Von: Institute of Sonology
Datum: Tue, 24 Feb 2026
Betreff: Acousmonium 3–7 March 2026
|
Autor: Michael Hoeldke
DEGEM News – FWD – [ak-discourse] Einladung zum Forschungskolloquium am 26.02.2026 / 14:00 Uhr
Von: ak, sekretariat via ak discourse
Datum: Mon, 23 Feb 2026
Betreff: [ak-discourse] Einladung zum Forschungskolloquium am 26.02.2026 / 14:00 Uhr
Liebe Freunde der Audiokommunikation,
am kommenden Dienstag den 26.02.2026, um 14:00 Uhr im Raum EN 324 präsentiert Jonas Schenkyr seine Arbeit zum Thema:
„Automatisierter Messablauf zur sphärischen Messung von Mikrofonen “
Dazu möchten wir Sie herzlich einladen. Die Kurzzusammenfassung finden Sie am Ende dieser E-Mail.
Der Zoom-Link für unsere auswärtigen Gäste lautet:
tu-berlin.zoom.us/j/65356423211
Meeting-ID: 653 5642 3211
Kenncode: 141962
Mit herzlichen Grüßen
Kirill Andreev & Stefan Weinzierl
__________________
Jonas Schenkyr: Automatisierter Messablauf zur sphärischen Messung von Mikrofonen
Die Richtwirkung von Mikrofonen wird üblicherweise mit idealisierten Richtcharakteristiken wie Niere, Kugel oder Acht beschrieben, welche in Polardiagrammen für wenige Frequenzen in der Horizontalebene dargestellt werden. Frequenzgänge werden oftmals nur für die frontale Schalleinfallsrichtung angegeben. Um umfassendere Daten zu gewinnen, die in akustischen Simulationen, der Modellierung in der virtuellen Akustik und beider Planung von Tonaufnahmen Verwendung finden können, wurde ein automatisierter Messablauf zur sphärischen Messung von Mikrofonen entwickelt. Dabei wird das Mikrofon um zwei Achsen rotiert und somit die Schalleinfallsrichtung gesteuert. Um robuste Messergebnisse bei einer großen Anzahl von Messungen zu gewährleisten, wurde eine Methode zur automatischen Erkennung von Störgeräuschen einbezogen. Der Messablauf wurde verwendet, um sphärische Messungen von ausgewählten Kandidaten gängiger Mikrofonen aus der Studio- und Beschallungstechnik durchzuführen.
__________________
Kirill Andreev
Er/ihm – he/him
Anrede/Form of address: Herr – Mr.
Sekretariat
Office
—
Technische Universität Berlin
Fakultät I / Inst. f. Sprache u. Kommunikation
FG Audiokommunikation / Sekr. EN-8
Faculty I / Institute for Language & Communication
Audio Communication Group / Office No. EN-8
Einsteinufer 17, 10587 Berlin
GERMANY
+49 (0)30 314-22236
DEGEM News – FWD – [ak-discourse] PhD opportunity in ‚Emerging Technologies in Music: Implications for Musicians and Audiences‘
Von: Lepa, Steffen via ak discourse
Datum: Sun, 22 Feb 2026
Betreff: [ak-discourse] PhD opportunity in ‚Emerging Technologies in Music: Implications for Musicians and Audiences
*PhD in Emerging Technologies in Music: Implications for Musicians and Audiences
*
*At CoStar National Lab & StoryFutures, Royal Holloway, University of
London*
*
*At CoStar National Lab & StoryFutures, Royal Holloway, University of
London*
*About the Project*
This PhD investigates use cases and implications of emerging technologies for the music industry, including AI and the advent of digital worlds, especially artists and audiences, and comes at a crucial moment, as technologies and their uses in the creative industries evolve rapidly. The PhD research project can be shaped by the candidate working with the supervisory team, and potential topics include artist-audience interactions and liveness, virtual identities in virtual and hybrid virtual-physical performances, and the role of AI in music, and perceptions of human creativity and AI-generated music and AI-assisted workflows. This project will directly work with CoSTAR creative industry partners and collaborators and will address commercial challenges and opportunities identified by industry. The candidate will also work alongside the CoSTAR National Lab’s BRAID research project (Bridging Responsible AI Divides), helping to critically evaluate demonstrators from that research. This PhD research is ideal for candidates from psychology, HCI, digital humanities, or related fields, interested in mixed-methods, experimental, and participatory research approaches, especially those interested in applying their research to the creative industries.
Based at Royal Holloway, University of London *Lead Supervisor Dr. Maruša Levstek (Email:Marusa.Levstek@rhul.ac.uk
<mailto:Marusa.Levstek@rhul.ac.uk>)*
Second Supervisor Prof. Jen Parker-Starbuck Research environment and industry engagement
As a CoSTAR PhD student, you will work at the intersection of research, creativity, and industry, with access to the CoSTAR National Lab’s creative industries partners, including Pinewood Studios, BT, Disguise, and the National Film & Television School, alongside a wide range of additional collaborators. This offers a unique opportunity to develop research that is intellectually ambitious, creatively driven, and connected to real-world challenges in the creative industries.
