Von: Andreev, Kirill
Datum: Fri, 9 Feb 2024
Betreff: [ak-discourse] Einladung zum Forschungskolloquium am 13. Februar 2024

Liebe Freunde der Audiokommunikation,

am kommenden Dienstag, den 13. Februar 2024, 16:00 Uhr im Raum EN 324 präsentiert Ali Diab seine Masterarbeit zum Thema

„Beyond Functionality: A Typological Exploration of Distinct Architectural Strategies for Fostering Creative Atmospheres in Recording Studios“.

Im Anschluss präsentiert Marius Seipel seine Masterarbeit zum Thema
„Improving speech enhancement models with neural post-processing“.
Dazu möchten wir Sie herzlich einladen. Eine Kurzzusammenfassung finden Sie am Ende dieser E-Mail.

Der Zoom-Link für auswärtige Gäste lautet:

https://tu-berlin.zoom.us/j/65603959784?pwd=ZEs1SkVrbFJzZ0pXeG9TSGp3YkI3UT09

Meeting-ID: 656 0395 9784

Kenncode: 20231009

Mit herzlichen Grüßen
Kirill Andreev & Stefan Weinzierl

—

Ali Diab: Beyond Functionality: A Typological Exploration of Distinct Architectural Strategies for Fostering Creative Atmospheres in Recording Studios

The evolution of music and its performance spaces have historically been intertwined. However, with the invention of sound storage and playback devices, a transformative shift occurred, giving rise to a new era marked by experimentation at the intersection of music and technology. Recording studios emerged as a significant adaptation to this technological progress, prompting an exploration into whether this typology was solely a consequence of technological advancements or if spatial considerations played a role. Examining successful music studios reveals a persistent influence of spatial quality and experience. While acoustical standards provide diverse solutions, architectural ideas offer opportunities to craft unique spaces with captivating atmospheres. Thus, this research hypothesizes that in today’s recording studios, often confined to rigid templates, it’s crucial to recognize the importance of creating recording spaces that go beyond mere functionality. These spaces should possess the ability to evoke an atmosphere that enhances the musicians‘ experiences, and help them reach their creative zenith.

Marius Seipel: Improving speech enhancement models with neural post-processing

Real-world audio is often degraded due to noise, distortion or low-quality equipment and therefore not suitable for high-quality speech applications. In this work, a state of the art speech enhancement and restoration network is utilized and further improved with the help of post-processing methods. In addition to a 1-D convolutional waveform-to-waveform network, a DSP normalization was used as a traditional comparison. The listening test results show small improvements in speech quality and overall quality for the post-processing and indicate that the standalone waveform-to-waveform post-processing network works.

—

Kirill Andreev

___

Sekretariat

Office

Technische Universität Berlin

Fakultät I / Inst. f. Sprache u. Kommunikation
FG Audiokommunikation / Sekr. EN 8 Raum 321

Faculty I / Institute for Language & Communication
Audio Communication Group / Office No. EN 8 Room 321

Einsteinufer 17, 10587 Berlin
GERMANY
+49 30 314-22236

kirill.andreev@tu-berlin.de

https://www.tu.berlin/ak

Von: Daniel Mayer
Datum: Thu, 8 Feb 2024
Betreff: IEM Graz, Call for Artistic Research residency 2024

Dear Colleagues,

for your interest,

best regards

Daniel Mayer

https://daniel-mayer.at

///
IEM Music Residency Program 2024 – Call for Applications
University of Music and Performing Arts Graz (KUG)
https://iem.kug.ac.at

(please distribute)

The IEM – Institute of Electronic Music and Acoustics – in Graz, Austria is happy to announce its call for its 2024 residency program.

Artistic Research Residency

The residency is aimed at individuals wishing to pursue an artistic research project in close collaboration with an IEM staff member and related to the research fields of the IEM:

* Algorithmic Composition
* Algorithmic Experimentation
* Audio-Visuality
* Dynamical Systems
* Experimental Game Design
* Live Coding
* Sonic Interaction Design
* Spatialization/higher-order Ambisonics
* Standard and non-standard Sound Synthesis

Duration of residency: 4 months
Start date: September 1st 2024 (negotiable)

APPLICATION DEADLINE: March 31th 2024

Please reply to the official call by KUG for an University Assistant:
https://csc-kug.at/fileadmin/usr/all/documents/Stellenausschreibungen_2024_01/mb_10_s_3d_Ausschreibungstext_Inst17_Univ_Ass_kuenstlerische_Forschung_Residenz_I.pdf (in German and English)

The Institute:
The Institute of Electronic Music and Acoustics is a department of the University of Music and Performing Arts Graz founded in 1965. It is a leading institution in its field, with more than 35 staff members of researchers and artists. IEM offers education to students in composition and computer music, sound engineering, sound design, contemporary music performance, and musicology. It is well connected to the University of Technology, the University of Graz as well as to the University of Applied Sciences Joanneum through three joint study programs.

The project results will be released through the Institute’s own Open CUBE and Signale concert series, as well as through various collaborations with international artists and institutions.

