International conference for PhD students

International conference for PhD students

 “Musicology (in)action: Past musics, present practices, future prospects”

 Thessaloniki, 9 – 11 February 2018

 The Department of Music Studies of the Aristotle University of Thessaloniki and the Department of Music Science and Art of the University of Macedonia will host, under the auspices of the Hellenic Musicological Society, an international conference for PhD students entitled “Musicology (in)action: Past musics, present practices, future prospects” in Thessaloniki, Greece, from 9 to 11 of February 2018.

 

Call for papers

In recent years, musicology has tested its boundaries, objects of study, and, indeed, prospected future through the constant questioning of its subfields, themes, and methodological underpinnings. At the same time, this interrogative process has also been one of constant development of new, often interdisciplinary methodological approaches, frequently extending their grasp on new or hitherto neglected musical repertoires. It is this ambiguous state of conditions that the novice in the field of musicological research faces in her/his everyday effort to situate her/his own research within a constantly changing disciplinary environment. This conference aims to bring together fresh ideas of new researchers in an attempt to help them secure their position with respect to the ongoing discourse of musicology’s saga and with an eye to the future prospects of the field.

 

We welcome proposals of PhD students for 20-minute paper presentations or 40- to 80-minute panel presentations (of up to four participants), addressing a variety of old and new(er) research topics from the broad field of musicology (e.g. historical and cultural musicology, music theory and analysis, ethnomusicology and musical anthropology, music psychology, computational musicology, music philosophy and aesthetics). Proposals on topics that cross the strict intra- or inter-disciplinary boundaries of musicology are also welcomed.

Proposals and inquiries should be submitted to the following email address:

conf.phd.2018@gmail.com

 

Proposals for paper presentations should include:

– name of participant(s) and institutional affiliation(s)

– abstract (up to 300 words)

– brief CV (up to 100 words)

 

Proposals for panel presentations should include:

– name of participants and institutional affiliations

– general abstract of proposed panel presentation (up to 300 words)

– individual abstract of each participant’s presentation (up to 300 words)

– brief CV of each participant (up to 100 words)

 

DEADLINE FOR PROPOSAL SUBMISSION: 30 May 2017

NOTIFICATION OF APPROVAL: No later than 15 July 2017

PARTICIPATION FEE: PhD students: 50 euros, undergraduate and master’s students: 30 euros

OFFICIAL LANGUAGE: English

For more information on the reviewing committee, the venue of the conference, etc. please visit the conference’s website (which is under construction):

http://conferences.lib.auth.gr/ICMDR/index/index

 

ACADEMIC ADVISORY COMMITTEE:

Chardas Konstantinos

Nika-Sampson Evanthia

Pastiadis Konstantinos

Vouvaris Petros

 

COORDINTAING COMMITTEE

Kalaitzidou Stamatia

Spanoudakis Dimosthenis

Toumanidou Katerina

Trouka Dimitra

Zlatkou Vasiliki

 

ORGANISING COMMITTEE

Apostolou Andreas Foivos

Authentopoulou Despoina

Banteka Dimitra

Diminakis Nikos

Karamanidis Charalampos

Nikolaidis Nikos

Ntousiopoulou Antigoni

Ntovas Christos

Pouris Christos

Roumpi Antonia

Savvidou Charoula

Scarlatou Chrysa

Seglias Zisis

Sidiropoulou Christina

Sotiriadis Theophilos

Tasoudis Dimitris

Language, Music, and Computing

Second International Workshop on Language, Music, and Computing

http://lmac.hf-guap.ru/ENG/index.html

Aims of the workshop: to encourage interdisciplinary communication and collaboration of linguists, musicians and IT-specialists in the sphere of some actual problems, among which are the following:
1. Language and music acquisition; influence of music skills on language acquisition and language processing; influence of linguistic skills on music acquisition; relationship between music and language training.
2. Linguistic and music knowledge, their structure and functioning; explicit and implicit knowledge of music and language; similarities and differences in understanding of music and language.
3. Automatic classification of linguistic and music knowledge; formal models of linguistic and music knowledge; musical information retrieval vs. linguistic information retrieval.

