STUDIUM – Ph.D Programme in Science and Technology of the Arts

Von: Paulo Ferreira-Lopes
Datum: Thu, 10 Aug 2017
Betreff: Ph.D Programme in Science and Technology of the Arts

Ph.D Programme in Science and Technology of the Arts

The School of Arts of the Universidade Católica Portuguesa, in Porto, welcomes your application to the Ph.D Programme in Science and Technology of the Arts.

This programme encourages experimental research based on a multidisciplinary environment, promoting convergence between several research areas (arts, engineering, biology, life sciences, philosophy, economy, and others). The programme has several partnerships with other prestigious international institutions, as well as with internationally acclaimed artists and researchers, such as Profs. Paulo Ferreira-Lopes, Marcelo Wanderley, Erik Oña, Philipe Manoury, Samuel Bianchini, Ludger Brümmer, among others.

The curriculum structure is divided in two parts: a curricular part (first year) and an experimental research part.

The PhD students enrolled in this programme will be welcomed to conduct their research at the School of Arts R&D unit – CITAR (Research Centre for Science & Technology of the Arts), accredited by the Portuguese National Funding Agency for Science, Research and Technology (FCT – Fundação para a Ciência e Tecnologia), and will have full access to the state-of-the-art facilities of the School of the Arts Digital Creativity Center (CCD), a research infrastructure selected to take part on the FCT Roadmap of Research Infrastructures.

Application requirements

– Master’s degree or a legal equivalent degree or a graduation degree and a relevant academic and/or artistic and/or scientific curriculum.
– The selection process will be based on curricular assessment, portfolio and/or interview.

UNNA – The Sound of Light

Von: Tilman Küntzel
Datum: Mon, 7 Aug 2017
Betreff: The Sound of Light

Die audiovisuelle Rauminstallation „The Sound of Light“ von Tilman
Küntzel im Zentrum für internationale Lichtkunst Unna ist dort noch bis
zum 3. September zu sehen.

25 Kanal-Klanginstallation generiert durch Lichtbewegungen in einem 110
Quaratmeter Gewölbekeller der ehemaligen Brauerei.

Rezension in der art – das Magazin Juni Ausgabe:
“Wie der letzte trunkene Gast eines rauschenden Balls liegt dieser
Lüster am Boden – etwas derangiert, aber trotzdem funkelnd und leise
klirrend. 25 Bimetalschalter steuern das Flackern von 50 Glühbirnen und
produzieren Geräusche, die aus Lautsprechern kommen, mit denen die
audiovisuelle Rauminstallation mit Lüster von Tilman Küntzel umgeben
ist. Für sie hat der in Lüneburg und Berlin lebende Künstler beim
Internationalen Light Art Award, der gerade zum zweiten Mal im Zentrum
für Internationale Lichtkunst Unna vergeben wurde, den zweiten Platz
belegt. Den ersten gewann der Japaner Satoru Tamura für seine Arbeit
Point of Contact for Unna, einen überdimensionierten, offenen,
elektrischen Schalter – auch eine tolle Arbeit, aber nicht halb so
poetisch wie der gefallene Leuchter, der mit einem Bild viele
Geschichten erzählt.”

AUSSCHREIBUNG – Post Doc position at the Centre for Digital Music (C4DM)

From: Gyorgy Fazekas via Kevin Austin via cec conference
Datum: Sat, 5 Aug 2017
Betreff: [cec-c] Fwd: Post Doc position at the Centre for Digital Music (C4DM)

[PostDoc position at C4DM, duration: up to 17 month, salary: £32,405 – £36,064, closing date: 27 August 2017. Apologies for cross posting, please circulate widely.]

The Centre for Digital Music (C4DM) at Queen Mary, University of London is seeking to appoint a Post Doctoral Research Assistant as part of the Audio Commons project.

About the project:
Audio Commons aims to bring the success of Creative Commons (CC) to the world of audio and the creative industries by helping the retrieval, reuse, management and licensing of audio content. Audio Commons is a joint European Union Horizon 2020-funded project combining the strength of 3 academic and 3 industry partners; UPF, Barcelona, (Music Technology Group), Queen Mary University of London, (C4DM), University of Surrey, (Centre for Vision, Speech and Signal Processing, Institute of Sound Recording, Surrey Business School), AudioGaming, Toulouse, France, Waves, Tel-Aviv, Israel, Jamendo Music, Luxemburg. The project runs over 3 years, with a total budget of over EUR 2.9M.

