DEGEM News- FWD – Audiovisionen, Sinfonie der Grosstadt, Splitter Orchester @ Kulturraum Zwingli Kirche

Von: Hannes Teichmann
Datum: Sun, 23 Mar 2025
Betreff: Audiovisionen, Sinfonie der Grosstadt, Splitter Orchester @ Kulturraum Zwingli Kirche

Ihr Lieben / Dear lovely people,

der Winter neigt sich dem Ende und ich freue mich auf die erste Runde Audiovisionen im Kulturraum ZwingliKirche. Mit dabei Ahmed Essyad, Gilles Aubry, Echomorph (Ira Hadžic, Cedrik Fermont, Michael Thieke, Klaus Janek), Huerta Ensamble (Conepción + Daniela Huerta) und Gibrana Cervantes.
Davor zeigen wir erneut Walter Ruthmanns Stummfilmklassiker „Berlin – die Sinfonie der Grossstadt“ mit DJ-Begleitung von meinem Bruder und mir und freuen uns desweiteren auf ein Gastspiel des Spitter Orchesters mit Yuko Kaseki.

Winter is coming to an end and I’m looking forward to the first round Audivisonen at Kulturraum ZwingliKirche. The programme includes Ahmed Essyad, Gilles Aubry, Echomorph (Ira Hadžic, Cedrik Fermont, Michael Thieke, Klaus Janek), Huerta Ensamble (Conepción + Daniela Huerta) and Gibrana Cervantes.
Before that, we will once again be showing Walter Ruthmann’s silent film classic „Berlin: Symphony of a Metropolis“ with DJ accompaniment by my brother and myself and also a guest performance by the Spitter Orchestra with Yuko Kaseki.

Hier die Termine im Überblick, detailiertere Beschreibungen unten / Here is an overview, more detailed descriptions below:

>04.04. Stummfilm: Berlin – die Sinfonie der Grosstadt + DJ Gebrüder Teichmann
https://www.kulturraum-zwinglikirche.de/berlin-sinfonie-der-grossstadt-25.html
VVK: https://www.koka36.de/event_site.php?event=174626
Facebook: https://fb.me/e/5WjTD6pYQ

>23.05. Splitter Orchester Site Specific 2025
Splitter Orchester & Yuko Kaseki
https://www.kulturraum-zwinglikirche.de/splitter-orchester.html

>15.05. Audiovisionen: Ahmed Essyad + Gilles Aubry
https://www.kulturraum-zwinglikirche.de/audiovisionen-essayd.html

>19.06. Audiovisionen: Echomorph (Ira Hadžic, Cedrik Fermont, Michael Thieke, Klaus Janek)
https://www.kulturraum-zwinglikirche.de/audiovisionen-echomorph.html

>17.07. Audiovisionen: Huerta Ensamble (Concepción Huerta + Daniela Huerta) + Gibrana Cervantes
https://www.facebook.com/events/1160787348749318

Herzlich / warmly,

Hannes Teichmann
Audiovisionen / Gebrüder Teichmann / Kulturraum Zwingli-Kirche

AUDIOVISIONEN I-2025:

15.05. Audiovisionen: Ahmed Essyad + Gilles Aubry
https://www.kulturraum-zwinglikirche.de/audiovisionen-essayd.html

The concert program highlights the convergence of traditional and avant-garde music in Morocco. Ahmed Essyad’s electroacoustic compositions from the 1970s evoke popular music heard in Moroccan villages in the late 1950s. Gilles Aubry performs with modular synths and AI sounds inspired by a Moroccan song about machines from the 1930s. The event celebrates the release of Essyad’s album on Belgian label Subrosa (2024) and Aubry’s album on Berlin label Corvo (2025).

VVK: https://www.koka36.de/audiovisionen-ahmed-essyad-gilles-aubry_ticket_175178.html
Fieldnotes: https://www.field-notes.berlin/kalender/audiovisionen-ahmed-essyad-gilles-aubry
Facebook: https://fb.me/e/2ME5wrYba

19.06. Audiovisionen: Echomorph
https://www.kulturraum-zwinglikirche.de/audiovisionen-echomorph.html

Ira Hadžić – Gong
Cedrik Fermont – Gong / Elektronik
Michael Thieke – Klarinette
Klaus Janek – Kontrabass fx

Michael Thieke, Ira Hadžić, Cedrik Fermont und Klaus Janek sind Echomorph. Gemeinsam erforschen sie Resonanz, Farbe und Zusammenspiel von akustischen und digitalen Klängenverbinden. Ihr Stil vermischt Einflüsse zeitgenössischer Musik, Avantgarde, Minimalismus und Ambient, widersetzt sich aber einer einfachen Kategorisierung.

VVK: https://www.koka36.de/audiovisionen-echomorph_ticket_176110.html
Fieldnotes: https://field-notes.berlin/kalender/audiovisionen-echomorph
Facebook: https://www.facebook.com/events/2433412356995793

17.07. Audiovisionen: Huerta Ensamble (Concepción Huerta + Daniela Huerta), Gibrana Cervantes

Huerta Ensamble, composed of Mexican artists Concepción Huerta and Daniela Huerta, is a collaborative research project dedicated to creating sound works using synthesis and magnetic tape recordings. Their live performances are based on improvisation and the unique dialogue that unfolds in each setting.
Gibrana Cervantes is a Mexican violinist, composer, and improviser who is widely recognized for her innovative and experimental approach to music, which seamlessly blends classical and metal influences to create a truly distinctive style. Gibrana combines melody and noise in her compositions, resulting in emotive and contemplative pieces.

Facebook: https://www.facebook.com/events/1160787348749318

if you want to publish the some of the events online or in your print magazine:
here you can download hi res pictures for all listed events

DEGEM News – FWD – [ak-discourse] Akustisches Seminar am 27.03.25 um 16:15 Uhr

Betreff: [ak-discourse] Akustisches Seminar am 27.03.25 um 16:15 Uhr
Von: Radmann, Vincent via ak discourse
Datum: Mon, 24 Mar 2025

Liebe Akustik-Interessierte,

am kommenden Donnerstag, dem 27.03.25 findet die nächste Ausgabe des Akustischen Seminars statt. Achtung, diesmal zu geänderter Zeit um 16:15 Uhr!
Präsentiert werden die Ergebnisse der Masterarbeit von Serdar Gareayaghi mit folgendem Thema:

„Realisation of Clamped Boundary Conditions for a Semi-Analytical Plate Resonator Model“ von Serdar Gareayaghi (Masterarbeit)

