News from the Sonic Arts Network

EXPO 966 Update

Justin Bennett

This is the final, final call for Submissions and commission proposals for this years Expo, with the 31st January deadline looming.  (Further details can be found in the Calls section).

The Expo promises to be exceptional with many excellent submissions already received.– often responding to the event's setting – Scarborough.

Although there are many fine places to stay in Scarborough, it’s worth booking early to avoid disappointment, with many of the hotels filling up from April onwards.  A useful resource for accommodation in Scarborough is:

This year’s Expo will feature an exclusive live collaboration between John Richards (Kreepa, Sand) and Black Galaxy (ex Napalm Death, Scorn).  A New Prize winning acousmatic work from Adrian Moore, the premiere of Justin Bennett's commission plus a night of interstellar Theremin action from Man from Uranus and Ninki V.News of the full programme will be coming soon!

John Richards

6 – 27 February
Various Venues, London

IF:05 profiles the joint artistry of Colin Riley and Peter Wiegold exploring contemporary music making from their unique perspective of pioneering work in improvised/devised and electronic and jazz/popular music. The theme of IF:05 is ‘NEW BANDS’ with the programme exploring the relationship between performer and composer and the creative opportunities of improvised, devised and written music.  Included in the festival are major new works by both Colin Riley –with theatre director Toby Wilsher, Peter Wiegold - Damn Braces incorporating improvised and composed music - as well as the launch of two new ensembles: Moov and notes in_gales. Also Richard Barrett with the British premier of his new work Blattwerk,  new pieces by Martin Butler, Tansy Davies, Morgan Hayes,  Homemade Orchestra, Poing.

24 - 26 FEBRUARY
University Drama Studio, Sheffield.

Three evenings of electroacoustic music featuring, Francis Dhomont and Andrew Lewis. The series begins on Thursday 24th February and celebrates a partnership of Yorkshire-based creativity with brand new sonic art from composers living and working in Leeds, Sheffield and York including Ambrose Field, Adrian Moore and Ewan Stefani. Andrew Lewis (25) presents Four Anglesey Beaches. Dhomont gives his cycle du son on 26th.
(0114) 2220499/0470

Sunday 27 February
The Venus Blazing Tour - Deirdre Gribbin / James MacMillan / Britten Sinfonia
(live performance)
Queen Elizabeth Hall, London

Two of the UK's most original and accessible contemporary composers come together for the first time. Magical lighting sets the scene for Gribbin's theatrical violin concerto, Venus Blazing. Appearing live on stage, Gribbin appears as an otherworldly "master of ceremonies", guiding the audience through her seductive music with stunning lighting effects and aurora colours into an astronomical fantasy world. The concert features the Britten Sinfonia, fast developing a reputation as one of the UK's leading chamber orchestras.
08703 800 400

18 & 19 March
UK MicroFest 1 ~ Wild Dog 1
St. Cyprian’s Church, London

A celebration of microtonal music offering a lively, controversial and artistically compelling forum which will demonstrate the depth and diversity of microtonal practice in the UK. Featuring Contour, the German-based trumpet and percussion duo of Stephen Altoft and Lee Ferguson; viola player Elisabeth Smalt from Amsterdam and from London the recorder duo Rare Bird and ‘cellist Robin Michael. Invited speakers include Bob Gilmore, composer Christopher Fox and founder of the Centre for New Musical Instruments Patrick Ozzard-Low.

Saturday 5 & Sunday 6 February
Reid Concert Hall, Edinburgh

The final weekend of three. With all concerts pumped through a 20 channel diffusion system, Friday includes Adrian Moore, Jens Hedman, Alain Savouret, Beatriz Ferreyra and Christian Zanesi. Sunday explores Sonic Environments, with Pete Stollery, Douglas Doherty, Diana Simpson Paulina Sundin , Natasha Barrett and an Exposition of Swedish Electroacoustic Music presented by Matts Lindstoem: directer of EMS, Stockholm.
Full details:

18 – 20 February
Sonic Interactions
(Performance / Conference)

Friday 18th February sees a performance of Pousseur Symposium: The Scambi Project with Henri Pousseur. Following that is a two-day postgraduate conference on interactivity and sonic art with Key note presentations by Lawrence Casserley and Alejandro Vinão. It closes on Sunday (20) with the Interlace Concert

10–23 February
Trinity Technology College, Warwick

'Somewheretogo' is an ambitious large scale group art exhibition that brings together a selected group of 19 recently graduated UK based artists. The imminent demolition of the building has given rise to a truly unique opportunity for the selected artists to create some really ambitious work that would otherwise not be possible.
Tel: 07813103673