The project addresses several issues faced by the creative industries when using musical as well as non-musical audio material on the Web and aims to develop novel methods enabling the creation, access, retrieval and reuse of audio material in innovative new ways. The researcher will develop algorithms that combine audio signal processing for content analysis with semantic web technologies for gathering and analysing contextual information related to audio recordings. The work will involve the development of new ontologies and Web-based Application Programming Interfaces supporting the Audio Commons Ecosystem, developing novel signal processing and machine learning algorithms for content annotation, and conducting user studies to evaluate application specific prototypes, such as novel tools for sound design, in collaboration with the project’s industry partners.

For more information about Audio Commons, please see:

About the role:
The post is full time and available from September 2017 up to 17 months or until 31 January 2019, whichever is shorter. The position focuses on human computer interaction and user evaluation applied to novel interfaces for audio/music production. Applicants are expected to have significant experience in designing and conducting studies involving human participants (e.g. user evaluation, surveys, interviews, perceptual experiments), as well as in qualitative and quantitative data analysis, with knowledge of appropriate software tools. Expertise in at least two of the following areas is essential: human computer interaction applied to audio/music, music perception, audio signal processing and machine learning, audio software design and development.

The starting salary will be in the range of £32,405 – £36,064 per annum inclusive of London allowance and increasing after 12 months. Benefits include 30 days annual leave, defined benefit pension scheme and interest-free season ticket loan. Candidates must be able to demonstrate their eligibility to work in the UK in accordance with the Immigration, Asylum and Nationality Act 2006.

Informal enquiries should be addressed to:

Dr. George Fazekas at: and
Dr. Mathieu Barthet at:

Details about the School can be found at:

The closing date for applications is 27 August 2017 and interviews are expected to be held shortly afterwards.

To apply, please visit the Human Resources website ( and search for reference QMUL12255.

Please apply directly online where you find the full details of the available positions. Please do not send completed applications by email.

Best wishes,
Dr. George Fazekas
Lecturer in Digital Media,
Centre for Digital Music (room CS414)
School of Electronic Engineering and Computer Science
Queen Mary, University of London
Email: g.fazekas at

See also:

NEWS – Ambisonics microphone study

Von: Charlie Mydlarz via Kevin Austin via cec conference
Datum: Thu, 3 Aug 2017
Betreff: [cec-c] Fwd: Ambisonics microphone study

Our intrepid research team would really appreciate it if you could take five easy minutes to complete a short survey regarding an Ambisonic mic built by NYU and Cooper Union.

The survey is at the following link:

CONFERENCE – CFP: TENOR 2018 Fourth International Conference on Technologies for Music Notation and Representation. Montréal – May 22-27, 2018

Von: matralab via cec conference
Datum: Fri, 4 Aug 2017
Betreff: [cec-c] CFP: TENOR 2018 Fourth International Conference on Technologies for Music Notation and Representation. Montréal – May 22-27, 2018

NB: This conference issues a call for papers AND a call for musical works using situative scores. This is the call for papers. Please look out for the call for scores in your mailing lists.
TENOR 2018 Call for Papers / Posters

(Deadline: December 15, 2017)

The first three TENOR conferences (2015 Paris, 2016 Cambridge, 2017 A Coruña) have established the growing relevance of emergent technologies of notation and representation for a wide range of musical practices: composers, performers, theoreticians, performance researchers, historians, ethnomusicologists, archivists etc. The fourth TENOR conference in Montréal will continue to offer a lively forum for current research into situative scores, softwares, hardware, performance practices and theories of notation and representation in musicking, but we also intend to expand the scope of the conference by calling for papers on

– critical, aesthetic and sociological examinations of the interactions between new notation technologies and performance
– notation technologies for non-eurological and/or non-art music (incl. never-before-notated music)
– notation/representation technologies for time-based arts beyond music (dance, performance art, theatre, circus arts, animation, film etc.)
– notations for space, gesture, movement etc.
– non-visual notation systems (tactile, aural, olfactory, etc.)
– digital games as notation (music as a game)
– notation and neurocognition (how does notation work? which interactions/relationships can exist between specific notation technologies and neurocognition)

Submission guidelines

Papers must be written in English and must use and comply with the latex template or word templates provided below.
Full papers (not abstracts) and original work (not already published) must be submitted.
Paper length should be between 4 and 10 pages.

