DEGEM News – STELLENAUSSCHREIBUNG – Computer music PhD position at University of Oslo

Von: Kevin Austin
Datum: Wed, 14 Mar 2018
Betreff: [cec-c] Computer music PhD position at University of Oslo

Here’s another PhD position at the University of Oslo, looks very interesting. PhD positions here are paid as full-time research positions for 3 years with extra time (1 year here) for teaching or assisting work, the research scene for computer music, music technology, and systematic musicology here is excellent. A good honours grade would be sufficient qualification in the absence of a master’s degree.

—Charles Martin.

Here’s the call:

A Doctoral Research Fellowship in Sound and Music Computing is available at the University of Oslo:

Deadline: 04.04.2018
Start date: September 2018
Duration: 3+1 year
Salary: 436-490 900 NOK

The fellowship is connected to the new Nordic Sound and Music Computing Network (NordicSMC) funded by the Nordic Research Council. This network brings together a group of internationally leading sound and music computing researchers from institutions in five Nordic countries: Aalborg University, Aalto University, KTH Royal Institute of Technology, University of Iceland, and University of Oslo. The network covers the field of sound and music from the “soft” to the “hard,” including the arts and humanities, and the social and natural sciences, as well as engineering, and involves a high level of technological competency.

We invite PhD proposals that focus on sound/music interaction with periodic/rhythmic human body motion (walking, running, training, etc.). The appointed candidate is expected to carry out observation studies of human body motion in real-life settings, using different types of mobile motion capture systems (full-body suit and individual trackers). Results from the analysis of these observation studies should form the basis for the development of prototype systems for using such periodic/rhythmic motion in musical interaction.

The appointed candidate will benefit from the combined expertise within the NordicSMC network, and is expected to carry out one or more short-term scientific missions to the other partners. At UiO, the candidate will be affiliated with RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion. This interdisciplinary centre focuses on rhythm as a structuring mechanism for the temporal dimensions of human life. RITMO researchers span the fields of musicology, psychology and informatics, and have access to state-of-the-art facilities in sound/video recording, motion capture, eye tracking, physiological measurements, various types of brain imaging (EEG, fMRI), and rapid prototyping and robotics laboratories.

Qualification requirements

A Master’s Degree or equivalent in sound and music computing, music technology, computer science, or other relevant field. The applicant is required to document that the degree corresponds to the profile for the post. The Master’s Degree must have been obtained by the time of application.

Experience with development of real-time sound and music systems (Max, PD, SuperCollider, or similar)
Excellent skills in written and oral English
Personal suitability and motivation for the position

DEGEM News – NEWS – Destellos Competition – Extended deadline – March 30th

Von: elsajustel via cec conference
Datum: Thu, 15 Mar 2018
Betreff: [cec-c] Destellos Competition – Extended deadline – March 30th

french and spanish follow

XI° International Destellos Competition on Electroacoustic Music – 2018

The Foundation Destellos, call for works for the Eleventh Competition of Electro-acoustic Composition and Visual music.

This year the foundation has the sponsorship of the International Encounters Foundation of Contemporary Music (Fundación Encuentros) of Buenos Aires, on the occasion of its fiftieth anniversary, which will award a First Prize in the mixed media category and the premiere of the work in its Annual Festival.
The call is open to composers of any nationality, age and gender.
Will be attributed three first prizes of an amount of 600 American dollars each, in the categories:
A. Acousmatic music
B. Mixed media for Ensemble and Electronics (given by Encounters Foundation)
C. Visual music electro-acoustic
Also, as in former editions, will be granted second prizes, consisting in collections of CD of electroacoustic music offered by: Akusma

