Seamus Online

SoundCrawl 2012 Call for Works

Evan — Thu, 03 May 2012 08:08:36 +0000

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

Professorial Lecturer in Audio Technology (full-time)

Evan — Wed, 11 Apr 2012 03:32:28 +0000

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.

The Walden School Creative Musicians Retreat

Evan — Tue, 20 Mar 2012 16:31:57 +0000

The Walden School is pleased to announce its Creative Musicians Retreat, to be held June 9-17, 2012 at Smith College in Northampton, Massachusetts. Designed for composers, improvisers and performers (18+), the workshop will allow participants to engage in creative music-making through musicianship, composition, improvisation, computer music, choral singing and more. All participants will have the opportunity to write for the Ensemble-in-Residence, the Wet Ink Ensemble. James Mobberley will be the 2012 Composer-in-Residence. For more information, please visit our website: http://waldenschool.org/creative-musicians-retreat or email us at retreat@waldenschool.org.

More information about CMR: http://waldenschool.org/creative-musicians-retreat/

More information about our Composer-in-Residence, James Mobberley: http://conservatory.umkc.edu/faculty-profile.cfm?id=50

More information about the Ensemble-in-Residence, WetInk: http://wetink.org/

Deadlines: March 30 and April 27

31st IAWM Search for New Music by Women Composers 2012 Competition

Evan — Mon, 27 Feb 2012 17:32:48 +0000

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

Call for Proposals to host SEAMUS 2014

Christopher Hopkins — Sun, 26 Feb 2012 18:18:53 +0000

The Call for Proposals to host SEAMUS 2014 is open.

Hosting a SEAMUS conference draws national attention to an institution and its programs in composition, computer music, and arts technology. The conference offers faculty and ensembles from the host institution opportunities for national-level performances and contact with renowned guest performers. The conference is the focal point of the ASCAP/SEAMUS student composition competition, and each year features a prominent national figure as recipient of the SEAMUS Award.

The deadline for Preliminary Proposals is June 1, 2012, but the best thing to do now is to contact me, Christopher Hopkins, SEAMUS Director of Conferences, to get questions answered and discuss the feasibility of hosting the conference while drafting the proposal. Although not a requirement, I will be pleased to review drafts of proposals as they develop to ensure they are complete and present the most favorable case. Once submitted, all preliminary proposals will be reviewed by the Board of Directors which will then invite final proposals, which will respond to any questions the Board may have and which must include a final endorsement from the host institution’s administration.

The Call for Proposals to Host SEAMUS 2014 is here.

Florida State Festival of New Music Call for Scores

Evan — Mon, 20 Feb 2012 19:19:57 +0000

The Florida State University College of Music announces the Sixteenth Biennial

Festival of New Music

With Special Guest Composer: Zhou Long

January 31 – February 2, 2013

CALL FOR SCORES

Composers are invited to submit compositions for consideration. Preference will be given to recent works. Student compositions are encouraged. Electroacoustic submissions in stereo or multi-channel sound, as well as those works employing live performance with instruments/ electronics and works that involve projected visual media (film, animation), must be submitted in recorded formats.

Composers, please send the following:

• Scores. Include two hard copies and one digital copy of each score with timings and dates. No more than two different works may be submitted.

• Parts. For works requiring more than six performers please guarantee immediate availability of performance materials.

• Biographical information. 200 words or less.

• Recordings. One compact disc audio recording and one digital MP3 of submitted works on a separate compact disc.

• Cover sheet. On a separate sheet, include your name, address, telephone numbers, e-mail address, title of work(s) with instrumentation, duration, and date of composition. Please identify if you are a student composer.

• Return of materials. If you would like your materials returned, include a self addressed stamped envelope with postage. Receipt of materials will be confirmed by email.

Postmark Deadline for Submissions is June 1, 2012

Address submissions to:

Festival of New Music
Attn: Leo Welch, Associate Dean
College of Music, The Florida State University
Tallahassee, FL 32306-1180
U.S.A.

www.music.fsu.edu/FNM2013

THE FLUTIST’S FIELD GUIDE CALL FOR SCORES

Evan — Mon, 20 Feb 2012 19:18:25 +0000

Internationally acclaimed flutist Nina Assimakopoulos (www.ninaassimakopoulos.info) (the Laurels Project www.ninaassimakopoulos.info/pages/laurels/home) has commissioned, premiered and recorded over 50 new works for flute. She is requesting the submission of scores to be considered for her new commissioning project:

Title: The Flutist’s Field Guide to Birds, Insects and Flowers of the World

Composers are to use as a programmatic point of entry a type of bird, insect, or flower of the world and include a written description for program notes. Poetry, direct citations from field guides, personal descriptions are examples of sources that may be used.

Pieces selected will be performed at the National Flute Association Convention and on tour in the US and abroad and may be included in a premiere CD recording.

Submission details:

1. Up to three pieces or musical “guides” may be submitted.

2. The maximum duration of each submitted work is 3 minutes.

3. Submissions may be for C, alto, bass flute, or piccolo solo.

4. If desired, submitted works may include fixed media (preferred) or interactive electronics and may also include percussive instruments.

5. The use of any and all extended techniques is possible but more traditional approaches will also be considered.

6. Submitted works must not have been professionally recorded nor received a public performance.

7. Composers are strongly encouraged to submit some form of an audio realization with their score(s). Submissions without audio will be the last to be considered.

8. Submission deadline has been extended to May 1, 2012.

9. Please submit all materials electronically (pdf/mp3 format only) to Nina Assimakopoulos:
nassimaflute (at) gmail (dot) com

Please contact the same email address with any questions regarding submission requirements.

New issue of Newsletter is available!

cornicello — Tue, 14 Feb 2012 05:49:42 +0000

The main focus of this issue is the review of the Max Conference held in Brooklyn in October, 2011. As opposed to many conferences that I have attended (SEAMUS, for instance), this was a more technical event. The main focus was on programing, gear, and a variety of extensions to the Max environment. Surprisingly, there was little music played!

Of course, the main focus was on the imminent release of Max 6. We were able to download a preview demo of the latest upgrade, and it certainly looks exciting. There are many new features, including a newly designed editor with a tool that allows you to select objects from a list within Max. The new Gen object appears to have a multitude of functions that enhance speed and portability of Max patches. Thanks to Lief Ellis, who wrote the proverbial lion’s share of the concert review.

Many of us have used CSound in the past – back in the days when a ‘text-driven’ program was the only option. The program has continued to evolve, and the latest incarnation comes to us in the form of a plug-in for Ableton Live. The plug-in is reviewed in this issue, thanks to Mark Zaki.

As usual, there is the Member News, which includes announcements of recent performances, recordings, and other news items.

You can get it here: www.seamusonline.org/newsletter/2011-4.pdf

June in Buffalo Call for Scores

Evan — Mon, 30 Jan 2012 17:30:48 +0000

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.

Call for Entries: Sonification Competition for ICAD 2012

Evan — Wed, 07 Dec 2011 02:27:37 +0000

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.