via cec

From: Ivica Ico Bukvic

Date: 2016 June 20

Subject: First public release of the D4 spatialization library

Please excuse x-posting…

Announcing the first public release of the D4 spatialization library for

Max featuring:

– Innovative Layer Based Amplitude Panning algorithm that can handle

just about any loudspeaker arrangement with particular focus on High

Density Loudspeaker Arrays (HDLAs)

– Innovative implementation of high precision audio source radius,

Spatial Mask, and Motion Blur

– Unique visual spatialization editing tools for hobbyists and

professionals alike, including spatial source painting

– Ability to spatialize a broad array of multidimensional data by

leveraging the Jitter library

– Multilayered system with independent layers and focus on

perimeter-based 3D immersion

– 3D visualization of spatial audio and hooks for immersive scenarios,

including Virtual Reality (VR) and Augmented Reality (AR)

– A comprehensive collection of time-based editing tools

– A Mostly Open Source Software (MOSS) approach empowering users to

tinker and improve the system

– Lean and optimized implementation leveraging maximum amount of

built-in MaxMSP objects, including dynamic creation and parallel

processing

– A drop-in replacement for the existing spatialization options (e.g.

using azimuth and elevation)

– Ideal for researchers, production engineers, and artists alike

D^4 has been utilized in the Virginia Tech ICAT Cube with 128 channels

of audio at 48KHz 24-bit using Dante interface with single audio buffer

size of 256 bytes (or 5.33ms) with 21 simultaneous audio streams, 5 of

which were in constant motion, for a total of 1,018 software audio

streams being mixed down to 128 physical channels. No audio dropouts

were observed in the said scenario.

D^4 will be officially unveiled on July 4th, with the first workshop

being held on July 6th in Canberra, Australia, as part of the ICAD 2016

conference. Later this fall, D^4 will be also presented as part of the

ICMC 2016 workshop in Utrecht, Netherlands.

D^4 is currently available at an introductory price for both students

and professionals.

For additional info visit ico.bukvic.net/main/d4/

Questions? ico@bukvic.net

Ivica Ico Bukvic, D.M.A.

Associate Professor

Creative Technologies in Music

ICAT Senior Fellow

Director — DISIS, L2Ork

Virginia Tech

School of Performing Arts – 0141

Blacksburg, VA 24061

(540) 231-6139

www.performingarts.vt.edu

disis.music.vt.edu

l2ork.music.vt.edu

ico.bukvic.net

Von: Denise Ritter

Datum: Mon, 20 Jun 2016

Betreff: SCHÖPPINGEN – small world wide _ _ _ track #2 – Denise

small world wide _ _ _ /track #2/

10-Kanal-Klanginstallation | Denise Ritter

Die Klanginstallation „small world wide _ _ _ /track #2/“ ist die zweite

Klanginstallation,

die aus meinem Langzeitprojekt small world wide resultiert.

Einer der Startorte von 10 Routen, auf denen 10 Audio Recorder über

persönliche Kontakte

auf den Weg zu 10 Zielorten weltweit geschickt wurden, war im Sommer

2013 Schöppingen im Münsterland.

Von hier aus erreichte der Recorder nach 21 Monaten und in nur 3 Etappen

seinen Zielort Bozeman (Montana, USA).

An allen Stationen der Reise haben die TeilnehmerInnen Audio-Aufnahmen

erstellt und an mich zurückgeschickt.

Diese habe ich in der Klanginstallation verarbeitet.

Zu hören sind Sounds aus Schöppingen (DE), Colorado (USA), Wyoming (USA)

und Bozeman, Montana (USA).

Mehr Info: www.smallworldwide.net

Offenes Atelier:

Samstag, 25. Juni 2016 | 14 bis 20 Uhr

Künstlerdorf Schöppingen

Hof der Bildenden Künstler – Atelier 4

Feuerstiege 6

48624 Schöppingen

Denise Ritter | Sound Artist | www.gegenort.com

Von: Peter Wiessenthaner

Datum: Sat, 18 Jun 2016

Betreff:Performance und Konzert im SPEKTRUM – Berlin mit Claudia

Robles-Angel und Peter Wießenthaner

Performance- Konzertabend mit Claudia Robles-Angel und mir im SPEKTRUM –

Berlin am 1. Juli, 20:00 Uhr. Claudia Robles-Angel und Peter

Wießenthaner werden einen Abend im SPEKTRUM gestalten. Claudia

Robles-Angel wird ihr Performance SKIN präsentieren und Peter

Wießenthaner eine weitere Version von hitmachine.

