Von: via nova
Datum: Tue, 14 Oct 2025
Betreff: Einladung: „Fest der Geister“ – Konzert in der Kunsthalle Erfurt (31.10.2025)

Click for more info:
https://degemnewsplus.blogspot.com/2025/10/erfurt-einladung-fest-der-geister.html

Von: Martin Supper
Datum: Mon, 6 Oct 2025
Betreff: Organised Sound Issue 32/2 Call for Submissions: Sonic Art and the Future of Education – Cross-disciplinary perspectives

ORGANISED SOUND

Call for Submissions – Volume 32, Number 2

Thematic Issue Title: Sonic Art and the Future of Education: Cross-disciplinary perspectives

Date of Publication: August 2027

Publisher: Cambridge University Press

Issue co-ordinators: David Holland (d.w.holland@ucl.ac.uk) and Ross Purves (r.purves@ucl.ac.uk)

Deadline for submission: 15 September 2026

Sonic Art and the Future of Education: Cross-disciplinary perspectives

Since the 1960s there has been an ongoing relationship between the sonic arts and education. This is evident in the work of educators and composers such as R. Murray Schafer in Canada and Trevor Wishart in the UK, who were influential as community artists working on community-based music initiatives in and outside schools. More recently in the UK, there has been important research at De Montfort University around introducing sound-based music into schools. As also evidenced by a recent issue on radical education in electronic music (issue 29/2), such projects often involve innovative technology and approaches to teaching that influence practice in formal educational contexts while also highlighting social, economic and cultural issues related to inclusion (or lack thereof) in conventional music education.

This thematic issue seeks to explore how partnerships and relationships between sonic artists and educators (in both formal and informal contexts) are currently developing and asks: what contribution could sonic arts practices make, or what role could they play, in education in the future?  As lines between disciplines become more blurred, what could sonic arts practices offer and contribute to a variety of future curricula? The skills that are needed for being a sonic artist can be applied across multiple disciplines, for example as a foley artist or as a sound designer for computer games; these creative areas do not necessarily fit or align with the music curriculum currently, but could these sonic skills cross curriculum boundaries and broaden the sense of what it means to be a 21^st century musician or sonic artist and the subject’s potential societal impact?

This issue seeks to explore how skills, innovation and creativity in the field of sonic arts can influence or enhance the future of education, not just in music but across a broad horizon of subject areas. Furthermore, in a field that has traditionally been dominated by white, male, middle class composers, can sonic arts education offer a more inclusive and democratic alternative to traditional approaches to music education? One of the areas that is likely to become more important and more contested in education as AI develops will be creativity. Many of the past projects run by sonic artists in education have emphasised creativity, but in the future will the creative skills that are central to composing sonic art become redundant or will they flourish? Additionally, with a resurgence in interest in analogue tools, could this sort of approach offer a welcome relief from the increasingly dominant and homogenous world of digital music making? Or what could a synthesis of digital and analogue approaches offer across a curriculum that emphasises STEM? Could this help the curriculum develop more towards a STEAM approach? Despite subject divisions that are reinforced by current political support for a knowledge-based curriculum, there is much discussion around the blurring of these divisions through cross-disciplinary partnerships. This reflects the future need for an education that fosters creativity and making across the curriculum. This could be a curriculum that understands the need for creative scientists, as well as for artists who understand the possibilities and the opportunities afforded by new technologies.

Potential topics:

Submissions may engage with, but are not limited to, the following topics in relation to sonic arts and education:

• Collaboration
• Community-based initiatives involving the sonic arts that point to future directions in music education
• Innovative approaches to pedagogy using sonic art
• Sonic creativity and its role in education
• Acoustic ecology and the future of education
• Cross-disciplinary partnerships involving sonic arts in educational contexts
• Sonic arts and the STEAM curriculum
• Teacher education involving sonic arts projects
• Gender in sound and/or music education
• Democracy and inclusion in sound and/or music education
• The evolution of assessment in sound and/or music education
• Ownership and authenticity in sound and/or music education
• Extended reality (VR/AR/MR) in sound and/or music education

Furthermore, as always, submissions unrelated to the theme but relevant to the journal’s focus areas are always welcome.

Please note that Organised Sound seeks issue-driven submissions relevant to the journal’s readership. It does not seek artists’ statements or work/project descriptions without an underlying central question and broad contextualisation.

—

SUBMISSION DEADLINE: 15 September 2026

SUBMISSION FORMAT:

Notes for Contributors including how to submit on Scholar One and further details can be obtained from the inside back cover of published issues of Organised Sound or at the following url: https://www.cambridge.org/core/journals/organised-sound/information/author-instructions/preparing-your-materials.

General queries should be sent to: os@dmu.ac.uk, not to the guest editor.

Accepted articles will be published online via FirstView after copy editing prior to the full issue’s publication.

