Von: neuemusik@kulturserver-nrw.de
Datum: Thu, 27 Feb 2025
Betreff: [Neuemusik] Gazette Neue Musik in NRW – Ausgabe März 2025

Wenn diese Gazette in ihrem Mailprogramm nicht korrekt angezeigt wird, können Sie sie auch hier lesen:
https://kulturserver-nrw.de/de_DE/neue-musik-in-nrw-ausgabe-maerz-2025

März 2025

Gewesen: Ensemble Modern mit Fragen zur Kunstfreiheit – Musikfabrik im WDR
Angekündigt: Her:Voice in Essen – ton not. not ton in der Kunsthalle Münster – Lunar Cycle im Essener Folkwang Museum u.v.a.m.

(möchten Sie diese Gazette monatlich neu per E-Mail erhalten? Dann senden Sie bitte eine Mail an neuemusik-join@list.kulturserver-nrw.de )

[Ensemble Modern mit Fragen zur Kunstfreiheit]

In einer mehrteiligen Veranstaltungsreihe, die in Frankfurt und Köln stattfindet, beschäftigt sich das Ensemble Modern mit der Frage „Wie frei ist die Kunst?“, ein Thema, das die Kunstwelt von jeher umtreibt und das in den letzten Jahrzehnten noch komplizierter geworden ist. Denn während man früher vor allem Einschränkungen von Seiten der Obrigkeit befürchtete, sind die Kunstschaffenden heutzutage mit Begehr- und Empfindlichkeiten aus allen möglichen Richtungen konfrontiert, so dass mancher schon eine Cancel Culture und eine „Zensur von unten“ wittert (s. Artikel von Corina Kolbe im aktuellen EM-Magazin). Im Gespräch mit Veranstaltenden, Ensembles und Komponierenden soll diesen Phänomenen nachgegangen werden, wobei zum Auftakt in Köln Boglárka Pecze (Geschäftsführerin Ensemble Recherche) und Christian Fausch (künstlerisches Management und Geschäftsführung Ensemble Modern) der Moderatorin Leonie Reinecke Rede und Antwort standen. Beide Ensembles sind basisdemokratisch organisiert und haben den Anspruch, das, was auf dem Notenpult liegt, ohne eigene Wertung bestmöglich zur Diskussion zu stellen. Zu den Zumutungen, denen sie dabei ausgesetzt sind, gehörten zum Beispiel die Forderungen einer südafrikanischen Komponistin an das Ensemble Recherche, sich im Vorfeld der Zusammenarbeit einem Anti-Diskriminierungs-Workshop und einer Meditation mit einem Guru zu unterziehen. Das Ergebnis war, wie Pecze berichtete, ein tieferes Verständnis für unbewusste rassistische Prägungen und eine freundschaftliche Verbundenheit mit der Komponistin. Fausch beklagte die Schwierigkeit, angesichts veränderter Priorisierungen männliche Protagonisten durchzusetzen, doch auch wenn die überfällige Auseinandersetzung mit zementierten Ungerechtigkeiten mal über das Ziel hinauszuschießen scheint (noch hält sich die Benachteiligung von Männern in Grenzen), so sollte nicht erst seit den aktuellen Sparorgien klar sein: In einer kapitalistischen Gesellschaft funktioniert Zensur weder von oben noch von unten sondern über den Geldhahn. Das hat den Vorteil, dass man gar nichts verbieten muss, erstens weil man selbigen einfach zudrehen kann und zweitens weil die meisten Beteiligten sich in der Hoffnung auf ein paar Brosamen sowieso windschnittig verhalten. In Zeiten des kalten Krieges und der Systemkonkurrenz wurde das Dogma verbreitet, dass freie Marktwirtschaft, freie Kunst und Demokratie siamesische Drillinge sind, die sich gegenseitig bedingen. Das hatte eine großzügige Förderung der kreativen Szene zur Folge, ließ diese allerdings auch etwas bräsig werden. Doch angesichts neuer globaler Machtverhältnisse sind die Feigenblätter Demokratie und Kunst zunehmend verzichtbar: Was nicht kommerzialisiert werden kann bzw. einer Kommerzialisierung im Wege steht, kann weg. Es stellt sich die Frage, wie sich Kunstschaffende in dieser Situation verhalten können, ohne sich in einem Konkurrenzkampf um die letzten Pfründe aufzureiben und ohne sich durch Einstimmen in den Anti-Woke-Chor gegenseitig zu zerlegen. Pecze und Fausch wünschten sich zum Abschluss des Gesprächs mehr Geld und weniger Scheuklappen. Ob es damit getan ist, bleibt fraglich.
Als Beispiele für engagiertes Komponieren brachte das Ensemble Modern im Anschluss an das Gespräch unter der Leitung von Xizi Wang drei sehr unterschiedliche Werke zur Aufführung. Wenig Gegenwind hat vermutlich Tania Rubio zu befürchten, die sich in The Language of Water für Ensemble und Elektronik mit der lebenswichtigen Funktion des Wassers und seiner Gefährdung auseinandersetzt. Aus einem Raunen des Kontrabasses, filigranem Schwirren und tonlosen Anblasgeräuschen entwickelt sich eine schwebende Klangfläche, die sich wie ein aufkommendes Gewitter aufbäumt, unter Trommelwirbel entlädt, sich beruhigt, erneut aufwallt und dabei immer wieder Assoziationen an Wasser anklingen lässt. Dass die Wahrnehmung eines Werkes stets auch von der Person des Komponierenden beeinflusst wird, lässt sich an Last und Lost von Vladimir Tarnopolski verdeutlichen. Nach einem lebhaften Auftakt ist das Stück geprägt von kleinen Gesten, die aufflackern und nachzittern, von kurzen Attacken, die sich schnell verausgaben und abbrechen, bis die Musik in isolierten Anschlägen des Klaviers erstarrt. Obwohl Tarnopolski mit der Verwendung von chromatischen Tonleitern und Pausen bewusst möglichst ’neutrales‘ unbelastetes Material verwendet, lässt sich seine Biografie (ein russischer Komponist, geboren in der ukrainischen Sowjetrepublik, der sich nach dem Überfall Russlands auf die Ukraine zur Ausreise entschlossen hat) nur schwer ausblenden. Am meisten kritisches Potential hat Assange – Fragmente einer Unzeit von Iris ter Schiphorst. Die Solistin Nina Guo versucht sich in einem Umfeld zu behaupten, das von dramatisch aufwallenden instrumentalen Gesten, nicht minder bedrohlichen Phasen der Stagnation und zugespielten Stimmen zum Fall Assange geprägt ist. Nahezu wort- und oft auch tonlos bringt sie hechelnd, lispelnd, lallend und mit erstickter Stimme die existentielle Bedrohung des Individuums zum Ausdruck.
Weitere Gesprächskonzerte in der Reihe ‚Wie frei ist die Kunst?‘ sind in Köln am 9.4. und (im Rahmen von Achtbrücken) am 11.5. geplant.

