Subject: MA and PhD funding (especially contemporary music

performance/research)

From: Xenia Pestova

Dear all, if you have any students looking for funding for MA / PhD,

please do spread the word: we are particularly interested in applicants

wishing to specialise in contemporary music studies (composition;

performance, including performance with electronics; musicology). We

have strong links with the Birmingham Conservatoire and University of

Birmingham as well as De Montfort amongst others for co-supervision. For

details of staff specialisms, visit http://www.nottingham.ac.uk/music

AHRC Midlands3Cities funding for UK/EU students

The Midlands3Cities doctoral training partnership is a collaboration

between the universities of Nottingham, Nottingham Trent, Leicester, De

Montfort, Birmingham and Birmingham City. The DTP is in the third of

five years, awarding up to 89 PhD Arts and Humanities Research Council

(AHRC) studentships for UK/EU applicants for 2016 entry. M3C provides

research candidates with cross-institutional mentoring, expert

supervision (including cross-institutional supervision where

appropriate), subject-specific and generic training, and professional

support in preparing for a career.

The Department of Music at the University of Nottingham is inviting

applications.

The deadline for AHRC M3C funding applications is **12 January 2016**,

by which time students must have applied for a place to study and have

provided two references to a university within the DTP.

For full details of eligibility, funding and research supervision areas

(including use of the supervision search tool) please visit

www.midlands3cities.ac.uk or contact

enquiries(at)midlands3cities(dot)ac(dot)uk

Subject: XXII Festival international

From: wilfried jentzsch

We have the pleasure to inform you about the Synchresis programs that

will be presented at the

XXII Festival Internacional de Arte Sonoro y Música Electroacústica

Punto de Encuentro 2015

in the places of Valencia, Canarias and Granada.

24./ 25. 11. Granada – Real Conservatorio Superior de Música „Victoria

Eugenia“ from 17:00 – 20:30

Hiromi Ishii: Aquatic

Wilfried Jentzsch : Fractal Evolution

25. 11. Canarias – Conservatorio Superior de Música – Aula Caracola.

Hiromi Ishii: Aquatic

Wilfried Jentzsch : Fractal Evolution

Subject: +++ Sonic Architecture News +++ „Condensations“ im ZKM

Karlsruhe + Workshop

From: Jan Jacob Hofmann

EINLADUNG

25/26. November 2015:

Aufführung des Stückes „Condensations“ von Jacob Hofmann am Donnerstag,

den 26. November um 19:30 Uhr auf dem Konzert des Insonic-Symposiums am

ZKM in Karlsruhe. Das Stück wird in 3. Ordnung Ambisonic mit

Höhenkomponente aufgeführt. Am Tag davor, Mittwoch, den 25.November,

hält Jan Jacob Hofmann einen Workshop zu der von ihm entwickelten blue

und Csound-basierten Umgebung für Verräumlichung und Komposition,

„Spatial Granulator“.

Ort: ZKM, Lorenzstr. 19, Karlsruhe

Eintritt Konzerte jeweils 10 / 7 €

Programm: http://zkm.de/event/2015/11/globale-insonic2015

sound | movement | object |

space

sonic architecture | site: http://www.sonicarchitecture.de

spatial electronic composition | higher order ambisonic music

Subject: Tenure Track position, Music Technology, U. Central

Missouri

From: Eric Honour

Hello all,

I am pleased to announce that we are hiring a full-time, tenure-track

assistant professor to work with me in the music technology area at the

University of Central Missouri. Those who are interested can see the job

posting and apply here:

https://jobs.ucmo.edu/postings/13378

University of Central Missouri

Department of Music

VACANCY: MUSIC TECHNOLOGY

RANK: Assistant Professor

APPOINTMENT: August 15, 2016

POSITION

The Department of Music at the University of Central Missouri is pleased

to announce a search for a full-time, tenure-track assistant professor

of music technology. Teach undergraduate and graduate courses in the

music technology sequence and/or other areas in the candidate’s field(s)

of expertise, in keeping with the department’s needs. Assist with the

supervision and maintenance of the department’s music technology

facilities and equipment. Assist with recruiting for the music

technology degree program. Supervise and coordinate students tasked with

recording recitals and supporting other departmental technology needs.

Participate in the activities of the music technology area as a

collaborator, composer, performer, audio engineer/technician, or

otherwise, within the candidate’s qualifications and interests. Maintain

an active career as a music technologist and/or composer leading to the

establishment of a national reputation in the field.

MINIMUM QUALIFICATIONS

ABD in music technology or related fields (e.g. music composition), or

Master’s degree with at least 5 years of professional experience in

audio engineering, music technology, or related fields. Experience and

interest in working in classical, commercial/popular, and experimental

genres of music. Broad experience with audio engineering and production.

Experience with live sound reinforcement, including system design as

well as operation. Evidence of successful

college/university-level teaching. Thorough command of current versions

of Pro Tools, Logic, and Finale.

DESIRED QUALIFICATIONS BEYOND THE MINIMUM

Doctoral degree in music technology or related fields (e.g. music

composition). Broad experience with electroacoustic composition. Fluency

with Max, Ableton Live, and other common music production and

electroacoustic composition software applications. Experience

integrating live performance with electroacoustic music

(e.g. interactive computer music, laptop performance, live coding, live

diffusion, motion tracking, new interfaces for musical expression).

Experience with sound design, audio for game, and audio for video/film a

plus. Experience with collaborating across disciplines a plus. Ability

to teach courses in other areas of departmental need a plus.

SALARY AND BENEFITS

Salary is variable, depending upon qualifications and experience.

CLOSING DATE

Screening will begin Jan. 11, 2016, and continue until the position is

filled.

