EXPO 966: THE ANNUAL SAN EXPOSITION
17-20 JUNE 2005 - In conjunction with University of Hull, Scarborough Campus
Deadline for proposals: 31 January 2021
Expo 966 is an opportunity to showcase the work of the best UK practitioners, to meet, listen and respond. After the success of last year's highly eclectic event in Leicester the focus now shifts northward with a packed weekend of SAN curated action hosted in association with The University of Hull, Scarborough Campus. This weekend of performance, exhibition and presentation will take place across a variety of public venues and spaces in Scarborough including concert halls, bars and nightclubs, each reflecting the unique culture of this northern seaside town. The weekend aims to highlight the broadest possible range of approaches and thinking that surrounds the sonic arts. We welcome submissions of all kinds.
There is no charge for the submission or acceptance of work, and indeed entry to the weekend continues to be free to all members of Sonic Arts Network with most events free to all members of the public. We do ask that selected artists attend the event.
more details here
Score! Calling all composers in Scotland
Saturday 29th January 2005 Centre for Contemporary Arts, Glasgow
Come and participate in a day of workshops, surgeries, discussion, performance and film screenings at the CCA Glasgow, led by spnm and the Scottish Ensemble with Pippa Murphy, James Macmillan, Deirdre Gribbin and David Horne.
Composer Pippa Murphy will lead a workshop on electronic composition from 2pm. To reserve a ticket for the workshop phone the CCA box office on 0141 352 4900.
This will be followed by one-to-one surgeries to which you can bring along an idea or piece and discuss it with her for 20 minutes. To book a slot phone 020 7407 1640 or e-mail firstname.lastname@example.org.
Other workshops and opportunities through the day include writing for strings, writing for film and performances by the Scottish Ensemble. For a full programme for the day visit the CCA site on www.cca-glasgow.com or call 0141 352 4900.
Call for Entries
Contest on “Dancing the Screen: Relations Between Video, Electronic Music and Dance” for the exhibition “media flow. videoventure on electronic music. part III”
The exhibition series “media flow. videoventure on electronic music” presented by the media art gallery fluctuating images in Stuttgart is dedicated to visual music as a phenomenon of contemporary artistic production (for information on “media flow. part I and II” see http://www.fluctuating-images.de. The third part of the exhibition series will arise from the contest “Dancing the Screen” and will deal with the relations
between video/film, electronic music and dance. To participate, submit videos or films dealing with the thematic linking of electronic music and dance in the media of video or film. Here, the term “dance”, however, doesn’t only refer to dancing persons, but also to any kind of objects in motion. Like in the early experimental films where forms and colours started to dance by means of the postproduction such as cutting, editing and montage. This extended dance term is also valid for the context of “Dancing the Screen” – as a frame for any kind of cinematic dance to electronic music.
Conditions of participation:
- Everyone can participate
- Hand in either VHS-Tapes or DVDs
- Maximum duration of the submitted works about 8 minutes
- Short description of the project (about 300 words) in English or German
- Sorry, the works can only be returned on special request and at charge.
Deadline for the submission of works: March 31st, 2005
Address for submission:
fluctuating images. Contemporary media art
Cornelia and Holger Lund
Call for Submissions
Special Issue on Computer Music-Video. In the last few years, the speed and storage of personal computers have made possible a wide range of integrated computer-based music and video. Composers are working with a variety of approaches to video and sound composition and processing. In so doing, many composers are faced with technical and compositional challenges germane to time-based visual form. These include issues such as the formal and syntactic coherence of transformations, abstract animations, thresholds of recognizability, and implicit narrative inferences. Additionally, composing in a dual-media context begets additional insight and analysis into core principles of time-based art (theme, gesture, motive, repetition, development, variation, contrast, anticipation). Few connections have yet been drawn between the challenges faced by video and experimental film artists and those faced by electro-acoustic video composers and their collaborators. Prospective authors may submit an article for the issue, a computer music-video work for the accompanying DVD, or both. Audiovisual examples to supplement an article are encouraged. Composers and artists will retain the copyright to their works. Topics of interest include (but are not limited to):
* Music-visual mapping strategies
* Structuring processes of musical-visual form
* History of computer music-video
* Aesthetic and creative applications for visualization or sonification
* Technique master class (e.g., Jitter)
* Analysis of one of more computer music-video works
* Audiovisual haptic interfaces
* Multimedia information retrieval
* Neuropsychology of audiovisual form
* Cinematography in an integrated musical-video context
* Approaches or optimizations for music-video processing
Submission Deadline for articles is Feb 15, 2005.
Submission Deadline for DVD works is Mar 31, 2005.
Call for Composers
Deadline: Thursday 31 March 2021
COMA is inviting composers of any age and nationality to submit works as part of its Open Score Project.
COMA are seeking challenging, yet technically accessible, contemporary music, which is suitable for performance by amateur ensembles. Up to 20 composers will be selected to receive one-to-one tuition with Stephen Montague, and up to eight pieces will then be selected to join commissions from professional composers in the forthcoming Open Score collection. The collection will be published, released on CD and given high-profile performances by COMA ensembles.
