Von: Lepa, Steffen via ak discourse
Datum: Mon, 26 Aug 2024
Betreff: [ak-discourse] CfP: First AES International Conference on AI and Machine Learning for Audio (AIMLA 2025)

First AES International Conference on Artificial Intelligence and Machine Learning for Audio (AIMLA 2025), London, Sept. 8-10, 2025, Call for contributions

The Audio Engineering Society invites audio researchers and practitioners, from academia and industry to participate in the first AES conference dedicated to artificial intelligence and machine learning, as it applies to audio. This 3 day event, aims to bring the community together, educate, demonstrate and advance the state of the art. It will feature keynote speakers, workshops, tutorials, challenges and cutting-edge peer-reviewed research.

The scope is wide – expecting attendance from all types of institutions, including academia, industry, and pure research, with diverse disciplinary perspectives – but tied together by a focus on artificial intelligence and machine learning for audio.

Original contributions are encouraged in, but not limited to the following topics:

• Intelligent Music Production

• • Knowledge Engineering Systems
  • Automatic Mixing / Remixing / Demixing / Mastering
  • Differentiable Audio Effects

• Audio and Music Generation

• • Generative models for audio
  • Deep Neural Audio Codecs
  • Neural Audio Synthesis
  • Text-to-audio generation
  • Instrument models
  • Speech and Singing voice synthesis
  • AI for sound design
  • Differentiable Synthesisers using DDSP and other neural models

• Representation Learning

• • Fingerprinting using deep learning
  • Transfer Learning
  • Domain Adaptation
  • Transfer of musical composition and performance characteristics including, timbre, style, production, mixing and playing technique

• Real-time AI For Audio

• • Model Compression (Quantization, Knowledge Distillation)
  • Efficient Model Design and Benchmarking
  • Real-time inference frameworks in software and hardware

• Applications of AI in Acoustics and Environmental Audio

• • Machine learning and AI models for acoustic sensing
  • Deep learning for acoustic scene analysis
  • Deep learning for localisation in noisy and reverberant environments
  • Binaural processing with AI or ML
  • Source and scene classification
  • Source separation, source identification and acoustic signal enhancement
  • AI-driven distributed acoustic sensor networks
  • Control and estimation problems in physical modelling
  • AI-based perception models inspired by human hearing
  • Application of AI to wave propagation in air, fluids and solids

• AI Ethics for Audio and Music

• • AI-Generated Music and Creativity
  • Intellectual Property in AI-Composed Music
  • AI in Environmental Sound Monitoring
  • Cultural Appropriation in AI Music
  • Environmental Impact of Audio Data Processing

Call for Papers

The conference accepts full papers of 4-10 pages. Papers must be submitted as PDF files using EasyChair. All papers will be peer-reviewed by at least two experts in the field, and accepted papers will be presented in the conference programme and proceedings published in the AES Library in open access (OA) format. Final manuscripts of accepted papers must implement all revisions requested by the review panel and will be presented in an oral or poster session.

Important dates (pre-announcement):

Paper submission deadline: 28th February 2025

Notification of acceptance: 6th June 2025

Camera-ready submission deadline: 7th July 2025

Conference: 8-10 Sept. 2025

Paper submission will open early October 2024, deadlines are subject to minor changes until September 2024.

Enquiries should be sent to: papers-aimla@qmul.ac.uk

Call for Special Sessions

As a part of this conference, we invite submissions for panel discussions, tutorials, and challenges.

Call for Panel Discussions

We are seeking experts and professionals in the field to propose a 60-minute Panel discussion with at least 4 panellists on the proposed topics. The proposal should include a title, an abstract (60-120 words), a list of topics for discussion, and a description (up to 500 words). Additionally, the submission should include the number, names, and qualifications of presenters, and technical requirements (sound requirements during the presentation, such as stereo, multichannel, etc.).

Important dates (pre-announcement):

Deadline for panel discussion proposals: 28th February 2025

Accepted panels notified by: 6th June 2025

Call for Tutorials 

We are seeking proposals for 120-minute hands-on tutorials on the conference topics. The proposal should include a title, an abstract (60-120 words), a list of topics, and a description (up to 500 words). Additionally, the submission should include presenters‘ names, qualifications, and technical requirements (sound requirements during the presentation, such as stereo, multichannel, etc.). We encourage tutorials to be supported by an elaborate collation of discussed content and code to support learning and building resources for a given topic.

Important dates (pre-announcement):

Deadline for tutorial proposals: 25th Oct 2024

Accepted sessions notified by: 24th Jan 2025

Call for Challenges

The AES AI and ML for Audio conference promotes knowledge sharing among researchers, professionals, and engineers in AI and audio. Special Sessions include pre-conference challenges hosted by industry or academic teams to drive technology improvements and explore new research directions. Each team manages the organization, data provision, participation instructions, mentoring, scoring, summaries, and results presentation. Challenges are selected based on their scientific and technological significance, data quality and relevance, and proposal feasibility. Collaborative proposals from different labs are encouraged and prioritized. We expect an initial expression of interest via mail to special-sessions-aimla@qmul.ac.uk by 15th Oct 2024, followed by a full submission on EasyChair by the final submission deadline.