DEGEM News – LONDON – London – Trimer

Von: Christian Banasik
Datum: Wed, 14 Mar 2018
Betreff: London – Trimer


20. March 2018 01.00 p.m.
Borough New Music – „Ear Rings“
St George The Martyr Southwark

“TRIMER” by Christian Banasik
for toy piano, fixed media and images

with Kate Ryder (piano / toy piano)
(in collaboration with World Toy Piano Week)

best regards
christian banasik

DEGEM News – BATH – Seeing-Sound Bath

Von: Wilfried Jentzsch
Datum: Tue, 13 Mar 2018
Betreff: Seeing-Sound Bath

An der BATH Spa University findet das Festival SEEING SOUND zum 5.ten Mal vom 23.- 25.Maerz 20118 statt.
An drei Tagen gelangen von einer internationalen Jury ausgewählte Werke zur Aufführung. Gastland ist Kanada.
Wir freuen uns dabei zu sein. Zur Aufführung gelangen folgende Werke:
Hiromi Ishii – avian
Wilfried Jentzsch – The shining stone (Premiere)

Ein Praxis-orientiertes Research Symposium begleitet die Aufführungen. Folgender Kurzvortrag ist Teil
dieses Symposiums.

Wilfried Jentzsch – Interactivity between sounds and images

Zusätzliche Informationen siehe unter dem Link:


Von: Jan Jacob Hofmann
Datum: Fri, 16 Mar 2018
Betreff: LUMINALE FRANKFURT: „Licht aus – Klang an“

Frankfurt am Main, 18. -23. März 2018, 19.00 Uhr bis 7.00 Uhr: „LICHT AUS – KLANG AN“

„Licht aus – Klang an“ ist ein ein Klang- und Kunstprojekt von Prof. Wolfgang Rang und Jan Jacob Hofmann im Rahmen der Luminale 2018. Die Straßenbeleuchtung der Rosa Luxemburg Straße, einer Schnellstraße in Frankfurt am Main aussließlich für KFZ, wird für eine Woche auf das notwendige Mindestmaß reduziert. Die eingesparte Energie wird stattdessen in Klang umgewandelt: Auf der UKW-Frequenz 97,1 kann eine 12-stündige(!) Elektroakustische Klangkomposition von Jan Jacob Hofmann aus elektronisch transformierten Umgebungsklängen im Bereich dieser Straße über (Auto-)Radio während der Nachtstunden von 19.00 Uhr bis 7:00 Uhr morgens empfangen werden.

Weitere Infos:
Programm Luminale 2018:
Projektseite Radio FFH:
Website Sonic Architecture:
Website Atelier Rang:

Gefördert vom Deutschen Musikfonds

Mit freundlicher Unterstützung von:
Hit Radio FFH

sound | movement | object | space
sonic architecture | site:
spatial electronic composition | higher order ambisonic music

DEGEM News – NEWS – 2nd Xenakis Competition

Von: Jan Jacob Hofmann
Datum: Fri, 16 Mar 2018
Betreff: Fwd: 2nd Xenakis Competition

Dear composers,

We are thrilled to announce the Second International Electroacoustic
Composition Competition IANNIS XENAKIS.

Applications are now open.

We are looking forward to receive your electroacoustic compositions.

Please visit our website for more information.

Best Regards

Dr. Dimitris Maronidis

ΙΑΝΝΙS XENAKIS International Electronic Music Competition
Aristotle University of Thessaloniki
Contemporary Music Lab

[…] To make music means to express human intelligence by sonic means
-Iannis Xenakis

DEGEM News – NEWS – eContact! 20.1 – JTTP 2017: Jeu de temps/Times Play

Von: CEC jef chippewa
Datum: Sat, 10 Mar 2018
Betreff: [cec-c] eContact! 20.1 – JTTP 2017: Jeu de temps/Times Play

[ Le français suit l’anglais ]

eContact! 20.1 — JTTP 2017: 18th Jeu de temps / Times Play

Recent works by young and/or emerging composers and sound artists from or living in Canada are featured in the 18th edition of Jeu de temps / Times Play, coordinated annually by the CEC since 2000. JTTP 2017 events include a special concert in the 3rd Sea of Sound Festival, held in Edmonton in April 2018. (February 2018)

