Von: Ute Wassermann
Datum: Fri, 14 Mar 2025
Betreff: Newsletter 01/25

Click for more info:
https://degemnewsplus.blogspot.com/2025/03/fwd-newsletter-0125-ute-wassermann.html

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

Dear Colleagues,

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

Hands on Sonic Skills

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

Conference on December 11 & 12, 2025

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

Keynotes: Andreas Fickers and Joanna Szczepańska-Antosik

Call for Papers / Abstract

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

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

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

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

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

This raises the following questions:

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

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

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

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

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

· Technical ear training / Critical listening skills

· Musical applications of recording technology

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

· Elaboration and performance of electroacoustic and experimental music in teaching

· Experiential/practical approaches in sound studies

· Artistic research in music and sound art

· Modular synthesizers in teaching

· Sound description and language in music analysis

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

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

· Hybrid formats and use of digital learning platforms

· Higher education didactic methods related to audio technology

· Historically and culturally comparative perspectives on the above questions

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

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

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

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

Literatur/e:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Society for Music Production Research 2nd Annual Conference

Date: September 11-13, 2025

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

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

Take Two: Expanding the Field of Music Production Research

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

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

Paper Submissions: 

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

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

Conference Panels and Workshop: 

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

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

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

Speculative Solutions Challenge:

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

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

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

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

The abstract may be accompanied by images or diagrams.

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

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

Submission types:

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

About SMPR:

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

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

About the University of Victoria:

The University of Victoria Campus is located on the traditional lands of the 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

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

Von: Akademie der Künste
Datum: Thu, 6 Mar 2025
Betreff: 26.-29.6.: KONTAKTE 2025 – Festival für Elektroakustische Musik und Klangkunst

Click for more info:
https://degemnewsplus.blogspot.com/2025/03/berlin-26-296-kontakte-2025-festival.html

Von: Presse Monheim Triennale
Datum: Thu, 6 Mar 2025
Betreff: Monheim Papers / Hotel Angebot / Restplätze für Hauskonzert

Click for more info:
https://degemnewsplus.blogspot.com/2025/03/fwd-monheim-papers-hotel-angebot.html

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

…

(apologies for cross-posting, please circulate)

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

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

We look forward to receiving your submissions!

Best regards,

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

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

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

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

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

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

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

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

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

Topics of interest include:

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

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

SUBMISSION DEADLINE: 15 September 2025

SUBMISSION FORMAT:
Notes for Contributors including how to submit on Scholar One and further details can be obtained from the inside back cover of published issues of Organised Sound or at the following url: https://www.cambridge.org/core/journals/organised-sound/information/author-instructions/preparing-your-materials.

General queries should be sent to: os@dmu.ac.uk, not to the guest editors.

Accepted articles will be published online via FirstView after copy editing prior to the full issue’s publication.

Editor: Leigh Landy; Associate Editor: James Andean

Founding Editors: Ross Kirk, Tony Myatt and Richard Orton†

Regional Editors: Liu Yen-Ling (Annie), Dugal McKinnon, Raúl Minsburg, Jøran Rudi, Margaret Schedel, Barry Truax

International Editorial Board: Miriam Akkermann, Marc Battier, Manuella Blackburn, Brian Bridges, Alessandro Cipriani, Ricardo Dal Farra, Simon Emmerson, Kenneth Fields, Rajmil Fischman, Kerry Hagan, Eduardo Miranda, Garth Paine, Mary Simoni, Martin Supper, Daniel Teruggi, Ian Whalley, David Worrall, Lonce Wyse

Best,

Federico

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

Liebe Kolleg*innen und Kollegen,

Von: Akademie der Künste
Datum: Tue, 4 Mar 2025
Betreff: Newsletter März | Akademie der Künste

Click for more info:
https://degemnewsplus.blogspot.com/2025/03/fwd-newsletter-marz-akademie-der-kunste.html

Von: Markus Müller
Datum: Sun, 02 Mar 2025
Betreff: Musik Installationen Nürnberg Save The Date: 23.5. – 1.6.2025

Click for more info:
https://degemnewsplus.blogspot.com/2025/03/fwd-musik-installationen-nurnberg-save.html

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

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

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

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

Von: Lepa, Steffen via ak discourse
Datum: Fri, 28 Feb 2025
Betreff: [ak-discourse] WG: Call for participants: ICME2025 Audio Encoder Challenge

The IEEE International Conference on Multimedia & Expo (ICME) 2025 Audio Encoder Capability Challenge

Overview

The ICME 2025 Audio Encoder Capability Challenge, hosted by Xiaomi, University of Surrey, and Dataocean AI, aims to rigorously evaluate audio encoders in real-world downstream tasks.

This challenge imposes NO restrictions on model size or the scale of training data, and training based on existing pre-trained models is allowed.

Participants are invited to submit pre-trained encoders that convert raw audio waveforms into continuous embeddings. These encoders will undergo comprehensive testing across diverse tasks spanning speech, environmental sounds, and music. The evaluation will emphasize real-world usability and leverage an open-source evaluation system.