Proposal

Challenge bidders should submit a challenge proposal for review. The proposal should be a maximum of two pages (PDF format) including the following information:

1. Challenge name
2. Coordinators
3. Keywords (e.g. classification, generation, transcription)
4. Definition (one sentence, e.g. automatic mixing for 8 tracks with prediction of audio effect parameters for gain, pan, compressor, and EQ)
5. Short description (including the research question the challenge is tackling. Please mention if it is a follow-up of a past challenge organised elsewhere)
6. Dataset description: development, evaluation (short description, how much data is already available and prepared, how long would it take to prepare the rest, mention if you allow external data/transfer learning or not)
7. Evaluation method/metric
8. Baseline system (2 sentences, planned method if you do not have one from the previous challenge)
9. Contact person (for main communication, website)

Important dates (pre-announcement):

Expression of Interest: 15th Oct 2024

Final Submission Deadline: 31st Oct 2024

Conditional Acceptance Notification: 29th Nov 2024

If required, we may ask for additional information regarding the organisation and scope of the challenge, and ask for a resubmission of the proposal. The discussion period will span from 2nd Dec 2024 to 17th Jan 2025.

Final Acceptance Notification: 24th Jan 2025

Tentative Timeline

Challenge Descriptions Announced: 31st Jan 2025

Challenges Start: 1st April 2025

Challenges End: 15th June 2025 

Challenges Results Announcement: 15th July 2025

We invite challenge organisers to compile a report and present it in the form of a paper which can be part of the conference proceedings.

Paper Submission deadline: 15th August 2025

Enquiries should be sent to: special-sessions-aimla@qmul.ac.uk

Organising Committee

General Chair: Prof. Joshua Reiss (QMUL) (chair-aimla@qmul.ac.uk)

Papers Co-Chairs: Brecht De Man (PXL-Music) and George Fazekas (QMUL) (papers-aimla@qmul.ac.uk)

Special Sessions Co-Chairs: Soumya Vanka (QMUL) and Franco Caspe (QMUL) (special-sessions-aimla@qmul.ac.uk)

Conference Website: https://aes2.org/events-calendar/2025-aes-international-conference-on-artificial-intelligence-and-machine-learning-for-audio/

Von: Lepa, Steffen
Datum: Mon, 26 Aug 2024
Betreff: [ak-discourse] Job announcement: 6 Research Fellows/Senior Research Fellows in Popular Music

for 6 Research Fellows/Senior Research Fellows in Popular Music to join the Department of Media, Humanities and the Arts at the University of Huddersfield.

You will join a vibrant and supportive research team that scored highly in REF2021, being ranked joint 5th in Music for research in UK Universities in terms of GPA. Huddersfield was also ranked 20th in the QS World University Rankings for Music 2024. Popular Music Studies in Huddersfield is well established as a field with research active staff, postgraduate students, undergraduate and postgraduate courses, industrial and international partnerships focused on popular music. You will join the welcoming research environment of the Popular Music Studies Research Group.

You will contribute to a Leverhulme funded research project entitled ‘The Amplification Project’ that will explore the role of the amplifier and associated technologies – especially loudspeakers and microphones – in musical practice, listener experience, and social and cultural life, working closely with the University’s Leverhulme International Professor of Popular Music Steve Waksman.

The fellowships will be part of a large scale £5 million popular music studies research project.

With a Doctoral qualification in a subject relevant to the project, you will have substantial experience in relevant research methods, and experience of writing for publications, research reports and presentations. You will carry out independent and collaborative research, be involved in public engagement activity, and supervise or co-supervise PhD students.

Six fellowships are available whose preferred focus during the project will be in the following areas:

-Historian of science and technology focused on technical design and engineering
-Music cultural studies analysing broad cultural trends related to amplification
-Ethnographer / Ethnomusicologist ideally focused on amplification related material
-Oral History Researcher focused on amplification related stories
-Music theory and analysis researcher with a secondary emphasis in music cognition
-Built environment and architectural acoustics researcher exploring amplification in public and private spaces

However, we encourage all strong candidates with relevant experience in related areas rather than those listed to apply.

Possible topics to be explored might include: amplification, musical instrument design and performance; microphones, vocal technique and performance; sound system design and cultures; public address systems; amplification and the experience of social belonging and community; intersections of amplification technology and practice with gender, race, class, and disability; amplification and recording studio practice; the politics and poetics of volume; amplification and its impact on music perception; how amplification affects the design of music venues and public spaces; and other related areas.

Applicants are sought with a knowledge of a broad range of different contexts and cultures. Proficiency in German, Japanese, or other non-English languages is desirable, though not required.

The University is deeply committed to equality and diversity for all its students and staff. We seek to be diverse and inclusive, supporting individuals and groups to fulfil their potential and nurture a sense of belonging. We strive to be an accessible, inclusive employer, removing barriers for all. Find out more about our approach to Equality, Diversity and Inclusion, including our commitments and accreditations as a Disability Confident Employer, Stonewall Gold Award holder and Top 100 Employer, Athena SWAN Bronze Award holder and Race Equality Charter Bronze Award holder.

Informal enquires are welcome.