What we expect from applicants:
– A project proposal that adds new perspectives to the Institute’s activities and resonates well with the interests of IEM.
– Willingness to work on-site in Graz for the most part of the Residency.
– Willingness to exchange and share ideas, knowledge and results with IEM staff members and students, and engage in scholarly discussions.
– The ability to work independently within the Institute.
– A dissemination strategy as part of the project proposal that ensures the publication of the work, or documentation thereof, in a suitable format. This could be achieved for example through the release of media, journal or conference publication, a project website, or other means that help to preserve the knowledge gained through the Residency and make it available to the public.
– A public presentation as e.g. a concert or installation, which presents the results of the Residency.

What we offer:
– 24/7 access to the facilities of the IEM.
– Exchange with competent and experienced staff members.
– A desk in a shared office space for the entire period and access to studios including the CUBE [1], according to availability.
– Extensive access to the studios of the IEM during the period from July 1st until end of September.
– access to the IKOsahedron loudspeaker [2]
– access to the “Autoklavierspieler” [3]
– infrared motion tracking systems
– Regular possibilities for contact and exchange with peers from similar or other disciplines.
– Concert and presentation facilities (CUBE 30 channel loudspeaker concert space).

What we cannot offer to the successful applicant:
– We can not provide any housing.
– We also cannot provide continuous assistance and support, although the staff is generally willing to help where possible.
– We can not host artist duos or groups, because of spatial limitations.
– We can not offer any additional financial support for travel or material expenses.

Feel free to contact residency@iem.at if you have any questions.

[1] The Cube has a 30-channel loudspeaker system
[2] https://iko.sonible.com/
[3] https://algo.mur.at/projects/autoklavierspieler

///

Von: Lepa, Steffen via ak discourse
Datum: Wed, 7 Feb 2024
Betreff: [ak-discourse] CfP: Digital Technologies Applied to Music Research

Digital Technologies Applied to Music Research

Methodologies, Projects and Challenges

International Conference: Call For Papers

27-29 June 2024, School of Social Sciences and Humanities – NOVA University Lisbon

The ongoing digital revolution holds the potential to unveil unforeseen possibilities which could challenge and overturn traditional research methodologies and allow entirely new opportunities for music research.

This conference aims to foster interdisciplinary dialogue between music technology scholars and historical musicologists and to promote scholarly discussions on the applicability and usability of digital technologies to boost music research.

For more information, please consult our website: https://cesem.fcsh.unl.pt/en/2024/01/30/call-papers-digital-technologies-applied-to-music-research-2/

Topics

1. Digital technologies that have revolutionized music research

2. Digital archiving of musical heritage

3. Challenges in digital music preservation

4. How digital technologies help make music sources more accessible to researchers and musicians

5. Key challenges in applying digital technologies to music research

6. Ways in which large-scale search and music analysis are reshaping research questions

7. Successful music research projects that utilized digital technologies

8. Music encoding

9. Digital tools for analysing chant and secular monophonic song

10. How the role of digital technologies in music research evolved over time

11. Ways to effectively incorporate digital technologies into historical musicological research

12. How digital technologies enhance, or hinder, the process of music research

13. How digital technologies can benefit the study and preservation of early music

14. Utilizing AI in music analysis

15. Digital ethnomusicology

Keynote Speakers

· Ichiro Fujinaga, McGill University

· Jennifer Bain, Dalhousie University

Publication

A selection of papers will be invited for open access publication in a special issue and in a book (venues to be announced). Participants will be asked to submit extended versions of their papers and an ad-hoc scientific committee will monitor the quality and originality of the texts.

Deadlines

Paper and poster proposals should be sent to elsadeluca@fcsh.unl.pt and include the name of the author/s, institutional affiliation, title, abstract (c.400 words for papers, c.200 words for posters) and 3-5 keywords.

Deadline for proposals: 18 February 2024.

Notification of acceptance: 8 March 2024.

Conference: 27-29 June 2024.

Submission of final texts of invited papers for the book and the special issue: 30 September 2024.

—

Program committee

Elsa De Luca, CESEM-IN2PAST, NOVA University Lisbon (program committee chair)

Claire Arthur, Georgia Institute of Technology

Jorge Calvo, Universidad de Alicante

João Pedro d’Alvarenga, CESEM-IN2PAST, NOVA University Lisbon

Zuelma Paula Miranda Duarte Chaves, CESEM-IN2PAST, NOVA University Lisbon

Manuel Pedro Ferreira, CESEM-IN2PAST, NOVA University Lisbon

Jan Hajic, Charles University Prague

Debra Lacoste, Dalhousie University

David Lewis, University of Oxford eResearch Centre

Alberto Medina de Seiça, CESEM-IN2PAST, NOVA University Lisbon

Stefan Morent, Universität Tübingen

Fabian Moss, Institut für Musikforschung | Julius-Maximilians-Universität Würzburg

Kathleen Nelson, SCM, University of Sydney

David Rizo Valero, Universidad de Alicante

Santiago Ruiz Torres, Universidad de Salamanca

Mark Saccomano, Hochschule für Musik Detmold / Universität Paderborn

Craig Stuart Sapp, Stanford University, CCARH/PHI

Martha Thomae Elias, CESEM-IN2PAST, NOVA University Lisbon

Konstantinos Vasilakos, Xian Jiaotong-Liverpool University

Hana Vlhová-Wörner, Czech Academy of Sciences – University Basel

The conference will be in-person only, with online streaming of the project conference accessible to registered users. The conference will be followed by a workshop (29 June, afternoon) on the automatic analysis of early music.