Editor: Leigh Landy; Associate Editor: James Andean

Founding Editors: Ross Kirk, Tony Myatt and Richard Orton†

Regional Editors: Liu Yen-Ling (Annie), Dugal McKinnon, Raúl Minsburg, Jøran Rudi, Margaret Schedel, Barry Truax

International Editorial Board: Miriam Akkermann, Marc Battier, Manuella Blackburn, Brian Bridges, Alessandro Cipriani, Ricardo Dal Farra, Simon Emmerson, Kenneth Fields, Rajmil Fischman, Kerry Hagan, Eduardo Miranda, Garth Paine, Mary Simoni, Martin Supper, Daniel Teruggi, Ian Whalley, David Worrall, Lonce Wyse

Von: Lepa, Steffen via ak discourse
Datum: Wed, 15 Oct 2025
Betreff: [ak-discourse] Postdoc (Interactive Media) @ MTU Cork School of Music

This Postdoc role involves hands-on immersive application development using Unity or Unreal with advanced audio integration for immersive design. Based in MTU’s state-of-the-art creative digital media and spatial audio labs, concert halls, XR facilities, and visual arts and music spaces, the postdoc will apply game engine expertise to create next-generation cultural heritage experiences. We welcome applicants with PhDs from across disciplines — including Game Design, Creative Digital Media, Music Technology, User Experience, Computing and Engineering etc. — who can demonstrate strong immersive media and user-centred development skills.

Based in the newly formed Faculty of Creative and Performing Arts & Media (CPAM) the successful applicant will lead activities, including the technical development of a 3D immersive application for cultural heritage sites and ensuring technological sustainability of any developed solution. The successful applicant will also be a key contributor in dissemination activities, future funding proposals and stakeholders. Building on existing research at MTU, the project will explore the potential of audio to enhance interactive and immersive experiences and explore how sound can be used to create inclusive, engaging and immersive experiences in a variety of contexts, from museum installations to public spaces and virtual worlds. The project aims to push the boundaries of digital storytelling and immersive design, fostering new ways of experiencing historical and cultural environments through cutting-edge technology.

https://www.irishjobs.ie/job/post-doctoral-researcher/munster-technological-university-job105953721

Von: Lepa, Steffen via ak discourse
Datum: Wed, 15 Oct 2025
Betreff: [ak-discourse] Post-Doc position [MIR / Soundscape / Digital Humanities] at University of Bamberg, Germany

Dear list.

To establish my research group at the University of Bamberg, I am looking for a postdoctoral researcher with relevant experience in research and teaching in the fields of music information retrieval or digital humanities. The successful candidate will have a strong background in audio and music processing, as well as machine learning and deep learning. The position is available immediately (application deadline 15 November).

Very good German and English skills (C1 level) are required to facilitate intensive exchange with students and other disciplines (e.g. humanities and social sciences) in Bamberg.

The full job posting (in German only) can be found here (PDF).

Please reach out if you have any questions.

Best regards,
Jakob

—
Prof. Dr. Jakob Abeßer
Professur für Computational Humanities
Otto-Friedrich-Universität Bamberg
Fakultät Wirtschaftsinformatik und Angewandte Informatik
WE5/04.113, An der Weberei 5, 96047 Bamberg
Tel.:   +49 (0) 951 863-3114
E-Mail: jakob.abesser@uni-bamberg.de

Web: https://www.uni-bamberg.de/ch/

Von: Christian Banasik
Datum: Tue, 14 Oct 2025
Betreff: Düsseldorf – 25.10.2025 – Neue elektronische Töne

Click for more info:

https://degemnewsplus.blogspot.com/2025/10/dusseldorf-25102025-neue-elektronische.html

Von: Gerhardt Mueller-Goldboom
Datum: Fri, 10 Oct 2025
Betreff: Hörtipp im Oktober

Von: Giesen, Malte
Datum: Fri, 10 Oct 2025
Betreff: Neue Stellenausschreibung im E-Studio der AdK

…

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

zur Wochenmitte möchten wir Sie auf unsere neue Stellenausschreibung aufmerksam machen

Wir suchen:

eine*n Toningenieur*in –  https://www.interamt.de/koop/app/stelle?id=1367824 – Fristende: 07.11.2025

Weitersagen ist ausdrücklich erwünscht.

Von: Jens Ahrens via ak discourse
Datum: Thu, 9 Oct 2025
Betreff: [ak-discourse] Freier Spatial-Audio-Online-Kurs (und bitte um Feedback)

Liebe Liste,

ich bin Teil eines kleinen Konsortiums, dass einen freien Online-Kurs zum Thema Spatial Audio erstellt hat: https://spatial-audio.acoucou.org/course/contents Es fehlen noch ein paar Case Studies, aber 90 % des Kurses sind schon online. Der Rest kommt in wenigen Wochen.

Wir hoffen, dass der Kurs sowohl für Lernende also auf Lehrende nützlich sein wird.

Alle, die sich den Kurs ansehen, bitte ich um Folgendes:

Der Qualitätssicherungsmechanismus des Kurses beinhaltet einen “Review”-Prozess, der vorsieht, dass wir über diesen Fragebogen Feedback zum Kurs einholen. Das Förderprogramm der EU, dass die Erstellung des Kurses finanziert hat, erfordert, dass wir Feedback im Umfang von 90 Antworten auf den Fragebogen einholen. Das gesamte Team und ich wären Euch unglaublich dankbar, wenn Ihr hierzu beitragen könntet!!!

Idealerweise geschieht dies bis zum 25. Oktober. Dann müssen wir nämlich die Zahlen an die EU übermitteln.

