From supper at udk-berlin.de Sat Mar 8 01:16:33 2014 From: supper at udk-berlin.de (Martin Supper) Date: Sat Mar 8 02:22:18 2014 Subject: [Emsan-l] Call for Sound Installation on the occasion of EMS14 Message-ID: Call for Sound Installation on the occasion of EMS14 The 2014 edition of the Electroacoustic Studies Network's annual conference EMS14, taking place in Berlin, June 10 through 14, focuses on Electroacoustic Music Beyond Concert Performance. As an addition to this conference, we invite composers, sound artists and musicians to suggest a work that suits the following framework: The piece will be presented in a room of 6 by 9 meters, located at the University of Arts, Einsteinufer 43-53, Berlin-Charlottenburg. It runs on one day during the conference continuously for five hours. No performers (musicians, dancers), no visual or sculptural elements including furniture, projection or special light setup shall be employed. Up to 12 speakers (any combination of Meyer UPL-1 and Fostex Personal Monitor 6301) and up to one subwoofer (d&b B1) are provided and may be used. The speakers are to be placed on their designated stands (Meyer: 120 to 200cm; Fostex: 85 to 155cm) or on the floor. The artist needs to be at the venue in person. The artist is expected to set up within six hours of the day of the presentation and to take down the piece the same night. The artists shall bring their own playback or synthesis device. They may bring their own interface with analog outputs or use a RME Fireface UFX interface that is being provided. In addition, two technical assistants are available. We offer an artist fee of 500 Euros (including taxes and all royalties) and expect the artist to leave a copy of all audio- or scripting data, as well as proper documentation and a recording (excerpt), for the archives of the Electronic Music Studio of Technical University with the understanding this material might be used for research and teaching purposes. We cannot fund any expenses like travel, production, etc. Selected artists will enjoy free access to the EMS14 conference. Up to three pieces will be presented. Submissions shall be sent to ems2014.berlin[at]gmail.com by April 6, 2014, midnight CET. They shall include a proposal for a sound installation meeting the criteria and limitations outlined above of not more than two pages, an artist biography of not more than one page. Audio excerpts (stereo) of not more than eight minutes total shall be made available for download. Links to additional material will not be considered. Every artist may submit not more than one proposal. The submitting artist agrees to the above terms. Selected artists will be notified by April 15. Jurors: Fabian Czolbe (Berlin) | Dr. Julia H. Schr?der (FU Berlin) | Volker Straebel (TU Berlin) | Prof. Dr. Martin Supper (UdK Berlin). Funded by the Electronic Music Studio, Technical University Berlin, Audio Communication Group, produced in collaboration with University of Arts, Sound Studies program. Call for Sound Installation Duration: 5 hours Date: During the course of EMS14 conference, June 10 through 14 Place: A room of 6 by 9 meters, located at University of Arts, Einsteinufer 43-53, Berlin-Charlottenburg. Speakers: Up to 12+1 channels (any combination of Meyer UPL-1 and Fostex Personal Monitor 6301) and up to one subwoofer (d&b B1). Limitations: No performers (musicians, dancers), no visual or sculptural elements including furniture, projection or special light setup. Setup: Up to six hours the day of the presentation. Deadline: April 6, 2014, midnight CET / ems2014.berlin[at]gmail.com Web: www.ak.tu-berlin.de/installation2014 Producers: Funded by the Electronic Music Studio, Technical University Berlin, Audio Communication Group, produced in collaboration with University of Arts, Sound Studies program. -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mailman.ucalgary.ca/pipermail/emsan-l/attachments/20140308/e61d3fc0/attachment.html From cb at dolby.com Thu Mar 13 01:53:58 2014 From: cb at dolby.com (Bauer, Claus) Date: Fri Mar 14 02:06:04 2014 Subject: [Emsan-l] Dolby Beijing looking for researchers Message-ID: <80FE512A6E2C3C48AF22A123A58619CE23811904@DLB-XCHPW01.dolby.net> Dear Research community! Dolby Laboratories? group in Beijing continues to expand. It would be great if you could circulate the job specs below to potentially interested people. We look for fresh grads as well as experienced staff. Staff Research Engineer/Senior Research Engineer (Audio/speech algorithm