Sie sind herzlich eingeladen an diesem Vortrag via Zoom teilzunehmen, Fragen zu stellen und zu diskutieren. Der Zugang erfolgt über folgenden Link:

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

Weitere Informationen zum Akustischen Seminar finden Sie auch hier:
https://isis.tu-berlin.de/course/view.php?id=41574

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

DEGEM News- FWD – [ak-discourse] Einladung zum Forschungskolloquium am 25.03.2025 / 17:00 Uhr

Von: Marc Voigt
Datum: Fri, 21 Mar 2025
Betreff: [ak-discourse] Einladung zum Forschungskolloquium am 25.03.2025 / 17:00 Uhr

Liebe Freunde der Audiokommunikation,

am kommenden Dienstag, den 25.03.2025, um 17:00 Uhr im Raum EN 324 präsentieren Marcel Klein und Kristof Konya ihre Masterarbeiten zum Thema:

„Einflussfaktoren für die wahrgenommene Halligkeit von Räumen“ und „The design and development of an analog tunable TR-808 kick drum“

Dazu möchten wir Sie herzlich einladen. Die Kurzzusammenfassungen finden Sie am Ende dieser E-Mail.

Der Zoom-Link für unsere auswärtigen Gäste lautet:

tu-berlin.zoom.us/j/65356423211

Meeting-ID: 653 5642 3211
Kenncode: 141962

Mit herzlichen Grüßen

Marc Voigt & Stefan Weinzierl

Marcel Klein: Einflussfaktoren für die wahrgenommene Halligkeit von Räumen

Die Nachhallzeit T30 gilt im Allgemeinen als guter Prädiktor für die wahrgenommene Halligkeit von Räumen. Die hohe Korrelation der beiden Größen wurde jedoch nur in Räumen mit ähnlichem Volumen und Nachhallzeit nachgewiesen. Außerdem ist bekannt, dass unterschiedlich große Räume trotz gleicher Nachhallzeit verschiedene Halligkeitsempfindungen erzeugen und der Zusammenhang zwischen der Wahrnehmung und der Nachhallzeit nicht linear ist. In dieser Arbeit wird der Einfluss raumakustischer und architektonischer Parameter auf die wahrgenommene Halligkeit von Räumen untersucht. Hierfür wurde mit existierenden, nachhallfreien Produktionen von Musik und Sprache und der raumakustischen Simulation von binauralen Impulsantworten eine Datenbank von Räumen mit großer Varianz erzeugt. Durch einen Hörversuch mit dynamischer Binauralsynthese und einem eigens entwickelten User Interface wurden anschließend Daten erhoben, auf deren Grundlage sich sowohl lineare als auch nichtlineare Abhängigkeiten der wahrgenommenen Halligkeit von den maßgeblichen Einflussgrößen ermitteln ließen. Die Ergebnisse bestätigen, dass der Zusammenhang mit der Nachhallzeit stark nichtlinear ist und dass sich die Vorhersagekraft der Modelle durch die Hinzunahme des Raumvolumens als Prädiktor deutlich verbessern lässt.

Kristof Konya: The design and development of an analog tunable TR-808 kick drum

This paper examines the Roland TR-808 bass drum, a staple in electronic music genres like Hip Hop and Techno. While the original instrument from 1980 had no control over the bass drums pitch, various music genres are presented that use the TR-808 bass drum in a tonal matter and thus showcase a need for tunability. Several electrical approaches are discussed to realize this behavior in the analog circuit domain. A novel approach is showcased based on an integrated circuit in a feedback control loop. The implementation of this approach is compared to a state of the art product with analytical frequency detection techniques. The novel electrical circuitry is then embedded in a music instrument that enables the 808 to be tunable and furthermore extends the original instrument’s sonic possibilities to the needs of modern music production. The design and implementation of the instrument were approached within the perspective of holistic instrument design.

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

DEGEM News – STELLENAUSSCHREIBUNG – Universitätsassistenz Klang und Intermedia, GMPU Klagenfurt

Von: Hanns Holger Rutz
Datum: Wed, 19 Mar 2025
Betreff: JOB – Universitätsassistenz Klang und Intermedia, GMPU Klagenfurt

Liebe DEGEM,

bei uns in Klagenfurt gibt es wieder einmal eine interessante Mittelbaustelle im Bereich Klang(kunst) und Intermedia, mit Fokus auf künstlerischer Forschung: https://gmpu.ac.at/uploads/jobs/Ausschreibung_wkP_UnivAss-KIM-mit-AR.pdf – Bewerbungsfrist 27.04.2025. Gerne an potentielle Interessent*innen weiterleiten.

Beste Grüße

Hanns Holger Rutz


Univ.-Prof. Dr. Hanns Holger Rutz (he/him)
Artistic Research

Gustav Mahler Privatuniversität für Musik (GMPU)
Mießtaler Straße 8, 9020 Klagenfurt, AT
E hanns-holger.rutz@gmpu.ac.at
T +43 50536 16576

Simultaneous Arrivals (FWF AR 714-G)
https://simularr.net

DEGEM News – FWD – [ausland depesche] Minute/Year | All The Rivers Dance Residencies | Kapustin revisited

Von: weekly ausland newsletter
Datum: Mon, 10 Mar 2025
Betreff: [ausland depesche] Minute/Year | All The Rivers Dance Residencies | Kapustin revisited

Hello / Hallo!

die kommenden Veranstaltugen im Ausland:

coming soon in Ausland:

Wednesday, 01 January, 2025 – 00:01

Minute/Year

Minute/Year is an automated, process-based, durational work, in which sound is played, recorded, and layered, in a resonant space, for one minute each day. This process has been ongoing, daily, since 2016. For the whole of 2025, the work is installed in ausland.

https://ausland.berlin/de/event/minute-year

Friday, 21 March, 2025 – 10:00
All The Rivers Dance Residencies Open Call

Das ausland bietet Residenzen für Gruppen von 3 bis 5 Personen an. Ihr bekommt Proben- und Produktionszeit, ein Stipendium von 2000 € pro Person und künstlerische und technische Unterstützung bei der Recherche und Umsetzung Eures Projekts.