Von: Lepa, Steffen via ak discourse
Datum: Wed, 7 Feb 2024
Betreff: [ak-discourse] CFP: AI in the Creative Industries: An Interdisciplinary Conference

AI in the Creative Industries: An Interdisciplinary Conference [EXTENDED DEADLINE]

7th June 2024

Hosted by Futureworks, Manchester UK

Artificial Intelligence has advanced extremely rapidly over the past months. Responses have been polarized; with some predicting the end of the world and others celebrating a technology with the potential to create a new industrial revolution. The biggest difference between these new algorithmic technologies and those that preceded them are the potential for new AI models to generate creative content. Visual art, photography, literature and digital scripting have been produced by AI, to varying levels of success. To the existing debates around AI (questions of ethics, consciousness, or cyborg theory, for example) have arisen new problems regarding the role of art and the artist in the age, not of mechanical reproduction, but mechanical production. Can a robot be creative?

This conference aims to bring together researchers from across media studies, music and sound, the visual arts, video games, film and TV, animation, sociology, history, literature, politics, philosophy and aesthetic theory, to interrogate the growing role of AI in the creative industries, its potentials (both negative and positive), and how we are to react to the rise of AI as both tool and creator.

Abstracts for 20-minute papers are welcomed on subjects including, but not limited to:

· AI creativity: is it truly creative?

· AI and transhumanism

· AI and the question of consciousness

· Copyright law and artificial intelligence

· Utilization of AI as a creative tool

· The depiction of AI in creative media

· The ethics of AI usage and its potential to help or harm

· The aesthetics of artificial intelligence

Please submit 250 word abstracts with accompanying 50-word bio and 5 keywords to organizer joe.darlington@futureworks.ac.uk by 29th February 2024. Submissions are encouraged from academics, postgraduate researchers and non-academic speakers alike. Creative practitioners are also welcome, as are those working in the production or utilization of AI.

…

Von: Lepa, Steffen via ak discourse
Datum: Wed, 7 Feb 2024
Betreff: [ak-discourse] PhD positions at the MTG in the context of a Chair on AI and Music (Barcelona, Spain)

 

PhD positions on AI and Music 

Application deadline: March 19th 2024
Starting date of PhD: October 2024

In the context of the UPF-BMAT Chair on AI and Music, we offer 6 PhD positions to cover various topics related to the development of AI models to support the music sector. These topics are:

1. Sound and music representation learning.
2. Multimodal music processing.
3. Machine listening.
4. Generative music.
5. Computational musicology.
6. Music performance analysis.

All PhD students are expected to contribute to various stages of AI model development, including in dataset curation, model architecture and training pipeline design, comprehensive validation of the resulting models, and integration into ready-to-use software tools and APIs that the MTG is developing, such as Essentia and Freesound.

The Music Technology Group (MTG) of the Universitat Pompeu Fabra in Barcelona, part of its Department of Information and Communication Technologies, aims to advance information and communication technologies related to sound and music through competitive research at the international level while transferring its results to society. To achieve this goal, and guided by our values, the MTG strives to strike a balance between basic and applied research and encourages interdisciplinary approaches that incorporate knowledge and methodologies from both scientific/technological and humanistic/artistic disciplines.

We are seeking candidates with the following qualifications:

• Completed or soon-to-be completed master’s studies in Computer Science, Electronic Engineering, or Music/Audio Technology.
• Research experience in the PhD topic being applied for.
• Experience in machine learning and audio signal processing.
• Strong programming skills in Python and C/C++.
• Musical training (in performance, production, composition, or theory).
• Fluency in English (written and spoken).
• Ability to work in interdisciplinary teams and multicultural environments.
• Passion for research and alignment with the MTG’s values.

MTG is committed to fostering a diverse and inclusive community and incorporates these principles into our student admissions processes. We particularly welcome applications from women and underrepresented groups, as well as from applicants in all stages of life.

The UPF-BMAT Chair on Artificial Intelligence and Music is an initiative of the Music Technology Group (MTG) at the Department of Engineering of Universitat Pompeu Fabra (UPF), in collaboration with BMAT, a company specializing in music technology. The Chair is part of the National Artificial Intelligence Strategy (ENIA), co-funded by the Ministry of Economic Affairs and Digital Transformation of Spain and BMAT Music Innovators. The Chair’s research focuses on AI methodologies for music creation, production, distribution, protection, licensing and education, with a specific emphasis on developing technologies to support the music sector.

Once selected, the successful candidates will enroll in the PhD program of the Department of Information and Communication Technologies at UPF. Practical and administrative information about the PhD program, including admission requirements, are available here: https://www.upf.edu/web/etic/admission.

Interested individuals should send their CV, a motivation letter, and a preliminary draft of a thesis proposal outlining a possible research plan related to one of the proposed research topics to mtg-info@upf.edu.

• Music performance analysis.