Vielen lieben Dank und mit noch lieberen Grüßen aus Göteborg
Jens

—
Jens Ahrens
Professor
Division of Applied Acoustics
Chalmers University of Technology
412 58 Gothenburg
Sweden
+46 (0)31 772 2210

Jens Ahrens

Von: Thomas Gerwin
Datum: Wed, 8 Oct 2025
Betreff: Info für den Newsletter

-- 
::
T h o m a s . G e r w i n
Komponist und Klangkünstler
www.thomasgerwin.de

Von: Orsolya Toldi
Datum: Wed, 8 Oct 2025
Betreff: Sonology Discussion Concert – 15 October 2025

Click for more info: https://degemnewsplus.blogspot.com/2025/10/den-haag-sonology-discussion-concert-15.html

Von: Hannes Teichmann
Datum: Tue, 7 Oct 2025
Betreff: DO:Audiovisionen – Bella Wakame = Andi Haberl (The Notwist) + Florian Zimmer (Driftmachine)

Ihr Lieben / Dear lovely people,

ich freue mich sehr, Euch zur kommenden Audiovisionen in den Kulturraum Zwingli-Kirche einzuladen, wo Andi Haberl (von The Notwist) und Florian Zimmer (von Driftmachine) mit erweiterten Drums und modularen Synthesizern, als Bella Wakame, spielen werden.

i am delighted to invite you to the upcoming Audiovisions at the ZwingliKirche cultural centre, when Andi Haberl (from The Notwist) and Florian Zimmer (from Driftmachine) will perform live with extended Drums and Modular Synths as Bella Wakame.

Herzlich / warmly,

Hannes Teichmann
Audiovisionen / Gebrüder Teichmann / Kulturraum Zwingli-Kirche

Audiovisionen @ Kulturraum Zwingli-Kirche e.V.
Danneckerstrasse Ecke Rudolfstrasse, 10245 Berlin
Einlass 20 Uhr / Beginn 20.20 Uhr

09.10.2025 – Audiovisionen: Bella Wakame
https://www.kulturraum-zwinglikirche.de/audiovisionen-wakame.html
https://www.facebook.com/events/1488845555873457

Andi Haberl (von The Notwist) und Florian Zimmer (von Driftmachine) sind Bella Wakame.
Basierend auf dem impulsiven, treibenden Zusammenspiel von Drums/Sensory Percussion und Modularsynthesizer führen die rasenden, frei geformten Improvisationen in völlig neue Dimensionen – Klangwelten, die so gar nicht nach ihren anderen musikalischen Outputs klingen:
https://bellawakame.bandcamp.com/album/bella-wakame

Videos:
Shades of Nambei: https://youtu.be/bk-HTXsLtuQ
Manga Bois: https://youtu.be/X5ATb1wdSuo

Perkussionsinstrumente treffen auf modulare Synthesizer – was auf dem Papier nach monochromen Klangwelten klingt, erweist sich beim Debütalbum des Berliner Duos Bella Wakame als ziemliche Wundertüte. Ihre 2023 erschienene Debütsingle »Toutpartout PT2« hatte noch eine eher repetitive Anmutung – ein blubberndes Kräuseln, unter dem man nie so recht wusste, was an der Oberfläche lauert. Ihr selbstbetiteltes Debütalbum (Umor-Rex 2025) hingegen steckt voller soghafter Melodien und wunderbar elektroakustischer Texturen, die immer wieder unbekümmert zerlegt werden.
Fürs Schlagzeug und die sensorische Perkussion ist Andi Haberl zuständig – bekannt als Drummer von The Notwist, zuletzt auch mit seinem wunderbar warmen, luftigen Soloalbum als SUN in Erscheinung getreten. Florian Zimmer bringt sein Händchen für modulare Synthesizer unter anderem in das groovende Trio Saroos ein. Mit Andreas Gerth entwirft er als Driftmachine raumgreifende Soundscapes. Bei Bella Wakame kommen all diese Qualitäten zusammen – und verschmelzen zu etwas sehr Eigenem.
Man hört zarte Einflüsse von Neu!, Can oder dem Nippon-Projekt World Standard, doch wie dann alles zusammenfließt, das ist einzigartig unverbraucht. Pulsierend, locker und kraftvoll, auch kleine experimentelle Klangflächen blitzen auf, um letztlich in schwingenden Songstrukturen aufzugehen

upcoming:

13.11.2025 – Audiovisionen: Marja Burchard + Gebrüder Teichmann
https://www.kulturraum-zwinglikirche.de/audiovisionen-burchard.html
https://www.facebook.com/events/1322490572550004

Drei Geschwister im Geiste, zeitgleich aufgewachsen in ähnlichen Kosmen, geprägt von Ihren Musiker-Vätern und der freien Münchner Musikszene der 68er Jahre.
Die Multi-Instrumentalistin Marja Burchhard (Embryo) und die Elektronik-Musiker Andi und Hannes Teichmann (Gebrüder Teichmann) lieben es gemeinsam zu improvisieren und die Grenzen zwischen akustischen und elektronischen Klängen, zwischen Aktion und Reaktion, zu bereisen.

…

Von: Lepa, Steffen via ak discourse
Datum: Tue, 27 May 2025
Betreff: [ak-discourse] WG: Call for chapters to a book on the platformization of music production

Call for chapters to a book on the platformization of music production

We hereby invite contributions to a volume on how contemporary platforms of music production are developed and what their significance is for music making. The initiative is inspired by the presentations and discussions at the Symposium on the platformization of music production that we hosted at the University of Oslo in May 2025.

We invite chapter contributions that explore platformization in terms of the technological platforms as well as implications for “platformized” creative practice. We are currently in dialogue with a renowned university press, aiming to complete the book in 2026.

A starting point for exploring platforms of music is the definition of “platform” as a “raised level surface on which people or things can stand” (Oxford English Dictionary). The term has been associated with networked services that are able to accommodate a growing range of users and somehow transform the relationship between them (e.g. Gillespie, 2010). The notion of a platformization of music making has perhaps primarily been associated with distribution services, such as Spotify, and the way songwriting is influenced by recommendation systems and mood-based playlists that promotes listening (e.g. Morris 2020, Kiberg 2023). Recent research, however, has also engaged with the platformization of production resources, including online services offering automated mastering (Landr; see Sterne and Razlogova 2020) or royalty-free samples (Splice; see Arrieta 2021).

