NEWS – Wettbewerb „Grenzgänger“

Von: Thomas Neuhaus
Datum: Thu, 2 Mar 2017
Betreff: Wettbewerb „Grenzgänger“

(for English Version see below)

Zum Thema des diesjährigen NOW! Festivals,“Grenzgänger“ werden Werke für Video und Elektronik gesucht:
Das Thema umfaßt selbstverständlich mehr als multimediale Kunst. „Grenzgänger“ gibt es in vielerlei Hinsicht! Die auditive visuelle Arbeit kann darauf Bezug nehmen, muss sie aber nicht.

Für bis zu 3 Gewinner gibt es Geldpreise, eine Aufführung des Werkes beim Festival NOW! sowie die Teilnahme am begleitenden Symposium

Details zur Teilnahme gibt es hier:

Call for Works: Grenzgänger in Musik und Video

We are searching for works for video and electronics about this years topic of the NOW! Festival: „Grenzgänger“. This topic obviously comprises more than multimedia art. There are frontier runners in many respects. The works sought after may take that into account, but does not necessarily have to.

There will be up to 3 winners who win prize money, a performance of the work at the NOW! festival and a participation at the accompanying symposium

Details for participation here:

Call for Works: Grenzgänger in Music and Video

STRASSBURG – [Studio PANaroma at Unesp (Brazil)] „S(c)enario“

From: Flo Menezes via cec conference
Date: 2017 March 3
Subject: [Studio PANaroma at Unesp (Brazil)] „S(c)enario“

The world première of my work


commissioned by Les Percussions de Strasbourg and the Experimentalstudio des SWR Freiburg,
for 6 percussion players and electronics, is now as video and high resolution sound mastering on Youtube:

World première in Strasbourg on November 23rd, 2016, of „S(c)enario“ (2012), for 6 percussion players and electronics, by Flo Menezes, performed by Les Percussions de Strasbourg with electronics by the Experimentalstudio des SWR, Freiburg:

Concert at the ZKM of Karlsruhe, Germany, on November 25th, 2016, of „S(c)enario“ (2012), for 6 percussion players and electronics, by Flo Menezes, performed by Les Percussions de Strasbourg with electronics by the Experimentalstudio des SWR, Freiburg. This concert was only 2 days after the world première of the piece in Strasbourg:

Studio PANaroma
de Música Eletroacústica da Unesp
Diretor Artístico: Flo Menezes
– – –
Instituto de Artes da UNESP
Rua Dr. Bento Teobaldo Ferraz, 271
c/o Studio PANaroma
Várzea da Barra Funda
01140-070 – São Paulo – SP

NEWS – First call for papers MuSA 2017

Von: John Dack
Datum: Fri, 3 Mar 2017
Betreff: Re: First call for papers MuSA 2017

Eighth International Conference

Music/Sonic Art: Practices and Theories

Sounds without Borders

MuSA 2016 – Karlsruhe (IMWI)

6 July – 9 July 2017

Hochschule für Musik, Karlsruhe –

Institut für Musikwissenschaft und Musikinformatik (IMWI)

Am Schloss Gottesaue 7, 76131 Karlsruhe


We are pleased to announce the Eighth International Conference on Music and Sonic Art: Practices and Theories (MuSA 2017), an interdisciplinary event to be held in Karlsruhe, Germany at the Institut für Musikwissenschaft und Musikinformatik (IMWI) ( MuSA 2017 is also supported by Middlesex University, London.

Conference dates: 6 July-9 July 2017.

Deadline for abstract submission: Friday, 28 April 2017.

The principal aim of MuSA 2017 is to advance interdisciplinary investigations in – as well as between – Music and Sonic Art. Proposals for sessions and individual papers for the Eighth 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. Previous themes and topics can be seen at:;;;


The theme of MuSA 2017 is Sounds without Borders. Amidst recent political events around the world that threaten to build walls between nations, disconnect communities, block the free movement of peoples across cultures, musical practices display a stark contrast to such divisive attempts in defying and travelling freely across many different kinds of – literal and metaphorical –‘borders’. MuSA2017 will explore the nature, conditions, and consequences of the capacity of musical practices to cross these ‘borders’. We, therefore, invite submissions on the following, and other related topics:

– Music and politics across borders

– Migration of musical styles across borders

– Fluidity of musical experiences

– Dynamics of musical identities

– Dissolution of formal boundaries in the creation of music and sound art

– Multimodal perception of music and sound crossing over sensory boundaries

– Crossing the borders of performance styles

– Crossing disciplinary boundaries in musical research

– Crossing artistic boundaries in musical and sound art practices

– Crossing the theory-practice divide

– Bridging scholarly-disciplinary and artistic discourses

– Travelling across ‘reason’ and ‘emotion’

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.

MuSA 2017 will continue to include the popular, one-day event devoted to ‘Re-thinking the Musical Instrument’, focusing in particular on the role of literal and metaphorical borders in 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 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

Please specify whether you wish your abstract to be considered for the one-day ‘Re-thinking the musical instrument’ event.

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, 28 April 2017. Notification of acceptance will be sent by 12 May 2016.


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 ­­–

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) –

Adrian Palka (Coventry University, UK) –

Marlon Schumacher (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

NEWS – [cime-icem] PRIX CIME 2017

Von: Todor Todoroff via cec conference
Datum: Fri, 03 Mar 2017
Betreff: [cec-c] FW: [cime-icem] PRIX CIME 2017

Announcement of a new Electroacoustic Music Competition by CIME/ICEM, deadline May 28, 2017.