For further details about this post and to make an application please visit: http://hud.ac/sth

Von: Marc Voigt
Datum: Fri, 23 Aug 2024
Betreff: [ak-discourse] Einladung zum Forschungskolloquium am 27.08.2024

-- 

Marc Voigt
IT-Administration

Technische Universität Berlin
Fakultät I - Geistes- und Bildungswissenschaften
Institut für Sprache und Kommunikation
Fachgebiet Audiokommunikation

Faculty I - Humanities and Educational Sciences
Institute of Speech and Communication
Audio Communication Group

Einsteinufer 17c, 10587 Berlin
GERMANY

Telefon: +49 (0)30 314-25557
Telefax: +49 (0)30 314-21143
marc.voigt@tu-berlin.de

www.tu.berlin/ak

Von: Marcus Beuter
Datum: Thu, 22 Aug 2024
Betreff: Newsletter September – Marcus Beuter

Liebe Freunde der Klangkunst,

im September lade ich zu folgenden Veranstaltungen ein:

Von: HELLERAU – Europäisches Zentrum der Künste
Datum: Mon, 19 Aug 2024
Betreff: JOIN us on a mission

Click for more info:
https://degemnewsplus.blogspot.com/2024/09/fwd-join-us-on-mission_1.html

Von: Positionen
Datum: Mon, 19 Aug 2024
Betreff: Positionen Ankündigungen August 2024

Click for more info:
https://degemnewsplus.blogspot.com/2024/09/fwd-positionen-ankundigungen-august-2024.html

Von: Luc Döbereiner
Datum: Sat, 17 Aug 2024
Betreff: W3 Professur für Komposition für digitale Medien (50%)

An der Staatlichen Hochschule für Musik Trossingen ist zum Wintersemester 2025/26 eine

W3 Professur für Komposition für digitale Medien (50%)

zu besetzen, die im Landeszentrum MUSIK-DESIGN-PERFORMANCE der Hochschule angesiedelt ist.

Gesucht wird eine herausragende Persönlichkeit mit ausgewiesener Expertise in den Bereichen der genreübergreifenden und softwaregestützten Komposition für digitale Medien.

Das Landeszentrum MUSIK–DESIGN–PERFORMANCE an der Staatlichen Hochschule für Musik Trossingen baut Brücken zwischen künstlerischer Tradition und innovativen Ansätzen des digitalen Zeitalters für künstlerische Praxis, Forschung und Lehre. Wir arbeiten offen und vertrauensvoll als Team zusammen und betreuen Studierende intensiv und individuell.

Zu Ihren Aufgaben zählen:

Musik- und soundspezifische Lehrveranstaltungen für digitale Medien (einschl. ihrer Grundlagen) sowohl im künstlerischen Schwerpunkt Musikdesign wie auch studiengangsübergreifend (bspw. neue Kompositionsarchitekturen unter der Einbeziehung von Creative / Live Coding, Algorithmik und KI)
Betreuung interdisziplinärer / transmedialer / anwendungsbezogener Projekte, intern sowie in Kooperation mit der Hochschule Furtwangen und anderen externen Partnern
Institutionelle Zusammenarbeit / Connecting Dots, Networking, Entwicklung neuer, studiengangsübergreifender Bildungsangebote – auch im Bereich Precollege und Musikgymnasium, Öffentlichkeitsarbeit, Distribution
Mitwirkung in Gremien und in der Selbstverwaltung der Hochschule
Unsere Anforderungen an Sie:

Einschlägiges abgeschlossenes Hochschulstudium
Mehrjährige erfolgreiche Tätigkeit im Bereich Komposition für digitale Medien
Professioneller künstlerischer Umgang mit Musik, Sprache und Sound in interdisziplinären Projekten
Ausgewiesene Expertise in digitalen Gestaltungsumgebungen im Kontext genreübergreifender Komposition und Musikproduktion für Anwendungsfelder wie Games, Interactive Audio, Sound Szenographie / Raumklang, mobile Anwendungen (Apps), Theater
Fähigkeit und Bereitschaft zu einer intensiven interdisziplinären Zusammenarbeit sowie ein hohes Maß an Team- und Managementkompetenzen
Darüber hinaus wünschen wir uns:

Kenntnisse in der Produktion elektronischer Musik (Ambient, Avantgarde, Electronica, EDM)
Kenntnisse im Bereich der Musiktheorie algorithmischer und elektronischer Musik für Studierende mit künstlerischem Schwerpunkt Musikdesign
Bereitschaft zur Weiterentwicklung von künstlerischer Forschung an der Hochschule
Einwerbung von Dritt- bzw. Projektmitteln
Bei der ersten Berufung in ein Professorenamt erfolgt die Einstellung zunächst für drei Jahre auf Probe. Die Berufung erfolgt durch den Rektor.

Die Staatliche Hochschule für Musik Trossingen fördert die berufliche Gleichstellung der Geschlechter und die Heterogenität unter ihren Mitgliedern. Die Hochschule bekennt sich ausdrücklich zu dem Ziel einer familienfreundlichen Hochschule. Schwerbehinderte werden bei entsprechender Eignung bevorzugt eingestellt. Bei der Einstellung werden die Grundsätze des Allgemeinen Gleichbehandlungsgesetzes (AGG) berücksichtigt.

Wir freuen uns auf Ihre aussagekräftige Bewerbung, die Sie uns bitte bis zum 15. Oktober 2024 ausschließlich in digitaler Form über unser elektronisches Bewerbungsportal übermitteln.
Hier bewerben: https://jobs.mh-trossingen.de/secuform/portal/Bewerbung1

Von: Luc Döbereiner
Datum: Sat, 17 Aug 2024
Betreff: „Speculative Sound Synthesis“ Workshop @ impuls Academy 2025 – Call for Participation

„Speculative Sound Synthesis“ workshop at the impuls Academy 2025 in
Graz, Austria from February 17-23, 2025.

https://www.impuls.cc/academy-2025/special-programs

[please distribute]

The „Speculative Sound Synthesis“ workshop is intended for sound
artists, computer music composers, and performers who are committed to
critical, speculative approaches at the intersection of art and
technology. It is conceived for those engaged in practices that
question, challenge, criticize, deconstruct, recompose, reformulate,
shift, dislocate, endanger, or reject established standards of sound
synthesis and (music) technology.