ABOUT UCM, THE DEPARTMENT OF MUSIC, AND CENTER FOR MUSIC TECHNOLOGY

The University of Central Missouri’s main campus is located in

Warrensburg, MO, a community of approximately 19,000 residents, 50 miles

east/southeast of Kansas City. More than 14,000 undergraduate and

graduate students are enrolled in more than 150 programs of study.

Student life is varied and vibrant, with 200 student organizations,

strong intramural and club sports, championship NCAA Division II

athletics, 22 Greek organizations, and ample residence halls. The arts

are particularly strong, with outstanding theater and art & design

departments, complementing the Department of Music.

The Department of Music at UCM offers B.A., B.M. (emphases in

Performance, Music Technology, Piano Pedagogy, and Jazz & Commercial

Music), B.M.E., and M.A. degrees (emphases in Conducting, History &

Literature, Kodaly, Performance, and Piano Pedagogy). The University is

fully accredited by the National Association of Schools of Music, the

North Central Association, and the National Council for Accreditation of

Teacher Education. The department is housed in two buildings and

includes a 385-seat recital hall. A 1,300-seat concert hall is located

in conjoining Hendricks Hall. The Department of Music is the

third-largest in Missouri, and the state’s first All-Steinway School,

with twenty-two full-time and seven adjunct faculty, and approximately

280 music majors. See web site at UCMmusic.com .

The Music Technology facilities at UCM support the nationally recognized

B.M. in Music Technology degree program. Comprising two recording

studios, a computer lab, an electronic composition studio, and extensive

live event technology—including a permanently-installed 11.4 Meyer Sound

Labs diffusion system in the primary recital hall—UCM’s music technology

facilities are comprehensive and able to provide support for a wide

variety of projects in music technology. UCM is Missouri’s lead

institution for applied and professional technology education, providing

significant administrative support. The music technology degree program

at UCM focuses on audio production and live sound reinforcement,

augmented with a wide variety of opportunities for students to explore

and take courses in computer music, composition, sound design, live

performance of electroacoustic music, jazz & commercial music, and other

related topics. See website at http://www.ucmo.edu/music/tech .

TO APPLY

Candidates must complete an online faculty profile, found

at https://jobs.ucmo.edu, and apply to position #998370. Attach to the

faculty profile a letter of application, a current curriculum vitae,

unofficial transcripts showing degrees completed, and three letters of

reference. Please list on the faculty profile the names, phone numbers,

and e-mail addresses for three additional professional references.

Additional supporting materials may be requested at a later time.

Questions regarding the position should be sent to Dr. Eric Honour,

Music Technology Search Committee Chair, e-mail: honour(at)ucmo(dot)edu.

For

information about the online application process, contact Human

Resources at jobs(at)ucmo(dot)edu.

UCM requires that all faculty applicants for this position complete the

online faculty profile and submit to the appropriate position for

consideration at jobs.ucmo.edu . All documents

requested for this position must also be attached to the faculty profile

at the time of application. Only completed on-line faculty profiles with

attached documents will be accepted for this position.

The University of Central Missouri is an AA/EEO/ADA employer.

revised 4/21/2014

Eric Honour

Professor of Music

University of Central Missouri

Composer/Saxophonist/Audio Engineer

Subject: SMC2016 – Call for Participation (please post/distribute) –

error corrected

From: Georg Hajdu

Sound and Music Computing Conference and Summer School 2016

Hamburg, Germany

Friday, August 26 to Saturday, September 3, 2016.

http://smc2016.net

The Hamburg University of Music and Theatre in association with the

Hamburg University of Applied Sciences, the University of Hamburg and

the Leuphana University Lüneburg will host the 13th Sound and Music

Computing Conference (SMC) in Hamburg (Germany) from Wednesday, August

31 to Saturday, September 3, 2016.

The conference motto is S.T.R.E.A.M. (Sound – Technology – Room –

Emotion – Aesthetics – Music). Keynote speakers will be John Chowning,

Trevor Pinch and Cat Hope. A music festival with a total of 8 concerts

will accompany the conference, featuring a special concert on real-time

composition/notation and animated scores as well as a concert showcasing

music by Chowning. The opening day of the conference will showcase past

and present of computer music in Hamburg, home of two of the earliest

and most influential digital audio workstations (Cubase and Logic), and

long-time residence of new music visionary György Ligeti.

The conference will also host a summer school on the topic of „Neurons

and Networks“ from August 26 to 30, 2016.

/////

Call for Papers

We are now soliciting submissions for oral and poster/demo

presentations. We encourage submissions examining core areas of Sound

and Music Computing, in particular:

Real-time composition, improvisation and notation

History and aesthetics of electronic media

Social interaction in sound and music computing

Room acoustics and spatial audio

Virtual environments for music

Music cognition and creativity

New interfaces for musical expression

Software / computer music languages

Multi-modal perception and emotion

Computer-based music analysis

Instrument building and virtuosity in Computer Music

Sonic interaction design

/////

We also welcome submissions on the following topics:

Auditory displays and data sonification

Computational musicology and mathematical music theory

Computer environments for sound/music processing

Digital signal processing

High performance computing for audio

Interactive performance systems

Music and robotics

Music information retrieval

Sound and music for virtual reality and games

Sound and Music computing in the processing and composition of

Soundscapes/Environmental Arts

Sound and Music Computing in Education

/////

Papers should be between 4 and 8 pages, written in English and not

previously published. All submissions will be peer-reviewed. Papers can

be submitted as oral or poster demonstrations, but the final decision on

the category will be made by the programme committee.

Oral presentations: 8 pages maximum, 20 minutes for presentation (15

minute talk followed by 5 minutes of Q&A)

Poster presentations: 6 pages maximum

/////

Submitted papers must be submitted via the SMC2016 conference system (at

http://smc2016.net) and must comply with the given templates. The

conference system will open on January 1st, 2016. Upon acceptance,

camera-ready versions should be re-submitted within 14 days.