Participants are welcome to independently test and optimize their models. However, the final rankings will be determined based on evaluations conducted by the organizers.

Registration

To participate, registration is required. Please complete the registration form before April 1, 2025. Note that this does not means the challenge starts on April 1, 2025. The challenge begins on February 7, 2025.

For any other information about registration, please send Email to: 2025icme-aecc@dataoceanai.com

Submission

1. Clone the audio encoder template from the GitHub repository.
2. Implement your own audio encoder following the instructions in README.md within the cloned repository. The implementation must pass all checks in audio_encoder_checker.py provided in the repository.
3. Before the submission deadline, April 30, 2025, email the following files to the organizers at 2025icme-aecc@dataoceanai.com:

• a ZIP file containing the complete repository
• a technical report paper (PDF format) not exceeding 6 pages describing your implementation

The pre-trained model weights can either be included in the ZIP file or downloaded automatically from external sources (e.g., Hugging Face) during runtime. If choosing the latter approach, please implement the automatic downloading mechanism in your encoder implementation.

While there are no strict limitations on model size, submitted models must be able to be run successfully in a Google Colab T4 environment, where the runtime is equipped with a 16 GB NVIDIA Tesla T4 GPU, 12GB RAM.

More details can be found from the following webpage:

https://dataoceanai.github.io/ICME2025-Audio-Encoder-Challenge/

Thanks for your attention. Sorry for cross-posting.

Best wishes,

Wenwu

—
Wenwu Wang

Professor of Signal Processing and Machine Learning,

Centre for Vision Speech and Signal Processing (CVSSP)

Associate Head of External Engagement,

School of Computer Science and Electronic Engineering

AI Fellow,

Surrey Institute for People Centred AI

University of Surrey

Guildford, GU2 7XH
United Kingdom
Phone: +44 (0) 1483 686039
Fax: +44 (0) 1483 686031
Email: w.wang@surrey.ac.uk

https://personalpages.surrey.ac.uk/w.wang/

Von: Marcus Beuter
Datum: Fri, 28 Feb 2025
Betreff: Newsletter März – Marcus Beuter

Liebe Freunde der Klangkunst,

im März lade ich zu folgenden Veranstaltungen ein:

Ensemble Freie Musik

Jour fixe

Jour Fixe: Die Kunst des Hörens als Grundlage im kreativen Schaffensprozess – Instant Composing mit dem Ensemble Freie Musik.

Seit ca. 30 Jahren beschäftigt sich das EFM mit dem Instant Composing, d. h. dem Erschaffen von Musikstücken aus dem Moment heraus, ohne vorgefertigte Konzepte, ohne vorherige Absprachen. Die so entstehenden Stücke und Performances sind nicht nur einmalig und unwiederholbar, sie sind auch immer eine Reflexion der Begleitumstände: Die Besetzung der Gruppe, das Publikum und nicht zuletzt der Raum, in dem das Konzert stattfindet.
Mit den personellen Veränderungen, die in all den Jahren stattgefunden haben, ist das EFM ein gewachsener, lebendiger Organismus, der sich heute mit Musikern aus verschiedenen Generationen präsentiert, die mit ihren individuellen Biographien zum Facettenreichtum der Gruppe und damit der Musik beitragen. In Verbindung mit dem spontanen Ansatz der Musiker ist somit ein spannendes Hörerlebnis zu erwarten.
Montag, 03.03.2025, 20 Uhr, Capella hospitalis, Teutoburger Str. 50, 33604 Bielefeld
Eintritt frei, um Spende wird gebeten

Ensemble Freie Musik

Konzert

Seit ca. 30 Jahren beschäftigt sich das EFM mit dem Instant Composing, d. h. dem Erschaffen von Musikstücken aus dem Moment heraus, ohne vorgefertigte Konzepte, ohne vorherige Absprachen.

Werner Schermeier – Klavier
Hans Wilhelm Specht – Saxophon, Marimba, Percussion
Lutz Wagner – Violine, Effekte
Eric Pfennig – Bassgitarre, Effekte
Marcus Beuter – field recordings
Peter Schwieger – Analog Synthesizer
Frank Ay – Saxophone, Bassklarinette

Freitag, 21.03.2025, 20 Uhr, Städtische Galerie Alte Lederfabrik, Alleestr. 64-66, 33790 Halle/Westf.
Eintritt frei, um Spende wird gebeten

Tension Releasing Exercises

Workshop

TRE® – Tension Releasing Exercises – ist eine Körper basierte Methode, um Stress abzubauen.

Donnerstag, 13.03., 19.30 Uhr, Capella hospitalis, Teutoburger Str. 50, 33604 Bielefeld

Herzliche Grüße,
Marcus Beuter

Und dann:
03.05. Geplante Obsoleszenz, Artists Unlimited, Bielefeld
04.05. Cooperativa Ensemble, Artists Unlimited, Bielefeld
01.06. Cooperativa Ensemble, Finale im Park, Bielefeld
12.-21.09. Verwandelte Räume, Bielefeld

Oben angeführter Link:
Capella hospitalis – http://www.capella-hospitalis.de/

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

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