Peter Wießenthaner

Rohmerstraße 6

60486 Frankfurt

Telefon: ++49 (0) 69 / 77 66 36

Mobil: ++49 (0) 177 / 7 384 324

E-Mail: peter@wiessenthaner.de

Internet: www.wiessenthaner.de

via cec-conference

From: Christopher Hummersone

Date: 2016 June 16

Subject: Job opportunity: Lecturer A/B in Audio

Apologies for cross-posting

Lecturer A/B in Audio

University of Surrey

Guildford

UK

Salary: £34,576 to £46,414 per annum

Post Type: Full Time

Closing Date: Thursday 30 June 2016

Interview Date: Friday 08 July 2016

Reference: 006616-R

We are seeking applications for the post of Lecturer in Audio, to be

based in the Department of Music and Media’s Institute of Sound

Recording (IoSR). We are looking for an enthusiastic academic to teach

and support the delivery of the undergraduate BMus/BSc Tonmeister®

programme in Music and Sound Recording, and to conduct world-leading

research.

The successful applicant will teach on the prestigious Tonmeister

undergraduate programme, covering two or more of the following areas:

audio signal processing, audio programming, computer audio systems,

electronics, research methods, and sound synthesis. You will be joining

a supportive and varied team of lecturers drawn from both academic and

respected industry backgrounds. The programme has a small cohort of high

quality students, enabling a highly collegiate environment between staff

and students. Our students are highly motivated and have a strong

background in music, maths and physics.

You will have a strong research profile and/or the potential to develop

and sustain research activities, with a clear vision for how your

research will progress and an idea of how it might feed into or

complement the IoSR’s goals of engineering perceptually-motivated audio

signal analysis, processing and control systems. You will be encouraged

to develop your own research profile and to produce high-quality

research outputs, including books, academic journal articles or other

appropriate forms of research output.

BACKGROUND

Running since 1970, the Tonmeister programme is unique in the way that

it combines study of audio engineering, music, and practical sound

recording. It has produced a stream of successful alumni, including

winners of Oscars, Grammys and the Mercury Prize. Our graduates work

across a wide cross-section of the audio industry, from product design

to film music composition, and this alumnus network enables us to call

upon current industry expertise in many areas. Alumni are very keen to

give something back to the programme, and our biennial summer reunion is

an excellent networking opportunity. The programme includes a

Professional Training Year, and we have regular placements with many

high-profile companies including Abbey Road Studios, Focusrite/Novation

and Sky Post-Production.

Research in the IoSR focuses on human perception of audio quality and

uses this focus to engineer perceptually-motivated signal analysis,

processing and control systems. We have projects funded by EPSRC, the

European Commission and industrial collaborators, involving human

listening tests, acoustic measurement, statistical modelling and digital

signal processing. Current work is, for example, developing systems for

spatial enhancement of object-based audio reproduction,

perceptually-optimised sound source separation and timbral perception

modelling.

There is opportunity to collaborate with many groups across the

University; previous and current projects involved the Department of

Psychology, the Centre for Vision, Speech and Signal Processing (CVSSP),

and colleagues in Music.

Recent development of programmes in Digital Media Arts, and Film and

Video Production Technology, have resulted in a significant hub of

research and teaching at Surrey in the area of media-related

engineering, technology and production.

The Department of Music and Media hosts a wide range of concerts,

regular research conferences and colloquia (including hosting the Audio

Engineering Society international conference on Sound Field Control in

July), as well as a thriving community of postgraduate research students.

The facilities available in the IoSR for teaching and research include:

3 recording studios containing industry standard equipment including

consoles from AMS-Neve and SSL; over 100 microphones for recording and

technical measurement; an ITU-R BS 1116 standard listening room

containing a 22.2 reproduction system; and a range of test and

measurement hardware and software. The Department is home to the Moog

Sound Lab UK, and benefits from many links with the audio, video and

computer games industries.

For an informal discussion you may wish to contact Dr Russell Mason

(Tonmeister Programme Director) at r.mason@surrey.ac.uk

More information available from

jobs.surrey.ac.uk/vacancy.aspx?ref=006616-R.

via cec-conference

From: Gavin Kearney <gavin.kearney@YORK.AC.UK>

Subject: Interactive Audio Systems Symposium, York – Call for Proposals

Deadline July 1st

Date: 2016 June 15

Hello all,

Apologies for any cross-posting. A timely reminder that the deadline for

proposals for papers or posters for the Interactive Audio Systems

Symposium is July 1st. The symposium is a free event to be held at the

University of York on the 23rd September. Please do forward to anyone

you think would be would be interested in participating.

