Sound and music computing
Comprendre les enjeux pour les technologies audio et la recherche musicale du navigateur web. Les conférences sont en ligne !
Wednesday 25th February 20159am-1pm in the Hugh Aston Building 3.03The Conference includes:Keynote presentation: D for Dissertation: ‘Dread’, ‘Deliberate’, ‘Delay’, ‘Damn!’, Deadly’, ‘Determined’, ‘Done!’, ‘Delighted’
- Dr Debbie LePlay, Head of Quality in the Faculty of Art, Design and Humanities
- Choice of two workshops from: Finding excellent research, How to write a literature review, Developing a convincing argument, Writing when you don’t want to write, Structuring your dissertation or extended report, How to sound critical in your writing
- ‘Ask the Marker Panel’: Your chance to ask questions of dissertation module leaders from a range of subjects about what makes excellent work
To book a place, please go to: www.library.dmu.ac.uk/link/CLASSOrganised by the ‘Centre for Learning and Study Support’Library and Learning Services
Jimmy Tobin - "Short-term neuroplastic changes associated with learning of novel auditory-motor skills and subsequent sleep measured by electroencephalography (EEG)
Iran Roman - "Identifying ERPs Associated with the Syntactical Meaning of Timbre and Density in Music"
John Chowning - "Video of Johan Sundberg’s demonstration of vocal resonances" FREE Open to the Public
Sixth International Symposium on
Music/Sonic Art: Practices and Theories
MuSA 2015 – Karlsruhe (IMWI)
25-28 June, 2015
Hochschule für Musik, Karlsruhe –
Institut für Musikwissenschaft und Musikinformatik (IMWI)
Am Schloss Gottesaue 7, 76131 Karlsruhe
FIRST CALL FOR PAPERS:
We are pleased to announce the Sixth International Symposium on Music and Sonic Art: Practices and Theories (MuSA 2015), an interdisciplinary event to be held in Karlsruhe, Germany at the Institut für Musikwissenschaft und Musikinformatik (IMWI) (http://www.hit-karlsruhe.de/hfm-ka/imm/). MuSA 2015 is also supported by Middlesex University, London. The dates of the Symposium are 25-28 June, 2015.
Proposals for sessions and individual papers for the Sixth International Symposium on Music and Sonic Art: Practices and Theories are invited from academics, independent researchers, practitioners and post-graduate students. Presentation formats include academic research papers (20 minutes + 10 minutes for discussion); reports on practice-based/artistic research or educational programmes (20 minutes + 10 minutes for discussion); and workshops, panel sessions, lecture-demonstrations (30 minutes + 15 minutes for discussion). The Symposium committee encourages presentations in which practice forms an integral part of the research. All proposals will be ‘blind’ peer-reviewed. The Symposium language will be English. Previous themes and topics can be seen at: musa2012.zilmusic.com, musa2013.zilmusic.com, musa2014.zilmusic.com
THEME AND TOPICS:
The principal aim of MuSA 2015 is to advance interdisciplinary investigations in – as well as between – music and sonic art. Following the success of MuSA 2014 in opening up interdisciplinary debate on the role of embodied approaches, MuSA 2015 will continue to probe this research area through the Symposium theme: Exploring embodiment in music and sonic art.
We invite submissions on the following, and other related topics:
- Body movement and emergence of meaning;
- Embodied approaches to creativity;
- Kinematics and haptics as background for music and sonic art research;
- Gesture and expression;
- Methods for embodied analysis;
- Phenomenology of the performing body;
- The body within socio-cultural contexts of music and sonic art;
- Pedagogical contexts for embodied approaches to music and sonic art;
- The body in interpersonal sound-based communication;
- Ecological, biological, neuroscientific and evolutionary approaches to embodiment;
- Historical roots of embodied approaches in theory and practice;
- Technology and embodiment;
- Artificial intelligence and embodiment;
- Critical discourses of embodiment in practice and research;
- Embodied aesthetics;
- Embodiment in collaborative research;
Other topics that are in line with the Symposium’s broad aim of promoting interdisciplinary research within and across Music and Sonic Art will also be considered.
In addition, MuSA 2015 will devote one day to the specific theme: Re-thinking the Musical Instrument
Within the thriving discipline of musical performance studies, there is a general tendency to speak of ‘the performer’ as an abstract category without taking into account the kind of musical instrument that mediates the act of music making and music as a temporally emergent, sounding phenomenon. In reality, different kinds of musical instruments involve different expressive means (and at times different expressive/artistic aims), engender different phenomenologies of performance making, and generate different kinds of performer identities. The nature of the embodied interaction with different instruments in composition and performance, and the expressive and communicative meanings that emerge as a result of such interaction constitute a largely unexplored research territory.