9 & 10 February
INTERPLAY 3 – 2005
Spitz, London

Sprawl invites a selection of International artists for 2 nights of unique live collaborations, traversing the sonic realms of minimal & post-techno beats,
new dub, voice, pop, jazz and improvisation. Wednesday (9) features Pole, Deadbeat, Markus Schmickler, amongst others. Thursday has Stephan Mathieu , SI-CUT.DB, Leafcutter John and Janek Schaefer, scanner and Iris Garrelfs.
BOX OFFICE: 0207 392 9032,

Saturday 29 January
The Sound of Heaven and Earth
Tate Modern, London

Luc Ferrari, Kaffe Matthews, David Grubbs, Achim Wollscheid, Eric Roth, and Olias Nil, have each composed an audio score for an ensemble of musicians from the contemporary classical and improvisation worlds, including David Toop, Tony Bevan and Andrew Morgan. The musicians will receive and interpret each score and perform it live, as the audience looks and listens on. With ensemble remaining consistent, the composers take a turn leading them.

COMA Contemporary Music Summer School
23 - 28 July 2005, Bretton Hall, Yorkshire Sculpture Park

The UK's only summer school dedicated to contemporary music catering for instrumentalists, singers and composers of all abilities. This is an intensive course with a daily timetable of workshops, orchestral and chamber ensemble rehearsals. With up to three concerts a day and performances by leading professional musicians and ensembles, the result is a rich and exciting festival atmosphere throughout the week.

Tutors include: Joe Cutler & Stephen Montague - composers, Damien Harron - percussion, Rolf Hind - piano, Sarah Leonard - voice, Noszferatu - visiting ensemble. With music by Visiting Tutors, Michael Nyman, Frederic Rzewski, Christopher Fox and many others, 600 acres of potential performance spaces and a philosophy that turns performers into audience, audience into performers, this summer school aims to turn everything on its head, and everything into a possibility. This is possibly the last COMA Summer School at Bretton Hall, so put the dates in your diary so you don’t double book!

The deadline for application is Friday 22 April. For further information and an application pack, email:
phone: 020 7247 7736.020 7247 7736


Community Musicians Wanted

We are looking for a variety of community musicians to deliver workshops as part of the Come & Play initiative in the London Borough of Bromley. The project will involve working with primary school age children in afterschool club settings. Musicians will be working in one or more after school clubs. The project will involve induction and training for after school club staff and 10 weekly workshops per club for children. We are particularly seeking musicians who can provide workshops in any of the following musical styles: African drumming, samba/latin, singing/songwriting, rapping, percussion, rock/pop, asian music or reggae.

There will be an induction day on 12th March and workshops will run during the summer term. All appointed staff will be required to undertake an enhanced Criminal Records Bureau check before commencing work. To apply please send a CV and covering letter describing
1) your previous experience working with this age group and in after school club settings,
2) Which musical styles you have experience in and would use
3) How you would train after school club staff to deliver musical workshops,

Email to: Eliza Williams, Arts Development Officer, Bromley Mytime, Room A41, Ann Springman Building, Civic Centre, Bromley BR1 3UH.

For an informal chat telephone: Eliza Williams 020 8461 7537

Closing date: 4th February 2005


Board Director wanted

The Midi Music Company is South London's leading music & technology education organisation. We create engaging music, technology & media projects primarily targeted at children and adults aged five to thirty.

We are looking to expand the membership of our Board of Directors and our events arm - The Midi Music Company Events Ltd. The Board of Directors meet four times per year and individual Board members work with the Chairman, Executive Director and staff team to develop various aspects of the company's programme. The position of Board of Director is unremunerated work. Our programme includes instrumental tuition, short & part-time courses, creative industries careers advice service, outreach projects, international youth arts initiatives and special events. Successful candidates need to have experience and expertise, preferably at a senior level, in any of the following areas; Education & Vocational Guidance, Public Sector, PR & Marketing, New Media and Events Management.

The Midi Music Company celebrated its 10th Anniversary in 2004. If you feel that you would like to join our team and make a positive contribution to our creative programme, please send a formal letter of application with your CV to: Wozzy Brewster, OBE - Executive Director, The Midi Music Company, 77 Watsons Street, Deptford, London SE8 4AU 020 8694 6093


Closing date for applications: 11th February 2005


Training Co-ordinator Wanted

Amplifier, the youth music project for Cheshire, is looking for a Training Co-ordinator.

Amplifier is an innovative two-year strategic youth music programme for young people aged 13-18, across Cheshire, Halton and Warrington. The Training Coordinator post is a one year contract. The post involves working with the Programme Manager and Administrator, co-ordinating professional development and training for musicians who deliver participatory music workshops.