All accepted papers will be included in the conference proceedings which

will be available on the conference website (http://smc2016.net) as an

electronic publication. Please note that per paper at least one of the

authors needs to register in order for the paper to be presented and

included in the proceedings.

Best Paper Award

In accordance with the SMC tradition, we will award a prize for the best

paper. The prize will permit the author(s) to publish an extended

version of the paper in a subsequent issue of Computer Music Journal

(MIT Press).

Inquiries should be directed to the paper chair Rolf Grossmann:

paperchair(at)smc2016(dot)net

/////

Call for Sonic Works

We also invite submissions of music and sonic art works for presentation

at the festival. Hamburg has a long and ongoing tradition of improvised

music. In the spirit of this tradition we encourage submissions of works

exploring emerging trends such as comprovisation or conduction.

The performance venues will be at the HAW Finkenau campus

(http://www.haw-hamburg.de/dmi.html) and Kampnagel

(http://www.kampnagel.de/en/home/).

Featured categories:

Fixed scores & electronics

Real-time composition/notation and animated scores

Improvisation & electronics

Electronics & performance art

Fixed media

Audiovisual installations

Works in all categories are free to use video.

/////

Available ensembles and musicians:

TonArt, a Hamburg-based ensemble dedicated to improvised music in

existence since 1989. Instrumentation (the complete instrumentation is

available on the conference website at http://smc2016.net)

RADAR, a new music ensemble from the neighboring Hanseatic city of Lübeck.

Instrumentation: vln, vc, clar, acc, piano, perc, double bass

Lin Chen, a Hamburg-based percussionist and performance artist.

Carola Schaal, a Hamburg-based clarinetist and performance artist.

/////

Music for other instrumental resources will be considered, but composers

will be responsible for providing their own performers. Where possible,

modest financial help may be offered to facilitate this.

The conference system will open on January 1st, 2016.

Inquiries on submissions and concerts should be directed to the music

chair Sascha Lino Lemke: musicchair(at)smc2016(dot)net

/////

Summer School

The SMC Summer School will take place over five days from August 26 to

30, 2016. It will give young researchers the opportunity to learn about

some of the core interdisciplinary topics and to share their own

experiences with other young researchers.

The motto is Neurons and Networks, referring to the following topics:

Brain-computer music interfaces

Artificial neural networks for gesture recognition and complex mapping

Networked music performance

Elaborate loudspeaker networks for wave-field synthesis and 3D

spatialization techniques

/////

Applications must be submitted via the SMC2016 conference system. The

conference system will open on January 1st, 2016.

Inquiries about the summer school should be directed to Xiao Fu:

summerschool(at)smc2016(dot)net

/////

Important Dates

Conference system accessible: January 1, 2016

Paper and music submissions (deadline): April 15, 2016

Summer school application (deadline): April 15, 2016

Notifications: June 1, 2016

Camera ready submissions: June 15, 2016

Early registration: June 15, 2016

SMC summer school: August 26 – 30, 2016

SMC conference: August 31 – September 3, 2016

General inquiries should be directed to the conference chair Georg

Hajdu: chair(at)smc2016(dot)net

Subject: quEAR! präsentiert ECHOS+NETZE, das transtonale Hörfest

(bitte gerne an Interessierte weiterleiten/post and re-post)

From: Sibylle Pomorin

Sehr geehrte Damen und Herren,

vom 20. – 22.11. wird meine elektroakustische Komposition „Raumklang 1

und 2“ beim Hörfest Echos und Netze

im Kunstquartier Bethanien mehrfach täglich aufgeführt.

Mit freundlichen Grüßen, Sibylle Pomorin

Anfang der weitergeleiteten E-Mail:

Von: info at quear

Datum: 16. November 2015

Betreff: quEAR! präsentiert ECHOS+NETZE, das trans*tonale Hörfest (bitte

gerne an Interessierte weiterleiten/post and re-post)

ich möchte Euch ganz herzlich zu ECHOS+NETZE einladen.

Unser Transtonales Hörfest Berlin startet am Freitag.

Vernissage: Freitag 20.11. 17h

ECHOS+NETZE: 20.-22. November

Öffnungszeiten: täglich (auch Freitag!) 11 – 22h

39 internationale Klangkünstler_innen ziehen in die ehemalige Kapelle

des Bethanien (Studio 1),

um dort ihre künstlerischen Positionen zu präsentieren, die sie in

Auseinandersetzung mit dem Raum

und den ECHOS + NETZEN unserer queeren Communities entwickelt haben.

Diese Arbeiten – Klanginstallationen, Hörstücke und Soundperformances

– werden sie der Öffentlichkeit

vom 20.-22. November 2015 präsentieren!

In Interviews mit den Künstler_innen könnt Ihr hier schon reinhören

www.echosundnetze.de

Subject: 19.Nov, 19:30 ­ Vintage Modularsynthesizer in der Reihe

Raumklänge ­ Ortsbezogene Musik

From: georg dietzler

19.Nov, 19:30 – Vintage Modularsynthesizer in der Reihe Raumklänge –

Ortsbezogene Musik

19.November, 19:30 Uhr | Donnerstag

Baustelle Kalk | Kalk-Mülheimer Straße 124 | 51103 Köln

/Vintage Modularsynthesizer in der Reihe /Raumklänge – Ortsbezogene

Musik,eine herzliche Einladung zum 2015er Abschlusskonzert mit

/

/Yoshio Machida & Constantin Papageorgiadis aka Trap & Zoid

LCDrone (Laura Sicault & Constantin Papageorgiadis aka Trap & Zoid)

Kai Niggemann (Paradeiser Productions) – Live Modularsynthesizer EMS

SYNTHI AKS, Buchla 200e, Fieldrecordings, Geräuschchor, selbst gebauten

Klangerzeugern und akustischen Instrumenten, …

This evening is entirely dedicated to showcasing the sounds and

improvisations that come exclusively from modular synths. The artists

for this edition are Japanese artist Yoshio Machida, German Kai

Niggemann, two Belgian acts Trap & Zoid and LCDrone. To complete the

evening all artists will join together for a stunning jam session.

