AUSSCHREIBUNG – Lectureship in Audio, Queen’s University Belfast

From: Trevor Agus

Subject: (Senior) Lectureship in Audio, Queen’s University Belfast

Date: 2016 June 7 at 4:20:56 AM GMT-4

Dear List,

There is a career opportunity for a „Lecturer in Audio“ or „Senior

Lecturer in Audio“ at Queen’s University Belfast:

www.qub.ac.uk/schools/SchoolofCreativeArts/Connect/JobOpportunities/#audio

He or she should have a good research record from a relatively broad

range of relevant disciplines in science or engineering. „Lecturer“ and

„Senior Lecturer“ correspond roughly to „Assistant Professor“ and

„Associate professor“ in the US (I believe).

In terms of teaching, students will range from musicians to audio

engineers (in different classes) and potential modules include

acoustics, psychology of music, digital signal processing, spatial

audio, programming, and psychoacoustics. There is scope for developing

new modules in line with your interests.

The Sonic Arts Research Centre’s custom-built facilities opened in 2004.

It features a 48-speaker Sonic Lab

(www.sarc.qub.ac.uk/sites/sarc/AboutUs/TheSARCBuildingandFacilities/TheSonicLab/)

and continues to expand facilities.

This is a rare opportunity for a lectureship combining science with

aspects of music, working alongside composers, performers, and sound

engineers as well as other scientists. Queen’s is a stunning university

and Belfast is a great place to live.

Information enquiries are encouraged, either to Paul Stapleton

(p.stapleton@qub.ac.uk p.stapleton@qub.ac.uk>) or myself

(t.agus@qub.ac.uk t.agus@qub.ac.uk>).

A second post has also been advertised for a teaching job relating to

making and programming:

www.qub.ac.uk/schools/SchoolofCreativeArts/Connect/JobOpportunities/#designprototyping

All the best,

Trevor

AUSSCHREIBUNG – Stelle in Essen: W2 Professur Komposition – Schwerpunkt elektronische Komposition

Von: Thomas Neuhaus

Datum: Tue, 7 Jun 2016

Betreff: Stelle in Essen: W2 Professur Komposition – Schwerpunkt

elektronische Komposition

An der Folkwang Universität der Künste ist die W2 Professur „Komposition

– Schwerpunkt elektronische Komposition“ erneut ausgeschrieben.

www.folkwang-uni.de/home/hochschule/aktuell/stellenausschreibungen/

ACHTUNG. Bewerbungsschluß ist schon der 30.6.!!

Ich würde mich freuen, wenn Sie dieses Angebot weiter verbreiten würden!

Vielen Dank und beste Grüße,

Thomas Neuhaus

There is a job opportunity at Folkwang University of the arts (Essen,

Germany) for a professorship in composition – main focus electronic

composition.

For more information see:

www.folkwang-uni.de/home/hochschule/aktuell/stellenausschreibungen/

(sorry, German only)

ATTENTION: Deadline is already June 30th!!

Feel free to redistribute!

Thank you and best wishes,

Thomas Neuhaus

NEWS – CD-RELEASE | Denise Ritter | corus hy

Von: Denise Ritter

Datum: Tue, 7 Jun 2016

Betreff: CD-RELEASE | Denise Ritter | corus hy

CD-Release

AUSGEWÄHLTE GERÄUSCHE

Doppel-CD-Compilation im DVD Digibook Format

inkl. 82-seitigem Booklet mit Künstlerinfos und Essays zum Thema

Geräuschmusik

u.a. mit

corus hy

von

Denise Ritter

/aka/ Schachtanlage Gegenort

Mit „corus hy“ erscheint ein neuer und exklusiver Track meines Musique

Concrète / Industrial-Projektes /Schachtanlage Gegenort/

auf der aktuellen Compilation des Labels auf abwegen in der CD-Reihe

“edition elektronik” des Deutschen Musikrats.

Seit 1996 entstehen unter dem Namen /Schachtanlage Gegenort/ Stücke aus

Audioaufnahmen,

die ich unter Tage, an Hochöfen, in Eisenhütten und Stahlwerken und

anderen Stätten der Montanindustrie mache.

„corus hy“ ist ein Stück basierend auf Aufnahmen, die ich 2011 in der

Eisenbahnschienenproduktion von Corus in Hayange

und in der der Eisen- und Stahlhütte in Florange (Lothringen,

Frankreich) gemacht habe – nur wenige Wochen bevor dort

der letzte Hochofen Frankreichs trotz heftiger Proteste stillgelegt wurde.

Mehr über Schachtanlage Gegenort:

gegenort.com/schachtanlage-gegenort.html

AUSGEWÄHLTE GERÄUSCHE

erscheint am 21. Juni 2016

www.aufabwegen.de/label/?p=390

Die 50. Veröffentlichung des Labels aufabwegen erscheint in der edition

elektronik des Deutschen Musikrats.

Die umfangreiche Doppel-CD-Compilation mit ausführlichem Textbooklet

verknüpft den Werdegang des Labels aufabwegen

mit der persönlichen Sicht auf die Genese der Geräuschmusik in Deutschland.

Es ist die Entwicklung von der reinigenden Kraft des Lärms über die

bruitistische Klangforschung hin zu einer eigenen Ästhetik des

Geräuschhaften,

zu einer selbstbewussten Soundkultur. Die Bandbreite reicht von subtilem

Ambient über dichte Collagen und konkrete Geräuschlandschaften

hin zu rhythmischen Stücken und besteht fast ausschließlich aus bisher

unveröffentlichtem oder seltenem Material.

Denise Ritter | Sound Artist | www.gegenort.com

KARLSRUHE – IMA_experiments 8: :zoviet*france:, Asmus Tietchens, DJ Zipo im ZKM

Von: Yannick Hofmann

Datum: Mon, 6 Jun 2016

Betreff: IMA_experiments 8: :zoviet*france:, Asmus Tietchens, DJ Zipo

IMA_experiments 8

:zoviet*france: (live) Asmus Tietchens (live) DJ Zipo (DJ-Set)

Freitag, 17.06.2016 20 Uhr

Ort: ZKM_Kubus, ZKM_Musikbalkon

Kosten: 13/9€

In der achten Ausgabe der Reihe IMA_experiments erwarten das Publikum

Performances von Asmus Tietchens (live), :zoviet*france: (live) und DJ

Zipo (DJ-Set).