Proposals will be accepted as oral presentations or posters. Please state which presentation mode is preferred in the submission form. The Program Committee reserves the right to switch categories upon acceptance of a submission.

The duration of an oral presentation will be 15 minutes followed by a question period of 5 minutes. Posters must be printed by the presenters in A1 format before the conference and will be presented in dedicated sessions.

All accepted papers will be published in the conference proceedings, under an ISSN/ISBN reference, and will be archived online after the conference.

Submissions as PDF file only. Upon acceptance, all sources (.tex or .docx) and embedded graphics will be required as a zipped package. The use of the LaTeX template is strongly recommended. Download the Paper Template from the conference website

Submission via EasyChair:

Please note: we accept only full papers, not abstracts.

TENOR 2018 will be hosted by Concordia University, McGill University and Université de Quebec à Montréal and their institutes matralab, CIRMMT, Hexagram Network and Milieux.
Conference website:

POTSDAM – CAMP Festival, Potsdam, 09.&12.08.17

Von: K9 Kai Niggemann
Datum: Wed, 9 Aug 2017
Betreff: CAMP Festival, Potsdam, 09.&12.08.17

am heutigen Mittwoch und am kommenden Samstag (12.08.) finden in Potsdam im Rahmen des CAMP Festivals zwei Veranstaltungen statt, zu denen wir dich/Euch/Sie gern einladen möchten:

Heute (ab 19:00) gibt es Gespräche und Präsentationen von und mit den beteiligten Künstler*innen sowie einen Vortrag mit Cornelia & Holger Lund (Berlin):
‘New Aesthetics in the Audiovisual: Live Documentary AV Performances & Hyperdigitality in Music Video’, am Samstag (ab 20:00 ) gibt es sechs Konzerte mit allen zum CAMP eingeladenen Musiker*innen, Tänzer*innen, Visual Artists und Performer*innen.

Das CAMP-International Festival for Visual Music, findet dieses Jahr in Potsdam statt, vom 06.-13.08.17. Eine Gruppe von 18 Künstler*innen (Musik, Sound, Visuals, Tanz, Performance) aus 8 Ländern sind eingeladen teilzunehmen und in einer Woche gemeinsam Performances/Konzerte zu erarbeiten.

Mehr Informationen gibt es hier:

Das CAMP Festival ist ein temporäres, internationales und interdisziplinäres Projekt im Spannungsfeld von Konzeption und Produktion, von Diskurs und Präsentation. Die Themenfelder sind Medien- und Klangkunst, raumbezogene audiovisuelle Performances und interaktive Installationen.

Zum CAMP Festival 2017, das nach den Tagen gemeinsamen Arbeitens und Forschens seinen Höhepunkt in zwei Abenden öffentlicher Vorführungen und Präsentationen findet, sind Künstler und Künstlerinnen aus Tunesien, Litauen, Bulgarien, Finnland, Frankreich, der Türkei und der Schweiz eingeladen, um gemeinsam mit Künstler*innen aus Deutschland in kleinen Projektgruppen audiovisuelle Konzepte und Performances zu konzipieren und realisieren.
Die beteiligten Künstlerinnen & Künstler:

A-li-ce (Frankreich) | visuals
Arma Agharta (Litauen)| sound
Fried Dähn (Deutschland) | sound
Stanislav Genadiev (Bulgarien) | dance
Ayman Gharbi (Tunesien) | visuals
Judith Huber (Schweiz) | performance
Jan F. Kurth (Deutschland) | sound
Max Lilja (Finnland) | sound
Thomas Maos (Deutschland) | sound
Yukao Nagemi (Frankreich) | visuals
Kai Niggemann (Deutschland) | sound
Jürgen Oschwald (Deutschland) | performance
Tuna Pase (Türkei) | sound
Yoana Robova aka Halojo (Bulgarien) | visuals
Stefanie Sixt (Deutschland) | visuals
Violeta Vitanova (Bulgarien) | dance

Mittwoch 09.08.17, 19:00 Uhr
Samstag 12.08.17, 20:00 Uhr

beides im Waschhaus Potsdam
Schiffbauergasse 6

Wir freuen uns wenn du kommst/wenn Sie kommen!