This year special topics of the workshop are:
– Formal representation of language and music: differences and similarities
– Sound corpora in music and linguistics

Keynote speakers:
Sabine Iatridou, USA
Sergi Jordà, Spain
Merryl Goldberg, USA
Elena Riekhakainen, Russia

Languages of the conference:
Russian & English (some sessions will be simultaneously translated)

Submission process:

Abstracts from different fields are warmly invited. Presentations will last 20 minutes, followed by a ten minute discussion. Abstracts should be submitted before November 27, 2016. Notification of acceptance follows on January 20, 2017. Abstracts should be 450-500 words long (without any subheadings) and clearly present a research question/aim, critical review of the literature, methodology, results and conclusions. Abstracts should be submitted as a pdf. If you wish to include any specific symbols (such as phonetic transcription), please submit your paper both in DOC and PDF format. We have the intention to select papers for a peer-reviewed special issue.
Please send each abstract both in anonymized and unanonymized forms (with author(s) and affiliation) to the following address: al@hf-guap.ru

Registration fee (includes program, coffee-breaks, post-conference publication, visa support (if needed)):
Early-bird fee (before March 15, 2017) – 2500 rubles, or 45 euros; students – 1000 rubles, or 20 euros;
regular fee (after March 15, 2017) – 3000 rubles, or 55 euros; students – 1500 rubles, or 35 euros.

Important dates:

Submission deadline: November 27, 2016
Notification of acceptance: January 20, 2017
Registration starts: February 1, 2017
Early-bird registration ends: March 15, 2017
Workshop: April 17-19, 2017
Final papers: June 1, 2017
Results of the revision process: July 25, 2017
Publication – Fall 2017

ISSTA International Festival and Conference on Sound in the Arts, Science and Technology

ISSTA International Festival and Conference on Sound in the Arts, Science and Technology: Temporary Autonomous Zones

Sept 7th–9th 2016 (Derry/Londonderry, Northern Ireland)

Ulster University and partner venues

Call for Papers, Compositions, Artworks and Workshops: Deadline: April 4th

Website: http://issta.ie/call-for-submission-2016/

Keynotes:
Professor Leigh Landy (De Montfort University, Editor of Organised Sound)
Dr Liz Dobson (Yorkshire Womens’ Sound Network, University of Huddersfield)

Headline Workshop:
Gregory Taylor (Education R&D, Cycling 74 software: makers of Max)

Installations, Artworks, Concerts, Papers, Panels, Workshops

FESTIVAL/CONFERENCE THEME: TEMPORARY AUTONOMOUS ZONES

One of the reasons we value sound as a perceptual and phenomenological event is that it allows for the creation of new types of sensory engagement with space. Creative processes of sounding allow us to design different types of sound worlds; places which can become autonomous zones. Lefebvre, in his seminal text The Production of Space, alludes to the concept of autonomous zones or imagined spaces; places which are imagined and created by community.

The idea of how we create and respond to autonomous zones is the subject of this year’s ISSTA festival as it comes to Northern Ireland for the first time, fostering a range of artistic, technological and academic interventions in Derry/Londonderry entitled Temporary Autonomous Zones 2016. A Temporary Autonomous Zone (TAZ), as defined by the poet and anarchist cultural theorist Hakim Bey, is more than just a distinct space; it is a space in control of itself in that it does not recognise outside authority.

We look forward to inviting artists, scholars, technologists and other practitioners to Derry/Londonderry to investigate and play with some of these questions. From the historic autonomous zones of the 17th–century walled city of Londonderry to the autonomous commune of Free Derry (1969–72) to the highs, lows and contradictions of becoming the first UK City of Culture and even to its contested name and identity, we hope that Derry/Londonderry will offer a stimulating context for sharing participants’ work and ideas.

We are seeking works of art, research papers, performances, compositions and workshops that engage with the concept of autonomous zones and the social spaces of sound and technology.

Categories:

PAPERS (and POSTERS)
Acoustic Ecology
Acoustics
Circuit Bending
Computational Musicology
Computer Music
Digital Audio and Digital Signal Processing
DJ Practice
Electroacoustic Music
History of Sound, Science and Technology
Interfaces for Music or Sound
Laptop Music
Live Electronics
Live Sound Reinforcement
Music Perception
Music Recording and Production
Music/Audio software
Noise Music
Psychoacoustics
Recording Engineering
Sound Art and Media Art with a Sonic Focus
Soundscape Art/Studies
Sound Diffusion and Spatialization
Sound Engineering
Sound Synthesis and Design
Sound, Science and Technology Education/Pedagogy

To submit:  1-page abstract (approx.. 500 words) including whether paper or poster submission.