 

More information:

PhD positions on AI and Music upf.edu

 

—

Xavier Serra

Music Technology Group

Universitat Pompeu Fabra, Barcelona

https://www.upf.edu/web/xavier-serra

 

 

 

 

Von: Lepa, Steffen via ak discourse
Datum: Wed, 7 Feb 2024
Betreff: [ak-discourse] Job offer: Assistant Professor in Popular Music, Sound and Media Cultures

Assistant Professor in Popular Music, Sound and Media Cultures (1.0 FTE) (V23.0845)
Job description

The Faculty of Arts is seeking one full-time Lecturer (Assistant Professor, in Dutch: Universitair Docent) in Popular Music, Sound and Media Cultures. Candidates should have a demonstrable record of excellence in teaching, experience in researching popular music, and exhibit knowledge of a range of analytical perspectives including music/sound and intermediality, and critical theory.

Our preferred candidate will be adept at analysing contemporary popular culture and the intersections of music and technology, and will be prepared to engage in teaching that addresses topics such as online performance, transmedia storytelling, new forms of cultural expressions such as memes, Tik Tok, interactive/VR music videos, AI music, intertwinement of digital and analog cultural practices, participatory culture, and political polarisation.

Musicological and/or practice-based areas of speciality may include – but are not limited to – popular music studies; ludomusicology; electronic dance music studies and practice; ethnomusicology; practice-centred musicology; and/or music production/music production studies. Knowledge of the interrelations between popular music (especially in European, Dutch and/or German contexts and/or the Global South) and other arts disciplines and fields including film studies, theatre and performance art, visual arts, literature, and dance is also valued.

Research is conducted within the Groningen Institute for the Study of Culture (ICOG) and its Research Centre Arts in Society, specifically the Music, Sound and Culture research group. ICOG and the Faculty of Arts provide ample support in applying for bids with national and international funding agencies. There is also an annual travel budget for conference participations and other research-related activities.

Specific tasks:

teach and supervise students in the department’s undergraduate and graduate programmes, specifically popular music and interarts related courses (e.g., Mediality and Intermediality and Narrativity across Media) as well as in the specialisation of Popular Music, Sound and Media Cultures in the MA program of Arts & Culture
participate actively in curriculum development, design and administration of course modules
generate high-quality research
external grant acquisition
participate actively in international research networks
participate in the activities of the interdisciplinary research centre Arts in Society and (one of) its theme groups (such as ‘Music, Sound and Culture’, ‘Film and Contemporary Audiovisual Media,’ ‘Narrative in/and Art’)
performing administrative and organisational duties.

Organisation
Since its foundation in 1614, the University of Groningen has established an international reputation as a dynamic and innovative university offering high quality teaching and research. Its 34,000 students are encouraged to develop their individual talents through challenging study and career paths. The University of Groningen is an international centre of knowledge: it belongs to the best research universities in Europe and is allied with prestigious partner universities and networks worldwide. For additional information see (www.rug.nl/about-ug/work-with-us/new-staff/). The University of Groningen has a strong commitment to the principles and practices of diversity and inclusion throughout its community and welcomes candidates who enhance this.

The Faculty of Arts is a large, dynamic faculty in the heart of the city of Groningen. It has more than 5000 students and 700 staff members, who are working at the frontiers of knowledge every day. The Faculty offers a wide range of degree programmes: 16 Bachelor’s programmes and over 50 Master’s tracks. Our research, which is internationally widely acclaimed, covers the following fields: Archaeology, Cultural Studies, History, International Relations, Journalism, Language and Literary Studies, and Linguistics.

Music is one of the three arts disciplines represented in the programme Arts, Culture and Media, together with film and theatre. The music programme provides an overview of relevant theoretical models, drawing in particular from the disciplines of cultural studies, ethnomusicology, musicology, media studies, and theories of race, gender, sexuality, and ethnicity.
Qualifications

The successful candidate will have:

an awarded or completed PhD in music studies or a relevant field
teaching experience at HE level and proven teaching skills
excellent command of English (at least CEFR C1 level for reading, listening, writing, and speaking)
gained the Dutch University Teaching Qualification (BKO) (desirable).

Organisation
Conditions of employment

The University of Groningen offers in accordance with the Collective Labour Agreement for Dutch Universities:

a salary, depending on qualifications and work experience, with a minimum of € 4,332 (salary scale 11) to a maximum of € 6,737 (salary scale 12) gross per month for a full-time position
a holiday allowance of 8% gross annual income
an 8.3% end-of-the-year allowance
participation in a pension scheme for employees.

Favourable tax agreements may apply to non-Dutch applicants. We offer 232 holiday hours per calendar year for full-time employment and provide career services for partners of new faculty members moving to Groningen.

The Faculty will consider only those applicants who are ready to move to Groningen and live in the near environment of Groningen within a period of two years.

We comply with the conditions of employment of the Collective Labour Agreement for Dutch Universities (CAO NU). For more detailed information about working conditions and working for the University of Groningen, please check: https://www.rug.nl/about-us/work-with-us/

The appointment will be on a temporary basis for one year with an outlook to a permanent position when you meet the criteria.