Best wishes,


Electroacoustic Music Competition

IMC – NGO official partner of UNESCO

The International Confederation of Electroacoustic Music is pleased to announce the biennial PRIX CIME

2017 international composition competition. The International Confederation of Electroacoustic Music

(ICEM) was founded in 1981 in Bourges, France and since then it is member of the International Music

Council (IMC). CIME-ICEM is a non-profit international organization consisting of National Federations and

International Organization Members (OIM). Today, the ICEM consists of fourteen National Federations:

FARME (Argentina), FeBeME – BeFEM (Belgium), CECh (Chile), CEMC (China), LNME (Cuba), Charm of

Sound (Finland), BEAN (Great Britain), HELMCA (Greece), AARSOM (Mexico), PSeME (Poland), Miso

Music (Portugal), AMEE (Spain), AMEG (Switzerland), and UAEM (Ukraine); and of nine International

Organization Members: GrupLac in Bogota (Colombia), MISAME in Paris (France), HCMF in Budapest

(Hungary), Spectro Center in Tehran (Iran), CMMAS in Morelia (Mexico), CEAMMC in Moscow (Russia),

The Orquesta del Caos in Barcelona (Spain), ICST in Zurich (Switzerland) and CEMI in Denton (USA).

For more information please visit:

Deadline for Submissions is May 28, 2017


The competition is divided in two categories:

• Category 1: Prix CIME – Open to all composers regardless age.

• Category 2: Residency Prix CIME – Open to all composers born after December 31, 1987.

Competition Guidelines

– The competition is open to all regardless of gender, nationality, affiliation and regardless if your

country of residence is member of ICEM.

– Applicants may submit only one work

– Only works written within the last 5 years will be considered.

– Anonymous submission is not required.

– There is no duration limitation

– There is no entry fee.

– Open to all forms of electroacoustic music including:

o fixed electronics

o instrument(s) and electronics (fixed and/or live)

o video music

o sound art including new interfaces

– Work in progress will not be considered.

Submission Guidelines

Submit the online application form. Click on the link below to access the online application form:

In the field “Link, Submission Materials” please provide a valid permanent link to your work using a file

hosting service like Dropbox, Googledrive, OneDrive, etc. Upload a single .zip file titled with your name (e.g. that includes all submission materials, such as audio files (include a stereo reduction

for multichannel works), video files, musical score of the work in .pdf, etc. Make sure the link will not expire

until June 30, 2017.

Jury Members

James Andean (Finland)

Miguel Azguime (Portugal)

Catalina Peralta C. (Colombia)

Rodrigo Sigal (Mexico)

Andrea Szigetvári (Hungary)

Todor Todoroff (Belgium)

Zhang Xiaofu (China)

Alla Zagaykevych (Ukraine)


1. The competition will award the following prizes:

• Category 1 – Prix CIME (the prize could be divisible in the case of ex aequo).

• Category 2 – Residency Prix CIME (1 to 4 residencies).

2. The Studio Residencies for category 2 include 1-2 weeks studio support, accommodation and meals

arranged by each center independently. The participating centers will be announced in due time.

3. The selected works from both categories will receive:

– ICEM CD/DVD release

– Distribution to the ICEM members for concert/broadcast programming, including the ICEM annual


– Online publication.

– There is no prize money for the awarded works.

4. The jury has the right to award Honorable Mentions.

Important Dates

– Open call February 2017.

– Deadline for submissions May 28, 2017.

– Final deliberations and announcement during the ICEM General Assembly in September 2017.


Please direct questions about the competition or the submission process to Panayiotis Kokoras at

The competition is administered by the ICEM Main Board:

Marek Choloniewski, President (Poland)

Panayiotis Kokoras, Secretary (Greece/USA)

Françoise Barrière, Treasurer (France)

NEWS – 2 postdoc opportunities

Von: Pierre Alexandre Tremblay via cec conference
Datum: Fri, 3 Mar 2017
Betreff: [cec-c] 2 postdoc opportunities

My project Fluid Corpus Manipulation has successfully secured 5 years of ERC funding, which mean I am hiring 2 postdocs ! One is a DSP specialist with a strong interest in FFT-processes, the other is a practice-based researcher in creative coding, with a strong interest in dissemination.

Research Fellow in Real-Time Computer Music Systems –

Research Fellow in Creative Coding Practice in Music –

There is a website in progress, it should be live in the next days, but all info is in the recruitment pack for each post above.

Feel free to pass along!


RADIO – Acoustic Frontiers playlist February 2017

Von: Ralph Hopper via cec conference
Datum: Thu, 2 Mar 2017
Betreff: Acoustic Frontiers playlist February 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

February 2017

Patrick Ascione Polyphonie~polychrome Lune Noire
Adrian Moore Contrechamps Sustain
Natasha Barrett Rocks & Wraiths Nota Bene
Natasha Barrett Rocks & Wraiths Swaying to See
Hildegard Westercamp Transformations Cricket Voice
David Hirst Machine Messages Linden Nights
Linda Ceff Machine Messages Persephone’s Transition
Jeff Pressing Machine Messages Study Number One
John Young Cultures Electroniques 20 Ricordiamo Forli
Rodrigo Sigal Compilation of Latinamerican EA Sinapsis
Roxanne Turcotte Amore L’amore
Roxanne Turcotte Amore T’es le fun telephone
Felix Leuschner Escape eScape
Nikolaus Heyduck Escape Sine Wave Peaks
Hiromi Ishi Escape Shinra
Abigail Amies/Frank Koustrup Surfaces
James Andean Finland Medusan Torso
Matthew Ariaratnam/Kıvanc Tatar Oblique Strategies
Jennifer Bachynsky Antiprism
Elizabeth Anderson L’envol Les forges de l’invisible
Elizabeth Anderson Chat Noir
Tristan Louth-Robins self Goyder’s Line
Jorge Antunes file Ballade Dure
Quasar Saxophone Quartet De Souffles et de Machines Les pâleurs de la lune
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