An international jury has selected the following composers to be awarded prizes for the works they submitted to JTTP 2017:

1. Xavier Madore — Les loges de la suite (2017 / 11:11)
2. Pierre-Luc Lecours — Éclats | Blanc (2015 / 10:19)
3. Pierre-Luc Senécal — Urban Gardens (2017 / 11:25)
4. Samuel Béland — Naïca (2017 / 7:35) [VIDEOMUSIC]
5. Xavier Ménard — Fragmentation(s) (2017 / 6:50)

Each year one issue of eContact! is dedicated to highlighting the JTTP project. The JTTP 2017 webpages offer composer bios, programme notes and sound files for all of the submissions (35 this year!). The prizes, jury members and project partners are also announced in this issue.

The JTTP 2017 focus issue is now online, enjoy the listening and reading!

Thanks to all who submitted works to the competition, and congratulations to the prize winners!

NB: NEXT DEADLINE — 1 May 2018 for JTTP 2018

Yves Gigon and jef chippewa
Administrative co-Directors of the CEC


eContact! 20.1 — JTTP 2017 : 18e Jeu de temps / Times Play

De nouvelles pièces de compositeurs, jeunes ou émergents, originaires du Canada ou qui y vivent, sont présentées dans le cadre de la 18e édition de Jeu de temps / Times Play (JTTP), un concours annuel organisé par la CEC depuis 2000. La programmation de JTTP 2017 comprend un concert spécial présenté dans le cadre du festival Sea of Sound à Edmonton. (février 2018)

Les compositeurs suivants ont été sélectionnés par un jury international et recevront des prix pour les ¦uvres qu’ils ont soumises à JTTP 2017:

1. Xavier Madore — Les loges de la suite (2017 / 11:11)
2. Pierre-Luc Lecours — Éclats | Blanc (2015 / 10:19)
3. Pierre-Luc Senécal — Urban Gardens (2017 / 11:25)
4. Samuel Béland — Naïca (2017 / 7:35) [VIDÉOMUSIC]
5. Xavier Ménard — Fragmentation(s) (2017 / 6:50)

Chaque année, un numéro d’eContact! est consacré au projet JTTP. Les pages Web consacrées à JTTP 2017 comprennent des notices biographiques des compositeurs, des notes de programmes et des fichiers sonores pour toutes les ¦uvres proposées (pour un total de 35 cette année). Les prix, les membres du jury et les partenaires de projet sont également mentionnés dans ce numéro.

Le numéro pour cette année est maintenant en ligne; bonne lecture et bonne écoute!

Nous tenons également à remercier tous ceux qui ont proposé des pièces au concours et à féliciter les lauréats!

NB : PROCHAINE DATE LIMITE — 1 mai 2018 pour JTTP 2018

Yves Gigon and jef chippewa
Co-directeurs administratifs de la CEC

Communauté électroacoustique canadienne (CEC) Canadian Electroacoustic Community

DEGEM News – NEWS – Acoustic Frontiers playlist February 2018

Von: Ralph Hopper
Datum: Sat, 10 Mar 2018
Betreff: [cec-c] Acoustic Frontiers playlist February 2018