Ein Abend in Zusammenarbeit mit der Baustelle Kalk.

WIR FREUEN UNS ÜBER SPENDEN BEI FREIEM EINTRITT

Veranstalter /Raumklänge – Ortsbezogene Musik/:

freies rheinland e.V. und Kulturabteilung der Stadt Pulheim | Kurator:

Georg Dietzler

/Raumklänge – Ortsbezogene Musik/ ist eine Plattform für

raumerforschende Musik, Hörstudien und erweiterte Aufführungspraxis, wie

lassen sich Musik und Orte immer wieder auf’s Neue erleben. Vorgestellt

werden Auftragswerke, improvisierte Musik, Hörstücke und Klangkunst für

Orte in Pulheim-Stommeln und Köln.

/Raumklänge – Ortsbezogen Musik/ wird gefördert im Rahmen der regionalen

Kulturpolitik NRW, vom Ministerium für Familie, Kinder, Jugend, Kultur

und Sport des Landes Nordrhein-Westfalen; Kunststiftung NRW; Konzert des

Deutschen Musikrates.

Die Veranstalter, die Kulturabteilung der Stadt Pulheim & freies

rheinland e.V. c/o Georg Dietzler, danken allen Förderern und

Veranstaltungspartnern für die Zusammenarbeit 2015: Ministerium für

Familie, Kinder, Jugend, Kultur und Sport des Landes

Nordrhein-Westfalen; Kunststiftung NRW; Konzert des Deutschen

Musikrates, ON – Neue Musik Köln e.V., nxnwfestival, Kunststation St

Peter, Baustelle Kalk, Förderprogramm der SK-Stiftung Kultur, BPD

Immobilienentwicklung GmbH Düsseldorf, der Pfarrgemeinde St. Martinus

Stommeln, dem Kulturforum in Herz Jesu e.V., der Gemeinde Herz-Jesu &

Sankt Mauritius Köln, dem Kuratorenteam Brückenmusik/Therapeutische

Hörgruppe Köln. Unser Dank gilt selbstverständlich auch unseren

KünstlerInnen, die dieses vielstimmige Programm Ortsbezogener Musik mit

gestaltet haben.

freies rheinland eV c/o georg dietzler

50668 Köln

www.gerngesehen.de

_http://www.facebook.com/pages/gerngesehen-whats-up/280414075312269_

Subject: Job opportunity – Tenure-track position „Global Sound

Composer“ – University of California, Riverside

From: Paulo Chagas

The University of California, Riverside is recruiting a „Global Sound

Composer. The position is part of a cluster hire in „Global Arts“ with a

total of four positions. This is a open rank position so that the hire

is open for the ranks of Assistant, Associate, or Full Professor.

See add below for details. Please feel free to contact me for any

inquiry or recommendation concerning this hire.

Sincerely

Paulo C. Chagas

Professor of Composition

University of California, Riverside

Global Arts

The University of California at Riverside (UCR) is embarking on a major

new hiring initiative that will add 300 tenure-track positions in 33

cross- disciplinary areas selected through a peer-reviewed competition.

Over the next three years, we will hire multiple faculty members in each

area and invest in research infrastructure to support their work. This

initiative will build critical mass in vital and emerging fields of

scholarship and the arts, foster truly cross-disciplinary work and

further diversify the faculty at one of America’s most diverse research

universities. We encourage applications from scholars and artists

committed to excellence and seeking to help redefine the research

university for the next generation. For more information regarding UCR’s

hiring initiative please go to: http://clusterhiring.ucr.edu

.

The faculty recruited in Global Arts will join a vibrant community of

scholars and artists whose work is global in both the sense of its

international reach and its cross-disciplinary scope. We are conducting

an open rank recruitment for four positions (two junior, two senior)

seeking individuals who exhibit a range of geographical and cultural

diversity, and who all are actively using or doing art—engagingdirectly

with creative artistic practices–either themselves or in active

partnership with artists. Preference will be given to candidates with

significant international experience and whose work extends UCR’s

existing globally oriented arts and research programs. Successful

candidates will join departments corresponding to their areas of

expertise, teach in Global Studies and contribute to other

interdisciplinary programs. Required qualifications are a terminal

degree in the area of specialization or related field (e.g. Ph.D., MFA,

DMA) or a prior university appointment or other evidence of

international recognition for creative achievements appropriate to an

academic environment.

We invite applicants in the following four areas. We seek to make two

junior (tenure-track) and two senior (tenured) appointments.

Global Writing and Public Memory: We seek a writer or scholar of

international reputation who explores transnational topics (e.g. cities

and their interactions, genocide, human rights, humanitarianism and

protest politics) and treats such subjects as a form of global public

memory. The ideal candidate will not be limited by genre, geography, or

language, and will be comfortable developing, with fellow artists and

social scientists, collaborative projects that address memory for

diverse publics.

Global Sound Composition: We seek a sound composer of international

reputation whose work explores the diversity of artistic forms emerging

in the medium of sound, going beyond the boundary of music and

reflecting on the differentiation processes of sound in a global

society. Areas of expertise may include creative work in sound art,

design, synthesis, installation, radio art, electronic or digital sound

composition or soundscape; research on topics such as the role of sound

in digital culture, the development of sound in relation to information

and communication technology, or the interdisciplinary relations

connecting sound to image, body, visual and media art are also desirable.