Der in Hamburg lebende Avantgarde-Komponist Asmus Tietchens gehört zu

den bedeutendsten Persönlichkeiten und Pionieren im Bereich

nicht-akademischer elektronischer Musik. Schon 1965 begann er mit einem

Tonbandgerät zu experimentieren, Tapeloops aufzunehmen und zu Collagen

zu verdichten; ab 1971 kamen Synthesizer dazu.

Asmus Tietchens hat mehr als 70 CDs auf internationalen Labels wie

Staalplaat, Multimood, line und aufabwegen veröffentlicht und mit

Klangkünstlern wie Thomas Köner, Vidna Obmana, Okko Bekker und Achim

Wollscheid zusammengearbeitet. Tietchens primäres musikalisches

Interesse gilt der Bearbeitung von Geräuschen, die mitunter bis zur

Unkenntlichkeit verfremdet und in neue, ihnen adäquate Zusammenhänge

gestellt werden. Seit der Jahrtausendwende arbeitet er wieder verstärkt

mit dem Synthesizer, den Tietchens jedoch nur als reine Klangquelle für

seine reduktionistisch verknappten Kompositionen nutzt. Tietchens Arbeit

ist ein skeptischer Gestus zu eigen, der sich nicht zuletzt in den

regelmäßigen Zitaten des Philosophen E.M. Cioran auf seinen Tonträgern

zeigt. Er hat sich mehrfach in Essays zu seiner Arbeit und dem

entsprechenden musikalischen Umfeld geäußert. Asmus Tietchens wurde

bislang zweimal der vom Südwestrundfunk (SWR) gestiftete

Karl-Sczuka-Preis verliehen. Zudem gibt Tietchens Seminare an der

Hamburger Hochschule für Angewandte Wissenschaften.

:zoviet*france: sind seit über 30 Jahren im Bereich experimenteller

elektronischer Musik aktiv. Stilistisch kann die Gruppe aus Newcastle

dem Post-Industrial und Ambient zugeordnet werden. :zoviet*france:

produzieren aus akustischen und elektronischen Klängen, die häufig mit

Fieldrecordings kombiniert werden, experimentelle Soundcollagen.

Zu ihren Veröffentlichungen zählen mittlerweile über 20 Alben, die auf

Labels wie Mute Records, Soleilmoon Recordings, alt.vinyl und ihrem

eigenen Label Charrm erschienen sind. In den vergangenen Jahren haben

sie zudem mit Tanzkompanien zusammengearbeitet und wurden u.a.

beauftragt, Soundracks für die Londoner Random Dance Company zu

komponieren. :zoviet*france: produzieren das wöchentliche Radioprogramm

und Podcast »A Duck in a Tree«, das von ihnen als „a 60 minute

continuous mix of some of the best genre-refusing, zero BPM and

maximinalist recordings“ beschrieben wird.

DJ Zipo legt eine Mischung aus Ambient, Field Recordings und Noise

Collagen auf. Er heißt im echten Leben Till Kniola und betreibt das

Label aufabwegen, zu dessen Veröffentlichungen Arbeiten von Asmus

Tietchens, Marc Behrens, KK Null & John Wiese und Carl Michael von

Hausswolff zählen. Till Kniola kuratiert Musikveranstaltungen in Köln,

schreibt regelmäßig über Musik und Klang und ist künstlerischer Leiter

des Geraeuschwelten Festivals in Münster, das mit dem WDR 3 koproduziert

wird. Als DJ war er u.a. mit Aube, Troum, Marc Behrens and Asmus

Tietchens international unterwegs. Sein Motto: „Es hilft ja nichts.“

yannick.hofmann@zkm.de

CALL – Destellos compétition: Last week (Extended Deadline)

Von: elsajustel

Datum: Sun, 5 Jun 2016

Betreff: [cec-c] Destellos compétition: Last week/dernière

semaine/última semana

IX° Destellos Competition 2016

The Foundation Destellos, call for works for the Nineth Competition of

Electro-acoustic Composition, open to composers of any nationality, age

and gender.

The deadline has been extended until June 10, 2016.

The objectives of this competition are the promotion and development of

the artistic creation in relation with new technologies. Likewise, it is

an intention of the Foundation Destellos to stimulate the creativity of

the young generations of artists and to provide them new routes of

diffusion of their works.

Will be attributed two first prizes of an amount of 600 American dollars

each, in the categories:

A. Acousmatic music

B. Mixed media

Also, as in former editions, will be granted second prizes, consisting

in collections of CD of electroacoustic music offered by:

– Akusmawww.fundestellos.org

IX° Concours Destellos 2016

NEWS – CD Release POLYTHEISTIC ENSEMBLE signals from the cool am 10.06.2016 – Release Party Jubez Karlsruhe

Von: Matthias Ockert

Datum: Sun, 5 Jun 2016

Betreff: CD Release POLYTHEISTIC ENSEMBLE signals from the cool am

10.06.2016 – Release Party Jubez Karlsruhe

10.06.2016 CD Release:

POLYTHEISTIC ENSEMBLE signals from the cool

www.polytheistic-ensemble.net

www.facebook.com/Polytheistic-Ensemble-962030590549351/

Neuklang Future NCD4138

www.neuklangrecords.de

Freitag 10.06.2016 20:00 Uhr im Jubez Karlsruhe

POLYTHEISTIC ENSEMBLE + TEMA

signals from the cool

CD Release Party

www.jubez.de/veranstaltungen/polytheistic-ensemble-tema?aid=0

POLYTHEISTIC ENSEMBLE

Matthias Ockert – Komposition, Gitarre, Elektronik

Tomas Westbrooke – Violine

Hugo Smit – Cello

HP Ockert – Trompete

Stefan Schönegg – Bass

Dominik Mahnig – Schlagzeug

Dagmar Vinzenz – Visuals

+ Gäste des Ensemble TEMA

Eve Cambreling – Flöte

Evgeni Orkin – Bassklarinette

Olga Zheltikova – Klavier

Christoph Heeg – Saxophon

Ferdinand Martin- Marimba, Perkussion

Elektronische Klangsynthese mit Lichtdaten aus der Beobachtung von

Transneptunialen Objekten durch das Herschel Teleskop, bereitgestellt

durch das Max-Planck-Institut Deutschland in Kooperation mit Dr. Miriam

Rengel. (Credits: ESA / Herschel / PACS / MPS / MPE / Observatoire de

Paris / “TNOs are Cool” Team)