The link to the call in DGS and in easy german can be found here:
https://ausland.berlin/de/event/all-the-rivers-dance-residencies-open-call

Saturday, 29 March, 2025 – 19:30
“Kapustin revisited“ Roman Rofalski & Paulina Sofie Kissnew /Chasys

Door 19:00 / Concerts 19:30 / Tickets (Only at door) 10 – 15 euro

Roman Rofalski // Paulina Sofie Kiss Kapustin revisited “Kapustin revisited” is a duo project remixing the music of Ukrainian composer Nikolai Kapustin, who – in Sovjet days – developed a unique and compositional approach to American jazz. His music is dense journey into a jazz idiom abandoning all improvisational aspects for rhythmic and harmonical complexity. Berlin-based pianist Roman Rofalski has been dealing with Kapustin’s music intensively. In 2018, he recorded “the Kapustin project” (Sony Classical) with a focus on pieces of the 1980s, putting them aside own compositions and contemporaries. Now, together with Paulina Sofie Kiss on modularsynth, the two musicians try capturing the essence of Kapustin’s works, chunks of melodic and harmonic content, slowing it down to show its beauty, re-arranging everything into a state of live-electronic improvisation, spicing it up with drones, samples, glitches and post-contemporary beats. https://www.instagram.com/romanrofalski/ http://www.romanrofalski.com/ http://paulinasofiekiss.de/ https://romanrofalski.bandcamp.com/ Chasys is Ariel Schlichter’s ambient, electronic & experimental project. Each release focuses on different techniques and concepts, which range from the fully ambient, field-recording and found sounds based ‘Tunnel Mountain’ to the generative sequenced ‘Decomposition Method’ through the story-driven soundtrack-inspired ‘Neo CABA 2’, the modular experiment ‘Digital Voltage’ and the live-recorded releases ‘Abajo’ & ‘Resume Game’. Chasys’ live set incorporates elements from several of these experiences through a system that allows for a constant stream of improvisation and loop manipulation that feedbacks upon itself for a constant, un-repeating soundscape exploration, at times fully ambient, at others verging on techno or on hypnotic sequences. Computers, cassette tapes, custom MIDI controllers and FX pedals all intersect to create an ever changing experience.


https://ausland.berlin/de/event/kapustin-revisited-roman-rofalski-paulina-sofie-kissnew-chasys

And remember, our aim is to support artists in producing and developing their work. Our space is available for rehearsals, recordings and meetings. We host workshops and residencies, produce podcasts and music videos and previously produced a monthly radio show. The space is small (70 sqm / 5 m high), with wooden flooring, concrete walls, and windows, the room is soundproof.
We have professional sound, lighting and video equipment.
ausland
Lychener Str. 60
10437 Berlin

S + U Bahn Schoenhauser Allee
Tram 12 Raumer Strasse
N 52 Eberswalder Str
+49 (0)30 44 77 008

___
ausland *depesche* https://ausland.berlin

DEGEM News – FWD – [ak-discourse] CfP „Hands On Sonic Skills“

Von: Lepa, Steffen via ak discourse
Datum: Wed, 12 Mar 2025
Betreff: [ak-discourse] CfP „Hands On Sonic Skills“

Dear Colleagues,

please consider the following call for our international conference in upcoming December 2025:

Hands on Sonic Skills

Practical experiential approaches to sound, music, and media in musicological education

Conference on December 11 & 12, 2025

Martin-Luther-University Halle-Wittenberg, Department of Musicology

Keynotes: Andreas Fickers and Joanna Szczepańska-Antosik

Call for Papers / Abstract

Media and technologies for synthesis, recording, processing, and distribution of sound have become important subjects of music research. Examples include the history of sound recording (Sterne 2003, Katz 2010, Horning 2013, Bennett 2019), the significance of technical devices in music scenes (Theberge 1997, Butler 2014, Herbst/Menze 2021), or musical analysis oriented toward sound and music production processes (Zagorsky-Thomas 2016, Hepworth-Sawyer et al. 2019).

Across the intersection of musicology, media studies, sound studies, and other disciplines, new disciplinary branches such as Music Production Research (Bennett & Bates 2019; Bourbon & Zagorski 2020) have emerged, which have developed their own theoretical approaches and methods for researching recorded and technically mediated music. Today, knowledge of audio-technical processes and a sensory sensitivity for the design of sound are no longer regarded merely as engineering expertise, but as part of cultural practices that shape musical activity from the ground up and must therefore also be part of musicological questions and knowledge.

Such knowledge is often implicit, ‚tacit knowledge‘ and therefore observable as practice or musical action. Therefore, ethnographic, praxeological, and artistic research methods are particularly frequently applied in this field, for example in the form of field research (Bürkner 2013; Bates 2017; Huschner 2016), reenactments (Fickers/van den Oever 2022; Meynell 2017), and media experiments in artistic research (Badura et al 2015, van der Heijden/Kolkowski 2023). These approaches suggest that in many cases observations informed by one’s own experiential practical approaches aid in gaining a deeper understanding of media-cultural-musicological phenomena.

This shift is also taking root in musicological teaching, for instance in new chairs, module regulations, and degree programs. At locations such as Bonn, Oldenburg, Berlin (HU), Lüneburg, Hildesheim, and Halle (Saale), as well as in London, Agder, Huddersfield, or Concordia, recording studio technology, synthesizers, DIY electronics, and Digital Audio Workstations are becoming essential elements of musicological education. The practical engagement with sound and its production contexts ranges from the history of the tape recorder to introductory courses in miking and mixing techniques to listening sessions that focus on the sonic design of ›produced music.‹ This engagement often takes place in university-owned recording studios. These ›toolscapes‹ of music production prove to be particularly suitable places for practice-oriented learning. (King & Hemonides 2016).

The conference brings together a cross-section of materially and practically oriented research and teaching and offers space for discussions on how current scientific and didactic approaches can benefit from each other.

This raises the following questions:

(1) Which basic practical sound knowledge should be part of a musicological education? What is the relationship between scientific (musical acoustics) and music-psychological approaches (sound perception, auditory physiology) and research centered on cultural aspects such as sound studies or pop musical analysis? What forms of implicit or ›embodied‹ knowledge, what practical abilities in handling analog and digital audio technology, and what systematic training of technical hearing or critical listening skills are required for sound and music analysis today?

(2) How can these contents be integrated into the framework of academic education in a contemporary and didactically meaningful way without becoming too superficial or too specialized? What role does the relationship between in-person teaching and digital learning offerings play? What methods and ideas for seminar or semester structures exist? We will present our own procedures and learning formats in the beta version of our hybrid teaching platform METRONOM, on which, in addition to a module for technical ear training for musicologists, we provide material and instructions for the experiential-practical teaching of sound (technologies) and music media works in classroom teaching, especially in forms of re-enactment.

(3) How relevant are sound and media technologies as aspects of musical design not only for contemporary musicological education but also for practice-oriented professional fields? What knowledge is required in journalistic fields such as radio, press, and online media, in curatorial and museal contexts, in concert and theater, archives, publishing, and music management?

