From nicodria at hotmail.com Sat Nov 2 01:38:12 2013 From: nicodria at hotmail.com (Nicolas Marty) Date: Sat Nov 2 01:38:46 2013 Subject: [Emsan-l] session proposal for euromac2014 conference Message-ID: Skipped content of type multipart/alternative-------------- next part -------------- A non-text attachment was scrubbed... Name: euromac2014_electroacoustic_appel.pdf Type: application/pdf Size: 28014 bytes Desc: not available Url : http://mailman.ucalgary.ca/pipermail/emsan-l/attachments/20131102/ff21c440/euromac2014_electroacoustic_appel.pdf -------------- next part -------------- A non-text attachment was scrubbed... Name: euromac2014_electroacoustic_cfp.pdf Type: application/pdf Size: 26006 bytes Desc: not available Url : http://mailman.ucalgary.ca/pipermail/emsan-l/attachments/20131102/ff21c440/euromac2014_electroacoustic_cfp.pdf From marc.battier at paris-sorbonne.fr Sun Nov 3 23:25:52 2013 From: marc.battier at paris-sorbonne.fr (Battier Marc) Date: Sun Nov 3 23:24:47 2013 Subject: [Emsan-l] WOCMAT Call for Musical Works and Papers Message-ID: Workshop on Computer Music and Audio Technology 2013 WOCMAT, December14, 15. For the WOCMAT Call for Musical Works and Papers http://140.113.156.186/wocmat2013/index.html Regards -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mailman.ucalgary.ca/pipermail/emsan-l/attachments/20131104/e2783927/attachment.html From marc.battier at mac.com Wed Nov 27 08:07:41 2013 From: marc.battier at mac.com (Marc Battier) Date: Wed Nov 27 08:06:39 2013 Subject: [Emsan-l] Electroacoustic Music Studies Network EMS14 Conference Call Message-ID: Electroacoustic Music Beyond Concert Performance INTERNATIONAL CONFERENCE EMS14 10 - 14 June 2014 | Berlin | Germany Deadline for proposals is 3 January 2014. The concert work is still considered to be the epitome of electroacoustic music. During a work's performance the relationships between composition and audience in time and space are defined as homogeneous - just as in the Aristotelian drama. However, since the 1960s, specific forms of electroacoustic music that challenge the possibility (or conception) of an absolute and exclusive reception have gained substantially in importance. This development resulted in concert forms of extended duration, as well as sound art and music in the media offering the listener opportunities to arrange the perceived sounds in new individual arrangements or to explore the aural space of one piece in various ways. The aesthetical positions and the practical consequences for electroacoustic music that have emerged from these specific environments shall be considered at EMS14 conference. This EMS conference aims to discuss a number of relevant questions concerning electroacoustic music beyond concert performance among musicologists, composers and sound artists. Musicological studies in this field still lack consistent, rigorous research. Therefore, we explicitly invite papers that focus on aesthetics, history, analysis and practical issues of electroacoustic music of Extended Duration, as Sound Art/Sound Installation, as Media Music, as Conceptual Music, as Participatory Music, in the context of Happenings or extended Concert Forms. The conference is also open to other topics relevant to histories and/or contemporary practices of electroacoustic music. Submission of papers relating to any aspect of the field would be appreciated as well, including, but not limited, to: analysis, perception, listening, terminology, composition, performance, cultural issues and education (cf. detailed call at www.ak.tu-berlin.de/ems2014). The conference is hosted by Universit?t der K?nste Berlin, Masterstudiengang Sound Studies in cooperation with Technische Universit?t Berlin, Fachgebiet Audiokommunikation and Freie Universit?t Berlin. Submissions The deadline for receipt of proposals of papers is Friday, 3 January 2014 midnight EST. The duration of a paper presentation should be 20 minutes followed by a question period of 5 minutes. Conference languages are English and French. Submissions can be made by uploading a zipped folder and providing the download link, or by direct email to: ems2014.berlin[at]gmail.com A submission should consist of one pdf-document and the same as word-, odt-, or rtf-document in English with the following parts: 1. the paper abstract in English (500 up to 1,000 words), headed with author name(s) and title (if any), organisation affiliation (if any), contact address, telephone, email address 2. a curriculum vitae (1 page maximum) 3. a list of publications (1 page maximum) 3. a brief bio (up to150 words). Further information available at www.ems-network.org and www.ak.tu-berlin.de/ems2014 Organisation Committee: Fabian Czolbe (Berlin) | Dr. Julia H. Schr?der (FU Berlin) | Volker Straebel (TU Berlin) | Prof. Dr. Martin Supper (UdK Berlin) -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mailman.ucalgary.ca/pipermail/emsan-l/attachments/20131127/a7009d1b/attachment.html From LLandy at dmu.ac.uk Wed Nov 27 09:09:29 2013 From: LLandy at dmu.ac.uk (Leigh Landy) Date: Wed Nov 27 12:33:34 2013 Subject: [Emsan-l] =?iso-8859-1?q?Organised_Sound_=AD_Call_for_Submission?= =?iso-8859-1?q?s_20/2?