MONTREAL – Rust – Montréal Nouvelles Musiques

Von: Benjamin Thigpen via cec conference
Datum: Wed, 1 Mar 2017
Betreff: [cec-c] Rust – Montréal Nouvelles Musiques

The duo Rust will be performing tomorrow night in the festival Montréal Nouvelles Musiques. The concert is at 9:00 (March 2nd) in the Fine Arts Black Box of Concordia University (Montreal). The sound system is fantastic and they’ve given us lots of time to prepare. Try to come if you’re in the area!

Le duo Rust se présente demain soir dans le festival Montréal Nouvelles Musiques. Le concert aura lieu à 21h (2 mars) au Fine Arts Black Box, Université Concordia (Montréal). La sono est fantastique et ils nous ont donné beaucoup de temps pour préparer. Essayez de venir si vous êtes dans le coin !

MNM: Rust

Best regards / Cordialement,
Benjamin Thigpen

Rust performs on newly-invented, constantly-evolving acoustic and electronic instruments. The music of Rust is deeply rooted in the specificity of these instruments as they exist at a particular moment in time.
It explores unpredictable, unstable processes that exhibit a life and will of their own. Based on physical materiality and acoustic realities, on the sheer power of sound itself, it interacts strongly with the acoustics of the concert space, filling the hall with complex webs of physically palpable strands and blocks of sound. Organic and authentic, intense and primal — it is an immersion in the pure experience of sound.

NEWS – KLANG! International Acousmatic Composition Competition 2017

Von: julien guillamat via cec conference
Datum: Wed, 1 Mar 2017
Betreff: [cec-c] KLANG! International Acousmatic Composition Competition 2017


[English follows French]

N’hésitez pas à diffuser largement. Merci de ne pas répondre à cet email (adresse non-utilisée, utiliser pour info).

Le concours international de composition acousmatique KLANG! revient.

Les inscriptions en ligne sont ouvertes:

Règlement –

Do not hesitate to forward broadly. Thanks to not respond to this email (address not in use, use to get info).

The KLANG! international acousmatic composition competition is back.

Online applications are open:

Guidelines>* –
Application form

Julien Guillamat

Compositeur & Enseignant-Chercheur en résidence à l’Opéra-Orchestre National Montpellier.

Directeur artistique de maison des arts sonores, Montpellier, France.

Fondateur de KLANG! /acousmonium/

tel: +33 (0)6 95 69 38 09

maison des arts sonores est une structure de création musicale, recherche et transmission dans le domaine de la musique contemporaine et plus particulièrement la musique électroacoustique.

L’acousmonium*/KLANG!/* est un ensemble de plus de 60 haut-parleurs dédié à la diffusion, à la transmission et à la promotion de la musique acousmatique et électroacoustique.

Organisation du festival de musique électroacoustique KLANG! (début Juin).

Informez-vous et suivez-nous:

NEWS – Crest – Call for works 2017 – Futura Festival

Von: Jan Jacob Hofmann
Datum: Wed, 1 Mar 2017
Betreff: Crest – Call for works 2017 – Futura Festival

For is 25th edition, the Futura Festival is looking for music around the idea of “narration”. Even though “music is powerless to express anything” (Igor Stravinsky’s somewhat provocative but no less profound sentence), we assume that it can emerge a kind of narrative that underlies it.
Indeed the sound does not say anything by itself, tells nothing, represents only itself, we often need to see its origin so that it takes meaning. But on the other hand it makes feel, makes imagine, it can create architectures that develop over time.
And finally the acousmatic has also succeeded in bringing something surprising to its use of recording, despite the will of its founder: the capture of the real, the possibility of bringing events (sometimes as complex as a landscape) and elements that become creators of stories, of imaginary by the simple fact that we recognize sounds and that they enter into relation to each other.
What we are interested to receive for this call for work are not pieces with classical narration (a music with simply read text, or melodrama, etc.) because for this, works of the acousmatic repertoire will be programmed. We search new approach of narration (here some possibility):
– by putting into relationship sounds that make sense,
– by the play on the possible identification of sounds,
– by the simulation of reality,
– by the incursion, the intrusion of it …
The idea of narration is mostly at the level of the form, the directionality of a “discourse” (or the absence of its voluntary directionality).

Required conditions :
–Only tape works accepted (acousmatic, musique concrète, radiophonic art, sound installation…), no real time or anything involving live instruments.
–Only two works by composer can be sent (no limitations for the works with video).
-Stereo works will be prefered (for the multitrack works, a stereo version is needed for evaluation purpose).
– Works must be sent to us by uncompressed file (no streaming) and by internet (wetransfer, dropbox, etc.) only to: : it’s important that each file is correctly named: with author’s name and title. Send also your name, your adress, a short biography and a short notice of your works (max. 10 lines each).
–For works with video, it’s possible to send a DVD to the following address : Festival Futura-Nathanaëlle Raboisson, 46 rue du Docteur Léonce Basset, 93400 Saint Ouen, France.
Propositions must be sent before March 16 2017.


