VACANCY

Music/Audio Technician Vacancy
Technician - Music, Technology and Innovation
De Montfort University, Leicester

An exciting and varied post working within the subject areas of sound recording, digital composition and technology-centred performance work, the post-holder will offer technical support to students and staff as well as maintenance of the facilities.

Preferably qualified to degree or HND standard (or similar), you should be familiar with a range of professional music technology software and Macintosh computer systems.

Closing date is 6 July 2020

£15,699 - £19,613 per annum pay award pending

Full details available at http://www.jobs-dmu.co.uk/allvacs.asp
Please Quote Ref: 3692

PERFORMERS WANTED

Huddersfield Contemporary Music Festival: 18 - 27 November 2020

Hub Shorts 2005

Hcmf are looking for groups of up to 6 performers to provide a maximum of 20 minutes of music in the Festival Hub between 11am and 12.30pm each day during the Festival. The Festival Hub is a large marquee in the centre of Huddersfield, which provides a meeting point for Festival attendees (including performers, composers, members of the media and music publishers / promoters) to meet, eat, drink and browse the Festival music shop. It also holds a fully licensed bar and catering facility and provides a venue for many pre-performance talks. This year in particular, hcmf has expressed its commitment to Hub Shorts by including it in the main Festival programme and more steps than ever have been taken this year in order to ensure good audience attendance and integration into the main Festival.

Proposals are welcomed from all types of performers, including all genres of music, and works can be especially composed or existing pieces. Previous performers have subsequently had music written for them by composers in the audience and performance in Hub Shorts did indeed generate additional performance opportunities for at least two of last year's groups. There are no age limits.

For more information please contact: Helen Blythe, hcmf, University of Huddersfield, Department of Music, Huddersfield, HD1 3DH UK
Tel: 01484 425082

Email: Helen.blythe@hcmf.co.uk
Web: http://www.hcmf.co.uk

Closing date for entries: Monday 1 August 2020

VACANCY

RESOURCE DEVELOPMENT OFFICER (MUSIC), UNIVERSITY OF GLASGOW
Closing date: 5th August 2005

Based in the Department of Music and shared with the Humanities Advanced Technology and Information Institute, this is a key post aimed at developing and supporting the use of information and communication technology in music teaching and research. Job responsibilities come under three main headings: research support; lab management, administration and development; and teaching support. The postholder will provide technical support specific to music.

The Department has extensive high-quality audio and computing facilities. These comprise: four Mac-based Electroacoustic Studios with Digidesign audio hardware; two Mac-based audio workstation labs; an undergraduate PC cluster; a PC cluster for postgraduates and researchers; and a number of web and ftp servers running Linux. Applications include ProTools, Logic, Cubase, Finale and Sibelius, Max/MSP, PD/GEM, Csound and more.

The Department is a thriving environment for research and teaching across a wide range of areas including electroacoustic and acoustic composition, music technology, historical and cultural musicology, and Scottish music.

For further details, please see:
http://www.gla.ac.uk/services/humanresources/recruit/5aug_11387.htm

Department of Music:
http://www.gla.ac.uk/music

HATII:
http://www.hatii.arts.gla.ac.uk

APPLICATIONS SOON CLOSING

NESTA PLACEMENT FOR NEW EMERGING ARTIST:
Sound/Music & Lighting Designer

Project Timescale: July 2005 to May 2006 (About eight weeks work in total)

The new emerging artist will be offered a fee of £2400 plus travel expenses during the placement.

Deadline of application: 15 July Friday 5pm
Interview: 25 July Monday

An exciting and challenging opportunity is now open to a newly graduated emerging artist who is innovative and creative and working in music/sound and lighting. The work placement will give you an opportunity to develop your skills as well as gain experience working in the area of new media and live theatre. The project is based at the Albany in Deptford, a combined performance space and digital media centre and is supported by the National Theatre's Department of Education and Training, Art of Regeneration and NESTA.

This placement will provide you with the opportunity to take part in a number of workshop activities in the coming year. You will be working in partnership with other emerging artists, theatre professionals and young people, to develop a new integrated learning model for new media and performance. The new emerging artist will be required to have CRB checked.

Person Specification:
Have experience in sound/music and lighting design.
Have a passion for and experience of working in live theatre.
Have a great interest in new media.
Be able to work as part of a cross-disciplinary team.
Be able to undertake project planning, development and evaluation and workshop development.
Enjoy working with young people to engage them in process and develop their skills.
Enjoy a new challenge and working outside the conventional theatre setting.

The successful applicant will be required to have CRB checked, and attend two days media training, on 31st July and 1st August 2005; and commit two weeks' Summer Arts College workshops with the young people (8th-19th August 2005)

To find out more details of the project, please visit
http://www.nesta.org.uk/ourawardees/profiles/3990/index.html
To submit your application, please send: Your CV and Statement of interest (no more than 300 words) to:
Li E Chen, Email: info@liechen.com
Tel: 07786438661 Fax: 02077341074

CALL FOR PAPERS

Contemporary Music Review (Routledge)
Call for papers: The body/technology–instrument/technology paradigm.
 
We invite papers from writers reflecting on sound in relation to the body/technology; from anyone who attempts to define and/or critically examine threshold conditions of instrument and performer; writers who are keen to challenge con- or discontinuities of instrument and performer, be it in the form of laptop improvisation, interactive sound environments, 3d cave installations, sonic architecture, or other performance situations.