architecture and design) Dolby Sound Technology Research, Beijing Overview Join the leader in entertainment innovation and help us design the future. At Dolby, science meets art, and high tech means more than computer code. As a member of the Dolby team, you?ll see and hear the results of your work everywhere, from movie theaters to smartphones. We continue to revolutionize how people create, deliver, and enjoy entertainment worldwide. To do that, we need the absolute best talent, including insatiably curious engineers and scientists for our advanced technology group. We?re big enough to give you all the resources you need, and small enough so you can make a real difference and earn recognition for your work. We offer a collegial culture, challenging projects, and excellent compensation and benefits. This position is in the Research Organization of Dolby Laboratories (www.dolby.com) and is located in Beijing, China. The Staff/Senior staff research engineer position focuses on the creation of audio signal processing technologies including the whole range of research from the underlying theoretical concepts to the development of prototypes that provide a proof of concept. As a part of an international team, the senior staff research engineer will work on ideas exploring new horizons in the audio processing, analysis, replay and organization. The researcher is responsible for performing fundamental new research, transfer technology to product groups, and draft patent applications. The position includes project leaderships for projects being part of Dolby?s global technology initiatives. This requires efficient interactions which different functional divisions within the company. The Staff Research Engineer position also requires the mentoring for more junior staff. We are looking for a self-motivated, highly talented individual interested in applying his or her skills in technologies involving a fundamental understanding of the way that sound sources (audio and voice) are captured, manipulated, coded, delivered, enhanced and played back using digital signal processing techniques. Applications include pre-processing, coding and post-processing solutions in market areas such as consumer electronics, mobile, broadcast, PC and digital cinema applications and other technologies crucial to Dolby Laboratories? success. The position involves working in cooperation with other technology developers/researchers within Dolby?s global research network, and the opportunity to propose new ideas for further investigation. Requirements: MsC/Ph.D (required) in Electrical Engineering/Computer Science with or without professional experience are both welcome. Desired: 3 years of applicable, hands-on commercial experience (strongly preferred), ? Demonstrated ability to create fundamentally new, novel (patentable) signal processing technologies and to envision applications those technologies in the form of innovative product solutions ? Strong innovator ? Proficient in advanced theory and application of audio signal processing techniques ? Highly skilled in C/C++ language and Matlab programming ? Team-oriented work ethic and interest to work in cross-continental teams ? Strong personal interest sound technologies and in learning, researching, and creating relevant new technologies with high commercial impact ? Independent, self-motivated worker requiring minimal supervision ? Fluent in Chinese and English. Excellent communication skills ? Good understanding of general acoustics Strongly Desired ? Experience working in a software development team, including software version control tools ? Real-time windows programming ? Real-time audio processing ? Willing to do occasional international travel ? Personal interest in audio in entertainment applications Please send your English and Chinese resume to cb@dolby.com -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mailman.ucalgary.ca/pipermail/emsan-l/attachments/20140313/9a66c675/attachment.html From mary-beth.campbell at mcgill.ca Tue Mar 11 13:18:18 2014 From: mary-beth.campbell at mcgill.ca (Mary-Beth Campbell, Ms.) Date: Fri Mar 14 04:58:45 2014 Subject: [Emsan-l] CIRMMT Director Search Message-ID: <21211_1394631732_53206434_21211_199_1_06D7425B5912014F91C4202523FEB88C475E076D@exmbx2010-8.campus.MCGILL.CA> MESSAGE FORWARDED ON BEHALF OF DEAN SEAN FERGUSON, CHAIR OF THE CIRMMT BOARD: Dear members of the CIRMMT community, I'm writing to provide you with some information regarding the Directorship of CIRMMT. Prof. Marcelo