The Australasian Computer Music Conference (ACMC) 2011

The Australasian Computer Music Conference (ACMC) 2011

Time and place:
From 6-9 July 2011 The School of Music University of Auckland New Zealand will host a 4-day research symposium on the topic of Organic Sounds in Live Electroacoustic Music. The keynote presenter will be Simon Emmerson (De Montfort University). Other featured composers and presenters include: John Cousins (New Zealand Composer), Gerardo Dirie (Queensland Conservatorium Griffith University), John Elmsly (University of Auckland), Ricardo Dal Fara (Concordia University) Jóse Halac (National University of Córdoba) Jason Phillips (Taonga Puoro Player), Martin Wesley-Smith (Australian Composer) and Ian Whalley (University of Waikato).
As a special feature of the conference, a series of closed concerts will bepresented through a 24-channel geodesic sound dome that will be installed in Studio One Kenneth Myers Centre for the duration of the 4-day event (small audiences only). A second multi-channel system designed to cope with largerpublic audiences will be installed in the Music Theatre, and made available to participating ACMC delegates. Practical workshops will also be offered on Taonga Puoro (traditional Maori Instrument) making and playing, and ambisonic recording and spatialisation techniques.

The special theme of ACMC11 is Organic Sounds in Live Electroacoustic Music
For the sake of clarity, a dictionary definition of the term ‘organic’ is first offered.

organic adj
1. of, produced by, or found in plants or animals, the rocks were carefully searched for organic remains,
2. not using, or grown without, artificial fertilizers or pesticides, organic vegetables, an organic farm,
3. (Chem) of or belonging to the class of chemical compounds that are formed from carbon,
4. (of change or development) gradual and natural rather than sudden or forced,
5. made up of many different parts which contribute to the way in which thewhole society or structure works, an organic whole,
Collins English Dictionary Online – 10th Edition 2009 © William Collins Sons & Co. Ltd. 1979, 1986 © HarperCollins Publishers 1998, 2000, 2003, 2005, 2006, 2007, 2009. Retrieved December 2010 from
A contextual definition might include sounds made by plants and animals (including humans) as well as all sounds that exhibit the behaviour and/or form of living things (the surrogates of living organisms). In live electroacoustic music, this may include the use of real-world samples, abstract sounds produced by musical instruments, as well as those produced by generative systems.
Firstly, regarding the use of sound samples in live electroacoustic music: Australia and New Zealand are home to some of the most remarkable (and some of the most endangered) species of plants and animals in the natural world. Sounds from the Australasian biosphere such as wind, waves, insects, bird and whale song have, for centuries – if not millennia – provided musicians with a source of inspiration, and with settings in which to contemplate their individual and collective heritage. Body sounds and rhythms too, form a powerful subset ofmusical materials on which many claim human appreciation of musical phraseology and dance is based. Then there are the industrial and urban soundscapes  – the sounds of every day life – that might that might be considered to be organic. Since the advent of recording, composers have made prolific use of real-world sounds in their music, and in both Australia and New Zealand there is an established culture of sample editing approaches to music making. Now, with the aid of multichannel technology, and faster computer processing, composers have the capacity to reproduce sophisticated real-world environments in 3-dimensions, and to use a number of once-non-real-time processes in live performance. Some interesting questions arise: What are the advantages of employing such technologies in this way? How might sound samples be used togreatest effect in live electroacoustic performance settings?
The term ‘organic’, within the context of music is not without precedent. In popular music it is often used to describe the quality of certain sounds as‘living’, or to highlight a specific process of natural and/or evolutionary development – so it is with ease, that it migrates to the realm of abstract instrumental sounds. Traditional Maori and Aboriginal instruments have achieved a special status in their ability to evoke associations with living things present and past, while modern and ancient instruments made from wood, bone, seashells, clay, and stone appear to be being used more and more in live contemporary performance. Electroacoustic composers can now elect to transform acoustic instruments (both traditional and modern), and/or other objects of personalvalue into complex hyper-instruments that produce organic acoustic, and electroacoustic sounds. Very quiet, (and sometimes inaudible) sounds, such as those produced by some ethnic instruments, or sounds from the human body, can be amplified, and spectrally extended in real time, transforming our ordinary sense of spatial organisation. Within this sub-domain, some important questions arise: How might traditional Maori and Aboriginal instruments be respectfully employed within the context of electroacoustic music? How might technology be used to extend or change our own body boundaries?
The term may also be used to describes generative systems based on conversational or evolutionary models. For this special class, we might adopt the category of ‘surrogates of living things’. These intelligent artificial agents are being used more and more (in various musical settings) as a means of extending the sonic capabilities of instruments, to manage information too complex for the ordinary performer to comprehend (such as multimodal gestural data), and as performers in their own right. How might this new technology be used to assist the ordinary electroacoustic performer/composer?
Scientific and socio-cultural approaches to the subject unearth several complex sub-topics each with its own set of detailed questions: What are the salient features (abstract sonic characteristics) that lead to the appreciation of sound as organic? Does psychological projection of ‘the self’ (or selves) play a part in the efficacy of such sounds? Does the use of organic sounds in electroacoustic music encourage a paradigm shift from Music for Performance to Music for Personal Growth?
Academic discussion on the theme Organic Sounds In Live Electroacoustic Music is a difficult proposition, as there are a number of remote, yet intersecting domains to consider – each with its own set of terms, and its own cluster of research priorities. Nevertheless,significant contributions to the topic (and sub-topics) have already been made. There is much to be gleaned from the music of Australasian composers and performers who work with the (often unique) sound sources specified; from their artist’s talks and research publications; and from the expert domain literature associated with the fields of acoustic ecology, Maori and Aboriginal music,socio-cultural aspects of electroacoustic music, live electronic music, andpsychology of human audition. The organisers of ACMC11 feel that the subject is important to Australasia, and worthy of further investigation.

