From: Hubert.Howe@qc.cuny.edu
Date: 2009 September 21 1:44:34 PM EDT
Subject: NYCEMF 2010 Call for Works

Call for Works

The New York City Electroacoustic Music Festival invites the submission of art works incorporating experimental audio in any capacity, including, but not limited to:

   * concert works incorporating digital audio–works including performers, videos, and other elements are encouraged.

   * installations–to be exhibited for all or part of the festival.

   * experimental approaches–propose your own involvement with the
     festival.

All works, installations, and proposals will be submitted through the online submission site, http://submit.nycemf.org/.  All file formats are accepted.

The deadline for submissions is November 1, 2009.

Call for Curated Concerts

Groups of composers (studios, organizations, etc.) are invited to submit proposals to present an entire concert of works. The program may not exceed one hour, including any introductory remarks. Only the curators will be required to attend, and the registration fees for each piece will be heavily discounted. Emerging artists are especially encouraged to submit.

Spaces

The festival will take place at the CUNY Graduate Center, at 365 Fifth Ave, New York City (in the shadow of the Empire State building). There are two on-site performance spaces:

Elebash Hall

a 180 fixed-seat theater with full stage and video capabilities.  Emphasis on works with multiple performers. 8.1 Meyer speakers, more TBA.

Segal Theater

80 movable-seat black-box-like theater with stage area and full video capabilities. Emphasis on single-performer and fixed media works. 8.1 Genelec speakers.

Off-Site Venues

Three late-night events will take place in various NYC venues. NYCEMF programs works in these venues based on artists’ preference. We expect to host at least one concert at Galapagos Art Space in Brooklyn, and we will update the web site if other spaces are available.

For more information on NYCEMF spaces and systems, including speaker-arrangement diagrams, photos of the spaces, and a complete list of NYCEMF equipment, visit http://www.nycemf.org/spaces/

NYCEMF Performers

NYCEMF will supply instrumentalists to support the performance of a limited number of selected works. We will not be able to provide performers for every piece that is accepted, so composers and artists who can supply their own performers are encouraged. Composers can express their interest using the submissions form.

Submission Guidelines

Composers may submit up to two works, an installation, and a curated concert.

For Concert Works

Length – We encourage the submission of works under 12 minutes, but will consider a small number of longer works, to which more selective criteria will be applied. Works longer than 20 minutes will not be considered.

Logistics – We will consider all submissions regardless of the complexity of setup. However, please be aware that we will only be able to accept a limited number of large-ensemble or logistically demanding works.

Attendance and Registration

Composers and artists whose submissions are selected for presentation at NYCEMF will be required to attend and to pay a registration fee, which is expected to be $125-150. NYCEMF is a nonprofit festival; the fee supports a substantial schedule of diverse events.

Please visit www.nycemf.org for more information

Professor Hubert S. Howe, Jr.
Aaron Copland School of Music
Queens College C.U.N.Y.
Flushing, NY 11367-1597
(718) 997-3865 (997-FUNK)
http://qcpages.qc.cuny.edu/hhowe

 Gregorio Jiménez
President of AMEE (Spanish Electroacoustic Music Asociation)

FIRST PUNTO DE ENCUENTRO CANARIAS INTERNATIONAL CONTEST OF ELECTROACUSTIC
COMPOSITION 2009

RULES

The International Electroacustic Music Festival Punto de Encuentro Canarias
convenes the I PUNTO DE ENCUENTRO CANARIAS INTERNATIONAL CONTEST OF
ELECTROACUSTIC COMPOSITION 2009 that will be held in accordance with the
following rules:

1. There are no age or nationality limitations.

2. The aim of the contest is the creation of pure electroacustic music. The
duration is between 4 minutes minimum and 10 minutes maximum.

3. Only one composition per composer (solo or in group) may be presented.
The work presented cannot have been previously premiered, edited or awarded.

4. The work is to be submitted in the following CD formats: CD Audio, wav or
aif and always stereo at 16 bit  and 44.100 kHz. The work should be sent by
insured postal mail to the  following address:

INEXART CANARIAS
c/ Fernando Guanarteme, 30
35010 Las Palmas de Gran Canaria
Islas Canarias, SPAIN

5. In a closed envelope the entrants shall include a copy of their
composition on CD bearing only the title of the composition. The envelope
must also contain another envelope with the title of composition, complete
contact information, a short biography and a brief description of the work
presented (i.e. means and resources used, method, concept, etc.). In the
case the participant were to be Canary born proof of nationality is
required.