In an era in which technology has impacted immensely on ways in which instrumental music is being performed, indeed in which the role of the instrument, if not notions of the instrument itself, have become radically altered, we want to examine the instrument’s position as well as the role of the performer.

The body/technology – instrument/technology coupling or decoupling is something that can be, and needs to be explored from various angles. Such discussion invariably leads us to think about what we consider an instrument to be in technologically mediated environments, in particular if we keep in mind that the word’s origin suggests notions of “instruction” (from Latin: instruere): who instructs or who/what is instructed by whom?

• Do we see the instrument as extension, retraction or subversion of the body?
• Is the instrument one that brings the body into existence, or one that denies bodily existence?
• What are the implications of technological environments on the instrument-performer relation?
• Does the body become re-figured and re-inscribed by technology?
These are only a few of the questions that may arise; other exploratory paths that elucidate aspects of the body/technology–instrument/technology paradigms are highly encouraged.

For this discussion papers may rejoice in the liminal, the erotic, or the incestuous, they may celebrate touch, if not the self-touch, and may move beyond notions of the instrument as extension of the body in performance.

Papers from disciplines as varied as music, philosophy, anthropology, sociology, biology, informatics or architecture will be of interest.


Abstracts of around 300 words should be sent to the guest editor by the 31st of July 2005.
Full papers will be due at the end of September 2005. 
 
Please note:
Papers are accepted only in English. 

Submission of a paper to this journal will be taken to imply that it represents original work not previously published, that it is not being considered elsewhere for publication, and that if accepted for publication it will not be published elsewhere in the same form, in any language, without the consent of the editors and publishers.


All queries should be directed to:
 
Franziska Schroeder
Guest Editor
Contemporary Music Review:
Email: franziska@lautnet.net

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 ˆ 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 ˆ Friday, 18 November 2020
- all other proposals ˆ Friday 2 December 2020

CALL FOR PARTICIPATION

DMRN SUMMER CONFERENCE 2005, 23 - 24 JULY 2005. Glasgow, Scotland

http://www.sigproc.eng.cam.ac.uk/~mps37/DMRNSummerConference05/

REGISTRATION DEADLINE: 19 July 2020

The DMRN Summer Conference 2005 takes place on the weekend of 23-24th July at the University of Glasgow. The conference aims to promote the work of young researchers and composers based in the UK by emphasising both musical performance and music based research. The conference programme includes:

* Two days of presentations from young researchers within the UK
* A concert with electroacoustic and live electronics pieces
* Keynote presentations from David Mellor and Prof. Geraint Wiggins
* A Civic Reception at the Glasgow City Chambers
* A Fork Buffet at the GOMA (Gallery of Modern Art)

The registration deadline for the DMRN Summer Conference is Tuesday 19th July 2005. Registration forms are available at
http://www-sigproc.eng.cam.ac.uk/~mps37/DMRNSummerConference05/Registration/


Registration fees are as follows:
Standard £45
Young Researcher £25
Economy £35

Further details, including a full conference programme, information on locations and accommodation can be found at the conference website
http://www-sigproc.eng.cam.ac.uk/~mps37/DMRNSummerConference05/

CALL FOR WORK
Most Significant Bytes 2005 Call for Works

Most Significant Bytes Multimedia Concert seeks electronic multimedia works for the 2005 concert.  MSB seeks primarily video and sound compositions in which sound plays a crucial role (please no short narrative films).  Some electronic sound-only compositions will be also be considered.  For the 2005 season MSB will not accept works for live performers and electronics.  Submission guidelines can be found on the MSB website at:
http://music.muc.edu/msb

Note: MSB is not accepting guest artists applications for the 2005 season.

CALL FOR PROPOSALS

Radio Territories

Where does radio leave us, and what future does it point to?

The legacy of radio and the arts has spawned forms of radical culture, from early Modernist notions of the “Wireless Imagination” and its subsequent vernacular tongues to Acoustic Ecology’s call for “Radical Radio” based on removing the DJ, transmission and broadcast media upsets and redistributes understandings of place, corporeality, social exchange, and the politics of information. Such instances of radicality find their counter-balance within public broadcasting, whose support of public services and cultural programming generates other forms of unique broadcasting. The relationship between sub-cultural radio and public broadcasting is at the heart of Radio Territories, as questions of culture, politics, and technology are brought to the fore. While literature and theories on and about radio have appeared intermittently, the current initiatives around digital streaming, web-radio, and podcasting demands a contemporary measuring of the radiophonic and subsequent burgeoning of new cultural forms. To address radio in the present, Radio Territories seeks to open the book on its historical, medial, and aesthetical status.

We invite proposals by theorists, artists, engineers, Djs, and historians which pursue a critical assessment and activation of the contemporary radio dial. Critical and creative essays will be coupled with artistic and audio projects so as to locate the territories of radio and its ever-expanding and deepening reach. While radio through the Modern period stitched together an electronic network by expanding outward, digital radio finally fulfils Marshal McLuhan’s global idea of the “extended nervous system” by networking individual lives on a cellular level. Radio is no longer out there, in the ether, but totally inside, as individual transmissions that nonetheless speak from within a crowded room.

An abstract of 300 words should be submitted no later than August 15th. Final articles are due November 15th. We also encourage the submission of art and audio projects that expose the performative nature of radio. Radio Territories will contain an accompanying CD.

Abstracts and correspondence should be directed to the editors at:
Erik Granly Jensen – granly@hum.ku.dk
Brandon LaBelle – blabelle@earthlink.net