NEWS – Musical Metacreation Google group

Von: Kıvanç Tatar via cec conference
Datum: Wed, 02 Aug 2017
Betreff: [cec-c] Musical Metacreation Google group

MUME Google group

Dear music enthusiasts,

From automatic composition, live musical agents to sound synthesis parameter tuning and automatic mixing, Musical Metacreation ( is the community that gather artists and researchers interested in the partial or complete automation of musical tasks.

After 5 successful International workshop on Musical Metacreation, we are offering a new communication channel for those interested specifically in generative music and all that surrounds it. We started a google group / mailing list, and you can subscribe here:!forum/musicalmetacreation

or by email using

Join the group, and spread the word where appropriate. We are looking forward to reading your posts.

Best wishes,

Pr. Philippe Pasquier (Workshop Chair)

School of Interactive Arts and Technology (SIAT)

Simon Fraser University, Canada


Pr. Arne Eigenfeldt

School for the Contemporary Arts

Simon Fraser University, Canada

Dr. Oliver Bown

Design Lab, Faculty of Architecture, Design and Planning

The University of Sydney, Australia

Kıvanç Tatar

School of Interactive Arts and Technology,

Simon Fraser University, Vancouver, Canada.


RADIO – Acoustic Frontiers playlist July 2017

Von: Ralph Hopper
Datum: Wed, 2 Aug 2017
Betreff: Acoustic Frontiers playlist July 2017

Acoustic Frontiers playlist
Airing on CKCU-FM ( for live streaming), 93.1, Ottawa, Ontario, Canada – for playlist and On Demand audio archive go to:
12:30 to 14:00 eastern time zone, each Monday
Host/producer – Ralph Hopper
Composers with EA/computer music compositions are always welcome [and encouraged] to provide a copy for airplay. Please contact me for information

Acoustic Frontiers celebrating 11 years on CKCU in July

July 2017

Nicolas Bernier Metamorphoses 2004 …sans quoi les impermeables jaunes existeront
Michael North Ottawa Processed/Urban Byward Market
Michael North Ottawa Processed/Urban Sparks St
Michael North Ottawa Processed/Urban Parliament Hill
Kevin Austin Presence 1 Static Gestures II
Martin Gotfrit Presence 1 Magic is Chance
James Harley Presence 1 Voyage
Bentley Jarvis Presence 1 Where was I…?
Jan Jarvlepp Presence 1 Buoyancy
Mark Hannesson Cache 2000 Burdizzo
David Keane Aurora La Aurora Estrellada
David Keane Aurora Elektonikus Mozaik
David Keane Aurora La Cascade Enchantee
David Keane Lyra Elegy
David Keane CMC Labyrinth
Lawrence Cherney/David Keane Tongues of Angels Tango
Christian Ledroit Cache 2000 Miasmata
Yves Gigon Cache 2000 Crickpet
Ian Stewart Cache 2000 Surveillance
David Berezan Cache 2000 Gathering
Michael Plante Sonlit
Greg Dixon Cedar Forest Cedar Forest
Hubert Michel self Contemplation #3
Mark Ward Soundcloud E Minor Blues
Martin Hoogeboom Soundcloud EE [A meditation about animism]
James Paul Sain self Coriolis Effect
Jason Bolte self Noises Everywhere
Jerry Hunt CDCM Computer Music Series Vol 1 Fluud
Plato & the Western Tradition Soundcloud #4550 Memory Sweeping
James O’Callaghan Soundcloud Subject/object
Lawrence Cherney/Jean Piche Tongues of Angels Sleight of Hand
Lawrence Cherney/Sergio Barroso Tongues of Angels Cronicas de ultrasueno
Jeremy Van Buskirk For the Love of Laughter The Root of All Evil
Andrew Czink Harangue 1 shadeless, peopled
Susan Frykberg Harangue 1 Astonishing Sense of Being Taken Over by Something Far Greater Than Me
Adrian Moore Metamorphoses 2016 Inside and out… again
Sophie Delafontaine Metamorphoses 2016 Ressort spiral
Jonathan Higgins self Fractured
Line Katcho Pulsions Dérive
Kristi Allik Discontact 3 Sea Spirits
Paul Beaudoin Discontact 3 Lamentus
Gustav Ciamaga Discontact 3 Possible Spaces no.6
Christian Calon Discontact 3 Vers les oiseaux
45north band – great Canadian music from the ’60’s to today
[ for info: ]Acoustic Frontiers, each Monday at 12.30pm [eastern] at 93.1 fm in Ottawa or for live streaming and archived programs Also co-hosting the jazz program Swing Is In The Air, Sundays at 4pm
My reality TV is BNN