Digital audio workstations (DAWs), such as Apple’s Logic Pro or Ableton’s Live, increasingly resemble what Foxman (2019) calls “platform tools,” which are “integral to the entire production process” and able to “act as an intermediary between industries and platforms.” These technologies increasingly offer opportunities of online production and real-time collaboration while also providing networked distribution facilities (e.g. Kjus 2024). Social media platforms, such as TikTok, are also integrating creative and distributive activities in new ways, while AI-based platforms offer new opportunities (and challenges) for music producers as well as consumers of music.

For this volume, we encourage multiple approaches to the platformization of music production, including the “intricate interplay” between platforms and users, and its cultural, social and economic aspects (see Nieborg and Poell 2018). Platforms have the appeal of being able to support a growing range of people and practices and to somehow transform the relationship between them, for instance within the field of do-it-yourself musicking. Research has, however, increasingly engaged with who and what platforms actually support and how interactions and practices might be organized to the benefit of certain interests over others. We want to inspire further research by drawing attention to the rise of music platforms as platforms of production and to the evolving range of digital and networked tools and services that in various ways facilitate and restrict contemporary music making and creative audio work.

We invite theoretical, empirical, analytical, critical and conceptual contributions on topics including, but not restricted to:

• The development of contemporary technologies and platforms of production, including digital audio workstations, plugins, AI tools, sample libraries, etc.

• Relations between production and distribution platforms, and their joint influence on music making.
• The platformization of creative practices and changing competency requirements, for instance for songwriters and producers.
• The extension of platforms across sectors and markets of music. What kinds of labor relations and roles do platforms of production invite?
• The collection and use of data through platforms, including potential implications for creative practice (including ethical and legal issues).
• The use of artificial intelligence in existing and emerging platforms.
• Emerging complimentary platforms and services, from specialized AI mastering tools (e.g. Landr) to aggregate services (e.g. Splice). Do we see the contours of a platform ecosystem of music making?
• The significance of platforms of production for music making and sound design in audiovisual media (including interactive video games).
• The influence of platforms of production on the economy and business of music making.
• The influence of platforms of production on musical expression and aesthetics.
• Platformization and challenges to established notions of creativity, ownership and copyright.
• Sociopolitical implications of the use of different kinds of platforms, including diversity in music production culture and practice.

We plan on organizing the book around the following aspects of the platformization of music production: 1) Production for distribution platforms (e.g. music production for streaming), 2) Social media music production (e.g. music making on TikTok, YouTube, etc.), 3) The use music production software (e.g. creative use of DAWs and other tools), and 4) The development of platforms for music production (e.g. development, design and marketing of DAWs, plug-ins, sample libraries, AI tools, etc.).

Abstract submission: Please send extended abstracts to emil.kraugerud@imv.uio.no by Wednesday June 25. The abstracts should be up to 1000 words, and should include:

• Chapter title
• Specification of topic and research question
• Methods and theoretical approach
• How you see your chapter contributing to the study of the platformization of music production
• Your full name and current affiliation

Responses to the abstracts will be given by the end of August. We will then also provide a more detailed description of the requirements and timeline of the book.

Best regards,

Yngvar Kjus, Professor of Music and Contemporary Media at the Dept. of Musicology, University of Oslo

Emil Kraugerud, Postdoctoral Research Fellow at the Dept. of Musicology, University of Oslo

This initiative is part of the PLATFORM project, funded by the Research Council of Norway.

Von: Kiezsalon by Digital in Berlin
Datum: Fri, 23 May 2025
Betreff: Recommended concerts in June | 1 week until Kiezsalon Opening Weekend