Wanderley has indicated that he will not renew his term as Director after this year. I am extremely grateful to him for having taken on this important responsibility during an important period in CIRMMT's history. Following discussions with CIRMMT Executive and with the university ? and following approval by the CIRMMT Board ? we are launching a search for a new Director. This will be a tenure-stream position in the Schulich School of Music in the Digital Humanities in Music. It is linked to a Tier 1 or 2 Canada Research Chair in the Digital Humanities in Music (i.e. the successful candidate will be nominated for a CRC) at the level of Assistant, Associate or Full Professor. The Digital Humanities are a strategic research area at McGill and at the Schulich School of Music. Please note that we are defining the digital humanities in music as broadly as possible, to include the interaction between computing and musicology, theory, ethnomusicology, performance, pedagogy and/or information science. The position (attached) will be posted as of Thursday, March 13, 2014. We would like to ask for your help in spreading the word as widely as possible and will provide a template text to use for email messages, if you wish. In order to track the applications, I would like to ask you to let us know at dean.music@mcgill.ca of any outstanding candidates that you have contacted. This will help us to know who may be interested and to monitor whether they have applied or not. It is extremely important that we recruit the finest possible candidate to lead CIRMMT into the future. Please do your utmost to help us reach qualified candidates. With best regards, Sean Ferguson Chair, CIRMMT Board Dean, Schulich School of Music Mary-Beth Campbell | Faculty Administrator | Dean?s Office | Schulich School of Music | McGill University | dean.music@mcgill.ca | 514-398-4538 _______________________________________________ CIRMMT mailing list CIRMMT@music.mcgill.ca http://music.mcgill.ca/mailman/listinfo/cirmmt -------------- next part -------------- Skipped content of type multipart/mixed From info at acma.asn.au Tue Mar 18 23:25:03 2014 From: info at acma.asn.au (ACMA) Date: Wed Mar 19 01:48:39 2014 Subject: [Emsan-l] ACMC 2014 Submissions Message-ID: Hi everyone, I hope your submissions for ACMC 2014 are coming along well. I want to announce that the upload system for your submissions is finally tested and active. Below I have included the full call for works which you can distribute across the internet. Hope to see you all in Melbourne! Tim Opie ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ACMC 2014 The 2014 Annual Conference of the Australasian Computer Music Association It is with great pleasure that we announce the 2014 Conference of the Australasian Computer Music Association. Dates: 9-11 July 2014 ? Conference presentations and performances 12-13 July 2014 ? Conference workshops Location: Melbourne, Australia. ACMC 2014 will be hosted by the Faculty of the Victorian College of the Arts (VCA) and the Melbourne Conservatorium of Music (MCM). The event is also supported by Box Hill Institute (BHI) and the Australian Forum for Acoustic Ecology (AFAE). Topic: ACMC 2014 will focus on harmony, with all of its implications and meanings. Harmony within music, arts, society, and the environment. This conference will strive to create harmony between the many disciplines relating to electronic and computer based practice, as well as explore aspects of harmony as a function and as an aspiration. Call for Works: The conference theme for 2014 is Harmony. We encourage the submission of musical works and papers examining any topic related to computer music and digital audio, including: aesthetic, compositional, educational, musicological, perceptual, interdisciplinary, scientific and technical aspects. Submission topics for the conference include: Theory and Philosophy Aesthetics Artificial Intelligence and Music Analysis of Electroacoustic and Electronic Music Spatialisation Techniques Live Coding Mobile Music Computing Networked Music Performance Digital Audio Signal Processing Interaction and Improvisation New Interfaces for Musical Expression Languages for Computer Music Interdisciplinary Approaches Music Information Retrieval Representation and Models for Computer Music Software and Hardware Systems Computer Systems in Music Education History of Electroacoustic and Electronic Music Composition Systems / Techniques Algorithmic Composition Analysis/Synthesis There are seven submission categories for ACMC 2014: Paper ? Refereed 6-8 pages maximum in Proceedings, 20 minutes lecture presentation. Submissions to be made as PDF. Musical Work ? Refereed To be performed. Works are subject to equipment and instrument availability. Submissions to be made as MP3, with a document outlining requirements. If video is an integral component of the musical work, please upload privately to Vimeo and provide us with a link in your documentation. Piece and Paper ? Refereed Papers linked with a musical presentation. 