Das Konzert wird gefördert aus Kulturfördermitteln der Stadt Karlsruhe –

Konzert und CD durch die Initiative Musik gemeinnützige

Projektgesellschaft mbH mit Projektmitteln der Beauftragten der

Bundesregierung für Kultur und Medien auf Grund eines Beschlusses des

Deutschen Bundestages.

matthias ockert komponist gitarrist

www.matthiasockert.de

NEWS – New Historical Bob Moog Timeline With Rare Insights and Images; and More

Von: Kevin Austin

Datum: Sat, 4 Jun 2016

Betreff: [cec-c] New Historical Bob Moog Timeline With Rare Insights and

Images; and More

New, Historical Bob Moog Timeline Features Rare Archival Material

moogfoundation.us8.list-manage.com/track/click?u=4c52c7ef418da1cdc523f3658&id=4fec42ba6a&e=e33c09222a

We are proud to announce the release of a new, historical Bob Moog

timeline, which traces the historical evolution of Bob’s professional

path. With nearly 100 different posts, the timeline reveals brand new

archival material, including some never before seen family photos,

documents, and letters, as well as many points in Moog history that

are little known.

This is the most comprehensive timeline on Bob Moog that you will find

online.

Check out the timelinehere

moogfoundation.us8.list-manage.com/track/click?u=4c52c7ef418da1cdc523f3658&id=b97e37a997&e=e33c09222a

All of the historical images on the timeline can be expanded for

better viewing, and many of the posts have expandable text for those

seeking a deeper understanding of Bob Moog’s history.

We will continue to add to the timeline periodically. Be sure to check

back and see what’s new!

We have labored over this timeline, and we’d love to hear your

feedback. Let us know what you think by emailing us

atinfo@moogfoundation.org

Getting Geeky: Synthesizers and Brainwaves

moogfoundation.us8.list-manage.com/track/click?u=4c52c7ef418da1cdc523f3658&id=20a43065eb&e=e33c09222a

Moog modular historian Thom Holmes returns with an examination of

Richard Teitelbaum, who made the earliest and boldest use of the Moog

in improvisational music, and was co-founder of the free

improvisation ensemble Musica Elettronica Viva (MEV). Teitelbaum

befriended Bob Moog and asked him to find a way to amplify sub-audio

brainwaves to use as control voltages with the Moog synthesizer.

Read more about Richard Teitelbaumhere

moogfoundation.us8.list-manage1.com/track/click?u=4c52c7ef418da1cdc523f3658&id=53d36ff734&e=e33c09222a

Thanks for Voyaging with Us!

Many thanks to all of you who supported our campaign on Kickstarter to

raise funds for Electronic Voyager, the upcoming documentary that

traces Bob Moog’s sonic journey by carefully examining his life

through those with whom he worked most closely.

With your help, we raised over $103,000 to assist Waveshaper Media

with the production of the film. We will be filming this summer. Keep

your eye out of updates via Kickstarter!

Learn more about the Electronic Voyager projecthere

moogfoundation.us8.list-manage1.com/track/click?u=4c52c7ef418da1cdc523f3658&id=6e3ee38da2&e=e33c09222a

moogfoundation.us8.list-manage.com/track/click?u=4c52c7ef418da1cdc523f3658&id=f0ab46a97f&e=e33c09222a

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Copyright © 2016 Bob Moog Foundation, All rights reserved.

You get updates about our work and our contests because you opted in

online or at an event. Thanks for your support!

Our mailing address is:

Bob Moog Foundation

2 Wall Street, Suite 108

Asheville,Nc28801

Add us to your address book

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CALL – IEM Music Residency Program 2017 – Call for Applications

Von: Marko Ciciliani

Betreff: IEM Music Residency Program 2017 – Call for Applications

Datum: Thu, 2 Jun 2016

Univ.-Prof. Marko Ciciliani, PhD

Kunstuniversität Graz

IEM – Institut für elektronische Musik und Akustik

Inffeldgasse 10/3, A-8010 Graz

T +43 (0) 316 / 389-3174

www.ciciliani.com

http://www.vimeo.com/channels/cicichannel

kug.academia.edu/MarkoCiciliani

gappp.net

IEM Music Residency Program 2017 – Call for Applications

www.iem.at

(please distribute)

The IEM – Institute of Electronic Music and Acoustics – in Graz, Austria

is happy to announce its call for the 2017 Artist-in-Residence program.

The residency is aimed at individuals wishing to pursue projects in

performance, composition, installation and 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:

– Spatialization/higher-order Ambisonics

– Sonic Interaction Design

– Audio-visuality

– Algorithmic Composition

– Algorithmic Experimentation

– Standard and non-standard Sound Synthesis

– Live Coding

Duration of residency: 5 months

Start date: June 1st 2017 (negotiable)

Monthly salary: approx. EUR 1100 (net)

APPLICATION DEADLINE: 1st of October 2016

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 25 staff members of

researchers and artists. IEM offers education to students in composition

and computer music, sound engineering, 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

OpenCUBE and Signale concert series, as well as through various

collaborations with international artists and institutions.

IEM’s main activities are centered around the following research areas

– Computer Music

– Artistic Research

– Signal Processing and Acoustics

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 which has a 24-channel loudspeaker system and

infrared motion tracking, according to availability.

– During the period from July 1st until end of September the resident

will have extensive access to the studios of the IEM.

– Regular possibilities for contact and exchange with peers from similar

or other disciplines.

– Infrastructure (electroacoustic music studios, icosahedral loudspeaker

array, motion capture technology).

– 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 can not provide any housing.

– We also cannot provide continuous assistance and support, although the

staff is generally willing to help where possible.

– We can not offer any additional financial support for travel or

material expenses.

An application form providing more information is available at

iem.kug.ac.at/institut-aktuell/details/article/iem-music-residency-program-2017-call-for-applications.html

Feel free to contact residency@iem.at if you have any questions.

NEWS – Robles Angel: une events in Annecy, Flushing and New York City

Von: claudia robles

Betreff: Robles Angel: une events in Annecy, Flushing and New York City

Datum: Fri, 03 Jun 2016

Dear friends and colleagues,

hereby some events during June. If you are around one of these cities,

it would be great if you could attend.

1- My audiovisual installation Là-bas… for light and surround sound

at the ENERGIE WECHSEL II* exhibition curated by Dr. Uwe Rueth.

OPENING

Sunday 5th June 2016 – 12 pm

Stichting IK

Vlissingsestraat 239 a

4388 HC Vlissingen

Netherlands

Exhibition 5th June – 3th July 2016

Saturdays and Sundays: 12 – 5 pm (CEST)

or by appointment.