Call for Papers and Presentations of Research
Conference papers for peer review and publication in the conference proceedings are requested concerning all aspects relating to the theme of the conference. Papers and presentations concerning Organic Sounds in Acousmatic Electroacoustic Music / Sonic Art are also welcome.
Submissions from wider fields are also welcome: Themes may include:
·    Performance-Based Electroacoustic Music / Sonic Art (with live electronics and/or acoustic instruments and/or dance)
·    Acousmatic Electroacoustic Music / Sonic Art
·    Multi-channel Electroacoustic Music
·    Electroacoustic Music with Moving Images,
·    Interactive Installation / Sonic Sculpture, 
·    Electroacoustic Music with other disciplines,

Papers and presentations may be in one of the following categories:
+ Research Paper – Fully refereed (6-8 pages)
+ Paper – Abstract refereed (500 word abstract)
+ Poster – Abstract (500 word abstract)
+ Studio Report (100 word abstract)
+ Artist Talk (500 word abstract)

Each spoken presentation (excludes studio reports) will be 20-min in duration with 10-min reserved for questions. The inclusion of creative work is encouraged as a means of research reporting. Stereo playback, and data projection facilities will be made available to all presenters.
Guidelines for submission of papers
All written submissions will be subject to a process of peer review.
The text should be single-spaced; use a 12-point font; employ italics, rather than underlining (except with URL addresses); and all illustrations, figures, and tables should be placed within the text at the appropriate points, rather than at the end.
The text should adhere to the stylistic and bibliographic requirements outlined in the ACMC submission templates.
The submission file should be in PDF format.
PLEASE NOTE: Various changes have been made to thestyle guides used in previous years. Please use the 2011 templates
The deadline for receipt of proposals is Thursday 7 April 2011. Please visit the conference website for full details on submitting papers –
Call for Presentations of Creative Work:
Delegates are welcome to submit creative works for inclusion in the following concert series. Space in some events may be limited, as a number of high profile Australian and New Zealand Composers have already accepted invitations to present.