Guidelines and the Open Score submission form are available from the COMA website www.coma.org. Or contact the COMA office on 020 7247 7736.
Five anonymous copies of the score should be sent with a completed submission form and fee of £10 (£5 for full time students and COMA friends and members) by Thursday 31 March 2021 to:
COMA Open Score Submissions
28 Commercial Street
CALL FOR SCORES
For the fourth year, Gamma-UT is announcing a call for scores of student works. Following last year's highly successful concert of electro-acoustic music, we will once again have a focus on technology and mixed media. Student composers/video artists are invited to submit pieces with video and music, where music plays a major role. Electronic and acoustic music is welcome, but acoustic pieces, if they are to be played live, should be limited to 4 performers. Attendance is mandatory for those with accepted pieces (composer or video artist).
The deadline for submission is February 1, 2005. Applicants will be notified of the program committee's decision via email by February 15, 2005.
Mixed media pieces should include a hard copy of DVD (video with music) mailed to the address below.
Pieces involving acoustic instruments should include a copy of the score. Submissions may be emailed (pdf, sibelius, finale) or mailed in paper format. Recordings are greatly appreciated (mp3, CD, cassette, DAT).
Please include your name, email address, mailing address, institutional affiliation, and proof of student status (copy of student ID or transcript).
Hard copies should be mailed to:
The University of Texas
GAMMA-UT Composition Chair
School of Music
1 University Station E3100
Austin, TX 78712-0435
The concert will be held on April 9, 2005, following the GAMMA-UT Conference, at the University of Texas at Austin. Submissions will not be returned. For more information, contact: Samuel Pluta - email@example.com or Robert Honstein - firstname.lastname@example.org.
Call for Scores
Kansas City Kansas Community College, Lewis University and the Conservatory of Music-University of Missouri at Kansas City are pleased to announce a call for scores for the Electronic Music Midwest Festival, to be held
October 20-22, 2005 at Kansas City Kansas Community College. Each concert will feature an 8.1 speaker diffusion system. Any composer regardless of region, age or nationality may submit up to two works for consideration in
the following categories:
1) Two channel works for tape alone
2) Up to Eight channel works for tape alone
3) Instrument(s) and tape or electronics
4) Works for video
5) Sound Installations and Interactive Media (composer must provide all non-standard equipment)
6) Live Laptop works
7) Live Interactive works
In addition, submissions for research and technical papers, panel discussions, and technical demonstrations are also requested. Student submissions are strongly encouraged.
Deadline: May 1, 2005, postmark deadline (scores must arrive by May 15, 2021)
Entry Fee: none
1) Accepted formats for consideration are DTS CD, DAT, ADAT, CD, DVD, DVD-Audio, VHS, or S-VHS.
2) Submit a completed Application form available at http://www.electronicmusicmidwest.org
Note, "works in progress" will be considered if a substantial portion of the work is submitted. For paper proposals, please submit an abstract of topic and technical requirements. Composers and authors whose works are selected
for this festival are required to submit a $25 registration fee upon selection and attend the conference. Regrettably, we are not able to offer travel stipends or honorariums to festival participants at this time.
Submitted works can only be returned if an SASE in enclosed, else they will be archived for future considerations. EMM is not able to consider works
that do not conform to the guidelines outlined above.
Send Submission Materials to:
KCKCC Music Department
7250 State Ave.
Kansas City, KS 66112
Full submission details and contact are available at:www.electronicmusicmidwest.org
Call for articles and works
Organised Sound: An International Journal of Music and Technology
Volume 11, Number 1
Issue thematic title: Sound, History and Memory
Date of Publication: April 2006
Publishers: Cambridge University Press
Issue Co-ordinators: Cathy Lane and Nye Parry.
Theme: Sound, History and Memory
As human beings we are defined by our memories. Our sense of ourselves, and our perception of the world around us rely on our ability to recall past experiences. Recording technology has opened up the world of memory to the sound artist/composer in many new and unique ways. The ability to reproduce sounds that have already occurred is central to the artistic use of recorded sound. It allows composers to use real world sounds motivically. It allows phonographers to capture and replay unique moments in time. It allows documentary makers to record first hand testimonies of past events and real lives. Perhaps most importantly it allows these fields to merge and intermingle, creating new hybrid forms that utilise location recordings, oral testimony and abstract sound and music.
For the proposed issue of Organised Sound we would be interested in inviting papers on the wide variety of practices in our field which involve the conscious use of memory.
Themes will include:
1. History and Memory as subject matter and inspiration for sound works
2. Oral History and archive as material in sound works.
3. Memory as a structural metaphor in sonic composition
We invite submissions from composers, performers, artists and researchers working within the field of sound, history and memory. Submissions related to the theme are encouraged; however, those that fall outside the scope of this theme are always welcome.