More information:

www.stichtingik.nl

2- New York City Electroacoustic Music Festival

USA premiere of my audiovisual composition:

Cologne: transformations

Concert 29

Saturday 18th June 2016, 2 pm

Underground Theater

Abrons Arts Center

466 Grand Street (at Pitt Street)

New York, NY 10002

More information:

nycemf.org/2016-festival/

3- ON GOING: L’IMAGE DU SON

Exhibition of my audiovisual installation ZHONG inspired in the book by

Gaston Bachelard: The Psychoanalysis of Fire.

l’arteppes – espace d’art contemporain

Place des Rhododendrons
Annecy, France



More information:


www.larteppes.org

best wishes,

Claudia Robles Angel

eepurl.com/b20sx1

NEW YORK: Clemens von Reusner – HO

Von: Clemens von Reusner

Betreff: NEW YORK: Clemens von Reusner – HO

Datum: Fri, 3 Jun 201

HO (2008), 13:06, stereo, Elektronik

ist zu hören im Rahmen der Konzerte der

Biennale der New Yorker Philharmonie in Verbindung

mit dem New York City Electroacoustic Music Festival 2016

Monday, June 6, 8-10:15 PM

National Sawdust

80 North 6th Street

Brooklyn, NY 11249

nycemf.org

nationalsawdust.org

nyphil.org

Mit besten Grüßen

Clemens von Reusner

info@cvr-net.de

www.cvr-net.de

BERLIN – Next Kiezsalon: Wednesday, 22.06.2016 with Heather Leigh & The Swifter

Von: Digital in Berlin | News

Datum: Thu, 2 Jun 2016

Betreff: Next Kiezsalon: Wednesday, 22.06.2016 with Heather Leigh & The

Swifter

Dear friends and music lovers,

Our last Kiezsalon before the summer break features pedal steel guitar

specialist and vocalist Heather Leigh and The Swifter – a trio including

Andrea Belfi (Drums), BJNilsen (Electronics) and Simon James Phillips

(Piano).

Wednesday, 22.06.2016

Heather Leigh (USA) LIVE | Ideologic Organ/Editions Mego

The Swifter (SWE/IT/AU) LIVE | The Wormhole/Sonic Pieces

Read and listen: goo.gl/pQ2Or9

Facebook event: goo.gl/kcnTBq

About the Kiezsalon: kiezsalon.de

Musikbrauerei | Greifswalder Straße 23a | 10407 Berlin/Prenzlauer Berg

Doors 20:00 | Shows 21:00 | Admission 8 €

We are excited to welcome you once again to what promises to be another

exquisite salon with the finest wines, music and company – it’s the last

before the summer break, so don’t miss out!

Kind regards,

Digital in Berlin

– The Kiezsalon is funded by Musicboard Berlin and is kindly supported

by taz.die tageszeitung and Lux Eleven.

Digital in Berlin

Josef-Orlopp-Straße 89 | 10365 Berlin/Germany

news@digitalinberlin.de | www.digitalinberlin.de

Tel.: +49 (0) 30 689 175 43 | Fax: +49 (0) 30 689 175 42

SUL/PORTUGAL – Sonic Explorations of A Rural Archive // Electroacoustic Music and Sound Art International Competition

Von: CEC cec@sonus.ca

Datum: Wed, 1 Jun 2016

Betreff: SONIC EXPLORATIONS OF A RURAL ARCHIVE // Electroacoustic Music

and Sound Art International Competition

PRESS RELEASE

SONIC EXPLORATIONS OF A RURAL ARCHIVE

Electroacoustic Music and Sound Art International Competition

Coordination: Binaural/Nodar (Portugal)

In the context of Rural Viseu 2.0 project – co-funded by the Viseu

Terceiro programe of the Municipality of Viseu (Portugal) and

theCreative Europe programme of the European Union – SOCCOS Sound Art

Network.

Applications between June 1st and September 30th, 2016

Announcement of results October 31st, 2016

Retrospective exhibition of selected works from December 2016

Binaural/Nodaris a contemporary cultural entity operating in the rural

region of Viseu Dão Lafões (Portugal) in the fields of sound art and

multimedia creation, audiovisual rural archiving, sound education,

radio broadcasting and publishing (online, books, CD, DVD).

Binaural/Nodar has hosted more than 150 artists and researchers,

produced dozens of sound/media creations and spread its work in many

countries around Europe, America and Asia. Binaural/Nodar is an

activemember of three European networks dedicated to creativity and

territorial development: Tramontana network of rural media archives;

SOCCOS network of artist residencies in sound art; SUSPLACE network of

multidisciplinary research in ​​social sustainability processes of

local territories.

Viseu Rural 2.0 is an integrated project of rural heritage

documentation and archiving,sound/media arts creation and cultural

diffusion, being developed in the rural areas part of the Municipality

of Viseu (Portugal) during 2016. The projecttakes its motivation from

the assumption that there is a need to give expression and density to

a often forgotten rural arc surrounding the city of Viseu, which

memory and character are also part of the history of the city itself.

After a 1stversion of the Viseu Rural 2.0 project developed in 2015,

in the context ofwhich were produced 120 audio and video documents,

were created ten sound works by artists from six countries, were

produced five radio documentaries and organized a final retrospective

exhibition that was patent at Casa das Memórias in Viseu, between

November 2015 and April 2016, the follow up of the project brings some

new features, including one that is now announceed SONIC EXPLORATIONS

OF A RURAL ARCHIVE – Electroacoustic Music and Sound Art International

Competition.

This international competition invites electroacoustic musicians and

sound artists from around the world to produce sound works based on

the Viseu Rural 2.0 archive, that is being collected and archived by

Binaural/Nodar (available athttp://www.viseururalmedia.org/download),

thus creating a sense of exploration and diffusion way beyond the

borders of Viseu and its rural surroundings.

Each artist can freely select and download sound files from the

archive and add other sound sources and sound processing, in order to

create a sound work inspired by the rural context of Viseu, which

should be submitted (in .wav/16 bit format) until September 30th, 2016

to be evaluated by the selection panel, composed by the board of

directors of Binaural/Nodar and associated experts from SOCCOS

European sound art network, which includes, apart from Binaural /

Nodar, QO-2 (Brussels , Belgium), Disk/CTM (Berlin, Germany) A-I-R

Laboratory (Warsaw, Poland) and Hai-Art (Hailluoto, Finland).