Many thanks,

Gavin

Call for Contributions

Interactive Audio Systems Symposium,

University of York

York, UK

Friday 23rd September, 2016

Recent advances in low-cost motion-tracking and sensing technologies,

coupled with increased computing power have paved the way for new

methods of audio production and reproduction. Interactive audio

systems can now readily utilise non-tactile data such as listener

location, orientation, gestural control and even biometric feedback,

such as heart rate, to intelligently adjust sound output. Such systems

offer new creative possibilities for a diverse range of applications

ranging from virtual reality, mobile technologies, in-car audio, gaming,

social media and film and TV production.

The University of York is pleased to announce a one-day symposium

dedicated to this topic of interactive audio systems. The symposium will

explore the perceptual, signal processing and creative challenges and

opportunities arising from such audio systems affected through enhanced

human-computer interaction.

The symposium will consist of original paper and poster sessions as well

as invited presentations from key industry figures and demonstrations of

emerging interactive audio technologies. We are now accepting proposals

(Abstract and Precis) for 4-8 page papers or posters on novel research

in related fields to interactive audio including, but not limited to,

the following areas:

– Moving sounds and moving listeners

– Audio for Virtual Reality

– Spatial audio techniques

– Psychoacoustics and perception

– Signal processing for interactive audio

– Robust listener control

– Motion tracking

– Game audio

– Real-time audio synthesis

– Interactive music generation

– Workflows for interactive audio

– Sound design for interactive audio

We also invite proposals for tutorials, workshops and demos to be

presented on the day.

Prospective participants can download the call for contributions here:

www.york.ac.uk/sadie-project/IASS2016/IASS_Call_for_Contributions_2016.pdf

Important dates:

July 1st 2016 – Paper/Poster Abstract Submission deadline

July 15th 2016 – Notification of acceptance

July 15th 2016 – Registration Opens

July 31st 2016 – Workshop/Demos submission deadline

August 26th 2016 – Camera-ready paper submission

September 23rd 2016 – Symposium

Please visit the symposium webpage for further details at

www.sadie-project.co.uk/IASS2016.html

Organising Committee:

Symposium Chair: Gavin Kearney

Email: iass-chair@sadie-project.co.uk

Papers Chairs: Gavin Kearney and Hyunkook Lee

Email: iass-papers-chair@sadie-project.co.uk

Workshops Chairs: Sam Hughes and Mariana Lopez

Email: iass-workshops-chair@sadie-project.co.uk

Program Committee:

Jude Brereton, University of York

Helena Daffern, University of York

Marcin Gorzel, Google Inc.

Sam Hughes, University of York

Gavin Kearney, University of York

Hyunkook Lee, University of Huddersfield

Mariana Lopez, Anglia Ruskin University

Damian Murphy, University of York

Chris Pike, BBC R&D

Dr. Gavin Kearney

Lecturer in Audio and Music Technology

Department of Electronics

University of York

Heslington

York

YO10 5DD

Tel: +44 (0) 1904 32 2374

Fax: +44 (0) 1904 32 2335

Web: www.elec.york.ac.uk/

SADIE Project: www.sadie-project.co.uk/

Follow on Twitter: @SADIEprojectuk

Von: Arsalan Abedian

Datum: Fri, 17 Jun 2016

Betreff: NEWS – Concert in HMTM-Hannover

Dear colleagues,

hereby I would like to invite you to my graduation concert together with

Nan Ling at the Musikhochschule Hannover, on June 23^rd at 19:30. There

are several electroacoustic pieces among instrumental ones: Cstück Nr.

2, Elektroakustische Szene, Painkiller 2 (mit Santronic Duo), and music

for tape players.

Infos in German:

23.06.2016

Donnerstag, 19:30 Uhr

Hochschule für Musik, Theater und Medien Hannover

Richard Jakoby Saal, Emmichplatz 1 | Eintritt frei

Abschlusskonzert: Arsalan Abedian und Nan Liang, Komposition

Werke für Solo Flöte, Solo Cello, Solo Viola, vier Celli und

Kammermusik, Elektroakustische Stücke, Santronic Duo (Santur Duo mit

Elektronik) und Musik für Kassettenrekorder

Abschlusskonzert im Rahmen des Konzertexamens Soloklasse

www.incontri.hmtm-hannover.de/de/veranstaltungen/aktuell

Von: Maximilian Marcoll

Datum: Fri, 17 Jun 2016

Betreff: BERLIN – Marcoll Adhan UA @ Organo Vinum

Liebe Freunde und Kollegen,

am Freitag, 24.Juni um 20h wird in der Berliner Kirche Zum Heilsbronnen

in Schöneberg das Festival „Organo Vinum“ www.organovinum.de

eröffnet.

