THE CONNECTORS SOFTWARE COURSE

Artist led software courses giving hands on instruction in the tools of contemporary AV invention held at The Watershed Media Centre.

Jo Hyde – Introducing Jitter
2 day course
Monday 12 and Wednesday 14 September

Yasser Rashid – Introducing Processing
2 day course
Tuesday 13 and Thursday 15 September

Brian O’Reilly – Strategies for Constructing Moving Images
2 evening course (6pm – 9pm)
Tuesday 13 and Thursday 15 September

Tickets cost £60/£40 each, advanced booking necessary for courses, places are limited

For more details on these courses and student requirements please see www.sonicartsnetwork.org

SOUND RECORDIST WANTED

Common Ground - The Movie is being shot throughout North Kent with four different community groups and we are currently seeking additional volunteers with some experience (ideally) to assist with the technical aspects of the production.

Wanted:
Sound Recordist - to monitor all the sound going onto minidisk

Shooting Schedule:
1. Isle of Sheppey - 11th - 14th August 2005
2. Dartford Town Centre - 24th - 27th August 2005
3. Medway - 11th & 18th September 2005

In return:
1. Credits on the film
2. Copy of the completed DVD
3. Refreshments during shoot
4. Tons of gratitude!

If you are interested and are available for at least all dates in one area, then do email or phone to talk to Tina Carter, Director of the project.

Tina Carter
COMMON GROUND PROJECT
01227 280399
http://www.exfeat.com



POSTGRADUATE RESEARCH IN AUSTRALIA

The Sonic Communications Research Group (SCRG) within the School of Creative Communication at the University of Canberra offers a unique environment for postgraduate and post-doctoral research, and welcomes visiting overseas students.
SCRG members are interested in questions such as the following:
- How do we communicate with sound?
- How does sound represent information, and help us perceive and interpret complex data?
- How does sound induce affect? - How do creative sound practices operate in contemporary culture?
- How can computers assist sound in media generation for creative and commercial purposes?
- How do sound, text and image inter-relate in new media?
- How does text communicate when sounded, versus in other contexts? - How is sound represented?

SCRG has an unusual range of expertise, representing cultural theory, musicology, empirical cognitive studies, and creative practice in sound and new media, particularly using computer mediation in real-time performance. SCRG therefore fosters the application of multidisciplinary approaches to its research, aware that there can be a productive interplay between approaches and methodologies that are seemingly in conflict. SCRG publications reflect this variety but share an interest in understanding and creatively enhancing sonic communication. The group is outward looking, with collaborations (MARCS Auditory Laboratories, University of Western Sydney), external partnerships (austraLYSIS, creative ensemble, and Great White Noise Pty Ltd., a commercial sound production and project management concern), and involvement in research networks such as the Australian Research Council (ARC)-funded Human Communication Sciences network (HCSNet). SCRG is funded by an ARC Discovery grant (CI Roger Dean), and is developing ARC linkage and other forms of funding.

The following SCRG members are happy to supervise research: Professor Roger Dean - cognition of segmentation and rhythm and segmentation in music, including that in computer music, groove musics, jazz, improvised music, and new music composition, Australian contemporary jazz; comprovisation; computational generation of sound; algorithmic synaesthesia between sound, text and image; sound file recognition by computational approaches.
Dr. Stephen Barrass - sonification, auditory perception, audio interfaces, audio augmented reality, public sound installations, aesthetics of auditory displays, data driven music, new interfaces for algorithmic music, and music visualisation
Dr. Freya Bailes - musical imagery (i.e. 'auralisation' or imagining sound in the 'mind's ear'), music perception and cognition, mental representation of musical structure
Dr. Hazel Smith - new media writing; sonic writing; relationships between text, sound and image; literary representations of music; literary and cultural theory Dr. Mitchell Whitelaw - sound practice, culture and criticism; experimental electronic sound and music; improvisation with real-time inputs and processing; data sonification and aesthetics.