View in browser ­ Dear friends and music lovers,   On 2 June, the Kiezsalon meets Poets‘ Corner at Mark Twain Library. From 13 to 15 June, music theatre collective Sounding Situations stages Wagner Weltweit at Deutsche Oper Berlin and on 16 June, we present Philip Glass‘ Complete Piano Etudes at Berliner Philharmonie. But first, join us as we open our 2025 Kiezsalon season on 30 and 31 May—book your tickets. Kiezsalon Tickets Kiezsalon Opening Day 1 Friday, 30.05.2025 Opening our 2025 season is Brìghde Chaimbeul, an artist who has earned a reputation for her innovative use of the Scottish smallpipes, composing music that, as The Guardian writes, feels “simultaneously ancient and modern, profound and direct.”   In their Berlin debut, Swans members Dana Schechter & Paul Wallfisch present their collaborative project, The Heart Of A Whale. In our questionnaire, Schechter describes it as: “tonal washes, deep roars, delicate breaths, blasting noise, total chaos, a whisper and erasing of memory.”   The final premiere of the evening is a newly formed five-piece ensemble led by Berlin-based British saxophonist and composer Cassie Kinoshi, joined by Marius Max, Mauricio Fleury, James Banner and Lukas Akintaya. Buy Tickets Kiezsalon Opening Day 2 Saturday, 31.05.2025 Composer Alice Hebborn released her debut album Saisons in 2024, praised by The Quietus as “an accomplished and sophisticated work.” Joined by pianist Nao Momitani, she premieres Saisons in Berlin at the Kiezsalon.   Lithuanian-Belgian ambient folk duo Merope returns following the release of Vėjula, an album Pitchfork called “too arresting to be ambient.” They share the stage with American multi-instrumentalist Shahzad Ismaily, hailed by The New York Times as “one of music’s most coveted collaborators.”   Also making their Berlin debut is Portland-based composer Ann Annie, presenting fragile soundscapes that blend cinematic textures with elements of folk and electronica. Buy Tickets Alongside a full weekend of music, guests can explore the blooming gardens, meet the resident farm animals and wander through the castle’s current exhibition.   See you soon, Your Digital in Berlin Team ­ Presented by D/B Poets’ Corner x Kiezsalon / 2.6 In this collision of music and language, musicians Elena Kakaliagou and Liam Byrne compose a poetic polyphony—a soundtrack to the works of their favourite poets, presented as part of the Poesiefestival Berlin at Bezirkszentralbibliothek Mark Twain. Wagner Weltweit by Sounding Situations / 13-15.6 What does Richard have to do with Russian mercenaries? Music theatre collective Sounding Situations presents a multilayered live composition about the activities of the “Wagner Group” at the Deutsche Oper Berlin. The Complete Piano Etudes by Philip Glass / 16.6 20 pieces, sometimes meditative, sometimes rhythmic, sometimes romantic: Philip Glass‘ piano etudes are modern classics. See ten renowned pianists perform the etudes at Berliner Philharmonie for the first time. Kiezsalon Opening at Schloss Britz   Friday, 30 May w/ Brìghde Chaimbeul, Cassie Kinoshi and Dana Schechter & Paul Wallfisch   Saturday, 31 May w/ Ann Annie, Alice Hebborn with Nao Momitani and Merope together with Shahzad Ismaily   Doors 18:30 / Start 19:30 CET Schloss Britz | Alt-Britz 81 in 12359 Berlin   Tickets / Google Maps / Read more… ­ ­ ­ ­ Digital in Berlin Brückenstraße 1, 10179 Berlin This email was sent to news@degem.de Um diese E-Mail auf Deutsch zu lesen, kopieren Sie den Text und fügen sie diesen in den Übersetzer von DeepL.com ein. The Kiezsalon is a project by Digital in Berlin. Curated by Michael Rosen and funded by the Senate Department for Culture and Social Cohesion. Presented by The Wire and taz, die tageszeitung. Images in this E-Mail: Gutshof Britz by Museum Neukölln. Dana Schechter & Paul Wallfisch by Nikolaus Ostermann. Brìghde Chaimbeul by Camille Lemoine. Merope by Tina Herbots. Ann Annie by Silvia Grav. Alice Hebborn by Lara Gasparotto. Bezirkszentralbibliothek Mark Twain © Marzahn-Hellersdorf.com Wagner Weltweit by Andrea Vollmer. Philip Glass by Stewart Cohen. You are receiving this email because you are subscribed to Digital in Berlin, Kiezsalon, visited one of our events, or were in contact with us recently. …

Von: Presse Monheim Triennale
Datum: Thu, 22 May 2025
Betreff: Im Fokus: Peni Candra Rini / Oren Ambarchi – Radiosendung Listen