NEWS – Buchprojekt zur Geschichte der Elektromusik

Von: Alexander Schug
Datum: Thu, 27 Jul 2017
Betreff: Buchprojekt zur Geschichte der Elektromusik

Sehr geehrte Damen und Herren, wir haben vor wenigen Tagen eine Crowdfunding-Aktion für ein Buchprojekt zur Geschichte der Elektromusik gestartet:

Sie sind Teil dieser Geschichte, die wir erforschen und in einem reich bebilderten Buch präsentieren wollen. Autor ist der ehem. Sammlungsleiter und Direktor des Technischen Museums Wien, Peter Donhauser, der nach Jahrzehnten der Beschäftigung mit dem Thema Elektromusik nun ein Kompendium seines Wissens vorlegen möchte.

Es geht uns um die Erforschung und Darstellung der Entwicklungsgeschichte elektronischer Instrumente und der damit produzierten Musik, die Reaktion der Presse und des Publikums und die kulturellen, gesellschaftlichen und technischen Randbedingungen. Dabei spielen Irrtum und Erfolg, unternehmerischer Ehrgeiz und wirtschaftliche Aspekte eine entscheidende Rolle. Ebenso die Auseinanderentwicklung der elektronisch produzierten Pop-Musik und der akademisch-experimentellen „Klangkunst“.

Für das Projekt brauchen wir Ihre Unterstützung: Ab 10 Euro können Sie geben, ab 25 Euro erhalten Sie das Buch als erste/r nach Druck. Wer mehr geben will ist Gast bei unseren Buchpräsentationen in Berlin und Wien (in Planung). Alle weiteren Infos zum Projekt und Ihrem möglichen Engagement und unseren Dankeschöns finden Sie hier:

Für Rückfragen stehen wir gerne zur Verfügung! Wir würden uns sehr über Ihre Unterstützung freuen – hilfreich ist auch, wenn Sie den Link zum Projekt in Ihren Netzwerken teilen oder in Ihren Medien davon berichten würden.

Mit freundlichen Grüßen, Alexander Schug

NEWS – SPLICE Festival 2018 Call for Performances and Short Presentations

Von: Per Bloland
Datum: Mon, 31 Jul 2017
Betreff: [cec-c] SPLICE Festival 2018 Call for Performances and Short Presentations

Consider submitting to the SPLICE Festival – there is one day left!

SPLICE Festival 2018 Call for Performances and Short Presentations

SPLICE is excited to announce a call for proposals for our first annual SPLICE Festival. We invite submissions for concert works involving performance and electronics to be presented at Western Michigan University on Friday and Saturday, January 26-27, 2018. We welcome submissions from performers, composers, composer/performer teams, and composer-performers. Submissions may also include proposals for short fifteen-minute presentations focusing on technical and/or aesthetic features of the submitted work related to performance, creative practices, and/or technology. We are interested in works that feature the performance of traditional instruments or other performance components.

SPLICE Festival will include four to five concerts and two presentation sessions. Concerts will feature curated performances by the SPLICE Ensemble and performances selected from submitted works. Presentations will be for Western Michigan University composition and music technology majors, in addition to festival attendees.

Submission Guidelines

– Submissions must be received by Tuesday, August 1, 2017 at 11:59 PM EST

- All works must include a live performance component

– All works must include electronics

- Works less than 20 minutes are preferred, but works as long as 45 minutes will be considered

- Individuals can only be involved in two submissions

- The primary submitter of the work must attend the entire festival and remit a $20 registration fee

– Composers may submit works for trumpet, piano, and percussion in any combination

- All other performers must be arranged by the submitter

– Submissions must include a list of tech requirements, including what the presenter is asking SPLICE to provide. SPLICE Festival will have a 10-channel surround sound system available to facilitate various surround sound configurations

