Von: Clemens von Reusner
Datum: Wed, 15 Nov 2017
Betreff: New York City Electroacoustic Music Festival 2018 – Call For Works
New York City Electroacoustic Music Festival
July 16-22, 2018
The New York City Electroacoustic Music Festival solicits works for its
festival in July 16-22, 2018. The festival will take place at the Abrons
Arts Center. 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
Composers or performers are invited to submit works in any style of
electroacoustic music in any the following categories:
Electronic music for fixed media alone, with up to sixteen channels of
Works involving live electronics, including computer processing and
Works combining musical instruments or voice with live or fixed media
Video and multimedia works.
Installations involving music or video
Submission deadline: January 15, 2018.
Registration fee: $170. Registration is required for all persons whose
submitted works are accepted. This fee entitles them to free admission
to all events at the Festival. Attendance is not required, but even if
persons submitting do not attend, the fee must still be paid.
Individuals may submit one or two works, provided that the one
submission is six minutes or less. Individuals may also submit a
proposal for an installation or 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.
For the selection process, multichannel works may be submitted either in
their original channel configuration or as stereo mixes.
Works involving instrumentalists are welcome, but if the submitter is
unable to provide the performer(s), additional costs of $100 per
performer will need to be charged.
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 are
more likely to be able to include shorter works than longer ones.
Performers may submit up to two works with the agreement that they will
play them if selected. If a performer wishes to submit more works, he or
she may choose to propose a curated concert.
The featured performers for NYCEMF 2016 will be flutist Gianni
Trovalusci, cellist Madeleine Shapiro, pianists Keith Kirchoff and
Jocelyn Ho, clarinet and tarogatóplayer Esther Lamneck, violinist
Maja Cerar, clarinetist Marianne Gythfeldt, and percussionist Patti
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.
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 curated concerts will be $500.
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 music issues.
Analyses of compositions of historical importance including
electroacoustic music “classics,” papers, or other ideas.
Research in electroacoustic musical topics.
Because the Abrons Arts Center will be devoting its galleries to other
exhibitions, NYCEMF will have fewer options for installations than in
the past. Installations may be presented as a day-long presentation in
the Underground Theater, as wall projections, or in a confined space
such as the dressing rooms.
Emeritus Professor of Music
Aaron Copland School of Music
Queens College of the City University of New York
Queens, New York 11367-1597