We welcome students who are curious, motivated, and excited by research, including those who may not see themselves as a “typical” PhD candidate. You do not need to have a fully formed project at the outset — we value potential, ideas, and a willingness to learn and collaborate, particularly in relation to AI and the creative industries.
*Supervision and support*
Students will be supported by expert Lead and Co-supervisors at their host institution, alongside a wider network of academic and industry mentors across the CoSTAR partnership. This provides a collaborative, inclusive research culture with opportunities for skills development, interdisciplinary exchange, and professional growth.
*Funding and financial support*
All studentships are fully funded for three years in most cases and include:
UK tuition fees, paid directly to the host institution A tax-free maintenance stipend at the UKRI minimum rate UKRI fees and stipend rates for 2026/27 have not yet been confirmed. For reference, in 2025/26, UK tuition fees were £5,006 and the annual stipend was £20,780 (or £22,780 where London weighting applied).
Students will also have access to additional funding for research and training costs through their supervisors at their host CoSTAR institution.
*How to Apply*
*Stage 1:*Expression of Interest
Applicants should contact the Lead Supervisor for their chosen PhD opportunity by email or via the ‚Register Interest‘ form below, and develop a 500-word Expression of Interest, outlining a proposed research project.This may include diagrams, timelines, and references if appropriate. Please submit this Expression of Interest along with a current CV and transcripts by Friday 6 March 2026. Applications must be complete and submitted on time. Please label files clearly using your surname and the PhD reference ID or keyword (e.g. SURNAME_Music Tech) and include this information in all correspondence.
*Stage 2:*Interviews of shortlisted candidates will be held before Friday 27 March 2026 (most likely 18 March).
*More information*
https://www.findaphd.com/phds/project/emerging-technologies-in-music-implications-for-musicians-and-audiences/?p193777
<https://www.findaphd.com/phds/project/emerging-technologies-in-music-implications-for-musicians-and-audiences/?p193777>
...
DEGEM News – FWD – IEM Artistic Residency Program 2026 – Call for Applications
Von: Daniel Mayer
Datum: Sun, 22 Feb 2026
Betreff: IEM Artistic Residency Program 2026 – Call for Applications
…
////////////////////////////////////
IEM Artistic Residency Program 2026 – Call for Applications
University of Music and Performing Arts Graz (KUG)
https://iem.kug.ac.at/en/art/artistic-work-at-iem/artists-in-residence
(please distribute)
The IEM – Institute of Electronic Music and Acoustics – in Graz, Austria is happy to announce its call for its 2026 residency program.
Artist in Residence
The residency is aimed at individuals wishing to pursue an artistic project related to the research fields of the IEM:
Algorithmic Composition
Algorithmic Experimentation
Audio-Visuality
Dynamical Systems
Experimental Game Design
Live Coding
Sonic Interaction Design
Spatialization/higher-order Ambisonics
Standard and non-standard Sound Synthesis
Duration of residency: 4 months
Start date: September 1st 2026 (negotiable)
APPLICATION DEADLINE: March 31th 2026
Please reply to the official call by KUG for a Senior Artist (scroll down for the English version):
https://www.kug.ac.at/fileadmin/01_Kunstuniversitaet_Graz/05_News/Mitteilungsblatt/SJ202526/Mitteilungsblatt_15/mb_15_s_4a_SenA_Artists_in_Residence.pdf
The Institute of Electronic Music and Acoustics is a department of the University of Music and Performing Arts Graz founded in 1965. It is a leading institution in its field, with more than 35 staff members of researchers and artists. IEM offers education to students in composition and computer music, sound engineering, sound design, contemporary music performance, and musicology. It is well connected to the University of Technology, the University of Graz as well as to the University of Applied Sciences Joanneum through three joint study programs.
The project results will be released through the Institute’s own Open CUBE and Signale concert series, as well as through various collaborations with international artists and institutions.
What we expect from applicants:
A project proposal that adds new perspectives to the Institute’s activities and resonates well with the interests of IEM.
Willingness to work on-site in Graz for the most part of the Residency.
Willingness to exchange and share ideas, knowledge and results with IEM staff members and students, and engage in scholarly discussions.
The ability to work independently within the Institute.
A dissemination strategy as part of the project proposal that ensures the publication of the work, or documentation thereof, in a suitable format. This could be achieved for example through the release of media, journal or conference publication, a project website, or other means that help to preserve the knowledge gained through the Residency and make it available to the public.
A public presentation as e.g. a concert or installation, which presents the results of the Residency.
What we offer:
24/7 access to the facilities of the IEM.
Exchange with competent and experienced staff members.
A desk in a shared office space for the entire period and access to studios including the CUBE [1], according to availability.
Extensive access to the studios of the IEM during the period from July 1st until end of September.
access to the IKOsahedron loudspeaker [2]
access to the “Autoklavierspieler” [3]
infrared motion tracking systems
Regular possibilities for contact and exchange with peers from similar or other disciplines.
