Subject: CALL: NYCEMF 2016
From: Clemens von Reusner
Please distribute the following announcement to your members.
New York City Electroacoustic Music Festival
The New York City Electroacoustic Music Festival solicits works for its
Festival in June 2016. The festival will take place as part of the New
York Philharmonic’s biennial at National Sawdust
locations in New York City. Details of the festival are shown below.
Submissions can be made directly from our web site, http://www.nycemf.org
Call for Works
Composers or performers are invited to submit works in any style of
electroacoustic music in any the following categories:
Works for fixed media alone with up to sixteen (16) channels
Works involving live electronics, including computer
processing and laptop orchestras
Works combining musical instruments or voices with fixed
media or live electronics
Video and multimedia works
Installations involving music or video
Deadline: December 1, 2015
Entry fee: none
Individuals may submit one or two works, provided that
the second submission is five minutes or less. Individuals may also
submit an installation or a proposal for a curated concert.
Works in progress will be considered if a substantial
part of the work is complete. The accepted work cannot exceed the
duration indicated at the time of submission, and the final versions
cannot be substantially different from the versions submitted.
Stereo versions of multichannel works may be submitted.
Persons who submit works that are accepted will have to
pay a registration fee of approximately $160, which will entitle them to
free admission to all events at the Festival. Attendance is not
required, but even if they do not attend, the fee must still be paid.
Works involving instrumentalists are welcome, but if the
submitter is unable to provide the performer(s), additional costs may
need to be borne.
NYCEMF will provide in each performance space a mixing
console, speaker system, microphones, cables, and a computer and audio
interface for the playback of fixed media audio/video. Composers of
interactive works will be responsible for providing their own computer,
audio interface, and any specialized peripherals.
Works of any length may be submitted, but, for practical
reasons, we will more likely be able to include shorter works than
Performers may submit up to two works with the agreement
that they will play them. If a performer wishes to submit more works,
he or she may choose to propose a curated concert.
3D Spatialization Lab
A special room will be equipped with an array of 16 speakers, 8 in the
usual surround sound configuration and 8 at a higher level, allowing
sound to be spatialized in three dimensions. The audience will be
seated in the center of the space. We solicit works that will take
advantage of these resources, and we encourage works that use the full
16-channel capability as well as octaphonic works. We will allow
composers whose works are played in this space additional tech time to
plan their diffusions. Only multi-channel electroacoustic works will be
played in this space, not works involving musical instruments or video.
The featured performer for NYCEMF 2016 will be the violinist Maja Cerar
In addition to musical works, we will also consider individual
presentations that may consist of many different kinds of activities
paper and piece presentations
“musicological” discussions of electroacoustic musical issues
analyses of compositions of historical importance
including electroacoustic music “classics,” papers, or other ideas
research in electroacoustic musical topics.
Installations and Galleries
The Abrons Arts Center includes several locations that will be suitable
for audio and video installations, including galleries and a large
outdoor amphitheater. We will post descriptions and photographs of
these spaces, and we encourage installation artists to design works for
these specific locations.
Call for Curated Concerts
Proposals are also invited for the presentation of an entire concert,
not to exceed 52 minutes in duration of music. These concerts represent
an opportunity to put together an entire concert consisting of works of
their choice. The concert should be organized around a theme or idea,
and they may include works of historical importance as well as more
recent works. A performer may also propose a concert that he or she will
play. The only limitation is that no more than one work by an individual
composer may be included.
NOTE: The registration fee for these concerts will be $500.
Emeritus Professor of Music
Aaron Copland School of Music
Queens College of the City University of New York
Queens, New York 11367-1597