Dear All,

For an upcoming contemporary music festival dedicated to Korean
creation, which will take place in Strasbourg/France :

Elektramusic (elektramusic.com) will organize one Electroacoustic and
videomusic concert during this festival, and is looking for
electroacoustic music works, and electroacoustic music with video
works.

Elektamusic would of course diffuse received works on other activities
(webRadio, television programm or other concerts).

Please include for you submission:

– An audio CD or Data-DVD (with high quality video file), or Video-
DVD;
– a short biography
– a notice of the work
– the submission form, available here :
http://www.elektramusic.com/docs/submission.pdf

You can send all the materials to :

Paul Clouvel / Elektramusic
16 rue Silbermann
67000 Strasbourg – France

Please do NOT use registered mail.

For details and info, feel free to contact our director, the composer
Paul Clouvel, directly to : clouvel@elektramusic.com

Thanks a lot for your attention.

 Diffusion Prize 2010
International Electroacoustic Music Composition Competition
Jointly presented by RTÉ Lyric fm and the Centre for Computational Musicology and Computer Music (CCMCM), University of Limerick – Ireland, the competition?s aim is to promote ?up and coming? composers regardless of age or nationality. A prize of ?3000 will be awarded to the winning entrant in the form of a commission to compose a stereo electroacoustic work between 8-10mins in length. The composition will be premiered on RTÉ Lyric fm and performed at a Soundings Concert organised by the CCMCM.

Information and Rules of Application for Diffusion Prize
1.    The competition has no age limits or nationality restrictions.
2.    As the competition?s aim is to promote ?up and coming? composers,
       applicants who have been awarded or granted a commission by an
       institution, organisation or arts/music/other body, are not eligible to
       apply.
3.    The winning composer will be awarded ?3000 in the form of a commission
       to compose a stereo electroacoustic work of between 8-10mins duration.
4.    The 2nd and 3rd Prize winners will be performed in the Diffusion
       Prize/Soundings Concert and may be offered a short residency at CCMCM
       Studios.
5.    Only one composition per composer can be submitted and must have been
       composed in the last three years, i.e. 2006 onwards.
6.    The submitted composition can not have been awarded a prize, premiered
       or released.
7.    The due date is the 22nd of January 2010, arrived or postmarked.
8.    The Prize winning compositions will be announced prior to the Prize
       winners concert.
9.    The 1st Prize winning composition will be performed at a combined
       Diffusion Prize/Soundings Concert on the 11th March 2010, in Limerick
       City.
10.    The electroacoustic composition can be a stereo or multi-channel work
       and no longer than 15mins in duration.
11.    The support standards include, stereo, quad, ITU 5.1, 6.1 and 7.1, as
       well as 8-channel. Compositions that have a different and/or novel
       loudspeaker configuration must first contact the Diffusion Prize
       Coordinator prior to submitting.
12.    Multi-channel compositions are to be submitted in both stereo 44.1
       kHz/16-it standard as an AIFF or WAV file, and 48kHz/24-bit standard
       AIFF or WAV files with clearly labeled audio files and channel
       assignments.
13.    Stereo compositions to be presented as a 44.1/16 AIFF or WAV file,
       however a second version in 48kHz/24-bit standard is encouraged.
14.    All three prize winning compositions will be broadcast on RTÉ Lyric fm.
       A stereo mix of each composition in a linear .wav format should be made
       available for this purpose. In addition all three prize winners will
       agree to make themselves available for interview on RTÉ Lyric fm (if
       the station so requests) at a time convenient to both parties.
15.    The entry must consist of the following:
   a.    CD/DVD with files as outlined above and only the title and duration of
       the composition on the disc.
   b.    Short bio of composer (<300 words) and a program note of the
       composition (<300 words) in Word, RTF or Text format
   c.    A PDF document with:
       i. Composer?s name and nationality
      ii. Title of composition, year composed, format (i.e. 5.1, etc.) and
          duration
     iii. Postal Address, Email and Phone contact
16.    Entries are to be sent to:
       Diffusion Prize Coordinator C/O Dr. Robert Sazdov
       Centre for Computational Musicology and Computer Music (CCMCM)
       Computer Science and Information Systems
       University of Limerick
       Limerick City
       IRELAND
17.    The Jury will consist of members of the CCMCM, RTÉ Lyric fm and
       an international guest Jury member to be announced after the due
       date for entries.
18.    The Jury?s decision is final and not open to appeal.
19.    The winning composer will enter a standard contract with RTÉ Lyric fm
       for the commissioned work.
20.    Compositions will not be returned and will contribute to the
       competition?s archive of works.
21.    Questions relating to the Diffusion Prize can be made to the Diffusion
       Prize Coordinator:    Dr. Robert Sazdov:  robert.sazdov@ul.ie
22.    Application to the Diffusion Prize implies acceptance of the rules of
       application and to public performances of the competition both in
       concert and as broadcasts on RTÉ Lyric fm.