[Musikfabrik beim WDR]

Auch an einem renommierten Ensemble wie der Musikfabrik gehen die allgegenwärtigen Sparmaßnahmen nicht spurlos vorbei. Eine Folge davon ist, dass weniger Kompositionsaufträge vergeben werden können und die Konzerte beim WDR auch mal ohne Uraufführung auskommen müssen. Das hatte am 22.2. jedoch nicht nur Nachteile, denn es führte dazu, dass Kompositionen aus den Hochschulprojekten wiederverwertet wurden. Die Musikfabrik fördert bereits seit Jahren den Nachwuchs, u.a. existiert unter dem Titel Adventure eine enge Zusammenarbeit mit dem Institut für Neue Musik der Hochschule für Musik und Tanz Köln. Sechs in diesem Kontext zwischen 2019 und 2023 entstandene Werke kamen jetzt beim WDR erneut zu Gehör. Im vorausgehenden Gespräch berichteten die Komponierenden, wie fruchtbar die Zusammenarbeit mit den Profis für sie war. Für einige war es der krönende Abschluss ihres Kompositionsstudiums. Aber auch hier kam die Rede rasch auf die härter werdenden Zeiten: Förderungen werden eingestellt oder liegen auf Eis, was gerade nach dem Sprudeln der Geldquellen zu Coronazeiten zu einer Lähmung führt. Mats Thiersch hat sich bereits umorientiert und studiert jetzt Dirigieren. In seinem Werk Grand Expansion verbinden sich isolierte Klangereignisse zunächst zu flirrenden Tonketten, lösen sich auf und führen schließlich nach mehreren Aufwallungen zu einem wuchtigen Steigerungsprozess, der plötzlich abbricht. Auch andere Stücke zeichneten sich durch eine Lust an Klangturbulenzen aus wie Mazyar Kashians Botanisieren oder Sara Glojnarićs sugarcoating, in dem Klangfetische der Popmusik durch den Fleischwolf gedreht werden. Christopher Collings‘ E-State baut sich aus der Tiefe auf und führt zu immer schrilleren Zuspitzungen und irrwitzigen Beschleunigungen. Dahinter stehen Gedanken zu einer Welt, die von Informationsfluten geprägt ist und in der wir uns zu verlieren drohen. Georgia Koumarás Trickster für Drumset solo und Ensemble ist ganz auf Dirk Rothbrust zugeschnitten, der mit einem fulminanten Schlagzeugsolo voller vertrackter Rhythmen das Ensemble zu Eskapaden anstachelt, die teilweise an Freejazz erinnern. Eine Hommage ganz anderer Art stellt Bethan Morgan-Williams Ffarwel i Uli für Violine und Moogerfooger dar. Das Werk ist Ulrich Löffler, dem 2022 verstorbenen Pianisten der Musikfabrik, gewidmet und wurde von seiner Lebensgefährtin Hannah Weirich interpretiert. Kleine mal zarte, mal raue Gesten treten in einen Dialog mit den elektronischen Klängen des Ringmodulators und entfalten eine fragile und gleichzeitig sehr präsente Atmosphäre.

[Termine im März]

Köln

In der Philharmonie stehen Abel Selaocoe und das Aurora Orchestra am 5.3., das 2. Pianokonzert von Anders Hillborg am 8.3. und 9.3., ein Musik der Zeit-Konzert zum 100. Geburtstag von Pierre Boulez am 9.3. und ein Gedicht für Streichquartett von Rebecca Clarke am 25.3. auf dem Programm. In der Kunststation Sankt Peter erwarten uns Lunchkonzerte am 8.3., 15.3., 22.3. und 29.3. sowie ein musikalisch gestaltetes Hochamt am 30.3., o-ton präsentiert das Stephanie Troscheit Trio am 14.3., Piano Mouvements am 23.3. und Ooana Kastner am 27.3. und in der Alten Feuerwache sind das Ensemble Garage am 8.3. und das Kommas Ensemble am 15.3. zu Gast. Beim Chamber Remix am 9.3. erwartet uns das Fukio Saxophon Quartett, die Musikfabrik lädt am 10.3. zum Montagskonzert und NICA artist development präsentiert am 24.3. Felix Hauptmann im Stadtgarten.
Einblicke in die freie Szene bekommt man bei ON Cologne und Noies, der Zeitung für neue und experimentelle Musik in NRW, fast tägliche Konzerte veranstaltet das Loft, jeden 2. und 4. Dienstag im Monat sendet FUNKT ein Radioformat mit Elektronik und Klangkunst aus Köln (mit Christina Fuchs, Caroline Thon und Eva Pöpplein am 11.3. sowie Natalie Bewernitz und Marek Goldowski am 25.3.), jeden 1. und 3. Mittwoch im Monat wird der Ebertplatz von der Reihe Bruitkasten bespielt und immer am letzten Mittwoch im Monat präsentiert LTK4 im Lutherturm die Soirée Sonique. Weitere Termine und Infos finden sich bei kgnm, Musik in Köln und impakt, sowie Veranstaltungen mit Jazz und improvisierter Musik bei Jazzstadt Köln.