The University of Groningen is an equal opportunity employer and is committed to building a diverse faculty. All qualified applicants will receive our full consideration. Female applicants are strongly encouraged to apply. For more detailed information about working conditions and working for the University of Groningen, please check: https://www.rug.nl/about-us/work-with-us/
Application

Applications should consist of:

a letter of motivation
a CV including (i) a detailed overview of previous teaching; (ii) an abstract for your PhD; (iii) publications
a statement outlining your approach to teaching
student evaluations of previously taught courses (where available)
the names and addresses of two academic referees (only short-listed candidates will be asked to contact these).

You may apply for this position until 3 March 11:59pm / before 4 March 2024 Dutch local time (CET) by means of the application form (click on „Apply“ below on the advertisement on the university website).

The University of Groningen strives to be a university in which students and staff are respected and feel at home, regardless of differences in background, experiences, perspectives, and identities. We believe that working on our core values of inclusion and equality are a joint responsibility and we are constructively working on creating a socially safe environment. Diversity among students and staff members enriches academic debate and contributes to the quality of our teaching and research. We therefore invite applicants from underrepresented groups in particular to apply. For more information, see also our diversity policy webpage: https://www.rug.nl/(…)rsity-and-inclusion/

Our selection procedure follows the guidelines of the Recruitment code (NVP): https://www.nvp-hrnetwerk.nl/nl/sollicitatiecode and European Commission’s European Code of Conduct for recruitment of researchers: https://euraxess.ec.europa.eu/jobs/charter/code

We provide career services for partners of new faculty members moving to Groningen.

Unsolicited marketing is not appreciated.
Information

For information you can contact:

Dr Chris Tonelli, Assistant Professor in History and Theory of Popular Music (about the position), c.j.tonelli@rug.nl

Please do not use the e-mail address(es) above for applications but the web form on this page: https://www.rug.nl/about-ug/work-with-us/job-opportunities/?details=00347-02S000AJQP

Von: Marcus Beuter
Datum: Wed, 7 Feb 2024
Betreff: Newsletter Februar – Marcus Beuter

Liebe Freunde der Klangkunst,

zur Zeit befinde ich mich auf einer einjährigen Reise durch Zentral- und Ostasien, unter Anderem zur Recherche und Materialsammlung für eine Klanginstallation. Daher erscheint der Newsletter sehr unregelmäßig.

Ich freue mich für den Februar zwei Auftritte in Peking ankündigen zu können:

Performance mit dem chinesischen Klangkünstler Yan Jun am Dienstag, den 27.02.24 in Xiaoye 小野 in Peking. Zwei Solosets und eine gemeinsame Improvisation.

Performance mit dem chinesischen Schlagzeuger Liu Pi am Donnerstag, den 29.02.24 in Sound Art Museum in Peking. Performance und artist talk.

Herzliche Grüße,
Marcus Beuter

Und dann:
01.09.24 Eröffnung der Klanginstallation von hier aus, Kunstverein Bochum (bis 20.10.)
02.09.24 Jour fixe zur Klanginstallation von hier aus bei der Cooperativa Neue Musik, Bielefeld
03.11.24 Eröffnung der Klanginstallation von hier aus, Kunstverein Kreis Gütersloh (bis 15.12.)
07.01.25 Jour fixe zur Klanginstallation Endloser Terror bei der Cooperativa Neue Musik, Bielefeld
23.01.25 Eröffnung der Klanginstallation Endloser Terror, tba (bis 27.01.)

Online hören und schauen:
https://vimeo.com/marcusbeuter
https://marcusbeuter.bandcamp.com/
www.soundcloud.com/marcus-beuter

www.marcusbeuter.de
geplante-obsoleszenz.eu/
Impressum
…

Von: weekly ausland newsletter
Datum: Tue, 6 Feb 2024
Betreff: [ausland depesche] frischer anstrich & frisches programm

liebe alle*,

wir begrüßen euch im neuen jahr in unseren frisch gestrichenen räumen,
z.B. gleich jetzt am wochenende:

…[cut]

Friday, 16 February, 2024 – 20:00
ANTONIA KATTOU // MARLAIS // JIMMY TRASH

https://ausland.berlin/de/event/antonia-kattou-marlais-jimmy-trash
—

Saturday, 17 February, 2024 – 20:30
Gazino Neukölln

https://ausland.berlin/de/event/gazino-neukoelln
—

Sunday, 18 February, 2024 – 20:30
Mariana Carvalho (solo) + Jérôme Noetinger & dieb13
Doors 20.30 Uhr | Concerts 21 Uhr | Tickets (Box Office) € 10,–

Mariana Carvalho – samples, speakers, transducers, voice

Jérôme Noetinger & dieb13
Jérôme Noetinger – reel-to-reel tape recorders
dieb13 – turntables

https://ausland.berlin/de/event/mariana-carvalho-solo-jerome-noetinger-dieb13
—

bis bald im
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

To unsubscribe send an email to:

depesche-leave@ausland-berlin.de

As an answer, you will receive an email with a
link to unsubscribe from this list.