4 pages maximum in Proceedings, 10 minutes lecture presentation, and 10 minutes musical presentation. Artist Talks ? Not Refereed 4 pages maximum in Proceedings, 10 minutes lecture presentation. Poster ? Not Refereed 4 pages maximum in Proceedings, poster session for open discussion. Studio Reports ? Not Refereed 4 pages maximum in Proceedings, 10 minutes lecture presentation. Weekend Workshop ? Not Refereed Submit a proposal and we will discuss this with you. All Submissions are to be made here: http://conference.acma.asn.au/ocs/index.php/acmc/acmc2014/schedConf/cfp Templates for submission are here: http://acma.asn.au/ACMC-Templates.zip Submissions are due: Monday April 21, 2014 -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mailman.ucalgary.ca/pipermail/emsan-l/attachments/20140319/0cd65db0/attachment.html From mary-beth.campbell at mcgill.ca Tue Mar 11 13:18:18 2014 From: mary-beth.campbell at mcgill.ca (Mary-Beth Campbell, Ms.) Date: Wed Mar 19 01:50:08 2014 Subject: [Emsan-l] CIRMMT Director Search Message-ID: <21211_1394631732_53206434_21211_199_1_06D7425B5912014F91C4202523FEB88C475E076D@exmbx2010-8.campus.MCGILL.CA> MESSAGE FORWARDED ON BEHALF OF DEAN SEAN FERGUSON, CHAIR OF THE CIRMMT BOARD: Dear members of the CIRMMT community, I'm writing to provide you with some information regarding the Directorship of CIRMMT. Prof. Marcelo Wanderley has indicated that he will not renew his term as Director after this year. I am extremely grateful to him for having taken on this important responsibility during an important period in CIRMMT's history. Following discussions with CIRMMT Executive and with the university ? and following approval by the CIRMMT Board ? we are launching a search for a new Director. This will be a tenure-stream position in the Schulich School of Music in the Digital Humanities in Music. It is linked to a Tier 1 or 2 Canada Research Chair in the Digital Humanities in Music (i.e. the successful candidate will be nominated for a CRC) at the level of Assistant, Associate or Full Professor. The Digital Humanities are a strategic research area at McGill and at the Schulich School of Music. Please note that we are defining the digital humanities in music as broadly as possible, to include the interaction between computing and musicology, theory, ethnomusicology, performance, pedagogy and/or information science. The position (attached) will be posted as of Thursday, March 13, 2014. We would like to ask for your help in spreading the word as widely as possible and will provide a template text to use for email messages, if you wish. In order to track the applications, I would like to ask you to let us know at dean.music@mcgill.ca of any outstanding candidates that you have contacted. This will help us to know who may be interested and to monitor whether they have applied or not. It is extremely important that we recruit the finest possible candidate to lead CIRMMT into the future. Please do your utmost to help us reach qualified candidates. With best regards, Sean Ferguson Chair, CIRMMT Board Dean, Schulich School of Music Mary-Beth Campbell | Faculty Administrator | Dean?s Office | Schulich School of Music | McGill University | dean.music@mcgill.ca | 514-398-4538 _______________________________________________ CIRMMT@music.mcgill.ca http://music.mcgill.ca/mailman/listinfo/cirmmt -------------- next part -------------- Skipped content of type multipart/mixed From LLandy at dmu.ac.uk Wed Mar 19 02:02:52 2014 From: LLandy at dmu.ac.uk (Leigh Landy) Date: Wed Mar 19 02:42:21 2014 Subject: [Emsan-l] Call for submissions "Organised Sound" Issue 20/3 Message-ID: Organised Sound: An International Journal of Music and Technology Call for submissions Volume 20, Number 3 Issue thematic title: Aesthetic Radicalism, Future and Past Date of Publication: December 2015 Submission deadline: 15th January 2015 Guest Editors: Volker Straebel (volker.straebel@tu-berlin.de) and Martin Supper (supper@udk-berlin.de) In