6. The closing date for presentation is the 1st October 2009 at 20:00.

7. A Jury of Professionals designated by Punto de Encuentro Canarias will be
responsible for the selection of the awarded works.

CATEGORIES AND PRIZES:

1. ABSOLUTE: Awarded to the best international composition. Granted with
2,000 euros (subject to local taxes)

2. Canary Composition:  Awarded to the best work carried out by a Canary
artist. Granted with 1,000 euros (subject to local taxes)

3. HONORARY MENTION: Acknowledgment without amount granted.

7. If the Absolute Award were to fall upon a Canary artist the prize then
for the Canary Composition will be granted to the second runner up by order
of votes in that category.

8. The Jury will resolve whatever events should derive from the
interpretation of these  foundations and the decisions are not open to
appeal.

9. The participants by whit of participation in the contest, authorize the
publication of their work in a Promo CD, as well as the public diffusion on
the website and concerts of the Canary Point of Encounter Festival.

10. Participation in this contest implies the acceptance of its rules.

 REMINDER – DEADLINE OCTOBER 1st

Organised Sound:
An International Journal of Music and Technology
Call for submissions
Volume 15, Number 2
Issue thematic title: Organising Electroacoustic Music
Date of Publication: August 2010
Publishers: Cambridge University Press
Issue co-ordinator: Simon Emmerson (s.emmerson@dmu.ac.uk)

It is not possible to define ‘electroacoustic music’ completely – we include all its many
genres with their incompatible descriptors – acousmatic, live electronic, interactive,
algorithmic, installation, experimental, glitch, post-laptop, live coding – you name it. The
range of possibilities for analysis are equally broad (as we see in Stéphane Roy’s
L’analyse des musiques electroacoustiques and Leigh Landy’s Understanding the Art of
Sound Organization) and more will appear. The field will remain very open. The
following four areas are intended not to constrain but to suggest and provoke ideas.

· Who or what organises electroacoustic music?
It might be the composer, the performer, the listener, a ‘system’ (interactive or
automatic, software or hardware) – all are potential participants. They may have
different roles and relationships.
· How is the music organised?
You might like to examine the creator’s poietic world of intention and
realisation, technique, system, method, approach, ‘language’. Or the relation of
the creator to the technology, its use, interface, limitations.
You might like to examine a work on its own as an autonomous entity – the
sound world, the organisation of its shapes, forms, relationships, functions,
processes.
You might like to examine the listener’s reception of the music. The organisation
may be imperceptible (why?) or immanent (how?).
Or the relationship of two or more of these, of course (the ‘intention-reception’
issue).
We also accept that a lack of organisation is, after all, a form of organisation.
Also that organisation need not necessarily be of human origin.
· How does performance affect organisation?
The music might be affected by where it is composed or performed: a studio, a
venue, the internet, a site.
It might be enhanced or (deliberately?) constrained by things mechanical: the
instrument, the human-machine interface. Or the performance forces, the
instrumentation, sound projection, venue disposition.
It might depend on audience interaction – how is this organised?
· The cultural, philosophical and aesthetic issues of organisation
You may like to question what are we examining. A ‘work’, a process, a
performance? Is it fixed or open?
You may wish to discuss languages and models of thinking, either that have
been used or that we need to develop, for analytical work in this field.
You may like to tackle the semantic aspects: how and what do sounds in
electroacoustic music ‘mean’?
You might like to examine how the social and ecological dimensions of
composition and performance influence organisation of the music.

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 for this issue is 1 October 2009. 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 DVDROM
which will appear with issue 15/3 as well on the journal’ s website.
—
SUBMISSION DEADLINE: 1 October 2009
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/oso/ifc (and download the pdf)
Properly formatted email submissions and general queries should be sent to: os@dmu.ac.uk
(not the guest editor)

Hard copy of articles 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

***

Simon Emmerson
Professor of Music, Technology and Innovation
Faculty of Humanities
De Montfort University
Leicester LE1 9BH

Tel. 0116-207-8238
email: S.Emmerson@dmu.ac.uk
http://www.mti.dmu.ac.uk/