Applicants will ideally have a minimum of 2 years' training co-ordination, youth work experience or teaching experience, be self-motivated and enjoy working as part of a team. This is a freelance contract, averaging 15 hours per week for 12 months. The fee is £8,034.
Please apply by sending your CV and supporting letter to Amplifier at the address below.
Deadline 5.00pm on Wednesday 15th February 2005. Short-listed candidates will be informed on Friday 18th. Interviews will be held in Warrington on Weds 23rd & Thurs 24th Feb. The contract will be from April 1st 2005 to March 31st 2006.

For further information contact:

Janet Walmsley
Amplifier Administrator
The Pyramid,
Palmyra Square South,
Cultural Quarter,
WA1 1BL.

01925 442287


Part-time lecturer

Bath Spa University College is currently looking to hire two part-time lecturers with extensive knowledge of Max/MSP and/or pluggo.For more details visit:
Informal enquiries may be made to:



Norwegian University of Science and Technology (NTNU) Faculty of Arts

The Department of Music invites applications for a tenured position in Music Technology at the Professor or Associate Professor level.

Music Technology is a multidisciplinary cooperation at NTNU, which currently involves the following departments: The Department of Music, the Department of Electronics and Telecommunications and the Department of Computer and Information Science. The Department of Music is administratively responsible for a three-year multidisciplinary Bachelor’s programme in Music Technology. A Master’s programme in Music Technology will be incepted in the autumn term of 2005.

The position consists of teaching and creative work/Research and development (R&D). The Professor must also agree to participate in administrative work related to the position. The position might be a joint position. Applicants should therefore specify if they have any preferences regarding the percentage of a possible joint position.

The successful applicant must be able to demonstrate basic knowledge within all, as well as extensive knowledge within some of the following subject areas:
· Sound Engineering (practical teaching skills required)
· Sound Distribution and Sound Installation Systems
· Electro-acoustic Music, Computer Music, Composition
· Analysis and Synthesis of Sound and Music, Digital Signal Processing
· General – and music-related programming
· Creative, performing skills within Music Technology

It is important that the successful applicant actively contributes to advanced development within the study programme Music Technology, as well as actively contributes to a creative international research community within the field of Music Technology.

The evaluation committee will call attention to the applicant's background within Music and Technology, and it is of great importance that extensive disciplinary qualifications and creative research in these fields can be documented at doctorate level or equivalent.

The successful applicant for the position must be able to document his/her extensive disciplinary qualifications in important fields within the discipline. His/her individual work must document artistic/scientific expertise in one or more parts of the discipline, particularly within the specialist fields for which the professorship has specific responsibility. Weight will be placed on the ability to supervise and initiate research and development work.

Further details about the position can be obtained from Associate Professor Carl Haakon Waadeland, tel. +47 73 59 73 35, E-mail:


Voluntary Intern Position

The Orchestra of the Age of Enlightenment is currently looking for a voluntary intern position in Education . This training post would suit a recent graduate wishing to gain experience in a world class arts organisation. We recruit every 6 months and so enquiries are always welcome. The next placement will commence in March 05.The Education placement provides an opportunity for the selected candidate to work within a busy Education Department alongside the Education manager, specifically on the Enlightening Education programme. The intern would have the chance to concentrate on areas specifically of interest to them.

For further information about this position please refer to the 'Arts Administration Training Scheme' page found in the 'interact' section of the OAE website or contact


Surround Sound Production

Surround Sound production using Logic Audio 19th and 20th February 2005 This course will uncover the process of developing 5.1 sound tracks for DVD. Learn how to mix sound files spatially and encode for DVD delivery. Participants will also gain an in-depth insight into how to use Logic to a high level. Over the 2 days you will have the opportunity to develop a 5.1 sound project and test using our high end playback system.




MusicLeader West Midlands, on behalf of MusicLeader West Midlands seeks to appoint Director (Ref: ML01) - salary c. £26,000

Initial fixed term contract to end March 2006MusicLeader is a Youth Music initiative providing access to professional development for music leaders at every stage of their career. Launching in Spring 2005, MusicLeader will operate through regional networks supported by an online resource: We are now looking for a dynamic and suitably skilled individual to lead in establishing, managing and developing the service in the West Midlands - working with a range of partners and initiatives, covering programme content, strategy and quality assurance. For further information and an application pack please contact: Katy Reed on 0121 440 4221 ext.207 or email quoting the reference number.

Closing date: 5pm Friday 11 February 2005Interviews will be held in Birmingham on 22 February 2021

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.