For more on SCRG, visit http://www.canberra.edu.au/vc-forum/scrg/. Contact the co-leaders Roger Dean (roger.dean@canberra.edu.au) or Stephen Barrass (stephen.barrass@canberra.edu.au).

SCRG expects all participants to co-publish, and while PhD students and post-doctoral researchers have considerable flexibility in their choice of research topics, and their development, these must cohere with core themes of the group, and attract the support of a member.

Applications for Higher degree places close on 31 October for enrolment in semester 1 in 2006, but international students must apply for study by the end of September. Highly qualified applicants who would like to conduct research within SCRG should note that the University of Canberra has a number of places available for doctoral students on a competitive basis under the Research Training Scheme. Information on RTS, and also on full fee-paying places and fee-waiver scholarships can be found at: http://www.canberra.edu.au/corporate/research/students/scholarships.html. There are in addition a number of postgraduate scholarships available (http://www.canberra.edu.au/student-services/scholarships). Outstanding candidates should be able to attract an APA scholarship, or a similar stipend from other sources, and SCRG will assist with such applications for well-focused candidates. SCRG also hopes to have its own funds to provide 'top-up' bursaries in support of outstanding cand!
idates for PhD or post-doctoral research. Australian Government Higher Education (CRICOS) Registered Provider number: #00212K

CALL FOR LISTS

Sonic Arts Network would like to invite sound/image/text submissions for material to be considered for inclusion in a Sonic Arts Network limited edition CD publication concerning ‘Lists’. The edition will be published in November/December 2005 in a limited run of 1000 editions and will be curated by Craig Robinson, illustrator and creator of www.flipflopflyin.com
 
Lists are never far away from us.  As humans, we are obsessed with order.  We have an obsessional drive to categorise, sort and list everything.

In Art, Literature, Science and Philosophy, lists can be found. Musical examples of listing range from Berio to Billy Joel.
 
We ask for audio (music/found sound/sound art/spoken word), literature, pictures and suggested reference points.
 
The idea may be interpreted in the widest possible sense and can be approached from multiple perspectives - acoustical, visual, philosophical and personal.
 
We encourage a diversity of styles and materials for selection.
 
The CD and its accompanying print materials will be the sixth in a series of numbered, limited edition audio CDs, produced and distributed three times a year, with guest curators and specially commissioned packaging.  The CDs are free to members of the Sonic Arts Network (for more information on membership visit www.sonicartsnetwork.org), reaching practitioners and listeners in all corners of the globe, with a limited number of issues released in selected outlets. Previous artists whose work has featured in the CD series have included: Christian Marclay, Yasunao Tone, Francisco López, Antonin Artaud, Jaap Blonk, Lucia Pamela and a host of others.
 
No payment can be offered for submissions nor materials returned.
 
Submissions should be sent to:
Lists, c/o Sonic Arts Network,
The Jerwood Space,
171 Union Street,
London
SE1 0LN.

Deadline for submissions is 19 September 2020
 
Further information/clarification concerning the submission of materials is available from
 
lists@sonicartsnetwork.org

CALL FOR SUBMISSIONS

Deep Wireless - Radio Without Boundaries
Call For Works on the theme - POWER
http://www.deepwireless.ca

What does power mean to you?

Stretch the meaning to fit your idea of power and create a piece for radio that reflects it.

New Adventures in Sound Art invites submissions of any duration less than 60 minutes in length that reflects the theme Power, makes use of original sound sources in interesting and innovative ways and are suitable for radio broadcast. Note there will be a special category called "Radio Art Interventions" on the same theme for pieces less
than 3 minutes in length. Pieces will be selected for broadcast within Canada and on several international radio stations in May 2006 as part of the Deep Wireless festival. Deep Wireless celebrates radio as a creative and artistic
medium for cultural expression.

The International submissions will be considered for inclusion in the following:

-The Deep Wireless 3 radio art compilation CD
-The radio art interventions (these pieces under 3 minutes in length played guerrilla-style on radio stations during the Deep Wireless festival)
-The Radio Art Listening Room - an installation that will run for the month of May
-Presentation during the last weekend in May (a weekend that will also include the Radio Theatre performances and the Radio Without Boundaries conference).