NEWS – REMINDER – ICAD 2017 – March 6 final submission deadline for papers/posters/concert works

Von: Mark Ballora via cec conference
Datum: Wed, 1 Mar 2017
Betreff: [cec-c] REMINDER – ICAD 2017 – March 6 final submission deadline for papers/posters/concert works

ICAD 2017
The 23rd International Conference on Auditory Display (ICAD 2017)
The Pennsylvania State University, University Park Campus, June 20-23, 2017

Concert Works
Student ThinkTank

Please check the conference website for updates and detailed submission information:
To submit proposals online via EasyChair, go to

Key Dates
February 20, 2017 – Deadline for rough draft submissions
March 6, 2017 – Deadline for final submissions (anonymized)
March 13, 2017 – Deadline for workshop submissions
April 10, 2017 – Acceptance of notification sent to authors, Deadline for ThinkTank proposal submissions
June 19, 2017 – Student ThinkTank
June 20-23, 2017 – ICAD 2017 conference

Co-chairs: Mark Ballora, School of Music/School of Theatre • Jeff Rimland, College of Information Sciences and Technology
Paper chair: Margaret Schedel
Music chair: Rob Hamilton
Worshops chair: Derek Brock
ThinkTank chair: Hiroko Terasawa

Theme: Sound in Learning
Scientific literacy is typically gained through the study of graphs and various types of visualizations. Many of these have been in existence since the late 18th century, and are part of the standard research vocabulary.

The twentieth and twenty-first century have made dynamic, multi-modal displays feasible. Visualization is essential for many applications — it draws on the strength of the eyes for assessing static qualities such as size, color, or texture. But many applications could greatly benefit from displays the address the ears, with their particular sensitivity to dynamic changes and capability for following multiple simultaneous streams.

Auditory information is also received faster than visual information. Hearing sets the stage for what we see. Sound is quickly transmitted to areas of the brain that carry out basic functions at an emotional, survival level. The legacy of our ancestors’ quick “fight or flight” response is the human creature’s unique appreciation of music.

Because of all this, sound should be a part of learning science and other topics. Young students being introduced to information through sound will likely have a more holistic and engaging experience than is possible with visual materials alone. If a generation of students were raised to learn about science by listening as well as looking, what implications would this have for the scientific climate twenty or thirty years in the future?

As this conference takes place 25 years after the first ICAD, it also offers an opportunity to reflect on the progress that has been made since that first gathering in Santa Fe in 1992.

ICAD is a highly interdisciplinary academic conference with relevance to researchers, practitioners, musicians, and students interested in the design of sounds to support tasks, improve performance, guide decisions, augment awareness, and enhance experiences. It is unique in its singular focus on auditory displays and the array of perception, technology, and application areas that this encompasses. Like its predecessors, ICAD 2016 will be a single-track conference, open to all, with no membership or affiliation requirements.

ICAD 2017, the 22nd International Conference on Auditory Display, will be held at the University Park campus of the Pennsylvania State University June 20 to 23, 2017. The conference venues are the Colleges of Arts and Architecture and Information Sciences and Technology. The graduate student ThinkTank (doctoral consortium) will be on Monday, June 19, before the main conference.
Note that ICAD dovetails with Acoustics ’17 Boston, enabling participation in both as a “double header.”

Paper/Poster Topics
Topics for ICAD 2017 include new and emerging themes, as well as more traditional ICAD ones.
There will be two special calls for themed paper tracks:


In addition, themes include (but are not limited to):

Sonic Information Design
Stream-based Sonification and Auditory Scene Design
Acoustic Sonification
Small Data (personal, intimate) sonification and the quantised self
Sonification, soundscape and screensound
Sonification in Health and Environmental Data (soniHED)
Musification – sonifications and music
Sonification, personal fabrication and maker culture
Sonification in the Internet of Things
Auditory Data Mining and Big Data sonification
3D and Spatial Audio
Aesthetics, Philosophy, and Culture of Auditory Displays
Design Theory and Methods
Evaluation and Usability
Human Factors and Interaction
Mappings from Data to Sound
Psychology, Cognition, Perception, and Psychoacoustics
Sonification and Exploration of Data through Sound
Sound as Art
Technologies and Tools

ICAD workshops and tutorials provide in-depth opportunities for conference attendees to discuss and explore important aspects of the field of auditory display with like-minded researchers and practitioners. Sessions can range from applications and programming methodologies to interdisciplinary research skills, emerging research areas, and challenge problems.

Concert Works
This submission category is intended to provide a framework for the presentation of artistic works involving sonification. The peer review is of the combination of the written and media submission.

Installations and demonstrations will be in place throughout the conference.

Student ThinkTank (Doctoral Consortium)
The Student ThinkTank will take place Monday June 19, the day before the main conference begins. Graduate students working in research relevant to the conference and its themes are encouraged to apply to participate.

NEWS – Looking for pieces – Flute, Piano & tape

Von: EM
Datum: Mon, 27 Feb 2017
Betreff: [cec-c] Looking for pieces – Flute, Piano & tape

Looking for pieces – Flute, Piano & tape
(will be transcribed for Sampo)
Deadline – 30 April 2017

Two years ago we created an electronic device Sampo – – to play mixed music. One of the musicians playing with Sampo – Monika Streitova, Czech flutist living in Portugal – participates actively in the RéDi-Musix project for distribution of mixed music and teaches at University of Évora and at CMSM in Porto (Portugal).

