Music and Sonic Art: Sounding Identities

MuSA 2020 – St John’s College, University of Cambridge, UK
8 July – 10 July 2020


FIRST CALL FOR PAPERS:
We are delighted to announce the eleventh international conference on Music and Sonic Art: Sounding Identities (MuSA 2020), an interdisciplinary event to be held in St John’s College, University of Cambridge.
Keynote speaker: Prof Georgina Born, University of Oxford
Conference dates: Wednesday, 8 July – Friday, 10 July 2020.
Deadline for abstract submission: Friday, 10 April 2020.
The principal aim of MuSA 2020 is to advance interdisciplinary investigations in and between Music and Sonic Art, by exploring and building on the historical, theoretical and practical connections and continuities between these two areas. Proposals for individual papers are invited from academics, independent researchers, practitioners and post-graduate students. All proposals will be ‘blind’ peer-reviewed. The conference language will be English.

THEME AND TOPICS:
The theme of MuSA 2020 is Sounding Identities. The last couple of decades witnessed a remarkable burgeoning of research on how musical experiences and practices construct social, cultural, national, political, and artistic identities. During the same period, the boundaries between the traditionally distinct ways of engaging with music – i.e. as composer, performer, listener, producer, improvisor, music scholar and researcher – have begun to be questioned and challenged as new roles, practices and modes of interaction with music continue to emerge. The broad aim of this conference is to expand the remit of research on identity to all hearing, listening and art-making practices that use sound. We, therefore, invite submissions on the following, and other related topics:
• the artistic, cultural, social, institutional, national, disciplinary, political embodied and sensory (aural, visual, tactile) identities and agencies that are constructed through engagement with music and sonic art practices;
• how technologies mediate the construction of such identities;
• the material cultures that facilitate sounding identity formation;
• the emergence of new sounding identities through the cross-fertilization between musical and sonic art practices;
• fluidity and dynamics of identities across sounding cultural practices;
• sounding identities that challenge the mind/body and theory/practice dichotomies;
• sounding identities as sources of value;
• narratives and discourses of sounding identities;

ABSTRACT SUBMISSION:
Please submit an abstract of approximately 250 words in Word format to j.dack@mdx.ac.uk as an e-mail attachment.

As contributions will be ‘blind’ peer-reviewed, please do not include information that might facilitate identification from the abstract. In addition, please submit separately the name(s) of the author(s), institutional affiliation (if any) and short biography (approximately 100 words).
Deadline for the receipt of abstracts is Friday, 10 April 2020. Notification of acceptance will be sent by Monday, 27 April 2020.

If additional information is required please contact Dr. Mine Doğantan-Dack or any member of the Conference Committee:
Dr Mine Doğantan-Dack (University of Cambridge, UK)
md787@cam.ac.uk
Dr John Dack (Middlesex University, UK)
j.dack@mdx.ac.uk
Dr Sean Williams (Open University, UK)
sean.williams@open.ac.uk
Dr Andrew King (University of Hull, UK)
a.king@hull.ac.uk
Prof Miroslav Spasov (Keele University, UK)
m.spasov@keele.ac.uk
Dr Christoph Seibert (University of Music Karlsruhe, Germany)
seibert@hfm-karlsruhe.de

Meeting for Sound and Musical Instruments CO2019OC

8th International Scientific Meeting for the Study of Sound and Musical Instruments

CONGRESSO DE ORGANOLOGIA 2019 ORGANOLOGICAL CONGRESS

Belmonte, east-central Portugal

20-22 September 2019

Instruments of culture and peace

Many complain about the backstage, or invasive, pollution of sound in daily lives, and solutions? Social anxiety is mirroring short and long term influences, notably from birth, or even pre-natal effects through a stressed mother (scientific trends differ, precisely for this reason, we give here an opportunity for discussion, acknowledging it as a vast and often neglected issue). Many refer to “how life in Nature” is so beautiful, where we can play music in a perfect ambiance, but can’t or aren’t moving a finger to do something about it. We are doing it. We are developing a project that not only deals with the essential creativity in the human being but also the setting up of biodiversity in a balanced environment, where one can be thyself. All who visit us feel well here – why? This subject matter is far more important than it seems at a first glance. There is too much ‘noise’ in most people’s lives, too many front page headlines, too many characters on stage, too many spotlights, and everybody talks about all at the same time… we can’t listen to each, we can’t think about each… we need ‘silence’, reflection, to listen to life and art. Why are so many people frustrated and often depressed? Why so much illness with such highly developed medical support? Among many factors, the “sound quantity and quality” in our lives is fundamental. And that of music in our psychological and social balance too.