Apart from the sound piece, which should have an exact duration of 10

minutes, each artist must include an updated biographical note

including contacts (maximum 1,000 characters with spaces), a title for

the work, a text on thework (maximum 2,000 characters with spaces),

and finally an image (photography, drawing, collage, etc.) that

visually depicts the sound work, with the size of 30cm x 20cm in 300 dpi.

The material should be submitted as links (Google Docs, Dropbox etc.)

via the contact form available athttp://www.viseururalmedia.org/contactos.

The audio and visual material from the winning works will be exhibited

in aretrospective exhibition to take place at Casa da Ribeira in

Viseu, from December 2016 (on dates to be announced) and will later be

available online athttp://www.viseururalmedia.org

www.viseururalmedia.org/

20 artists/works will be selected with the following monetary prizes

to be awarded each one:

1st prize: 1,000 Euro

2nd prize: 600 Euro

3rd prize: 400 Euro

4th to 10th prize: 200 Euro

11th to 20th prize: 100 Euro

Total prizes to be awarded: 4,400 Euro.

The first two winners will be invited to attend the exhibition opening

to personally receive their prizes.

Additional information on this competition:

Contact Luis Costa (president of the board of directors at Binaural/Nodar)

Tel. +351918951857 orluis@binauralmedia.org

Luís Costa

Coordenador/Coordinator/

Binaural – Associação Cultural de Nodar

Rural Based Sound/Media Arts & Social Research

Rua do Pedregal

3660-645 Sul

Portugal

Tel. +351 232 723 160

Mob. +351 918 951 857

Email.info@binauralmedia.org

www.binauralmedia.org

www.re-tramontana.org

www.soccos.eu

MELLE/NIEDERSACHSEN: Der Wald als Partitur — Sonntag, 12.6. — 18 Uhr — Wilde Rose, Melle

Von: Marcus Beuter

Datum: Tue, 31 May 2016

Betreff: Der Wald als Partitur – Sonntag, 12.6. – 18 Uhr – Wilde Rose, Melle

Herzliche Einladung:

Der Wald als Partitur

Musik – Tanz – Text

Eine Kollektiv-Komposition

Sonntag, 12. Juni, 18 Uhr

Kulturzentrum Wilde Rose, Melle

Teil I:

Parcours im Wald

Teil II:

Raum-Inszenierung im neuen Hinterhof-Salon

Musik:

Pia Raum – Stimme

Fanja Raum – Sopran+Altsaxofon

Andreas Kaling – Basssaxofon

Susanne Schulz – Violine

Willem Schulz – Violoncello

Marcus Beuter – Elektronik

Tanz:

Minako Seki Company, Berlin

Minako Seki

Maristela Estrela

Sarah Isabel Beckmann

Ralf Assmann

Text:

Barbara Daiber

Wie klingt der Wald? Was fragen die Bäume? Wie stehen sie zueinander?

Findet er sich schön? Ist er ein Schwarm? Wer schläft unter seinen

Fittichen? Scheint der Mond für alle? Liebt der Wald den Menschen? Hat

er Zeit? Wovon träumt er? Wie tanzt er? Was erzählt er? Wie schmeckt er?

Und wo sind wir?

Das Projekt DER WALD ALS PARTITUR erforscht im ästhetischen Experiment.

Es lässt sich auf einen inspirierten und assoziativen Dialog mit dem

Wald ein. Dringt tastend und ahnend in Kreisläufe und Netzwerke des

Waldes vor.

Alle KünstlerInnen entwickeln und erarbeiten gemeinsam diese

spartenübergreifende Kollektiv-Komposition. Sie wird für das Publikum in

einer zweiteiligen Performance realisiert: im Wald direkte Interaktion

zwischen Künstler und Natur, in der Architektur des Menschen Abstraktion

und Verdichtung.

So wird die natürliche Partitur des Waldes zu einer künstlerischen

Partitur des Waldes.

Vorverkauf: 13 / 8 € Abendkasse: 15 / 10 €

Kulturzentrum Wilde Rose, Borgholzhausener Str. 75 – 79, Melle, 05422-951325

willemschulz@t-online.de

(bitte gutes Schuhwerk und wetterangepasste Kleidung mitbringen)

Gefördert von: Musik 21 Niedersachsen, dem Ministerium für Wissenschaft

und Kunst Hannover, dem Landkreis Osnabrück, der Kreissparkasse Melle

und dem Verein Wilde Rose e.V.

www.marcusbeuter.de

CALL – Presence Journal Special Issue: Arts, Aesthetics, and Performance in VR and Telepresence

From: Myounghoon Jeon mjeon@mtu.edu

Subject: Presence Journal Special Issue: Arts, Aesthetics, and

Performance in VR and Telepresence

Date: 2016 May 30

We are very happy to announce this call for paper for a special issue of

MIT Press Journal /Presence./

Feel free to pass it on to whoever might be interested in.

Apologies for cross-posting!!

CfP: „Arts, Aesthetics, and Performance in VR and Telepresence“

Special Issue of /Presence: Teleoperators and Virtual Environments/

Guest Editors:

Myounghoon „Philart“ Jeon (Michigan Tech)

Paul Fishwick (University of Texas at Dallas)

Scope

Art and technology have a similar origin, and until the 17th century

were not differentiated from each other (the Latin word “ars” – art –

included crafts and sciences). Since then, they have diverged, but with

the rapid technological advancement of the current era, art and

technology have begun to be /re/integrated. Recently, the application of

computing to aesthetics (or “art and design”) has proliferated.

Thanks to new technologies, we can expand the perceptual experiences of

our existing senses and can even create novel perceptual dimensions that

have never been imagined – new/presence/. Conversely, computing and

technology can be influenced by arts and aesthetics, in what we call

“aesthetic computing”. The application of art theory and practice to

computing provides an opportunity to explore more creative media, making

the concept of computing more accessible and promoting personalization

and customization of computing structures. The trend to integrate art

and technology is pervasive in formal education: STEM education

(Science, Technology, Engineering, and Math) is evolving into STEAM

(Science, Technology, Engineering, Art, and Math) by adding art and

design to the equation.

This year, the 25^th anniversary of the journal /Presence/, may well be

the first year of a new virtual reality era, with a plethora of new and

updated virtual reality devices and technologies (Oculus DK, HTC Vive,

Microsoft HoloLens, etc.). Given the paradigm shift from cognitivism

into embodiment, the human body now has more opportunity for

representation in computing (gesture interaction, tangible user

interface, etc.) than at any previous time.