View this email in your browser The Sound | The Prequel | The Festival The Festival – Im Fokus: Peni Candra Rini / Oren Ambarchi / Radiosendung Listen 22.5.2025 Sehr geehrte Damen und Herren, liebe Kolleg:innen, Peni Candra Rini ist eine javanische Sängerin, Komponistin und Dozentin am Indonesian Institute of the Arts. Das Kronos-Quartett hat sie als „eine der größten Sängerinnen der Welt“ bezeichnet. Sie ist eine Meisterin traditioneller Formen und gilt als eine der mutigsten jungen Komponist:innen Indonesiens. 2025 wird sie erstmals bei The Festival (2.– 6. Juli 2025) als Signature Artist der Monheim Triennale mit einem transdisziplinären Projekt zu erleben sein, das in Monheim uraufgeführt wird. „Ich bin als Sängerin zur Welt gekommen“, sagt sie. Peni Candra Rini © Arip Fatoni Rohman Signature Projekt Peni Candra Rini: „Rara – Allegories of the Southern Sea“ (Weltpremiere) Samstag, 5. Juli 2025, 20:15 Uhr, Festivalschiff Mitwirkende: Peni Candra Rini: Stimme, Schattenspiel | Dr. Andrew McGraw: Schlagzeug, Streicher | Shahzad Ismaily: Bass, Gitarre | Bert Cools: Gitarre, Synthesizer | Indre Jurgeleviciute: Kanklės (Zupfinstrument), Harfe, Gesang | Gusti Sudart: Schatten-Puppenspiel | Guruh Purbo Pramono: Percussion, Gongs Rini erarbeitet zurzeit ein Multimedia-Werk, das ihre Kompositionen, den Tanz und Puppenspiel einbezieht und gleichzeitig die Folgen des Klimawandels erforscht, der die indonesischen Inseln bereits jetzt besonders hart trifft. Monheim Papers Peni Candra Rini: „Wir spielen unsere menschliche Kultur“ „Morgens läuft Peni Candra Rini am liebsten gleich aus ihrem Haus in Java, gern ohne Sandalen, über den Pfad mit dieser fast schwarzen Erde, an Gebüsch und hüfthohen Grashalmen entlang, hinein in das Zusammenspiel von Insekten, Vögeln und Wind. Und dann stimmt sie mit ein in das große, alltägliche Zirpen, Scharren, Rauschen und Blöken.“ Lesen Sie hier das vollständige Portrait von Arno Raffeiner für die Monheim Papers. Raffeiner ist Kritiker und Autor sowie geschäftsführender Redakteur im Haus der Kulturen der Welt Berlin. ––––––––––––––––––––––––––––––––––––––––– Signature Artist Oren Ambarchi ist Komponist und Multi-Instrumentalist, der sich in seiner Praxis auf die Erforschung der Gitarre konzentriert. Er ist ein begeisterter Kollaborateur und Improvisator, der mit vielen Persönlichkeiten der Aktuellen Musik zusammengearbeitet hat. Außerdem betreibt er seit 2009 das Label Black Truffle, das bereits über 100 hochgelobte Veröffentlichungen hervorgebracht hat. Oren Ambarchi © Niclas Weber für Monheim Triennale Signature Projekt Oren Ambarchi: „Hubris“ Donnerstag, 3. Juli 2025, 19 Uhr, Festivalschiff Mitwirkende: Oren Ambarchi: E-Gitarre | Konrad Sprenger: Computer | Sam Dunscombe: Bassklarinette | Mats Gustafsson: Bariton-Saxofon und Flöte | Jules Reidy, Phillip Sollmann, Fredrik Rasten, Marcus Pals: E- Gitarren | Johan Berthling: E- Bass | Will Guthrie, Andreas Werliin: Schlagzeug | crys cole: Stimme Das Projekt „Hubris“ ist nach Ambarchis gleichnamigen Album benannt and feierte 2019 seine Premiere im Café Oto in London. Bei der Monheim Triennale wird es das dritte Mal zu hören sein. Dazu hat Ambarchi wieder eine außergewöhnliche Gruppe zusammengestellt. „Alle Spieler:innen sind Freund:innen und Kollaborateur:innen, mit denen ich gerne zusammenarbeite. Einerseits gibt es bei diesem Stück klare Parameter und Anweisungen, wie ich es gerne gespielt hätte. Aber es gibt auch Raum für Improvisationen und erweiterte Abschnitte für die eigene Interpretation jedes Spielers.“ Monheim Papers  Oren Ambarchi: „Ich bin definitiv daran interessiert, Dinge langsam zu erforschen und mir Zeit für die Erkundung zu nehmen.“  „Eine der ersten Inspirationen für „Hubris“ war (…) ein 10 Sekunden langer Abschnitt auf der instrumentalen B-Seite von Tulio De Piscopos „Stop Bajon“ 12“. Irgendetwas an dem Sound und der Art und Weise, wie die beiden handtellergedämpften Gitarren hart nach links und hart nach rechts geschwenkt wurden, inspirierte mich, aber es dauerte nur zehn Sekunden. Also sagte ich zu mir selbst: Warum kann nicht ein ganzes Album so klingen wie diese zehn Sekunden?” Erfahren Sie hier mehr über Ambarchis Herangehensweise im Interview von Thomas Venker, Kurator der Monheim Triennale. ––––––––––––––––––––––––––––––––––––––––– Listen – Radiosendung mit Frank Schulte und Jacob Kirkegaard Freitag, 30.Mai 2025, 19 Uhr Zu hören online auf Radio Rakete In der 30.Ausgabe der Radiosendung „Listen“ ist der dänische Klangkünstler Jacob Kirkegaard zu Gast. Kirkegaard erforscht in seinen Arbeiten komplexe, unbemerkte oder unzugängliche Umgebungen. Seine Arbeiten behandeln Themen wie das schmelzende Eis in der Arktis, Grenzmauern in globalen und metaphorischen Kontexten, die globale Abfallwirtschaft. Mit seinen Aufnahmen von Schusswaffen, Granaten und Panzern erkundet er in seiner jüngsten Arbeit den Klang der Kriegsführung, die er für das Royal Lifeguard’s Music Corps orchestriert hat. Beste Grüße Kathrin Jentjens Leitung Kommunikation und Ko-Kuratorin The Sound 2023 Monheimer Musikfestival GmbH Monheimer Straße 21 40789 Monheim am Rhein Tel +49 (0) 2173 – 999 4605 presse@monheim-triennale.de www.monheim-triennale.de       Copyright © 2024 Monheim Triennale, All rights reserved. You are receiving this email because you opted in via our website. Our mailing address is: Monheim Triennale Monheimer Straße 21 D – 40789 Monheim am Rhein …

Von: Michaela Schweiger
Datum: Wed, 21 May 2025
Betreff: Ausschreibung Künstlerische Mitarbeit mit Schwerpunkt Klangkunst / Klanginstallation

…

ich leite an der Burg Giebichenstein Kunsthochschule Halle die Studienrichtung Zeitbasierte Künste und würde Sie gerne auf die aktuelle Ausschreibung für eine Künstlerische Mitarbeit mit Schwerpunkt Klangkunst / Klanginstallation in der Studienrichtung aufmerksam machen.

https://www.burg-halle.de/artikel/a/kuenstlerischer-mitarbeiterin-audiovisuelle-medien-mit-schwerpunkt-klang-klanginstallation-w-m-d

Ich würde mich freuen, wenn Sie diese Ausschreibung weiterleiten und verteilen.

Mit vielen freundlichen Grüßen

Michaela Schweiger

Von: Festival BLAUES RAUSCHEN
Datum: Tue, 20 May 2025
Betreff: Podcast #30 – New venues, new sound / Neue Bühnen, neue Klänge (8 min.)

