The University of Richmond has an opening for a Music Technology Specialist.

The Music Technology Lab is a 17-station Macintosh-based facility in the Music Department that supports composition, arranging, music theory and electroacoustic music classes. The Lab and the attached Project Studio are also used to record student, faculty and visiting performers.

Responsibilities

• Maintain and update computer hardware and software, audio hardware in Music Technology Lab and Project Studio (15 station Macintosh lab, as well as two servers)
• Schedule and supervise recordings of Modlin Center and Music Department Concerts
• Record, edit and master student audition tapes and faculty performances or related projects
• Assist faculty in use of Music Technology Lab for their classes
• Train student employees in use of audio equipment
• Assist students in the use of the lab
• Assist in live performances that incorporate technology

Apply online at https://www.urjobs.org/applicants/jsp/shared/frameset/Frameset.jsp?time=1345765203477

Picture a beautiful night in Nashville when all the galleries are open. Beautiful people, drinks in hand, drift from one gallery to another to experience the best the city has to offer in visual art. Now imagine that at various points along the way something new as been added, an opportunity to experience a new kind of art, art that you HEAR… sound art.

So in between the experience of the visual arts, artists and guests alike gather to listen to…a rhythmic beat of water drops… or a dizzying immersion of the sound of coins moving through space…synthetic audio wrapping around, tickling the eardrums of a city.

Soundcrawl is pleased to announce its return for a fourth sonic immersion of Music City. The events will take place in downtown Nashville from October 6-13th at various locations including the historic Arcade building, Brick Factory Nashville, and the Blackbox theatre at Belmont University.

New this year will be the festival’s home base at Brick Factory Nashville, which will allow our fixed media works and installations to be up all week. The festival will kick off October 6th with our annual Mainstage at the First Saturday Artcrawl at the historic Arcade Building. Also new this year will be prizes for the top works (as determined by a blind jury).

about the ArtCrawl: (from www.artatthearcade.com):Every first Saturday of the month, the historic Arcade in downtown Nashville comes to life with over one thousand visitors. Multiple galleries open their doors to avid art lovers as well as anyone else that is just curious to see what the Gallery Crawl is all about. Art at the Arcade is a collective organization that hosts an assortment of contemporary artists from throughout the world to Nashville.

CALL FOR WORKS:

Soundcrawl welcomes new media submissions from composers, video artists, sound engineers, sound artists & tinkerers from every corner of the world. If it’s adventurous, beautiful, artistic and “plugs in.” we’d love to hear it! Video works, installation art and live performances are also welcome.

Length: 15 minutes or less.

GENRES: We accept anything in a fixed digital file, and try to cover our bases for the streams of activity as we see them: synthesis, music concrete, soundscapes & poetry. We also present video art, interactive pieces/installations, and live performances.

FILE TYPE: only .aif audio files titled LASTNAME_TITLE.aif will be accepted. Multichannel works should be clearly labeled and sent in a .zip folder.

Video files should be .mov files also titled LASTNAME_TITLE.mov

DEADLINE: The Call for Works is open until July 1st, 2012. Submitting artists will be notified by September 1st, 2012 and are welcome to attend.

RESIDENCY: there is no residency requirement.

FEES: there is a $5 fee per work submitted.

DISTINCTIVES: SoundCrawl presents the technical specifications of each work selected. Please provide information regarding DAW platform, plugin families, make and model of microphones, etc.

RIGHTS/PERMISSIONS: We produce audio compilations of every festival for sale to help offset costs. We also stream selected works online, and are developing additional avenues to make these incredible works available to an even broader audience. We ask for your permission to include your submitted works in these efforts. We remain committed to the livelihood of our artists through media exposure and commissions, but have found that the administrative costs far outweigh the benefits of managing and distributing royalties. (We tracked and paid royalties our first year and no artist was due more than $1 USD) If you are an artist with representation or an existing distribution deal, feel free to opt out, and we will honor your contracts by omitting your work from the compilations.