Some of the topics that will be explored include:
• The acoustical, musical, cultural, symbolic, and ritualistic qualities of musical instruments and the relationships between these (theoretically) distinct kinds of qualities;
• The discourses that exist in relation to musical instruments in different genres, styles and traditions;
• The gestural affordances and ergonomic principles of musical instruments and the musical meanings that emerge as a result of these affordances and principles;
• Performers, improvisers and their instruments: phenomenologies of music making in the context of particular kinds of musical instruments;
• Composer and instruments: the material, acoustical and expressive qualities of instruments and their relationship to musical languages composers create;
• Relationships between creativity in performance, nature of musical interpretation and musical instruments;
• The role of the musical instrument in the creation of musical identities;
We invite proposals on any research area related to the nature and use of western acoustical instruments, traditional ethnic instruments and digital/virtual instruments.
Please submit an abstract of approximately 250-300 words as an e-mail attachment to email@example.com
Please specify whether you wish your abstract to be considered for the one-day ‘Re-thinking the musical instrument’ event.
As contributions will be ‘blind’ peer-reviewed, please do not include information that might facilitate identification from the abstract. In addition, please include separately the name(s) of the author(s), institutional affiliation (if any) and short biography (approximately 100 words). Deadline for the receipt of abstracts is Monday, 27 April 2015. Notification of acceptance will be sent by 8 May.
The Symposium fees are: €120 for delegates (day rate: €40), €100 for presenters (day rate: €35), and €60 for students and others who qualify for concessions (day rate: €20).
If additional information is required please do not hesitate to contact Prof. Dr. Mine Doğantan-Dack or any member of the symposium committee:
Prof. Dr. Mine Doğantan-Dack (University of Oxford) –
Prof. Dr. Thomas A. Troge (IMWI, Karlsruhe) – firstname.lastname@example.org
Prof. Dr. Denis Lorrain (IMWI, Karlsruhe) – email@example.com
Prof. Dr. Paulo Ferreira-Lopes (Universita Cattolica Porto/ HfM-Karlsruhe) – firstname.lastname@example.org
Prof. Miroslav Spasov (Keele University, Music Department) – email@example.com
Dr. John Dack (Middlesex University, Art & Design / Science & Technology) – firstname.lastname@example.org
Adrian Palka (Coventry University) – email@example.com
Timothy P. Schmele (IMWI, Karlsruhe) – firstname.lastname@example.org
Administrative support: Gundi Rössler (IMWI, Karlsruhe) – email@example.com
After the success of the first two volumes of The OM Composer’s Book, a new call for contribution is open for The OM Composer’s Book .3.
Contributions to this volume should consist of 10-20 pages chapters providing the description of a musical work making use of computer-aided composition and OM, highlighting a personal approach to composition using computer tools.
Texts shall be written in English. LaTeX format preferred but MS Word or other standard text processing software formats accepted. It is encouraged to illustrate the discourse with high-quality screen captures and score excerpts.
In order to contribute, please send a chapter proposal (1-2 pages max.) to jean [dot] bresson [at] ircam [dot] fr.
There is no strict deadline for proposals but full texts will be expected by june 2015.
Stage logiciel. Synchroniser le jeu instrumental avec l'électronique. 6 & 7 mars
Séance articulée autour du nouveau livre de Tom Johnson "Other Harmony: Beyond Tonal and Atonal". 6 mars à 14h30
The last two weeks, Maia Urstad has been in BEKs sound studio, preparing for the Barents Spektakel. Radio Barents – a radio performance is an 8-channel musical piece for portable radios, where performers move around and among the audience, carrying the sound, to make an ever changing sound atmosphere.
[extract from the Barents Spektakel Program]
A radio performance by Maia Urstad (NO)
Saturday 11:00 – 12:00
Are you on FM or AM?
A kitchen-radio is the most accessible machine to travel in time and space. “Hello, this is Munich FM 90,3” Turn the wheel back and we are two hours further in Moscow. Spending time with a radio means to discover languages we`ve never heard, information we`ll never understand, voices we`ll never meet, discussions we’ll never join.
Who listens to FM and who prefers AM? Is a radio a one-sided information tool or is it used for two-way communication?
The audio and visual artist, Maia Urstad, travels all over the world to catch the sound of radios, transmitters, radio amateurs and operators. In combination with a special technique and 20 performers she presents a site-specific performance for the Norwegian-Russian borderland during Barents Spektakel 2015.
Radio Barents – a radio performance will be performed during the Visual Art Seminar. Open to the public.
Production: Pikene på Broen
Photo: Maia Urstad
- Thon Hotel, Kirkenes - 07/02/2015 10:00
STOKOS, CINTES I REACTABLE
Sunday 02/15/2015 - 12: 00 PM
Museu de la Música de Barcelona – L’Auditori
C / Lepant 150, 2nd floor
General admission 7€ (includes museum admission and guided tour at 11am). Tickets at the museum reception.
This concert is part of the series "La Música del Museu" and "Sampler Series" of L’Auditori, dedicated to new music, and it is also part of the activities related to the exhibition "Phonos, 40 years of electronic music in Barcelona".
In this session we will discover and hear some of the instruments that are part of the exhibition: Stokos, RSF Kobol and Reactable. An opportunity to hear in a concert some unique instruments that have been part of the history of Phonos and electronic music in Barcelona.