(4) How should the recording studio be set up as a learning space for musicology? How can it help students gain a deeper understanding of production processes in the context of sound technologies without overloading the learning process? Which ‚toolscapes‘ offer inspiring environments for sound-related project work? What didactic as well as practical-technical challenges should be considered in this special learning environment?

We invite you to submit proposals for individual presentations, panels, workshops, and posters related, but not restricted to, the following topics:

· Technical ear training / Critical listening skills

· Musical applications of recording technology

· Handling of time- and style-specific devices and production environments (Multitrack, MPCs, Push, etc.)

· Elaboration and performance of electroacoustic and experimental music in teaching

· Experiential/practical approaches in sound studies

· Artistic research in music and sound art

· Modular synthesizers in teaching

· Sound description and language in music analysis

· Use of digital tools in musicological sound and music analysis (Sonic Visualizer, etc.)

· Realization/production of recordings as student research in the studio

· Hybrid formats and use of digital learning platforms

· Higher education didactic methods related to audio technology

· Historically and culturally comparative perspectives on the above questions

We explicitly understand ›Hands on Sonic Skills‹ as a learning, working, and workshop conference. Therefore, we ask you to consider organizing workshops (60-90 min) focusing on special teaching methods or topics, in addition to classical presentations (20 min + 10 min discussion) and joint panels (90 min). A poster session will provide the opportunity to exchange ideas about methods, didactics, and individual student projects. Smaller technical experiments and setups are explicitly encouraged.

The conference is organized as part of the educational research project METRONOM – Media Transformation of Musical Knowledge (2024-2026). Funding is provided by FREIRAUM financed by the BMBF and administered by the Foundation for Innovation in Higher Education (STIL). The conference is organized at the research section Music and Media, headed by Prof. Dr. Golo Föllmer. Team: Alan van Keeken, Sebastian Schwesinger, Lukas Iden, and Katja Lux.

Conference languages are German and English. Participation is free of charge.

Please send your abstract (max. 400 words) and CV (max. 100 words) by April 30, 2025, indicating your preferred format, to alan.van-keeken@musikwiss.uni-halle.de

Literatur/e:

Badura, Jens et al (2015): Künstlerische Forschung. Ein Handbuch, Zürich/Berlin.

Bates, Eliot (2016), Digital tradition: Arrangement and labor in Istanbul’s recording studio culture, New York.

Bennett, Samantha and Bates, Eliot (2018), ‘The Production of Music and Sound: A Multidisciplinary Critique’, in Bennett and Bates (eds), Critical Approaches to the Production of Music and Sound, New York, pp. 1–22.

Bennett, Samantha (2019), Modern Records, Maverick Methods: Technology and Process in Popular Music Record Production 1978-2000, New York.

Bourbon, Andrew and Zagorski-Thomas, Simon (eds) (2020), The Bloomsbury Handbook of Music Production., New York.

Bürkner, Hans-Joachim (2013): Trackproduktion als Trial and Error? in: Bürkner et al (eds): Akustisches Kapital. Wertschöpfung in der Musikwirtschaft, Bielefeld, pp. 45-98.

Butler, Mark J. (2014), Playing with something that runs: Technology, improvisation, and composition in DJ and laptop performance, Oxford.

Fickers, Andreas and van der Oever, Annie (2022), Doing Experimental Media Archaeology, Berlin/Boston.

Herbst, Jan Peter and Menze, Jonas (2021), Gear Aquisition Syndrome: Consumption of Instruments and Technology in Popular Music, Huddersfield.

Hepworth-Sawyer, Russ, Hodgson, Jay and Marrington, Mark (eds) (2019), Producing music. Perspectives on music production series, New York.

Huschner, Roland (2016), „[…] if it would be me producing the song…“: Eine Studie zu den Prozessen in Tonstudios der populären Musikproduktion, Humboldt-Universität Berlin.

Katz, Mark (2010), Capturing Sound: How Technology Has Changed Music, London.

King, Andrew and Himonides, Evangelos (eds) (2016), Music, Technology, and Education: Critical Perspectives, London and New York.

Meynell, Anthony (2017), How Recording Studios Used Technology to Invoke the Psychedelic Experience: The difference in staging techniques in British and American recordings in the late 1960s, London.

Rosati, Tommaso and Hsu, Timothy (2025), Play with Sound: Manual for Electronic Musicians and Other Sound Explorers, London.

Schmidt-Horning, Susan (2013), Chasing Sound: Technology, Culture and the Art of Recording from Edison to the L.P, Baltimore.

Sterne, Jonathan (2003), The Audible Past: Cultural Origins of Sound Reproduction., Durham.

Théberge, Paul (1997), Any Sound you can imagine: Making Music/Consuming Technology, Hanover.

van der Heijden, Tim and Kolkowski, Alexander (2023), Doing Experimental Media Archeology, Berlin/Boston.

Zagorski-Thomas, Simon (2016), ‘An Analysis of Space, Gesture and Interaction in Kings of Leon’s Sex on Fire’, in Moore, von Appen and Doehring (eds), Song Interpretation in 21st-Century Pop Music, London, pp. 115–33.

You may leave the IASPM mailing list at any time by sending a blank email to: IASPMLIST-signoff-request@LISTSERV.LIV.AC.UK.

DEGEM News – FWD – [ak-discourse] Conference Call: Society for Music Production Research 2nd Annual Conference (Sep 2025)

Von: Lepa, Steffen
Datum: Mon, 10 Mar 2025
Betreff: [ak-discourse] Conference Call: Society for Music Production Research 2nd Annual Conference (Sep 2025)

Society for Music Production Research 2nd Annual Conference

Date: September 11-13, 2025

Location: University of Victoria, Sŋéqə ʔéʔləŋ (Sngequ House), Victoria, BC V8P 5C2, Canada

Deadline for proposals: midnight (UTC) March 14, 2025

Take Two: Expanding the Field of Music Production Research

Building on the success of the inaugural SMPR conference, we now turn our focus to Canada’s west coast, a region where the extraordinary natural environment inspires us to push boundaries and explore new ideas. It’s time for take two!

Using Victoria’s ecological diversity and soaring landscape as a metaphor, we have chosen three themes to map out research directions for Music Production Research (MPR): equity, diversity and inclusion; social responsibility; and innovation. We want to explore these themes both from within the MPR community, and also by turning our collective creativity outwards. At this conference, we aim to test the limits of conventional thought by fostering discussions about how music production and research can, broadly speaking, make a positive social impact.

