From Marc.Battier at paris-sorbonne.fr Thu Dec 1 03:02:01 2011 From: Marc.Battier at paris-sorbonne.fr (Marc.Battier@paris-sorbonne.fr ) Date: Thu Dec 1 03:02:42 2011 Subject: [Emsan-l] Orchid Workshop, Dec. 2, Taipei Message-ID: <20111201110201.19246737slr4lift@mail.paris-sorbonne.fr> Announcement An EMSAN workshop will be help friday, December 2, at the National Taiwan Normal University, as part of the Orchid program. Orchid is a joint programme between France and Taiwan to foster collaborative projects. This is the second EMSAN meeting under Orchid, the first having been held in Taipei in 2007. The December 2 workshop is coordinated by Huang Chun-Zen and Marc Battier. Researchers from France and Taiwan will take part in it. After the event, a report will be posted on the Web site. Schedule 09:40-10:00 Registration 10:00-10:10 Opening Announcement?Chair: Shan-Hwa Chien 10:10-10:40?Orchid Paper Presentation I??Overview of the EMSAN Project and the Orchid Program?Chair: Shan-Hwa Chien / Presenter: Marc Battier 10:40-11:10?Orchid Paper Presentation II??Presentation of the EMSAN Database?Chair: Shan-Hwa Chien / Presenter: Chun-Zen Huang 11:30-12:00?Orchid Paper Presentation III??Methodology, Databases and Musicology:?Standardization and Cultural Predetermination?Chair: Chih-Fang Huang / Presenter: Bruno Bossis 13:30-14:00?Orchid Paper Presentation IV??The New Development in Taiwan Computer Music?Chair: Rui-Kun Hsu / Presenter: Chih-Fang Huang 14:00-14:30?Orchid Paper Presentation V??The Key Issues to Establish the Basis: the Case of the First Taiwanese Woman Composer of Electro-Acoustic Music ? Wang Miao-Wen?Chair: Rui-Kun Hsu / Presenter: Lin-Ni Liao 14:30-15:30?Orchid-Project Panel Discussion Extension School of Continuing Education 2F Conference Room, NTNU, Taipei, Taiwan ---------------------------------------------------------------- This message was sent using IMP, the Internet Messaging Program. From Marc.Battier at paris-sorbonne.fr Thu Dec 1 03:04:02 2011 From: Marc.Battier at paris-sorbonne.fr (Marc.Battier@paris-sorbonne.fr ) Date: Thu Dec 1 03:04:22 2011 Subject: [Emsan-l] DREAM Symposium: Technology and Musical Thought Message-ID: <20111201110402.21463c71sokzns42@webmail.paris-sorbonne.fr> ****Forwarded message from John Dack **** DREAM Symposium: Technology and Musical Thought December 13th, 2011, 10:00-17:00 Room G22/26 Senate House, University of London, Malet Street, London WC1E 7HU This one-day symposium is part of the DREAM project (Digital Re-appropriation of ElectroAcoustic Music) (http://dream.dei.unipd.it). The project is supported by a grant awarded from the European Union Culture Programme 2007-2013 (Education, Audiovisual & Culture Executive Agency). The lead institution is the University of Padua (Italy) under the direction of Dr. Federico Avanzini. The partner institutions are the University of Aalborg (Denmark) led by Dr. Stefania Serafin and the University of Middlesex (United Kingdom) led by Dr. John Dack. The DREAM project?s aim is to investigate and re-create digitally the analogue equipment used during the 1950s in the Studio di Fonologia Musicale of the RAI studios, Milan. At the project?s conclusion in September 2012 a permanent exhibit will be installed at the Milan Museum of Musical Instruments in Castello Sforzesco. By means of interfaces designed by Dr Serafin?s team, visitors to the exhibition will be able to create new versions of the ?open form? work ?Scambi? realized in 1957 by the Belgian composer Henri Pousseur (1929-2009). The symposium at the Institute of Musical Research (www.music.sas.ac.uk) will contextualize the interaction between musical thought and technology as exemplified by the composers of the RAI studio and address the wider issue of how electronic technology - both analogue and digital - has influenced musical composition in the past and how it continues to inform how we ?think? musically today. There will be six speakers : Dr. Craig Ayrey (Goldsmiths College, University of London) ? analyst, musicologist. Prof. Clarence Barlow (University of California, Santa Barbara) ? composer. Prof. Marc Battier (Universit? Paris-Sorbonne) ? musicologist. Prof. Pascal Decroupet (Universit? de Nice) ? musicologist. Prof. Elena Ungeheuer (Universit?t W?rzburg) ? musicologist. Dr. John Young (De Montfort University) ? electroacoustic composer. The symposium will be chaired by Dr. John Dack of the Lansdown Centre for Electronic Arts, Middlesex University. Presentations will last 30 minutes including 10 minutes for discussion. An experimental ?reacTable? interface built by Robin Fencott (Queen Mary College, London) will also be on display to demonstrate how versons of ?Scambi? can be created in real-time. The symposium includes a buffet lunch and is free for all participants. However, space is limited and those interested in attending should contact Dr. John