And – how music and creativity in sound can help a society in crisis? Fight fights, promote peace? How to help a society to be more united and less fragile? Can we, with our work, do better – and be part of the “positive productive” and not, as many do say, be the “useless” for the society? We are inviting you to discuss these and other prominent topics, which are intrinsically related to sound and musical instruments. Please come forward. In a society which is getting used to lightly give an opinion for anything and nothing in the social media, we invite those who “think” and – concretely “do something” – to visit, show, and think and do further.

From the morning of a bright Friday to an exquisite lunch on Sunday at the fabulous old Monastery, now a luxury hotel called Pousada de Belmonte, with concerts, recitals, activities, and full immersion Sessions, our program is quite promising. However, our special invitation to sociologists and musicologists had a good response in quality but not as wide, thematically, as we wanted it to be. There is still time, to make proposals and be part of this interesting gathering of people, who positively and openly discuss about the various issues that concern us all. We look forward to have more work presented that deals with the social impact of music and their musical tools, and studies about sound – for instance, how sound (acoustic and electronic) is affecting daily lives, our world.

You can have more information at the congress website, which is periodically updated: link [https://congressorganimusic.wixsite.com/co2019oc]

Or you can contact us directly: congressorg2019.animusic@gmail.com

Registration: besides the program (as listed above), it includes an active visit to an Exhibition of Musical Instruments (historical, traditional and technological), an unique bag with the program and materials, equipment and technical support, Wireless internet, coffee-breaks (nice and diversified), lunches (2), a banquet-lunch (gourmet), selected visits, reviewed publication (in the book series ‘Liranimus’, which contains essays on Organology, or online), certificate of participation, perhaps a memoir-gift, publishers, makers, restorers, and participants stalls, networking opportunities and, essentially, time reserved “on purpose” for constructive discussions and exchange of ideas. Note: group meals are optional.

All activities are open, namely recitals, concerts, demonstrations, workshops (within a registration limit), and visits. 

Registration fee

Early bird registration » 80€ for ANIMUSIC members (which has a symbolic registration fee of 20€, and no annual fees, no profit) / 110€ others (early bird registration until the 31st of August)

Regular » 120€ (ANIMUSIC) / 150€ (from 1st September)

Dayly fee » 40€ (does not include the banquet-lunch)

Banquet-lunch gourmet (for those friends accompanying, still a special price: 35€)

Other costs: Portugal is one of the less expensive countries in Europe. To give an idea, an expresso coffee costs about 0,70€ in a normal coffee-shop (it’s everywhere, this is the normal coffee, similar to Italia), or even less in automatic machines. Meals may be around 10€ (complete with wine, etc), including nice fresh grilled fish or vegetarian food. There are various options for lodging in Belmonte, you can check with the different available search engines or at Airbnb, averaging 70€ per night in a good hotel.

Transportation: You may use Porto’s or Lisboa’s international airports. From Porto, it is probably easier to rent a car, the rates, when booking from abroad, are quite low (you can have a car for 10€ a day or similar) and it’s basically all highway till Belmonte (if avoiding crossing Porto, you have: A4-A24-A25-A23; or crossing Porto: A29 or A1-A25-A23) which is very comfortable. The transportation from Lisboa is quite easy, also renting a car, or by public transportation: From the airport you take a taxi (5 to 8€)  or the metropolitan, to the Oriente station, which is near the River Tejo (beautiful place to visit if you have time, where the Oceanario is, plus other interesting sites). There, going up the stairs or lift, you check the line for Covilhã, usually trains are in time. If you pay online with anticipation (5, 8 or more days), you can even have a discount of up to 65%, if you are senior, it’s always 50%. The ticket to Covilhã, in the speed direct train, costs (as per today): 17,70€. Arriving in Covilhã, you can take a taxi (not expensive), a bus or meet with a group organised by us and the Municipality, on the 19th of September. If you have special needs, please contact us so that we arrange a special way for transportation. We work the best we can to help your experience be perfect and unique.

Portugal has been rated as the third safest country in the world, after Iceland and New Zealand. So, by visiting us, you shall discover more of this amazing country and meet fellows who are interested in your work, in discussing ideas and in moving forward. This is project Erdissol-ANIMUSIC.

For more information, visit us at this link. You are most welcome to contact us directly if you have questions (email).