Ruhrgebiet

Am 20.3. steht die Formation The Dorf im Dortmunder domicil auf der Bühne und im Konzerthaus erklingt am 22.3. Another eve von Rachel Portman.

In einer audiovisuellen Performance treffen am 28.3. Rajesh Mehta und das Künstlerduo mediaDEVICE im Rahmen der Duisburger Akzente im Lokal Harmonie aufeinander und in der Kirche St. Ludger finden immer sonntags um 18 Uhr Konzerte statt. Am 2.3., 16.3. und 30.3. sitzt Dominik Susteck an der Orgel.

Bei Richard Siegals performativer Rauminstallation Lunar Cycle im Essener Folkwang Museum kommt vom 14.3. bis 13.4. auch die Musikfabrik zum Einsatz. Die Philharmonie veranstaltet vom 20. bis 23.3. bereits zum zweiten Mal das Komponistinnenfestival Her:Voice. Auf dem Programm stehen ein Symposium, Aufführungen der Opern Innocence von Kaija Saariaho und The Listeners von Missy Mazzoli, ein Sinfoniekonzert und ein Gesprächskonzert mit Missy Mazzoli. Im Rabbit Hole Theater erwarten uns das Trio Li / Neubauer / Schörken am 13.3. und der vierte Zustand mit Hanna Schörken, Christina Zurhausen und Ramon Keck am 28.3. und die Gesellschaft für Neue Musik Ruhr bietet mit dem neuen Format FRIM am 6. und 20.3. einen offenen Raum für Improvisation.

In der werkstatt in Gelsenkirchen kommt am 21.3. Pekar von Scott Fields zur Aufführung. In seiner „Operette, in der nicht viel passiert“ vertont Fields Texte der US-amerikanischen Underground-Comic-Legende Harvey Pekar.

Weitere Termine hält der Umlandkalender bereit.

Düsseldorf

In der Tonhalle spielt das notabu.ensemble am 29.3. Wolfgang Rihms umfangreiches Werk Jagden und Formen.

Sonstwo

Die Aachener Gesellschaft für zeitgenössische Musik kündigt die Reihe ‚Hören und Sprechen über Neue Musik‘ am 7.3. und aktuellen Jazz mit Benjamin Schäfer am 22.3. an.

Die Bielefelder Cooperativa Neue Musik veranstaltet am 3.3. den nächsten Jour fixe und in der Zionskirche finden jeweils sonntags um 17 Uhr Konzerte statt – am 30.3. mit einer Uraufführung von Jan Kopp.

Das fringe ensemble bringt vom 4.3. bis 13.4. den Garten des Widerstands ins Bonner Kunstmuseum inklusive Performances am 9.3., 16.3., 23.3. und 30.3.

Das Krefelder Theater am Marienplatz verbindet in der neuen Spielzeit jeweils freitags um 22 Uhr Texte und Musik und das Studio Musikfabrik ist am 22.3. in der Kirche Pax Christi zu Gast.

Im Rahmen ihres 5. Sinfoniekonzerts spielen die Niederrheinischen Sinfoniker Werke von Arvo Pärt und Anna Clyne – am 25. und 28.3. in Krefeld und am 26.3. in Mönchengladbach.

Der aktuelle Improviser in Residence in Moers Baris Maris kann am 9. und 14.3. live erlebt werden.

Zur Einstimmung auf die Monheim Triennale findet am 23.3. in der Villa am Greisbachsee in Monheim ein Gesprächskonzert mit Rabih Lahoud und Achim Tang statt.

Die Kunsthalle Münster widmet sich mit der Ausstellung ton not. not ton bereits zum dritten Mal dem Klang der Dinge und dem was Klang hervorruft. Zur Eröffnung am 28.2. sowie zur Finissage am 24.5. wird zudem ein interessantes Programm mit Konzerten und Performances geboten. In der Münsteraner Black Box erwarten uns am 2.3. das Duo Paul Hubweber und Martin Theurer und am 23.3. Harri Sjöström Flight Mode.

Im Wuppertaler ort stehen die Reihe ‚all female‘ mit dem Verena Barié Trio am 7.3., das Trio Li / Neubauer / Schörken am 11.3. und das Frederik Köster Quartett am 21.3. auf dem Programm. Am 21.3. findet ein Doppelkonzert mit einer Konzertperformance in der Sophienkirche und einem Dialog zwischen The Sephardics und Elliott Sharp im Loch statt.

Weitere Termine mit improvisierter Musik finden sich bei NRWJazz.

—

…

Impressum:
Konzept, Redaktion & Umsetzung: Petra Hedler
neuemusik@kulturserver-nrw.de

Partnerprojekt der Stiftung kulturserver.de gGmbH
Lothringerstr. 23
52062 Aachen
http://ggmbh.kulturserver.de
redaktion@kulturserver.de

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)

Dear TU Audiokommunikation Community,

(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

Von: [soundscore]
Datum: Thu, 27 Feb 2025
Betreff: Open Call: SaS Composer Lab

Click for more info:
https://degemnewsplus.blogspot.com/2025/03/fwd-open-call-sas-composer-lab.html

Von: Gebrueder Teichmann / Berlin
Datum: Wed, 26 Feb 2025
Betreff: FR: Teichmann + Soehne @ Gaswerk Siedlung + upcoming dates GT Berlin

Ihr Lieben / Dear lovely people,

wir freuen uns sehr mal wieder mit unserem Papa in Berlin zu spielen, am Freitag im BLOCK1 (die neue, sehr schön gewordene Konzertvenue der Gaswerk Music Days):
https://www.gaswerk-music-days.de/events/gaswerk-music-concerts

Ebenso auf die nächste Folge Sustainable Listening in der Staatsoper, sowie die Sinfonie der Grossstadt + DJ-Begleitung und weitere Audiovisionen im Kulturraum Zwingli-Kirche – siehe unten.

