CALL FOR WORKS
Electroacoustic Audio-visual Music
Submission Deadline: 20th February 2009 (postmark)
This is a call for fixed media electroacoustic audio-visual music works exploring the interaction between sound and image. Works should be cohesive audio-visual entities and not just video/film with a soundtrack or music with a video/film track. The audio within these works should be electroacoustic in nature.
Works are requested for a PhD research project investigating audience reception of differing styles of audio-visual composition and the role of composer intention in facilitating audience reception of electroacoustic audio-visual music works. This research builds upon the foundations laid by Leigh Landy and Rob Weale through the Intention/Reception Project (Weale 2006) (Landy 2006).
Works will be presented to a series of audience groups who will then complete questionnaires and discuss their reception of each of the presented works. Results from these tests will then be analysed in order to discover any trends that exist between the different audience groups.
It is hoped that this analysis will form a useful resource for composers of electroacoustic audio-visual music works providing key information on how audiences perceive and receive their works. The research will also provide fruitful information concerning the accessibility of these types of works.
KEY REQUIREMENTS
– In this phase of the project, submissions must be fixed media works (as opposed to ‘live’ performance based works).
– Works must have stereo audio and be for single screen.
– The duration of submitted works should be no longer than 8 minutes due to testing practicalities or, alternatively, a well-defined self-contained section of the work lasting no longer than 8 minutes can be identified within the entire work.
– Composers must be willing to complete a ‘Composer Intention Questionnaire’ outlining dramaturgic information relating to each submitted work.
– The composer should own all rights to the submitted works and provide the researcher with the right to include selected works as part of future scholarly publications of the research.
– Multiple works may be submitted.
NB: Works of high reputation may be rejected for testing due to issues of familiarity.
SUBMISSION GUIDELINES
All submissions must consist of the following:
1. DVD containing the work to be considered (PAL or NTSC format) and or QTM file.
Works should have stereo audio and be for single screen.
2. Programme notes (please include duration, year of creation and a list of previous
performances).
3. Composer biography.
4. Contact information: email, postal address and telephone.
All requested information must be provided in order for the work to be considered.
DEADLINE
Only submissions received by (or postmarked) Friday 20th February 2009 will be considered.
Composers of selected compositions will be notified by 31st of March at the latest.
A ‘Composer Intention questionnaire’ will be dispatched to the appropriate contact address for completion by the composers of selected works. Failure to complete a copy of the questionnaire for a selected work will prevent the work from being used in the study.
Please send hard-copy materials to:
Andrew Hill
C/o Simon Smith
Music, Technology and Innovation Research Centre
0.19 Clephan Building
De Montfort University
Leicester
LE1 9BH, UNITED KINGDOM
Many thanks for your interest.
References
Weale, R. (2006) Discovering How Accessible Electroacoustic Music Can Be: the Intention/Reception Project. Organised Sound 11/2: 189-200.
Landy, L. (2006) “The Intention/Reception Project” in Mary Simoni, ed. Analytical Methods of Electroacoustic Music. Routledge (New York) pp. 29-53 + appendix on DVD.
—
http://visualmusic.ning.com/profile/AndrewHill
www.myspace.com/ahillav
www.myspace.com/lovelandfrog
Electroacoustic Audio-visual Music
Submission Deadline: 20th February 2009 (postmark)
This is a call for fixed media electroacoustic audio-visual music works exploring the interaction between sound and image. Works should be cohesive audio-visual entities and not just video/film with a soundtrack or music with a video/film track. The audio within these works should be electroacoustic in nature.
Works are requested for a PhD research project investigating audience reception of differing styles of audio-visual composition and the role of composer intention in facilitating audience reception of electroacoustic audio-visual music works. This research builds upon the foundations laid by Leigh Landy and Rob Weale through the Intention/Reception Project (Weale 2006) (Landy 2006).
Works will be presented to a series of audience groups who will then complete questionnaires and discuss their reception of each of the presented works. Results from these tests will then be analysed in order to discover any trends that exist between the different audience groups.
It is hoped that this analysis will form a useful resource for composers of electroacoustic audio-visual music works providing key information on how audiences perceive and receive their works. The research will also provide fruitful information concerning the accessibility of these types of works.
KEY REQUIREMENTS
– In this phase of the project, submissions must be fixed media works (as opposed to ‘live’ performance based works).
– Works must have stereo audio and be for single screen.
– The duration of submitted works should be no longer than 8 minutes due to testing practicalities or, alternatively, a well-defined self-contained section of the work lasting no longer than 8 minutes can be identified within the entire work.
– Composers must be willing to complete a ‘Composer Intention Questionnaire’ outlining dramaturgic information relating to each submitted work.
– The composer should own all rights to the submitted works and provide the researcher with the right to include selected works as part of future scholarly publications of the research.
– Multiple works may be submitted.
NB: Works of high reputation may be rejected for testing due to issues of familiarity.
SUBMISSION GUIDELINES
All submissions must consist of the following:
1. DVD containing the work to be considered (PAL or NTSC format) and or QTM file.
Works should have stereo audio and be for single screen.
2. Programme notes (please include duration, year of creation and a list of previous
performances).
3. Composer biography.
4. Contact information: email, postal address and telephone.
All requested information must be provided in order for the work to be considered.
DEADLINE
Only submissions received by (or postmarked) Friday 20th February 2009 will be considered.
Composers of selected compositions will be notified by 31st of March at the latest.
A ‘Composer Intention questionnaire’ will be dispatched to the appropriate contact address for completion by the composers of selected works. Failure to complete a copy of the questionnaire for a selected work will prevent the work from being used in the study.
Please send hard-copy materials to:
Andrew Hill
C/o Simon Smith
Music, Technology and Innovation Research Centre
0.19 Clephan Building
De Montfort University
Leicester
LE1 9BH, UNITED KINGDOM
Many thanks for your interest.
References
Weale, R. (2006) Discovering How Accessible Electroacoustic Music Can Be: the Intention/Reception Project. Organised Sound 11/2: 189-200.
Landy, L. (2006) “The Intention/Reception Project” in Mary Simoni, ed. Analytical Methods of Electroacoustic Music. Routledge (New York) pp. 29-53 + appendix on DVD.
—
http://visualmusic.ning.com/profile/AndrewHill
www.myspace.com/ahillav
www.myspace.com/lovelandfrog