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

February 2018 #634-637

Hartmut Jentzsch Imaginare Landschaften Electoakustishe Musik Bleistift music

Warren Burt self Mosaics and Transparencies

Edgar Barroso Soundcloud Echoic

Michael Gurevich Soft White

Laurie Radford Discontact 3 Verb Tales

Laurie Radford Presence 3 Les ponts de l’espace

William Price Rush Hour Two Days in the Tank

William Price Rush Hour A Crime of Passion

William Price Rush Hour Spline

Hiromi Ishil Imaginare Landschaften Electoakustishe Musik Dreaming Stones

Eugeniusz Rudnik Cultures Electroniques 5 Mobile

Zoltan Pongracz Cultures Electroniques 5 Mariphonia

Jose Vicente Asuar Cultures Electroniques 5 Guararia Repano

Eduardo Kusnir Cultures Electroniques 5 La Panaderia

Christian Banasik Ausbruch Aufbruch Begegnung VI

Johannes S Sistermanns Ausbruch Aufbruch XIX Mikado 2

Lars Brondum Chain of Events COR Rebound

Ake Parmerud Cultures Electroniques 18 String Quartet

Manuella Blackburn Petites etincelles Time will tell

Vanessa Massera Soundcloud An almost abstract experience

Gintas K Acousma Light episode 1

Gintas K Acousma Light episode 2

Political Ritual Political Ritual Ceremonie

Paul Dolden Cultures Electroniques 5 Below the Walls of Jericho

Jean Piche SFU 40 La Mer a L’Aube

Horacio Vaggione Fluides Consort for Convolved Violins

John Oliver Visitations Race Against Time 1

John Oliver Visitations Genni’s Laugh

John Oliver Visitations You Are With Us

John Oliver Visitations Abstract Wind 2

Jon Appleton archive The Sweet Dreams of Miss Pamela Beach

Jon Appleton archive Wintersun

John Celona/The Krells Mantra #4

Christian Banasik Glass Cutter

DEGEM News – NEWS – [ausland depesche] nett, netter, kabinett

Von: ausland depesche
Datum: Fri, 9 Mar 2018
Betreff: [ausland depesche] nett, netter, kabinett


sich gewaehlt ausdrueckende ausdruecke –

um das jahr 1500 wurde im kloster eberbach die ehemalige
fraternei zum dampfbad umfunktioniert und diente als
schatzkammer für besonders wertvolle dampfplauderer. sie
wurde als cabinet bezeichnet. davon leitet sich die
praedikatsbezeichnung kabinett ab. in angelas kabinett
gibt es die meisten oechsle.

siggi pop ist nicht dabei:

Fri, 9. March 2018 – 20:30
Simiskina / Xavier Quérel + Lina Allemano
biegungen im ausland

Simiskina + Xavier Quérel
Adrian Myhr – electric bass
Jonas Cambien – analog synths, electronics
Xavier Quérel – 16mm movie projector, lights

Lina Allemano – trumpet

Sat, 17. March 2018 – 20:00
Christine Noll Brinckmann

Dress Rehearsal und Karola 2 (USA/D 1980/81), Farbe, Ton, 14 Min.
Die Urszene (D 1981) s/w, smaragdgrün viragiert, Ton, 6 Min.
Stief (D 1988) Farbe, stumm, 12 Min.
Empathie und panische Angst (D 1989) s/w und Farbe, Ton, 38 Min.

Sun, 18. March 2018 – 20:00
String Quartett Lebrat/ Bosshard/ Genthon/ Schwab
biegungen im ausland
String Quartet

Soizic Lebrat (F) cello
Patricia Bosshard (CH) violin
Anouck Genthon (F) violin
Marie Schwab (CH) viola

doors 8 pm / start 8:30 pm

der amerikaner steht auf kriegsfuss mit dem metrischen system.
deswegen spricht er vom strafzoll (bzw. vom „punitive inch“)
und meint damit 2,54 strafzentimeter. zwoelf zoll sind ein kriegsfuss,
sechs kriegsfuss eine kampfameise und 666 kampfameisen ein handelskrieg.
drauf steht keiner, sonder laeuft lieber asymmetrisch ins

Lychener Str. 60
10437 Berlin

S + U Bahn Schoenhauser Allee
Tram 12 Raumer Strasse
N 52 Eberswalder Str
+49 (0)30 44 77 008

Ab 2011 werden ausgewählte Veranstaltungen live gestreamt. Check the program.

Das ausland vergibt drei Residenzen pro Jahr –
Schickt uns Vorschläge!

Werdet Fördermitglied! –
Spendet für´s ausland!

DEGEM News – NEWS – [KARLSRUHE] Call for papers.

Von: John Dack
Datum: Fri, 9 Mar 2018
Betreff: Re: Call for papers.