We are very happy to be performing with our dad in Berlin on Friday at BLOCK1 (the new, very beautiful concert venue of Gaswerk Music Days). We’re also looking forward to the next instalment of Sustainable Listening at the Staatsoper, as well as the Symphony of a Great City + DJ accompaniment and other audiovisuals at the Kulturraum Zwingli-Kirche – see below.

bis dann & liebe Grüsse,

Hannes + Andi

28.02.
Teichmann + Soehne live @ Block1
20h, Eintritt 10,-, Blockdammweg 1, 10317 Berlin

Uli Teichmann: Saxophon, Klarinette, Flöten
Gebrüder Teichmann: Live Elektronik, Live Sampling

https://www.gaswerk-music-days.de/events/gaswerk-music-concerts

Falls ihr neugierig seid, wie unser Familien-Trio klingt, hier das frisch veröffentlichte Video von Pablo Lauf, zu unserem Stück MZ150: https://www.youtube.com/watch?v=ShBBnGbtMnM
Und unser Album Flows: https://teichmannsoehne.bandcamp.com/album/flows

05.03.
Sustainable Listening #6 @ Staatsoper Unter den Linden, Berlin
Gebrüder Teichmann + Mitglieder der Staatskapelle – live
https://www.staatsoper-berlin.de/de/veranstaltungen/sustainable-listening-6.15837/

04.04.
Berlin – Die Sinfonie der Großstadt (1927) @ Kulturraum Zwinglikirche e.V., Berlin
+ live vinyl score by Gebrüder Teichmann
https://www.kulturraum-zwinglikirche.de/berlin-sinfonie-der-grossstadt-25.html

05.06.
Sustainable Listening #6 @ Staatsoper Unter den Linden, Berlin
Gebrüder Teichmann + Mitglieder der Staatskapelle – livehttps://www.staatsoper-berlin.de/de/veranstaltungen/sustainable-listening-6.15837/

Audiovisionen 2025-I
Plattform für akustische und elektronische Live-Musik im Kulturraum Zwingli-Kirche (Berlin),
kuratiert von Hannes Teichmann.

15.5.
Audiovisionen: Ahmed Essyad + Gilles Aubry
FB https://fb.me/e/2ME5wrYba
VVK https://www.koka36.de/audiovisionen-ahmed-essyad-gilles-aubry_ticket_175178.html
https://www.field-notes.berlin/kalender/audiovisionen-ahmed-essyad-gilles-aubry

19.6.
Audiovisionen: Echomorph
Ira Hadžic – Gong
Cedrik Fermont – Gong / Elektronik
Michael Thieke – Klarinette
Klaus Janek – Kontrabass fx

17.7.
Audiovisionen: Huerta Ensamble + Gibrana Cervantes
Huerta Ensamble (Concepcion Huerta + Daniela Huerta)
Gibrana Cervantes

______________________________________________________________
www.gebruederteichmann.net / www.noland.fm
…

Von: Brinkmann, Fabian via ak discourse
Datum: Fri, 21 Feb 2025
Betreff: [ak-discourse] Synthesizer Ausstellung

 

Von: Wolke Verlag
Datum: Thu, 20 Feb 2025
Betreff: Wolke x FMP Frühlingsfest

Click for more info:
https://degemnewsplus.blogspot.com/2025/03/berlin-wolke-x-fmp-fruhlingsfest.html

Von: HELLERAU – Europäisches Zentrum der Künste
Datum: Tue, 18 Feb 2025
Betreff: Hurra, hurra, der März in HELLERAU ist (fast) da…

Click for more info:
https://degemnewsplus.blogspot.com/2025/03/fwd-hurra-hurra-der-marz-in-hellerau.html

Von: Lepa, Steffen via ak discourse
Datum: Mon, 10 Feb 2025
Betreff: [ak-discourse] WG: ANIMUSIC 2025 – Priority Call for Papers is open

we would be happy to receive proposals from this community, which shall pertain to the themes of the ANIMUSIC Congress 2025 in Madeira (sound, musical instruments, music, art related to sound/music, museums…).

The Priority Call for Papers is now open. You shall find most of the information at the Congress website here (www.animusic.eu).

We would be delighted to have you with us this year, in person!
Any further questions, we try to help the best way we can, at:

animusic.congress2025@gmail.com

With all the best wishes,
Dr Patricia Bastos
ANIMUSIC President

www.animusic.eu

Von: Lepa, Steffen via ak discourse
Datum: Mon, 10 Feb 2025
Betreff: [ak-discourse] Call for Chapters – Global Processes in Audio Content Creation

Call for Chapters

Book Title: Global Processes in Audio Content Creation

Editors: Dr. Emma Heywood, Dr. Richard Berry, Prof. Tanja Bosch and Prof. Kim Fox

Publisher:Peter Lang

Overview

This edited volume seeks to explore the evolving landscape of global audio production and use, with a particular focus on moving beyond Western-centric narratives. The book will bring together contributions from academics, practitioners, and organizations to highlight diverse perspectives on the theory and practice of radio, podcasting, and other audio media. It aims to foster a dialogue between practice and theory, engaging voices from the Global North and South and showcasing underrepresented practices, technologies, and cultures.