Von: Marc
Datum: Fri, 2 Feb 2024
Betreff: Marc Behrens News – *10 Years Availabel*, February 2024

Click for more info:
https://degemnewsplus.blogspot.com/2024/02/fwd-marc-behrens-news-10-years.html

Von: Akademie der Künste
Datum: Thu, 1 Feb 2024
Betreff: Newsletter Februar | Akademie der Künste

Click for more info:
https://degemnewsplus.blogspot.com/2024/02/fwd-newsletter-februar-akademie-der.html

Von: Lepa, Steffen via ak discourse
Datum: Thu, 1 Feb 2024
Betreff: [ak-discourse] Stellenausschreibung der BSB-Musikabteilung (musiconn-Projekt, befristet, Teilzeit, TV-L E9b)

Liebe Kolleginnen und Kollegen,

die Musikabteilung der Bayerischen Staatsbibliothek hat eine befristete E9b-Teilzeitstelle im musiconn-Projekt ausgeschrieben:
http://bsb.bayern/musiconnjob

Wir freuen uns über Bewerbungen bis zum 1. März 2024.

Die Bayerische Staatsbibliothek sucht für das musiconn-Projekt der Musikabteilung zum 1. Mai
2024 eine/n
PROJEKTMITARBEITER/IN (m/w/d)
für die Erweiterung einer OMR-basierten Notensuch-Anwendung und
weiterer musiconn-Anwendungen
Entgeltgruppe 9b TV-L, Teilzeit mit 20 Wochenstunden, befristet für 32 Monate oder mit 30 Wo-
chenstunden, befristet auf 21 Monate
IHRE AUFGABEN:
• Mitarbeit bei der Repertoire-Erweiterung der OMR-basierten Notensuch-Anwendung
musiconn.scoresearch durch Notendrucke aus dem 16. und 17. Jahrhundert
• Mitarbeit bei der Einbindung von OCR-Daten und Normdaten in das Libretto-Portal
• Betreuung der Social-Media-Kanäle von musiconn und des musiconn-Newsletters
IHRE QUALIFIKATION:
• ein erfolgreich abgeschlossenes Bachelorstudium der Fachrichtung Musikwissenschaft,
Informatik oder Bibliotheks- und Informationsmanagement sowie
• sehr gute Musikkenntnisse
IHR PROFIL:
• gute Kenntnisse im Notenlesen, auch für Musik des 16. Jahrhunderts (Mensuralnotation)
• gute Englischkenntnisse
• Bereitschaft zur Einarbeitung in das Content-Management-System Typo3
• hohe Leistungsbereitschaft bei sachorientiertem, eigenverantwortlichem Arbeiten
• ausgeprägte Teamfähigkeit und Belastbarkeit
• professioneller Umgang mit MS Office und modernen Kommunikations- und Infor-
mationstechniken
UNSER ANGEBOT:
• Teilzeitstelle (20 oder 30 Wochenstunden), befristet für die Projektlaufzeit
• Das Entgelt richtet sich nach den Bestimmungen des TV-L und erfolgt in Entgelt-
gruppe 9b TV-L. Ihre einschlägige Berufserfahrung kann bei der Bemessung des Ein-
gangsentgelts berücksichtigt werden. Nähere Informationen finden Sie z. B. unter:
http://oeffentlicher-dienst.info/
• eine interessante und verantwortungsvolle Tätigkeit in einem innovativen informati-
onswissenschaftlichen Umfeld
• ein Arbeitsplatz in zentraler Lage Münchens mit sehr guter Anbindung an den öffent-
lichen Nahverkehr
• flexible Arbeitszeitgestaltung mit der Möglichkeit zum zeitanteiligen Mobilen Arbei-
ten sowie den üblichen Sozialleistungen des öffentlichen Dienstes
• Möglichkeit eines Kinderbetreuungsplatzes in der hauseigenen Krippe an der Lud-
wigstraße 16 (je nach Verfügbarkeit, priorisierte Vergabe an BSB-Beschäftigte)
ERGÄNZENDE INFORMATIONEN:
• Sollte bereits eine Vorbeschäftigung beim Freistaat Bayern vorliegen, dann fügen Sie
bitte eine detaillierte Übersicht über die Eckdaten dieser Vorbeschäftigung Ihren Be-
werbungsunterlagen bei.
• Die Bayerische Staatsbibliothek fördert die Gleichstellung von Männern und Frauen.
Die Bewerbung von qualifizierten Frauen wird daher ausdrücklich begrüßt. Schwer-
behinderte Bewerber/innen werden bei ansonsten im Wesentlichen gleicher Eignung
bevorzugt berücksichtigt.
WIR FREUEN UNS AUF:
Ihre aussagekräftigen Bewerbungsunterlagen unter Angabe der Kennziffer 10 24 01
schicken Sie bitte ausschließlich elektronisch in einem einzigen PDF-Dokument an:
musik@bsb-muenchen.de
Informationen zum Datenschutz und eine Einwilligung zur Verarbeitung personenbe-
zogener Daten im Rahmen einer Bewerbung finden Sie unter:
https://www.bsb-muenchen.de/jobboerse/datenschutzhinweise/
BEWERBUNGSENDE:
1. März 2024
IHR ANSPRECHPARTNER FÜR RÜCKFRAGEN:
Herr Jürgen Diet, Tel.: 089 28638 2768, E-Mail: diet@bsb-muenchen.de