Global Aesthetics and Art Practice: We seek a scholar of the philosophy

of art whose work takes a global perspective. The appointee should have

significant expertise in aesthetics and one or more area of artistic

practice, and be able to contribute to “practice-informed theory.”

Serious engagement with debates about globalization and the arts and the

effects of global dynamics on theorizing about the arts, and the ability

to work creatively across disciplinary boundaries is essential. A

familiarity with both analytic and continental approaches to aesthetics

is highly desirable.

Performance Maker: We seek a performance maker who can galvanize

practices of and exchanges about performance and performativity across

disciplinary lines. This performer should have substantial international

experience, adding to the transnational scope and diversity of UCR’s

programs across and beyond the performing arts. The ideal candidate will

have the ability to work in more than one language, with an interest in

and facility with integrating media and new technologies within

performance, and experience working with artists from various countries

across geographic boundaries. Engagement with intercultural issues in

performance is highly desirable.

Applicants should indicate which of the four areas their work engages at

the top of all of their application materials. They should submit a CV,

cover letter that includes a research statement, evidence of teaching

and a sample of work. Three letters of reference are required for junior

level positions; those applying for senior positions should include

contact information for 3-5 references. Deadline for applications is

December 21, 2015. All Appointments will begin June 30, 2016. Salary is

commensurate with education and experience.

Application Procedure: Applications will be submitted electronically

through UCR’s online application portal.

Assistant Professor tenure-track:

https://aprecruit.ucr.edu/apply/JPF00476 Associate and Full Professor

tenured:https://aprecruit.ucr.edu/apply/JPF00477

Letters and inquiries should be addressed to; Susan Ossman, Chair,

Global Arts Search Committee at susan(dot)ossman(at)ucr(dot)edu

UCR is a world-class research university with an exceptionally diverse

undergraduate student body. Its mission is explicitly linked to

providing routes to educational success for underrepresented and

first-generation college students. A commitment to this mission is a

preferred qualification.

Advancement through the faculty ranks at the University of California is

through a series of structured, merit-based evaluations, occurring every

2-3 years, each of which includes substantial peer input.

The University of California is an Equal Opportunity/Affirmative Action

Employer. All qualified applicants will receive consideration for

employment without regard to race, color, religion, sex, sexual

orientation, gender identity, national origin, age, disability,

protected veteran status, or any other characteristic protected by law.

Applicants who use Interfolio may utilize a feature provided by the

Interfolio Service to allow Interfolio to upload their letters directly

into AP Recruit. Applicants can input an Interfolio-generated email

address in place of their letter writer’s email address. Interfolio

refers to this as Online Application Deliveries. The following link on

the Interfolio website shows how to set this

up.http://help.interfolio.com/entries/24062742-Uploading-Letters-to-an-Online-Application-System.

AP Recruit Link for applying at the Assistant Professor level:

https://aprecruit.ucr.edu/apply/JPF00476

AP Recruit Link for applying at the Associate/Full Professor level:

https://aprecruit.ucr.edu/apply/JPF00477

Subject: Desert Bloom – Hörstück WDR 3 – Nachhören/Download bis 20.11.2015

From: christina kubisch

WDR 3 open: Studio Akustische Kunst – 13.11.2015

Desert Bloom

Von Florian Kindlinger, Christina Kubisch und Peter Kutin

„Desert Bloom“ übersetzt die elektromagnetischen Felder von Las Vegas

in Klang und hinterfragt daneben das Konzept der schillernden Wüstenstadt.

Florian Kindlinger und Peter Kutin arbeiteten mit Christina Kubisch

zusammen, die sich darauf spezialisiert hat, elektromagnetische Felder

und Wellen hörbar zu machen. Las Vegas ist voll davon: Spielautomaten,

Neonschilder, Security Gates, drahtlose Netzwerke, Funksignale,

Laserstrahlen, Überwachungskameras … Es ergeben sich abstrakte und

oftmals aggressiv anmutende Klänge von sehr direktem, raumlosen

Charakter – dabei speist sich diese spezielle Tonebene jedoch stets aus

einer real existenten Wirklichkeit, es handelt sich nicht um künstlich

geformtes Sounddesign: Das Audio-Konzept folgt wie in allen Arbeiten von

Kutin/Kindlinger einem strengen dokumentarischen Dogma.

Florian Kindlinger (1984), lebt und arbeitet als Musiker und

Tontechniker in Wien und Salzburg. Führt Klangregie u. a bei den

Salzburger Festspielen und macht Sounddesign für Film und Fernsehen.

Christina Kubisch (1948, Bremen), Grande Dame der installativen

Klangkunst-Szene. Sie war von 1994 bis 2013 Professorin für

Audiovisuelle Kunst an der Hochschule der Bildenden Künste Saarbrücken.

Peter Kutin wurde 1983 in Leoben, Steiermark geboren. Studium

Elektroakustischer Musik an der Universität für Musik und Darstellende

Kunst in Wien. Klangkünstler, Komponist, Musiker und Kurator.

Realisation: die AutorInnen

Produktion: WDR 2015

Redaktion: Markus Heuger

http://www.wdr3.de/musik/akustischekunstbeiwdr3/kindlinger-kubisch-kutin-100.html

Subject: KlangWelten ad hoc 18.11.2015

From: Thomas Gerwin

Herzliche Grüße und herzliche Einladung!!