RMA Music and/as Process Study Group 6th Annual Conference

Call for Papers/Lecture Performances
Conference: Music and Language Friday 29th June – Sunday 1st July, 2018
Edinburgh Napier University, School of Arts and Creative Industries, Merchiston Campus

We welcome proposals for contributions in the following formats:

  • Paper (20 minutes + 10 minutes questions)
  • Lecture Recital (30 minutes)
  • Participatory lecture/workshop (30 minutes)

The theme of the conference is Music and Language, both spoken and written.

Whilst the Music and/as Process Study Group has previously been aimed towards the field of music, the call remains open to practitioners and researchers within the spoken arts, and sound poetry and beyond who are drawn towards an association with the theme.

Particular themes covered might include:

  • Sound Poetry Linguistic processes in composition and new music performance
  • Oulipo
  • Radio art (or Hörspiel)
  • Concrete Poetry / Phonetic art / Lautpoesie
  • Spoken/Written Language in the construction of new music/performance/creative work
  • Interactive spoken word performance
  • Translation

Proposals should include all of the details of the proposed contribution:

  • the name(s) of presenter(s)
  • email address of presenter(s)
  • affiliated academic institution
  • title of paper/lecture-recital/workshop
  • 200-word abstract
  • [for participatory workshops only] description of the format of the workshop
  • A full list of any technical requirements and other resources

 

Please send your proposals by email to Alistair Zaldua: alistair.zaldua@canterbury.ac.uk
Deadline for proposals: Friday, 09 March 2018 Notification of successful presentations can be expected in late March 2018.

In your proposal please clearly indicate all of the presenters, including any performers if you do not intend to perform your own work. Unfortunately, the study group is not able to provide any financial assistance to attend the conference, or to support the creation or performance of works at the conference.

All presenters and performers will be required to register and pay the conference fee. At present we are working to keep this as low as possible, and we do not anticipate it being higher than £50, with a discount for students, unaffiliated ECRs, and RMA members.

SONOLOGIA 2016

 CALL FOR PAPERS

* DEADLINE 19 JUNE 2016*

SONOLOGIA’16OUT-OF-PHASE

International sound studies conference organised by NuSom – Research Centre on Sonology

22-25 November, 2016  São Paulo

For the past few years, we have seen the development and appearance of research departments, books, journals and other forms of scholarship and institutional endeavours dedicated to what we now know as sound studies. This encompasses the study of warfare and politics of sound; cultural and technological critiques; sound art and associated praxis; urban phonography and acoustic ecology; sonic epistemologies; new musicology and historically situated reflections.

In this sense, we feel that is high time to promote work done both nationally and in Latin America. In doing so, we hope to establish fruitful dialogues with researchers coming from other parts of the world, and create a platform for an interdisciplinary, deconstructive and archaeological approach that expands the discussion on the above thematics.

The terminology of sound studies itself – ‘SONOLOGIA’ – here  reflects the local academic culture and our interest in having in this event (besides the already above mentioned), researchers from different areas of study: music technology; anthropology; philosophy; gender studies; cultural, performance and media studies; experimental, popular and contemporary music.

Themes and topics

The ‘out of phase’ theme, while referring to a technical and theoretical jargon in sound, encompasses a strong metaphorical stance towards the need to incorporate views that are of out-of-sync or in opposite polarity regarding a possible familiarity in contemporary sonic theory and practice.  Thus, we are inviting submissions that can refer to, but are not limited to, the following topics:

  •         postcolonial historiographies that counter euro-american narratives and describe the importance of other geographically situated musical/sonic practices, not only in the development of a regional experimental/contemporary music scene,  but also in the wider history of such practices;
  •         practice-based artistic research and/or musicological reports of music, sound art (improvisation, composition, performance, installation, radio, field recording, performance, site-specific endeavours) or other post-medium/hybrid artwork;
  •         case studies that describe and reflect on the processes involved in the transfer of knowledge, technology and creative practices between different geographical realities (relating to music/sound);
  •         critical insights into the politics of sound: demarcation and regulation of territories and communities, online and public activism, noise abatement, sonic warfare and torture;
  •         research projects or case studies that promote the accessibility of music technology software/hardware, through repurposing old/novel technologies or using open-source platforms;
  •         discussions related to technical, social and poetic aspects regarding the role of technology in music and sound art production;
  •         inter or trans-disciplinary methodological papers that describe the study of sound/music and its pertinence to other fields;
  •         ethnographic inquiries that describe the national and institutional frameworks that support contemporary/experimental music and sound art making;
  •         expanded epistemic and multimodal accounts of knowing the world through feminist, queer, trans, race or(and) other non-normative/binary listening perspective(s);
  •         inquiries that problematise discursive and practical tropes in contemporary sonic artworks that deal with place, nature and human/non-human entities;
  •         discussion(s) regarding the mediation of composers’/artists’ presence (authorial and physical) in making/presenting music or art;

Individual papers and presentations

As stated above, we wish to bring a diverse of range of researchers, coming from different disciplines and locations in order to present original scholarship from a multi-vocal and global framework. All proposals will be submitted to a review process by an appointed scientific committee.