- Only online submissions will be considered

– Files are not uploaded, links to files are required

Required with Submission
– Contact information
– List of performers and instruments
– Links to stream or download a recording of the work–mockups are acceptable
– Links to view or download a score, if applicable
– Information regarding what equipment you will provide
– Information regarding what equipment you will need us to provide
– Short Bios for all individuals involved
– Program Notes
– All submitters are encouraged to provide a two to four sentence proposal for a fifteen-minute presentation regarding technical and/or aesthetic features of their submitted work. The presentation could focus on performance, creative practices, and/or technology
– An agreement to attend the entire event

We expect to notify all submitters by Sunday, October 1, 2017

Please direct all questions to

Please visit to submit a proposal

Per Bloland
Assistant Professor of Composition and Technology
Miami University of Ohio


Von: Annie Mahtani (Department of Music) via cec conference
Datum: Mon, 31 Jul 2017
Betreff: [cec-c] CALL FOR WORKS: BEAST FEaST 2018: BEASTopia!

BEAST FEaST 2018: BEASTopia!

Thursday 26 – Saturday 28 April 2018
University of Birmingham, UK

Three days of music, meeting and ideas



Ideas of democracy and equality regularly feature in discussion of electroacoustic music. As an artform, electroacoustic music is rooted in the modernist idea that no sound lies outside the realm of music, hence, we might say, ‘all sounds are created equal’. Additionally, it is often claimed that the development of electroacoustic music is partly dependent upon the democratisation of technology, as large, expensive mainframe computers only accessible to academic researchers have gradually given way to home computers, laptops and smartphones—this giving rise to a ‘music from the bedroom studios’. Whether seeking sonic inspiration in the roar of political crowds, or by creating works that deliberately blur the boundaries and hierarchies between composers, performers and listeners, electroacoustic composers and sound artsits have frequently sought inspiration in principles of democracy and equality.


For BEAST FEaST 2018 we invite submissions that touch on any aspect of the theme of democracy and equality in relation to electroacoustic music. We seek to represent the broadest range of electronic music practices and practitioners at the festival, and we aim for diversity of music, background, and ethnicity, as well as balance in gender representation. We therefore encourage all to submit to our call for works, and ask that you repost this call as widely as possible.


Works and performances of electronic music of any style are welcome. We encourage you to exploit the capabilities of the BEAST system and schematics are available via the online application system. Works involving video are welcome, as are works involving live performance (including instrumentalists).

Please be aware that any costs or fees arising from including performers will most likely need to be borne by the submitter. Due to limitations on space, and our desire to include as many artists as possible, we will only be able to consider works of under 14 minutes duration, and will prioritise shorter works. Since we feel that community is a crucial part of BEAST FEaST, and because of the very high level of interest in past years, we regret that we will only be able to consider works by artists who can commit to attending the festival. At the time of submission applicants will be required to submit a programme note and biography (in final, print-ready copy), technical requirements and a brief statement of how the work fits the festival theme. Incomplete or over-length submissions will not be considered.

Submit music online


We invite proposals for installations that reflect the festival theme and respond to the campus surroundings.

Accepted installations will be expected to run for the whole duration of the festival (Thursday to Saturday evening) and artists will be expected to handle their own installation/de-installation. Any transportation costs arising will most likely need to be borne by the submitter. At the time of submission applicants will be required to submit an programme note, biography (in final, print-ready copy), technical requirements and a brief statement of how the installation fits the festival theme.

Submit installation online


We invite short informal talks in the tradition of TED. Academic topics are welcome, as are intellectually demanding ones, but talks should be pitched for a general festival audience rather than a group of specialists. We also invite proposals for high speed PechaKucha style presentations.

The BEASTdome system (30+ channel periphonic setup) will be available for all presentations, so multichannel demonstrations are possible and welcome. Applicants will be required to submit an informal description of the talk, biography (in final, print-ready copy), technical requirements and a brief statement of how the talk fits the festival theme.

Submit talk online


We know that many artists struggle with costs when attending events of this type. We aim to keep these as low as we can, but must balance that with our goal of keeping the call open to as many as possible. We regret that given the numbers involved we are not able to offer fees or travel support for artists selected via this call. That said, we are happy to confirm that as in past years there will be no conference fee, that talks and installation access will be free and open for all, and that accepted artists will be offered a low price discount pass to attend all other concert events in the festival. We are naturally happy to support applications for external travel funding for accepted artists.