>> !! (ausnahmsweise)Mittwoch, 18. November 2015 – 20h c.t.,

Bibliothek am Luisenbad, Travemünder Str.2, 13357 Berlin-Wedding

K l a n g W e l t e n . a d . h o c

„B L A C K B O X“

No.6 mit Wilfried Kirner (double bass) + Dietrich Petzold (violin,

viola) + Ingo Reulecke (dance) + Thomas Zunk (theremin, live-electr.)

+ Thomas Gerwin (prep. banjo, objects, live-electr.)

Eine Veranstaltung von /inter art/project in Zusammenarbeit mit dem

RBB Kulturradio, der Bibliothek am Luisenbad und dem Institut für

multisensoriale Kunst.

Gefördert vom Bezirkskulturfonds Berlin-Mitte BKF

Puttensaal der Bibliothek am Luisenbad- Travemünder Str.2 – 13357

Berlin-Wedding – U-Pankstrasse–

Kartenreservierung: Tel.030-39741734 oder mail(at)inter-art-project(dot)de

– Eintritt frei, Spenden willkommen

__.__:___._____ _ _ _ _ _ _ _ _

::

inter art project

KlangWelten ad hoc

Internationales Klangkunstfest Berlin

::

www.thomasgerwin.de

Subject: Joint ZKM IRCAM residency on spatial music

From: ludger brümmer

Artistic Research Residency Program 2017

Featuring IRCAM Residency & Joint ZKM / IRCAM Residency Tracks

The artistic research residency program is open to composers,

professional musicians, choreographers, stage directors, sound

designers, and students who wish to carry out their musical and artistic

research using IRCAM or its partners’ facilities and extensive research

environment. 
Upon nomination, each candidate will be granted a

residency in an associated laboratory during a specific period that will

range from three to six months long. During this period, candidates will

work in association with a team/project at IRCAM or with a partner (this

year will be marked by the first collaboration with ZKM | Institute for

Music & Acoustics), carry out the musical and scientific experimental

work associated with their proposed project, and participate in the

intellectual life of the institute.
 At the end of their stay,

candidates will be invited to share the results of their work with the

international musical research community in the form of documentation

and public presentations.

ZKM / IRCAM Joint Residency Track

The purpose of the Joint ZKM/IRCAM residency is to foster collaborations

between the two institutions around one or two artistic projects that

demand joining research, technical and artistic efforts between the two

entities.

Candidates applying to the Joint ZKM/IRCAM Residency Track should choose

the Special Track in their application. Submitted applications should

clearly demonstrate collaborative aspects with two institutions for the

project. The Work Plan of the proposal should also clearly demonstrate

the will to carry out the project in both locations (Paris/France for

IRCAM and Karlsruhe/Germany for ZKM) during the project life. Given the

bi-localized nature of this call, the minimum duration residency for

this call is 6 months. Final selection for this track is subject to a

joint evaluation of proposals by ZKM and IRCAM, based on relevancy,

quality and novelty of proposed projects.

Final laureates of Joint ZKM/IRCAM Residency Track can redeem travel

costs between laboratories once or twice during the residency, based on

the proposed project. Laureates are expected to spend at least half of

their residency period in each institution.

For this call, the Joint ZKM/IRCAM Residency Track program is

particularly interested in artistic residencies calling for innovative

employment of Wavefield Synthesis, Vector Based Amplitude Panning and

Ambisonics spatial sound diffusions. But proposals covering other themes

within the activities of both institutions are welcome.

ZKM is a cultural institution in Karlsruhe, Germany, that combines

production and research, exhibitions and events, among others, for the

development of interdisciplinary art projects. […]

More about ZKM at :

http://zkm.de/en/institutes-research-centers/zkm-institute-for-music-and-acoustics

Submission Instructions

Create an account (or use pre-existing account) on

http://www.ulysses-network.eu/. After creating your profile, create your

application for “Ircam – Artistic Research Residency Program” via the

“Your Application” panel. You can save your application as draft before

the submission deadline. The system will warn for any incomplete

material before the final submission.

Applicants are highly encouraged to consult existing and prior work

related to their proposed project at Ircam and elsewhere through various

sources including Ircam Research websites and program partners. Prior

residency reports can be consulted from Ircam’s Musical Research website.

Required material

Biographical details: Short biography, Detailed CV (PDF document), and

Motivation Letter (one page PDF)

Project title

Project abstract (300 words)

Detailed Project Proposal (PDF only, maximum 6 pages): Detailed

Project description, including the state-of-the-art

background and justifications on the novelty of the proposed project,

and possible ways to achieve goals through a

collaborative musical research project. Projects should clearly address

artistic challenges that can be solved/explored using scientific and

technological advances.

Summary of collaborative aspects (300 words): Briefly describe the

collaborative aspects (within a research and artistic environment) that

the proposal entails.

Work plan (150 words): Preliminary work plan including requested

residency period and duration (between January

2017 and December 2017), and Ircam teams or staff who will be involved

with the project.

Multimedia (audio/video) samples (Two works): Samples of prior or

current work representative of the artistic and

research quality of the applicant’s work. Submission of program notes

and scores along the multimedia is highly recommended.

Rules

Applications can be in French or English.

Application procedure is strictly ONLINE. No material through mail or

post will be considered.

A candidate can not represent for more than two consecutive years.

Submission deadline is strict and will be automatically closed by

November 30th (midnight Paris time). No exceptions will be granted.

Any incomplete and defected application according to the above

guidelines will be rejected.

Authors are responsible for the application content and its verification.

All submission materials are considered confidential and will not be

used by Ircam or any third-party without the consent of the applicant.

The musical research residency is by no means a commision for an

art-work or a scientific residency.

It can however become an experimental stage for an art-work in

collaboration with scientific research teams.