Please submit your extended abstract (in English) of max. 1 page full and half (A4) and a short bio (50 words) no later than June 5th, 2016 by 11:59pm Pacific Standard Time (GMT -3) via sonologia@usp.br. Please allow 24-48 hours for confirmed reception.

Selected presentations will need to submit camera-ready papers (in English) by October 16th with a provided (by us) ODT/ MS Word templates (up to 8 pages long in A4 format).

Selected submissions will be published in the conference proceedings, under an ISSN reference and archived using the OJS platform.

After the conference, 12 papers will be considered for a special edition of Interference: A Journal of Audio Culture, guest-edited by Rui Chaves and Lílian Campesato.

Format

We are open to different types of presentations, that reflect the critical and creative necessities of theoretical or practice-based research.  The official language of the event is English, although simultaneous interpreting – regarding English to Portuguese – will be available to all. In certain cases, the presenters may request simultaneous interpreting for Portuguese to English.

Important Dates

Submission: June 19, 2016 by 11:59pm Pacific Standard Time (GMT -3)

Selected papers announcement: July 24, 2016

Camera-ready paper/program note deadline: October 16

For any questions regarding the submission process, please contact us at sonologia@usp.br

http://www2.eca.usp.br/sonologia

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

Sound – Traces – Moves. Soundtraces in Motion

Gesellschaft für Tanzforschung · GTF Annual Conference 2016 · Call for papers

Sound – Traces – Moves. Soundtraces in Motion

November 18–20, 2016 · Orff-Institute of the University Mozarteum/Salzburg

The term TRACES has been positioned very intentionally between the two central artistic means of expression SOUNDS and MOVES, as interface so to speak, since sounds as well as bodily movements can both be regarded as traces due to their volatility in space and time. They can enter into a dialog with other artistic traces (of movement), such as the grand brushstroke of a painter, the fine drawings of a graphic artist or the light projections of a digital installation, in order to access further dimensions of space and time for the hearing and seeing of movement dynamics. Against this backdrop, an (in the best sense) endlessly creative process gathers momentum, in which audible and/or visible movement traces are permanently recreated, without ever getting clearly defined contours nor even taking a definite shape.

What kinds of artistic options are possible due to such interactions between sound- and movement traces, either in the form of a performance or an event? And what kinds of challenges result from this for the spectators/listeners – particularly if these interactions primarily unfold within the area of the non-verbal, beyond the obvious allocations of meaning or outstanding narrative threads? This conference will discuss perspectives based on (rehearsal) processes and production aesthetics as well as questions relating to the perception of the interplay of analogue/digital, instrumental/ vocal and musical or noise-like sounds with virtual or real body movements in choreographies, improvisations and dance performances: The objective is to ‘trace’ audio-visual movement traces and the resulting network of sensory impressions.

Deadline for proposals for lectures, workshops, poster presentations, lecture demonstrations, performances and labs (please give the preferred format) is May 1.

Please send the respective proposal with a maximum of 250 words and a short biography of 100 words at most to Stephanie Schroedter: st.schroedter@t-online.de

You will be informed about the programme selection by June 1, 2016 at the latest.
For more information look at: http://www.gtf-tanzforschung.de

Music Composition as Interdisciplinary Practice

Music Composition as Interdisciplinary Practice

A two-day symposium at the University of York, UK. 28-29 June 2016

Please note: call for papers extended to Monday 4th April with notification of acceptance by Friday 29th April.

Submissions are invited for this event hosted by Music Composition as Interdisciplinary Practice, a research network of practitioners and practitioner-researchers funded by the AHRC.

Contemporary practices in music appear to be increasingly foregrounding interdisciplinary approaches either from individual artists or collaborators. Compositional activity in all its guises – sonic art, notation-based instrumental music, the myriad forms of electronic music, music in the theatre, music for dance, film and so on – may be conceived as a nexus where the practices of different disciplines can connect in various ways, overlapping, bridging, or integrating. The above research network has been established to investigate this area of practice: what kinds of interdisciplinarity are in evidence here, how are these practices organised/facilitated/led, how is such work created and what might this knowledge add to understandings of artistic creativity?

