Von: Clemens von Reusner
Datum: Thu, 25 Oct 2018
Betreff: Call for works for ICMC-NYCEMF 2019
Announcing the
ICMC-NYCEMF 2019
Conference and Festival
June 16-23, 2019
The International Computer Music Conference (ICMC) and the New York City Electroacoustic Music Festival (NYCEMF) invite submissions of music, papers, installations, panels and workshop proposals. The 2019 ICMC will be a joint ICMC-NYCEMF conference and festival to be held Sunday June 16 through Sunday June 23, 2019. The event will take place at New York University<https://www.nyu.edu/> and the Abrons Arts Center<http://www.abronsartscenter.org/> in the heart of New York City. Details of the festival are shown below and are posted on our web site, http://www.nycemf.org<http://www.nycemf.org/>.
Call for Works
I. Music
Composers or performers are invited to submit works in any style of electroacoustic music in any the following categories:
Electroacoustic music for fixed media alone, with up to 16 channels.
Works involving live electronics, including computer processing, laptop orchestras, or live coding, with up to 8 channels.
Works combining musical instruments or voice with live or fixed media electronics, with up to 8 channels.
Video and multimedia works with up to 8 channels
1. The call is open to all composers, regardless of nationality, age or career stage.
2. Individuals may submit one or two works. Individuals may also submit proposals in other tracks (e.g installations, papers, etc). Works of any length may be submitted, but, to be as inclusive as possible, we are more likely to be able to include shorter works than longer ones. If submitting two works, at least one work should be under 6 minutes long.
3. Works in progress are acceptable if a substantial part of the work is complete. If accepted, the final version of the work (1) cannot exceed the duration indicated at the time of submission and (2) cannot be substantially different from the versions submitted.
4. Please upload high quality MP3 stereo mixes for your audio including multichannel works. For video works, we strongly prefer lower resolution files.
5. Composers may submit works for any instrumentation. However, instruments and performers provided by ICMC-NYCEMF are limited to the featured performers listed below in item 11. Please visit our web site for the most up-to-date list of performer and instrument possibilities.
6. Performers (artists that are not the composer of the work) may also submit up to two works with the agreement that they will play them if selected.
7. Works which have been performed at previous NYCEMFs or ICMCs should not be submitted.
8. All works must be submitted online through the Conference Management Toolkit (CMT).
9. All submissions should be anonymous. Please make sure that no artist markings are recognizable.
10. The organizers 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.
11. The featured performers for NYCEMF 2016 will be saxophonist Enzo Filippetti<https://www.linkedin.com/in/enzo-filippetti-173b9431/?originalSubdomain=it>, cellist Madeleine Shapiro, <http://www.modernworks.com/musicians/shapiro.html> pianists Keith Kirchoff <http://www.keithkirchoff.com/> and Jocelyn Ho,<http://www.jocelynho.com/about/> clarinet and tarogató player Esther Lamneck, <https://steinhardt.nyu.edu/faculty/Esther_Lamneck> violinist Maja Cerar<http://www.majacerar.com/>, clarinetist Marianne Gythfeldt<http://www.mariannegythfeldt.com/html/about.php>, percussionist Patti Cudd,<http://www.patticudd.com/> and soprano Elenora Claps<http://www.materaintermedia.it/eleonora-claps/>. Other performers may be used as well.
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 the diffusion of works with fewer channels. We will allow composers whose works are played in this space additional tech time to plan their diffusion. Only fixed media works will be played in this space, not works involving musical instruments or video.
Timeline
Submission deadline: December 31, 2018.
Submission fee: none.
Anticipated notification date: February 15, 2019
Review of Works
All submissions will be subject to peer-review.
Post-review
Final audio and video files must be submitted by May 15, 2019.
II. Paper and Poster Presentations
We encourage the submission of papers on research topics including but not limited to the following areas:
3D Audio
Acoustic Ecology
Acoustics of Music
Acoustics, Space, and Sound Distribution
Aesthetics, Theory, History and Philosophy
Algorithmic Composition
Analysis of Electroacoustic Music
AR & VR
Archiving & Preservation of Electro-acoustic Music
Artificial Intelligence and Music
Computational Musicology
Composition Systems and Techniques
Digital Audio Signal Processing and Audio Effects
Distributed, Telematic, and Mobile Music
History of Electroacoustic Music
Improvisation and Technology
Languages for Computer Music
Live Coding
Mathematical Music Theory
Music Education
Music Information Retrieval
New Interfaces for Musical Expression
Notation and Scores
Perception and Cognition
Piece plus Paper Presentations
Software and Hardware Systems
Sonification
Sound Synthesis
Studio Reports
1. The call is open to all researchers regardless of nationality, age or career stage or area of expertise.
2. Formats include long papers (4-6 pages), short papers (4 pages), and posters (4 pages) with optional demos.
3. All works must be submitted online as a PDF file through the Conference Management Toolkit (CMT).
4. All submissions should be anonymous: please make sure that no author names are recognizable.
5. The reviews are anonymous: once accepted, camera-ready papers will need to include author names.
6. For conference presentation and publication proceedings, at least one author or co-author must register. A presenter only needs to register once and may be presenting more than one work at the conference.