Concert and presentation facilities (CUBE 30 channel loudspeaker concert space).
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 host artist duos or groups, because of spatial limitations.
We can not offer any additional financial support for travel or material expenses.
Feel free to contact residency@iem.at if you have any questions.
[1] The Cube has a 30-channel loudspeaker system
[2] https://iko.sonible.com/
[3] https://algo.mur.at/projects/autoklavierspieler
DEGEM News – FWD – Neue Deutsche Kunst – Keine Nichtmusik 2LP
Von: Black To Comm
Datum: Sat, 21 Feb 2026
Betreff: Neue Deutsche Kunst – Keine Nichtmusik 2LP
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DEGEM News – FWD – [ak-discourse] Einladung zum Forschungskolloquium am 24.02.2026 / 18:00 Uhr
Von: ak, sekretaria via ak discourse
Datum: Fri, 20 Feb 2026
Betreff: [ak-discourse] Einladung zum Forschungskolloquium am 24.02.2026 / 18:00 Uhr
Liebe Freunde der Audiokommunikation,
am kommenden Dienstag den 24.02.2026, um 18:00 Uhr im Raum EN 324 präsentiert Annika Frommholz ihre Forschungsarbeit zum Thema:
„Predicting Perceived Semantic Expression of Functional Sounds using Unsupervised Feature Extraction and Ensemble Learning“
Dazu möchten wir Sie herzlich einladen. Die Kurzzusammenfassung finden Sie am Ende dieser E-Mail.
Der Zoom-Link für unsere auswärtigen Gäste lautet:
tu-berlin.zoom.us/j/65356423211
Meeting-ID: 653 5642 3211
Kenncode: 141962
Mit herzlichen Grüßen
Kirill Andreev & Stefan Weinzierl
___
Annika Frommholz: Predicting Perceived Semantic Expression of Functional Sounds using Unsupervised Feature Extraction and Ensemble Learning
Functional sounds – typically brief, nonverbal audio cues used in the interfaces of electronic devices – play a critical role in human–machine interaction, yet remain largely unexplored within Music Information Retrieval. This study proposes a data-driven framework that uses musically informed audio features to predict the perceived semantic expression of functional sounds. Our three-stage pipeline first uses unsupervised feature extraction to transform 805 functional sounds into high-level topic distributions for timbre, chroma, and loudness using Gaussian Mixture Models and Latent Dirichlet Allocation. Second, these features train multi-output regression models to predict 19 perceptual dimensions from the FBMUX framework, with a Random Forest Regressor achieving the best performance. Finally, a listening experiment assesses how well the model predictions align with user perceptions. Interpretability analyses further reveal how individual features contribute to model predictions. This work contributes to MIR by expanding
its scope to the domain of functional, non-musical audio. It presents a novel application of MIR techniques, demonstrating that structured, musically informed descriptors can support perceptual modelling in domains with limited data and high subjective variance. It contributes a transferable approach and highlights the potential of MIR to inform human–machine interaction and sound design.
___
Kirill Andreev
Er/ihm – he/him
Anrede/Form of address: Herr – Mr.
Sekretariat
Office
Technische Universität Berlin
Fakultät I / Inst. f. Sprache u. Kommunikation
FG Audiokommunikation / Sekr. EN-8
Faculty I / Institute for Language & Communication
Audio Communication Group / Office No. EN-8
Einsteinufer 17, 10587 Berlin
GERMANY
sekretariat@ak.tu-berlin.de
+49 (0)30 314-22236
https://www.tu.berlin/ak
DEGEM News – FWD – [ak-discourse] The new Wave Mounting Circle at TU Studios
Von: Elektronisches Studio | TU Berlin via ak discourse
Datum: Wed, 11 Feb 2026
Betreff: [ak-discourse] The new Wave Mounting Circle at TU Studios
(english below)
Liebe Klangliebhaber*innen und Experimentierfreudige,
wir freuen uns, euch unser neues Format in den TU-Studios vorzustellen: Der Wave Mounting Circle.
Der Wave Mounting Circle ist eine offene, experimentelle Jam-Session, bei der alle eingeladen sind, eigene Geräte, Projekte oder Ideen mitzubringen, um sie zu testen, zu präsentieren, zu spielen, zu diskutieren und weiterzuentwickeln.
Im Fokus steht das gemeinsame Ausprobieren mit analogen und digitalen elektronischen Instrumenten sowie Musik.
Das Konzept:
• Offenes, formloses Format
• Einstecken, ausprobieren, experimentieren, spielen
• Eigene Projekte und Setups mitbringen
• Austausch und gemeinsames Lernen
• Kommen und Gehen jederzeit möglich—ähnlich wie in einem Musikkaffee
Die Sessions werden geleitet von André, Fares und Lina und finden einmal im Monat, immer am dritten Sonntag, von 12:00 bis 20:00 Uhr statt.