The workshop is part of the artistic research project „Speculative
Sound Synthesis“[1]. The project aims to recompose the relationship
between technology and artistic practice in an attempt to unleash
aesthetic potentials of sound synthesis that would otherwise remain
hidden within the technological apparatus. In this aesthetic
destabilization of sound technologies, speculation is the primary
method.

Participants are invited to bring a small „Speculative Synth“ – an
instrument, software, hardware, code, or idea that is translatable and
open to external signals. The workshop will involve presentations,
collaborative experimentation, and exploration of each Speculative
Synth (applicants may find examples on the project’s webpage[1]).
Thus, the workshop provides a platform for exchange and reflection on
personal approaches.

Two participation options are available:

– Group A: Active participants presenting work and experimenting
(daily 10:00-18:00)
– Group B: Listening participants attending sessions as observers

The workshop will take place at the Institute for Electronic Music and
Acoustics (IEM) at the University of Music and Performing Arts Graz
(KUG), utilizing their multi-channel sound system and technical
infrastructure. It will culminate in a public exhibition/performance
at the Impuls Festival.

To apply, please register to the impuls Academy 2025 and then submit
the following to office@impuls.cc and speculative@iem.at by October 1,
2024:

– Statement of interest in the workshop
– For Group A applicants: Description of your work, letter of intent
(max 500 words), and description of your Speculative Synth (max 500 words)

For the complete call text and further information on the application
and registration modalities, please visit the website of the impuls
Academy 2025[2].

The „Speculative Sound Synthesis“ project is funded by the Austrian
Science Fund (FWF) within the program for Arts-based research PEEK (AR
713-G).

Best regards,

The Speculative Sound Synthesis Team

[1] https://speculative.iem.at/
[2] https://www.impuls.cc/academy-2025/special-programs

—
//
// Luc Döbereiner
// www.doebereiner.org

Von: Lepa, Steffen via ak discourse
Datum: Thu, 18 Jul 2024
Betreff: [ak-discourse] WG: The Second Cadenza Signal Processing Challenge to Improve Music for Those with Hearing Loss

 The Second Cadenza Signal Processing Challenge to Improve Music for Those with Hearing Loss

 Open now

Submission deadline: January 2025

The 2nd Cadenza Challenge (CAD2) is part of the IEEE SPS Challenge Program. The SPS are funding cash prizes for the best entrants.

Why are these challenges important?

According to The World Health Organization, 430 million people worldwide have a disabling hearing loss. Hearing loss causes various problems such as quieter music passages being inaudible, poor and anomalous pitch perception, difficulties identifying and picking out instruments, and problems hearing out lyrics. While hearing aids have music programmes, the effectiveness of these is mixed.

2nd Cadenza Challenge (CAD2)

There are two tasks

1. Improving the intelligibility of lyrics for pop/rock music while not harming audio quality.
2. Rebalancing the level of instruments within a classical music ensemble (e.g. string quartet) to allow personalised mixes.

For both tasks, a demix / remix approach could be used. Gains could be applied to the demixed signals before remixing back to stereo to achieve the aims of the challenge. For lyric intelligibility, a simple amplification of the vocals could increase intelligibility, but there are other ways to achieve this that might cause less harm to audio quality. It would also be possible to use other machine learning approaches such as end-to-end transformation.

We provide music signals, software tools, objective metrics and baselines. The two tasks are evaluated using objective metrics. For lyric intelligibility, there will also be perceptual tests with listeners who have hearing loss.

More details: http://cadenzachallenge.org/

To stay up to date please sign up for the Cadenza Challenge’s Google group https://groups.google.com/g/cadenza-challenge

Please feel free to circulate this invitation to colleagues who you think may be interested.

Trevor Cox
Professor of Acoustic Engineering
Newton Building, University of Salford, Salford M5 4WT, UK.
+44 161 518 1884
Mobile: 07986 557419

Alinka Greasley

Professor of Music Psychology

Director of Research and Innovation

School of Music | University of Leeds | Leeds, LS2 9JT, UK

Email: a.e.greasley@leeds.ac.uk | Phone: + 44 113 343 4560

Von: Lepa, Steffen via ak discourse
Datum: Mon, 15 Jul 2024
Betreff: [ak-discourse] CfP: Recording popular music, IASPM 23rd international conference, Paris

CfP: Recording popular music

IASPM 23rd international conference

Organized by Iaspm-branche francophone d’Europe and Sorbonne Nouvelle University, Paris, France

Proposal deadline: 15 October 2024

Recording played a central role in the establishment of the field of popular music research in the 1970s and 1980s: at a time when popular music studies was gaining traction as a field of study, the specific status of recording made it possible
to distinguish three areas of study: popular music, art music and folk music.

