Professorial Lecturer in Audio Technology (full-time)

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 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.


04 2012

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

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 For 2012, the coordinator is Pamela Marshall.

More Information:

For more information, see


02 2012

Florida State Festival of New Music Call for Scores

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


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


02 2012


Internationally acclaimed flutist Nina Assimakopoulos ( (the Laurels Project 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.


02 2012

June in Buffalo Call for Scores

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.


01 2012

Call for Entries: Sonification Competition for ICAD 2012

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

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.


12 2011

ART 342 Residency 2012

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

On-line application:

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:


12 2011

Call for Submissions: Composit New Music Festival

Composit is a new international summer festival for composers of new music. For its first edition, the Composit new music festival will take place from July 2nd through 12th 2012 in the enchanting Villa Battistini located in the beautiful hills surrounding the city of Rieti, Italy, 50 miles outside of Rome.

Tristan Murail and Joshua Fineberg, the two leading figures of the spectral movement, will work with participating composers in individual lessons, group seminars and master-classes. Seminars will feature presentations and discussions of the participants’ works and master-classes will address issues of contemporary aesthetics, instrumental techniques, orchestration, analysis and computer assisted composition. All courses will be taught in English.

Additionally, each composer will work closely with the ensemble in residence, L`Arsenale. Rehearsals and workshops with the ensemble will form an integral part of the course and will be led by the senior composers. There will be two public evening concerts featuring a work by each of the participants, as well as works by the senior faculty members.

Festival Links


12 2011


The Conservatory of Music at Oberlin College invites applications for a two-year position in the Technology in Music and Related Arts (TIMARA) Department beginning in the 2012-2013 academic year.

Responsibilities: The successful candidate will teach experimental composition focusing on technological media and interdisciplinary collaboration; teach a course in analog and digital studio techniques, DAW, basic recording, history of electro-acoustic music, and repertoire; teach courses in digital sound synthesis, Max/MSP/Jitter, and other areas related to multimedia practice (video, installation, interactive performance, etc.); mentor students on artistic, academic, and professional matters; and participate in committees, meetings, and activities of the TIMARA Department.
Requirements: Doctorate degree in composition or computer music or equivalent experience with a body of creative work and research that represents a dedication to the production of innovative music; demonstrated achievement in digital and analog signal processing, sound synthesis, and interactive music systems; teaching experience in electronic and computer music composition in both private-study and classroom settings; and demonstrated ability to work effectively within a dynamic artistic community.

For more information, see


12 2011

Preliminary Announcement and Call for Participation – ICAD 2012

The 18th International Conference on Auditory Display (ICAD2012) will be held June 18-22, 2012, at the Georgia Institute of Technology in the heart of midtown Atlanta, Georgia. The event will mark the 20th anniversary of the 1st International Conference on Auditory Display. Since 1992, ICAD has been the premier international venue for the dissemination and discussion of work related to the science, art, and practice of sound as a communicative display. Through its active Sonification Lab and Center for Music Technology, Georgia Tech is pleased to host ICAD’s vibrant community of researchers and practitioners on its campus.

Proposals for Workshops, Tutorials, and Discussion Panels

The organizing committee seeks proposals for workshops, tutorials, and panel discussions. Workshops and special sessions will be held June 17, 2012. Please send brief (1 page) proposals for workshops to the General Chair, Bruce Walker ( by November 15, 2011. Proposals should include the name(s) and full contact information for the panel chair (or co-chairs), a brief overview of the content of the proposed session, an estimated number of participants, and a list of relevant logistical needs for conducting the session (e.g., requirements for computer or audio equipment, etc.).

For more information, see


10 2011