INSTALLATIONS/ARTWORKS
Interactive Sound Art
Site-specific Sound Art
Sound Art Installation

MUSIC
Circuit Bending
Computer Music
DJ/Scratch Music
Electroacoustic Composition – fixed-medium or real-time
Laptop Performance
Mixed Composition for electronics and performers
Noise Music
The call is open to all practitioners regardless of nationality. Participants are responsible for their own travel and accommodation. Registration for ISSTC 2016 is required for participation.

Registration fees are as follows (current ISSTA members pay only the registration fee):
Professional: €70 (€40 registration + €30 ISSTA membership)
Postgraduate student: €50 (€30 registration + €20 ISSTA membership)
Undergraduate student or unwaged: €25 (€15 registration + €10 ISSTA membership)

Submissions are due April 4th, 2016. Notifications will be sent by June 4th, 2016.

Full call details here: http://issta.ie/call-for-submission-2016/

Partners:
Irish Sound, Science and Technology Association
Ulster University: School of Creative Arts, Research Graduate School (Arts) and the Arts and Humanities Research Institute
FabLab NI and the Nerve Centre (Derry/Londonderry)
Outreach workshops supported by the Garfield Weston Foundation
The Spatial Music Collective

(Per)Forming Art: Performance as Research in Contemporary Artworks

20 Sep 15

University of Leeds

The acts of composing and performing are central processes to the formation of a musical work. Performance is a medium through which music is formed. It is a significant part of a work’s compositional process and, as such, forms a symbiotic relationship with the act of composing. An iterative cycle between performance and composition comes about when the composer performs their own work and/or composes through performance. Performance in this manner can be seen as a form of practice-based research that can guide the compositional process.

This RMA conference focuses on performance as a type of compositional technique and as a mode of practice-based research for the act of composing a work. Primarily engaging with music of the twentieth and twenty-first centuries, ‘(Per)Forming Art’ invites proposals for a series of lecture-recitals by composers to demonstrate their research through performance. Such disciplines include, but are not limited to, acoustic composition, electronic composition, composing with improvisation, live coding. Presenters and delegates will have the opportunity to meet other researchers, performers, and composers as well as learn about a variety of approaches, techniques, and processes relevant to the formation of an artwork.

Proposals are invited for forty-minute lecture-recital slots (thirty minutes for presenting and performing followed by ten minutes for questions and answers). Composers may perform their own works or invite performers to accompany them (performers will not be provided by the conference).

Possible topics include, but are not limited to:

  • Performance as practice-based research of compositional techniques in general
  • Performance as an actual technique for composing music
  • How performing other works can inform the compositional process of one’s own work and/or how one engages with performance as a compositional technique
  • How engaging with other performers performing other works can inform the compositional process of one’s own artwork.
  • Live coding and its influence on compositional practice
  • Improvisation and its influence on compositional practice
  • Performance as a unifying medium between separate artistic disciplines within interdisciplinary artworks
  • Performance as a technique for composing a work vs performing a ‘finished’ composed work

Presenters will also be asked to perform in the conference concert on the evening of the conference. The artwork(s) they perform should be related to (if not the same as) their lecture-recital topic. Proposed lecture-recitals should be emailed as abstracts (of up to 500 words, and with titles) to the (Per)Forming Art Symposium (performingartsymposium@gmail.com) no later than Monday 6th July, 2015.

Lecture-recital proposals should include the following details: name, institutional affiliation (if any), email address, any special requests such as AV requirements.

Further information can be found here.

Language, Music and Computing

Call for papers
International Workshop on Language, Music, and Computing
20-22 April, 2015
http://www.lmac.hf-guap.ru/ENG/index.html

Organized by:
• Saint Petersburg State University of Aerospace Instrumentation
• Laboratory of Formal and Computational Linguistics, SUAI
• Saint Petersburg State Conservatoire named after N.A. Rimsky-Korsakov

Aims of the workshop: to encourage interdisciplinary communication and collaboration of linguists, musicians and IT-specialists in the sphere of some actual problems, among which are the following:
1. Language and music acquisition; influence of music skills on language acquisition and language processing; influence of linguistic skills on music acquisition; relationship between music and language training.
2. Linguistic and music knowledge, their structure and functioning; explicit and implicit knowledge of music and language; similarities and differences in understanding of music and language.
3. Automatic classification of linguistic and music knowledge; formal models of linguistic and music knowledge; musical information retrieval vs. linguistic information retrieval.

Proceedings:
A Special Issue of Proceedings of Scientific Meetings at SUAI will be published after the workshop (included into Russian Science Citation Index).