Lunchtime Concert Series
6 July, 1pm:  Lunchtime Concert, Music Theatre
7 July, 1pm:  Young Composers, Music Theatre
8 July, 1pm:  Lunchtime Concert, Music Theatre

SONIC ART 2011 (Live Works)
Thursday 7 July, 7.00pm, Music Theatre

Guidelines for submission of creative work
The organisers welcome submissions of recorded, acoustic, and mixed works with any combination of electronic and acoustic elements. Playback formats available will include CD, DVD, and file-based playback for stereo or multichannel works (up to 16 channels).
Creative works should be submitted by post (to the following address) in file format on optical media (CD/DVD) in either stereo or multiple-mono format. Works containing visual elements should also be submitted as DV PAL or HD files. Alternatively, submitters are welcome to use the ACMC11 dropbox set up at the following server address: For other server transfer options please contact
From Apple please connect to: smb://moleskin/drop/ACMC11 and windows: \\moleskin\drop\ACMC11
Street Address:
School of Music
National Institute of Creative Arts and Industries
University of Auckland
6 Symonds St

Postal Address:
School of Music
National Institute of Creative Arts and Industries
University of Auckland
Private Bag 92019
New Zealand

Telephone: +64 9 373 7999
Facsimile: +64 9 373 7446
Additionally, creative work submissions should include a PDF file specifying the following:
Title of Work:
Required resources: (video cameras, projectors, microphones, speaker configuration, etc).
The deadline for receipt of proposals is Thursday 7 April 2011. Please visit the conference website for full details on submitting papers –

Call for Workshop Proposals
Workshops are educational sessions run by a conference delegate or partner on a particular area of their expertise. There will be opportunities for delegates to host workshops on Saturday 9 July (the day after the conference). Proposals for workshops are welcome on any topic related to the theme of the conference.
Guidelines for submission of workshop proposals
Please submit a proposal (no more than 500 words) detailing the topic, scope and likely resource requirements for the workshop. Proposals should be discussed with the conference organisers before submitting. Please visit the conference website for full details on submitting workshop proposals -

Conference registration is now available. To book and register please visit:
All ACMC11 concerts are free to the public, with the exception of the Sonic Art concert on 7 July, which is $15 (but free to ACMC delegates). Special concerts held in the ‘sound dome’ will be closed to the public (attended by ACMC delegates only)

The full conference programme will be available in early May 2011

Contact details
For further details please visit contact the ACMC11 Conference Manager directly

The organisers would like to thank the Composers Association of New Zealand(CANZ) for publicising the event.

Dr John Coulter
Senior Lecturer
Head of Sound Programmes
School of Music
National Institute of Creative Arts and Industries
The University of Auckland



Miso Music Portugal and the Música Viva Festival 2011 convokes composers to send electroacoustic miniatures to be diffused at the “Sound Walk” installation during the Música Viva Festival 2011 (from the 9th to the 17th of September 2011) at the Belem Arts Centre in Lisbon.

The “Sound Walk” is an outdoor stereo installation along the 100 meter walkway that leads to the main entrance of the Belem Arts Centre concert halls. Composed by several loudspeakers placed on each side of this walkway, the “Sound Walk” will be running daily from 10 A.M. to 12 P.M.


1) There are no restrictions according to age or nationality.

2) The aim of the call is the creation of sound miniatures using the language of Electro-acoustic music. The minimum duration is of two minutes, and the maximum of five minutes.

3) Only one piece by composer may be presented.

4) All applications should be sent via internet only in 1 single Zip File by UPLOAD on the Miso Music’s FTP at the following web address:

The Zip File containing the candidate’s application should contain 3 files inside a single folder:
– 1 Text file (.doc, .txt, .rtf or .pdf) with a short biography and contacts, as well as information about the piece (methods used, concept, etc.)
– 1 Audio file .AIFF or .WAV format 16bit 44,1kHz with the piece
– 1 Audio file .AIFF or .WAV format 16bit 44,1kHz with the recording of the composer’s name and title of the piece spoken aloud (this is to be used as an announcement and will be played before each piece on the “Sound Walk” installation.)

