Lewis University and Kansas City Kansas Community College are pleased to announce an international call for submissions for the Electronic Music Midwest Festival, featuring guest performer Keith Benjamin (trumpet), to be held November 19-21, 2015 at Kansas City Kansas Community College. Each concert will feature an 8.1 speaker diffusion system. Acclaimed trumpeter, Keith Benjamin, will be the featured performer and composers are encouraged to submit works for his consideration. Any composer regardless of region, age or nationality may submit one work.
Deadline: May 20, 2015
Entry Fee: none
For complete guidelines, visit http://www.emmfestival.org/data/callforsubmissions.html
Det er ledig 3 atelier ved Kunstnerverksteder cs55 Bergen.
- Nyutdannet atelier # 304, er 42 kvm. Leiepris 2015 er kr. 1.646.— minus husleiereduskjon satt til 14 % kr. 230.— endelig leiepris 1.416.— + strøm. Dette atelieret har doble dører.
- Nyutdannet atelier # 404, er 40 kvm. Leiepris 2015 er kr. 1.578.— minus husleiered. 14 % kr. 221.— endelig leiepris 1.357.— + strøm.
Atelierene for nyutdannete leies ut for ett år av gangen med mulighet for forlengelse inntil 2 år sammenlagt.
- Ledig atelier # 302 med 78 km i 3. etasje.78 kvm. Husleie kr. 5.868.— pr, mnd minus husleiereduksjon på (i år) 14 % kr. 822.— Totalt kr. 5.046.— + strøm.
Alle atelier har tilgang til wifi, vareheis, prosjektrom og fellesverksted i 2.etg. etter opplæring ved verkstedansvarlig.
Alle 3 atelierene er ledig fra 01.06.2015 og har søknadsfrist 1.april 2015
Søkes med digital portfolio i pdf form, evtl. webside, CV, motivasjon.
Søknaden sendes til styret i Kunstnerverksteder Cs55 ved email@example.com
For å kunne søke atelier for nyutdannete må du være utdannet billedkunstner/kunsthåndverker som avsluttet utdanningen for ikke mer enn 2 år siden.
Kunstnerverksteder cs55 er støttet av Bergen kommune og Hordaland fylkeskommune
Over the past few weeks we have received several questions regarding how to set up a Reaper project to work with first order ambisonic using the ATK for Reaper plugins.
Responding to this, Trond has have just published a screencast that helps explaining this.
Sixth International Symposium on
Music/Sonic Art: Practices and Theories
MuSA 2015 – Karlsruhe (IMWI)
25-28 June, 2015
Hochschule für Musik, Karlsruhe –
Institut für Musikwissenschaft und Musikinformatik (IMWI)
Am Schloss Gottesaue 7, 76131 Karlsruhe
FIRST CALL FOR PAPERS:
We are pleased to announce the Sixth International Symposium on Music and Sonic Art: Practices and Theories (MuSA 2015), an interdisciplinary event to be held in Karlsruhe, Germany at the Institut für Musikwissenschaft und Musikinformatik (IMWI) (http://www.hit-karlsruhe.de/hfm-ka/imm/). MuSA 2015 is also supported by Middlesex University, London. The dates of the Symposium are 25-28 June, 2015.
Proposals for sessions and individual papers for the Sixth International Symposium on Music and Sonic Art: Practices and Theories are invited from academics, independent researchers, practitioners and post-graduate students. Presentation formats include academic research papers (20 minutes + 10 minutes for discussion); reports on practice-based/artistic research or educational programmes (20 minutes + 10 minutes for discussion); and workshops, panel sessions, lecture-demonstrations (30 minutes + 15 minutes for discussion). The Symposium committee encourages presentations in which practice forms an integral part of the research. All proposals will be ‘blind’ peer-reviewed. The Symposium language will be English. Previous themes and topics can be seen at: musa2012.zilmusic.com, musa2013.zilmusic.com, musa2014.zilmusic.com
THEME AND TOPICS:
The principal aim of MuSA 2015 is to advance interdisciplinary investigations in – as well as between – music and sonic art. Following the success of MuSA 2014 in opening up interdisciplinary debate on the role of embodied approaches, MuSA 2015 will continue to probe this research area through the Symposium theme: Exploring embodiment in music and sonic art.