–

Call for Contributions

We invite submissions from scholars, practitioners, and organizations to contribute original chapters that reflect on the production, use, and impact of audio media globally. Contributions may explore the intersections of practice and theory, offer case studies, or provide evidence-based insights into audio production in diverse contexts.

Chapters may be theoretical (5,000–6,000 words) or shorter reflections by practitioners or organizations (1,000–3,000 words). Submissions from underrepresented regions, particularly the majority world, are highly encouraged.

–

Themes and Topics

We welcome proposals on (but not limited to) the following themes:

1.

The Universality of Listening:

*

How is audio experienced, produced, and consumed globally?

*

Cross-cutting themes including culture, technology, gender,
language, and community.

2.

Global Perspectives on Production and Technology:

*

Audio production in resource-limited settings (e.g.,
solar-powered devices, limited internet access).

*

Innovations and adaptations in audio technologies across regions.

*

Ethical questions and applications of AI in audio production: Is
AI a Western obsession or globally relevant?

3.

The Producer:

*

Diverse roles and practices of audio producers, from community
radio broadcasters to DIY creators and AI-generated content.

*

Challenges and opportunities faced by local and community
organizations.

4.

The Place:

*

The influence of geographic and cultural contexts on audio
production and consumption.

*

Case studies from the Global South, conflict zones, and areas
with limited connectivity.

5.

The User:

*

Audiences and their evolving engagement with audio content.

*

Radio as a tool for advocacy, education, and democracy—or
propaganda and control.

*

Generational perspectives: Is youth radio dead, and if so, who
killed it?

6.

The Purpose:

*

Exploring the role of audio across organizational types: public
service broadcasters, commercial media, community radio, and
alternative platforms.

*

State vs. public service broadcasting: tensions and challenges.

7.

Audio and Podcasts in Global Markets:

*

Podcasting as a cultural phenomenon and its industrial practices.

*

How audio formats are converging with other media.

–

Submission Process

Please submit an abstract of 300–500 words along with a brief bio (150
words) detailing your background and expertise. Abstracts should clearly state the chapter’s objectives, methodology, and contribution to the field.

–

Deadlines

*

Abstract Submission Deadline: Monday 14th April 2025

*

Notification of Acceptance: Monday 12th May 2025

*

Deadline for submission of first draft: Monday 6th October 2025

*

Full Chapter Submission Deadline: Monday 8th January 2026

Contact Information

Please send your submissions and any inquiries to theglobalaudiobook@gmail.com .

–

About the Editors

The book is edited by Dr. Emma Heywood, a senior lecturer and researcher at the University of Sheffield with expertise in radio journalism in conflict and humanitarian settings; Dr. Richard Berry, a scholar specialising in radio and podcasting as audio media; Prof Tanja Bosch, National Research Foundation Chair in the Digital Humanities at the University of Cape Town; and Prof Kim Fox who is an award-winning professor of practice in the Department of Journalism and Mass Communication in the School of Global Affairs and Public Policy at The American University in Cairo.

We look forward to your contributions to this exciting exploration of global audio practices!

…

Von: International Sound Awards
Datum: Thu, 06 Feb 2025
Betreff: ISA 2025 – Submission Start | Fees for Individuals | New Website

Click for more info:

https://degemnewsplus.blogspot.com/2025/03/fwd-isa-2025-submission-start-fees-for.html

Von: Annesley Black
Datum: Sat, 8 Feb 2025
Betreff: UPCOMING- STUTTGART (or Online-stream), MONTRÉAL, GRAZ

DIGITAL BLOOD

Von: Institute of Sonology
Datum: Wed, 5 Feb 2025
Betreff: Sonology Discussion Concert three, 12 Feb, 19h, Conservatoriumzaal

Click for more info:
https://degemnewsplus.blogspot.com/2025/02/den-haag-sonology-discussion-concert.html

Von: Lepa, Steffen via ak discourse
Datum: Wed, 5 Feb 2025
Betreff: [ak-discourse] [CfC] Society for Music Production Research 2nd Annual Conference

Call for Contributions

Society for Music Production Research 2nd Annual Conference

September 11-13, 2025 • University of Victoria, Victoria, Canada

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) February 21, 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 Lǝḱ^wǝŋǝn 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:

• Kirk McNally, Associate Professor of Music Technology, University of Victoria, kmcnally@uvic.ca
• Lori Burns, Professor of Music, University of Ottawa, laburns@uottawa.ca
• Nyssim Lefford, Associate Professor, Luleå University of Technology, nyssim.lefford@ltu.se
• Alex Stevenson, Course Director for Postgraduate Courses in Music and Sound,a.s.stevenson@leedsbeckett.ac.uk
• Paul Thompson, Reader in Popular Music, p.a.thompson@leedsbeckett.ac.uk

 

 

Von: Lepa, Steffen
Datum: Mon, 3 Feb 2025
Betreff: [ak-discourse] WG: CFP Music 2025 and Music IP conference – UK – 11-12-13 June

 

16^th International Music Business Research Days

‘Music 2025 and Music IP’

 June 11^th-13^th 2025

University of Hertfordshire’s School of Creative Arts and Law School

 

CONFERENCE CALL FOR PAPERS

 

This latest incarnation of the IMBRD conference, the 16^th International Music Business Research Days 2025, will be jointly hosted and organised by the School of Creative Arts and Hertfordshire Law School, at the University of Hertfordshire. The conference will be held between 11^th and 13^th June 2025.

 

Music business research is an interdisciplinary field located at the intersection of artistic, musical, cultural, social, legal, economic and technological understandings of the creation, distribution, remuneration and use of music. This interdisciplinary nature of the field entails a variety of conceptual and methodological approaches and an openness to scholars from different academic fields.