Paper Submissions: 

We encourage proposals from both researchers and practitioners that respond to our themes of equity, diversity and inclusion; social responsibility, and innovation, as well as, those that cover the length and breadth of music production, its research and practice. Possible topics for proposals may include but are not limited to:

  •     Practice-Oriented Research
  •     Industry Insights
  •     Sonic Analysis and Interpretation of Recorded Music
  •     Music Production Techniques
  •     Music Production Education
  •     Perceptual and Psychological Impact of Music Production
  •     Music Industry Dynamics
  •     Case Studies of Music Production
  •     Cultural Perspectives and Impact of Music Production
  •     Historical Perspectives of Music Production

Conference Panels and Workshop: 

To address our main themes, we have curated three panels and one workshop. These events will spotlight leading voices from the academic, industry and nonprofit sectors, and illuminate the following areas:

  •     Building Diversity, Equity and Inclusion in Music Production1
  •     Advancing Environmental Sustainability through Music Production2
  •     Sustaining cultural heritage through Libraries, Archives and Museums in Music Production3
  •     Innovating with AI in Music Production4

Moderated and presented by academic leaders and emerging stars from within the field of music production research: Allison Sokil (MacEwan University)1, Nyssim Lefford (Luleå University of Technology)2, Timothy Anne Burnside (Smithsonian Institute)3 , and Philippe Pasquier (Simon Fraser University)4; these events will look towards the future, challenge expectations regarding contemporary music production, and we hope, inspire new research directions and collaborations.

Speculative Solutions Challenge:

By this point it should be obvious that we seek to shake things up, and we recognize that bold exploration demands a kind of inventiveness that does not always rest comfortably in a traditional peer-review process. We want to make this conference a safe place to speculate – yes, really, speculate – about how music production can help build a more equitable, socially responsible and innovative world.

To make room for breaking new ground, in addition to standard, peer-reviewed paper submissions, we are offering a Speculative Solutions challenge based on the conference’s main themes. This is an opportunity to go a bit wild (like the Victoria landscape), present a vision for the future, and get feedback on the ideas from interested and knowledgeable colleagues. Speculations might involve new business models, (music production) technology solutions, organised actions, etc. Regardless, contextualise the proposed solution in a critical framework. In keeping with the spirit of speculation, submissions will be evaluated by domain experts who appreciate the goals of the challenge.

We want to make it easy to speculate. Submissions should take the form of an extended abstract, no more than 300 words, that explains the following:

  • The problem being addressed by the proposed solution, and how it relates to one of the conference themes: DEI, Social Responsibility or Innovation (please choose one main theme, even if a solution potentially addresses needs across categories)
  • The proposed solution
  • What would be necessary for its realisation
  • The expected impact

The abstract may be accompanied by images or diagrams.

Three submissions from each category (DEI, Sustainability or Innovation) will be chosen for presentation at the SMPR conference in Victoria. Presentation at the conference will consist of a poster session (a poster should be created for the conference) and an opportunity to make a 10-minute oral presentation about the idea. The poster may be accompanied by audio or video. However, presenters should be prepared to play this media off their own laptops as a/v equipment may not be available for the poster sessions.  All submitted speculations will be evaluated by topic area experts who are participants in the conference’s panels or workshop. These experts will choose the top three for their respective themes.

Please submit proposals via this link by midnight (UTC) March 14, 2025.

Submission types:

  • Individual Papers – 20-minute presentations with 5-minute Q&A. Submit an abstract of up to 300 words. Include the Title, Author(s), contact information, and 3-5 keywords. Abstracts should summarize the context and argument of the paper and a brief conclusion.
  • Speculative Solutions – 30-minute poster display period, 10-minute oral presentation alongside a panel of co-speculators followed by Q&A and discussion. Submit an abstract of up to 300 words covering the information described above. Include Title, Author(s), contact information, 3-5 keywords, and any special requirements for the poster session or presentation.

About SMPR:

The Society for Music Production Research is dedicated to building knowledge and dialogue among practitioners and scholars related to all aspects of music production. SMPR promotes research, publication, and networking among scholars and practitioners in the domains of creation, technologies, historical and industry contexts, aesthetics, and reception. The field is broad and includes all aspects of music production.

SMPR encourages multidisciplinary and intersectional engagement between its members, the music production industry, researchers, and related organizations and seeks to reinforce how research in music production impacts educators and students, while providing and encouraging a supportive space where members can contribute genuinely and sincerely by actively working to negate practices that perpetuate systems of oppression and exclusivity.

About the University of Victoria:

The University of Victoria Campus is located on the traditional lands of the Lǝḱwǝŋǝn peoples, and the Songhees, Esquimalt and WSÁNEĆ peoples whose historical relationships with the land continue to this day. We are privileged to do our work in a way that is inspired by their history, customs, and culture.

Located on the southern tip of Vancouver Island in beautiful British Columbia, Canada, the University of Victoria is one of Canada’s top-tier research-intensive universities. As an internationally renowned hub for teaching and research, we tackle essential issues that matter to people, places, and the planet. Our location within the Pacific Rim fosters a passion for exploration, and this extraordinary environment inspires us to defy boundaries, discover, and innovate in exciting ways. We live, learn, work, and explore at the edge of what’s next.

The UVic School of Music is dedicated to experiential learning and training for musicians and music scholars, turning passion into profession. The School is home to 45 performers, composers, educators, theorists, musicologists, and professional staff, as well as 190 undergraduate majors and 40 graduate students. We offer Bachelor of Music degrees in composition, music education, performance, musicology and sound studies, and musical arts along with a combined degree in Music and Computer Science and a Bachelor of Arts in Music. The School offers graduate degrees in composition, performance, musicology and sound studies, and music technology. We are strongly committed to inclusive excellence and equity and to increasing the diversity of approaches and perspectives in teaching, research, and creative output. In 2021 the school hosted AUDIO+: A Research Forum to Transform our Traditions.

Conference Venue: Sŋéqə ʔéʔləŋ (Sngequ House), built to Passive House and Leadership in Energy and Environmental Design (LEED) V4 Gold certifications.

Please note: 

All conference presenters must be SMPR members by the time they register for the conference. For membership information visit: SMPR Membership.