his seminal essay "At the ends of fruitful land?" (1955, Die Reihe 1), Pierre Boulez stated that "[r]arely in the history of music has the musician found himself in a more radical position, faced with as unaccustomed a task as the creation of the very sound itself". In his aim for the structural integration of sound synthesis and musical form, Boulez postulated the historic relevance of serialism as a shift of paradigms in music composition, theory and aesthetics. Since the early 1950s, Boulez claimed, to utilise acoustic instruments and to compose sound colours by merging their spectra became an artistic decision and aesthetic statement rather than a mere technique. If the introduction of sound synthesis as a means of composition was one shift of paradigms connected with electroacoustic sound ? after broadcast, recording and sound manipulation ? it was not meant to be the last. However, one could doubt whether later shifts were as radical in nature. Did developments such as experimental live-electronics, listener participation and mobility, intermedia synchronisation, easier access to means of production and distribution change our conception of music as fundamentally as the disappearance of the hic et nunc that performer and perceiver of music used to share? To further reflect on these questions, we invite contributions that address the notion of radical shifts of paradigms in electroacoustic music aesthetics. Areas of observation might include (and are by no means limited to): Techniques, conceptions and cultures of music composition, creation, and/or performance Means, conceptions and cultures of music distribution, consumption and/or reception Key works that changed our understanding of what music is, and shifts of attitudes towards the concept of masterworks Systems of aesthetic value, their changes, implications and justifications Artists? claims of aesthetic radicalism, their structure and function Shifts of perspectives in aesthetic discourse 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 January 2015 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 ===== -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mailman.ucalgary.ca/pipermail/emsan-l/attachments/20140319/48985ded/attachment.html From sandeep.bhagwati at gmail.com Thu Mar 20 11:53:28 2014 From: sandeep.bhagwati at gmail.com (Sandeep Bhagwati) Date: Thu Mar 20 12:13:25 2014 Subject: [Emsan-l] International Composition Competition - FEEDING MUSIC In-Reply-To: <3243FC83-6277-479C-A562-7A8BFDEB4A8C@divertimentoensemble.it> References: <3243FC83-6277-479C-A562-7A8BFDEB4A8C@divertimentoensemble.it> Message-ID: Divertimento Ensemble, conducted by Maestro Sandro Gorli and committed to the promotion of contemporary music for more than 30 years, is pleased to announce the international composition competition Feeding Music - Compositions from the world for the Italian Pavilion at EXPO Milano 2015 Musical Creativity Takes on Social and Environmental Themes The competition is organized by EXPO 2015's Italian Pavilion in conjunction with Divertimento Ensemble, the City of Milano, the Region of Lombardia, MITO SettembreMusica and Sentieri selvaggi. The competition is open to composers of all nationalities, born after December 31, 1973. Participants are asked to submit original scores of musical pieces for ensembles of no more than 16 musicians by May 30, 2014. An international jury will select 50 finalists. The 50 finalists will be asked to submit a new composition. From May 2 to July 31, 2015 Divertimento Ensemble and Sentieri selvaggi will feature the 50 new compositions at world premiere performances inside the Italian Pavilion at EXPO 2015 and the composers will be hosted at EXPO 2015. The Italian Pavilion will award ?15,000 for the best composition selected by the jury from among the 50 premieres. MITO SettembreMusica, Divertimento Ensemble and Sentieri selvaggi will also select ten pieces from among the 50 new compositions to include in their respective programs. The PDF of the competition announcement is attached to this email. Visit www.nutrirelamusica.padiglioneitaliaexpo2015.com for subscription. Please feel free to spread the word about this initiative to any composers that might be interested in participating. Thank you very much. Best regards, Marta Ceron ____________________________ Divertimento Ensemble www.divertimentoensemble.it de@divertimentoensemble.it Tel 333 5957898 -------------- next part -------------- Skipped content of type multipart/mixed