In this line, virtual reality, which provides “presence” and

immersiveness, is becoming more important for embodied interactions.

Scientists and technologists can learn interaction techniques and

strategies from body expression experts – “artists”; and virtual reality

can provide an integrative, dynamic platform for arts and performances,

a living synthesis of which German composer Richard Wagner once dreamed

in his vision of “gesamtkunstwerk” – comprehensive work of art. We hope

this special issue can serve as a good step towards that goal.

Topics of interest include, but are not limited to:

-Performing arts in virtual reality or augmented reality

-Integrative arts (e.g., dance-based sonification, dance-based

visualization)

-Public displays including lay people in the performance

-Use of VR/AR to include people with disabilities in performance or art

galleries

-Paradigm, theory, and model of arts and aesthetics in VR and telepresence

-Design research approach to performing arts in VR

-Methodologies and methods of evaluating performing arts in VR

-Design of new a sensor, device, or platform for arts-technology integration

Submission

Manuscripts should conform to the journal’s submission guidelines:

www.mitpressjournals.org/page/sub/pres

Authors, please note that audio and video files can be hosted as

supplementary online material accompanying published articles. For more

information about multimedia file formats and submission guidelines,

please contact presence@mit.edu presence@mit.edu>.

Schedule:

-Call for Papers: May 15, 2016

-Submission deadline: November 1, 2016

-Final revisions: June 1, 2017

-Publication: Late 2017

Contact:

Dr. Myounghoon “Philart” Jeon

Associate Professor

Department of Cognitive and Learning Sciences

Department of Computer Science

Michigan Tech

mjeon@mtu.edu

Myounghoon „Philart“ Jeon, Ph.D.

Associate Professor

Mind Music Machine Lab sites.google.com/site/mindmusicmachinelab/

Center for Human-Centered Computing @ICC

icc.mtu.edu/

Department of Cognitive and Learning Sciences

Department of Computer Science

Michigan Technological University

Meese 205, Rekhi 202,1400 Townsend Drive

Houghton, MI 49931

(906) 487-3273

mjeon@mtu.edu

BERLIN – 1. Juni: Bill Fontana @ die Reihe. Beiträge zu auditiver Kunst und Kultur

Von: Pysiewicz, Andreas

Datum: Mon, 30 May 2016

Betreff: [ak-events] 1. Juni: Bill Fontana @ die Reihe. Beiträge zu

auditiver Kunst und Kultur

Konzertankündigung:

Die dritte Ausgabe von „die Reihe. Beiträge zu auditiver Kunst und

Kultur“ mit hochkarätigen Künstlern im Sommersemester 2016:

www.ak.tu-berlin.de/menue/lehre/sommersemester_2016/die_reihe/

01. Juni 2016

BILL FONTANA – DISTANT TRAINS AND OTHER WORKS | Installation und Konzert

Jazz-Institut Berlin | Georg-Neumann-Saal | Einsteinufer 43–53, 10587

Berlin, Eintritt frei.

16 Uhr Video-Projektion Desert Soundings (Abu Dhabi, 2014), Comissioned

by the Abu Dhabi Music and Art Foundation

20 Uhr Konzert Distant Trains (Berlin Anhalter Bahnhof, 1984) und andere

Werke | Bill Fontana im Gespräch

In Kooperation mit dem Berliner Künstlerprogramm des DAAD.

Am 1. Juni ist Bill Fontana www.resoundings.org/ zu Gast am

Jazz-Institut Berlin. Er gehört zu den amerikanischen Pionieren der

Klangkunst. In den 1970er Jahren begann er, Klänge live an andere Orte

zu übertragen und so „Klang-Skulpturen“ oder „Klang-Brücken“ zu

errichten. In Berlin spielte er 1984 für „Distant Trains“ Klänge vom

Kölner Hauptbahnhof in der Brache hinter der Ruine des Anhalter Bahnhofs

ab. Das Klangmaterial dieser inzwischen legendären Arbeit wird nun

erstmals wieder an der Universität der Künste Berlin zu hören sein,

zusammen mit Auszügen aus neueren Stücken – die Veranstaltung findet in

Kooperation mit dem Berliner Künstlerprogramm des DAAD

www.berliner-kuenstlerprogramm.de/de/index_de.php statt.

weitere Veranstaltungen:

30. Juni 2016

KAFFE MATTHEWS – BICROPHONIC DISCOVERIES BERLIN | Konzert-Happening

20:00 Uhr, Einlass: 19:30 Uhr | Eintritt frei ausland. Territory for

experimental music, performance and art Lychener Straße 60, 10437 Berlin

Bicrophonic discoveries Berlin. A sonic bike event, Kaffe Matthews im

Gespräch

Kaffe Matthews ist DAAD Edgard-Varèse-Gastprofessorin am Fachgebiet

Audiokommunikation der TU Berlin.

Kaffe Matthews www.kaffematthews.net/, DAAD

Edgard-Varèse-Gastprofessorin am Fachgebiet Audiokommunikation der TU

Berlin, ist am 30. Juni im ausland. Territory for experimental music,

performance and art ausland-berlin.de/im Rahmen eines „Sonic Bike

Event“ zu erleben. Bicrophonic discoveries Berlin sonicbikes.net/

heißt ihr aktuelles Kunst- und Forschungsprojekt, das sich mit der

Mobilität von Klang befasst und Klang in Abhängigkeit von sich

verändernden Umgebungsräumen erfahrbar macht. Die Klangkünstlerin und

Komponistin Matthews begreift die speziell erweiterten, klingenden

Fahrräder als Musikinstrumente, die klangliche Interventionen im

öffentlichen Raum ermöglichen. Unterstützt vom Musiker und

experimentellem Klanggestalter Sukandar Kartadinata sukandar.de/

und Teilnehmern ihres Seminars an der TU Berlin präsentiert sie den

aktuellen Projektstand ihrer Berliner Sonic-Bike-Kreationen.