Together with the great pianist Ana Telles Bereau, who last year created a piece of Jean Sébastien Béreau (transcribde for piano and Sampo), Monika Streitova founded a new Portuguese duo – flute & piano – playing mixed music with Sampo (flute, piano & tape).

This duo is now searching for repertory pieces for piano, flute & tape (which will be transcribed for Sampo) to play during concerts in Portugal.

Please send your proposals through the form on our web site: RéDi-Musix.

Concerts of duo with Sampo
Monika Streitová – flute & Sampo
Ana Telles Bereau – piano

Compositions played on the concerts with Sampo:
J. S. Béreau (1934), Fragments de mémoire
João Pedro Paiva Oliveiraa (1959), Entre o Ar e a Perfeição

Saint-Etienne / Bourges / Nantes / Paris

Recherche de pièces – Flûte, Piano & bande
(à transcrire pour Sampo)
Date limite – 30 avril 2017

Il y a deux ans, nous avons créé un dispositif électronique Sampo – – pour jouer de la musique mixte. L’une des musiciennes jouant avec Sampo – Monika Streitova, flûtiste tchèque vivant au Portugal – participe activement au projet RéDi-Musix pour la distribution de musique mixte, et enseigne à l’université d’Evora et au CMSM à Porto (Portugal).

Avec la grande pianiste Ana Telles Bereau, Monka Streitova a fondé un nouveau duo portugais – flûte et piano – jouant de la musique mixte avec Sampo (flûte, piano & bande).

Ce duo recherche maintenant des pièces de répertoire pour piano, flûte & bande (qui seront transcrits pour Sampo) à jouer lors de concerts au Portugal.

Veuillez envoyer vos propositions via le formulaire sur notre site web : RéDi-Musix

Concerts pour duo avec Sampo
Monika Streitová – flûte & Sampo
Ana Telles Bereau – piano

Compositions jouées pendant les concerts avec Sampo:
J. S. Béreau (1934), Fragments de mémoire
João Pedro Paiva Oliveiraa (1959), Entre o Ar e a Perfeição

Saint-Etienne / Bourges / Nantes / Paris

NEWS – EM via cec conference

Von: EM via cec conference
Datum: Tue, 28 Feb 2017
Betreff: [cec-c] Concours de composition / Composition Contest – Bourges 2017

Click for more info:

NEWS – Berlin Interdisciplinary Workshop on Timbre – videos of talks available online

Von: Kevin Austin via cec conference
Datum: Mon, 27 Feb 2017
Betreff: [cec-c] Fwd: Berlin Interdisciplinary Workshop on Timbre – videos of talks available online

On 12 & 13 January 2017 an interdisciplinary workshop on timbre was successfully held at the Berlin Musical Instrument Museum.

The scientific program was structured around four themes: Cognitive Mechanisms of Timbre; Timbre Perception in Musical Contexts; Concepts, Semantics, and History of Timbre; and Acoustic Modeling of Timbre. Each theme was introduced by a keynote address, followed by a session with invited speakers. A panel discussion at the end of the second day considered challenging issues of great interest across the workshop participants.

We are pleased to announce that videos of the keynotes and invited contributions are now available on
the website of the workshop (videos can be accessed by clicking on the camera icon next to individual talk titles) and
the Audio Communication Group’s YouTube channel

It is hoped that the videos will provide a useful resource to the community.

The organizers:
Charalampos Saitis & Kai Siedenburg
Stefan Weinzierl & Hans-Joachim Maempel

Dr. Charalampos Saitis
Humboldt Research Fellow / Humboldt-Forschungsstipendiat
Audio Communications Group / Fachgebiet Audiokommunikation
Berlin Institute of Technology / Technische Universität Berlin

Research Collaborator, Sound of Vision
ISI Foundation / Fondazione ISI

NEWS – „OPIA“ released now

Von: Monika Golla
Datum: Mon, 27 Feb 2017
Betreff: „OPIA“ released now

by Harmonie59
released now / bandcamp / february 26, 2017

„The ambiguous intensity of looking someone in the eye, which can feel simultaneously invasive and vulnerable.“
Opia is a 55 minutes non stop improvisation out from the Harmonie59 Sessions @ kunstortELEVENartspace, in March 2016.

Roderik Vanderstraeten (Sounddesign/Electronics/Theremin)
Scott Roller (Cello/Electronics)
Manuel Loos (Drums/Percussion/Electronics)
Christoph Sauer (Contra Bass/E Bass)
Sasha Shlain (Keys/Fender Rhodes/Percussion/Electronics)
Ingmar Kurenbach (E-Guitar/Mandoline/Effects)
Michi Meier (Moog/Effects)
Monika Golla (Electronics/Effects)

Musical Direction, Recording, Mixing and Mastering Roderik Vanderstraeten
Technical Support by Hees Audio and Tonetemple
Assistant Audio Engineering Lucas Buczilowski (SAE-Stuttgart)

NEWS – Octandre Newsletter 02/2017 (pure text vs)

Von: Nicolas Marty
Datum: Mon, 27 Feb 2017
Betreff: [cec-c] Octandre Newsletter 02/2017

Février // 2017

Octandre poursuit son année musicale et vous concocte de bien belles choses à venir, notamment notre évènement phare de l’année qui sera la soirée Carte Blanche à Christian Eloy le 16 mars prochain où arts sonores et arts vidéos seront à l’honneur. De nombreaux évènements de la part des membres sont aussi à ne pas manquer. Alors, à vos agendas chers adhérents !