Dack (j.dack@mdx.ac.uk) to reserve a place. ============================== Dr John Dack Senior Lecturer The Grove Building Middlesex University The Burroughs Hendon London NW4 4BT UK t: +44 (0)20 8411 5109 f: +44 (0)20 8411 3452 e: j.dack@mdx.ac.uk skype: john.dack www.cea.mdx.ac.uk www.scambi.mdx.ac.uk ============================== ****End of forwarded message**** ______________________________________ Dr J. P. E. Harper-Scott Senior Lecturer Department of Music Royal Holloway, University of London Website: http://www.jpehs.co.uk/ Blog: http://www.jpehs.co.uk/blog Golden Pages: http://goldenpages.jpehs.co.uk/ ______________________________________ ---------------------------------------------------------------- This message was sent using IMP, the Internet Messaging Program. From marc.battier at emsan.org Thu Dec 1 03:34:25 2011 From: marc.battier at emsan.org (Marc Battier EMSAN) Date: Thu Dec 1 03:37:17 2011 Subject: [Emsan-l] Information on EMSAN (post ACL) Message-ID: marc.battier@paris-sorbonne.fr timpson@ewha.ac.kr, 010876@mail.fju.edu.tw, info@jml-irini.jp, kmlo@ntnu.edu.tw, hlpan@music.tnua.edu.tw, jack.body@nzsm.ac.nz, gordoncmc@yahoo.com.hk,movetheatre@gmail.com, kychongcom@gmail.com, chefkajima@yahoo.com Dear Friends, It has been a pleasure to meet you at the 29th ACL forum in Taichung. Here is some information the Electroacoustic Music Studies Asia Network. The Web site is here: http://www.omf.paris-sorbonne.fr/EMSAN A Mailing list has been set up as an outcome of the CEMC/EMSAN Day in Beijing. It is a link between researchers interested in electroacoustic music in East Asia. To subscribe, please go to the emsan-L page and create a login and password for yourself, go to the page : ? http://mailman.ucalgary.ca/mailman/listinfo/emsan-l Announcement An EMSAN workshop will be help friday, December 2, at the National Taiwan Normal University, as part of the Orchid program. Orchid is a joint programme between France and Taiwan to foster collaborative projects. This is the second EMSAN meeting under Orchid, the first having been held in Taipei in 2007. The December 2 workshop is coordinated by Huang Chun-Zen and Marc Battier. Researchers from France and Taiwan will take part in it. After the event, a report will be posted on the Web site. ORCHID Day, EMSAN Workshop Decembre 2, 2011, NTNU, Taipei, Taiwan Schedule 09:40-10:00 Registration 10:00-10:10 Opening Announcement Chair: Shan-Hwa Chien 10:10-10:40?Orchid Paper Presentation I? Overview of the EMSAN Project and the Orchid Program Chair: Shan-Hwa Chien / Presenter: Marc Battier 10:40-11:10?Orchid Paper Presentation II? Presentation of the EMSAN Database Chair: Shan-Hwa Chien / Presenter: Chun-Zen Huang 11:30-12:00?Orchid Paper Presentation III? Methodology, Databases and Musicology: Standardization and Cultural Predetermination Chair: Chih-Fang Huang / Presenter: Bruno Bossis 13:30-14:00?Orchid Paper Presentation IV? The New Development in Taiwan Computer Music Chair: Rui-Kun Hsu / Presenter: Chih-Fang Huang 14:00-14:30?Orchid Paper Presentation V? The Key Issues to Establish the Basis: the Case of the First Taiwanese Woman Composer of Electro-Acoustic Music ? Wang Miao-Wen Chair: Rui-Kun Hsu / Presenter: Lin-Ni Liao 14:30-15:30 Orchid-Project Panel Discussion Extension School of Continuing Education 2F Conference Room, NTNU, Taipei, Taiwan Best regards, Marc Battier marc.battier@paris-sorbonne.fr From bill.brunson at kmh.se Thu Dec 1 07:02:04 2011 From: bill.brunson at kmh.se (Bill Brunson) Date: Fri Dec 9 03:40:55 2011 Subject: [Emsan-l] CALL FOR PAPERS - Electroacoustic Music Studies Network Conference 2012 Message-ID: <45ADEDC2-CDD3-4FC3-BBEC-4D19A86F646D@kmh.se> CALL FOR PAPERS Electroacoustic Music Studies Network Conference 2012 11-15 June 2012 The Royal College of Music & Elektronmusikstudion Stockholm, Sweden EMS12 Conference Theme: Meaning and Meaningfulness in Electroacoustic Music http://www.ems-network.org/ems12/ Meaning is essential to all human activity and the arts are special bearers of meaning relevant to all cultural communication. Whereas the term meaning suggests something that can be investigated and defined, meaningfulness introduces a quality of significance that seems at once more approachable, malleable and personal. Meaning in music encompasses a vast area of inquiry, approachable from a multitude of intersecting avenues and, in electroacoustic music, the subject is distinguished by several unique features. Is meaning in music immanent within its structural and formal design? Is it emotional? Is it aesthetically embedded? Is it constructed by listeners both individually and collectively? Is its significance embodied? Semiotic approaches and studies of intention-reception highlight the interdependence of composers and listeners. Meaning may be considered as an exchange and becomes less a kind of objective quantity