Please spread this CfC widely throughout your own personal networks: https://bit.ly/SMPR2025CfC

Conference committee: 

Source and more information: https://musicproductionresearch.org/victoria-2025

 

DEGEM News – FWD – [ak-discourse] Organised Sound – Call for papers: Embedding Algorithms in Music and Sound Art (2nd call)

Von: Lepa, Steffen via ak discourse
Datum: Thu, 27 Feb 2025
Betreff: [ak-discourse] Organised Sound – Call for papers: Embedding Algorithms in Music and Sound Art (2nd call)

(apologies for cross-posting, please circulate)

Here is the second call for papers for the thematic issue of Organised Sound on the topic of Embedding Algorithms in Music and Sound Art.

Please find the full call below and on the journal’s website:
https://www.cambridge.org/core/journals/organised-sound/announcements/call-for-papers/call-embedding-algorithms-in-music-and-sound-art
Feel free to share it with others who might be interested in contributing.

We look forward to receiving your submissions!

Best regards,

Federico Visi
Intelligent Instruments Lab – University of Iceland
GEMM))) Gesture Embodiment and Machines in Music – Luleå University of Technology
Wearable Computing – Universität der Künste Berlin
www.federicovisi.com

Call for Submissions – Volume 31, Number 2
Issue thematic title: Embedding Algorithms in Music and Sound Art
Date of Publication: August 2026
Publishers: Cambridge University Press
Issue co-ordinators: Federico Visi (mail@federicovisi.com), Thor Magnusson (thormagnusson@hi.is)
Deadline for submission: 15 September 2025

Embedding Algorithms in Music and Sound Art
Embedding algorithms into physical objects has long been part of sound art and electroacoustic music practice, with sound artists and researchers creating tools and instruments that incorporate some algorithmic process that is central to their function or behaviour. Such practice has evolved profoundly over the years, touching many aspects of sound generation, electroacoustic composition, and music performance.

Whilst closely linked to technology, the practice of embedding algorithms into tools for sound making also transcends it. Different forms and concepts emerge in domains that can be analogue, digital, pertaining to recent or ancient technologies, tailored around the practice of a single individual or encompassing the behaviours of multiple players, even non-human ones.

The processes and rules that can be inscribed into instruments may include assumptions about sound and music, influencing how these are understood, conceptualised, and created. Algorithms can encode complex behaviours that may make the instrument adapt to the way it is being played or give it a degree of autonomy and agency. These aspects can have profound effects on the aesthetics and creative processes of sound art and electroacoustic music, as artists are given the possibility of delegating some of the decisions to their tools.

In the practice of embedding algorithms, knowledge and technology from other disciplines are appropriated and repurposed by sound artists in many ways. Sensors and algorithms developed in other research fields are used for making instruments. Similarly, digital data describing various phenomena – from environmental processes to the global economy – have been harnessed by practitioners for defining the behaviour of their sound tools, resulting in data-driven sound practices such as sonification.

More recently, advances in artificial intelligence have made it possible to embed machine learning models into instruments, introducing new aesthetics and practices in which curating a dataset and training a model are part of the artistic process. These trends in music and sound art have sparked a broad discourse addressing notions of agency, autonomy, authenticity, authorship, creativity and originality. There are aesthetic, epistemological, and ethical implications arising from the practice of building sound-making instruments that incorporate algorithmic processes. How do intelligent instruments affect our musical practice?

This demands an interdisciplinary critical enquiry. For this special issue of Organised Sound we seek articles that address the aesthetic and cultural implications that designing and embedding algorithms has on electroacoustic music practice and sound art. We are interested in the role of this new technological context on musical practice.

Please note that we do not seek submissions that describe a project or a composition without a broad contextualisation and an underlying central question. We instead welcome submissions that aim at addressing one or more specific issues of relevance to the call and to the journal’s readership which may include works or projects as examples.

Topics of interest include:

Aesthetics in performance of instruments with embedded algorithms
Phenomenology of electroacoustic performance with algorithmic instruments
Agency, autonomy, intentionality, and “otherness” of algorithmic instruments
Co-creation and authorship in creative processes involving humans and algorithmic instruments
Dynamics of feedback, adaptivity, resistance, and entanglement in player-instrument-algorithm assemblages
Human-machine electroacoustic improvisation
Critical reflections on the role of algorithms in the creation of sound tools and instruments and their impact on electroacoustic music practice
Meaning making, symbolic representations, and assumptions on music and sound embedded within instruments and sound tools
Knowledge through instruments: epistemic and hermeneutic relations in algorithmic instruments
Appropriation, repurposing, and “de-scripting” of hardware, algorithms, and data by sound artists
Exploration of individual and collective memory through algorithmic instrumental sound practice
Roles and understandings of the machine learning model as a tool in instrumental music practice
Use of algorithmic instruments in contexts informed by historical and/or non-Western traditions
Ethics, sociopolitics, and ideology in the design of algorithmic tools for electroacoustic music
Legibility and negotiability of algorithmic processes in electroacoustic music practice
Non-digital approaches: embedding algorithms in non-digital instruments
Postdigital and speculative approaches in electroacoustic music practice with algorithmic instruments
Data as instrument in electroacoustic music practice: curating and embedding data into instruments
Aesthetics and idiosyncrasies of networked, site-specific, and distributed instruments and performance environments
Entanglement, inter-subjectivity, and relational posthumanist paradigms in designing and composing with algorithmic instruments
More-than-human, inter-species, and ecological approaches in algorithmic instrumental practice

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

SUBMISSION DEADLINE: 15 September 2025

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 editors.

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

Best,

Federico

DEGEM News – FWD – KUNSTUNIVERSITÄT GRAZ – Ausschreibung Universitätsprofessur für Performance Practice in Contemporary Music (PPCM) – Live Electronics and Performance

Von: Annesley Black
Datum: Wed, 5 Mar 2025
Betreff: KUNSTUNIVERSITÄT GRAZ – Ausschreibung Universitätsprofessur für Performance Practice in Contemporary Music (PPCM) – Live Electronics and Performance

Liebe Kolleg*innen und Kollegen,

vor einigen Wochen wurde die Ausschreibung „Universitätsprofessur für Performance Practice in Contemporary Music (PPCM) – Live Electronics and Performance“ veröffentlicht – was eine tolle Gelegenheit ist, Live-Elektronik als zentrales künstlerisches „Instrumental“-fach an der Kunstuniversität Graz zu etablieren.
Ich möchte Euch bitten zu überlegen, wer für diese Stelle geeignet und an ihr interessiert sein könnte, und diese Personen direkt zu ermutigen sich zu bewerben. Das betrifft insbesondere weibliche bzw. non-male-identifying Personen, da diese leider bei dieser Art von Ausschreibungen noch immer sehr stark unterrepräsentiert sind.