View this email in your browser Essen, 20.05.2025 (deutsche Version weiter unten) Dear readers, a new episode of BLAUES RAUSCHEN podcast is online. And that’s what it’s about: PODCAST #30 >> Where sound finds space: BLAUES RAUSCHEN as a guest at Domicil & Lokal Harmonie “This is a polynuclear, very good sounding room” BLAUES RAUSCHEN keeps on growing! The festival area is being expanded again this year – new cities are being added and with them exciting new locations. Episode 29, lead us to the new venues kiU Storylab in Dortmund and Makroscope in Mülheim an der Ruhr. This time we first take a look at Lokal Harmonie in Duisburg opening its doors for us on May 28. The interdisciplinary cultural venue offers a stage for everything from music to performance – including the BLAUES RAUSCHEN festival. Second: It’s not just jazz that plays an important role at Dortmund’s Domicil, but also an openness to new styles. Kyra Preuß talks to Duisburg musicologist Wolfgang van Ackeren and the Domicil’s artistic director Waldo Riedel about their different approaches to their partnership with the festival. Have fun listening in! (Podcast in German language) Best regards, your BLAUES RAUSCHEN team *Text: Vincent Klapfenberger, Speaker: Kyra Preuß, Music: Karl-Heinz Blomann Tip: You can also order a free program booklet. Follow the link below. Blaues Rauschen takes place from 23 May to 7 June 2025 and brings together internationally renowned artists who create unusual experiences with new audiovisual works between sound, technology and society. Next: Festival opening Essen Reels/posts/stories Get your Tickets Free program booklet Podcast episode 30 Hallo liebe Leserinnen und Leser, die neue Folge unseres BLAUES RAUSCHEN-Podcasts ist online. Und darum geht’s: PODCAST #30 >> Wo Klang Raum findet: Das BLAUE RAUSCHEN zu Gast im Domicil & Lokal Harmonie „Das ist ein polynutzbarer, sehr gut klingender Raum“ BLAUES RAUSCHEN wächst kontinuierlich weiter. Deshalb wird auch in diesem Jahr das Festival-Gebiet erweitert – mit neuen Partner-Städten und spannenden neuen Locations. In der letzten Podcastfolge ging es um die neuen Spielorte kiU Storylab in Dortmund und das Makroscope in Mülheim an der Ruhr. Diesmal lernen wir zwei weitere neue Locations kennen: Das Lokal Harmonie in Duisburg öffnet für uns am 28. Mai die Türen. Der interdisziplinäre Kulturort bietet eine Bühne für Musik bis Performance – auch für das Festival BLAUES RAUSCHEN. Im Dortmunder Domicil spielt nicht nur Jazz eine wichtige Rolle, sondern auch die Offenheit gegenüber neuen Spielarten. Kyra Preuß spricht mit dem Duisburger Musikwissenschaftler Wolfgang van Ackeren und dem Künstlerischen Leiter des Domicils Waldo Riedel über deren jeweils unterschiedliche Beweggründe, sich bei dem Festival zu engagieren. Viel Spaß beim Hören! Beste Grüße, euer BLAUES RAUSCHEN Team *Text: Vincent Klapfenberger, Sprecherin: Kyra Preuß, Music: Karl-Heinz Blomann Tipp: Außerdem könnt ihr euch ein gratis Programmheft bestellen. Den Link findet ihr unten. Blaues Rauschen findet vom 23. Mai bis zum 7. Juni 2025 statt und bringt international renommierte Künstler*innen zusammen, die mit neuen audiovisuellen Arbeiten zwischen Klang, Technologie und Gesellschaft ungewöhnliche Erlebnisse schaffen. Nächstes Event: Festivaleröffnung Essen Reels/posts/stories Tickets Gratis Programmheft Podcast Episode 30 Gefördert durch / funded by: Copyright © 2025 open systems e.V., All rights reserved. Sie erhalten diese eMail aufgrund Ihres Interesses an oder Ihre Verbindung zu open systems e.V., dem Festival BLAUES RAUSCHEN und den damit verbundenen Aktivitäten / You are receiving this email because you were interested in or connected to open systems e.V. or Festival BLAUES RAUSCHEN and their activities. Our mailing address is: open systems e.V. Rüttenscheider Str. 166 Essen 45131 Germany Add us to your address book …

Von: Soundcinema Duesseldorf
Datum: Fri, 16 May 2025
Betreff: Call for Sounds – Soundcinema Düsseldorf 2025 | »Webscapes«

Click for more info:
https://degemnewsplus.blogspot.com/2025/05/fwd-call-for-sounds-soundcinema.html

Von: Anne Wellmer
Datum: Thu, 22 May 2025
Betreff: Errant Sound im Theater unterm Dach

Click for more info:
https://degemnewsplus.blogspot.com/2025/05/berlin-errant-sound-im-theater-unterm.html

Von: Lepa, Steffen via ak discourse
Datum: Thu, 22 May 2025
Betreff: [ak-discourse] [Call for Papers] IWSSPA 2025 – International Workshop on Sound Signal Processing Applications

——————————————- Call for Papers ——————————————-
IWSSPA 2025
International Workshop on Sound Signal Processing Applications
Date: 8 – 11 July 2025
Location: Barceló Costa Ballena Golf & Spa, Costa Ballena, Rota, Spain
Website: iwsspa2025.ujaen.es
——————————————————————————————————–

Following the great success of its inaugural edition, we are pleased to announce the Second International Workshop on Sound Signal Processing Applications (IWSSPA 2025), which will take place as a satellite event of the XXV International Conference on Computational and Mathematical Methods in Science and Engineering (CMMSE).

IWSSPA 2025 offers a vibrant platform for researchers and professionals to share the latest advances, innovations, and applications in the field of sound signal processing. This edition aims to foster discussion and collaboration across a wide range of topics, continuing the momentum of the first workshop.

We welcome original contributions in areas including, but not limited to:

• Audio signal processing
• Speech recognition and synthesis
• Music information retrieval
• Biomedical signal processing
• Environmental sound analysis
• Acoustic scene analysis
• Sound-based human-computer interaction
• Sound processing for virtual and augmented reality
• Audio-based healthcare applications
• Acoustic sensor networks
• Audio coding and compression
• Machine learning techniques for sound processing

Special Issue:
As in the previous edition, a selection of the best papers will be invited to submit an extended version of their work to aspecial issue in the EURASIP Journal on Audio, Speech and Music Processing (ISSN 1687-4722). This special issue continues to offer a premier venue for showcasing high-impact research in sound signal processing.

Important Dates:

• Abstract Submission Deadline: May 31, 2025
• Notification of Acceptance: June 4, 2025
• Author Registration Deadline: June 7, 2025
• Special Issue Submission Deadline: October 2025

For submission guidelines and the latest workshop updates, please visit the IWSSPA 2025 website.

We look forward to your participation in IWSSPA 2025!

Best regards,
Antonio J. Muñoz-Montoro
Associate Professor
University of Jaén, Spain

Von: Lepa, Steffen via ak discourse
Datum: Thu, 22 May 2025
Betreff: [ak-discourse] WG: New Book – Gear: Cultures of Audio and Music Technologies

Dear colleagues,

Eliot Bates and I are delighted to announce the publication of our co-authored book, ‘Gear: Cultures of Audio and Music Technologies’, published by The MIT Press. It’s free and available via MIT Open Access:

https://direct.mit.edu/books/oa-monograph/5972/GearCultures-of-Audio-and-Music-Technologies

Synopsis

A critical examination of the twenty-first century fetishization of professional audio technologies, and how it led to a new social formation: gear cultures.

Gear: mixing consoles, outboard effects processors, microphones. These are professional studio recording-related technological objects—the tools of the recording industry—yet their omnipresence in the broader music industries and prosumer markets transcends the entrenched pro audio engineer guild. In Gear: Cultures of Audio and Music Technologies, authors Eliot Bates and Samantha Bennett ask: How does gear become gear? Why is it fetishized? And how is it even relevant in the predominantly digital twenty-first-century music technology landscape?

This multisited, multicountry, multiplatform, and multiscalar study focuses on gear in the present day. The authors trace the life of gear from its underlying materialities, components, and interfaces to its manufacturing processes, its staging in sites including trade shows and message fora, and its reception through (gear) canons, heritage, and obdurance. This book implements a meticulous multimode methodology drawing upon more than twenty-five firsthand long-form interviews with audio industry professionals—including gear designers, users, and publishers—as well as new findings drawn from multisited fieldwork, online discourse analysis, and visual ethnography.

Gear examines the present-day prevalence of gear and the existence of its surrounding passionate, competitive, and sometimes bizarre gear cultures.

Endorsements

“A smart and adventurous journey into the material and cultural forces that shape music today by two of the field’s most insightful critics, Gear is a must-read for tinkerers and theorists alike.“ ~ Kyle Devine, University of Winnipeg; author of Decomposed

“This deep dive into the social and cultural meanings surrounding audio technologies reorients our thinking about gear as more than mere hardware that conveys sound. A fascinating read!” ~ Susan Schmidt Horning, St. John’s University, New York; author of Chasing Sound

Why do we fetishize high-end audio technology? Read Gear to find out. Prepare to be surprised, unsettled, even alarmed by this brilliant, fascinating, myth-busting book. ~ Mark Katz, author of Music and Technology: A Very Short Introduction and Capturing Sound

“A powerful contribution to feminist sound studies that amplifies new voices and methods, Gear is a guide to the dismantling of ‘gear cultures’ and to envisioning more equitable sonic futures.” ~ Enongo Lumumba-Kasongo, aka SAMMUS, Producer and Professor of Music, Brown University

Launches / conferences

Join us if you can for the launches / conference presentations throughout the rest of the year:

Monday May 26th 4.30pm AEST: ANU Research School of Social Sciences, Ngunnawal Ngambri / Canberra. With Professor Bronwyn Parry (Sam only) Register here

Tuesday May 27th 4pm ET: The Brook Center, CUNY, New York. With Professor Tina Frühauf (Eliot only) Register here

Monday July 7th 3pm CEST: IASPM International Conference, Sorbonne Nouvelle University, Paris (Sam and Eliot)

September (date & time TBC): Roundtable presentation/ discussion, 4S Conference, Seattle, USA (Sam and Eliot)

September (date & time TBC): Conference presentation and keynote, Society for Music Production Research Conference, Victoria University, Canada (Sam and Eliot)

…and more TBC / TBA. Please get in touch if you’d like us to present at your research seminar!

With thanks.

All the best

Sam

Professor Samantha Bennett PFHEA

Professor of Music

Chair – International Association for the Study of Popular Music | IASPM

Associate Dean Higher Degree Research

Atg Head of School – School of Music

College of Arts and Social Sciences
The Australian National University

Beryl Rawson Building #13

Ellery Crescent

Acton

ACT 2601

T +61 2 6125 2712

samantha.bennett@anu.edu.au
Zoom Personal Meeting ID: 870 612 5110

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