Von: David Hirst
Datum: Mon, 24 Dec 2018
Betreff: [cec-c] Fwd: ICMC-NYCEMF 2019
APOLOGIES FOR CROSS POSTING!
ICMC-NYCEMF 2019 Call for Works
We have just learned that we have secured the participation of the New
York University New Music Ensemble, directed by Esther Lamneck, and the
Community Orchestra, directed by Roger Mahadeen, for ICMC-NYCEMF 2019.
This is not a professional orchestra, but it is a full orchestra of
30-40 musicians. These ensembles offer a unique opportunity for
composers to have works for ensembles performed. Composers who have
already made submissions may wish to reconsider their selections, and
there is still time to resubmit works. Also, NYCEMF allows you to
submit two works if one of them is six minutes or less. We are
repeating our call for works below, with these changes included.
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 and the Abrons Arts Center 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.
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. 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.
2. 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.
3. Please upload high quality MP3 stereo mixes for your audio including
multichannel works. For video works, we strongly prefer lower resolution
files.
4. 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.
5. 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.
6. A work is eligible if it has not been performed at either the NYCEMF
or ICMC for the last three years, or if it has been played at only one
of the two entities prior to 2019.
7. Works must be submitted online through the Conference Management
Toolkit (CMT).
8. All submissions should be anonymous. Please make sure that no
artist markings are recognizable.
9. 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 2019 will be saxophonist Enzo
Filippetti, cellist Madeleine Shapiro, pianists Keith Kirchoff and
Jocelyn Ho, clarinet and tarogató player Esther Lamneck, violinist Maja
Cerar, clarinetist Marianne Gythfeldt, percussionist Patti Cudd, the
SPLICE Ensemble, and soprano Elenora Claps. Other performers include
the New York University New Music Ensemble and Community Orchestra.
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. Papers and Posters
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.