- Introduction to Stokos IV and presentation of the app 'Stokos virtual'. (Andrés Lewin-Richter, Albert Callejo)
- Espai Sonor IV by Josep Maria Mestres Quadreny. Percussion and electronics. (Pilar Subirà)
- Introduction to RSF Kobol synthesizer and Reactable. (Perfecto Herrera, Sergi Jorda)
- RSF vs. Reactable, digitanalog elecprovisation. (Perfecto Herrera and Sergi Jorda)
with the support of:Museu de la Música L'Auditori Generalitat de Catalunya: Departament de Cultura
Ajuntament de Barcelona: Barcelona Cultura
Universitat Pompeu Fabra
Pianist Cristina Valdés will perform a program of 20th and 21st Century Piano Music. The program will include music by Robert Platz, Helmut Lachenmann, Giacinto Scelsi, and Jonathan Harvey.
Mikhail Malt a soutenu le 4 février dernier son mémoire HDR à Strasbourg, et le présente dans ce séminaire. 12 févrierLa représentation dans le cadre de la composition et de la musicologie assistées par ordinateur, de la raison graphique à la contrainte cognitive
S'il est clair qu'il est possible de faire de la musique avec les outils de la musique, il nous semble bien moins évident d'en parler et/ou de communiquer à son propos avec ces mêmes outils. Ainsi, nous avons toujours eu besoin de nous appuyer sur l'utilisation du langage naturel et de développer un grand nombre de représentations pour pouvoir parler et communiquer sur la musique. L'arrivée de l'informatique a poussé plus loin ce besoin de représentation.
Dans ce mémoire, nous nous attellerons à présenter le concept de représentation, tant du point de vue du processus (représenter) que de celui de l'objet généré (la représentation) dans le contexte de la composition musicale assistée par ordinateur et de la musicologie computationnelle. Notre intérêt se portera principalement sur les propriétés épistémologiques et les divers corollaires du processus, de l'objet généré et plus particulièrement sur les représentations en tant que déterminants cognitifs : comment les représentations induisent-elles le champ opératoire et orientent-elles nos choix ?
Date : jeudi 12 février à 12hLieu : Ircam, salle StravinskyEntrée libre dans la limite des places disponibles
Computers science is the future, join us in creating it.
31st Conference Workshop on Computational Geometry will be held on Faculty of Computer Science and Informatics from 15 until 18 March 2015.
We would like to inform you that the Ministry of Education, Science and Sport has published a call for enrolment in undergraduate and uniform Master’s study programmes for the 2015/2016 academic year on their website.
Fin du projet Legos (apprentissage sensori-moteur dans les systèmes interactifs sonores basés sur le geste). Workshop. 2-3 mars, Ircam
Mathématiques et calculs dans les domaines de l'interprétation et de la composition. 13-15 février, Singapour
Time: Tue 2015-02-03 15.00 - 17.00
Location: TMH, Room Fantum, 5th floor, Lindstedtsvägen 24
Type of event: Seminars
Gautham Mysore - Hello Again CCRMA - Machine Learning and Signal Processing for Real-World Audio Applications
Bio: FREE Open to the Public
Ensemble Schallfeld in cooperation with “Kulturzentrum bei den Minoriten” invites composers from all nationalities born in or after 1974 to send in pieces for ensemble and electronics.
Since 2013 Schallfeld has been active in Graz and Austria as a young ensemble and platform for the promotion of contemporary music by international composers, mostly of the younger generation. Beyond being a “traditional ensemble”, Schallfeld is active as a free artists’ collective, consisting of musicians with different backgrounds and interests. This leads to the great diversity of Schallfeld’s activities, ranging from music theatre to sound art, chamber music, improvisation and educational activities.
Deadline: 2015-04-01, for detailed terms see
Musical influences run the gamut from Iannis Xenakis to Journey. Members include Norah Lorway, Konstantinos Vasilakos, Luca Danieli, Tsun Yeung, and Scott Wilson. For this performance BEER presents a selection of pieces from the ensemble’s repertoire, including the premiere of a new work by Norah Lorway.
All welcome! Entry Free! Essential for MUST1009, MUST2003, MUST2007, MUST3000/3024 concert reports, programmers, composition etc.!
At 1pm that day (MTI Research Lab, Clephan 0.19) Nick Collins and Scott Wilson present their ideas in a Research Seminar -
Dr Nick Collins (Durham) - 'Large-scale corpus analysis of electronic music'
In which researchers on an AHRC funded mini-project attempt to build a larger scale (circa 2000 piece) audio corpus of electronic music from 1948-2000, and run automatic machine analysis experiments.
Dr Scott Wilson (Birmingham) - ‘Free as in BEER’
The Birmingham Ensemble for Electroacoustic Research (BEER) was founded in 2011 as a research project to explore aspects of realtime electroacoustic music making. Particular interests include networked music performance over ad hoc wi-fi systems, and live coding (programming music in real time using algorithms that can be altered while they are running).