A small number of Canadian artists will be chosen from the submissions to be part of the Deep Wireless Commissioning Programme in 2006 with residencies at Charles Street Video in Toronto.

Submission Details

- Radio works/programs must be completed and not written proposals.
- The call for works is open to artists from around the world.
- Submissions must be postmarked no later than September 30, 2020 and mailed to:

New Adventures in Sound Art, 401 Richmond Street West #358, Toronto, ON M5V 3A8

- Submissions can be on the following formats: CD, cassette, DAT, Audiofile on CD (wav or AIFF, 44.1, or MP3), minidisk, and open reel type
(1/4", 7 1/2 or 15 ips).

- Submissions must include the entry form found on the links below:

http://www.soundtravels.ca/Docs_and_PDF/DW_Call_2005.doc

http://www.soundtravels.ca/Docs_and_PDF/DW_Call_2005.pdf

Nadene Thériault-Copeland
Managing Director
New Adventures in Sound Art

For more information about New Adventures in Sound Art go to:
http://www.soundtravels.ca
http://www.deepwireless.ca
http://www.soundplay.ca


CALL FOR COMPOSERS, ARTISTS & PRESENTERS
Submission Deadline: September 30, 2020 (postmark)

The University of Minnesota School of Music is proud to present the 2006 Spark Festival of Electronic Music and Art, February 22-26. The festival will be held on the Minneapolis campus of the University of Minnesota (USA) and at the Walker Centre for Art, Minneapolis. Now in its fourth year, the Spark Festival showcases the newest groundbreaking works of digital music and art. Last year’s festival included innovative works by over one hundred international composers and artists, including featured guest artists Philippe Manoury and DJ Spooky. Leading scholars and technology specialists also presented papers relating to new technology and creativity. Audiences for the concerts, installations, and lectures last year totalled approximately 2,000 people. Spark invites submissions of works incorporating new media, including electroacoustic concert music, experimental electronica, theatrical and dance works, installations, kinetic sculpture, artbots, video, and other non-traditional genres.

Spark also invites submission of scholarly papers on technical and aesthetic subjects related to the creation of new media art and music. All accepted papers will be published as part of the Spark proceedings. Please see http://spark.cla.umn.edu/media.html for a PDF copy of the Spark 2005 proceedings and program.



LIVE ELECTRONIC MUSIC COMPETITION

Harvard University Studio for Electroacoustic Composition
LIVE ELECTRONIC MUSIC COMPETITION 2006

The Harvard University Studio for Electroacoustic Composition is proud to present its first INTERNATIONAL COMPOSITION COMPETITION FOR LIVE ELECTRONIC MUSIC.

An international jury will evaluate all works that arrive before the deadline (September 15th, 2005) and will select up to six works to be performed during the Fromm Players at Harvard Concerts, March 6 through March 12, 2006. The six finalists will participate in a week-long festival, work with the performers, attend workshops on all six pieces and participate in several pedagogical events along with the composition students at Harvard University and the jury members. The final concert will be on March 12th, at which time the jury will award one grand prize. The competition will cover flight and hotel expenses for the six finalists.

WORKS

We invite submissions of new works (written after January 1, 2021) incorporating two to four live performers and live-electronics by composers born after January 1, 1965. The live performers should be drawn from the following list: soprano (voice), flute, clarinet, violin, violoncello, piano.

Although there is no strict limit to duration, pieces between ten and fifteen minutes are encouraged. The work submitted may have been performed in concert. However, it must not have been released in recorded form and must not have been awarded a prize before September 15, 2005. If a recording exists, it may be sent along with other materials, but recordings are not required.

LIVE ELECTRONICS

This year, the live electronics focus is on the creative use of Max/MSP or PureData. The composition may make use of sixteen output channels and will be diffused during the concert on the Hydra Diffusion System (24 loudspeakers). A complete, functioning patch containing all necessary elements and an explanatory note for its use should be included in the application together with the score.