NEW THIS YEAR: Prizes!
Thanks to the generosity of our sponsors, we’re pleased to announce the following prizes and categories for the 2012 Festival:

Sound Art: a Zoom H4n and a digital subscription to Electronic Musician

Binaural Audio Miniature: Sennheiser HD280 Headphones and Electronic Musician

Resident Nashville Artist: A one year membership to Brick Factory Nashville and Electronic Musician

Live Performance with Technology: A free copy of Weiv and Electronic Musician

CLICK HERE TO SUBMIT WORK

The Department of Performing Arts in the College of Arts and Sciences at American University seeks a full-time, one-year faculty member in Audio Technology at the rank of either Professorial Lecturer or, for research-active candidates, Assistant Professor. The position may be renewed pending budgetary approval. Applicants should have the ability to teach courses in one or more of the following specializations: music recording and production, live sound, sound for film, broadcast audio, and audio equipment and system design. Responsibilities include undergraduate and graduate courses in audio technology, student advising and mentoring, graduate thesis advising, and participation in departmental service activities. A Bachelor’s degree in audio technology or a related discipline with significant professional experience and accomplishment will be considered; a graduate degree in audio technology or a related discipline is preferred.

To apply, submit a letter of application, curriculum vitae, and three letters of recommendation. Review of applications will begin on May 7 and continue until filled. Send to: Audio Technology Search, Department of Performing Arts/Katzen Ctr, American University, 4400 Massachusetts Ave., NW, Washington, DC 20016-8053, or e-mail materials to streeks@american.edu. American University is an affirmative action/equal opportunity employer committed to a diverse faculty, staff and student body. Women and minority candidates are encouraged to apply.

Receipt Deadline: March 15, 2012

Ruth Anderson Prize ($1,000)
Commission for a new sound installation with electro-acoustic music
To apply, submit a detailed proposal of the sound installation. The project must be completed within 12 months of notification of the award. The prize may include the opportunity to work with a mentor who has previous installation experience. The winner will receive the award money after submitting a report to IAWM following the public showing of the completed installation. Location of the installation may be, but is not restricted to, an IAWM annual concert or congress.

Theodore Front Prize ($300)
(minimum age – twenty-two)
Chamber and orchestral works
Sponsored by Theodore Front Musical Literature, Inc.

Miriam Gideon Prize ($500)
(minimum age – fifty)
Works for solo voice and one to five instruments

Sylvia Glickman Memorial Prize ($500)
(minimum age – forty)
Works for piano trio or quartet, or any combination of 4 instruments drawing from woodwinds, strings, and piano. The work must be unpublished with no professional performance.
Given by Harvey Glickman in memory of his wife and supported by the Hildegard Institute.

Libby Larsen Prize ($200)
(must be currently enrolled in school)
Works for any medium

New Genre Prize ($200)
For innovation in form or style, including improvisation, multimedia, use of non-traditional notation. If no score is used, a description of the work and its structure must accompany the audio CD or DVD.

Pauline Oliveros Prize ($150)
Works for electro-acoustic media

PatsyLu Prize ($500)
(for women of color and/or lesbians)
Works for any medium

Judith Lang Zaimont Prize ($400)
(minimum age – thirty, whose music has not yet been recorded or published)
Extended instrumental compositions: large solo or chamber works

Ellen Taaffe Zwilich Prize ($200)
(maximum age – twenty-one)
Works for any medium

Each prize category has its own monetary award as indicated.

Competition Requirements and Rules:

Contestants must be IAWM members or must join before entering ($55.00 individual, $30 student, $45 senior 65 and over). If you are not a member, include a check for membership with your submission or follow the instructions on the IAWM website for becoming a member and paying via Paypal. Paying online via Paypal is recommended to avoid problems cashing checks, especially for members outside the United States.

For current members, remember that the membership year begins January 1. Please check that your dues are up-to-date for 2012.