Neben Aufführungen von Werken Martin Christoph Redels wird dabei auch

die Innenraum-Version meines

Carillon Stücks „Adhan“ zur Uraufführung gelangen.

„Adhan“ besteht aus der Aufnahme eines islamischen Gebetsrufs, die von

den Glocken eines Carillons gedoppelt und von einer Aufnahme des

jüdischen Blasinstruments Shofar unterstützt wird.

Das Resultat ist das Verweben der drei großen monotheistischen

Weltreligionen in einer einzigen musikalischen Geste.

„Adhan“ entstand für Konzerte am Carillon im Berliner Tiergarten zu

Pfingsten 2015. Es wurde damals durch den Veranstalter und Carilloneur

kurzfristig vom Programm genommen. Öffentliche Reaktionen bewirkten zwar

die vorübergehende Rücknahme der Programmänderung. Kurz darauf wurden

die Konzerte jedoch ersatzlos und vollständig abgesagt. (Siehe dazu das

Interview in der FAZ

www.faz.net/aktuell/gesellschaft/menschen/urauffuehrung-aus-angst-vor-islamisten-abgesagt-13601276.html)

Nun wird das Stück in Schöneberg in einer Fassung für Orgelcarillon

durch den Organisten Thomas Noll zu Gehör gebracht.

Eine zweite Aufführung der Innenraum-Fassung wird im Abschlusskonzert

des Festivals am 9.September um 20 Uhr am selben Ort stattfinden.

Aufführungen an Carillons im öffentlichen Raum sind in Vorbereitung.

Liebe Grüße

Maximilian Marcoll

Von: Ogborn, David

Datum: Fri, 17 Jun 201

Betreff: [cec-c] Fwd: postdoctoral fellowship in motion capture

announcement at mcmaster university

with apologies for cross posting…

POST DOCTORAL FELLOW in MOTION CAPTURE

General Description

We seek a post-doctoral fellow with expertise in motion capture

measurement and analysis to work with researchers and students on

research related to understanding and quantifying human movement. The

incumbent will work on a number of projects related to both

spontaneous movements and understanding interactions between people.

Approximately 50% of time will be spent supporting research and

teaching in McMaster University’s Large Interactive Virtual

Environment (LIVELab). Opened in the fall of 2014, the LIVELab is a

unique facility for the study of human interaction and nonverbal

communication. A fully-functioning 100 seat performance hall, it

contains a number of technologies for acoustic, neuroscientific and

behavioural research. The space was built to be naturally extremely

quiet and low reverberation. The active acoustic system of microphones

and loudspeakers enables the creation of echoes to stimulation

environments from non-reverberant to highly reverberant, and to change

the apparent size of the room. EEG, heart rate, galvanic skin

responses and breathing rate can be measured in musicians on the stage

and simultaneously in up to 32 audience members. Motion capture is

possible throughout the entire space, including in up to 100 audience

members. A Disklavier piano enables detailed analyses of piano

performances. Response tablets allow testing responses and judgements

from up to 100 people at a time. Details about the space can be found

athttp://livelab.mcmaster.ca/research/technology/and some of the

research projects underway can be viewed

athttp://livelab.mcmaster.ca/research/currentstudies/.

A further 30% of time will be spent supporting other researchers

across the university to build capacity for motion and movement

analysis in key strategic areas. 20% of time will be protected for

independent research initiated by the incumbent. This position is

formally attached to the Research and High Performance Computing

group, and will report to the Director of RHPCS. Work conducted in the

LIVELab will be done under the supervision of the Director of the LIVELab.

McMaster University is a research-intensive university consistently

ranked among the top universities in the world. It is located in

Hamilton, Ontario, Canada, and is a 45- minute drive from Toronto.

McMaster has particular strengths in neuroscience, psychology,

kinesiology, health science and engineering.

Applicants must have: a Ph.D. in neuroscience, psychology,

kinesiology, computer science or related field; a record of research

productivity; specific expertise in motion capture; and general

expertise in signal processing. The applicant must also thrive in a

collaborative research environment. Expertise in one or more of EEG

recording and analysis, video-based movement analysis, EMG recording

and analysis or data visualization would also be desirable. It is

expected that the candidate will have a strong interest in the

performing arts.

The position can start as early as August, 2016, and is initially for

a 1 year term, with the possibility for extension depending on

outcomes in the first year.