Mit freundlichen Grüßen,

A. Pysiewicz

pdf icon die_Reihe_Flyer_SoSe2016_web.pdf

BERLIN – 29. Mai – 18:00 und 19:30 Uhr: Crescendo Festwochen Universität der Künste Berlin

Von: Martin Supper

Datum: Thu, 26 May 2016

Betreff: 29. Mai – 18:00 und 19:30 Uhr: Crescendo Festwochen

29. Mai – 18:00 und 19:30 Uhr: Crescendo Festwochen Univer

Sonntag – 29. Mai 2016 – 18 Uhr

Konzertsaal der UdK Berlin – Oberes Foyer

Hardenbergstraße / Ecke Fasanenstraße

Berlin-Charlottenburg

Elektro Retro

In der historischen Architektur des Konzertsaalfoyers präsentieren

Studierende eigene Installationen, Performances und Kompositionen mit

historischen elektronischen Instrumenten wie dem berühmten analogen

Koffer-Synthesizer Synthi AKS, dem digitalen Fairlight CMI oder der

live-elektronischen Publison Machine, mit der u. a. Luigi Nono viele

seiner Werke realisierte. Ein multidimensionales Klangerlebnis!

Alexander Choeb

Live-Performance für EMS Synthi A und zwei Publison Infernal Machines

Lea Danzeisen

Who let the- (dogs out) (2015/2016)

concert version. komponiertes soundfile (field recordings, Fairlight,

AKS 2, open source samples

Fabian Zeidler

LASUREN

für AKS Synthesizer und Publison auf Fixed Media

Evelyn Saylor

Prelude and Impromptu

4-channel fixed media piece for Fairlight and field recordings

Roman Gebhart / Lukas Meyer / Lucas Weidinger

Tape Cybernetics

François Crépu

BEHEADED CIRCLE

Beheaded circle is a piece for Bass and Delay

Ellie Gregory

Peilikuvat

A Sonata for Fairlight Samples and Publison

Anna Petzer / Walter Sallinen

Pawn structures

An electroinstrumental game of chess for two players

Leitung

Prof. Kirsten Reese und Prof. Dr. Martin Supper

Sonntag – 29. Mai 2016 – 19:30 Uhr

Konzertsaal der UdK Berlin

Hardenbergstraße / Ecke Fasanenstraße

Berlin-Charlottenburg

LIVING ELECTRONICS

Das Ensemble ilinx – Studio für Neue Musik der UdK Berlin beleuchtet in

diesem Konzert die vielfältigen Beziehungen von instrumentaler und

elektronischer Technik und interpretiert Kompositionen für

Soloinstrumente oder kleine Besetzungen mit Elektronik. Eine Klangreise

aus den 1960er Jahren bis heute. Der Klang der Instrumente wird in

Echtzeit verändert und gestaltet, für eine lebendige Realisierung der

Werke bedarf es der musikalischen Interpretation am Musikinstrument

ebenso wie an Computer und Mischpult.

Eine Kooperation des Ensemble ilinx – Studio für Neue Musik der UdK

Berlin mit UNI.K / Studio für Klangkunst und Klangforschung, sowie dem

Studio für elektroakustische Musik der Hochschule für Musik Hanns

Eisler Berlin.

Luigi Nono

Post-Prae-Ludium Donau für Tuba und Live-Elektronik (1987)

Thomas Kessler

Guitar Control für Gitarre und Live-Elektronik (1999)

Kaija Saariaho

Petals für Violoncello solo und Electronics (1988)

Kirsten Reese

clelia-eryx-boiga für verstärkte Flöte, Oboe und

Klarinette und live-elektronische Raumklangsteuerung (2004/2016)

Steve Reich

Violin Phase für Violine und Tonband oder für Violinen (1967)

Peter Ablinger

Book of Returns 2013 (1985-2015)

für Ensemble, Elektronik, in Situationen, variablen Formaten und Dauern

Leitung

Prof. Kirsten Reese, Leah Muir, Prof. Elena Mendoza, Prof. Wolfgang

Heiniger, Prof. Dr. Martin Supper

Interpretation und Klangregie

Ensemble ilinx, Studierende der UdK Berlin und der HfM Hanns Eisler Berlin

www.udk-berlin.de/kalender/detailansicht/calendar/elektro-retro-living-electronics-1/

FRANKFURT/M – Rotor #3 (Konzertreihe)

From: Orm Finnendahl

Subject: Rotor #3

ROTOR #3

Konzert: Gebrüder Teichmann mit Studierenden der HfMdK

Clubnacht mit Felix Krapp und Kilian Paterson

Freitag, 3.6.2016, 22:00 Uhr

Atelierfrankfurt Club / Schwedlerstraße 1-5 / 60314 Frankfurt am Main

Eingang Lindleystraße 14

Tram 11, Haltestelle Schwedlerstraße

Eintritt: 8/5 Euro

Rotor heisst eine neue Konzertreihe, die an wechselnden Orten

experimentelle, elektronische Musik, Neue Musik und Klangkunst

miteinander verbindet.

Rotor #3 präsentiert in einer Konzertperformance die Ergebnisse eines

Workshops der Gebrüder Teichmann mit Studierenden der

Kompositionsabteilung der Hochschule für Musik und Darstellende Kunst

(Klasse Prof. Orm Finnendahl). Im Anschluss Clubnacht mit den DJs

Felix Krapp und Kilian Paterson.

Kurzinfo

Die nicht nur in der Clubszene, sondern auch weit darüber

hinaus bekannten Gebrüder Andi und Hannes Teichmann sind am 2. und

3.6.2016 zu Gast im Studio für elektronische Musik und Akustik der

HfMDK und führen dort einen Workshop zum bisweilen

grenzüberschreitenden Einsatz von Hardware zur Klanggenerierung und

-manipulation durch. Als Klangquelle dient dabei der nicht zu

missende Plattenspieler, dessen Audio Signale vielseitig extrahiert

und abstrahiert werden. Der erste Teil der Rotor Veranstaltung besteht

in der gemeinsamen Präsentation der Ergebnisse dieses Workshops der

Gebrüder Teichmann und der Studierenden. Den zweiten Teil des Abends

gestalten die beiden DJs Felix Krapp und Kilian Paterson.

Eine Veranstaltung des Atelierfrankfurt in Kooperation mit der HfMDK

Frankfurt und Rotor. Mit freundlicher Unterstützung des IzM der HfMDK

Frankfurt. Rotor ist eine Konzert- und Performance-Initiative des

Internationalen Musikinstituts Darmstadt, des Instituts für

Klangforschung, HfG Offenbach und des Instituts für zeitgenössische

Musik, HfMdK Frankfurt.

SURREY: [cec-c] Fully-funded PhD studentship in collaboration with BBC R&D: Object-based audio rendering

Von: Kevin Austin

Datum: Thu, 26 May 2016

Betreff: [cec-c] Fully-funded PhD studentship in collaboration

Short Notice . . .