Dr. Robert Sazdov
Course Director – MA/MSc in Music Technology
CCMCM (Centre for Computational Musicology and Computer Music)
Department of Computer Science and Information Systems
University of Limerick
Limerick
Ireland
Rm: CS1-027
T: +353 (0) 61 233629
W: www.ccmcm.ie
E: robert.sazdov@ul.ie

 Organised Sound: An International Journal of Music and Technology

Call for submissions

Volume 16, Number 1
Issue thematic title: Denis Smalley: his influence on the theory and practice of electroacoustic music
Date of Publication: April 2011
Publishers: Cambridge University Press
 
Issue co-ordinator: Andrew Lewis (a.p.lewis@bangor.ac.uk)

Denis Smalley is one of Britain’s foremost exponents of acousmatic music, and a voice of international influence in both music and words. In marking his 65th year (2011), this issue aims to re-evaluate and extend the ideas and issues raised Denis Smalley’s music and writings, to develop their connections with the work of others, and the UK. It will focus especially, but not exclusively, on theoretical writings such as ‘Spectromorphology and Structuring Processes’ (1986), ‘Defining Timbre – Refining Timbre’ (1994), ‘Space-Form and the Acousmatic Image’ (2007), and on the influence of Smalley’s musical output. New analyses will be welcomed, especially those which seek to apply or evaluate Smalley’s theoretical ideas through analysis of his music or that of other composers or the development of future analytical tools. Naturally, there will be a focus on acousmatic music, although music with live instruments will not be excluded since it also features in Smalley’s output.
 
Questions of relevance include:
• What are the common threads or themes in what has been written by or about Denis Smalley, and how do these related to his music?
• What is the significance of ‘spectropmorphology’ and ‘spatiomorphology’ to creative practice today, and what are the practical implications of spectromorphological thinking for composition and analysis?
• In what ways does Denis Smalley’s music illustrate or support ideas articulated in his writings? Does the writing inform the composition or is it the other way around?
• How might Smalley’s theoretical ideas be further developed?
• How do Denis Smalley’s typologies connect with other typologies? What is the role and value of ‘typologies’ in electroacoustic music generally? Is it possible to identify trends that might lead to a typological ‘theory of everything’, or is such a thing impossible?
• Is Smalley’s musical style part of a definable ‘bigger picture’? Does it stand alone or reside within a network of influences and connections? If so, are these national, idealogical, temporal, personal…?
 • Smalley is considered to be an acousmatic composer despite the fact that some of his works involve live instruments or voices. What then is acousmatic music, and what implications does this have for others working with live performers or interactive electronics?
 
As always, submissions related to the theme are encouraged; however, those that fall outside the scope of this theme are always welcome.
 
Deadline for submissions is 15 June 2010. 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 that can be placed onto a DVD and the CUP website for “Organised Sound”.  Supporting audio and audio-visual material will be presented as part of the journal’s annual DVD-ROM which will appear with issue 16/3 as well on the journal’s website.

—
 
SUBMISSION DEADLINE: 15 June 2010
 
SUBMISSION FORMAT
 
Notes for Contributors and further details can be obtained from the inside back cover of published issues of Organised Sound or at the following url:
 
http://journals.cambridge.org/action/displayMoreInfo?jid=OSO&type=ifc (and download the pdf)
 
Properly formatted email submissions and general queries should be sent to: os@dmu.ac.uk <mailto:os@dmu.ac.uk>  (not to the guest editor)
 
Hard copy of articles (7,000 words maximum) and images (only when requested) and other material (e.g., sound and audio-visual files, etc. – normally max. 15’ sound files or 8’ movie files) should be submitted to:
 
              Prof. Leigh Landy
              Organised Sound
              Clephan Building
              De Montfort University
              Leicester LE1 9BH, UK.
 
Editor: Leigh Landy
Associate Editors: Ross Kirk and Richard Orton
Regional Editors: Joel Chadabe, Kenneth Fields, Eduardo Miranda, Jøran Rudi, Barry Truax, Ian Whalley, David Worrall
International Editorial Board: Marc Battier, Hannah Bosma, Alessandro Cipriani, Simon Emmerson, Rajmil Fischman, David Howard, Rosemary Mountain, Tony Myatt, Jean-Claude Risset, Francis Rumsey, Margaret Schedel, Mary Simoni
 
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