Highlights include:  
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

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 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 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
Martin-Luther-Str. 99
D-70372 Stuttgart


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 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
Toynbee Studios
28 Commercial Street
E1 6LS



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
Samuel Pluta
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 - or Robert Honstein -


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

Submission Guidelines:
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

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:
Connie Mayfield
KCKCC Music Department
7250 State Ave.
Kansas City, KS 66112

Full submission details and contact are available

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):

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
Organised Sound
Music, Technology and Innovation Research Group
Clephan Building
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:
For more information on Kisky Netmedia, visit:


Call for Paper Proposals

SYMPOSIUM " Play!: Contemporary Composition, Technology and Listening" As part of Extensible Toy Piano Project -

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 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 or by surface post to:

The Extensible Toy Piano Project
Clark University
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.

Extreme Music from Russia
Various Artists

Susan Lawly Records

A polished and compliant musical adventure this is not. This is much dirtier than that. This is rebellion and pent-up frustration captured in its outburst. Seventy minutes of tweeter piercing, deeply overdriven, underground lo-fi. Fifteen tracks hand-crafted, not so much with care and precision but with expressionistic urgency. Insert the black disc and turn up. St. Petersburg composer Pavel Alexandrov, tragically killed in a recent car crash, cuts open the airwaves with sweeping tinnitus-resonances and distorted bass hits. VU meters are flat out, full throttle. Initially, the aural onslaught is perhaps a little overwhelming, creating an astonishing sense of self-awareness, of “what will the neighbours think!”. But the pleasure [if that is the right word] of such a composition comes through exceeding usual thresholds. Once immersed fully in the barrage of sound, self-awareness instead becomes a loss of self. The intensity finds me almost induced in a hot flush as peak level indicators ride relentlessly into the red zone. When they abruptly subside, the ears, and indeed the body, are left in a state of awe.

Thankfully the CD also explores more subtle aspects to the ‘extreme’ mode of creation. Moscow’s ‘Volga’ contributes an elegantly haunting, largely vocal track entitled ‘rose’. Accurately described as ‘ethno-electronic’, radical echo-manipulation and homemade instruments are the focus here. The track’s duration, like most on the compilation, is pleasingly concise, clocking in at just over 5 minutes. Any longer and I feel that the heady impact of many of these tracks would give way to dreary overstatement.

One aspect that fascinates me about Russian composition is its instantly identifiable nationalistic edge. Even within these works, it remains. ‘The Podryvaniem Boys’ utilise a traditional Russian song sample, looped over and over to quaintly kitsch effect. Apparently it’s been a “surprise hit in underground noise-dance clubs” according to the informative liner notes.

Susan Lawly has three other ‘Extreme Music From…’ compilations available; Japan, Africa and Women. If the breadth and diversity of character that this compilation shows represents the standard to which the others have been created, they too should be on the wish-list of any person enthused by these subversive musical movements.

Reviewed by DJC de la Haye
A composer and bassist who’s recently completed an MMus at Newcastle - available for all types of musical debauchery.

Andrew Hodson
Map Music

Beautiful Pigeon

I was very disappointed by this CD. In Map Music's liner notes and press release Andrew Hodson is eager to inform us that the music was 'made up of sounds recorded on trains, in stations and [in] the surrounding area of the Newcastle Metro' This sounds like a very interesting project. Recording travel, public transport, sounds of commuting and everyday life are notoriously difficult to present in an engaging way. Unfortunately this album is nothing of the sort. In fact a truer statement more be to say that Map Music was made up of sounds recorded on trains, in stations... which have then been chopped up into small samples over a sort of prepared techno-lite soundscape. And this low key Warp records, Boards of Canada dreamy genre is pleasant enough, well constructed. It's just the context is so out of place. The sheer arrogance to suggest that somehow the sounds of everyday life have no musical interest other than to serve as a limp backdrop to relaxed techno makes it difficult to judge the music on its content and not its context. An opportunity has been missed - what little environmental sounds do appear on this album are either clipped into tiny percussive specks or so bathed in an anaesthetic reverb, that they could been taken from anywhere.

But this mistake forgotten - the music itself, if I wasn't so annoyed about the field recording stuff, is pretty well done. It follows the narrow rules of intelligent dance music - regular metre, scuffling percussion and a generally nostalgic or mournful chord or harmony.

But then track three and five bring us back to context. Field recordings of Spanish and German voices. And what of the text, what has it to do with the experience of travelling the metro. One recording appears to be from an installation at a station, but was this worth putting in without any background information? Again a feeling of arrogance pervades, as one gets the impression that Hodson thinks 'foreign' voices will add something exotic. They don't, they distract.

So all in all an effective use of little bits of style from Idm, glitch, dub-house, micro-house - those sort of genres. Well mixed with lots of warmth and presence. There's nothing wrong, or inspiring about it per se. It really only succeeds as an excellent example of how not to work with environmental recordings.

Reviewed by Mark Mclaren
Mark Mclaren works with sound and text. He produces a show on Resonance FM called 'Down With the Chairman'