= Message-ID: <924ACD75512DCD48B781AEC3F9569930269E8BF0@PC3XMB-0002L.LEC-ADMIN.dmu.ac.uk> Organised Sound: An International Journal of Music and Technology Call for submissions Volume, Number 20/2 Issue thematic title: Sound Art and Music: continuum and fissure Date of Publication: August 2015 Publishers: Cambridge University Press Issue co-ordinators: Salom? Voegelin (s.voegelin@lcc.arts.ac.uk) and Thomas Gardner (t.gardner@lcc.arts.ac.uk) The central precept of this call for submissions is that sound art and music evolve in a shared world and the joint navigation of this terrain allows new creative approaches to be taken by artists, curators, theorists and participants (listeners). The current prominence of sound art has been aided by its relation to a visual arts discourse, but even as this visual affiliation has aided sound art?s recognition, making it more visible, it has obstructed the discussion of its sonic materiality and processes and has neglected its musical heritage and those aspects of its practice that recall that history. Consequently, much contemporary sonic output is not appreciated and approached as a critical response to previous and concurrent musical works but is considered mainly in relation to the concerns of visual practice and theory. As a result contemporary sonic works are not theorised through a musical sensibility - understood in relation to a musical expression and musical questions - nor have they the influence to critique and advance traditional musical practices and our critical engagement with them. Rather, what is highlighted in current sound arts discourse are the conceptual and contextual concerns it shares with visual arts history. The lack of a jointly elaborated critical framework has consequences for how we perform, install, curate, listen to and write about sonic works. It influences and determines our listening strategies and defines our references as well as the way that sonic materiality and symbolic codifications are understood, discussed and practiced. This issue of Organised Sound invites a discussion of the relationship between sound art and music, to focus on the relevance of this relationship and to debate how it might impact on the way we listen to and critique sound work, and ultimately also on how we practice sound art and music. We are inviting submissions from artists and theorists whose work and research relate to and investigate the relationship between sound art and music. Potential topics to be considered include: ? Proposals for languages and strategies that develop a joint territory for sound art and music. ? Arguments suggesting why such a joint territory should not be sought. ? Differences in the identities implied by the terms composer and sound artist ? The influence of electronic media on listening, performance practice and exhibited work. ? Intersections between the listening strategies opened up by sound art and the group actions arising from musical performance (materialities, processes, time and space). ? Case studies and practice-based research which rigorously examine the conceptual connections between sound art and music (creation, exhibition, performance and curation of works). ? How do notions of sentiment and cerebral conceptuality differ in sound art and music? ? Historically situated reappraisals of music and sound art using tools and insights derived from both areas (for example, re-examinations of electroacoustic music, experimental film, historically informed performance practice, the minuet, sound walks). As always, submissions related to the theme are encouraged; however, those that fall outside the scope of this theme are always welcome. SUBMISSION DEADLINE: 15 September 2014 SUBMISSION FORMAT: Notes for Contributors and further details can be obtained from the inside back cover of published issues of Organised Sound or at the following url: http://journals.cambridge.org/action/displayMoreInfo?jid=OSO&type=ifc (and download the pdf) Properly formatted email submissions and general queries should be sent to: os@dmu.ac.uk, not to the guest editors. Hard copy of articles and images (only when requested) and other material (e.g., sound and audio-visual files, etc. ? normally max. 15? sound files or 8? movie files) should be submitted to: Prof. Leigh Landy Organised Sound Clephan Building De Montfort University Leicester LE1 9BH, UK. Editor: Leigh Landy Associate Editors: Ross Kirk and Richard Orton? Regional Editors: Ricardo Dal Farra, J?ran Rudi, Margaret Schedel, Barry Truax, Ian Whalley, David Worrall, Lonce Wyse International Editorial Board: Marc Battier, Manuella Blackburn, Joel Chadabe, Alessandro Cipriani, Simon Emmerson, Kenneth Fields, Rajmil Fischman, Eduardo Miranda, Rosemary Mountain, Tony Myatt, Jean-Claude Risset, Mary Simoni, Martin Supper, Daniel Teruggi ===== -- You received this message because you are subscribed to the Google Groups "CEC-Conference" group. To unsubscribe from this group and stop receiving emails from it, send an email to cec-conference+unsubscribe@googlegroups.com. To post to this group, send email to cec-conference@googlegroups.com. Visit this group at http://groups.google.com/group/cec-conference. For more options, visit https://groups.google.com/groups/opt_out. -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mailman.ucalgary.ca/pipermail/emsan-l/attachments/20131127/53af67dd/attachment.html