Octandre prépare aussi et déjà sa prochaine saison où les partenariats se multiplient avec actions pédagogiques ainsi que des diffusions sur les ondes. Nous ne manqueront pas de vous en dire très vite davantage. En attendant, voici donc notre newsletter de ce mois de février :


Carte blanche à CHRISTIAN ELOY
16 mars 2017
Halle des Chartrons, Bordeaux


Christian Eloy a été le fondateur de la classe de composition électroacoustique du conservatoire de Bordeaux dans les années 1980 et de l’association Octandre en 1990, ainsi que le co-fondateur du Scrime en 2000. Nous souhaitons le remercier de ses efforts pour ces structures en lui offrant un concert à la Halle des Chartrons, qu’il a occupée avec Octandre à de nombreuses reprises pendant sa présidence de l’association.

MERCREDI 15 MARS | 18h | Conférence

« Les machines à faire du son au GRM
– La longue histoire de la musique électroacoustique »

Amphithéâtre du LaBRI, Université de Bordeaux, site de Talence.
Entrée libre sans réservation.

JEUDI 16 MARS | 20h | Concert & vidéos

« Carte blanche à Christian Eloy » Concert à la Halle des Chartrons (Bordeaux).

Musique acousmatique, avec Christian Eloy, Julie Mansion-Vaquié, Nicolas Marty, Jean-Michel Rivet et hommage à Jean-Claude Risset.

Vidéomusique, avec Krunoslav Pticar et Julien Beau.

Entrée 5€ | Réservation recommandée.

Place du Marché des Chartrons, Bordeaux

Octandre a besoin de votre générosité et de votre soutien pour financer cet évènement. Rendez-vous sur ce lien pour devenir donateur !

SAISON 2016 / 2017

13 AVRIL 2017 | 19H
un tout petit monde invisible
Concert dans le cadre des « musiques en éclats ».
éclats, 18 rue Vergniaud, Bordeaux


Concert-rencontre du Scrime


Le 26 janvier, Jean-Michel Rivet a invité Octandre pour un ‘concert-rencontre’ du Scrime au Forum des Arts de Talence.

Rencontre avec Christophe Ratier autour de deux pièces de son nouveau CD Wiccacraeft, entre musique concrète, field recording et paysage sonore.
Rencontre avec Nathalie Aguer, élève en dernière année de composition électroacoustique au Conservatoire de Bordeaux, autour de ses premiers travaux, dans une esthétique orientée vers le minimalisme et la boucle.

Dans une salle presque comble, le public, dont une bonne partie découvrait la musique électroacoustique pour la première fois, s’est montré très intéressé et attentif.

Merci au SCRIME pour leur accueil et pour cette opportunité qu’on eut ces deux compositeurs de présenter leur œuvre dans le cadre d’un échange direct avec le public.

Retrouvez les photos sur notre page Facebook.

Un mot de conclusion

La saison 2016-2017 est close, mais notre programme pour 2017-2018 est ouvert, aussi n’hésitez pas à nous proposer des projets de collaboration, de programmations, d’ateliers d’initiation ou de pratique, dont nous serons ravi·e·s de discuter !

Par ailleurs, Octandre est une association à but non lucratif, et en tant que telle, notre activité repose en partie sur les adhésions des membres et les dons. Si vous souhaitez nous soutenir, vous pouvez adhérer ou faire un don sur :

L’ensemble des membres d’Octandre vous souhaite d’agréables vacances d’hiver et espère vous retrouver très vite dans notre prochaine newsletter!


Diffusions sur CKCU FM dans « Acoustic Frontiers »


Ralph Hopper, responsable de l’émission « Acoustic Frontiers » dédiée à la musique électroacoustique sur CKCU/FM au Canada, a diffusé à plusieurs reprises la musique d’Octandre au cours des dernières émissions :
– 19 décembre, c’était une partie du CD des lauréats du « Prix Scrime 2007 » (lien ICI).
– 23 janvier, c’était une partie du CD des lauréats du « Prix Scrime 2003 » (lien ICI).
– 30 janvier, c’était une partie du CD « cinq minutes pour cinquante ans » (édité en 1998 pour célébrer les 50 ans de la musique concrète) ainsi que Lichen (2015) d’Ola Ziolkowska (lien ICI).

Julia Hanadi Al Abed concerts, radios et création sonore

Julia Hanadi Al Abed, improvisatrice et compositrice de musique concrète, a très récemment proposé une série de concerts qui se sont déroulés à:
Nantes; Paris; Brest et Rennes.
Enfin, deux prochains évènements à ne pas manquer pour le mois de mars !

– 14 MARS : CREATION SONORE pour le film de Peter Hutton Landscape (for Manon), à Espace 29, Bordeaux
Organisé par l’assocation MONOQUINI et dans le cadre du Festival Sonic Protest.
Toutes les informations ICI.

– 23 MARS : CONCERT PERFORMANCES, Rocher de Palmer, Cenon.
Retrouver toutes les infos ICI.
En preview de cet évènement, vous pourrez la retrouver, cette fois-ci sur les ondes de Radio Campus Bordeaux 88.1 dans l’émission de Cristof Salzac « Histoire(s) Sonore(s) » le 2 mars prochain.