Keynote speakers:
David Pesetsky, MIT
Andrej A. Kibrik, Institute of Linguistics, Russian Academy of Science; Moscow State University
Martin Rohrmeier, Technische Universität, Dresden
John Frederick Bailyn, SUNY at Stony Brook
Tatyana Bershadskaya, Saint Petersburg State Conservatory

Programming Committee:
1. Olga Mitrenina, Saint Petersburg State University
2. Sergey Krylov, Russian Academy of Science, Moscow
3. John Frederick Bailyn, SUNY at Stony Brook
4. Polina Eismont, Saint Petersburg State University of Aerospace Instrumentation
5. Natalia Degtyareva, Saint Petersburg State Conservatory
6. Anton Tanonov, Saint Petersburg State Conservatory
7. Nadezhda Solovyeva, Saint Petersburg State University of Aerospace Instrumentation
8. Natalia Konstantinova, University of Wolverhampton
9. Maria Eskevich, Dublin City University. Ireland

Languages of the conference:
Russian & English (some sessions will be simultaneously translated)

Submission process:
Abstracts from different fields are warmly invited. Presentations will last 20 minutes, followed by a ten minute discussion.
Abstracts should be submitted before January 10, 2015. Notification of acceptance follows on February 15, 2015. Abstracts should be 250-300 words long (without any subheadings) and clearly present a research question/aim, critical review of the literature, methodology, results and conclusions. Abstracts should be submitted as a pdf. If you wish to include any specific symbols (such as phonetic transcription), please submit your paper both in DOC and PDF format. We have the intention to select papers for a peer-reviewed special issue. Please send each abstract both in anonymized and unanonymized forms (with author(s) and affiliation) to the following address: al@hf-guap.ru.

Social program:
 A guided tour of St.Petersburg
 Concert of classical music
 Conference dinner

Venue:
 Saint Petersburg State University of Aerospace instrumentation
 Saint Petersburg State Conservatory

Registration fee (includes program, coffee-breaks, post-conference publication, visa support (if needed)):
Early-bird fee (before March 15, 2015) – 2000 rubles, or 45 euros; students – 1000 rubles, or 20 euros;
regular fee (after March 15, 2015) – 2500 rubles, or 55 euros; students – 1500 rubles, or 35 euros.

Important dates:
Submission deadline: January 10, 2015
Notification of acceptance: February 15, 2015
Registration starts: February 16, 2015
Early-bird registration ends: March 15, 2015
Workshop: April 20-22, 2015

INTER/actions

INTER/actions: Symposium on Interactive Electronic Music
March 15/16, 2014
Bangor University School of Music

INTER/actions is a symposium and mini-festival focusing on performance and interaction in electronic music. We provide a lively environment to exchange new ideas and instigate collaborations for composers, performers, sound artists and music technologists interested in the concept of “performance” in electronic music. In addition to the programmed concerts as part of the festival, we are looking for proposals for workshop pieces and paper presentations. http://bangor.ac.uk/music/interactions

Call for Proposals: Papers and Demos

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 and embodiment
New interface design
Generative composition
Live-generated scores
Improvisation in interactive contexts
Analysis of interactive works
Notation in electronic music performance

Please send a 250-word abstract, as well as a short biography (150 words) to interactions@bangor.ac.uk.

Deadline for Proposals: December 16, 2013

Call for Proposals: Workshop Pieces

We invite composers to submit existing or new works lasting up to approximately 10 minutes for any combination of piano, cello, flute with interactive electronics. In the case of a new work, existing pieces demonstrating similar instrumental writing should be submitted along with a description of the proposed new work. Selected pieces will be workshopped by invited performers Richard Craig (flute), Kathleen Supové (piano) and Seth Woods (cello), led by composer and sound artist Gilbert Nouno (IRCAM), with one or more pieces also chosen to be programmed in the final festival concert on March 16 (which composers are expected to attend).

Funding towards travel will be provided for one or more composers currently residing in France, the UK, or Ireland, partially through a grant from Diaphonique Franco-British Fund for Contemporary Music. We do not, however, guarantee that all expenses will be covered.

