, terminology – ‘meaningful’ units of music description:
– Which systems of classification are in use or should be developed?
– How can we become more consistent in our use of terminology in a field as dynamic as electroacoustic music?

Real-time music making:
– How can live performance/composition strategies be analysed?
– What is ‘live’ electronic music?

Performance, presentation, dissemination:
– What is the ‘work’?
– New presentation spaces, technologies.
– Aesthetical and musical issues raised by Internet communities, group compositions, telematics and performances.

Listening, Intention-Reception
– Issues of perception and interpretation.
– How do the composer’s intentions relate to what is perceived?

Semiotics/semiology, ‘meaning’:
– What (and how) do different electroacoustic music genres express?

Soundscape, sound ecology:
– Analytical tools for the understanding of soundscapes.
– New approaches to sound ecology, sonification, sound environment.

Genres/styles, ‘languages’:
– Questions of unity, diversity, plurality, multicultural resources, polystyle, hybridisation, ‘local music

Gender issues:
– Have gender balances shifted since the early days?
– The relationship between technology/electroacoustic music and gender.
– Unrecognised contributions: revising history.

Research on history of electroacoustic music:
– Research on historical documentation.
– Studies on the genesis, development and activities of private and public studios.
– How can and should we revise history?

Socio-cultural issues:
– What are the socio-cultural ramifications of electroacoustic music?

– Curriculum design.
– Balance between theory and practice, general and specific approaches.
– Real-time and interaction versus fixed medium and studio techniques.
– Teaching material: how to select it, and language issues.

Paper Submission decorative dots

Abstract submission guidelines:
A submission should consist of a zipped folder containing:
– The paper abstract in English (maximum 1,500 words), headed with author name(s), organization affiliation (if any), contact address, telephone, and email address in PDF;
– A curriculum vitae (2 pages maximum) in PDF;
– A list of publications (2 pages maximum) in PDF;
– A brief bio (150 words) in PDF.

Submission are to be made directly by email to ems17@ems-network.org

The abstract should be ready for publication if the paper is accepted. A program containing the paper abstracts will be made available on the EMS website (www.ems-network.org) and distributed at the conference.

Submissions from students and early-career postdoctoral researchers are particularly encouraged.

Paper presentation guidelines:
Each paper presentation will be 30 minutes (including a 5 minute question period).
Papers are to be given in English.

Standard presentation equipment will be provided including a video projector, CD/DVD player and stereo sound system.

Deadline for paper application : April 1st , 2017
Announcement of the result : May 1st , 2017


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