À venir également sur les ondes de LYL Radio proposé par PolyPhones dans l’émission « Event Horizon ».

Liens directs:

Audrey Poujoula sortie sur la compilation du label Hylé Tapes

Sortie le 17 février dernier la compilation « self-identified non-male artists making experimental electronic music » regroupe 34 artistes, femmes et non-binaires, de plus de 6 nationalités. Lancé à l’automne 2016 sur les réseaux sociaux par le label Hylé Tapes, l’appel à contribution a reçu un écho large et transnational, à tel point que cette compilation se compose de 3 cassettes et d’un livret-fanzine qui compile les détails de chaque projet.

Audrey Poujoula a eu le plaisir et l’honneur d’y participer avec son projet Processi0ns.

Le bénéfice des ventes de la version limitée de la version de la bande seront donnés à Luna del Sur A.C. Oaxaca.
association pour le droit des femmes.

En écoute et en vente ICI.

MIKROPHONIE au Conservatoire de Bordeaux

Le 20 janvier dernier se tenait à l’Atelier du Conservatoire la soirée Atelier du Compositeur #2 – Karlheinz Stockhausen à l’honneur, organisé par le Conservatoire de Bordeaux Jacques Thibaud.

En première partie, Jean-Louis Agobet, compositeur et professeur en composition instrumentale au Conservatoire de Bordeaux anima une conférence sur ce fabuleux compositeur Karlheinz Stockhausen.

Puis suivit la diffusion de la pièce Le Chant des Adolescents, spatialisée sur un orchestre de 10 hauts-parleurs et dirigée par la compositrice et membre d’Octandre, Nathalie Aguer.Enfin, Mikrophonie fut interprété sur scène par les élèves de la classe de composition électroacoustique du Conservatoire de Bordeaux: Quentin Plantier, Quentin Guy, Cid-Marcus Victoire et aussi membres d’Octandre: Paul Barthou et Hugo Grenier; sous la direction de leur professeur et compositeur, Christophe Havel.

Un grand merci au Conservatoire de Bordeaux Jacques Thibaud pour cette très belle soirée.

Retrouvez photos et vidéo ICI.

Nicolas Marty diffusion radio et sortie CD


Je vois des bateaux dans les arbres et de la bruine sur tes paupières. De l’autre côté du miroir, je vois des oiseaux qui se noient. Un peu. (2016), sélectionnée pour le Prix Russolo 2016, a été diffusée dans l’émission « UNDÆ! Radio » sur Radio Círculo en Espagne le 6 février (LIEN).

結界 (kekkai) (2016), haiku pour flûte, a été éditée sur le CD « One Minute » de la flûtiste Iwona Glinka, à paraître en mars :

Jean-Michel Rivet concerts et création sonore

Concert au festival „Du classique sur un plateau“ au théâtre J. Vilar à Eysines, les 8 et 9 février 2017

Concert en multidiffusion d’oeuvres de Jean-Michel Rivet figurant sur sa dernière monographie « Le monde à l’envers ».

Était aussi organisée une master-class à l’école de musique d’Eysines avec une création „musique mixte“ au concert.

Il a été donné aussi une place importante à la présentation de chaque composition et un échange avec le public.

Manière de faire que pratique régulièrement le compositeur.

Récemment. Musique composée pour la troupe de théâtre « Groupe 33 » : Arthur Rimbaud, poèmes-lettres-textes au centre Argonne à Bordeaux. Mise en scène Jacques Albert-Canque.

Jean-Michel Rivet et le Groupe 33 collaborent depuis de nombreuse années (1973…) France (Bordeaux,Paris…) et à l’étranger (Munich, Francfort, Londres, La Haye, Budapest, Varsovie, Bucarest…).
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NEWS – Final Call: Sounding Out the Space Conference

Datum: Mon, 27 Feb 2017
Betreff: [cec-c] Final Call: Sounding Out the Space Conference

Just a final reminder about the Sounding Out the Space Conference.

The deadline for submissions is 31 March 2017.

All the best,
Dr Adrian Smith


Date: 2–4 November 2017
Location: Dublin School of Creative Arts, DIT Grangegorman Campus
Organisers: DIT Conservatory of Music and Drama, Dublin School of
Creative Arts, GradCAM
Partners: Irish Sound, Science and Technology Association, Contemporary Music Centre, Lewis Glucksman Gallery, Society
for Musicology in Ireland, Solstice Gallery, Spatial Music Collective

Conference website:

Keynote Speakers:
Brandon LaBelle – artist, writer and theorist (Bergan Academy of Art and Design)
Bill Fontana – American artist and composer

Sound is an inherently spatial phenomenon. No matter what its point of
origin, be it a musical instrument, a voice, an audio speaker, or
another sound-producing entity, sound must navigate space before
reaching our ears. On this journey it enters into a complex relational
dynamic with the surrounding environment: it may be amplified,
distorted, reverberated, dissipated and subject to a multitude of
transformations which modify it in different ways. While this dynamic
is an intrinsic part of any sonic event, certain artistic endeavours
have sought to exploit this spatial aspect of sound as a distinct
parameter in its own right. Though spatial experiments have a long
history in western music stretching back centuries, the search for
novel means of expression in the twentieth century led to an
unprecedented investigation into the spatiality of sound as an
integral component of the work. From Edgard Varèse’s Poème
électronique to Karlheinz Stockhausen’s Helicopter String Quartet,
such concerns have been at the centre of some of the canonic works of
musical modernism. In the discipline of sound art, auditory dialogues
with the surrounding space have been the defining feature of sound
installations by Max Neuhaus, Bernhard Leitner, Maryanne Amacher and
others, who have sought to locate sound in relation to architecture.
While such work grew out of developments in the wider field of art
installation, increasingly the practices of both sound and art
installation have converged in the work of artists such as Janet
Cardiff and Zimoun forming multi-sensory experiences. Expanding
outwards, the multi-site sound installations of Bill Fontana have
developed the notion of spatiality across geographical locations while
recent innovations in communication and digital technologies have
created virtual networks, redefining our conception of space and
presenting new possibilities for music, sound art and visual art.