Recording has also been seen as a symptom and a variable in the development of the music business. Having become a reproducible commodity, music evolved in new directions when, towards the middle of the 20th century, the record became the
main medium of the music industry. At the same time, recording made music available for distribution across a broad range of media, including radio, cinema and later television and then the Internet. In the present era of the domination of streaming platforms
in the consumption of popular music (known as “platformisation”), music rights and the creation of catalogues are taking on major importance for the cultural industries and the digital economy.

The recorded medium, as a reproducible asset, is also becoming something that can be preserved, archived and restored (republished) as media change. In addition to commercial aspects – the renewing of home equipment, the sale of augmented
editions, alternate takes, and so on – there is a creative dimension involved. Recordings can be a medium for creation (for example in the practices of turntablism, dj-ing or sampling), as well as having a heritage dimension (recordings can be traces or treasures
of the past).

The analysis of recordings as ‚texts‘ of popular music has naturally been one of the main areas of research over the last forty years. This type of analysis, applicable to all recorded music, also has the advantage of problematising the barriers
between musical meta-genres and blurring the boundaries between categories applied, sometimes too rigidly, to music.

Research into music production and studio techniques has also seen considerable development over the last few decades. Scientific literature has long emphasised the importance of the recording studio as a technical and artistic tool (the
studio as musical instrument), as well as as a place of interaction, and an economic focal point, at the crossroads of the practical, the technical, the aesthetic and the social, with very specific characteristics in terms of space and time. It is also a place
where certain production relationships have been seen to change. If we consider, for example, the relationship between musicians and production intermediaries, whose status has developed throughout the history of the recording studio. More recently, the growth
of home studios since the 1980s has opened up new social and economic horizons. Here we might also mention creative revolutions: the composition-performance-production continuum, the central role of recording, the questioning of the status of the author/performer,
and so on.

New questions have come into play in the recording of popular music in recent years, and research has expanded to take in other, more contemporary, perspectives. These include postcolonial studies: how is music recorded around the world?
Gender studies: how do recording practices reflect or shift power relations and gender stereotypes? Ecological issues also arise, through the question of the environmental footprint of recorded music, whether produced on physical media or in digital format.

Moreover, in recent years, there has been a renewal of scientific curiosity regarding concerts and live performance as a central element within music production, as distinct from recordings. How distinct or different are they? It is often
thought that the notion of live performance only exists because recordings dominate, and that the concept of liveness has only developed in relation to recordings, which are themselves mediated music.From an aesthetic and ontological point of view, there is
a continuum between live music and recorded music (for example, when recorded music becomes the basis for new compositions or is used on stage). Cases range from hip-hop and trip-hop to electronic music; and beyond these, what should be said about the role
of computers, artificial intelligence and the automatic production of recordings, in concerts and on record, and how these practices will evolve in the future?

The revival of research on live performance parallels the re-emergence of the concert as the focal point of the music economy, in contrast to the situation in the second half of the 20th century, when live performance was little more than
a means of promoting recordings and attracted little academic attention. We can therefore assume that the current interest in live music stems from the crisis in sales of recorded music seen in the first fifteen years of the 21st century. But more recently,
with the advent of the global public health crisis from 2019 to 2022, the impossibility of going on stage or to a concert shook up live music habits and initiated new thinking and research into the live/recording bipolarity.

There exists another aspect, and it is one of the most important: beyond recording as a process involving studios or various pieces of technical equipment, our conference is an invitation to look at the recording of popular music in global
and cultural terms. Recording means keeping traces or tracks, a practice which can also be understood in a broader, anthropological sense: how are the traces kept or preserved? How are they also sometimes erased? How is socio-cultural diversity “recorded”
or not in popular music? What role do field recordings play in this process? What is the logic behind this rendering invisible or this preservation, which facilitate the accessibility of certain genres or repertoires over others? How does the recording of
music contribute to its semanticisation, its representation, the shaping of musical genres and the establishment of their aesthetic, economic, political, cultural and social value?

The difference between musical genres is also in evidence in their relationship to recording. Here we see the tension perpetually created in popular music by the notion of authenticity, which varies according to popular music genre and often
comes into play in the relationship between recording and live performance. The values associated with a live sound in recording are not therefore the same in all genres. This has an impact on recording techniques, and on the various illusions that such techniques
are called on to create, or not, when they aim to obfuscate the fact that recording is always an artefact.

How recordings are received and listened to is also a factor here: how do communities – audiences, but also critics and other professionals – judge recorded music? According to what criteria? Recording techniques have in turn led to changes
in tastes, sensibilities, listening styles and habits. We have seen that the development of records as the predominant format for the consumption of music led to a habituation to sounds worked on in the studio and a resultant increased attention to timbre,
for example. Listening has evolved in step with the habits and behaviours made possible by recorded music and its various formats, which are central to popular music. This also feeds into recent questions raised by sound studies and media archaeology in terms
of soundscapes, sound archives, musical heritage and sound beyond music.