Interested applicants should submit a cover letter, CV, and arrange to

have three letters of recommendation sent to Dr. Ranil Sonnadara,

Director, Research and High Performance Computing, McMaster University

atranil@mcmaster.ca

Informal inquiries are welcome and can be directed to the Director of

the LIVELab, Dr. Laurel Trainor, atLJT@mcmaster.ca

or to the Director of Research and High

Performance Computing, Dr. Ranil Sonnadara, atranil@mcmaster.ca

Von: Paul Doornbusch

Datum: Fri, 17 Jun 2016

Betreff: [cec-c] Republishing Daphne Oram’s book

This may be of interest to people on this list, there’s a Kickstarter

campaign to republish Daphne Oram’s textbook, “An Individual Note”

https://www.kickstarter.com/projects/345013107/help-us-republish-daphne-orams-an-individual-note?ref=NewsJun1616&utm_campaign=Jun+16&utm_medium=email&utm_source=newsletter

Cheers,

Paul

Von: James Mooney

Datum: Tue, 14 Jun 2016

Betreff: [cec-c] ‚Amplified Objects‘ – Hugh Davies Project exhibition

Dear colleagues,

For those of you in/near Sheffield, you can go and see ‘Amplified

Objects’, the Hugh Davies Project exhibition, at Access Space, Sidney

Street, until 30 June.

Details here: hughdaviesproject.wordpress.com/exhibition/

Best,

-james

Dr James Mooney

Lecturer in Music Technology

Principal Investigator, Hugh Davies Project

School of Music, University of Leeds

music.leeds.ac.uk/people/james-mooney/

hughdaviesproject.wordpress.com/

EXHIBITION: ‘Amplified Objects’

Until 30 June 2016 @ Access Space, Sheffield

Experimental musical instruments

hughdaviesproject.wordpress.com/exhibition

Von: Kevin Austin

Datum: Mon, 13 Jun 2016

Betreff: [cec-c] NWEAMO-Tokyo 2016 Call For Works

NWEAMO-Tokyo 2016 Call For Works

The submission link is

docs.google.com/forms/d/1WieiTl5c2mZxr1FRuTyfyk-tyhlCsbNrfh1x6hoSg_s/viewform

Please tell us about the piece of music that you would like to perform.

Here are some guidelines & requirements:

• Generally speaking, we will favor works under 10 minutes in duration.

• There is a submission fee of $15 for each work that you would like us

to consider. Please make payments via PayPal to NWEAMOpayment@gmail.com

• Deadline for submission: August 15

• If your work is accepted, there is no cost for participation. NWEAMO

will promote your piece and provide the venue and sound reinforcement,

but does not have funding to compensate travel, lodging or performance fees.

Calling out to Boundary pushing singer songwriters, DJs, VJs, masters of

EDM, creative gamers, composers working at the experimental fringe of

pop electronica as well as contemporary classical music and multimedia art.

2 Cities:

Tokyo, Japan – November 12 & 13, 2016

San Diego, California, USA – March 16-19, 2017

The NWEAMO Festival will be traveling to Tokyo for the first time in

November. We are looking for participants in our two day festival. It

will take place in the heart of the famous Shibuya district this November.

Following that, participants will be invited to perform at NWEAMO in San

Diego in March 2017.

We want to invite artists from around the world who share our mission of

world unity through creative expression.

We are looking for artists who would love to present mini sets of 1 to

10 minutes, and who are excited about sharing the stage with as many

different genres as possible in a 1.5 hour concert.

The music can be purely electronic or electronics in addition to

acoustic instruments, using invented, traditional or electronic

instruments. It can involve projected images, choreography, dance.

We want to invite new entries as well as artists from our past American,

Mexican and European endeavors to collide and merge with the vast deep

currents of Asia. We are thrilled at the potential for new cross

pollination in our ongoing search for hybrid global art statements. What

can be born from the implosion and transfusion of opposite polarities?

Founded in 1998, NWEAMO seeks to present the broadest possible spectrum

of different genres and styles with the goal of bridging gaps,

dissolving boundaries and building a world-wide community of people who

are passionate about music as a universal language, and from that to

creating a World without Borders – where differences are honored and

celebrated.