Ninth International Conference

Music/Sonic Art: Practices and Theories

At the Interface of Practice and Theory: Revisiting the Artistic Research Debate

MuSA 2018 – Karlsruhe (IMWI)

28 June – 1 July 2018

Hochschule für Musik, Karlsruhe –

Institut für Musikwissenschaft und Musikinformatik (IMWI)

Am Schloss Gottesaue 7, 76131 Karlsruhe, Germany


We are pleased to announce the Ninth International Conference on Music and Sonic Art: Practices and Theories (MuSA 2018), an interdisciplinary event to be held in Karlsruhe, Germany at the Institut für Musikwissenschaft und Musikinformatik (IMWI) (

Conference dates: 28 June – 1 July 2018

Deadline for abstract submission: Friday, 27 April 2018.

Proposals for sessions and individual papers for the Ninth International Conference on Music and Sonic Art: Practices and Theories are invited from academics, independent researchers, practitioners and post-graduate students. Presentation formats include academic research papers (20 minutes + 10 minutes for discussion); reports on practice-based/artistic research or educational programmes (20 minutes + 10 minutes for discussion); and workshops, panel sessions, lecture-demonstrations (30 minutes + 15 minutes for discussion). The Conference committee encourages presentations in which practice forms an integral part of the research. All proposals will be ‘blind’ peer-reviewed. The Conference language will be English.


The theme of MuSA 2018 is At the Interface Between Practice and Theory: Revisiting the Artistic Research Debate. The last decade has witnessed the establishment of artistic research in music and sonic arts as an original approach that brings together theory and practice. While much has been written about the integral role of artistic practice in this kind of research, much remains to be learned from exploring the multiple ways in which theory and practice can be brought to bear on each other. MuSA2018 thus aims explore the interface between theory and practice in the context of artistic research. We invite submissions on the following, and other relevant topics, in relation to the theory-practice interface in the context of artistic research:

Conceptual and non-conceptual processes
Know-that and know-how
The role of the subjective dimension
Role of technology
Embodied processes
Value judgments
New knowledge and insights

Other topics that are in line with the Conference’s broad aim of promoting interdisciplinary research within and across Music and Sonic Art will also be considered.

As in previous MuSA conferences MuSA 2018 will continue to include the popular, one-day event devoted to ‘Re-thinking the Musical Instrument’, focusing on the origination, making and playing of musical instruments.

Some of the topics that will be explored during this one-day event include:

The acoustical, musical, cultural, symbolic, and ritualistic qualities of musical instruments and the relationships between these (theoretically) distinct kinds of qualities;
The discourses that exist in relation to musical instruments in different genres, styles and traditions;
The gestural affordances and ergonomic principles of musical instruments and the musical meanings that emerge as a result of these affordances and principles;
Performers, improvisers and their instruments: phenomenologies of music making in the context of particular kinds of musical instruments;
Composer and instruments: the material, acoustical and expressive qualities of instruments and their relationship to musical languages composers create;
Relationships between creativity in performance, nature of musical interpretation and musical instruments;
The role of the musical instrument in the creation of musical identities;

We also invite proposals on any research area related to the nature and use of western acoustical instruments, traditional ethnic instruments and digital/virtual instruments.


Please submit an abstract of approximately 250-300 words as an e-mail attachment to

As contributions will be ‘blind’ peer-reviewed, please do not include information that might facilitate identification from the abstract. In addition, please include separately the name(s) of the author(s), institutional affiliation (if any) and short biography (approximately 100 words). Deadline for the receipt of abstracts is Friday, 27 April 2018. Notification of acceptance will be sent by 11 May 2018.


The Conference fees are: €120 for delegates (day rate: €40), €100 for presenters (day rate: €35), and €60 for students and others who qualify for concessions (day rate: €20).