Important: The name of the Zip File and the folder should be identical to the name of the work submitted (please see diagram bellow)

(All incomplete applications or those not meeting these requirements won’t be taken into consideration)

5) The deadline for submissions is 12 P.M. GMT time, 31st of May, 2011. (Please note that due to bandwith limitations on the Miso Music server it is possible that around deadline hours an overload may occur, making impossible to access the FTP. Please upload your application before the deadline. Applications sent after deadline time won’t be considered valid.)

6) No applications sent by post will be accepted.

7) A maximum of 25 miniatures from all those entered will be selected by the artistic direction of the festival and diffused at the “Sound Walk”.

8) Participation in this call implies the acceptance of its rules.

12th Electroacoustic Composition Competition Música Viva 2011

In order to encourage the creation of electro-acoustic music, Miso Music Portugal, the Portuguese section of the ISCM (International Society of Contemporary Music) and the Portuguese Federation of the CIME (Confedération Internationale de Musique Electroacoustique), is organising, as part of the MÚSICA VIVA FESTIVAL 2011, the 12th Música Viva Electro-acoustic Composition Competition 2011

1 – The works submitted shall be recorded electro-acoustic pieces, composed in studio, projected by loudspeakers in concert with the intervention of no live sound sources. They may include a maximum of eight channels and should have a duration between five and fifteen minutes. The competition is open to composers of any nationality, each of whom may submit only one work, which must not have been commercially published or awarded a prize in any national or international competition. Any previous Musica Viva prize winner composer will not be allowed to submit a work on the two years following the year of the prize award.

2 – All entries should be sent via internet only in 1 single Zip File by UPLOAD on the Miso Music’s FTP at the following address:

The Zip File containing the candidate’s application should contain 3 files inside a single folder:
– 1 Text file (.doc, .txt, .rtf or .pdf) with a short biography, contact information, as well as information about the piece (methods used, concept, etc.)
– Proof of nationality and age (a scanned image of passport or other document containing these elements)
– 1 Audio file .AIFF or .WAV format 16bit 44,1kHz containing the stereo version of the piece *

* additionally, in the case of works with more than two channels (multichannel pieces) the audio files corresponding to each of the channels in AIFF or WAV format should be recorded on CD-R or DVD-data and submitted by post to: 12th Música Viva Electroacoustic Composition Competition 2011 – Miso Music Portugal – Rua do Douro 92, Rebelva – 2775-318 Parede Portugal.

(All incomplete applications or those not meeting these requirements won’t be taken into consideration)

The name of the Zip File and the folder should be identical to the name of the work submitted (please see diagram bellow)

3 – The deadline for submissions sent via internet is 12 P.M. GMT time, 30th of June, 2011. The CD-R or DVD-data, in the case of the multichannel pieces, must reach Miso Music Portugal before the 15th of July (Please note that due to bandwith limitations on the Miso Music server it is possible that around deadline hours an overload may occur making impossible to access the FTP. Please upload your application before the deadline. Applications after deadline time won’t be considered valid.)

4 – Prizes: the jury may select up to 3 works which will be performed at the Miso Music Portugal Concert Series or at the Musica Viva Festival with the Loudspeaker Orchestra, and which will later be released on CD by Miso Records, provided the composers of the works selected agree with the terms offered by the record company.

5 – The jury will announce their decision during the Música Viva Festival 2011.

6 – The jury may decide that none of the works submitted merit selection. The judges decision shall be final.

7 – Submission of an entry to the competition implies the acceptance of all these rules.

8 – Any questions which may arise as to the interpretation of these regulations shall be clarified by Miso Music Portugal.