Timeline
Submission deadline: December 31, 2018.
Submission fee: none.
Anticipated notification date: February 15, 2019
Review
All submissions will be subject to peer-review.
Post-review
Following notification of acceptance, authors will be requested to submit their camera-ready PDF files by May 15, 2019.
Proceedings
All the accepted papers, irrespective of presentation format, will be included in the Conference Proceedings. The proceedings will have an ISBN and will be distributed as an electronic Open Access publication and posted to our web site.
III. Installations
We invite submissions of installation works for exhibition at the conference. Categories include but are not limited to:
Audience Participation Installations
Data-driven Installations
Happenings
Interactive Installations
Multimedia Installations
Performance-based installations
1. The call is open to all artists/composers regardless of nationality, age or career stage.
2. Works presented at previous ICMCs are not allowed unless significantly evolved.
3. Works must be submitted online, through the Conference Management Toolkit (CMT).
5. All submissions should be anonymous: please make sure that no artist markings are recognizable.
6. For conference presentation, the artist or at least one of the collaborators must register. A presenter only needs to register once and may be presenting more than one work at the conference. All necessary equipment, with the exception of loudspeakers and projectors, must be provided by the artist.
Review of Works
Submissions will be subject to peer-review.
Timeline
Submission deadline: December 31, 2018.
Submission fee: none.
Anticipated notification date: February 15, 2019
IV. Workshops
We invite submissions of workshop proposals at the conference. Categories include but are not limited to:
Auditory Display and Sonification
Computer Music Composition
Computer Language-Based: ChucK, CSound, Live, MAX, Supercollider, etc.
Improvisation and Technology
Laptop Orchestra/Live Coding
Music Information Retrieval
New Instruments for Musical Expression
Preservation and Access to Electro-Acoustic Music
Robotics and Music
Soundmapping
Sound Reinforcement
Sound Synthesis
WebAudio
Other
1. The call is open to all regardless of nationality, age or career stage.
2. Formats include full day, half day, and quarter day.
3. Proposals must be submitted online, through the Conference Management Toolkit (CMT).
Review of Proposals
Submissions will be subject to peer-review.
Timeline
Submission deadline: December 31, 2018.
Submission fee: none.
Anticipated notification date: February 15, 2019
V. Panels
We invite submissions of panel proposals. Categories include but are not limited to:
Acoustic Ecology
Advancing Computer Music
Auditory Display and Sonification
Crowd-Sourcing in Computer Music
Engagement and the Rise of Citizen-Scientists
Improvisation and Technology
Noisescapes: Urban Noise Pollution Phenomenon
Laptop Orchestra/Live Coding
Music Information Retrieval for Electro-Acoustic Music
New Instruments for Musical Expression
Preserving and Accessing Computer Music
Soundmapping
Other
1. The call is open to all regardless of nationality, age or career stage.
2. Proposals must be submitted online, through the Conference Management Toolkit (CMT).
3. Venues will be at New York University,
Review of Proposals
Submissions will be subject to peer-review.
Timeline
Submission deadline: December 31, 2018.
Submission fee: none.
Anticipated notification date: February 15, 2019
VI. Other Information
Heritage Programs
Continuing our efforts to preserve and archive computer music works, we will continue the Computer Music Heritage program this year where participating artists‘ works will be preserved at the NYU Library as part of the Electro-Acoustic Mine (EAMM) project.
Additionally, as part of this year’s theme, we will continue the Soundscape Heritage program launched at the 2018 ICMC in Korea. More details regarding our efforts will be forthcoming on the conference website.
Children’s Program
We also plan to continue the highly successful iIMPACT Kids Program launched at the 2018 ICMC. More information regrading this program developed by NYU’s iMPACT team will be forthcoming on the website.
Registration Authors are required to confirm participation in the Conference by May 15, 2019. Registration is required for all persons whose works are programmed at ICMC-NYCEMF 2019. Please refer to webpage for details on registration fees.
Registration
Authors must indicate their acceptance of participation in the Conference by May 15, 2019. Registration is required for all persons whose works are programmed at ICMC-NYCEMF 2019. Please refer to our web page for details on registration fees.
Emeritus Professor of Music
Aaron Copland School of Music
Queens College of the City University of New York
Queens, New York 11367-1597
(929) 344-2209