With these questions in mind the organisers are seeking to gather a broad range of perspectives on interdisciplinary practices involving composition including, but not limited to, historical, interpretative, analytical, philosophical and practice-based viewpoints. We welcome proposals that critique notions of interdisciplinarity and that originate from any disciplinary background (for example artists working compositionally for whom music may not be their ‘home’ discipline).

There are three presentation formats available:

Paper (20 minutes)

Lecture-performance (30 minutes)

Workshop (30 minutes)

Proposals should include the following details:

presenter(s) name(s)

institutional affiliation(s) where appropriate

title of paper/lecture-performance/workshop

300-word abstract

for lecture/performances and workshops please include a full list of technical requirements and please describe the format of the workshop

Please send your proposals to Tom Armstrong: t.armstrong@surrey.ac.uk by Monday 21st March 2016. You will be notified of the outcome by 18th April.

(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.

Electroacoustic Music Beyond Concert Performance

INTERNATIONAL CONFERENCE EMS14

10 – 14 June 2014 | Berlin | Germany

Deadline for proposals is 3 January 2014.

The concert work is still considered to be the epitome of electroacoustic music. During a work’s performance the relationships between composition and audience in time and space are defined as homogeneous  – just as in the Aristotelian drama. However, since the 1960s, specific forms of electroacoustic music that challenge the possibility (or conception) of an absolute and exclusive reception have gained substantially in importance. This development resulted in concert forms of extended duration, as well as sound art and music in the media offering the listener opportunities to arrange the perceived sounds in new individual arrangements or to explore the aural space of one piece in various ways. The aesthetical positions and the practical consequences for electroacoustic music that have emerged from these specific environments shall be considered at EMS14 conference.

This EMS conference aims to discuss a number of relevant questions concerning electroacoustic music beyond concert performance among musicologists, composers and sound artists. Musicological studies in this field still lack consistent, rigorous research. Therefore, we explicitly invite papers that focus on aesthetics, history, analysis and practical issues of electroacoustic music of Extended Duration, as Sound Art/Sound Installation, as Media Music, as Conceptual Music, as Participatory Music, in the context of Happenings or extended Concert Forms.

The conference is also open to other topics relevant to histories and/or contemporary practices of electroacoustic music. Submission of papers relating to any aspect of the field would be appreciated as well, including, but not limited, to: analysis, perception, listening, terminology, composition, performance, cultural issues and education

(cf. detailed call at www.ak.tu-berlin.de/ems2014).

The conference is hosted by Universität der Künste Berlin, Masterstudiengang Sound Studies in cooperation with Technische Universität Berlin, Fachgebiet Audiokommunikation and Freie Universität Berlin.

Submissions

The deadline for receipt of proposals of papers is Friday, 3 January 2014 midnight EST. The duration of a paper presentation should be 20 minutes followed by a question period of 5 minutes. Conference languages are English and French.

Submissions can be made by uploading a zipped folder and providing the download link, or by direct email to:ems2014.berlin[at]gmail.com

A submission should consist of one pdf-document and the same as word-, odt-, or rtf-document in English with the following parts:
1. the paper abstract in English (500 up to 1,000 words), headed with author name(s) and title (if any), organisation affiliation (if any), contact address, telephone, email address
2. a curriculum vitae (1 page maximum)
3. a list of publications (1 page maximum)
4. a brief bio (up to150 words).

Further information available at www.ems-network.org/ems14/ and www.ak.tu-berlin.de/ems2014

Organisation Committee: Fabian Czolbe (Berlin) | Dr. Julia H. Schröder (FU Berlin) |    Volker Straebel (TU Berlin) | Prof. Dr. Martin Supper (UdK Berlin)

Getting Nowhere: an International Festival-Conference Celebrating the Centenary of John Cage

The conference takes place at the University of York (UK) from 14 to 17 November 2012. Registration is now open.  For details and a full conference schedule, visit  www.gettingnowhere.org.

The original CFP follows

*********

Proposals for papers and performances are invited for Getting Nowhere, a Festival-Conference celebrating the centenary of John Cage.

Proposals for 20-minute papers should include a 300-word abstract and the presenter’s name and institutional affiliation, if any.  Performances must be suitable for unconventional spaces–see the website for details–and should be entirely self-sufficient, apart from standard large instruments such as percussion and piano. Please include on a single page a brief biography of the performer(s) and a description of the work that includes time length and preferred venue.  Submit proposals as Word or pdf files before 1 August 2012 to James Cave (jwc514@york.ac.uk).  Decisions will be made during August and participants will be notified on September 3.