CALL FOR WORS – ICMC 2010 <RED Edition>
Stony Brook University, in association with New York University, and
the Electronic Music Foundation of New York City, will host the
International Computer Music Conference (ICMC) in New York City and
Stony Brook, NY, USA from June 1-5 2010.
CALL FOR PAPERS
The International Computer Music Conference (ICMC) 2010 invites
submissions for paper sessions. Our theme this year is: Research,
Education and Discovery. We thus encourage papers (long or short),
posters, and demonstrations in these three categories:
Research: current projects in the field of computer music
Education: with a special emphasis on studio reports (see below)
Discovery: submitting papers (long or short) and musical works in
pairs (see below)
Submission Qualifications and Deadlines (for all categories):
This call is open to all regardless of nationality, age, or career stage.
Submission work(s) must be completed online at:
<http://www.icmc2010.org/submissions>
Deadline for submission is December 31st, 2009
Notification of selected papers will be announced on: Feb 15
Authors will be notified of the results by email. Results will also
be posted on : <www.icmc2010.org/program>
Submission Types
Please submit PDFs for the following presentation categories:
•Short Paper (4 pages maximum in Proceedings, 20 minutes lecture presentation)
•Long Paper (8 pages maximum in Proceedings, 30 minutes lecture presentation)
•Poster (4 pages maximum in Proceedings)
•Demonstration (4 pages maximum in Proceedings)
•Piece Plus Paper (either 4 or 8 pages in Proceedings, performance at
a concert plus lecture presentation or panel discussion)
•UnConference (One page description)
We may recommend that submissions change category as part of the
review process.
Papers selected for lecture presentation will be allotted either 20-
or 30-minutes during technical sessions. They should form a
substantial contribution to the field and must be accompanied by a
written paper submission, which may be up to 4 (short) or 8 (long)
pages including images and references. Posters and demonstrations are
a forum for discussion of work-in-progress and/or significant or
important results that are better suited for more interactive
presentation. They must be accompanied by a written paper submission
of up to 4 pages in length including images and references. Posters
will be presented on a single A0 size sheet during a poster session.
Demonstrations will be presented in a classroom setting.
All submissions will be subject to review by an international panel of
experts in the field of computer music. At least one of the
authors/composers must present the work at the conference (and pay the
registration fee) for it to appear in the proceedings.
Submission Topics
•General content areas include but are not limited to:
•Digital Audio Signal Processing
•Sound Synthesis and Analysis
•Music Analysis
•Music Information Retrieval
•Representation and Models for Computer Music
•Artificial Intelligence and Music
•Languages for Computer Music
•Printing and Optical Recognition of Music
•Mathematical Music Theory
•Psychoacoustics, Music Perception
•Acoustics of Music
•Aesthetics, Philosophy and Criticism of Music
•History of Electroacoustic Music
•Computer Systems in Music Education
•Composition Systems and Techniques
•Interactive Performance Systems
•Software and Hardware Systems
•General and Miscellaneous Issues in Computer Music
•Studio Reports
Studio Reports
We strongly encourage Studio Report submissions this year. We will be
using a new and improved format: All accepted studios will get up to 4
pages to be included in the proceedings, a short introductory
highlight talk, followed by a special studio joint poster session and
exchange forum.
Piece Plus Paper
This newly established category will receive submissions that pair
original music with documentation exposing the process of composition
and/or technical elements specific to the creation of the work. A
concert featuring selected works will be given, preceded by a paper
session and followed by a panel discussion. This format, developed in
response to ongoing discussion within the computer music community,
will provide a vehicle for music that can be more deeply experienced
following an introduction, as well as a forum for ideas that can be
more fully entertained after hearing music.
UnConference
The UnConference will be a more informal gathering of artists,
thinkers, dreamers, and other trouble makers all focused on digital
technologies, electronic arts, and music. Participants will have the
opportunity to share their work with peers in an informal setting.
The UnConference will take place daily in the EMF offices and the Wang
Center Chapel. We are looking for topics of discussion – please submit
up to 1 page which will be printed in the proceedings.
More information can be found at: <www.icmc2010.org>
Please address any questions regarding the call for works to:
<submissions@icmc2010.org>
—–
CALL FOR SONIC WORKS
The International Computer Music Conference (ICMC) 2010 invites
submissions of musical works (very broadly defined) for presentation
at the Conference. Our theme this year is: Research, Education and
Discovery.
Composers can submit up to three works, in one of seven categories:
•ICMC Conference concerts, to be held at Stony Brook University and
New York University: works with and without performers, including
possible dancers.