IMPORTANT: If you are not a member, your entry will not be considered

A composer may submit only one piece in any given year in only one chosen category. Please do not send more than one composition total. Winners of previous SNM Awards cannot apply for two years subsequent to their award (for 2012, this includes winners of the 2010 and 2011 competitions). There is no restriction on submissions for those who received honorable mentions.

The work submitted must be unpublished by a major publishing house and must have won no prior awards at the time of entry in the competition. Self-published works are allowed. For the Zaimont Prize, the work must also have no plans to be professionally recorded when it is submitted. The Glickman Prize requires the work to be unpublished and unperformed.

No scores or recordings will be returned.

IAWM reserves the right to withhold an award, should the judging panel so recommend.

Contact the Search for New Music Coordinator with questions by sending email tosnm@iawm.org. For 2012, the coordinator is Pamela Marshall.

More Information:

For more information, see http://www.iawm.org/snm_2012.htm

Presented by the Department of Music and The Robert and Carol Morris Center for 21st Century Music, June in Buffalo, a festival and conference dedicated to composers, will take place from June 4 -10, 2012 at the University at Buffalo. June in Buffalo offers an intensive schedule of seminars, lectures, workshops, professional presentations, participant forums and open rehearsals as well as afternoon and evening concerts open to the general public and critics. Each of the invited composers will have one of his/her pieces performed during the festival. Evening performances feature faculty composers, resident ensembles and soloists renowned internationally as interpreters of contemporary music.

Download the June in Buffalo call for scores.

Theme: Listening to the World Listening

Composers, sound artists, and sonification researchers are invited to create sonifications for the ICAD 2012 sonification competition.

Competition Theme

This competition adopts the theme ‘Listening to the World Listening’ as it challenges us to explore what we can learn about listening through the analysis and sonification of social media data about listening.

There is no static data set for this competition; instead, entrants are invited to use a set of data APIs to obtain social media listening data. Use of a Twitter Music Trends data feed, which aggregates music listening data from Twitter by artist, is required. Entrants may optionally gather related data about the tweets themselves from the Twitter API, and about the referenced artists from the MusicBrainz and Echo Nest APIs. Detailed information about each API is included in the full call at http://distributedmusic.gatech.edu/icad/.

Deadline for submissions: March 1, 2012

Notification of finalists: April 1, 2012

Submission Requirements:

Sonifications may be fixed-media audio files, interactive software programs or web sites, smartphone apps, musical performances, or sound installations. They may sonify the data in real time or out of real time. They may work with as little as a single set of fifty artists from Twitter Music Trends or as much as several months worth of data collected across all of the APIs.

Submissions must include an audio or video recording, no more than five minutes in length, of the complete sonification, excerpts from the sonification, or documentation of the sonification, as appropriate. Submissions must also include a 2-4 page statement, following the ICAD 2012 paper template, that describes the techniques used to create the sonification and the motivations behind them.

All questions should be addressed to Jason Freeman, ICAD 2012 Music Chair.

ART342 is now accepting artist-in-residence applications for 14 week and 6 week residencies in 2012.

On-line application: https://art342.slideroom.com/

Deadline for all Summer and Fall 2012 residencies: February 1, 2012

ART342 offers 14-week and 6-week residencies to emerging and established artists, writers and composers. Studios, a kiln and basic equipment are available for most visual artists, including ceramicists. Quiet spaces exist for creative or scholarly writers. The composer’s studio is outfitted with a Steinway B, computers and software for writing and recording.

Awards for accepted applicants include 24-hour access to free studios, living space and a modest stipend. Residents are responsible for personal expenses and travel to and from the site.
Situated in a semi-rural area, ART342 is just 6 miles north of Historic Old Town in Fort Collins. Up to 7 studios and 5 living spaces are maintained as private places for creative work. Pets, children, visitors and partners are strongly discouraged.

$30 application fee

For more information regarding application and residency details, visit: www.art342.org