The IASPM 2025 biennial conference invites the exploration of these questions across all popular musical genres, emphasising their multidisciplinary nature, a key characteristic of popular music studies. Perspectives are welcome from anthropology,
economics, sociology, aesthetics, musicology, history, and political fields, from technical studies, etc. This list is not exhaustive, and the intention is also to encourage cross-fertilisation between all possible approaches to the subject. Proposals may
fall within the following areas, without excluding other topics, as long as they correspond to the theme of the conference:

Recording as a medium
From recording to data and the predominance of streaming platforms (“platformisation”) in the consumption of popular music
Recording and liveness, recording and performance
Recording as a technique: equipment, media, electronic and digital technologies in signal processing
The recording studio and its different formats
Recording in sound studies
Recording practices and mediations, the status of intermediaries
Recording and related rights, remuneration models, international conventions
Recording and artificial intelligence
Recording and gender studies
Recording popular music and global cultural diversity. Traces or erasures of cultural diversity
Recorded music as heritage in exhibitions and museums
Recording and the music economy, the commodification of music
Sound recording as an investigative technique and/or as writing
Recording as a text for analysis
Recordings and their reception: how is recorded popular music listened to? What categories of evaluation are there? What are the links between recording and musical genres?
Uses of recordings and dance practices

Submission

We invite abstracts, in English or in French, between
250 and 300 words, alongside a short list of
bibliographical references (and/or sources if applicable). Please specify in which of the
thematic areas the presentation falls (maximum three), and include a
short bio-bibliography of the author, as well as specifying their
IASPM branch.

The abstract should be submitted on this page: https://iaspm-paris2025.sciencesconf.org/submission/submit

Submissions will be accepted until October 15th, 2024.

Each participant must be a member of a branch of IASPM: www.iaspm.net/how-to-join

Individual paper presentations are 20 minutes long, to be followed by a 10 minute discussion.

Some sessions will be broadcast online. However, remote participation will not be possible.

Proposals for organised panels are encouraged (ninety minute sessions with three papers, or two papers and a discussant). Each session should leave at least 30 minutes for discussion or for comments by a discussant immediately following the
presentations. The panel organiser should submit the panel abstract and all individual abstracts (250-300 words each) in one submission, with a full list of participant names, their biography and their IASPM branch.

Von: Lepa, Steffen via ak discourse
Datum: Mon, 15 Jul 2024
Betreff: [ak-discourse] Call for (Audio) Papers: Sound and the More-Than-Human Worlds, Seismograf Peer

Call for (Audio) Papers: Sound and the More-Than-Human Worlds

Seismograf Peer

Abstract deadline: 1 October 2024

Seismograf Peer invites proposals for audio papers (see below for outline and forms of audio paper, etc.) exploring how sound mediates relations with the human and the more-than-human worlds. As such, we intend a wide range of interpretations
as to what the more-than-human is, not limiting the definition to other animals, but embracing all kinds of living and non-living phenomena. A focus on the more-than-human also affords a decentering of the anthropocentric bias of much traditional scholarship.
This may entail approaches that include animist beliefs as well as a wide range of artistic practices and research methods. Proposals may address, but should not be limited to, topics such as

listening practices
inter-species communication
acoustic ecology and bioacoustics
animism
technologies and AI
mythologies of the more-than-human
inter-subjective relations with non-human as well as human beings
psychogeographies
narratives and art related to climate change and ecosystems
urban soundscapes
place-making, including participatory and autoethnographic approaches.

We welcome proposals building on various kinds of knowledge production across the arts and sciences, which may address the role of sound from historical, creative, and socio-cultural perspectives.

Audio papers could build on field-recordings or pre-existing artistic work, such as sound walks, radiophonic art works, audio documentary, site-specific art and installations, in combination with theoretical perspectives, and shall critically
and creatively interrogate the boundaries between artistic and academic practices. Proposals may explore the specific epistemologies of sonic as opposed to written forms of presentation. Papers should critically engage, where relevant, with post-colonial and
indigenous perspectives related to the more-than-human, opening routes to a decolonization of knowledge.

Editors of special issue

Stefan Östersjö

Professor of Music Performance and head of subject at Piteå School of Music, Luleå University of Technology

stefan.ostersjo[at]ltu.se

Bennett Hogg
Senior Lecturer in Music at Newcastle University, UK .
bennett.hogg[at]newcastle.ac.uk

Federico Visi
Assistant lecturer at Luleå University of Technology
federico.visi[at]associated.ltu.se

Halla Steinunn Stefánsdóttir
Postdoctoral fellow at the Intelligent Instruments Lab at the University of Iceland
hallasteinunn[at]gmail.com

SUBMISSION GUIDELINES FOR AUDIO PAPERS

ABSTRACT

Deadline
October 1, 2024

Required elements
Audio abstract, 60-90 sec.
Written abstract, 150-200 words
Bibliography
Biographies for all authors

Please transfer / send audio file (MP3) and the abstract file including bibliography and biography (Word) to peer[at]seismograf.org

Editorial response

After editorial review of the received abstracts, a selection of authors will be invited to send in audio papers.

AUDIO PAPER

Deadline
December 16, 2024

Required elements

Audio paper, length 12-15 minutes
Written abstract, 150-200 words
Bibliography, Style guide: Harvard Standard
Biographies for all authors, max. 100 words for each author. Portraits are welcome, but optional (please include photo credit)

FORMAT OF THE AUDIO PAPER

The audio paper is a 12-15 minute-long audio production presenting a research question or focus. The audio paper combines speech and narratives with “sonic argumentation” which can be composed through sound recordings, sound productions or
any other sound practices, voice practices, the audible use of one’s body, everyday tools, gadgets, musical instruments, computer software or all kinds of objects and agents. All audio papers are being peer reviewed by reviewers within the given field. The
reviewers are asked to assess after these guidelines: A clear and contextualized research question / focus of exploration; a clear and vivid argumentation and exploration of the research question / focus; meaningful and original use of sound as medium and
content to support, present and anesthetize the argumentation; coherence between dramaturgical composition (tempo, density, narrative structure) and content; appropriate references in the accompanying text (abstract and bibliography) and/or in the audio production.