 

The over-arching conference theme is ‘Music 2025 and Music IP’. We aim to celebrate the manifesto first set out at IMBRD in Vienna in 2014 which led to the Music 2025 research project published in 2019 and subsequent campaigns in the UK and beyond. Campaigns such as #brokenrecord and the UK Government parliamentary investigations into the economics of streaming and calls for the reform of remuneration and improvement in music metadata practices throughout the whole digital music supply chain.

 

The conference organisers invite scholars (from the postdoctoral level on) who have a research focus on music business/industry related topics to submit a paper proposal for the conference day on Thursday June 12^th, 2025. Scholarly submissions on this year’s conference theme are equally welcome as are other aspects of music business research.

For students at all levels of the MA or PhD programmes, a doctoral colloquium – the Young Scholars‘ Workshop (YSW) – will be held as part of the 16^th IMBRD on Wednesday June 11^th, 2025.

 

Indicative themes include but are not limited to

• Past, current and future developments in the music industry (recorded/live/publishing/retailing/wholesaling, etc.)
• Economic and historic analyses of music markets, charts or audiences
• Music and AI
• Music and Metadata
• Music IP Rights Investments – the increased value of Music IPR
• Music Rights , Contracts and Remuneration –#broken record campaign
• Music and trademarks – including counterfeit merchandise
• Issues in marketing and/or branding music, musicians or music institutions
• Music management new models
• Musical and musician diversity in the music business
• Algorithmic playlisting in streaming
• Emerging market insights including Africa, Latin America and Asia

 

Friday June 13^th, 2025, is the Music industry conference day for which we have planned a variety of different presentations from UK and International music trade bodies to critically examine and debate the current state of music business including improving remuneration, providing more transparency in contractual arrangements, greater awareness of metadata and improving music creators’ lives.

 

SUBMISSION REQUIREMENTS

Please submit your abstract by March 17^th, 2025, to president@imbra.info

 

Abstracts should be between 300-500 words (any references are included in the word count) and should include:

• Objectives of the research and research question
• Brief description of the disciplinary/theoretical context/background

• Research questions and/or hypotheses
• Data and methods
• Main or expected conclusions/contribution
• Main references

Abstracts will be subject to a peer review process by an international jury, and authors will

be notified of acceptance by April 17^th , 2025.

 

REGISTRATION FEE

Registration will be open from until June 11^th , 2025. The fee includes conference attendance, welcome reception (June 10^th), coffee and lunch breaks and the conference dinner (June 13^th).

The Registration/Conference fee is £200 for attendees and £150 for IMBRA & GMM Members. The student rate is £75.

 

IJMBR SPECIAL ISSUE

The best papers from the conference will be considered for publication in a special issue of the International Journal of Music Business Research (IJMBR). Complete eligible submissions for this special issue should be sent to the IJMBR Editor on or before June 30^th , 2025.

 

Final submissions should not exceed 7,000 words (including abstracts, figures, tables, references and appendices) and should follow the author guidelines of the International Journal of Music Business Research (IJMBR).

 

An initial selection of papers will be chosen by the editors after the conference, followed by a double-blind peer review process.

 

IMBRA CONFERENCE ORGANISATION

The conference is organised by the Schools of Creative Arts and Law School University of Hertfordshire and the Conference Organiser is Dennis Collopy, Senior Research Fellow, School of Creative Arts, University of Hertfordshire.

 

IMBRA IMPORTANT DATES & CONTACT

• March 17^th Abstract submission deadline
• April 17^th Notification of acceptance
• June 11^th until June 13^th Conference
• June 30^th Delivery of full paper for consideration for publication
• If you have any questions, please contact: president@imbra.info
• Further information will be provided soon as regards travel, hotels and local accommodation.

 

International Music Business Research Association

www.imbra.info

 

Kind regards,

Guy

 

(For assistive technology users: this is the end of the email)

Dr Guy Morrow he/him

Deputy Head of School (Education & Students)

Senior Lecturer in Arts & Cultural Management

School of Culture and Communication  |  Faculty of Arts

Walter Boas building, level 3 Room 316

The University of Melbourne, Victoria 3010 Australia

T: +61 413 197 880 E: guy.morrow@unimelb.edu.au

unimelb.edu.au

 

New book – out now! 

Music Artist Managers: Remuneration and Retention in the Popular Music Business

 

President

International Music Business Research Association

 

I acknowledge the Traditional Owners of the land on which the University of Melbourne, Parkville campus is located, the Wurundjeri people of the Kulin Nations, and pay my respects to the Elders both past and present.

 

This email and any attachments may contain personal information or information that is otherwise confidential or the subject of copyright. Any use, disclosure or copying of any part of it is prohibited. The University does not warrant that this email or any attachments are free from viruses or defects. Please check any attachments for viruses and defects before opening them. If this email is received in error please delete it and notify us by return email.

Von: Jan Jacob Hofmann
Datum: Fri, 31 Jan 2025
Betreff: +++ Sonic Architecture News +++ Konzert in der Walkmühle Wiesbaden

Was kann aus Klängen „gebaut“ werden, wenn Klang als fluides Material mit Oberfläche, Ausdehnung, Dichte und Position im Raum betrachtet wird? Welche Welten tuen sich dann auf?
Konzert räumlicher elektronischer Musik in Ambisonic 3.Ordnung von Jan Jacob Hofmann.

Ort: Walkmühle Wiesbaden veranstaltet von artist Wiesbaden.

Wir laden Sie dazu ein, dieses Konzert im Liegen zu erleben. Gerne Iso- oder Yogamatten und Kissen mitbringen. Decken sind vor Ort vorhanden, genauso wie Hocker und Stühle für alle, die sich im Sitzen wohler fühlen. Die Stücke werden auf 8 Lautsprechern wiedergegeben.