Von: Christian Banasik

Datum: Sun, 12 Jun 2016

Betreff: New York City concerts

New York City Concerts

Christian Banasik

June, 15 /12.30 PM

Underground Theater

I AM (world premiere)

for two performers, sound objects, 2 channel video / sound installation

and live electronics

(based on personal ads taken from The New York Times)

with SnowKrash (Ursel Qu, Barry L. Roshto, GER/US)

June, 15/8.00 PM

Playhouse Theater

Tree Blossoms II (US premiere)

for violin and electronics (8 ch audio)

(music for a silent movie / GER, 1929)

with Maja Simone Cerar (NYC)

Abrons Arts Center

466 Grand Street

New York City, NY

@ New York City Electroacoustic Music Festival 2016

June, 26 / 3.00 PM

Dusseldorf

Stadtmuseum Dusseldorf

Berger Allee 2

„Begegnung 8 – Lento“ (world premiere)

for piano and one loudspeaker

with Udo Falkner

(Memorial Concert on the 100th birthday

of Karlrobert Kreiten (1916-1943))

best regards

christian banasik

www.christian-banasik.de

Von: Dr. Javier Alejandro Garavaglia

Datum: Mon, 13 Jun 2016

Betreff: NYCEMF 2016 / “Spatial grains – Soundscape No 1″, acousmatic

music for 134 speakers and 4 subwoofers plus ambisonics

JUNE 2016 / NYC – USA

2016 New York City Electroacoustic Music Festival

June 13-19 2016

Abrons Arts Center

NYC466 Grand St, New York, NY 10002, USA

Sunday, June 19

Concert 33

2:00 – 3:30 PM – Experimental Theater

Performance of my piece:

“Spatial grains – Soundscape No 1″, acousmatic music for 134 speakers

and 4 subwoofers plus ambisonics (reduction for a 16.2 set-up)

This piece was composed and produced during a short residency at

Virginia Tech (US) in August 2013 inside the CUBE concert hall, with a

143.4. The NYCEMF will feature the world premiere of the 16.2 version.

The pieces uses for its entire spatialisation a new system programmed by

the composer, called GRANULAR SPATIALISATION, which diffuses sound via

temporal/spatial granulation.

nycemf.org/2016-festival/

icem.folkwang-uni.de/~gara/Latest.html

Dr. Javier Alejandro Garavaglia

Associate Professor

CASS MUSIC

Course Leader BSc Music Technology (Sound for Media)

Course Leader BSc Music Technology (Audio Systems)

CCS CASS Music coordinator

LONDON METROPOLITAN UNIVERSITY

Sir John Cass Faculty of Art, Architecture and Design

Room CR6-41

41 Commercial Road – E1 1LA – London

Von: Kevin Austin

Datum: Thu, 9 Jun 2016

Betreff: [cec-c] Seminar by Clarence Barlow on the use of speech

analysis for the resynthesis by acoustic instruments

On Tuesday, June 14th 2016, at 15:30h in room 55.410 of the UPF

Communication Campus, Clarence Barlow, composer from UC Santa Barbara,

gives a talk on: “On Synthrumentation – the Spectral Analysis of Speech

for Subsequent Resynthesis by Acoustic Instruments”.

mtg.upf.edu/node/3510

Xavier Serra

Music Technology Group

Universitat Pompeu Fabra, Barcelona

www.dtic.upf.edu/~xserra/

From: Darryl Griffiths

Date: 2016 June 7

Apologies for re-sending this every few weeks or so, but I am

approaching the end of my PhD and I need as many participants as

possible please.

Please find a link to my PhD research audio survey:

www.darrylgriffiths.co.uk/validation_survey/index.php

The main objective is to rate 10 randomly selected song excerpts out

of 40 song excerpts with regards to emotional, environmental and

activity concepts. This should take approximately 5-10 minutes to

fully complete. Full details of the requirements are on the main

index page. All we ask is for some basic demographic information and

your consent before you can proceed with the survey.

Please feel free to distribute my link to other interested parties.

Many thanks.

Darryl Griffiths

Glyndŵr University, North Wales, UK.

Von: Kevin Austin

Datum: Thu, 9 Jun 2016

Betreff: [cec-c] Alice Shields writes on: STRUCTURAL AND PLAYBACK ISSUES

IN CURRENT ELECTROACOUSTIC MUSIC

www.newmusicbox.org/articles/structural-and-playback-issues-in-current-electroacoustic-music/

STRUCTURAL AND PLAYBACK ISSUES IN CURRENT ELECTROACOUSTIC MUSIC

BY ALICE SHIELDS

ON JUNE 9, 2016

I’ve composed works using electroacoustic technologies since 1963, and I

want to share with you over the next several weeks some of my thoughts

about the current state of the medium. Since I am trained as a Western

classical composer, my comments will be from that perspective.