Es wäre wichtig für die KUG und für das Fach, zahlreiche und diverse Bewerbungen für diese Stelle zu bekommen. (bitte an allen möglich interessierten Kandidat*innen weiterleiten!)
Ende der Bewerbungsfrist ist der 19.03.2025.

Die Ausschreibungstext ist unten als Text im Email.

Danke, mit herzlichen Grüßen,
Annesley Black

Studienjahr 2024/2025 Ausgegeben am 29.01.2025 12. Stk.
An der Universität für Musik und darstellende Kunst Graz – Institut für Komposition, Musiktheorie,
Musikgeschichte und Dirigieren – gelangt voraussichtlich ab dem Sommersemester 2026 eine
Universitätsprofessur
für
Performance Practice in Contemporary Music (PPCM) – Live Electronics and Performance
gemäß § 99 Universitätsgesetz zur Besetzung.
Die Kunstuniversität Graz (KUG) mit rund 2.300 Studierenden an den Standorten Graz und
Oberschützen ist eine internationale Universität mit breitgefächertem Studienangebot in Musik und
darstellender Kunst. Im Herzen Europas gelegen, knüpfen wir an das kulturelle Erbe unserer Region an
und loten gleichzeitig aktuelle Positionierungen in den zeitgenössischen Künsten aus. Wir setzen uns
mit den internationalen Entwicklungen in den Künsten, der Pädagogik und der Forschung auseinander
und fragen nach der Bedeutung von Kunst und Kultur in der Gesellschaft. Lehrende und Studierende
arbeiten partnerschaftlich im gemeinsamen Erkenntnisprozess. Das Potential von Gender, Diversität
und Nachhaltigkeit sehen wir als Chance in der Transformation des Kunst- und Kulturbetriebs und für
die Weiterentwicklung unserer Institution.
Mit der zu besetzenden Professur erweitert die KUG ihre bestehenden Studienprogramme
„Performance Practice in Contemporary Music (PPCM)“, die bislang „PPCM Instrumental“ und „PPCM
Vokal“ umfassen, mit dem Ziel, ein zusätzliches Masterstudium „PPCM Live Electronics and
Performance“ aufzubauen. Der Kernbereich dieser Professur ist in der Lehre und Aufführungspraxis
verschränkt mit den Studienrichtungen „Computermusik und Klangkunst“ und „Komposition und
Musiktheorie“. Damit etabliert die KUG „Live Electronics and Performance“ als instrumentales
künstlerisches Fach und trägt damit der wachsenden Bedeutung von Technologie in der
zeitgenössischen Musik Rechnung.
Aufgabenbereiche
• Verantwortliche Vertretung und Förderung des Fachs in seiner Gesamtheit, insbesondere in
der Entwicklung und Erschließung der Künste und der künstlerischen Forschung
• Konzeption eines Masterstudiengangs „PPCM Live Electronics and Performance“
• Lehre im zentralen künstlerischen Instrumentalfach „Live Electronics and Performance“,
inklusive solistischer und kammermusikalischer Tätigkeiten, im Studiengang „PPCM Live
Electronics and Performance“
• Lehre und Zusammenarbeit mit Studierenden und Lehrenden der Studienprogramme PPCM
–Instrumental und PPCM–Vokal sowie der Studienrichtung Computermusik und Klangkunst in
der Realisierung kammermusikalischer Werke mit Live-Elektronik
• Erarbeitung von Repertoire mit „postinstrumentalen“ Aufführungspraktiken
• Lehre, die Studierende des Instrumentalstudiums bzw. der Studienrichtung Komposition und
Musiktheorie an die Anwendung von Live-Elektronik heranführt
• Aktive Teilnahme an der Weiterentwicklung der Lehr- und Lernkultur und am künstlerischen
und wissenschaftlichen Leben der Universität sowie Mitgestaltung in der akademischen
Selbstverwaltung der Kunstuniversität Graz
• Mitarbeit an Organisations-, Verwaltungs- und Evaluierungsaufgaben
Anstellungserfordernisse
• Eine der Verwendung entsprechende abgeschlossene inländische oder gleichwertige
ausländische Hochschulausbildung bzw. eine gleich zu wertende künstlerische Eignung
• Herausragende Persönlichkeit mit höchster künstlerischer Qualifikation für das zu besetzende
Fach
• Hervorragende pädagogische und didaktische Eignung
Studienjahr 2024/2025 Ausgegeben am 29.01.2025 12. Stk.
• Herausragende internationale künstlerische Laufbahn mit Live Electronics and Performance,
inklusive solistischer Tätigkeiten
• Erfahrung mit der Realisierung von Live-Elektronik in verschiedenen Ensemblebesetzungen
• Umfassende Kenntnis des historischen und zeitgenössischen Repertoires mit Live-Elektronik
• Kenntnisse und einschlägige Erfahrung in der Entwicklung elektronischer Instrumente
(Software und Hardware)
• Kenntnis einer der verbreiteten Programmierumgebungen für Live-Elektronik, wie
SuperCollider, PureData, MaxMSP
• Aktive Forschungs- und Publikationstätigkeit im Bereich der Künstlerischen Forschung
erwünscht
• Sensibilität im Umgang mit Gender, Diversität und Nachhaltigkeit
• Sofern Deutsch nicht Muttersprache ist, wird die Bereitschaft zum Erlernen der deutschen
Sprache mit dem Ziel vorausgesetzt, innerhalb eines festzulegenden Zeitraums mindestens
das Niveau B2 zu erreichen.
Vertrag: Befristetes Arbeitsverhältnis gem. § 25 Kollektivvertrag für die Arbeitnehmer*innen der
Universitäten auf die Dauer von 5 Jahren. Eine Verlängerung der Bestellung ist nur nach Durchführung
eines Berufungsverfahrens nach § 98 Universitätsgesetz zulässig.
Beschäftigungsausmaß: Teilbeschäftigung im Ausmaß von 50 % einer Vollbeschäftigung
Entlohnung: Kollektivvertragliches monatliches Mindestentgelt derzeit € 3.302,15 brutto
(14x jährlich); ein allfälliges höheres Gehalt kann zum Gegenstand von Berufungsverhandlungen
gemacht werden.
Die Kunstuniversität Graz strebt eine Erhöhung des Frauenanteils beim künstlerischen und
wissenschaftlichen Personal an und fordert deshalb qualifizierte Frauen ausdrücklich zur Bewerbung
auf. Im Falle einer Unterrepräsentanz werden Frauen bei gleicher Qualifikation vorrangig
aufgenommen.
Personen mit Behinderungen oder chronischen Erkrankungen, die die geforderten
Qualifikationskriterien erfüllen, werden ausdrücklich zur Bewerbung eingeladen.
Wir freuen uns auf Ihre schriftliche Bewerbung samt Unterlagen zum Nachweis der oben angeführten
Anstellungserfordernisse.
Ende der Bewerbungsfrist: 19.03.2025
Bewerbungen sind elektronisch unter der Geschäftszahl 18/25 an bewerbung-prof@kug.ac.at zu
richten.
Die Bewerber*innen haben keinen Anspruch auf Abgeltung der Reise- und Aufenthaltskosten, die
durch das Aufnahmeverfahren entstanden sind.
Für das Rektorat
Georg Schulz
Studienjahr 2024/2025 Ausgegeben am 29.01.2025 12. Stk.
The University of Music and Performing Arts Graz – Institute of Composition, Theory of Music, History
of Music and Conducting– is offering a position for a
University Professorship for Performance Practice in Contemporary Music (PPCM) – Live
Electronics and Performance
with likely commencement in the summer semester 2026 and based on § 99 of the Universities Act.
The University of Music and Performing Arts Graz – the KUG – with around 2,300 students at its
campuses in Graz and Oberschützen, is an international university offering a wide range of courses in
music and the performing arts. Located in the heart of Europe, we build on the cultural heritage of our
region and at the same time explore and contribute to current trends in the contemporary arts. We
engage with international developments in the arts, pedagogy and research, and explore the
significance of art and culture in society. Teachers and students work cooperatively in this process. We
are committed to fostering gender mainstreaming, diversity, and sustainability in order to transform
the artistic and cultural sector, as well as to further develop our institution.
By filling the professorship the KUG is expanding its existing study programmes ‘Performance Practice
in Contemporary Music (PPCM)’, which so far include ‘PPCM Instrumental’ and ‘PPCM Vocal’, with the
aim of establishing an additional master’s programme in ‘PPCM Live-Electronics and Performance’. The
core area of this professorship is interwoven with the fields of study ‘Computer Music and Sound Art’
and ‘Composition and Music Theory’ in teaching and performance practice. In this way, the KUG is
establishing ‘Live-Electronics and Performance’ as an instrumental artistic subject, thus taking into
account the growing importance of technology in contemporary music.
Your duties
• responsible representation and promotion of the subject in its entirety, in particular in the
development and practice of its arts-based activity and artistic research
• design of a master’s programme in ‘PPCM Live Electronics and Performance’
• teaching in the main artistic instrumental subject ‘Live Electronics and Performance’,
including solo and chamber music activities, in the ‘PPCM Live Electronics and Performance’
course
• teaching and collaboration with students and teachers in the PPCM Instrumental and PPCM
Vocal programmes, as well as in the Computer Music and Sound Art programme, in the
realisation of chamber music works with live electronics
• development of repertoire with ‘post-instrumental’ performance practices
• Teaching that introduces students of Instrumental studies or Composition and Music Theory
to the application of Live Electronics.
• active participation in the further development of the university’s teaching environment and
its artistic and scholarly life, as well as helping to shape the academic autonomy of the
University of Music and Performing Arts Graz
• participation in organisational, administrative and evaluation duties
Your profile
• relevant tertiary qualification from an Austrian or international institution or equivalent
artistic aptitude
• outstanding personality with the highest artistic qualification for the position
• outstanding pedagogical and didactic competence
• outstanding international artistic career with Live Electronics and Performance, including solo
work
Studienjahr 2024/2025 Ausgegeben am 29.01.2025 12. Stk.
• experience in realising Live Electronics in various ensemble settings
• extensive knowledge of historical and contemporary repertoire with Live Electronics
• knowledge and relevant experience in the development of electronic instruments (software
and hardware)
• knowledge of one of the common programming environments for Live Electronics, such as
SuperCollider, PureData, MaxMSP
• active research and publication activities in the field of artistic research are desirable
• sensitivity in dealing with gender, diversity and sustainability
• if German is not the applicant’s native language, a willingness to learn German with the aim
of reaching at least level B2 within a fixed period of time is assumed.
Contract: Temporary employment contract in accordance with § 25 of the collective agreement for
university employees for a period of 5 years. An extension of the appointment is only permitted after
an appointment procedure in accordance with § 98 of the Universities Act.
Level of employment: Part-time, employment extent of 50 % of full-employment
Salary: The collective agreement specifies a minimum monthly gross salary, currently € 3,302.15
(14x annually); a higher salary may be negotiated.
The University of Music and Performing Arts Graz aims to increase the proportion of women among
its artistic and scientific staff and therefore explicitly invites qualified women to apply. In the event of
underrepresentation, women with equal qualifications will be given priority.
Persons with disabilities or chronic illnesses who meet the required qualification criteria are expressly
invited to apply.
We look forward to receiving your written application together with documents proving the above-
mentioned employment requirements.
Application deadline: 19.03.2025
Applications should be sent by e-mail with the reference number 18/25 to:
bewerbung-prof@kug.ac.at
Applicants are not entitled to compensation for the travel and lodging expenses that arise during the
application procedure.
On behalf of the Rectorate
Georg Schulz