…
Weitere geplante Termine:
• 15.03., 12:00–20:00 Uhr
• 19.04., 12:00–20:00 Uhr
• 17.05., 12:00–20:00 Uhr
Ort:
Elektronische Studios der TU Berlin
E-N 324 und E-N 325
Einsteinufer 17c
10587 Berlin
Sollten die üblichen Zugangstüren zum Gebäude verschlossen sein, könnt ihr über den Haupteingang (vorbei an der Pförtnerloge) ins Gebäude gelangen. Erwähnt bei Rückfragen, dass ihr zu den TU-Studios möchtet.
Falls Ihr Fragen, Anregungen oder Feedback habt, meldet euch gerne per E-Mail an: wave-mounting-circle@mail.de.
Wir freuen uns auf einen offenen Austausch, neue Ideen und spannende Experimente mit euch.
Viele Grüße
Der Wave Mounting Circle
=====================================================================
Dear sound enthusiasts and experimentalists,
We are pleased to introduce our new format at TU Studios: The Wave Mounting Circle.
The Wave Mounting Circle is an open, experimental jam session where everyone is invited to bring their own devices, projects, or ideas to test, present, play, discuss, and develop.
The focus is on trying out analog and digital electronic instruments and music together.
The concept:
• Open, informal format
• Plug in, try out, experiment, play
• Bring your own projects and setups
• Exchange ideas and learn together
• Come and go anytime—similar to a music café
The sessions are led by André, Fares, and Lina and take place once a month, always on the third Sunday, from 12:00 p.m. to 8:00 p.m.
…
Further planned dates:
• March 15, 12:00 p.m.–8:00 p.m.
• April 19, 12:00 p.m.–8:00 p.m.
• May 17, 12:00 p.m.–8:00 p.m.
Location:
Elektronische Studios der TU Berlin
E-N 324 and E-N 325
Einsteinufer 17c
10587 Berlin
If the usual entrance doors to the building are locked, you can enter the building via the main entrance (past the gatekeeper’s lodge). If the gatekeeper asks, tell them that you would like to access the TU studios.
If you have any questions, suggestions, or feedback, please feel free to contact us by email at: wave-mounting-circle@mail.de.
We look forward to an open exchange, new ideas, and exciting experiments with you.
Best regards
The Wave Mounting Circle
DEGEM News – FWD – [ak-discourse] Keynote presentations on Mon 23.02.2026: Bob Sturm and Paolo Maggauda on AI music
Von: Lepa, Steffen
Datum: Thu, 19 Feb 2026
Betreff: [ak-discourse] Keynote presentations on Mon 23.02.2026: Bob Sturm and Paolo Maggauda on AI music
Dear staff, alumni and friends of the Audio Communication Group,
As part of a meeting of the DFG-funded academic network Music and Social Transformations of the Present hosted by the Computational Musicology Team of our group, we have the honour to announce two international guest keynote speakers on upcoming Monday, 23rd February 2026.
Both of their presentations will be open to the interested public. Thematically, the will be dealing with the ongoing transformations of global music life due to AI music. In a third session, we will open a plenary discussion with the network members and the interested local and online audience.
###
Keynote 1: 13:00 CET, Room H 3004, TU Berlin Main Building – moderated by Steffen Just and transmitted via Zoom at: https://tu-berlin.zoom-x.de/j/61581286996?pwd=Nca3BXxfubacRPptFOaHhJVpZTfGqe.1
Bob Sturm (Royal Institute of Technology KTH Stockholm, Sweden): I am troubled
At the conclusion of my ERC-funded project “MUSAiC: Music at the Frontiers of Artificial Creativity and Criticism”, I find that I am troubled. First, I am troubled by the collision of what I think I know about the engineering of large language models with how I see them being used, sold and valued. Something, I think, is deeply wrong here. Second, I am troubled by contradictions in my a/r/tography praxis—that is, being an artist, researcher and teacher in private and professional worlds increasingly inflected and infected by AI and AI-speak. These contradictions center on my creative and pedagogic practices, personal beliefs in intellectual property and individual liberty, and moral judgements about training AI systems on the world’s data, and neoliberalism more broadly. My talk will focus, of course, on just how troubled I am, and my current thinking about it all.
###
Keynote 2: 14:30 CET, Room H 3004, TU Berlin Main Building – moderated by Carsten Wernicke and transmitted via Zoom at: https://tu-berlin.zoom-x.de/j/61581286996?pwd=Nca3BXxfubacRPptFOaHhJVpZTfGqe.1
Paolo Magaudda (University of Padova, Italy): Ruptures and Reassemblages in Music in the Age of AI
In 2023, generative AI abruptly became a mass and highly contested sociotechnical phenomenon, triggering visible ruptures across the music world. This talk examines these transformations through the lens of Science and Technology Studies, approaching music not as a stable object, but as a contingent and constantly negotiated assemblage of human artists and non-human technologies, intertwined with practices, regulations, markets, and cultural values. From this perspective, generative AI does not simply introduce new tools; it unsettles existing alignments and sets in motion processes of reassembly across multiple dimensions of the musical sector. I focus on four areas where these dynamics become especially visible: creative practices, authenticity, platforms, and copyright—along with emerging forms of collective agency mobilized in response to AI. Rather than framing AI as a singular technological revolution, I argue that it triggers multiple, overlapping and contested reassemblages. Many open questions remain to be addressed in the coming years, including whether AI will fundamentally transform music in society or instead be gradually absorbed and normalized within contemporary musical cultures, practices, and market models.