1. Structural Issues in Current Electroacoustic Music

The first subject about which I’d like to share my thoughts with you is

the issue of structure in current electroacoustic music. I serve on the

board of The Association for the Promotion of New Music (APNM). We at

APNM will soon be issuing a call for composers to submit their work for

an electroacoustic concert in Spring 2017. We intend to award the

performances to electroacoustic compositions of structural clarity and

elegance.

Why electroacoustic music focusing on structural clarity? Because, in

our opinion, many current electroacoustic works are weakened by not

having clear structure. Even if some may be promising in other ways, we

believe many current electroacoustic works suffer from an overall

sameness of events throughout the duration of the piece.

MANY CURRENT ELECTROACOUSTIC WORKS ARE WEAKENED BY NOT HAVING CLEAR

STRUCTURE.

If what I am describing is true, then why is this happening, and why

now? In the following I’ll consider a number of possible reasons. I’ll

start with some thoughts about what might be the smallest structural

unit in music, and I will focus most of this discussion on structural

issues involving timbre.

Von: Ralph Hopper

Datum: Wed, 8 Jun 2016

Betreff: Acoustic Frontiers playlist May 2106

Acoustic Frontiers playlist

Airing on CKCU-FM (www.ckcufm.com for live

streaming), 93.1, Ottawa, Ontario, Canada – for playlist and On Demand

audio archive go to: cod.ckcufm.com/programs/46/info.html

12:30 to 14:00 eastern time zone, each Monday

Host/producer – Ralph Hopper

Email: ralph.hopper@rogers.com

Composers with EA/computer music compositions are always welcome [and

encouraged] to provide a copy for airplay. Please contact me for

information

May 2016

Elizabeth Hoffman Interieurs harmoniques Soundendipities

Georges Forget Le dernier present Orages d’acier

Sangbong Nam Electronic Masters vol 1 Awaken

Charles Nichols Electronic Masters vol 1 Posture

Daniel Blinkhorn Electronic Masters vol 1 Anthozoa

Ake Parmerud Necropolis Dreaming in Darkness

Maxime Barthelemy Metamorphoses 2014 Bleu, Blanche, rouges

Arthur Gottschalk Electronic Masters vol 1 Stations

George Kouvaras Electronic Masters vol 1 After 360*

Joel Lavoie Absolument (absolutely) Bleu 01

Felipe Otondo Soundcloud Night Study 2

Yves Beaupre Humeur de facteur Peroraison

Jullian Hoff self Scratch

Dimitris Savva Metamorphoses 2014 Balloon Theories

Matthieu Guillin Petites Formes 2016 Musique de paumé

Nicolas Marty Petites Formes 2016 L’eau et les

rêves

Diane Daher Petites Formes 2016 The Flooded

Lands

Marin Escande Petites Formes 2016 Eloge de l’ombre

Kevin Gironnay Petites Formes 2016 La caverne

Jonathan Oberlander Petites Formes 2016 Invocation nocturne

Erik Nystrom Metamorphoses 2014 Catabolisms

Stijn Govaere Metamorphoses 2014 Far bollire

piano per 8 minuti

Julian Elvira/Gregorio Jimenez flute and electronics Los

Misterios de Mitro

Beta Lyrae Nebuleuses Trainscapes and Planeforms

Monique Jean Metamorphoses 2002 Low memory

Chenoa Anderson/Ian Crutchley Krishna’s Flute Aftertouch

Garth Paine Soundcloud Fue Sho

Larry Lake Canadian Music Centre Israfel

Bruce Pennycook Canadian Music Centre Praescio 6

Daniel Scheidt Action/Reaction Stories Told

Rene Decombe Soundcloud Convolution 4

Iride Project Soundcloud Lontani

Robert Normandeau Tangram Tangram

John Young The Edge of Noise Liquid Sky

Paul Ramage Metamorphoses 2014 Endroit/Envers

Louis Felipe Alves de Oliveira Metamorphoses 2014 The

relentless hole

Alexandra Gardner Luminoso Luminoso

Irene Pacini Metamorphoses 2014 Fragile

Butterfly

Matthieu Pernaud Soundcloud La machine de Prosper

Matthieu Pernaud Soundcloud Dodola

Pleines Soundcloud XV43V

Paul Oehlers Electronic Masters vol 1 Protolith

Ida Toninato Strangeness Is Gratitude Wanderers

www.ralphhopper.ca

45north band – great Canadian music from the ’60’s to today

[ for info: http://www.ralphhopper.ca/45north-band.php]

Acoustic Frontiers, each Monday at 12.30pm [eastern] at 93.1 fm in

Ottawa or www.ckcufm.com 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

Von: JH

Datum: Wed, 8 Jun 2016

Betreff: BERLIN / Duo „ad lib.“ / Concertinstallation „REMIX“

Konzertinstallation „Remix“

Premier: 17th of June / 8 p.m.