WORKSHOP

The workshop will be an open platform for the exchange of ideas between composers and performers, emphasizing the practical issues raised by performance of live-electronic music. The six selected compositions will be rehearsed as a part of this workshop. There will also be lectures given by the jury members.

SUBMISSIONS

Applicants are invited to submit one composition. There is no entry fee. Student works are highly encouraged.

Selected works will be announced by November 1, 2005. Composers whose works are selected for the final workshop and concert are required to attend the entire week of March 6 through March 12, 2006. Should a composer be unable to attend, their work will not be presented. Selected composers must send parts by January 3, 2021 and a photo (free of copyright). The decisions of the jury are final.

* Submissions must arrive before September 15, 2005.
* Include THREE COPIES of the score, the materials for the live-electronic part, and any further documents pertaining to the submitted piece.
* Include a completed entry form (available for download at http://huseac.fas.harvard.edu/).
* Include a program note and a biography of the composer.
* Materials will not be returned and will become the property of the HUSEAC archive.
* The competition will not pay for any postage fees or customs duties.

Harvard University Studio for Electroacoustic Composition
LIVE ELECTRONIC MUSIC COMPETITION
Department of Music
Music Building, North Yard
Cambridge, MA 02138–2001
USA

For more information email compcomp@fas.harvard.edu.

DOWNLOAD THE ENTRY FORM (PDF) from the website http://huseac.fas.harvard.edu/

CALL FOR CONTRIBUTIONS

RMA Research Students‚ Conference, 4-7 January 2006
University of Leeds, School of Music

The RMA Research Students Conference is open to postgraduates studying in the UK or abroad. It offers the opportunity for students to present research in a friendly and supportive atmosphere. Alongside social events, skills training sessions, and concerts, the programme will include:

- two keynote speakers; Professor Richard Rastall (University of Leeds) and Dr Julian Johnson (University of Oxford)
- parallel sessions of student papers
- composition workshops
- performance workshops
- lecture/recitals
- roundtable sessions on music and queer theory, and music and diaspora

For full details, visit the conference website:
http://www.leeds.ac.uk/music/sch/events/

Papers:

Postgraduate students are invited to submit proposals for papers (20 minutes), lecture/recitals (30 minutes), or poster presentations, on any area of musical research. Student composers may present papers discussing their own work, and we welcome presentations that are interdisciplinary in nature. Proposals should not exceed 200 words in length.

Scores and electroacoustic compositions may be submitted for inclusion in the following workshops:

Electroacoustic compositions:

Electroacoustic works are invited for recorded media to be performed on up to twelve speakers, including stereo works for diffusion, multi-channel works, and works that include visuals. All audio work should be submitted on DAT or Audio CD; multi-channel works on Data CD (aif or wav files) or ADAT HD-24 (removable drive); audio-visual work on DVD. Works should be no more than 10 minutes in duration, recorded at 44.1Khz, and should be accompanied by a programme note of up to 100 words.

Ensemble compositions:

Scores are invited for the following ensemble: flute (doubling piccolo), clarinet in B flat, percussion (one player), and electric bass. Works should last 3-5 minutes. In the first instance, please send one score (no parts required) which should be neatly handwritten or computer printed. A programme note (of not more than 100 words) should also be included. Selected compositions will be performed by FOCAM (University of Leeds) and discussed in a workshop (see www.focam.co.uk). Percussion parts can be written for standard orchestral percussion instruments and/or African drums. For any unusual requirements, contact Dr Mic Spencer (m.spencer@leeds.ac.uk).

A call for compositions for solo brass instrument will be circulated at a later date.

Please send proposals and compositions (with name, institutional affiliation, and full contact details) to:

RMA Research Students‚ Conference
School of Music
University of Leeds
Leeds
LS2 9JT

email: rmarsc@leedsmusic.com

Requests for further details should also be sent to this address

Closing dates:
- compositions Friday, 18 November 2020
- all other proposals Friday 2 December 2020