Please visit seismograf.org/fokus/fluid-sounds for further thoughts on and examples of audio papers.

All submissions will undergo rigorous peer review, based on initial editor screening and anonymized refereeing by at least two anonymous referees. Submitted contributions must be original and not have been previously published or submitted
elsewhere during the review process.

SUBMISSION

Please send/transfer the audio paper file (MP3) with the abstract file including bibliography and biography (Word) to peer[at]seismograf.org no later than December 16, 2024

ABOUT SEISMOGRAF PEER

Seismograf Peer is a peer-reviewed online platform devoted to practical and theoretical issues in relation to contemporary music and sound art. Seismograf Peer covers a broad range of topics including sonic materialities, modes of listening,
philosophy of sound and music, aesthetics, technology and audiovisuality as well as performative, curatorial and archival matters related to the sonic arts.

Seismograf Peer encourages a wide spread of methodologies and theoretical discourses, ranging from the more established academic approaches such as sound studies, musicology, cultural studies and performance studies to artistic research,
practice-based research, artist writing and media archaeology.

Seismograf Peer is hosted by Seismograf, a Danish magazine with a long and proud tradition of publishing essays, interviews and reviews by music journalists and critics as well as academics and composers, acting as an inspiring and important
platform within the field. Seismograf Peer is a natural development of this tradition, acknowledging the demands of publication within universities, music academies and art schools.

Von: Kilian Schwoon
Datum: Sat, 3 Aug 2024
Betreff: Thomas-Seelig-Fixed-Media-Preis an Manuella Blackburn

Von: Presse Monheim Triennale
Datum: Thu, 11 Jul 2024
Betreff: Rückblick The Prequel und Ausblick auf The Festival 2025

Click for more info:
https://degemnewsplus.blogspot.com/2024/07/fwd-ruckblick-prequel-und-ausblick-auf.html

Von: Radmann, Vincent via ak discourse
Datum: Wed, 10 Jul 2024
Betreff: [ak-discourse] Akustisches Seminar am 16.07. und 17.07.

Liebe Akustik-Interessierte

in der kommenden Woche findet nicht nur eins, sondern gleich zwei Akustische Seminare statt.
Zunächst wird es am Dienstag, dem 16.07.24 um 16:15 Uhr zwei Vorträge außer der Reihe mit folgenden Themen geben:

„Untersuchungen zur Erholungsqualität bei audiovisuellen Interaktionen am Beispiel des Indikators TRAPT“ von Dominic Leutz (Masterarbeit)

„Untersuchung zur Auffälligkeit von Vorbeifahrtgeräuschen im Realverkehr im Rahmen einer Pilotstudie“ von Pierre Simon François Kolingba-Froidevaux (Masterarbeit)

Und einen Tag später (Mittwoch, dem 17.07.24 um 14:15 Uhr) folgt das reguläre Akustische Seminar mit einem weiteren Vortrag zum Thema:

„Untersuchungen zur Ausprägung psychoakustischer Empfindungen beim dichotischen Hören in der Horizontalebene“ von Felix Hochbaum

Sie sind herzlich eingeladen über folgenden Link an den Terminen zum Akustischen Seminar teilzunehmen, die Vorträge zu verfolgen und Fragen zu stellen.

Zoom: https://tu-berlin.zoom.us/j/66079473364?pwd=ZU52TEVjSWQxeUFKZC9OSURVelFJQT09
Meeting-ID: 660 7947 3364
Kenncode: 043624

Alle Informationen und der Online-Zugang sind auch über den ISIS-Kurs zu finden: https://isis.tu-berlin.de/course/view.php?id=39264

Mit besten Grüßen
Vincent Radmann

—

Vincent Radmann
Technische Universität Berlin

Fachgebiet Technische Akustik

Sekr. TA7

Einsteinufer 25

10587 Berlin

Tel.: 030 314-78736

Email: vincent.radmann@tu-berlin.de

Von: Martin Supper
Datum: Wed, 10 Jul 2024
Betreff: Kompositionswettbewerb

SoundChain International Composition Competiton

Von: Hannes Teichmann
Datum: Mon, 8 Jul 2024
Betreff: Audiovisionen: Hackedepicciotto + Gebr. Teichmann @ Kulturraum Zwingli-Kirche, Berlin

…

Von: Lepa, Steffen via ak discourse
Datum: Fri, 5 Jul 2024
Betreff: [ak-discourse] Call for Contributions: Most Wanted: Music Research

💥 CALL FOR CONTRIBUTIONS💥

Most Wanted: Music Research is a new subconference format of Most Wanted: Music Convention on November 14, 2024 at Kulturbrauerei Berlin as a collaborative format with the GMM and other academic partners. MW:M Research is established as a new arena for encounters between artists, practitioners and researchers. The day will start with the Applied Knowledge Lab initiated by GMM, IMBRA & MW:M. For the afternoon we invite talks, presentations, papers, demos and discursive formats from the areas of music business, music culture, and music tech. Topics are organized in three tracks and may focus on, but are not limited to this year’s conference theme Monetize!