Although substantial research on the spatiality of sound has been
carried out within the disciplines of musicology, sound art, and
visual art studies, much of this work has remained separate, enclosed
within these specialised fields of research. This conference aims to
address this imbalance, acknowledging the fluid exchange of ideas
between these spheres in actual practice and fostering an
interdisciplinary spirit amongst researchers and practitioners. The
conference committee thus invites presentations from sound artists,
visual artists, composers, academics, and post-graduate researchers
which consider the spatiality of sound in all its diverse forms. While
the conference remit is broad, the committee especially encourages
contributions which address (but need not be limited by) the following
three strands:

• Sound and Visual Art
‒Contributions from Sound Artists/Visual Artists
‒Convergences between Sound and Visual Art
‒Historical Perspectives
‒Modes of Listening
‒Sound Architectures

• Spatial Music
‒Analytical Accounts
‒Attempts at Definition/Theorisation
‒Composer Perspectives
‒History of Spatial Music
‒Listener Perception
‒Performance Challenges
‒The Role of Sound Technologies

• Geographic and Virtual Spaces
‒Digital Networks and Communications Technologies
‒Live Streaming and Web-cast
‒Interactivity and Participation

Proposals are invited in the following formats:

•Individual Papers (20 mins duration plus 10 mins discussion)
•Joint Papers (max 2 speakers, same format as above)
•Themed Sessions (3 papers totalling 90 mins or 4 papers totalling 120 mins)
•Panel and Roundtable Discussions (90 mins, max 6 speakers)

Proposals for individual and joint papers must be in the form of an
abstract not exceeding 250 words. Proposals for themed sessions,
panels and roundtable discussions should not be more than 800 words
and should indicate the number and title of each individual paper with
its abstract. Abstracts may be submitted in either a Microsoft Word
document or via a PDF attachment. All proposals should include the
name, contact details, institutional affiliation (if any), technical
requirements, as well as a short biographical note of not more than
100 words of each speaker. The conference language is English.
Proposals should be submitted to

All proposals will be subject to a double-blind review process by the
conference’s scientific committee which is comprised of specialists
from the disciplines of sound art, visual art and musicology.
Applicants will receive notification as to whether their proposal has
been accepted by early May 2017.

The deadline for submissions is 31 March 2017

Conference Committee
Dr Adrian Smith (Conference Chair)
Dr Brian Fay (Acting Head of School, Dublin School of Creative Arts, DIT)
Dr Mark Fitzgerald (Senior Lecturer, DIT Conservatory of Music and Drama)
Dr Noel Fitzpatrick (Head of Research, College of Arts and Tourism, DIT)
Dr Kerry Houston (Head of Academic Studies, DIT Conservatory of Music and Drama)
Martin McCabe (Centre for Transcultural Research and Media Practice, DIT)
Jonathan Nangle (Composer and Senior Lecturer, Royal Irish Academy of Music)

Scientific Committee
Dr Enda Bates (Composer and founding member of the Spatial Music Collective)
Dr Brian Bridges (Ulster University)
Jennie Guy (Independent Curator)
Dr Kerry Hagan (Digital Media and Arts Research Centre, University of Limerick)
Fiona Kearney (Director, Glucksman Gallery, Cork)
Dr Victor Lazzarini (National University of Ireland, Maynooth)
Dr Linda O’Keefe (University of Lancaster)
Dr Karen Power (University College Cork)
Belinda Quirke (Director, Solstice Arts Gallery, Navan)
Prof Pedro Rebelo (Sonic Arts Research Centre, Queen’s University Belfast)

NEWS – New Gerhard Book

Von: Monty Adkins
Datum: Sun, 26 Feb 2017
Betreff: [cec-c] New Gerhard Book

I thought some may be interested in a new book on the work of Roberto Gerhard now out published by Cambridge Scholars Publishing.

The book covers much of Gerhard’s later instrumental music from 1940 onwards as well as a chapter on his seminal electronic piece Lament for the Death of a Bullfighter and another on his only aleatoric piece Claustrophilia – A Page for John Cage – for 8 harps, 4 radios and live electronics (this was actually a newly discovered piece that was written for Cage’s Notations. Gerhard wrote it on the back of a page of the draft of his Concerto for Orchestra). For whatever reasons Cage did not publish Claustrophilia, but instead chose to publish Gerhard’s more traditional Concerto page for Notations. We premiered this piece as part of a Gerhard research project and its associated conference in 2012 with the performance curated by Gregorio Karman (author of the Lament chapter).

The book features chapters from Michael Russ, Carlos Duque and me, Gregorio Karman, Belen Castillo, Rachel E. Mitchell, Darren Sproston, Julian White, and Trevor Walshaw.

I hope this may of be some interest to you or your academic composition colleagues.

All best
University of Huddersfield inspiring tomorrow’s professionals.

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