We invite submissions on the following, and other related topics:
- Body movement and emergence of meaning;
- Embodied approaches to creativity;
- Kinematics and haptics as background for music and sonic art research;
- Gesture and expression;
- Methods for embodied analysis;
- Phenomenology of the performing body;
- The body within socio-cultural contexts of music and sonic art;
- Pedagogical contexts for embodied approaches to music and sonic art;
- The body in interpersonal sound-based communication;
- Ecological, biological, neuroscientific and evolutionary approaches to embodiment;
- Historical roots of embodied approaches in theory and practice;
- Technology and embodiment;
- Artificial intelligence and embodiment;
- Critical discourses of embodiment in practice and research;
- Embodied aesthetics;
- Embodiment in collaborative research;
Other topics that are in line with the Symposium’s broad aim of promoting interdisciplinary research within and across Music and Sonic Art will also be considered.
In addition, MuSA 2015 will devote one day to the specific theme: Re-thinking the Musical Instrument
Within the thriving discipline of musical performance studies, there is a general tendency to speak of ‘the performer’ as an abstract category without taking into account the kind of musical instrument that mediates the act of music making and music as a temporally emergent, sounding phenomenon. In reality, different kinds of musical instruments involve different expressive means (and at times different expressive/artistic aims), engender different phenomenologies of performance making, and generate different kinds of performer identities. The nature of the embodied interaction with different instruments in composition and performance, and the expressive and communicative meanings that emerge as a result of such interaction constitute a largely unexplored research territory.
Some of the topics that will be explored include:
• The acoustical, musical, cultural, symbolic, and ritualistic qualities of musical instruments and the relationships between these (theoretically) distinct kinds of qualities;
• The discourses that exist in relation to musical instruments in different genres, styles and traditions;
• The gestural affordances and ergonomic principles of musical instruments and the musical meanings that emerge as a result of these affordances and principles;
• Performers, improvisers and their instruments: phenomenologies of music making in the context of particular kinds of musical instruments;
• Composer and instruments: the material, acoustical and expressive qualities of instruments and their relationship to musical languages composers create;
• Relationships between creativity in performance, nature of musical interpretation and musical instruments;
• The role of the musical instrument in the creation of musical identities;
We invite proposals on any research area related to the nature and use of western acoustical instruments, traditional ethnic instruments and digital/virtual instruments.
Please submit an abstract of approximately 250-300 words as an e-mail attachment to firstname.lastname@example.org
Please specify whether you wish your abstract to be considered for the one-day ‘Re-thinking the musical instrument’ event.
As contributions will be ‘blind’ peer-reviewed, please do not include information that might facilitate identification from the abstract. In addition, please include separately the name(s) of the author(s), institutional affiliation (if any) and short biography (approximately 100 words). Deadline for the receipt of abstracts is Monday, 27 April 2015. Notification of acceptance will be sent by 8 May.
The Symposium fees are: €120 for delegates (day rate: €40), €100 for presenters (day rate: €35), and €60 for students and others who qualify for concessions (day rate: €20).
If additional information is required please do not hesitate to contact Prof. Dr. Mine Doğantan-Dack or any member of the symposium committee:
Prof. Dr. Mine Doğantan-Dack (University of Oxford) –
Prof. Dr. Thomas A. Troge (IMWI, Karlsruhe) – email@example.com
Prof. Dr. Denis Lorrain (IMWI, Karlsruhe) – firstname.lastname@example.org
Prof. Dr. Paulo Ferreira-Lopes (Universita Cattolica Porto/ HfM-Karlsruhe) – email@example.com
Prof. Miroslav Spasov (Keele University, Music Department) – firstname.lastname@example.org
Dr. John Dack (Middlesex University, Art & Design / Science & Technology) – email@example.com
Adrian Palka (Coventry University) – firstname.lastname@example.org
Timothy P. Schmele (IMWI, Karlsruhe) – email@example.com
Administrative support: Gundi Rössler (IMWI, Karlsruhe) – firstname.lastname@example.org
After the success of the first two volumes of The OM Composer’s Book, a new call for contribution is open for The OM Composer’s Book .3.
Contributions to this volume should consist of 10-20 pages chapters providing the description of a musical work making use of computer-aided composition and OM, highlighting a personal approach to composition using computer tools.
Texts shall be written in English. LaTeX format preferred but MS Word or other standard text processing software formats accepted. It is encouraged to illustrate the discourse with high-quality screen captures and score excerpts.
In order to contribute, please send a chapter proposal (1-2 pages max.) to jean [dot] bresson [at] ircam [dot] fr.
There is no strict deadline for proposals but full texts will be expected by june 2015.