•Piece Plus Paper (either 4 or 8 pages in Proceedings, performance at
a concert plus lecture presentation or panel discussion)
•Ear to the Earth Concerts, Presented by the Electronic Music
Foundation: works with and without performers.
•Red Light after-hours concerts: works appropriate for a club atmosphere.
•60 x 60: one-minute (or shorter) works for fixed media sound.
•Installations
•Alternative Event Programming
For more detailed descriptions, please see below.
If a composer submits three musical works, one must be in the 60 x 60
category (one minute or less).
We may recommend that submissions change category as part of the
review process.
Submission Qualifications and Deadlines (for all categories):
This call is open to all composers regardless of nationality, age, or
career stage.
Submission work(s) must be completed online at:
<http://www.icmc2010.org/submissions>
Deadline for submission is December 31st, 2009
Notification of selected works will be announced on: Feb 15
Artists will be notified of the results by email. Results will also
be posted on : <www.icmc2010.org/program>
More information can be found at: <www.icmc2010.org>
Please address any questions regarding the call for works to:
<submissions@icmc2010.org>
Submission Materials (for all categories):
All submissions will be subject to blind review by an international
panel of experts in the field of computer music with access to all
submitted materials online. Composers/Installation Artists who wish to
have their pieces performed/installed at the conference music register
for the conference. Final deadlines for media and any other
performance material as applicable (including scores and parts) must
be met if a piece is to be programmed, in order to facilitate
rehearsals and technical organization for the concerts.
Attendance by the composer is highly encouraged but not absolutely
required. However, the performance may be cancelled if any of the
following occur: 1. the music and necessary performance materials
(score, software, …) are not submitted by the “Final Music”
deadline; 2. associated software does not function properly; or 3. the
documentation is not complete enough to allow the piece to be properly
rehearsed and performed. Final dress rehearsals / sound checks will be
scheduled on the day of the concert.
Artists submitting works should create and submit MP3-formatted audio
files or MP4-formatted video files of their pieces; in order to
facilitate blind jury review, we ask that artists not include title
slides or ID3 tags on their media. Technical specifications for
performance and performer scores should be submitted as well, in PDF
format. Submissions for 60×60 should be in AIFF format, the accepted
pieces will be mixed directly onto a CD. Installation proposals must
include a spatial/physical diagram as well as specify the equipment
provided by the artist/composer versus the equipment to be provided by
the venue.
Submissions must include:
• Biography (250 words maximum)
• Program Notes/ Project Description (350 words maximum)
• Contact information
• MP3-formatted audio files or MP4-formatted video files or AIFF for
60×60 submission
• Performers required (if applicable)
• Performer scores, in PDF (if applicable)
• Technical specifications, in PDF and spatial diagram for
installation submission
ICMC Conference Concerts
Special emphasis is put on works integrating interactive technology /
live multimedia and traditional music performance, with an aim towards
expanding and reinvigorating notions of “liveness” in computer music.
We welcome submissions in the form of:
•Works for fixed playback media (up to 12.2-channel sound).
•Works for instrumental performers and electronics (playback or interactive)
•Works for composer/performers working with alternative controllers
and new interactive technologies.
•Works for multimedia performance involving video or other mixed media.
•Works for interactive choreography.
A list of available performers can be found below. Different venues
throughout the conference will have different technical capabilities,
and the concerts will be curated (post-jury) to ensure the most
appropriate venue for each work.
Stony Brook Contemporary Chamber Players:
String quartet, double bass, 2 pianists, woodwind quartet,
brass trio, 4 percussionists, and 1 guitarist.
Guest Musicians:
Shaiu-uen Ding, piano
Mari Kimura, violin
Jessica Powell, bass / viola di gamba
Tabor : wind quintet featuring Karisa Werdon
Tornado : featuring Esther Lamneck, clarinet & Elizabeth McNutt, flute
David Wetzel, Bass Clarinet and Basset Horn
PLEASE NOTE: Current plans are for ICMC 2010 to feature a concert of
modern dance performances created for ICMC musical submissions. Six to
eight NYC choreographers will select works from among those accepted
to the conference, and create new dance works to be premiered in Stony
Brook University’s Wang Center. Please indicate on your submission if
you would be interested in this opportunity.
PLEASE NOTE: In an effort to support the work of the computer music
community VRSonic, a spatial audio technology company, is pleased to
provide the new VibeStudio Designer 2 spatialization software and 12.2
speaker array for the 2010 International Computer Music Conference.