###
Plenary Discussion: 16:00 CET, Room H 3004, TU Berlin Main Building – moderated by Steffen Lepa and transmitted via Zoom at: https://tu-berlin.zoom-x.de/j/61581286996?pwd=Nca3BXxfubacRPptFOaHhJVpZTfGqe.1
The plenary discussion will be dealing with the implications of both presentations for music life in general and specifically, for music sociology.
Furthermore, we plan to discuss, what a ‘computational music sociology’ could be and what other transformations beyond AI music will play a role as research topics in music sociology in the upcoming years.
###
Looking forward to see you in person or online!
Kind regards,
Steffen
Pronouns: he/him
***
Dr. Steffen Lepa
Postdoc Researcher & Lecturer
Audio Communication Group (Sekr. EN-8)
Technische Universit?t Berlin
Einsteinufer 17c
10587 Berlin
Germany
Room H 2001 E
FON: +49 (0)30 – 314 – 29313
FAX: +49 (0)30 – 314 – 12329313
MAIL: steffen.lepa@tu-berlin.de
WWW: https://www.tu.berlin/en/ak/about/team/dr-steffen-lepa
Smartphone/Messenger: +491794562244
***
DEGEM News – FWD – Zukunft ungewiss [Monhgeim Triennale]
Von: Presse Monheim Triennale
Datum: Wed, 18 Feb 2026
Betreff: Zukunft ungewiss
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DEGEM News – FWD – Externe Nutzung Studio für Elektroakustische Musik AdK
Von: Giesen, Malte
Datum: Wed, 18 Feb 2026
Betreff: Externe Nutzung Studio für Elektroakustische Musik AdK
…
Ab 2026 ist das Studio für Elektroakustische Musik erstmals für externe Produktionen buchbar. In der exklusiven High-End-Studioumgebung mit einzigartigen elektronischen Instrumenten, in der sonst Mitglieder, Stipendiat*innen und Gäste der Akademie ihre künstlerischen Projekte realisieren, können künftig auch Kunstschaffende der freien Szene professionelle Produktionszeiten buchen. Unterstützt durch das erfahrene Team des Studios entsteht so ein Arbeitsraum, in dem sich künstlerische Visionen an der Schnittstelle von Kunst und Technologie auf höchstem Niveau umsetzen lassen.
https://adk.de/studio-fuer-elektroakustische-musik#ausstattung-und-nutzung
Malte Giesen
Leiter des Studios für Elektroakustische Musik
Akademie der Künste
Hanseatenweg 10
10557 Berlin
T +49(0)30 200 57-15 70
giesen@adk.de
www.adk.de
DEGEM News- FWD [ak-discourse] Join us for „the global composition 2026“, 3 – 6 September 2026 in Darmstadt
Von: Sabine Breitsameter, Prof. via ak discourse
Datum: Tue, 17 Feb 2026
Betreff: [ak-discourse] Join us for „the global composition 2026“, 3 – 6 September 2026 in Darmstadt
the global composition 2026
connective resonance for (post)humans
Conference on Sound, Media and the Environment
3 – 6 September 2026 in Darmstadt/Dieburg, Germany
Call for Proposals:
This interdisciplinary conference explores the relationships between acoustic ecology/soundscape studies and democratic processes, social cohesion, sustainability, and participation. Drawing on Peter Sloterdijk’s concept of the “social bond of audiophony,” it examines the extent to which soundscape research – together with analyses of its health-related, social, and aesthetic dimensions, as well as the creative practices and auditory poetologies that emerge from it – can contribute to strengthening democratic structures, sustainable processes, and participatory cultures.
Furthermore, the conference critically examines anthropocentric paradigms underlying the field. Against the backdrop of learning, adaptive, and agentic systems, the conference wants to discuss how relational and context-dependent auditory practices – particularly those mediated by technology – can redefine the notion of acoustically beneficial environments both sensorially and intellectually stimulating.
The conference welcomes scholarly/scientific as well as artistic full papers (8 pages maximum), posters (3 pages maximum) and sound works. Please, submit your abstracts through Easy Chair latest until 1 April 2026, 23:59 CEST.
More: https://tgc2026.medienkultur.eu/call-for-proposals/
As the website is currently growing, please keep checking it out for updates and more info.
We are looking forward to meeting you in Darmstadt/Dieburg! BTW: Our venue is conveniently located for all types of traffic near Frankfurt/Main, Germany.
A warm welcome to you!
Your Darmstadt conference team
Hazem Obid, Klaus Schüller, Robin Wiemann, Prof. Dr. Judith Bihr and Prof. Sabine Breitsameter (both conference chairs) from the Master’s program International Media Cultural Work (IMC).