2nd performance: 18th of June / 8 p.m.

The composers performance duo „ad lib.“ (Julius Holtz, live electronics

and Andreas Staffel, piano) transmits the Remix techniques into

contemporary music.

By means of fragmentation, adjustment of tempos, recontextualization and

collages, compositions of contemporary instrumental and acousmatic music

are remixed. REMIX creates a hybrid fusions of pieces – or contrasts

works among each other. Julius Holtz and Andreas Staffel fuse the Remix

starting from a combination of live-electronic music and instrumental

piano performance.

Julius Holtz: Laptop, Turntable, Synthesizer

Andreas Staffel: Klavier

Thomas Fornoff: Lightdesign

Funded by Initiative Neue Musik Berlin e.V.

17. + 18. of June 2016 / 8 p.m.

Acker Stadt Palast

Ackerstraße 169/170, Berlin

Tickets: karten[at]ackerstadtpalast

Von: julien guillamat

Datum: Wed, 8 Jun 2016

Betreff: [cec-c] KLANG! electroacoustic composition competition 2016 –

RESULTS –

– English follows French –

Maison des arts sonores est heureuse de vous annoncer les lauréats 2016

au concours international de composition électroacoustique KLANG!

(oeuvres mixtes pour orchestre et bande):

– 1er prix est attribué à /Fern Hill/ par Andrew Lewis (2014)*

– 2e prix est attribué à /Connotations/ par Panayiotis Kokoras (2015)*

Les deux oeuvres sélectionnées seront données en concert par l’Orchestre

National de Montpellier courant 2017 (nous vous tiendrons au courant de

la date exacte dès que nous l’avons).

Bien joué tout le monde, les œuvres présentées étaient d’excellente qualité!

Le jury était composé de Gilles Gobeil, Julien Guillamat, Jonty

Harrison, Sophie Lacaze, Jérémy Lair, Michel Pascal, Denis Smalley et

Annette Vande Gorne.

Le concours revient l’année prochaine pour la musique acousmatique et

dans deux ans pour la musique mixte

klangacousmonium@gmail.com)

Maison des arts sonores is very happy to announce the 2016 laureates for

the international KLANG! composition competition 2016 (for mixed work,

orchestra and tape):

1st prize is assigned to /Fern Hill/ by Andrew Lewis (2014)

2nd Prize is assigned to /Connotations /by Panayiotis Kokoras (2015)

Both work will be played by the Montpellier National Orchestra in 2017

(we will inform you of the date of the concert ASAP).

Well done everyone, the submitted works were of excellent quality!

The jury was composed by Gilles Gobeil, Julien Guillamat, Jonty

Harrison, Sophie Lacaze, Jérémy Lair, Michel Pascal, Denis Smalley and

Annette Vande Gorne

The competition is coming back next year for acousmatic music, in two

years for mixed music.

Jury 2016 KLANG

klangacousmonium.files.wordpress.com/2016/06/jury-2016-klang.jpg

Julien Guillamat

Directeur artistique de la

Maison des Arts Sonores, Montpellier, France.

Fondateur de KLANG acousmonium

julien@klangacousmonium.fr

www.klangacousmonium.fr

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.

KLANG ! électroacoustique, LE nouveau festival de musique

électroacoustique à Montpellier du 5 au 7 Juin, à LA Chapelle Gély, 170

rue Joachim du Bellay, 34070 Montpellier.

www.facebook.com/events/653586151345681

klangacousmonium@gmail.com

Von: Gerriet K. Sharma

Datum: Wed, 8 Jun 2016

Betreff: NEW YORK: Gerriet K. Sharma – grrawe

grrawe – 10:27 (2015), 8-Kanal, Elektronik.

ist zu hören im Rahmen des New York City Electroacoustic Music Festivals.

Das Festival findet vom 13 – 19. Juni im

Abrons Arts Center, 466 Grand Street (at Pitt Street), New York, NY

10002 (Lower East Side) statt.

Das Stück wird von mir am Freitag 17. Juni 14.30 h im Experimental

Theater augfeführt.

nycemf.org/2016-festival/

www.abronsartscenter.org/

www.gksh.net

www.iem.at/osil

Mit besten Grüßen,

Gerriet K. Sharma

www.gksh.net