If additional information is required please do not hesitate to contact Prof. Dr. Mine Doğantan-Dack or any member of the Conference Committee:

Prof. Dr. Mine Doğantan-Dack ­­– (University of Cambridge)

Prof. Dr. Thomas A. Troge (IMWI, Karlsruhe) –

Prof. Dr. Denis Lorrain (IMWI, Karlsruhe) –

Prof. Dr. Paulo Ferreira-Lopes (Universita Cattolica Porto/HfM-Karlsruhe) –

Prof. Miroslav Spasov (Keele University, UK) –

Dr. John Dack (Middlesex University, UK) –

Prof. Dr. Marlon Schumacher (IMWI, Karlsruhe) –

Prof. Dr. Marc Bangert (IMWI, Karlsruhe) –

Prof. Dr. Damon T.Lee DMA (IMWI, Karlsruhe) –

Patrick Borgeat (IMWI, Karlsruhe) –

Timothy P. Schmele (IMWI, Karlsruhe) –

Administrative support: Gundi Rössler (IMWI, Karlsruhe) –


Dr John Dack – Senior Lecturer (Music and Technology)

PhD, MA, MMus, MSc, PGDipMIT, BA (Hons)

The Grove Building, room 226

Middlesex University

The Burroughs


London NW4 4BT


t: +44 (0)20 8411 5109

f: +44 (0)20 8411 3452


skype: john.dack


DEGEM News – NEWS – Concours Métamorphoses 2018

Von: Concours Metamorphoses via cec conference
Datum: Fri, 09 Mar 2018
Betreff: [cec-c] Concours Métamorphoses 2018

Le 10ème concours biennal de composition acousmatique Métamorphoses organisé par Musiques & Recherches (M&R) est lancé!

Catégories de participants:

la catégorie A : ouverte aux compositeurs de 28 ans et moins en 2018 et étudiants en composition électroacoustique (avec preuve de cette qualité). Il n’y a pas de frais d’inscription.
la catégorie B : ouverte aux compositeurs souhaitant concourir dans cette catégorie et qui auront 50 ans et moins en 2018. Les frais d’inscription pour la catégorie B s’élèvent à 20 € par compositeur.

Les détails du déroulement du concours et des prix sont repris dans le règlement du concours ci-joint. Lisez ces instructions avec soin. Les inscriptions se font en ligne sur le site Weezevent
Date limite d’inscription et de renvoi des documents à 2 mai 2018, 13h00 heure de Bruxelles.

DEGEM News – RADIO – JTTP 2017 Broadcast | Acoustic Frontiers (12 Mar)

Von: CEC jef chippewa
Datum: Thu, 8 Mar 2018
Betreff: [cec-c] JTTP 2017 Broadcast | Acoustic Frontiers (12 Mar)

Ralph Hopper has always been a staunch supporter
of all things CEC, and he is one of our most
dedicated JTTP Partners. Tune into his engaging
radio show on CKCU out of our nation’s capital to
hear the winning works of the 18th edition of Jeu
de Temps / Times Play (JTTP).

JTTP 2017 is featured in eContact! 20.1 (February
2018), the CEC’s online journal of
electroacoustic practices.

ACOUSTIC FRONTIERS. For a very different radio
experience, tune in and have a listen to
electroacoustic and computer-based sounds that
cutting-edge composers have been creating since
the mid-1900s. Music that varies from easy on the
ears to difficult and indescribable. Unzip your

Hosted by Ralph Hopper, Mondays 12:30-14:00 on CKCU 93.1 FM (Ottawa ON).

1. Xavier Madore — Les loges de la suite (2017 / 11:11)
2. Pierre-Luc Lecours — Éclats | Blanc (2015 / 10:19)
3. Pierre-Luc Senécal — Urban Gardens (2017 / 11:25)
4. Samuel Béland — Naïca (2017 / 7:35), [VIDEOMUSIC]
5. Xavier Ménard – Fragmentation(s) (2017 / 6:50)

JTTP — JEU DE TEMPS / TIMES PLAY, coordinated by
the Canadian Electroacoustic Community since
2000, is an annual project aimed at promoting and
celebrating new electroacoustic works by young
and/or emerging sound artists/composers from (or
living in) Canada.