Contact: sabine.breitsameter@h-da.de
DEGEM News – FWD – ISA 2026 – Start Submission Period – 20% Early Bird Discount until March 13th
Von: International Sound Awards
Datum: Tue, 17 Feb 2026
Betreff: ISA 2026 – Start Submission Period – 20% Early Bird Discount until March 13th
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DEGEM News – FWD – [ak-discourse] Next MTG Computational Musicology Seminar – Ken Déguernel (Fri 20 Feb, 3p.m. CET)
Von: Lepa, Steffen via ak discourse
Datum: Mon, 16 Feb 2026
Betreff: [ak-discourse] Next MTG Computational Musicology Seminar – Ken Déguernel (Fri 20 Feb, 3p.m. CET)
Dear all,
We’re continuing our seminar sessions of the Special Interest Group (SIG) on Computational Musicology and Music Understanding at the MTG.
Our next meeting will take place this Friday, February 20th at 3:00 p.m. CET, with a presentation by Ken Déguernel (CNRS).
Title: The horse is out of the stable – Reflections on the incursion of generative AI in music
Abstract: In this presentation, I will share some of my personal reflections and reactions on the widespread and often polarised discussions surrouding the recent boom of generative AI in music, both in mainstream conversations and within the MIR community. I will first position this incursion within the broader context of Computational Creativity and regarding the musicological position about technology and industry. From there I will discuss these themes through the lense of the emerging AI Music Studies field, in particular by drawing on insights and debates that emerged during a recent workshop on the Ethics of AI in Music that took place in KTH, Stockholm, last November.
🔗 Zoom link: https://upf-edu.zoom.us/j/94354379156
🌐 Full seminars programme and details: https://mtg.github.io/computational-musicology
As always, all meetings are open to anyone interested.
We look forward to seeing you there!
Best,
Andrea Poltronieri, Martín Rocamora and Thomas Nuttall
Music Technology Group
Universitat Pompeu Fabra
DEGEM News – Kurz vor Frühling [HELLERAU NEWSLETTER]
Von: HELLERAU – Europäisches Zentrum der Künste
Datum: Mon, 16 Feb 2026
Betreff: Kurz vor Frühling
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DEGEM News – FWD – [ausland depesche] Eclat Crew beatmaking| Sarattma | Frictive Frequencies
Von: weekly ausland newsletter
Datum: Mon, 16 Feb 2026
Betreff: [ausland depesche] Eclat Crew beatmaking| Sarattma | Frictive Frequencies
(EN) Hello!
We hope this finds you well!
Here our newsletter containing the events at ausland the next couple of weeks.
At the end of the newsletter, find the information and contacts for accessibility in case you or your friends need it.
Remember also that our space is available for rehearsals, recordings and meetings (check link at the end of the newsletter or contact us if you want to know more).
All our best!
(DE) Hallo! Wir hoffen, es geht euch gut!
Hier ist unser Newsletter mit den kommenden Veranstaltungen im ausland!
Am Ende des Newsletters findet ihr Informationen und Kontakte zur Barrierefreiheit, falls ihr oder eure Freunde diese brauchen.
Denkt auch daran, dass unser Raum für Proben, Aufnahmen und Treffen zur Verfügung steht (siehe Link am Ende des Newsletters oder kontaktiert uns, wenn ihr mehr wissen möchtet).
Alles Gute!
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Tuesday, 17 February, 2026 – 18:00
Eclat Crew (FLINTA+ Music Making Meetup)
Éclat Crew is a Berlin-based Electronic Music Collective aiming to support, promote, and inspire the practice and output of FLINTA* (female, lesbian, intersex, non-binary, trans, and agender) artists of all levels of experience through collaboration and cooperation. We meet fortnightly in Berlin to work on shared music-making challenges. We also throw parties, and collaborate with other collectives and events around Berlin and Europe.
https://ausland.berlin/de/event/eclat-crew-flinta-music-making-meetup
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Saturday, 21 March, 2026 – 20:00
Sarattma // Constructive Panic
biegungen im ausland doors 8:00 pm | concerts 8:30 pm | Ticket (only at door) € 10,– SARATTMA Matt Hollenberg, guitars Sara Neidorf, drums CONSTRUCTIVE PANIC Simone Weißenfels, Piano Guido Kohn, Violoncello,fx πxl SuperCollider Supported by The Capital Cultural Fund (HKF) Berlin
https://ausland.berlin/de/event/sarattma-constructive-panic
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Saturday, 28 March, 2026 – 19:00
Cate Hops / Marina Cyrino / Régis Lemberthe / Frictive Frequencies
Cate Hops (electronics)
Régis Lemberthe (electronics)
Marina Cyrino (flute/objects)
Doors open 19h | Concert+Talks 20h | Tickets (only at the door) from 10+ €
Frictive Frequencies: Music series about makers of DIY concerts
supported by Musikfonds and Bezirksamt Pankow von Berlin (Kunst und Kultur)
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And keep your ears wide open for Beyond Innocence, and more events by biegungen, frictive frequencies and more soonish!!!