Submissions are open until Friday 15 September 2017, 23:59 UTC+1

Only work submitted via the online submission portal will be accepted


We aim to notify successful artists within one month of the submission deadline.

Dr Annie Mahtani
Department of Music
University of Birmingham
B15 2TT

NEWS – New album

Von: Monty Adkins via cec conference
Datum: Wed, 26 Jul 2017
Betreff: [cec-c] New album

If anyone would like to take a listen to my new ambient/piano/electronics album the preview is here:

NEWS – Listening test on singing voice synthesis

Von: Kevin Austin via cec conference
Datum: Fri, 21 Jul 2017
Betreff: [cec-c] Fwd: Listening test on singing voice synthesis

If you liked the listening test on trumpet performances posted today by Sebastià, maybe you will like mine on singing voice synthesis!
It consists in evaluating some synthesis in different configurations, according to their expressivity and ressemblance with the singing styles of real famous French singers (Edith Piaf, Juliette Greco, François Leroux, and Sacha Distel).
Here is the link to the test:

I’m submitting my phD very soon, but I would need more answers for this test, so if you have time to do it in the next few days, I would be very helpful!
Thank you for your time and your ears!

Luc Ardaillon, CNRS / IRCAM / UPMC
PhD student – analysis/synthesis team, IRCAM

NEWS – Listening test on perception of trumpet performance (second round)

Von: Kevin Austin via cec conference
Datum: Fri, 21 Jul 2017
Betreff: [cec-c] Fwd: Listening test on perception of trumpet performance (second round)

Some time ago we distributed a link to a test regarding the perception of different musical aspects of trumpet performance.
We are running a second round now and would appreciate very much your collaboration again.

The test is located at:

It should take around 15 minutes and you can complete it up to 4 times if you like. Every time you will be presented
with different audio samples. Please, let me know if you encounter any problem or issue.

Thank you for your time and help!

OHAIN/BELGIQUE – Stage d’initiation à la musique acousmatique et au field recording à vélo

Von: Musiques & Recherches
Datum: Wed, 19 Jul 2017
Betreff: [cec-c] Stage d’initiation à la musique acousmatique et au field recording à vélo


du 4 au 8 septembre 2017 par Florian Pascal

Cinq jours pour apprendre, échanger, et profiter du riche territoire autour de la place de Ransbeck
Nous partirons explorer les paysages sonores, à vélo et équipés de nos enregistreurs portables.
Nous aiguiserons notre conscience du paysage, par l’écoute in situ et par l’analyse de nos captations, qui seront les premières étapes vers une création sonore personnelle, aboutissement de la semaine de stage.
Aussi, à l’aide de corps sonores bruitistes et acousmatiques, nous nous exercerons, en solo et/ou en groupe à la séquence jeu, où le geste, primitif et intime, rencontre le sonore et y fait naître la musicalité.
Les captations, dans la campagne environnant Musique & Recherches, ainsi que les séquences jeu, collectivisées, constitueront notre palette de créateur sonore. Nous aborderons les techniques de montage et de mixage traditionnelles, telles qu’enseignées au conservatoire royal de Mons, dans la section de composition acousmatique créée par Annette Vande Gorne.
Pour nous inspirer, des écoutes d’œuvres musicales et de créations sonores, ainsi que des lectures, ponctueront les cinq jours de stage.
Pour le bon déroulement du stage, il vous faudra amener : votre vélo, votre laptop équipé d’un DAW (protools, reaper, ableton live, etc.) ainsi que votre enregistreur portable (si vous n’en possédez pas, prévenez-nous! Musique & Recherches en possède, mais un nombre limité).
A Musique & Recherches, vous pourrez profiter de commodités telles que l’usage de la cuisine et d’une douche, vous pourrez y planter votre tente, ou bien y louer une chambre pour 80 € la semaine. Les horaires du stage (10h-17h) permettent aux Bruxellois de faire l’aller-retour dans la journée (il y environ une heure en transport en commun entre Bruxelles et Musique & Recherches).

> Quand ? du lundi 4 au vendredi 8 septembre 2017 de 10 à 17h

> Par qui ? Florian Pascal,

> Info ? – +32(0)354.43.68

> Ou ? Musiques & Recherches -Place de Ransbeck 3 – 1380 Ohain – Belgique

> Tarifs ? 300 €

> Date limite d’inscription ? 15 août 2017