-Apologies for cross-posting-

The Institute of Sound Recording at the University of Surrey is

currently advertising a fully-funded PhD studentship, in collaboration

with BBC R&D, on object-based audio rendering.

Closing date for applications: 31st May 2016

PROJECT DESCRIPTION

The project aims to develop new methods to render object-based audio for

a range of domestic reproduction systems in order to create novel

listening experiences.

Interest in object-based audio is currently increasing, due in part to

the advent of commercial and standardised systems (e.g. Dolby Atmos,

DTS:X, MPEG-H). This project will investigate optimum methods to render

object-based audio in a domestic environment, taking into account

limitations in the number and position of loudspeakers available in

common domestic scenarios.

The research will involve creating example programme items, determining

methods to render these to a wide range of loudspeaker layouts, and

evaluating the resulting perceived audio quality and quality of

experience. The main body of the research will involve the development

of novel rendering methods; this will be achieved through a systematic

study of the physical and perceptual properties, and will be used to

implement a advanced object-based audio renderer. It is envisaged that

the research will involve a large amount of practical experimentation.

The researcher will be able to make use of the professional-quality

studios and wide range of over 100 microphones at the Institute of Sound

Recording, as well as its multichannel reproduction systems and ITU-R BS

1116 standard listening room. The project will also involve the

researcher spending significant amounts of time at BBC R&D’s North Lab

in Salford, where the researcher will be able to take advantage of the

BBC’s spatial audio listening room as well as links with its production

studios and the audio research team. The researcher will benefit from

being involved in the EPSRC-funded S3A project

(www.s3a-spatialaudio.org), both contributing to this project’s

wider aims as well as gaining from working in a large collaborative project.

APPLICANT SPECIFICATION

The successful candidate will need to meet the EPSRC nationality

criteriato be eligible for the funding. Applicants should have a first

or 2:1 honours degree, Masters degree, or equivalent in a subject that

includes sound recording, audio engineering, and/or psychoacoustics.

Applicants should be able to demonstrate excellent skills in one or more

of the following areas: basic psychoacoustics, psychophysics,

statistical planning and analysis of explorative experiments, audio

signal processing, sound recording.

Further details can be found here:

www.jobs.ac.uk/job/ANQ085/fully-funded-phd-studentship-in-collaboration-with-bbc-randd-object-based-audio-rendering/

Note that the successful candidate must meet the EPSRC eligibility criteria:

www.epsrc.ac.uk/skills/students/help/eligibility/

Chris

Dr Christopher Hummersone

Lecturer in Audio

Music & Sound Recording (Tonmeister) Admissions Officer

Institute of Sound Recording

University of Surrey

www.surrey.ac.uk/schoolofarts/people/complete_staff_list/chris_hummersone/index.htm

iosr.uk

Twitter: @IoSR_Surrey, @Dr_Chris_H

Tel.: 01483 686167

NYC: [cec-c] MFA studies+new faculty at Brooklyn College

Von: Kevin Austin

Datum: Wed, 25 May 2016

Betreff: [cec-c] MFA studies+new faculty at Brooklyn College

From: „Douglas E. Geers“ …

Subject: MFA studies+new faculty at Brooklyn College

Date: 2016 May 25 at 9:13:33 PM GMT-4

Dear friends,

I’m writing to inform you that Brooklyn College has recently completed a

search for a new, full-time faculty member in the areas of Media Scoring

and Sonic Arts. We are excited to announce our new colleague, Professor

Jonathan Zalben. Prof. Zalben has written music for films released by

HBO, Lionsgate, Discover, Sony Pictures Classics, and more. He will lead

our new MFA Media Scoring program, with a focus on teaching students the

techniques and technological skills needed to succeed as a professional

in the field of scoring music to visuals.

Prof. Zalben also has interests and experience with interactive

composition, performance, and installations. His full bio is here:

www.brooklyn.cuny.edu/web/academics/centers/ccm/people/faculty.php

Related to this news: We still have space for a couple more students to

join our debut class for both the Sonic Arts and Media Scoring MFA

programs this fall. We are capping the enrollment in the programs at ten

each and are excited at the high quality of students we’ve already

accepted. Anyone potentially interested to apply may contact me directly

at dgeers@brooklyn.cuny.edu dgeers@brooklyn.cuny.edu>.

Our MFA courses for fall 2016 will be:

MUSC 7015, Techniques for Recording Music

MUSC 7331, Sonic Arts Composition Lessons

MUSC 7341, Scoring Composition Seminar

MUSC 7342, Scoring Composition Lessons

MUSC 7352, Orchestration for Cinema I

MUSC 7370, Introduction to Music Technology

MUSC 7371, Computer Music I

MUSC 7375, Interactive Computer Music

Most of these courses will happen at the new Feirstein School of Cinema

in Brooklyn:

www.brooklyn.cuny.edu/feirstein

Other information about our MFA degrees is here:

www.brooklyn.cuny.edu/web/academics/centers/ccm/education.php

Best wishes,

Doug

BELFAST: [cec-c] Academic posts at SARC/ Job Opportunities

Von: Pedro Rebelo

Datum: Wed, 25 May 2016

Betreff: [cec-c] Academic posts at SARC

3 Academic job opportunities at the Sonic Arts Research Centre, School

of Creative Arts, Queen’s University Belfast.

The School of Creative Arts, Queen’s University Belfast is recruiting

three academics to help deliver an ambitious programme of teaching and

research.

The three positions are aligned with new undergraduate programmes which

take advantage of excellent industry links and an interdisciplinary

practice-focused approach to teaching. Interdisciplinarity forms the

drive towards the creation of a new School which will bring together

Music, Sonic Arts, Drama, Film, English and Modern Languages. Situated

within the Faculty of Arts Humanities and Social Sciences, the School

has strong collaborative links with Science and Engineering. Over the

next five years, the University is seeking to further establish its

international reputation and these positions will make an important

contribution towards this goal.

– Lecturer/Lecturer(Education) Design and Prototyping

– Lectureship in Music

– Lecturer/Senior Lecturer in Audio

See

qub.ac.uk/schools/SchoolofCreativeArts/Connect/JobOpportunities/

for more information.

Deadline for applications is 13th June 2016.

Professor Pedro Rebelo

Head of School

School of Creative Arts

P.Rebelo@qub.ac.uk