and more a process related to qualitative meaningfulness. Composers, on the creative side of the communication chain, often focus on the job at hand; subjective and aesthetic intentions intermingle with both compositional and technical concerns. For electroacoustic music, as a sound-based art, listening is a primary mode of action and often the sole means of reception. Listeners focus initially on experiencing, on making sense of and on understanding the sounds and their relationships. These may be musical or other types of extrinsic, referential sounds. In all of its guises, electroacoustic music is, moreover, dependent upon a technical medium. Are the diverse technical media, which are employed for electroacoustic music, meaning-neutral, or do they condition ? from the perspectives of the composers, performers or listeners ? the meaning(s) of the music? What are the differences between delivery via large arrays of loudspeakers, iPod earplugs, internet, installations or live performance. Is the medium a message or a massage? Electroacoustic music also integrates well with other art forms, in particular those that utilize digital media or are digitally mediated. How does the intermedial environment affect meaning in music and across media? It is our hope that the conference theme - Meaning and Meaningfulness - will inspire broad interest among the electroacoustic music community, including composers, performers, musicologists as well as other related disciplines. The call for papers is not limited to any particular type of practice within the diverse field of electroacoustic music. Rather an inclusive approach is advocated in order to bring together a wide variety of theories and practices including acousmatics, live electronics, intermedia and more. Papers should address specific topics in the call. While some references to works by the presenting author(s) may be cited, these should not be the main focus of the paper. Related topics The conference is also open to other topics relevant to the history and/or contemporary practice of electroacoustic music. We encourage the submission of papers relating to any aspect of the field, including but not limited to analysis, perception, listening, terminology, composition, performance, cultural issues and education. See website for additional details. Conference Co-Chairs Bill Brunson Mats Lindstr?m Steering Committee Marc Battier Leigh Landy Daniel Teruggi Guidelines for Submission Deadline for receipt of submissions: Tuesday 17 January 2012, 09.00 CET (GMT+1). Reply Date: Notification of acceptance will be emailed to applicants by mid-February. Abstract submission guidelines: Submissions will be made directly by email to ems12 [at] ems-network.org. A submission should consist of a zipped folder containing: - The paper abstract in English or French (minimum 1,000 ? maximum 1,500 words), headed with author name(s), organization affiliation (if any), contact address, telephone, and email address in PDF: - A curriculum vitae (2 pages maximum) in PDF; - A list of publications (2 pages maximum) in PDF; - A brief bio (150 words) in PDF. The abstract should be ready for publication if the paper is accepted. A program containing the paper abstracts will be made available on the EMS website (www.ems-network.org) and distributed at the conference. Submissions from students and early-career postdoctoral researchers are particularly encouraged. Paper presentation guidelines: Each paper presentation will be 30 minutes (including a 5 minute question period). (Changes between speakers will be made at a parallel station.) Papers can be given in English or French. Standard presentation equipment will be provided including a video projector, CD/DVD player and stereo sound system. _________________________________ Bill Brunson The Royal College of Music in Stockholm Mats Lindstr?m Elektronmusikstudion ______________________________ Please consider the environment before printing this e-mail. -------------- next part -------------- Skipped content of type multipart/related From bill.brunson at kmh.se Fri Dec 30 09:16:24 2011 From: bill.brunson at kmh.se (Bill Brunson) Date: Fri Dec 30 11:52:22 2011 Subject: [Emsan-l] Call for Papers EMS12 - Extended Deadline 30 January 2012 Message-ID: <2E89AAD7-294F-4E1F-B0EA-03954CBA4D92@kmh.se> ?????????????????????????????????????????? Apologies for duplicates and cross-postings. This version contains new information. ?????????????????????????????????????????? CALL FOR PAPERS Electroacoustic Music Studies Network Conference 2012 11-15 June 2012 EXTENDED SUBMISSION DEADLINE 30 January 2012 The Royal College of Music & Elektronmusikstudion Stockholm, Sweden EMS12 Conference Theme: Meaning and Meaningfulness in Electroacoustic Music http://www.ems-network.org/ems12/ Meaning is essential to all human activity and the arts are special bearers