Two of the halls will be equipped with a 12.2 Klein and Hummel system
for playback. Accepted composers will receive a subscription to the
VibeStudio Designer 2 software suite for PC allowing them to work with
the software throughout the duration of the composition/diffusion
process and concert. VRSonic’s VibeStudio Designer 2 is a spatial
audio design suite comprised of the VibeStation and Profiler
applications. Both applications rest on top of the audio modeling and
rendering engine SoundScape3D. VibeStudio Designer 2 includes a design
and runtime application, VibeStation, that provides a comprehensive
editing suite for the creation of immersive audio environments. Please
indicate on your submission if you would be interested in this
opportunity.
Piece Plus Paper
This newly established category will receive submissions that pair
original music with documentation exposing the process of composition
and/or technical elements specific to the creation of the work. A
concert featuring selected works will be given, preceded by a paper
session and followed by a panel discussion. This format, developed in
response to ongoing discussion within the computer music community,
will provide a vehicle for music that can be more deeply experienced
following an introduction, as well as a forum for ideas that can be
more fully entertained after hearing music.
Ear to the Earth
Ear to the Earth is a worldwide network based on the idea that
environmental sound can connect us to the environment with a special
vibrancy and emotional depth. Our goal is to heighten environmental
awareness through sound, inspire engagement in environmental issues,
and sustain engagement through ongoing activities. We present
festivals, concerts, forums, and other events dealing with
environmental sound.
We invite proposals for presentation for two Ear to the Earth Concerts
at the ICMC, including works in progress as well as finished works,
including music, documentary recordings, multimedia presentations, or
other formats with content that relates to the environment. These
concerts will be produced by EMF and presented at Judson Church.
“Red Light” After-Hours Concerts
ICMC 2010 <RED Edition> is seeking experimental electronic music
performances for its “Red Light” After-Hours club-style concerts.
Performers of various styles will be considered, including those
influenced by IDM, hip-hop, glitch, jazz, electronica, trance,
ambient, etc. Performance venues will provide equipment for stereo
sound and live video. Please note that performances in this series are
in a club atmosphere and performances should be appropriate to the
setting.
Please note: in this category, performers are not provided – composers
must bring (or be) their own performers.
60×60
Instead of a listening room, ICMC 2010 <RED Edition> will be pairing
with 60×60. 60×60 curates and presents 60 one minute recorded works
by 60 different composers, synchronized to an analog clock creating an
exciting seamless hour of electronic music representing a
cross-section of the contemporary music scene.
In 2010, 60×60 is collaborating with ICMC to create a six concert
series of 360 works by different composers. Submissions to the 60×60
project will be simultaneous submissions for this special mix,
60×60:360 degrees. This bold new mix is designed to represent the many
styles, aesthetics, and methods the world uses today to create
electronic music.
Please note: 60×60 submissions should be in AIFF format. These files
will be used to create the mixes for the concerts.
Installation
ICMC 2010 <Red Edition> seeks art gallery installations with no fixed
duration as well as site-specific works. Works must feature original
sound/processing as a central element though they may and hopefully
will include other media or physical components; works with
interactive elements are strongly encouraged. Call is open to visual
artists with a strong sonic component as well as to composers.
Submissions must include audio-visual documentation of previously
realized versions of the work, or documentation of the work in
progress. Please include a list of required equipment and be sure to
indicate what will be provided by the artist/composer.
Alternative Event Programming
What kinds of events, spaces and experiences would you like to
see/hear at this year’s ICMC?
We want to hear your proposals: boat concerts, all-night listening
events, site-specific installations, soundwalks, internet pieces,
beach operas, multi-sensory offerings, etc. We are interested in
proposals that stretch the boundaries of what computer music is
considered to be, and where it is expected to be encountered.
Proposals for alternative programming can be submitted by individuals
or groups. Should a selected event require additional calls for
participation (such as a call for works for a nighttime listening
event, or for librettos for a site-specific opera), these calls will
be posted on the ICMC 2010 website, and publicized through appropriate
list-serves.
Note that these events are intended to complement traditional ICMC
offerings, and will not be scheduled at times that would conflict with
the core juried events. Note also that individuals, and at least one
member of groups, whose submissions are accepted, will be required to
register for the full conference. Any additional participants may
register at the “Alternatives” rate for access to 60×60 concerts,
evening concerts and alternative events. Finally, if your proposals
is accepted, note that you will be in charge of making it happen
(including equipment and logistical needs), with the ICMCs support and
facilitation.
To apply to the Alternative Event Programming:
Proposals should include up to five paragraphs describing the proposed
event, technical specifications, up to three past works (in links or
in above formats). Please also include in your proposal one paragraph
detailing past experience with events of a similar scope.
More information can be found at: <www.icmc2010.org>
Any questions regarding the call for works can be addressed to:
<submissions@icmc2010.org>