For all questions or concerns, use the contact link on this website.

http://www.ircam.fr/recherche-musicale.html?&L=1

Viele Grüsse

Ludger Brümmer

Ludger Brümmer

Leitung | Head of Department

Institut für Musik und Akustik | Institute for Music and Acoustics

/////// / |< ||| | ZKM | Zentrum für Kunst und Medientechnologie Karlsruhe /////// / |< ||| | ZKM | Center for Art and Media Karlsruhe /////// / |< ||| | ZKM | Centre d'Art et de Technologie des Médias Karlsruhe Lorenzstr. 19, D-76135 Karlsruhe www.zkm.de

300 Tage GLOBALE – das aktuelle Programm

300 days of GLOBALE – the up-to-date program

Subject: Nomades Konzert in Bogota

From: claudia robles

Hallo Zusammen,

hier der Link zu dem Event in Facebook:

https://www.facebook.com/events/530651923752391/

Schoene Gruesse aus Bogota,

Claudia

Subject: Berlin 19.11: Mark Fell and CM von Hausswolff at FEED

From: Manuela Benetton

Thursday, 19 November 2015

Doors: 7pm, Concert: 8pm

FEED at KW, Institute for Contemporary Art

Auguststraße 69, 10117 Berlin

_Facebook Event_

MARK FELL AND CM VON HAUSSWOLFF

Artists and composers Mark Fell and Carl Michael von Hausswolff present

their first collaborative project featuring a piece for live electronics

played through a seven channel surround system. Each speaker transmits a

design-specific hardware oscillator, producing complex wave shapes and

responding to preset parameters different for each unit. The parameters

are then modulated and controlled constantly and in real time, at both

distinctive and random intervals during the live performance. The aim is

to create a unique, immersive, site specific and unrepeatable sound

environment.

In cooperation with STUK Arts Centre, Leuven, Image and Sound

,

_FEED

_

and _KW, Institute for Contemporary Art

_.

Instruments designed by _Derek Holzer

/macumbista.net

_.

MARK FELL

Mark Fell is widely known for combining popular music styles, such as

electronica and club music, with more academic approaches to

computer-based composition with a particular emphasis on algorithmic and

mathematical systems. Since his early electronic music pieces Fell’s

practice has expanded to include moving image works, sound and light

installation, choreography, critical texts and educational projects. The

diversity and importance of Fell’s practice is reflected in the range

and scale of international institutions that have presented his work

which include – Hong Kong National Film archive, MACBA, La Casa

Encendida, LABoral, The Institute of Contemporary Art in London, The

Serpentine, The Australian Centre For Moving Image, ZKM and others.

www.markfell.com

CM VON HAUSSWOLFF

Since the end of the 1970s, Carl Michael von Hausswolff has worked as a

composer using the tape recorder as his main instrument, further aids

are the sine-wave generators, oscillators and radar transmitters. His

audio compositions are pure, intuitive studies of electricity, frequency

functions and tonal autism within the framework of a conceptual

stringent cryption. Lately he has also developed a more conceptual form

of audio art overlooking subjects such as architecture and urbanism,

rats and maggots. Collaborators include Graham Lewis, Jean-Louis Huhta,

Pan sonic, Russell Haswell, Zbigniew Karkowski, Erik Pauser, The Hafler

Trio and John Duncan. His music is published by _Touch Music

_,

London.

www.cmvonhausswolff.net

Subject: upcoming concerts – chr.banasik

From: Christian Banasik

13. Nov. 2015 – 7:00 pm

Bogotá – Colombia

Museo de Arte Contemporáneo de Bogotá MAC

Carrera 74 No. 82A – 81 Bogotá

NOMADES concert series

Christian Banasik – *Ihr Fassen nach Wind*

(electroacoustic music)

based on words by M. Wuestefeld and field recordings

of the St. John’s Church in Dusseldorf

/////

22. Nov. 2015 – 6:00 pm

Tonhalle Dusseldorf (Helmut Hentrich Concert Hall)

remembering Bernd Wiesemann (1938-2015)

notabu.ensemble new music / Mark-Andreas Schlingensiepen, Dir

Christian Banasik -* Daemmerung 1-5 *

(for clarinet, saxophone, piano, 2 percussionists and double bass)

based on texts by Kurt Tucholsky

Christof Hilger, clarinet

Wardy Hamburg, saxophone

Yukiko Fujieda, piano

Rolf Hildebrand, percussion

Patrick Andersson, percussion

Santiago Cavanagh, double bass

/////

28. Nov. 2015 – 8:00 pm

Ratingen / Ferdinand-Trimmborn Concert Hall

Input-Output concert series

with notabu.ensemble new music

Christian Banasik – *Dressing old words new *

(for bass clarinet and fixed media)

based on a sonnet by William Shakespeare

Christof Hilger, bass clarinet

best regards

christian banasik

Subject: Konzertankündigung

From: wilfried jentzsch

Liebe Freunde und Kollegen,

hiermit möchten wir Sie/ Euch herzlich einladen in die

Hochschule für Künste Bremen

Visual Music – Konzert am 16.11. 2015, 20 Uhr , Konzertsaal

Werke von Hiromi Ishii und Wilfried Jentzsch

PROGRAMM:

1.Wilfried Jentzsch – Kyotobells ( 8K, 10´ 59´´)

2.Hiromi Ishii – Ryum ( 4K, 5´ 36´´)

3.Wilfried Jentzsch – Imaginäre Landschaft ( 6K, 10´ 04´´)

Hiromi Ishii – Refraction ( 4K, 7´ 04´´)

5.Wilfried Jentzsch – Particle World (8K, 7´55´´)

6.Wilfried Jentzsch – Fractal Evolution ( 8K, 8´ 53´´)

7.Hiromi Ishii – A Tale of Wind ( 8K, 7´53´´)

8.Hiromi Ishii – Aquatic ( 8K, 5´ 51´´)

9.Wilfried Jentzsch – Widerschein des Lichtes ( 4K, 9´ 39´´

Mit herzlichen Grüßen,

Wilfried Jentzsch & Hiromi Ishii

Subject: SCHWERIN – Hölleneingang a, b, c, bis z – Denise Ritter

From: Denise Ritter

Hölleneingang a, b, c bis z

Narrative Klanginstallation | Denise Ritter

Ein Independent-Musiker und ein Geograph erzählen sporadisch von

Inspiration, Verortung und Landschaft – eingebettet in ein

elektroakustisches Territorium diffuser Field Recordings von umzäuntem,

gesperrtem und nicht zugänglichem Gelände an verschiedenen Orten Europas.