…

Von: neuemusik@kulturserver-nrw.de
Datum: Mon, 29 Jan 2024
Betreff: [Neuemusik]Gazette Neue Musik in NRW – Ausgabe Februar 2024

Von: Lepa, Steffen via ak discourse
Datum: Mon, 29 Jan 2024
Betreff: [ak-discourse] WG: Job Posting–Music Technology and Production (York University, Toronto, Canada)

Sessional Assistant Professor, Teaching Stream in Music Technology and Production Department Music, School of the Arts, Media, Performance and Design

The Department of Music, School of the Arts, Media, Performance and Design, York University invites highly qualified applicants for a Sessional Assistant Professor, Teaching Stream position in Music Technology and Production. This is a Contractually Limited Appointment (CLA) to the teaching stream for a two-year term to commence July 1, 2024.

We seek an imaginative and innovative leader in pedagogy who will provide creative educational leadership to enhance and expand the existing music curriculum through the integration of technology, audio engineering and related areas of the music industry. The successful candidate will also demonstrate commitment to student success, the capacity to bring a theoretical and practical orientation to recording engineering, and model the creative use of audio/video technology in music production and performance. As a highly collaborative program, we are looking for a specialist who also possesses the ability to contribute to existing curricular areas of the program. Experience in the production of a variety of musical styles including those currently represented in the department as well as others emerging from contemporary global and Black musical expression is an asset.

We acknowledge that within higher education in Canada, traditional or conventional academic and artistic pathways can reinforce biases in the filling of faculty posts. We encourage applications that may not fit all of the qualifications and that challenge our ideas of teaching and artistic practice. We are particularly interested in colleagues who bring experience in facilitating equity, diversity and inclusion practices within their teaching, which may include contexts outside of the academic domain, including artistic praxis and community-based work.

Candidate Qualifications:
• Degree: An MA/MFA with a record of professional experience in technology and music or

equivalent creative or professional experience in relevant fields is preferred acknowledging

various pathways for learning and professional development.

• Teaching:
o A record or evident promise of excellence in teaching and dedication to students (e.g., the

teaching statement; past or proposed pedagogical innovations, particularly in one or more high- priority areas such as experiential education, technology-enhanced learning and community engagement; teaching evaluations; and strong letters of reference.).

o Experience with curriculum development and universal design approaches to teaching and assessment is highly desirable.

• Additional: The successful candidate is also expected to provide evidence of service contributions or potential to contribute to service in administrative and committee work.

Hiring Policies:

• Salary will be commensurate with qualifications and experience.
• All York University positions are subject to budgetary approval.
• York is an Affirmative Action (AA) employer and strongly values diversity, including gender and

sexual diversity, in its community. Details of the AA Program, which applies to women, members of racialized groups, Indigenous peoples, persons with disabilities and those who identify as 2SLGBTQ+, can be found here or by contacting Christal Chapman, EDI Program Manager (chapman7@yorku.ca; 416-736-5713).

York welcomes and employs scholars from all over the world. All qualified candidates are encouraged to apply; however, Canadian citizens, permanent residents and Indigenous peoples of Canada will be given priority.
York has a policy on Accommodation in Employment for Persons with Disabilities and is committed to working towards a barrier-free workplace and expanding the accessibility of the workplace to persons with disabilities. Applicants who require accommodation are invited to Lora Zuech, Administrative Assistant of the Department of Music (zuechl@yorku.ca).

Application Process:

Due date for completed applications: March 1, 2024
Required materials: 1) a signed letter of application outlining professional experience, 2) an up‐to‐

date curriculum vitae and 3) a teaching dossier that supports excellence and innovation in teaching. This may include items such as sample course outlines, statement of teaching philosophy, workshop and professional development programs attended or led, and conference papers and publications relating to pedagogy, or other relevant materials. Please also provide 4) the names of three references who can provide strong letters of reference that address your qualifications and experience in relation to the position. Letters of recommendation will be solicited at a later date in the process from short-listed candidates. These will be sent to Lora Zuech, Administrative Assistant of the Department of Music (zuechl@yorku.ca).

Provide required information regarding your Canadian work status and optional self-identification for Affirmative Action purposes as part of the online application.
Direct questions about the position to Lora Zuech, Administrative Assistant of the Department of Music (zuechl@yorku.ca).