Datum: 15. Februar 2025
Beginn: 20:00 Uhr
Ort: Walkmühle 3 (vormals Bornhofenweg 9)
65195 Wiesbaden

Links:
artist Wiesbaden: https://www.artist-wiesbaden.de/
sonic architecture: http://www.sonicarchitecture.de

sound | movement | object | space
sonic architecture | site: http://www.sonicarchitecture.de
spatial electronic composition | higher order ambisonic music

Von: Artemi-Maria Gioti
Datum: Fri, 31 Jan 2025
Betreff: Mozarteum University – PhD programme in the Arts

*Please distribute. Apologies for cross posting*

Mozarteum University Salzburg – PhD programme in the Arts

Deadline: 28 March 2025

The Mozarteum University Salzburg invites applications for its PhD programme in the Arts, a doctoral programme in artistic research. Artists from any field of practice are encouraged to apply, including but not limited to music, the visual arts, theatre, dance, film, digital media and design.

The doctoral programme focuses on the potential of artistic processes to articulate themselves as research, highlighting their capacity for creative and critical reflection. In this context, artistic practice serves as both the subject of investigation and the primary method through which research is conducted.

The PhD in the Arts provides a structured framework for the development of individual projects, encompassing a wide spectrum of formats including one-to-one tuition, seminars, workshops, lectures, excursions and a student-led “open space”. The programme is set within a collaborative research environment that fosters artistic and scholarly exchange and collaboration. It is supported by extensive infrastructure including specialised spaces, equipment, instruments and library resources.

The programme is designed for a minimum of 3 years and conducted in English. All courses take place in monthly gatherings. Residence in Austria is not required, but participants are requested to take part in activities in Salzburg. The Mozarteum University Salzburg cannot provide internal funding or scholarships. Candidates will be supported in all application processes for external funding.

The programme works with the concept of transversality as an operative principle that opposes both a vertical and a horizontal understanding of art. Examples of transversal practices that the programme welcomes include but are not limited to:
– Practices that engage post-anthropocentric modes of creativity (e.g., reflections on human and other-than-human interaction, environmental awareness, historical and new materialisms, speculative realism, post-human discourses, etc.).
– Practices that develop divergent and creative approaches to history and cultural heritage (e.g., archival practices, reflections of temporal linearity and anachronism, experimental modes of music performance, montages of found footage etc.).
– Practices that challenge hierarchical social and political structures (e.g., centered on feminist, queer, Marxist, decolonial and postcolonial discourses, etc.), as well as traditional divisions of labor in the art market (composer/performer/improviser, artist/spectator, art/society, etc.).
– Practices that engage with the imaginary and spiritual not as marginal nonrealities, but as means to change epistemologies and to reinvent ontologies.

Applications outside this thematic focus are also welcome.

Application process:
Applicants are admitted to the doctoral programme through a 2-step selection process (proposal and presentation). In addition, knowledge of English (oral and written) must be proven. The online application in Muvac is open from February 01 to March 28, 2025. Please upload all documents. For details on the registration process please see the Mozarteum University Salzburg website.

The results of the online application process will be communicated to applicants at the beginning of May 2025. The on-site interviews will take place from June 10 to 12 2025. For further information please contact: studieninfo@moz.ac.at.

Necessary documents for the online application:
– Master’s certificate (or graduation certificate from an equivalent course of study). If a master’s certificate is not available, an enrollment certificate or official confirmation of the anticipated degree should be uploaded.
– Complete transcript of records for the master’s degree including all subjects taken and grades awarded.
– In case of further previous studies please add all graduation certificates and transcripts of records (list of completed subjects and grades).
– Applicants with foreign documents must provide an official translation in German or English alongside the relevant original.
– Proof of English skills (optional for the application process, but necessary for admission).

The application (compiled into a single PDF file no larger than 5 MB) has to be uploaded online and should include the following:
– a résumé (curriculum vitae)
– a portfolio containing relevant activities (exhibitions, concerts, compositions, publications, conferences, etc.), including links to audio and video files and large images where relevant,
– a written proposal outlining the artistic research project to be developed during the course of the study programme (contextualization of the proposed research, research questions, methods and a provisional timetable for the proposed project, optional: proposals for potential supervisors). The PhD project proposal should consist of 5-10 A4 pages.

Von: Lepa, Steffen via ak discourse
Datum: Fri, 31 Jan 2025
Betreff: [ak-discourse] CFP: 77. Jahrestagung der Gesellschaft für Musikforschung (Weimar)

77. Jahrestagung der Gesellschaft für Musikforschung
    Hochschule für Musik FRANZ LISZT Weimar

6.–9. Oktober 2025

In Gesellschaften, zwischen Weltregionen und Religionen tun sich tiefe Risse auf – auf lokaler Ebene spiegeln sich die globalen politischen Verwerfungen u.a. in den vergangenen Landtagswahlen in Ostdeutschland, auf globaler in der Präsidentschaftswahl der USA. Mit neuen Konflikten zwischen Ost und West, Süd und Nord, Stadt und Land, alt und jung, demokratisch und autoritär, Judentum, Islam und Christentum usw. scheint nicht zuletzt das Konfrontationsdenken des Kalten Krieges wieder aufzuerstehen. Derartige manichäische Weltsichten waren und sind auch dem musikalischen Bereich nicht fremd: Analog dazu ist die Musikgeschichte durchzogen von Polarisierungen wie U vs. E, neu vs. alt, West vs. Ost, Wagner vs. Brahms, nordischer Tiefsinn vs. südliche Leichtigkeit, weltlich vs. geistlich etc.