[NEW] eContact! 19.3 — NOTATION for Electroacoustic and Digital Media
With: D. Gray, É. Gayou, J. Scordato, C. Fischer, j. chippewa, M. Horrigan,
S. Schafer, A. Aska/M. Ritter, B. Gluck/R. Chatham/B. Fennelly/M. Nobre

Communauté électroacoustique canadienne (CEC)
Canadian Electroacoustic Community

DEGEM News – NEWS – IEM Music Residency Program 2019 – Call for Applications

Von: Julian Brooks via cec conference
Datum: Thu, 8 Mar 2018
Betreff: [cec-c] IEM Music Residency Program 2019 – Call for Applications

IEM Music Residency Program 2019 – Call for Applications

The IEM – Institute of Electronic Music and Acoustics – in Graz, Austria
is happy to announce its call for the 2019 Artist-in-Residence program.

The residency is aimed at individuals wishing to pursue projects in
performance, composition, installation, sound art, development of tools
for art production, and related areas. Individuals are asked to submit a
project proposal that is related to the fields of artistic research of
the IEM, as:
* Algorithmic Composition
* Algorithmic Experimentation
* Audio-Visuality
* Dynamical Systems
* Experimental Game Design
* Live Coding
* Sonic Interaction Design
* Spatialization/higher-order Ambisonics
* Standard and non-standard Sound Synthesis

Duration of residency: 5 months
Start date: June 1st 2019 (negotiable)
Monthly salary: approx. EUR 1100 (net)


The Institute:
The Institute of Electronic Music and Acoustics is a department of the
University of Music and Performing Arts Graz founded in 1965. It is a
leading institution in its field, with more than 35 staff members of
researchers and artists. IEM offers education to students in composition
and computer music, sound engineering, sound design, contemporary music
performance, and musicology. It is well connected to the University of
Technology, the University of Graz as well as to the University of
Applied Sciences Joanneum through three joint study programs.

The artwork produced at IEM is released through the Institute’s own Open
CUBE and Signale concert series, as well as through various
collaborations with international artists and institutions.

What we expect from applicants:
– A project proposal that adds new perspectives to the Institute’s
activities and resonates well with the interests of IEM.
– Willingness to work on-site in Graz for the most part of the Residency.
– Willingness to exchange and share ideas, knowledge and results with
IEM staff members and students, and engage in scholarly discussions.
– The ability to work independently within the Institute.
– A dissemination strategy as part of the project proposal that ensures
the publication of the work, or documentation thereof, in a suitable
format. This could be achieved for example through the release of media,
journal or conference publication, a project website, or other means
that help to preserve the knowledge gained through the Music Residency
and make it available to the public.
– A public presentation as e.g. a concert or installation, which
presents the results of the Artist Residency.

What we offer:
– 24/7 access to the facilities of the IEM.
– Exchange with competent and experienced staff members.
– A desk in a shared office space for the entire period and access to
studios including the CUBE [1], according to availability.
– Extensive access to the studios of the IEM during the period from July
1st until end of September.
– access to the IKOsahedron loudspeaker [2]
– access to the “Autoklavierspieler” [3]
– infrared motion tracking systems
– Regular possibilities for contact and exchange with peers from similar
or other disciplines.
– Concert and presentation facilities (CUBE 24 channel loudspeaker
concert space).
– A monthly salary of approx. EUR 1100 net per month in addition to
health and accident insurance.

What we cannot offer to the successful applicant:
– We cannot provide any housing.
– We also cannot provide continuous assistance and support, although the
staff is generally willing to help where possible.
– We cannot host artist duos or groups, because of spatial limitations.
– We cannot offer any additional financial support for travel or
material expenses.

An application form providing more information is available at

Feel free to contact if you have any questions.

[1] The Cube has a 24-channel loudspeaker system

Pd-announce mailing list