…if you like to know already, beyond the next weeks, check our website: https://ausland.berlin
And remember, we aim to support artists in producing and developing their work. Our space is available for rehearsals, recordings and meetings. We host workshops and residencies, produce podcasts and music videos and previously produced a monthly radio show. The space is small (70 sqm / 5 m high), with wooden flooring, concrete walls, and windows, the room is soundproof. Check our professional sound, lighting and video equipment:
https://www.ausland.berlin/production/technical-equipment
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If you have accessibility needs and/or need help to enter ausland, please contact us at
https://radioriff.de/about#c172
until 3 days before the event. Choose the category “Accessibilty”.
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Thanks for reading, see you soon!
DEGEM News – FWD – Positionen Ankündigungen Februar 2026
Von: Positionen
Datum: Mon, 16 Feb 2026
Betreff: Positionen Ankündigungen Februar 2026
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DEGEM News – FWD – Gebrueder Teichmann – Berlin dates
Von: Gebrueder Teichmann / Berlin
Datum: Fri, 13 Feb 2026
Betreff: Gebrueder Teichmann – Berlin dates
Liebe Wegbegleiter und Interessierte,
Dear companions and supporters,
in den nächsten Wochen stehen bei uns einige schöne Projekte in Berlin an:
wir sind für Sustainable Listening zurück in der Staatsoper, vertonen wieder den Stummfilm „Die Sinfonie der Grossstadt“ mit Schallplatten im Kulturraum Zwingli-Kirche und mit Robyn Schulkowsky begleiten wir den Stummfilm „Der Golem, und wie er in die Welt kam“ und spielen ein gemeinsames Konzert im Morphine Raum
Für die Staatsoper gibt es derzeit noch Tickets, diesmal sind es auch zwei Vorstellungen.
Für den Golem sind die Tickets kostenlos, aber die Plätze sehr limitiert – Anmeldung hier: https://kino-kaddish.org/#golem
We have some exciting projects coming up in Berlin over the next few weeks:
we are back for Sustainable Listening at the Staatsoper, we are once again scoring the silent film „Die Sinfonie der Grossstadt“ with records at the Kulturraum Zwingli-Kirche, and with Robyn Schulkowsky we are providing the soundtrack for the silent film „Der Golem, und wie er in die Welt kam“ and playing a joint concert at the Morphine Raum.
Tickets are still available for the State Opera, and this time there will be two performances.
Tickets for the Golem are free, but seats are very limited – you can register here: https://kino-kaddish.org/#golem
Herzliche Grüsse, warm regards,
Andi + Hannes
> Sustainable Listening #7 Urban Spaces
> 24.2. / 25.02. 20 Uhr, Staatsoper Unter den Linden 7, 10117 Berlin
https://www.staatsoper-berlin.de/de/veranstaltungen/sustainable-listening-7-urban-spaces.26664/
Im Rahmen von Sustainable Listening wird eine begehbare Klimakapsel zum Ort für Impulse, Austausch und Teilhabe mit Klimaexpert:innen, Aktivist:innen und Visionär:innen zu verschiedenen Themen der Nachhaltigkeit. Im Zentrum des Abends steht die Verbindung von Konzertperformance und inhaltlichen Impulsen: Mitglieder der Staatskapelle Berlin sind mit Werken von Elena Kats-Chernin, Toshio Hosokawa, Sofia Gubaidulina, Abram Chasins, Fazil Say und Paul Lincke zu erleben. Die Musik verschmilzt zu einem besonderen Raumerlebnis mit Live-Elektronik der Gebrüder Teichmann und gesprochenen Beiträgen von Liang Wu, Mitbegründer von Green City Solutions. Drinks und Sounds laden im Anschluss zum Austauschen, Vernetzen und Verweilen ein.
> Robyn Schulkowsky & Gebrüder Teichmann – Der Golem und wie er in die Welt kam (1920)
> 05.03. 18.45 Uhr, Kino Kaddish:, Neue Synagoge Berlin – Centrum Judaicum, Oranienburger Str. 28-30, 10117 Berlin
> Eintritt ist frei, per Anmeldung hier: https://kino-kaddish.org/#golem / es gibt aber nur sehr wenig Plätze!
Der expressionistische Stummfilm „Der Golem und wie er in die Welt kam“ erzählt von der Erschaffung eines künstlichen Wesens zwischen Schutzmacht und Bedrohung, von menschlichem Gestaltungswillen, Macht und Kontrollverlust. Die archaischen Bilder und mythischen Motive des Films bilden den Resonanzraum für eine zeitgenössische musikalische Lesart.
Die Gebrüder Teichmann und Robyn Schulkowsky entwickeln dazu eine Live-Vertonung, die mit Perkussion, präparierten Objekten, Elektronik und Echtzeit-Sampling arbeitet. Rhythmus wird dabei nicht nur als Takt, sondern als bewegliche Struktur verstanden, Klang als körperliche und räumliche Erfahrung. Aus dem unmittelbaren Zusammenspiel entsteht eine offene, dialogische Musik, die den Film nicht illustriert, sondern ihn im Moment der Aufführung neu formt und befragt.