Ausstellung vom 14. November 2015 – 8. Januar 2016

Ausstellungseröffnung

Freitag, 13. November 2015 | 19 Uhr

Kunstverein Schwerin

Spieltordamm 5, 19055 Schwerin

Mehr Info:

http://www.kunstverein-schwerin.de/

Denise Ritter | Sound Artist

www.gegenort.com

Subject: In Memoriam Gerd Rische

From: Garcia Karman, Gregorio

Gerd Rische ist am 8. Oktober 2015 nach kurzer Krankheit im Alter von 66

Jahren verstorben.

Rische studierte Betriebswirtschaft in Frankfurt / Main, arbeitete

zuerstbei Hewlett-Packard, später als stellvertretender Bezirksdirektor

der GEMA Berlin. Von 1995 bis 2014 war er Mitarbeiter der Akademie der

Künste als Leiter des Studios für Elektroakustische Musik, dessen Sitz

seit der Vereinigung der Akademien 1993 in Berlin-Charlottenburg war.

Als Studioleiter ermöglichte und begleitete Rische zahlreiche

Musikprojekte, die zur Vielfalt der Berliner elektroakustischen Szene

nach der Wende maßgeblich beitrugen. Die sehr persönliche Trauerfeier

und anschließende Beerdigung fand im engeren Familien- und Freundeskreis

am Montag, 2. November 2015 in Berlin-Wilmersdorf statt.

Mit stillem Gruß,

Dr. Gregorio García Karman

Künstlerischer Leiter

Studio für Elektroakustische Musik

Akademie der Künste

Subject: „no sun, no moon“ – Next Concerts

From: Jorge García del Valle Méndez

JORGE GARCÍA DEL VALLE MÉNDEZ – KONZERTANKÜNDIGUNG

Sehr geehrte Damen und Herren, liebe Freunde und Kollegen!

Hiermit möchte ich die nächste Aufführungen meines Werkes „no sun, no

moon“ für Bassflöte und Elektronik ankündigen:

– 13. November 2015: University of Bristol, Bristol, ENGLAND

http://www.bristol.ac.uk/arts/events/2015/november/karin-de-fleyt-and-david-ibbett.html

– 19. November 2015: Logos Foundation, Gent, BELGIEN

http://www.logosfoundation.org/concerts/concerts.html

Karin de Fleyt, flute

David Ibbett, piano with electronics

– 27. November 2015: WOCMAT (Workshop on Computer Music and Technology)

2015 – National Chiao Tung University, Hsinchu, TAIWAN

http://web.it.nctu.edu.tw/~wocmat/home_en.html

Viele Grüße von

Jorge García del Valle Méndez

Subject: NOMADES Konzert: special edition: DEGEM – BOGOTA

From: claudia robles

Sehr geehrte DEGEM Mitgliedern,

Es freut mich sehr Ihnen die Ergebnisse der auswählten Stücken für das

NOMADES Konzert in Bogotá ankündigen zu dürfen. Das Konzert wird von

der DEGEM gefördert und wird am MAC – Museo de Arte Contemporáneo in

Bogotá, Kolumbien innerhalb der Ausstellung’Convergence Zone I –

Bogotá/Köln‘ am 13.11.15 um 19:00 Uhr stattfinden.

Ich möchte hiermit auch, mich bei allen Komponisten, die Stücke für

dieses Konzert zugeschickt haben, herzlich bedanken. Die Qualität aller

war sehr hoch, dennoch, wegen der geplanten Dauer des Konzertes, konnten

leider nicht alle berücksichtigt werden.

LISTE der auswählten Kompositionen folgt:

– Dream Grammar – Werner Cee

– TOPOS – Clemens von Reusner

– Crosstalk – Gerald Fiebig

– Ihr Fassen – Christian Banasik

– SAI – Wilfried Jentzsch

– Zeitinformation – Jan Jacob Hofmann

– Via – Georg Rollin

– Tomback – Ali Ostovar

– hitmachine – Peter Wießenthaner

– Schwerpunktjongleur – Andreas H. Suberg

NOMADES KONZERT: SPECIAL EDITION: DEGEM13. November 2015 um 19:00 Uhr

Museo de Arte Contemporáneo de Bogotá MAC Carrera 74 No. 82A – 81 BOGOTÁ

– COLOMBIA

Mit freundlichen Grüssen,

Claudia Robles-Angel

/NOMÁDES…/

Subject: Call for works-Appel à oeuvres

From: Paul Clouvel

For upcoming concerts in 2016, Elektramusic is still looking for new

electroacoustic works, with or without video. There is no strict

deadline for this call. You can submit by snail mail or online. Rules

here : http://www.elektramusic.fr/call-for-works/

Pour ses prochains concerts en 2016, Elektramusic est en constante

recherche de nouvelles pièces électroacoustiques, avec ou sans vidéo. Il

n’y a pas de date limite stricte. Infos pour envoyer vos oeuvres ici :

http://www.elektramusic.fr/appel-a-oeuvres/

Merci / Thanks !