In order to be considered for inclusion in the workshop, please submit to interactions@bangor.ac.uk:
− the score of the work for one or more instruments and live electronics to be performed, or another work for instrument and electronics representative of the proposed new work, as a PDF (10MB file maximum, as an email attachment)
− a concert recording, studio recording, simulation or video of the above work, via a link to soundcloud, vimeo, etc. (no download links will be accepted for any materials)
− a proposal for the new work, where applicable, as a PDF (one A4 page maximum); links to sound samples, video, or other media may be included in the PDF
− a complete tech rider for the existing or proposed work, as a PDF (2 A4 pages maximum)
− a short biography (150 words) as a PDF

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

8-channel loudspeaker playback (ATC)
Various microphones (including Schoeps Collette and AKG414)
Soundcraft mixer with 16+16 inputs (switchable), 16 direct outputs, 8 groups, 2 mix, 4 AUX send, 2 FX send
Power Mac computer with MOTU PCI-424 and 24 I/O interface
3x MOTU 828 FireWire interfaces
Large-screen video projection
Steinway D Concert Grand Piano

Composers who need additional equipment are requested to bring their own. Max 6 and IRCAM forum software are available, and composers are welcome to use any freeware such as SuperCollider or PD. Please note: composers are expected to take full responsibility for operating their own patches.

Funding:

One or more partial bursaries will be available for composers based in France, Ireland or the UK towards workshop travel and accommodation expenses, funded partly by the Diaphonique Franco-British Fund for Contemporary Music (see above). Funded composers are expected to make their own arrangements and will receive partial reimbursement at the completion of the festival. Please note that no funding is available for paper or demo sessions as is standard with academic conferences, although we will not be charging any registration fees for those wishing to attend in order to make the events more accessible; concert ticket fees will apply for the evening concert of March 15 only.

2013 International Computer Music Conference

Tura New Music in association with The International Computer Music Association, Edith Cowan University and The Australasian Computer Music Association announces

The 2013 International Computer Music Conference

2013 
 ICMC | IDEA
International Developments in ElectroAcoustics

12 – 16 August 2013

Perth, Western Australia

Keynotes include Agostino Di Scipio (Italy) and Alvin Curran (USA).

For 2013 ICMC also incorporates the regional Australasian Computer Music Conference and runs parallel to the 11th Totally Huge New Music Festival, Perth, Western Australia

Timeline:

10.12.12 Initial Call for Papers and Works

10.1.13 Full Call and Open for Submissions

10.2.13 Submission Deadline

10.2.13 Registrations Open

10.4.13 Papers and Works Confirmed

Initial Call

There are eight ways to submit to ICMC 2013

– short paper
– long paper
– poster
– demonstration
– studio report
– creative work
– piece and paper
– round table proposal

The conference theme for 2013 is IDEA – International Developments in ElectroAcoustics. We encourage the submission of papers examining any topic related to computer music and digital audio, including: aesthetic, compositional, educational, musicological, perceptual, scientific and technical aspects. Only completed papers and creative works will be considered.

Bearing in mind the conference theme, there are several streams for creative works. These may include, but are not limited to;

• solo instrument + electronics

• small and large ensemble + electronics

• laptop

• live coding

• video and music

• acousmatic music

• new interfaces for musical expression

• inter-media performance

• laptop ensemble

• computer-aided acoustic composition

• installation

• spatial music

• networked performance

Resources

There are some specific instrumental configurations available at the conference and recommended for creative work applications.

• Decibel fl/afl/bfl, clar/bclar/ssax/asax/tsax, percussion, piano, violin/viola, cello, electronics

• Clocked Out prepared piano, percussion and electronics.

• Vanessa Tomlinson solo percussion

• Mark Gasser piano and electronics

• Didgeridoo and electronics

• Mace Francis Orchestra – jazz big band and electronics [4 sax, 3 tpr/flugel horn, 3 trombone, guitar, electric bass, drum kit]

• 14.2 spatial configuration

• Western Australian Laptop Orchestra [up to 20 laptops, students at the Western Australian Academy of Performing Arts at Edith Cowan University and The School of Music, The University of Western Australia]

Submissions:

Paper – completed paper using the ICMC2013 Paper Template (Word), to a maximum of 8 pages.

Poster – applicants must provide a PDF on application, and provide an A0 print for the conference.

Piece and Paper – a completed paper using the ICMC2013 Paper Template (Word), to a maximum of 4 pages, that relates to the creative work that follows the guidelines below, submitted together.

Creative Work – no longer than 15 minutes long, all programming/electronics provided as a ZIP file with original score as PDF or video file, and a recording if this is available. Please note any specific software required to perform your piece that you will not be bringing with you. Acousmatic/spatial works must submit a stereo .aiff file.

Roundtable – a group of conversants no larger than 7 or smaller than 3, no longer than 20 minutes. All members must register and attend the conference.

All accepted papers and works require registration at the conference.

A new conference website will be online early January to accept submissions from 10.1.13. Stay up to date at www.icmc2013.com.au