Die Vorführung findet als Teil der Kino Kaddish Reihe statt: https://kino-kaddish.org/
Eine Serie filmischer Interventionen, Wiederbelebungen und ortsspezifischer Versammlungen — ein Versuch, das Kino zurück in jene Räume zu bringen, in denen Erinnerung zum Ereignis werden kann.
> Gebrüder Teichmann: Berlin – Die Sinfonie der Grossstadt (1927)
> 20.03. 20 Uhr, Kulturraum Zwinglikirche, Rudolfstraße 14, 10245 Berlin
https://www.kulturraum-zwinglikirche.de/berlin-sinfonie-der-grossstadt-26.html
Film: Die Sinfonie der Grossstadt
Musik: Gebrüder Teichmann – DJ Sinfonie der Grossstadt – ein Set zum Film und zu Berlin mit Schallplatten.
Inzwischen ist es zur Tradition im Kulturraum Zwinglikirche e.V. geworden, am Anfang des Veranstaltungs-Jahres Walter Ruttmann´s legendären Stummfilm „Sinfonie der Großstadt“ aufzuführen, begleitet vom DJ-Duo Gebrüder Teichmann. Im musikalischen Zentrum stehen dabei Subkulturen und experimentelle Musiken Berlins, die untermalend, fragmentierend und zitierend, ihrerseits Geschichten Berlins bis in die Gegenwart erzählen und diese mit den Bildern Ruttmanns verknüpfen.
> Robyn Schulkowsky & Gebrüder Teichmann
> 26.03. 20h, Morphine Raum, Köpenicker Straße 147 Hinterhof, 1. Etage, 10997 Berlin
Der Morphine Raum ist für uns ein besonderer Ort: ein Raum für konzentriertes Zuhören, für Experimente und unmittelbare Begegnungen zwischen Klang, Raum und Publikum. Wir schätzen die Offenheit und Intimität. Seit langem sind wir mit dem Betreiber Rabih Beaini in Kontakt, um einen gemeinsamen Termin zu finden.
Umso mehr freuen wir uns nun auf unseren ersten Auftritt dort mit Robyn Schulkowksy am 26.03.
https://www.morphinerecords.com/raum/
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http://www.gebruederteichmann.net / http://www.noland.fm
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unsubscribe ? no more mails?
…
DEGEM News – STELLENAUSSCHREIBUNG – position(s) at Sound Arts Bern
Von: Van Eck Cathy
Datum: Thu, 12 Feb 2026
Betreff: position(s) at Sound Arts Bern
Dear all,
We have a one or two open positions at our Sound Arts department in Bern. Could you please forward them to anyone who might be interested?
https://jobs.bfh.ch/offene-stellen/dozent-in-oder-tenure-track-fuer-sound-arts/a576581f-6c20-4af5-87d6-211be3cadfaf
Thank you and best wishes,
Cathy
DEGEM News – FWD – Unser Programm im Februar | Akademie der Künste
Von: Akademie der Künste
Datum: Tue, 10 Feb 2026
Betreff: Unser Programm im Februar | Akademie der Künste
Click for more info:
https://degemnewsplus.blogspot.com/2026/02/fwd-unser-programm-im-februar-akademie.html
DEGEM News – FWD – [ak-discourse] Transmedia Festivals out now!
Von: Lepa, Steffen via ak discourse
Datum: Sat, 7 Feb 2026
Betreff: [ak-discourse] Transmedia Festivals out now!
Liebe Kolleg:innen und Listenmitglieder,
hiermit wollte ich diejenigen, die ihn ähnlichen Bereichen forschen, auf meine Publikation hinweisen.
„Transmedia Festivals. Audiosoziale Gemeinschaften zwischen künstlerischem Experiment und Ökonomisierung“ ist via Böhlau Verlag als Open Access und im Print Ende November erschienen:
https://www.vandenhoeck-ruprecht-verlage.com/themen-entdecken/literatur-sprach-und-kulturwissenschaften/volkskunde-ethnologie/59819/transmedia-festivals
Ich würde mich auch sehr über Rezensionen freuen!
Hier der Klappentext:
Dieses Buch illustriert und konzeptualisiert ein neues Festivalformat – die Transmedia Festivals. Diese haben sich seit den 2000er Jahren zunehmend in europäischen Großstädten etabliert und präsentieren Werke einer künstlerischen Avantgarde, die sowohl aus der Kunstmusik als auch aus Experimenten der Pop- und Clubkultur hervorgegangen sind, an einer Schnittstelle von Kunst, Musik und Technologie. Der vorliegende Band hebt die Faszination dieser hybriden Kunstformen hervor und analysiert eindrücklich die vielseitigen Herausforderungen und Anstrengungen ihrer Protagonist:innen in einem zunehmend ökonomisierten Kultursektor. Dadurch entsteht ein facettenreiches Portrait von Kunst- und Kulturarbeit und deren Verwobenheit in die Transformationsprozesse der Gegenwart.
Liebe Grüße,
Bianca
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bianca ludewig
+49157 71369848 [telegram, signal]
+43677 64801034
www.wiseup.de