1) Music Business

• Monetization and Marketing of Artistic Work: Digital Business Models from Songwriting to Digital Marketing, Funding Strategies, Promotion Tools
• Value-based Practices: Creative Entrepreneurship and Collaboration, Artist Management, Music Rights, Digital Platform Use
• Ecosystemic Sustainability: Accessible Frameworks, Diverse Distribution Systems, Sustainable Practices

2) Music Cultures and Events

• Music Cultures and Genres: Music Performance and Listening, Co-creation and Social Musicking, Cultural Differences
• Event-related Research: Concert and Festival Studies, Event Market Research, Globalisation
• Music Cognition and Psychology: Music Perception and Emotion, Music Movement, Therapy and Wellbeing, Music Education

3) Music Tech

• Musical Instruments and Interfaces: Embodied Design, Human-Comupter Interfaces for Music, Networked Instruments
• Immersive Music: Music Metaverse, Internet of Things, 3D Audio
• Artificial Intelligence in Music: Computational Creativity, Intelligent Music Discovery, Collaborative Music AI

Contribution Formats:

• Paper (up to 5k words) + Presentation (10min) on site in Berlin
• Presentation only (10min)
• Paper only (up to 5k words)
• Video presentation
• Discussion or other interactive format involving more than 1 presenter
• Demo, installation, or performance (limited to venue ressources and spatial capacity)

Submissions including 300 word abstracts are invited at LINK until August 19, 7pm. Papers submissions should be made to https://mwm.pubpub.org/. Contributors will be notified by September 30.

MW:M Research specifically intends to motivate collaborative work of practitioners and researchers. That is why we created an inclusive platform for the ideation stage, where everyone interested in contributing can raise questions, discuss methods, and find collaborators to develop a submission at https://discord.com/invite/kj9fkMyK.

Accepted contributors receive free registration for the full conference program of Most Wanted: Music.

Von: Lepa, Steffen via ak discourse
Datum: Tue, 2 Jul 2024
Betreff: [ak-discourse] WG: AIMC 2024 registration

Registration is now open for the 2024 AI Music Creativity conference (Oxford U. Sep 9-11) https://aimc2024.pubpub.org/registration . Please note that this is not a hybrid conference but we will have limited online access – keynote speakers and some remote presentations from authors who cannot attend in person.

You can also book accommodation – links at the bottom of the registration page.

Oded

Von: Lepa, Steffen via ak discourse
Datum: Mon, 1 Jul 2024
Betreff: [ak-discourse] New special issue of Internet Policy Review: Locating and theorising platform power

New special issue of Internet Policy Review

Locating and theorising platform power
Guest-edited by:
David Nieborg, Department of Arts, Culture and Media, University of Toronto Thomas Poell, University of Amsterdam Robyn Caplan, Sanford School of Public Policy, Duke University, Durham José van Dijck, Utrecht University

Abstract
Against the backdrop of ongoing public and political debates about the power and regulation of large platform conglomerates, this special issue calls for more critical, conceptual, and empirical studies on platform power. While a lot of valuable research has already been done, we see a tendency in both public and scholarly debates on leading platform companies to develop one-sided, monolithic understandings of this power. Instead, we want to argue for a relational perspective, which focuses on the relations of dependence that grow around specific platforms. Therefore, contributions locate and theorise platform power. Through specific case studies on particular types of platforms the contributions home in on the various modalities of power. The papers address three broader themes that speak to the different facets of platform power: (1) analysing platform infrastructures and markets; (2) platform governance;
(3) the negotiation of platform power and its alternatives.

Table of contents

The platform behind the curtain: Obfuscated brokerage on retail trading platforms By Andreas Gregersen, University of Copenhagen Jacob Ørmen, University of Copenhagen

Monitoring infrastructural power: Methodological challenges in studying mobile infrastructures for datafication By Stine Lomborg, University of Copenhagen Kristian Sick, University of Copenhagen Sofie Flensburg, University of Copenhagen Signe Sophus Lai, University of Copenhagen

Platform power in AI: The evolution of cloud infrastructures in the political economy of artificial intelligence By Dieuwertje Luitse, University of Amsterdam

Observing “tuned” advertising on digital platforms By Nicholas Carah, University of Queensland Lauren Hayden, University of Queensland Maria-Gemma Brown, University of Queensland Daniel Angus, Queensland University of Technology Aimee Brownbill, Foundation for Alcohol Research and Education Kiah Hawker, University of Queensland Xue Ying Tan, Queensland University of Technology Amy Dobson, Curtin University Brady Robards, Monash University

Protocol power: Matter, IoT interoperability, and a critique of industry self-regulation By Colin Crawford, Concordia University

Platform lobbying: Policy influence strategies and the EU’s Digital Services Act By Robert Gorwa, Berlin Social Science Center (WZB) Grzegorz Lechowski, Free University of Berlin Daniel Schneiß, Kiel University

Copyright callouts and the promise of creator-driven platform governance By Blake Hallinan, Hebrew University of Jerusalem CJ Reynolds, Hebrew University of Jerusalem Omer Rothenstein, Hebrew University of Jerusalem

The contingencies of platform power and risk management in the gig economy By Niels van Doorn, University of Amsterdam

Platforms´ regulatory disruptiveness and local regulatory outcomes in Europe By Eliska Drapalova, Berlin Social Science Center (WZB) Kai Wegrich, Hertie School

How platform power undermines diversity-oriented innovation By Paula Helm, University of Amsterdam

Full special issue openly accessible here: https://policyreview.info/articles/analysis/introduction-special-issue-locating-and-theorising-platform-power

…