(All applications not meeting these requirements won’t be taken into consideration)

Apologize any duplication

National Centre for Musical Creation
Portuguese Music Research & Information Centre

Membre of the European Music Council & International Music Council (EMC & IMC)
Portuguese Section of the International Society of Contemporary Music. (ISCM)
Member of the International Association of Music Information Centres. (IAMIC)
Portuguese Federation of the International Confederation of Electroacoustic Music. (ICEM)
Associate Member of the European Conference of Promoters of New Music (ECPNM)
International Computer Music Association (ICMA)
Member of the International Netwrok for Contemporay Performing Arts (IETM)

Rua do Douro 92 – Rebelva
Phone:+ 351-21.4575068
skype: Miso_Music_Portugal

23,3%  Funded by Ministério da Cultura/Direcção Geral das Artes

The Foundation Destellos, COMPETITION 2011 – CALL FOR WORKS



The Foundation Destellos ,
call for works for the Forth Competition of Electro-acoustic
Composition and Visual Music, open to composers and artists of any
nationality, age and gender.

The objectives of this competition are the
promotion and development of the artistic creation in relation with new
technologies. Likewise, it is an intention of the Foundation Destellos
to stimulate the creativity of the young generations of artists and to
provide them new routes of diffusion of their works.

    The first prize will be attributed by
Destellos and will consist of 500 American dollars and the performance
of the piece into the two years after the competition.

  The second two prizes, consisting of collections of CD of electroacoustic music, offered by:

    • The organization Akusma<Motus , of France
    • The foundation Phonos of Barcelona, Spain.

The institutions participants will offer
likewise the diffusion of the winning works, through concerts, festivals
and broadcasting.


1. Composers and artists of any nationality age and gender.

2. Entry fees of 20U$A must be paid by Pay Pal, through the “donate” button on the web site:

3. Will be accepted stereophonic works of electro-acoustic music up to 11′ duration.

4. Will be accepted works of
electro-acoustic music with video, up to 6′ duration. The work must
follow an abstract esthetics and to be interrelated in musical and
visual languages, either in their technical and esthetical
characteristics. In case of works in collaboration the prize will be
considered ex-æquo and the authors will have to determine a
representative to receive it.

5. Are excluded pieces using instruments, live electronics and improvisations.

6. Each candidate can send only one work, not been edited or prized before.

7. The participants will have to register before, sending by e-mail :

a. the submission form due completed by computer. Manuscript forms will not be accepted.

b. a certificate of the PayPal payment.

c. send both as attached document to:

8. Each candidate will receive an e-mail of confirmation and a Code of inscription .

9. The materials must be sent by :

            a. You Send it, Next Send or similar to:            

            b. Ordinary mail, (with mention “For educational use, no commercial value” to :

         Dr. Elsa Justel

         Fundación Destellos

         Gral. Rivas 3963

         7600 Mar del Plata


10. Admitted supports: .aiff/ .wav/, without compression.

11. The files must be labeled with the Code Number+Title of the work (ex.: “DC11-21_Mypiece”)

12. The works will not be returned and will be kept in the archives of the Foundation.

13. Prize winners of earlier Destellos
Competition cannot participate (first and second prizes), neither
members of the jury and their families.

14. The works must be sent before 15 April 2011 .(postmark)

15. The jury will be integrated by members of recognized international prestige.

16. The jury has the right to declare the
prize deserted and give one or more mentions, also to design an
“ex-æquo”   prize to works of the same quality level. Jury’s decision is
unquestionable and definitive   and will be   published after August 30 th , 2011.

17. The foundation has the right to
postdate, to annul or to modify the rules of the competition at any
moment. All changes will be published at the time.

18. Candidates are asked to accept all the conditions of these regulations.

19. The prizewinners are engaged to write
the mention “Prix Destellos 2010” in all concert programs that include
the work. The authors must inform the Foundation of the public
presentations of the prized work.

Submission Form

More info: