DEGEM News – FWD – Ankündigung 3D-Audio Videokurs

Von: Jakob Gille
Datum: Sun, 1 Feb 2026
Betreff: Ankündigung 3D-Audio Videokurs

Fränk and I are delighted to announce our next video course: ‚3D Audio Advanced‘!

This new Sounding Future course builds on Course 1: 3D Audio Basics and delves deeper into practical Ambisonics workflows for production and playback.

In this course, you will learn, among other things:

  • Encode stereo and multichannel audio in Ambisonics (B-format)
  • Create and customise decoders for different speaker setups
  • Transcode existing quad, 5.1 or octo productions into Ambisonics
  • How order, weighting and spatial resolution influence the listening experience
  • Applying efficient REAPER workflows for Ambisonics-based productions
  • Planning your own Ambisonics loudspeaker setups.

Discover the Course here

Note: The 3D Audio Advanced course is included in the Pro membership. With the Pro membership, you also support the further development of the Sounding Future platform.

DEGEM News – FWD – Co-Creativity in Music, Sound, and AI: Improvisation · Interaction · Composition

Von: Paulo C. Chagas (Rmail)
Datum: Mon, 19 Jan 2026
Betreff: Co-Creativity in Music, Sound, and AI: Improvisation · Interaction · Composition

Please find below the announcement and Call for Papers & Artistic Works for the conference Co-Creativity in Music, Sound, and AI, to be held at UC Riverside on June 5–6, 2026.

Co-Creativity in Music, Sound, and AI: Improvisation · Interaction · Composition
UC Riverside – Culver Center of the Arts
June 5–6, 2026

Artificial intelligence is transforming how we compose, perform, listen to, and think about music and sound. From real-time improvisation systems to generative audiovisual environments, creative agency is increasingly shared between human and computational actors.

Co-Creativity in Music, Sound, and AI explores these transformations, with a special focus on Somax2 (IRCAM’s AI-driven improvisation system) and other machine-learning–based tools for music and audiovisual art. The conference brings together scholars, composers, performers, technologists, and media artists to reflect on co-creativity as a relational, hybrid process distributed across humans, machines, and environments.

The program includes paper sessions, artistic presentations, concerts, workshops, and a keynote lecture by Katherine Hayles, addressing posthuman subjectivity, nonconscious cognition, and distributed agency in human–AI systems.

Call for Papers & Call for Audiovisual / Sound Artistic Works
We invite scholarly papers and artistic works engaging critically and creatively with co-creativity in music, sound, and AI, including composition, improvisation, performance, and audiovisual practices.

• February 15, 2026 – Submission deadline (papers & artistic works)
• April 1, 2026 – Notification of acceptance
• June 5–6, 2026 – Conference

Full details, themes, and submission instructions:
https://audiovisualmusic.ucr.edu

We warmly invite participation from across music, sound, audiovisual art, and related fields, and encourage sharing this announcement with colleagues and students.

Kind regards
Paulo C. Chagas

DEGEM News – FWD – GT: Frohe News 2026 [Gebrüder Teichmann]

Von: Gebrüder Teichmann
Datum: Fri, 16 Jan 2026
Betreff: GT: Frohe News 2026

english below…

Liebe Weggefährten und Interessierte,

wir wünschen Euch ein gutes Jahr und freuen uns, kommende Projekte und Veranstaltungen mit Euch zu teilen.

Diesen Sonntag werden wir, gemeinsam mit Robyn Schulkowsky die Zeit verbiegen, im Schwere Reiter in München, ebenso Ende März im Morphine Raum, Berlin.
Weiter geht auch die Sustainable Listening Reihe in der Staatsoper Berlin, das Thema diesmal ist „Urban Spaces“. Derzeit sind wir dabei das Programm vorzubereiten und zu proben.
Im März freuen wir uns auf gleich zwei Stummfilm-Vertonungen: Paul Wegeners und Carl Boeses Klassiker „Der Golem und wie er in die Welt kam“, den wir gemeinsam mit Robyn Schulkowsky in der Neue Synagoge Berlin live vertonen werden, und,weil es die letzten Jahre so schön war, verknüpfen wir am 20.03. wieder die Sinfonie der Grossstadt im Kulturraum Zwinglikirche mit speziellen Berlin DJ-Set. Ausführliche Infos zu den Terminen weiter unten.

Als musikalischen Neujahrsgruss möchten wir mit Euch zwei schöne DJ-Sets aus 2025 teilen.:

Ein Abend, mit unseren guten Freundin und langen Weggefährtin Acid Maria, in der Paloma Bar Berlin.
Back together, nach vielen Jahren, und – wie Suzana es so schön auf den Punkt gebracht hat – „einmal Raver, immer Raver“,
somit von der ersten Sekunde wieder zusammen und mittendrin. Hier könnt Ihr den ganzen Abend nachhören:
https://soundcloud.com/palomabar/2025-11-22-live-at-paloma

Und unser Sommerabend-Traum, auf der Strasse, in Berlin. Zum Karnerval der Kulturen, durften wir wieder für unsere Freunde
von der „Swing Patrol“ am Halleschen Tor auflegen. Es hat riesen Spass gemacht und macht auch zum nachhören gute Laune:
https://soundcloud.com/gebrueder-teichmann/sets/gt-dj-karneval25

> Robyn Schulkowsky & Gebrüder Teichmann – Bending Time
> 18.01. (Einlass 19 Uhr – Beginn 20 Uhr), Schwere Reiter, Dachauer Str. 114a, 80636 München
https://schwerereiter.de/?tribe_events=robyn-schulkowsky-gebrueder-teichmann-bending-time

Robyn Schulkowsky: Perkussion, Klangobjekte
Andi & Hannes Teichmann: Live Elektronik, Live Sampling, Processing

Bending Time setzt unseren intensiven musikalischen Austausch mit Robyn Schulkowsky fort. Wir verweben Perkussion, Klangobjekte, Live-Elektronik und Live-Sampling zu interaktiven Klangräumen. Im Zentrum steht die Erforschung rhythmischer Beziehungen, ihrer Texturen und die Frage, welche Parameter räumlich und zeitlich spielbar werden und Aktionen verknüpft werden können, als körperlich, sinnlich immersive Performances.
Als wir und Robyn uns zufällig begegneten, wussten wir nichts voneinander, weder von Robyns Zusammenarbeit mit John Cage, Iannis Xenakis oder Morton Feldman, noch wuesste Robyn von den globalen, transkulturellen Projekten in Pakistan, Afghanistan oder Kenia oder den Kooperationen mit Ensemble Modern oder der Staatsoper Berlin. Doch sofort verband uns die gemeinsame Neugier auf Musik, Gesellschaft und gleichberechtigte Teilhabe. Ein Dialog, den wir nun musikalisch fortsetzen.

Funded by Musikfonds. e.V.

> Sustainable Listening #7 Urban Spaces Gebrüder Teichmann – Bending Time
> 24.2. / 25.02. 20 Uhr, Staatsoper Unter den Linden 7, 10117 Berlin
https://www.staatsoper-berlin.de/de/veranstaltungen/sustainable-listening-7-urban-spaces.26664/

Im Rahmen von Sustainable Listening wird eine begehbare Klimakapsel zum Ort für Impulse, Austausch und Teilhabe mit Klimaexpert:innen, Aktivist:innen und Visionär:innen zu verschiedenen Themen der Nachhaltigkeit. Im Zentrum des Abends steht die Verbindung von Konzertperformance und inhaltlichen Impulsen: Mitglieder der Staatskapelle Berlin sind mit Werken von Elena Kats-Chernin, Toshio Hosokawa, Sofia Gubaidulina, Abram Chasins, Fazil Say und Paul Lincke zu erleben. Die Musik verschmilzt zu einem besonderen Raumerlebnis mit Live-Elektronik der Gebrüder Teichmann und gesprochenen Beiträgen von Liang Wu, Mitbegründer von Green City Solutions. Drinks und Sounds laden im Anschluss zum Austauschen, Vernetzen und Verweilen ein.

> Robyn Schulkowsky & Gebrüder Teichmann – Der Golem und wie er in die Welt kam (1920)
> 05.03. 20 Uhr, Kino Kaddish:, Neue Synagoge Berlin – Centrum Judaicum, Oranienburger Str. 28-30, 10117 Berlin

Der expressionistische Stummfilm „Der Golem und wie er in die Welt kam“ erzählt von der Erschaffung eines künstlichen Wesens zwischen Schutzmacht und Bedrohung, von menschlichem Gestaltungswillen, Macht und Kontrollverlust. Die archaischen Bilder und mythischen Motive des Films bilden den Resonanzraum für eine zeitgenössische musikalische Lesart.
Die Gebrüder Teichmann und Robyn Schulkowsky entwickeln dazu eine Live-Vertonung, die mit Perkussion, präparierten Objekten, Elektronik und Echtzeit-Sampling arbeitet. Rhythmus wird dabei nicht nur als Takt, sondern als bewegliche Struktur verstanden, Klang als körperliche und räumliche Erfahrung. Aus dem unmittelbaren Zusammenspiel entsteht eine offene, dialogische Musik, die den Film nicht illustriert, sondern ihn im Moment der Aufführung neu formt und befragt.

Die Vorführung findet als Teil der Kino Kaddish Reihe statt: https://kino-kaddish.org/
Eine Serie filmischer Interventionen, Wiederbelebungen und ortsspezifischer Versammlungen — ein Versuch, das Kino zurück in jene Räume zu bringen, in denen Erinnerung zum Ereignis werden kann.

> Gebrüder Teichmann: Berlin – Die Sinfonie der Grossstadt (1927)
> 20.03. 20 Uhr, Kulturraum Zwinglikirche, Rudolfstraße 14, 10245 Berlin
https://www.kulturraum-zwinglikirche.de/berlin-sinfonie-der-grossstadt-26.html

Film: Die Sinfonie der Grossstadt
Musik: Gebrüder Teichmann – DJ Sinfonie der Grossstadt – ein Set zum Film und zu Berlin mit Schallplatten.

Inzwischen ist es zur Tradition im Kulturraum Zwinglikirche e.V. geworden, am Anfang des Veranstaltungs-Jahres Walter Ruttmann´s legendären Stummfilm „Sinfonie der Großstadt“ aufzuführen, begleitet vom DJ-Duo Gebrüder Teichmann. Im musikalischen Zentrum stehen dabei Subkulturen und experimentelle Musiken Berlins, die untermalend, fragmentierend und zitierend, ihrerseits Geschichten Berlins bis in die Gegenwart erzählen und diese mit den Bildern Ruttmanns verknüpfen.

VVK: https://www.koka36.de/die-sinfonie-der-grossstadt_ticket_184649.html 

> Robyn Schulkowsky & Gebrüder Teichmann
> 26.03. 20h, Morphine Raum, Köpenicker Straße 147 Hinterhof, 1. Etage, 10997 Berlin

Der Morphine Raum ist für uns ein besonderer Ort: ein Raum für konzentriertes Zuhören, für Experimente und unmittelbare Begegnungen zwischen Klang, Raum und Publikum.
Wir schätzen die Offenheit und Intimität. Seit langem sind wir mit dem Betreiber Rabih Beaini in Kontakt, um einen gemeinsamen Termin zu finden.
Umso mehr freuen wir uns nun auf unseren ersten Auftritt dort mit Robyn Schulkowksy am 26.03.
https://www.morphinerecords.com/raum

———
>>>>english version:

Dear companions and friends,

We wish you a wonderful start to the new year and are happy to share upcoming projects and events with you.

As early as this Sunday, together with Robyn Schulkowsky, we will be bending time at Schwere Reiter in Munich, and again at the end of March in Berlin at the Morphine Raum.
The Sustainable Listening series at the Staatsoper Berlin also continues; the next theme is Urban Spaces. We are currently preparing the program and rehearsing.
In March we are looking forward to two silent film live scores: Paul Wegener’s and Carl Boese’s classic “The Golem: How He Came into the World”, which we will perform live together with Robyn Schulkowsky at the Neue Synagoge Berlin, and—because it has been so wonderful in recent years—on March 20 we will once again connect Berlin: Symphony of a Great City with a special Berlin DJ set at Kulturraum Zwinglikirche.

As a musical New Year’s greeting, we would also like to share two beautiful DJ sets from 2025 with you:

One evening with our dear friend and long-time companion Acid Maria at Paloma Bar Berlin.
Back together after many years—and, as Suzana so perfectly put it: “once a raver, always a raver”—from the very first second we were back together and right in the middle of it all. You can listen to the entire night here:
https://soundcloud.com/palomabar/2025-11-22-live-at-paloma

And our summer evening dream, out on the street in Berlin. For Carnival of Cultures, we once again had the pleasure of DJing for our friends from Swing Patrol at Hallesches Tor. It was great fun—and it’s guaranteed to put you in a good mood when listening back:
https://soundcloud.com/gebrueder-teichmann/sets/gt-dj-karneval25

> Robyn Schulkowsky & Gebrüder Teichmann – Bending Time
> 18.01.26, doors 7pm concert 8 pm, Schwere Reiter, Dachauer Str. 114a, 80636 Munich
https://www.staatsoper-berlin.de/de/veranstaltungen/sustainable-listening-7-urban-spaces.26664/

Robyn Schulkowsky: percussion, sound objects
Andi & Hannes Teichmann: live electronics, live sampling, processing

Bending Time continues our intensive musical exchange with Robyn Schulkowsky. We interweave percussion, sound objects, live electronics, and live sampling into interactive sound spaces. At the core is the exploration of rhythmic relationships, their textures, and the question of which parameters can be played spatially and temporally, and how actions can be connected as physical, sensual, immersive performances.
When Robyn and we met by chance, we knew nothing about each other—neither about Robyn’s collaborations with John Cage, Iannis Xenakis, or Morton Feldman, nor about our global, transcultural projects in Pakistan, Afghanistan, or Kenya, or our collaborations with Ensemble Modern or the Staatsoper Berlin. Yet we were immediately connected by a shared curiosity about music, society, and equal participation. A dialogue we now continue musically.

Funded by Musikfonds e.V.

> Sustainable Listening #7 – Urban Spaces
> Gebrüder Teichmann – Bending Time
> 24.02. / 25.02., 8 pm, Staatsoper Unter den Linden, 10117 Berlin
https://www.staatsoper-berlin.de/de/veranstaltungen/sustainable-listening-7-urban-spaces.26664/

As part of Sustainable Listening, a walk-in climate capsule becomes a place for impulses, exchange, and participation with climate experts, activists, and visionaries on various sustainability topics. At the center of the evening is the connection between concert performance and thematic input: members of the Staatskapelle Berlin perform works by Elena Kats-Chernin, Toshio Hosokawa, Sofia Gubaidulina, Abram Chasins, Fazil Say, and Paul Lincke. The music merges into a special spatial experience with live electronics by Gebrüder Teichmann and spoken contributions by Liang Wu, co-founder of Green City Solutions. Drinks and sounds afterwards invite conversation, networking, and lingering.

> Robyn Schulkowsky & Gebrüder Teichmann –
> Kino Kaddish: The Golem: How He Came into the World (1920)
>  05.03., 8 pm, Neue Synagoge Berlin – Centrum Judaicum,
Oranienburger Str. 28–30, 10117 Berlin

The expressionist silent film The Golem: How He Came into the World tells the story of the creation of an artificial being caught between protector and threat—of human creative will, power, and loss of control. The film’s archaic images and mythical motifs form a resonant space for a contemporary musical interpretation.

Gebrüder Teichmann and Robyn Schulkowsky develop a live score using percussion, prepared objects, electronics, and real-time sampling. Rhythm is understood not merely as meter, but as a flexible structure; sound as a physical and spatial experience. From the immediate interplay emerges an open, dialogical music that does not illustrate the film, but reshapes and questions it anew in the moment of performance.

The screening is presented as part of the Kino Kaddish series: https://kino-kaddish.org/
A series of cinematic interventions, reactivations, and site-specific gatherings — an attempt to bring cinema back into those spaces where memory can become an event.

> Gebrüder Teichmann: Berlin – Symphony of a Great City (1927)
> 20.03., 8 pm, Kulturraum Zwinglikirche,
> Rudolfstraße 14, 10245 Berlin
https://www.kulturraum-zwinglikirche.de/berlin-sinfonie-der-grossstadt-26.html

Film: Berlin – Symphony of a Great City
Music: Gebrüder Teichmann – DJ Symphony of a Great City – a vinyl-based DJ set for the film and for Berlin.

It has meanwhile become a tradition at Kulturraum Zwinglikirche e.V. to open the event year with Walter Ruttmann’s legendary silent film Berlin – Symphony of a Great City, accompanied by the DJ duo Gebrüder Teichmann. Musically, the focus is on Berlin’s subcultures and experimental music scenes, which—through accompaniment, fragmentation, and quotation—tell their own stories of Berlin up to the present day and link them with Ruttmann’s images.

Tickets: https://www.koka36.de/die-sinfonie-der-grossstadt_ticket_184649.html

> Robyn Schulkowsky & Gebrüder Teichmann
> 26.03., 8 pm, Morphine Raum,
> Köpenicker Straße 147, rear courtyard, 1st floor, 10997 Berlin

The Morphine Raum is a special place for us: a space for focused listening, experimentation, and immediate encounters between sound, space, and audience. We value its openness and intimacy. For a long time we have been in contact with the operator, Rabih Beaini, to find a shared date. We are therefore all the more excited about our first performance there with Robyn Schulkowsky on March 26.
https://www.morphinerecords.com/raum

——————————————————————————
no more mails? keinen gebrüder teichmann newsletter mehr?
mailto:newsletter@gebruederteichmann.net?subject=unsubscribe
——————————————————————————

DEGEM News – FWD – [ak-discourse] WG: Call for Submissions — CUBE Fest 2026 (Spoken Words)

Von: Lepa, Steffen via ak discourse
Datum: Thu, 15 Jan 2026
Betreff: [ak-discourse] WG: Call for Submissions — CUBE Fest 2026 (Spoken Words)

 

Cube Fest 2026 – Spoken Words

August 21-23, 2026

Virginia Tech (Blacksburg, Virginia, USA)

Cube Fest 2026, taking place on Virginia Tech’s Blacksburg campus during August 21-23, invites proposals for immersive music, poetry, art, and sound created for concert presentation on high-density loudspeaker arrays (HDLAs). Live performance for HDLA systems, including interaction with acoustic or electro-acoustic instruments, will also be considered. While remaining open to the widest range of aesthetic possibilities, Cube Fest 2026 will bring a special focus to the theme of Spoken Words. We encourage submissions that resonate with the Spoken Words theme.

Important Dates

  • Submission Deadline  – February 20, 2026
  • Notification of results  – March 13, 2026
  • Attendance confirmation deadline  – March 27, 2026

Venues

Cube Fest 2026 will present concert programs in two venues: The Cube (134.4.2 channel HDLA) and Perform Studio (88.4 channel HDLA). This year we introduce a new category of presentation: the Tesseract Jukebox. This program will present on-demand performances of multichannel music on the Tesseract, a nearfield performance system that will be installed at the Center for the Arts in the same building as the Cube and Perform Studio. The Tesseract will have a minimum of 8 loudspeakers, with specifications soon to be announced.

Submission Guidelines

For works that are already in multichannel format, submission specifications will follow. We also welcome submissions that center Spoken Words in the context of immersive sound, but that have not yet been technically realized in a multichannel format. In such cases, we will consider collaborating with the submitting artist(s) to present a multichannel version of their work.

More information, submission specifications, and application forms can be found here.

 

 

 

 

Anthony Kwame Harrison

Alumni Distinguished Professor

Associate Chair, Department of Sociology

Virginia Tech

DEGEM News -. FWD – Thanks for joining us last year! Kiezsalon 2025: Highlights and impressions

Von: Kiezsalon by Digital in Berlin
Datum: Wed, 14 Jan 2026
Betreff: Thanks for joining us last year! Kiezsalon 2025: Highlights and impressions

DEGEM News – FWD – BLAUES RAUSCHEN: Podcast #32

Von: Festival BLAUES RAUSCHEN
Datum: Tue, 13 Jan 2026
Betreff: BLAUES RAUSCHEN: Podcast #32

View this email in your browser
Dear readers,

new episode of our podcast BLAUES RAUSCHEN is now online!
This time, our guests are Veronika Batzdorfer & Tim Löhde. Both are members of our association “open systems.”

PODCAST #32 >>
The Ghost in the Machine

What happens when music is no longer created by human bodies, but by algorithms? In episode 32 of our podcast, we explore the effect of AI-generated sounds: Can we still trust such sounds and allow ourselves to be moved by them? Veronika Batzdorfer & Tim Löhde not only discuss this, they also test it with various AI tools for music and sound generation using their own voices.

Dr. Veronika Batzdorfer is a researcher and artist specializing in natural language processing, machine learning, and computer-assisted social sciences at KIT Karlsruhe. She explores approaches to simulating human behavior using AI applications and natural language processing methods. Artistically, she creates responsive multisensory performances and VR installations and has participated in several BLAUES RAUSCHEN workshops, including 2024.

Tim Löhde is an artist and musician living in Düsseldorf and Vienna with a background in fine arts. He works with multisensory installations and concert performances that combine sound, objects, instruments, and media. In his artistic research, he explores how algorithmically generated sound shapes spatial experiences and how music itself can become material, with loss of control, improvisation, and unpredictability playing central roles.

Enjoy listening!

Best regards
Your BLAUES RAUSCHEN team

*Authors: Veronika Batzdorfer & Tim Löhde, Narrator: Kyra Preuss, Music: Karl-Heinz Blomann

Reels/posts/stories Reels/posts/stories
Festival Website Festival Website
BLAUES RAUSCHEN @ WDR: Felicity Mangan BLAUES RAUSCHEN @ WDR: Felicity Mangan
Podcast #31: The Cost of Innovation Podcast #31: The Cost of Innovation
Podcast #32: The Ghost in the Machine Podcast #32: The Ghost in the Machine
Gefördert durch / funded by:
Copyright © 2026 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

DEGEM News – FWD – Open Call TENOR26 Vienna

Von: soundscore@soundscore.org
Datum: Thu, 8 Jan 2026
Betreff: Open Call TENOR26 Vienna

 

 

 

DEGEM News – FWD – Engl / Polscher in München

Von: buero@markpolscher.de
Datum: Wed, 14 Jan 2026
Betreff: Engl / Polscher in München

Galerie Artoxin präsentiert:
Engl / Polscher
Ardhi Engl – Selbstgebaute Instrumente, FX
Mark Polscher – Synthesizer, Tapes
28.01.2026, 19.30 Uhr
Galerie Artoxin
Kirchenstraße 23
81675 München
Herzliche Grüße
Mark Polscher
www.polscher.de
___
Aktuelles Album: Second Landing Jump

DEGEM News – STELLENAUSSCHREIBUNG – Call for University Professorship for Computer Music and Sound Art, IEM Graz

Von: Daniel Mayer
Datum: Fri, 9 Jan 2026
Betreff: Call for University Professorship for Computer Music and Sound Art, IEM Graz

An das DEGEM Team,

ich möchte Sie um Verteilung dieser aktuellen Ausschreibung bitten,

Vielen Dank, mit besten Grüßen

Daniel Mayer

https://daniel-mayer.at

///

Please note the call for a University Professorship for Computer Music and Sound Art at IEM Graz (scroll down for the English version), feel free to distribute.

Application deadline: 2026-03-25

Scroll down for the English version:

https://www.kug.ac.at/fileadmin/01_Kunstuniversitaet_Graz/05_News/Mitteilungsblatt/SJ202526/Mitteilungsblatt_11/mb_11_s_2b_Ausschreibungstext_Prof_Computermusik_u_Klangkunst_final.pdf

https://iem.kug.ac.at/en

///

DEGEM News – FWD – [ak-discourse] Senior Researcher/Lecturer (f/m/x) in Computational Musicology

Von: Hauke Egermann via ak discourse
Datum: Fri, 9 Jan 2026
Betreff: [ak-discourse] Senior Researcher/Lecturer (f/m/x) in Computational Musicology

Dear colleagues,

we would like to draw your attention to this four-year fixed-term position at our institute (see attachment). Please forward this to anyone who might be interested. They are welcome to contact me with any questions.

Candidates can apply here: https://jobportal.uni-koeln.de/ (“Show filter” -> Title: “Computational Musicology”)

Sincerely,
Hauke ​​Egermann

Prof. Dr. Hauke Egermann
Pronouns: he, him, his

Cologne Systematic Musicology Lab (CSML) (Director)

Musikwissenschaftliches Institut
Institute of Musicology

Universität zu Köln
Albertus-Magnus-Platz
D-50923 Köln
Germany

Büro: Hauptgebäude, Raum 1.414
Telefonnummer: ‭+49 221 470-2825‬

hauke.egermann@uni-koeln.de
https://musikwissenschaft.phil-fak.uni-koeln.de
www.egermann.net

Hauke Egermann’s Personal Meeting Room in Zoom:
https://uni-koeln.zoom.us/j/6238934429

****please have a look at my TEDx talk: http://youtu.be/kzFgoaZ9-VQ*****

https://lists.tu-berlin.de/mailman/listinfo/ak-discourse

 

Content of the attached PDF

We are one of the largest and oldest universities in Europe and one of the most important employers in our region.
Our broad range of subjects, the dynamic development of our main research areas and our central location in Cologne
make us attractive for students and researchers from around the world. We offer a wide range of career opportunities in
science, technology, and administration.
All key areas of musicology are represented at the Institute
of Musicology: historical musicology, ethnomusicology, and
systematic musicology with a focus on music psychology.
The applicant should broaden this spectrum in the area of
“Computational Musicology” and thus contribute to profil-
ing the institute, which is focused on empirical and digital
research methods. To support the joint reorientation of the
research area, data-driven, quantitative, machine-learning,
and statistical approaches to one or more of the following
areas are desired: corpus analysis (notation or audio), per-
formance analysis, and music reception studies. In addition
to the common teaching and research goals of the Musico-
logical Institute, the applicant should contribute construc-
tively to central research fields at the University of Cologne,
the Faculty of Arts and Humanities or the subject group and
acquire third-party funding.
YOUR TASKS
» Teaching an average of 7 SWS in the field of
Computational Musicology
» Development of the focus area Compuational
Musicology in research and teaching
» Supervising and training of students and doctoral
candidates in musicology
» Participating in academic self-administration
YOUR PROFILE
» A doctorate and habilitation or an equivalent qualification
» A record of peer-reviewed publications with a research
focus on digital and computer-based methods, for
example in the areas of musical data analysis, music
information retrieval, affective computing and music,
perceptual modelling, corpus-based music research,
and/or digital audio signal processing
» Research that addresses current, internationally
discussed issues in historical, ethnomusicological, or
systematic musicology, drawing on a broad range of
theoretical and methodological approaches
WE OFFER
» A diverse working environment with equal opportunities
» Support in balancing work and family life
» Extensive advanced training opportunities
» Occupational health management offers
» Flexible working time models
» Opportunity to work remotely
The University of Cologne promotes equal opportunities and
diversity. Women will be considered preferentially in accord-
ance with the Equal Opportunities Act of North Rhine-West-
phalia (Landesgleichstellungsgesetz – LGG NRW). We also
expressly welcome applications from all suitable candidates
regardless of their gender, nationality, ethnic and social
origin, religion, disability, age, sexual orientation and identity.
The position is available from 1 April 2026, on a full-time
basis (41 hours per week). The position is to be filled for
a fixed term until 31 March 2030. If the applicant meets
the relevant wage requirements and personal qualifica-
tions, the salary is based on remuneration group A14 of
the Salary Act for the State of North Rhine-Westphalia
(Landesbesoldungsgesetz NRW).
Please apply online with proof of the required qualifications
(without a photo) under https://jobportal.uni-koeln.de
The reference number is Wiss2601-01. The application dead-
line is 08.02.2026.
For further inquiries, please contact Professor Dr Hauke
Egermann (hauke.egermann@uni-koeln.de) and take a look
at our FAQs.
Akademische Oberratsstelle auf Zeit (f/m/x) /
Faculty of Arts and Humanities
Institute of Musicology
Lecturer (f/m/x) in Computational Musicology

DEGEM News – FWD – [ak-discourse] Job Offer: PostDoc Researcher/Lecturer (F/M) in Generative AI – IRCAM/Sorbonne University, 18-36 months

Von: Lepa, Steffen via ak discourse
Datum: Sun, 4 Jan 2026
Betreff: [ak-discourse] Job Offer: PostDoc Researcher/Lecturer (F/M) in Generative AI – IRCAM/Sorbonne University, 18-36 months

Dear all,

In the context of the cluster of our research project AI-Made we are happy to offer a position for a PostDoc researcher and lecturer. The position is for an initial duration of 18 months, and extensible to 36 months. The research will be performed in the Analysis/Synthesis team of the STMS laboratory (jointly funded by IRCAM, Sorbonne University, CNRS, and the French Ministry of Culture). As part of the cluster of excellence PostGenAI@Paris and in line with the objectives of the France 2030 investment plan, AI-Made aims to develop innovative approaches for music and sound creation using generative models with fine-grained and intuitive controls.

The work includes teaching activities at Sorbonne University, fostering a new generation of researchers and artists capable
of creating the future of generative audio.

Please find the details attached and distribute to interested parties.

Best

Axel Roebel, RD (IRCAM)

Head of the Analysis/Synthesis Team, STMS Lab, IRCAM-CNRS-Sorbonne University

Phone: ++33-1-4478 4845 | Fax: ++33-1-4478 1540

___

Content of the attached PDF File:

Researcher/Lecturer (F/M) – 18 months
(possibility of extension to 36 months)

Expected start date: September 2026
Laboratory: STMS Lab (IRCAM/CNRS/Sorbonne University/ Ministry of Culture)
Duration: 18 month (possibility of extension to 36 months)
Application deadline: February 28th, 2026
Context
AI-MADE, a research project conducted in the STMS laboratory, is part of the PostGenAI@Paris
Cluster, headed by Sorbonne Université and operated by the French National Research Agency
(ANR) under the France 2030 programme, with the ambition of creating a pole of excellence in
next-generation AI. Within this context, AI-MADE aims to develop innovative generative audio
models extending the capacities of human creators to transform artistic ideas into high-quality
audio content, by significantly expanding the limits of creative feasibility and by reducing the
time and effort required for professional output.
The core scientific challenge to be investigated is the intuitive and precise control of the
perceptual properties of the generated sounds. The research conducted has direct and various
applications in music production, live performance, cinema, or video games.
Addressing the large computational costs and negative environmental impact of advanced
generative models, AI-MADE will favour models with properly adapted inductive bias, thereby
achieving improved computational efficiency, and reduced data requirements. Simultaneously,
AI-MADE will aim for an appropriate organization of latent representations fostering intuitive
manipulation by human creators. For selected problems, AI-MADE will explore the development
of low latency models that may be used in real-time. Finally, AI-MADE will implement functional
prototypes that will be experimented directly in the context of audio productions and artistic
residencies.
Missions
The candidate is expected to actively participate in all activities related to the AI-MADE project
(research, teaching, applications).
Research: The candidate will actively contribute to the animation and the supervision of the
research activities (internships, PhD theses) in coordination with the A/S members involved in
the project. He/She will contribute to original research in audio generative models with a
particular focus on the intuitive controllability of the generation, the definition of controls which
responds to actual needs of artistic applications and professional productions, and the
computational and data efficiency of the generative models.
In complement to the research, he/she will also assist the integration of his/her into the
development of functional prototypes. Finally, he/she will be protagonist in the animation of the
two artistic residencies and participate to the experimentation of the produced generative audio
models with artists and professionals.
Teaching: The candidate will dispense 64 hours of teaching per year at Sorbonne University.
He/She is expected to develop teaching activities aimed at promoting and disseminating the
research conducted within AI-MADE to a diverse audience, ranging from students to expert
users, through various formats, including university courses, workshops, spring and/or summer
schools, hackathons and/or creathons. The lectures will mainly take place in the Faculty of
Science and Engineering at Sorbonne University, the Sorbonne Cluster for Artificial Intelligence
(SCAI), and possibly other partners of the PostGenAI@Paris cluster. The topics aim to cover all
scientific domains that are relevant for generative modelling: computer science (learning
algorithms), signal processing (speech and music), computational linguistics (language models),
and will develop original educational content that enrich existing computer science programs
addressing practical, creative, legal, and ethical (privacy, intellectual property, …) aspects. The
audience are possibly students (computer sciences, humanities, social sciences, law, the arts),
but also artists, and professionals from creative industries.
Research environment
The work will be carried out at IRCAM within the Sound Analysis and Synthesis team (A/S), which
is specialized in sound synthesis and transformation, under the supervision of Nicolas Obin and
Axel Roebel. IRCAM is a non-profit organization, associated with the Centre National d’Art et de
Culture Georges Pompidou, whose missions include research, creation and teaching activities
around 20th century music and its relationship with science and technology. Within the joint
research unit, UMR 9912 STMS (Sciences et Technologies de la Musique et du Son), affiliated with
IRCAM, Sorbonne University, CNRS and the French Ministry of Culture and Communication,
specialized teams carry out research and development work in acoustics, sound signal
processing, cognitive sciences, interaction technologies, computer music and musicology.
IRCAM is located in the centre of Paris, near the Centre Georges Pompidou at 1, Place Stravinsky
75004 Paris, France.
Experience and expected skills
The candidate must have a professional experience of associate professor, lecturer, and/or post-
doc. A PhD Thesis and a preliminary experience in audio generative models and creative
applications is wanted.
The ideal candidate will have:
– Proficiency in audio generative models, in particular of deep neural networks, demonstrated by
significant scientific contribution in the domain;
– Strong expertise of digital audio signal processing, in particular to speech and music signal
processing;
– Excellent knowledge of the Python programming language, the TensorFlow and/or PyTorch
frameworks, and distributed computing on GPU servers;
– Preliminary experiences of collective responsibilities and supervision
– Preliminary experiences of creative applications and collaboration with artists;
– Autonomy, creativity, productivity, communication, rigor and methodology;
– Proficiency in English (written and spoken); French will be welcome.
Application
A CV and a motivation letter should be sent to Axel Roebel and Nicolas Obin at
FirstName.LastName@ircam.fr
The application deadline is: February 28th, 2026

DEGEM News – FWD – [ak-discourse] Frontiers in CS publication

Von: Auri, Leonardo Julian via ak discourse
Betreff: [ak-discourse] Frontiers in CS publication

Dear colleagues,
Benjamin Bacon, myself, and Holly McKee got our paper published in Frontiers in Computer Science, in a special edition on „Embodied Perspectives on Sound and Music AI“.
It’s open access, here’s the article: https://www.frontiersin.org/articles/10.3389/fcomp.2025.1597806

„Approaches to notation for embodied engagement with a novel neural network-based musical instrument“

Our results lead us to propose a „Space of Notational Strategies“ which might inform future creative or analytical work, see https://www.frontiersin.org/journals/computer-science/articles/10.3389/fcomp.2025.1597806/full#figure10

Let me know what you think.

Leonardo Auri | https://leoauri.com/
PhD candidate Audio Communication Group, TU Berlin | https://www.tu.berlin/ak
Guest researcher, Sonic Thinking & Neurodesign Group | https://hpi.de/neurodesign/

DEGEM News – FWD – [ak-discourse] [CfP] 3rd IEEE International Workshop on the Musical Metaverse

Von: Lepa, Steffen via ak discourse
Datum: Fri, 12 Dec 2025
Betreff: [ak-discourse] [CfP] 3rd IEEE International Workshop on the Musical Metaverse

*** Apologies for cross-posting, please distribute ***

3rd IEEE International Workshop on the Musical Metaverse

Cannes, France, 29th October 2026

https://internetofsounds2026.ieee-internetofsounds.org/satellite-events

Call for papers and demos

The so-called Metaverse relates to a vision of a virtual, digital world which is parallel to the real, physical world, where each user owns and interacts through his/her own avatar. Music is one of the possible activities that can be conducted in such a space. The “Musical Metaverse”, the metaverse part which is dedicated to musical activities, is currently in its infancy, although is a concept that is constantly evolving and is progressing at a steady pace. The Musical Metaverse is an emerging topic in communications as well as in human-computer interaction. To date, scarce research has been conducted on how to integrate networking systems with Musical XR systems.
The aim of the workshop is to bring together academics, artists and industry representatives to investigate and advance the development of systems at the confluence of Musical XR and networking, as well as the understanding of human perception in immersive, networked contexts.
Topics of interest include, but are not limited to, the following areas:

  • Musical XR systems for networked interactions
  • Multisensory systems for the Musical Metaverse
  • WebXR-based musical systems
  • Networking for the Musical Metaverse
  • Digital twins for musical applications
  • Multi-user interactions in Musical XR
  • Hardware systems for the Musical Metaverse
  • Performance, composition and pedagogy in the Musical Metaverse
  • Virtual/augmented reality musical instruments
  • Design frameworks for the Musical Metaverse
  • Experimental results of prototype/testbed for Musical Metaverse applications
  • Ultra-reliable low-latency communications
  • 5G/6G architectures leveraging slicing and Multi-access Edge Computing
  • Blockchain and NFTs applications for the Musical Metaverse
  • Standardization activities for the Musical Metaverse
  • Security and privacy in the Musical Metaverse
  • Ethical, accessibility and sustainability aspects of the Musical Metaverse
  • Brain-Computer Interfaces for the Musical Metaverse

 

We consider contributions in the form of full papers (min 5 pages, max 10 pages), poster papers (4 pages), or a demo proposal (max 2 pages). We encourage the submission of work in progress as well as more mature work.

For music submissions please refer to the call of the main IEEE IS2 2026 event:

https://internetofsounds2026.ieee-internetofsounds.org/pages/call-music-performancesinstallations

 

Activities

Besides the presentations of the accepted contributions (papers, posters, demos), the program of the workshop is planned to include a tutorial, a keynote and a panel with experts from both academia and industry.

Awards

The Organizing Committee will select the winners for the Best Paper, Best Student Paper, and Best Demo awards. To be eligible for the Best Student Paper award, the presenting and first author of the paper must be a full-time student.

Venue

The workshop is a satellite event of the 7th IEEE International Symposium on the Internet of Sounds (IEEE IS2 2026: https://internetofsounds2026.ieee-internetofsounds.org/), which will be hosted in the city of Cannes, France, and will take place between the 28th and 30th of October 2026. The workshop as well as the main Symposium will be held in hybrid form, virtual and in presence.

 

Important dates

  • Title and abstract due:          June 15, 2026
  • All submission deadlines:     June 30, 2026
  • Author notification:                August 10, 2026
  • Camera-ready due:               October 1, 2026
  • Early registration deadline:   October 1, 2026
  • Late registration deadline:     October 20, 2026
  • Workshop date:                     October 29, 2026

Publications

The workshop proceedings will be part of the IEEE IS2 2026 proceedings, which will be submitted to the IEEE for publication.

Organizing Committee

  • Luca Turchet – University of Trento, Italy
  • Florent Berthaut – University of Lille, France
  • Sophia Ppali – CYENS, Centre of Excellence, Cyprus
  • Damian Dziwis – University of Cologne, Germany
  • Vlad Popescu – Transylvania University Brasov, Romania
  • Alberto Boem – University of Trento, Italy

 

 

 

—————————————————————————————–

 

Luca Turchet, Ph.D.

Associate Professor

 

Head of the Creative, Intelligent & Multisensory Interactions Laboratory

 

Coordinator of the European project MUSMET

 

Chair of the IEEE Emerging Technology Initiative on the Internet of Sounds

 

Founder and President of the Internet of Sounds Research Network

 

Department of Information Engineering and Computer Science

University of Trento

Via Sommarive 9 – 38123 Trento – Italy

 

E-mail: luca.turchet@unitn.it

Tel: +39 0461 283792

 

DEGEM News – FWD – GLASOTRONIK feierte 2025 sein 35jähriges Bestehen

Von: Andreas Suberg
Datum: Thu, 11 Dec 2025
Betreff: GLASOTRONIK feierte 2025 sein 35jähriges Bestehen

Das intermediale Glasotronik-Projekt des Komponisten, Klang- und Medienkünstlers Andreas H.H. Suberg feierte in diesem Jahr vom 8.8.-5.10.2025 sein 35jähriges Bestehen mit der Präsentation der Veranstaltungsreihe
GLASOTRONIK – même – der Klang-, Raum-, Video-Installation magneto, der Premiere
des Musiktheaters O infelici amanti – im Museum Ulm zu Gast in der Kunsthalle Weishaupt
sowie mit der Neuerscheinung der CD GLASOTRONIK – même / Vol. II.

Innerhalb der Veranstaltungsreihe Glasotronik – même
Klänge – Objekte – Bilder – Szenen fand die Premiere des Musiktheaters O infelici amanti
für Countertenor, vier Frauenstimmen, ein gläsernes Gefäß, die Glasgranulatschüssel Broyeuse, live-Elektronik, Ringmodulator und elektroakustische Klänge nach der Blindenerzählung von Giordano Bruno innerhalb der Klang-, Raum-, Videoinstallation magneto
mit Daniel Gloger – Countertenor, Anja Bittner und Svea Schildknecht — Sopran, Hanna Roos und Barbara Ostertag —Mezzosopran
A.H.H. Suberg – Klang/Regie, Live-Elektronik am 13.9.2025 in der Kunsthalle Weishaupt/Ulm statt.

Eine Videoproduktion der Premiere lässt das Musiktheater O infelici amanti jetzt nacherlebbar werden unter

Erläuternde und einführende Kommentare und Texte sind einzusehen unter

https://www.ahhsuberg.de/werke/musiktheater/UlmProgrammheft06.5real.pdf

Das Projekt Glasotronik – même / Klänge – Objekte – Bilder – Szenen war ein Koproduktionsprojekt mit dem Museum Ulm und wurde gefördert von Musikfonds und dem Beauftragten der Bundesregierung für Kultur und Medien

www.ahhsuberg.de
www.glasotronik.de
klangart-studio@t-online.de