Submit materials: at AMPD_CLA_Music

Learn More About York:

York University generates and shares knowledge through our research, teaching and engagement with communities around the world. The 2023-2028 Strategic Research Plan showcases the depth, breadth and ambition of research at York.
York’s commitments to social justice are laid out in our Decolonizing, Equity, Diversity and Inclusion Strategy, the Framework & Action Plan on Black Inclusion and the Indigenous Framework for York University.
Follow the activities and accomplishments of York’s faculty, students and staff on YFile

All the best,

Rob

Von: Black To Comm
Datum: Sat, 27 Jan 2024
Betreff: Schleim des Nichtwissens (Book)

Click for more info:
https://degemnewsplus.blogspot.com/2024/01/fwd-schleim-des-nichtwissens-book.html

Von: Christian Banasik
Datum: Thu, 25 Jan 2024
Betreff: Tonhalle Düsseldorf 7.2.24 – notabu.ensemble neue musik – im Fokus: Christian Banasik

Click for more info:
https://degemnewsplus.blogspot.com/2024/01/dusseldorf-tonhalle-dusseldorf-7224.html

Von: Alexander Derben
Datum: Wed, 24 Jan 2024
Betreff: TWO MINUTES THERE // Ein audiovisuelles Online Projekt vom abk e.V. (Bremen)

Click for more info:
https://degemnewsplus.blogspot.com/2024/01/fwd-two-minutes-there-ein.html

Von: Lepa, Steffen via ak discourse
Datum: Mon, 22 Jan 2024
Betreff: [ak-discourse] WG: Call for papers: The First International Conference in AI Music Studies

CALL FOR PRESENTATIONS, PANELS and WORKSHOPS

The First International Conference in AI Music Studies:
Prospects, Challenges and Methodologies of Studying AI Music
in the Humanities and Social Sciences

Dec 10-12, 2024 Stockholm, Sweden

https://boblsturm.github.io/aimusicstudies2024

„AI music“ (music generated by or with artificial intelligence technologies) is now part of established music ecosystems. While only a few years ago such music was “on the fringe”, it is quickly becoming more present and moving into the mainstream due in large part to the commercial exploitability of the technology, what it produces for what it costs, and its growing public accessibility (complete with claims of „democratizing“ music production and composition). The development and application of AI to music creation is attracting significant sums of money from private circles, not to mention considerable efforts in academic engineering circles; yet, perhaps with the exception of intellectual property (e.g., legal ownership) and ethics (e.g., responsible use), many topics of AI music remain by and large under-explored by critical examination and reflection in the humanities and social sciences. This motivates several key questions for critical analysis and reflection:

1. How can the AI music ecosystem and its components be formally studied, and what considerations must be made to make sense of it?
2. What challenges arise in the application of established disciplines, such as musicology or ethnomusicology?
3. What are the prospects and challenges for AI Music Studies for the Humanities and Social Sciences in general?
4. What is needed in terms of new methodologies for this area of study, and what interdisciplinary connections are required?
5. How are copyright, and intellectual property more generally, being challenged by the emergent music ecosystem being populated by AI music?
6. What are the implications of AI Music in terms of economic, environmental and sociocultural sustainability?
7. What are perspectives from music ecosystems other than the hegemonial popular music ecosystem of the Global North?
8. What are the positions of music cultures that so far remained largely outside of the digitalization of cultural data?

The First International Conference in AI Music Studies explores the prospects,
challenges and new methodologies required for the study of AI music within the Humanities and Social Sciences. It aims to bring into conversation scholars working in music computing, musicology, ethnomusicology, sound studies, science and technology studies, philosophy, ethics, economics, feminist and posthumanist studies to help define and develop, or even challenge the need for, a discipline of AI music studies. The three-day conference will feature papers, panels, workshops, a keynote address, and a concert. The keynote address of the conference will be delivered by Georgina Born, Professor of Anthropology and Music at University College London.

We are seeking presentations, panels and workshops for the conference. Each presentation will be given 20 minutes in a session, and each session will conclude with a podium discussion of its presented works. Each panel will have 3-5 participants, and last at least 60 minutes with audience discussion. A workshop consists of two hours of directed work and discussion around a topic. To submit a presentation, please write an abstract of no more than 300 words about your work and how it relates to the core themes of the conference. For panels, please write a description of the topics to be discussed and composition of the panel. For workshops, please write a description of the topics to be worked with, a schedule, and information on the workshop leaders. Email these to aimusicstudies2024@kth.se by the date below.

Important Dates:
– Presentation/Panel/Workshop Submission: March 28 2024
– Decision Notification: April 26 2024
– Early Conference Registration: August 30 2024
– Conference: December 10-12 2024

Other information:
The conference registration fee, and the exact location, have yet to be decided. Please see the conference website for the most current information https://boblsturm.github.io/aimusicstudies2024. Please send questions or comments to aimusicstudies2024@kth.se.

Organising Committee
—
Bob L. T. Sturm (KTH, Stockholm), chair
Elin Kanhov (KTH, Stockholm)
André Holzapfel (KTH, Stockholm)

Steering Committee
—
Toivo Burlin (Stockholm University)
Jan-Olof Gullö (KMH, Stockholm)
Hans Lindetorp (KMH, Stockholm)
Georgina Born (University College London, UK)
Oded Ben-Tal (Kingston University, UK)’
Nick Collins (Durham University, UK)
Ken Déguernel (Univ. Lille, CNRS, France)
Eric Drott (University of Texas, USA)
Thomas Hodgson (University of California, Los Angeles, USA)
Jonathan Sterne (University of McGill, Canada)
Rujing Stacy Huang (The University of Hong Kong, Hong Kong)
Ollie Bown (UNSW Sydney, Australia)

Von: Annesley Black
Datum: Mon, 22 Jan 2024
Betreff: NEWS- BERLIN – MUNICH – GRAZ- VIENNA- STUTTGART