of meaning relevant to all cultural communication. Whereas the term meaning suggests something that can be investigated and defined, meaningfulness introduces a quality of significance that seems at once more approachable, malleable and personal. Meaning in music encompasses a vast area of inquiry, approachable from a multitude of intersecting avenues and, in electroacoustic music, the subject is distinguished by several unique features. Is meaning in music immanent within its structural and formal design? Is it emotional? Is it aesthetically embedded? Is it constructed by listeners both individually and collectively? Is its significance embodied? Semiotic approaches and studies of intention-reception highlight the interdependence of composers and listeners. Meaning may be considered as an exchange and becomes less a kind of objective quantity and more a process related to qualitative meaningfulness. Composers, on the creative side of the communication chain, often focus on the job at hand; subjective and aesthetic intentions intermingle with both compositional and technical concerns. For electroacoustic music, as a sound-based art, listening is a primary mode of action and often the sole means of reception. Listeners focus initially on experiencing, on making sense of and on understanding the sounds and their relationships. These may be musical or other types of extrinsic, referential sounds. In all of its guises, electroacoustic music is, moreover, dependent upon a technical medium. Are the diverse technical media, which are employed for electroacoustic music, meaning-neutral, or do they condition ? from the perspectives of the composers, performers or listeners ? the meaning(s) of the music? What are the differences between delivery via large arrays of loudspeakers, iPod earplugs, internet, installations or live performance. Is the medium a message or a massage? Electroacoustic music also integrates well with other art forms, in particular those that utilize digital media or are digitally mediated. How does the intermedial environment affect meaning in music and across media? It is our hope that the conference theme - Meaning and Meaningfulness - will inspire broad interest among the electroacoustic music community, including composers, performers, musicologists as well as other related disciplines. The call for papers is not limited to any particular type of practice within the diverse field of electroacoustic music. Rather an inclusive approach is advocated in order to bring together a wide variety of theories and practices including acousmatics, live electronics, intermedia and more. Papers should address specific topics in the call. While some references to works by the presenting author(s) may be cited, these should not be the main focus of the paper. Related topics The conference is also open to other topics relevant to the history and/or contemporary practice of electroacoustic music. We encourage the submission of papers relating to any aspect of the field, including but not limited to analysis, perception, listening, terminology, composition, performance, cultural issues and education. See website for additional details. Conference Co-Chairs Bill Brunson Mats Lindstr?m Steering Committee Marc Battier Leigh Landy Daniel Teruggi Guidelines for Submission Deadline for receipt of submissions: Monday 30 January 2012, 12.00 CET (GMT+1). Reply Date: Notification of acceptance will be emailed to applicants by mid-February. Abstract submission guidelines: Submissions will be made directly by email to ems12 [at] ems-network.org. A submission should consist of a zipped folder containing: - The paper abstract in English or French (minimum 1,000 ? maximum 1,500 words), headed with author name(s), organization affiliation (if any), contact address, telephone, and email address in PDF: - A curriculum vitae (2 pages maximum) in PDF; - A list of publications (2 pages maximum) in PDF; - A brief bio (150 words) in PDF. The abstract should be ready for publication if the paper is accepted. A program containing the paper abstracts will be made available on the EMS website (www.ems-network.org) and distributed at the conference. Submissions from students and early-career postdoctoral researchers are particularly encouraged. Paper presentation guidelines: Each paper presentation will be 30 minutes (including a 5 minute question period). (Changes between speakers will be made at a parallel station.) Papers can be given in English or French. Standard presentation equipment will be provided including a video projector, CD/DVD player and stereo sound system. _________________________________ Bill Brunson The Royal College of Music in Stockholm bill.brunson@kmh.se Mats Lindstr?m Elektronmusikstudion mats.lindstrom@elektronmusikstudion.se -------------- next part -------------- Skipped content of type multipart/mixed