Deadline for submissions is 30 June 2005. Submissions may consist of papers, with optional supporting short compositions or excerpts, audio-visual documentation of performances and/or other aspects related to your submission. Supporting audio and audio-visual material will be presented as part of the journal's annual DVD-ROM which will appear with issue 11/3.
further details can be obtained from the inside back cover of published issues of Organised Sound or from:
Email submissions should be sent to (please see SUBMISSION FORMAT above): email@example.com
Hard copy of articles (only when requested) and other material (e.g., images, sound and audio-visual files, etc.) should be submitted to:
Prof. Leigh Landy
Music, Technology and Innovation Research Group
De Montfort University
Leicester LE1 9BH, UK.
Call for Mobile Audio (ringtone) Enthusiasts and Sound Artists
New Arts project for creating, converting and sharing original mobile audio....
Freeloader is a DIY ringtone creation and distribution environment. It is a commission by UK based FACT (Foundation for Art and Creative Technology) and created by Kisky Netmedia. It allows users to input MP3, MIDI and WAV files and turn them into original ringtone content.
The web application converts audio into ringtones suitable for over 350 phones allowing for playback of experimental work for a wide user group. The project is set to develop its content in 2005 through pupils
projects, artist lead workshops, and through input from remote users - anyone who wishes to experiment with their own mobile content.
If you are a sound artist, musician, composer, or mobile tone enthusiast, or just want a new original ringtone you may like to have a go at making your own tones using Freeloader. All submitted content should be original and copyright free and will be shared with the Freeloader community growing this resource of user-generated content.
Freeloader was developed as part of FACT's Stream and Shout Project.
For more information visit: http://freeloader.fact.co.uk
For more information on Kisky Netmedia, visit: http://www.kisky.co.uk
Call for Paper Proposals
SYMPOSIUM " Play!: Contemporary Composition, Technology and Listening" As part of Extensible Toy Piano Project - www.clarku.edu/xtp/xtp.html
It has been almost 50 years since John Cage defined experimental music in terms of the contemplation of sound and the use of technology. All sound--and even silence-- could and should be the stuff of music for everyone, listeners and composers alike. The tape recorder was a means of not only storing sounds, but of engaging them in new and direct ways. Meanwhile, at almost the same moment, Milton Babbitt delimited composition as serious and rational, the composer as a specialist, and technology as the handmaiden to determinacy.
Matt Malsky and David Claman, the directors of the Extensible Toy Piano Project, invite paper proposals for a symposium as part of the project's Festival on November 5-6, 2005 (for more information, see www.clarku.edu/xtp/xtp.html). Presentations will be 30 minutes long. Possible topics on the themes of the festival might include (but are not limited to):
- musical (post)modernism: aesthetic contemplation vs. intellectual endeavour
- overwhelming noise & disturbed silence: entertainment & the relationship of electroacoustic music to mass culture
- music and technoculture: musical creativity and technological possibility
- fun and form: toys as expressive objects and their listening subjects
- multimedia and new music: the intersection of new musical instruments
in diverse media
- the political economy of contemporary composition: the composer and our
division of musical labor
- the (impossible) concert: music in everyday/public life
- the live and the canned: performance and listening in the age of the studio
- post-literacy in music: aurality vs. orality
Proposals should be no more than 500 words and include audio-visual requirements. Please submit your proposal by July 15, 2020 via email to firstname.lastname@example.org or by surface post to:
The Extensible Toy Piano Project
Department of Visual and Performing Arts
950 Main St.
Worcester, MA 01610
Call for Participation
The Phonos Foundation, the Pompeu Fabra University of Barcelona, and the Higher School of Music of Catalonia in conjunction with the International Computer Music Association, is proud to announce ICMC 2005. The conference will take place in Barcelona, Spain, from the 5th to 9th of September 2005, with pre-conference workshops on September the 4th.
ICMC is the pre-eminent annual gathering of computer music practitioners from around the world. Its unique interleaving of professional paper presentations and concerts of new computer music compositions creates a vital synthesis of science, technology, and the art of music.
By choosing free sound as this year's leitmotif, we aim to emphasise the idea of freeing sound from its current aesthetic, technical and legal confines. We wish to promote an open discussion about the extent to which sound is considered a community asset -- an asset thatbelongs to society and cannot be privatised. Thus, we encourage contributions that emphasise these and related topics.
We invite original contributions in all areas of the computer music field in a number of formats. However, we are also open to any proposal, and encourage all submissions, including those that do not fit the categories below.
We issue the following calls:
* Call for music, video, and installations (deadline February 5th, 2005)
* Call for papers and posters (deadline March 5th, 2005)
* Call for demonstrations (deadline March 5th, 2005)
* Call for inspirational ideas (deadline May 23rd, 2005)
* Call for workshops (deadline April 5th, 2005)
* Call for off-ICMC (deadline April 5th, 2005)
* Call for exhibitors (deadline June 5th, 2005)
* Call for panels (deadline April 5th, 2005)
To promote the idea of free sound, the organisers of ICMC 2005 are setting up the Free Sound Project, a website dedicated to the sharing and usage of copyleft sounds. Thus, we are making a special call for copyleft sounds with no specific deadline. For more information, visit this website again in the near future.
To keep up to date with all of the latest news and information about ICMC 2005 please subscribe to our mailing list. Detailed information on the conference and submission formats can be found on this site.