Im Rahmen des Oberthemas einer musikalisch geteilten Welt soll untersucht werden, wie Musik sowohl Trennlinien als auch Brücken in verschiedenen Gesellschaften und Epochen klingend erfahrbar und verhandelbar macht. Angesichts der aktuellen globalen Herausforderungen ist es unerlässlich, eine gemeinsame, ebenso tolerante wie demokratische Basis wiederzufinden, in der Politik wie in der Musik. Nur so lässt sich das kulturelle und gesellschaftliche Fundament für kommende Generationen sichern.

Weimar – und insbesondere die Hochschule für Musik FRANZ LISZT mit der zentralen Adresse »Platz der Demokratie« – bietet sich gut 20 Jahre nach der Ausrichtung des internationalen Kongresses der GfM (2004) mit der hier in ihrer ganzen Breite vorhandenen Musikwissenschaft (historische und systematische Musikwissenschaft, Geschichte des Jazz und der Populären Musik, Geschichte der jüdischen Musik, Transcultural Music Studies) in besonderem Maße an.

Die Hauptsymposien der Tagung behandeln das Themenfeld »Musik in einer geteilten Welt« aus unterschiedlichen Perspektiven.

Alle Interessierten – ganz besonders auch aus dem wissenschaftlichen Nachwuchs – sind herzlich eingeladen, sich mit Beiträgen zum breiten Spektrum der aktuellen Musikforschung an der Tagung zu beteiligen. Mögliche Formate sind:

• Freies Referat (20 Min. + 10 Min. Diskussion)
  •    Posterpräsentation, Freies Panel oder Roundtable (90 oder 180 Min.)
  •    Fachgruppensymposium (90 oder 180 Min. und länger)
  •    Präsentation von Forschungsprojekten (30 Min. + 15 Min. Diskussion)
  •    experimentelle Formate wie Lecture Performances.

Bitte reichen Sie Ihre Vorschläge in deutscher oder englischer Sprache bis spätestens 28. Februar 2025 über ConfToolein. Rückfragen bitte an gfm25(at)hfm-weimar.de.

Die Entscheidungen über die Annahme der Vorschläge durch die Programmkommission werden voraussichtlich im April 2025 mitgeteilt.

Call for Papers deutsch Pdf.

Call for Papers englisch Pdf.

 

Von: neuemusik@kulturserver-nrw.de
Datum: Fri, 31 Jan 2025
Betreff: [Neuemusik]Gazette Neue Musik in NRW – Ausgabe Februar 2025

Von: weekly ausland newsletter
Datum: Fri, 31 Jan 2025
Betreff: [ausland depesche] Minute/Year | Madelaine Gamondés & Un fantasma feliz | fluid form club | and more

die kommenden Veranstaltugen im Ausland:
coming soon in Ausland:

accessibility info here: https://www.ausland.berlin/accessibility

…

Sunday, 09 February, 2025 – 20:00

Megumi Eda + Kazuhisa Uchihashi // Pitch Shifting Grgur Savic + Sanja Star
Doors 20:00 | Concerts 20:30 | Tickets (only at door) € 10,–

The first encounter with Megumi Eda and Kazuhisa Uchihashi will be exposed by Pitch Shifting. Supportet by Applaus 2023 category best live music programs.

https://ausland.berlin/de/event/megumi-eda-kazuhisa-uchihashi-pitch-shifting

—

Saturday, 22 February, 2025 – 12:00

Workshop: Listening – Artistically Integrated Audio Description and Aesthetics of Access 2

In this workshop, choreographers, performers and access dramaturges Carolin Jüngst and Naomi Sanfo invite you to think together about accessibility in theatre and, in particular, to research the topic of artistically integrated audio description.

https://ausland.berlin/de/event/listening-artistically-integrated-audio-description-and-aesthetics-of-access-2

—

Von Lepa, Steffen via ak discourse
Datum: Tue, 28 Jan 2025
Betreff [ak-discourse] WG: PhD Studentships for 2025 at Kingston University London

PhD Studentships for 2025 at Kingston University London

The Department of Performing Arts at Kingston University London is delighted to invite expressions of interest from strong Music researchers to join our PhD Programme from October 2025.

Several fully-funded and part-funded studentships are available on a competitive basis to undertake doctoral study (including practice-based) in a range of areas.

We encourage applications from Global Majority students: as well as ringfencing a number of studentships, we are also offering a programme of support and mentoring during the application process.

At least one of the fully-funded PhD studentships will be awarded to a Kingston Alumni who has completed an undergraduate and/or masters level degree course at Kingston University or its predecessor institutions.

Deadline for applications: 5 March 2025

Research in Music at Kingston University is both theoretical and practice-based and often the two are integrated. Engaging with a range of methodologies and theoretical perspectives, music staff have particular strength in:

• Music technology
• Musicology
• Music education
• Music composition

Music technology research include studio-based creative practices, immersive audio environments, interactive performances, and music AI. Musicology topics range from historical and philosophical aspects to popular musicology and music in other media (moving image, dance). Music education research is inclusive of a broad range of teaching and learning settings and related music in health and wellbeing contexts. Music compositions encompass instrumental works, interactive pieces and multimedia collaborations.

Specific areas of expertise include:

• studio-based creative practice-research
• pop musicology and ludomusicology
• sound spatialisation techniques and systems
• site-specific installation art
• music memory and perception
• electroacoustic music analysis
• preservation issues of electronic music
• electronic music performance practices
• music and generative AI

Further information on the studentships and guidelines for application can be found here:

https://www.kingston.ac.uk/research/research-degrees/funding/phd-studentships-2025/

For information of the research environment of Kingston School of Art, please follow this link:https://www.kingston.ac.uk/faculties/kingston-school-of-art/research-and-innovation/research-degrees/

Questions about the PhD programme can be directed to Dr Daniela Perazzo, Postgraduate Research Coordinator: https://www.kingston.ac.uk/staff/profile/dr-daniela-perazzo-179/. Prospective applicants are encouraged to discuss their research proposal in advance of submitting an application.