Univ.Professorin Annesley Black
Pronouns: sie/ihr,
she/her

University of Music and Performing Arts Graz
Insitut 1 – Composition, Music theory, Music history and Conducting
Professor for composition
Brandhofgasse 21, 8010 Graz, Austria
annesley.black@kug.ac.at
https://www.kug.ac.at/personen/annesley-black
https://www.annesleyblack.com

DEGEM News – BRANDENBURG/HAVEL UbiMus 2025 an der TH-Brandenburg

Von: Guido Kramann
Datum: Sa, 01 Mar 2025
Betreff: UbiMus 2025 an der TH-Brandenburg

DE: Das diesjährige Symposium zu Ubiquitous Music (UbiMus 2025) findet vom 15. bis 17. September an der Technischen Hochschule Brandenburg in Brandenburg an der Havel statt. Über vielfältige Beiträge zur Präsentation vor Ort, aber auch online würden wir uns sehr freuen. Nähere Informationen finden Sie hier:

https://technik.th-brandenburg.de/forschung-und-kooperation/projekte/ubimus/

EN: This year’s symposium on Ubiquitous Music (UbiMus 2025) will take place from September 15 to 17 at the Brandenburg University of Applied Sciences in Brandenburg an der Havel. We would be very pleased to receive a wide range of contributions for presentation on site, but also online. You can find more information here:
https://technik.th-brandenburg.de/forschung-und-kooperation/projekte/ubimus/