ICMC proceedings online

Thanks to a collaboration with the University of Michigan Library, the International Computer Music Conference proceedings from 1975 onward are now available online. The articles are full text searchable.

Sound and Music Computing Sweden proceedings

The proceedings from the Sound and Music Computing Sweden conference is now available. There's also a a link to a live broadcast.

Twitter: #SMCSweden

Sound and Music Computing Sweden conference

The Sound and Music Computing, Understanding and Practicing in Sweden conference will take place at KTH (the Royal Institute of Technology) on April 3-4. Besides paper presentations, Johannes Bergmark will talk about Muzak Blocker, and Marcus Wrangö about Audiorama. There will also be demos of products from Teenage Engineering, Wallander Instruments and Score Cleaner. For details, see the full programme.

EMS12 call for papers

Next year's Electronic Music Studies Conference, EMS12, will take place in Stockholm on June 11-15 2012. It is co-organised by EMS (Elektronmusikstudion) and KMH (The Royal College of Music). Keynote speaker is Lars-Gunnar Bodin and the theme of the conference is Meaning and meaningfulness in electroacoustic music.

Deadline for submission of papers: Tuesday 17 January 2012, 09.00 CET (GMT+1)
Extended to Monday 30 January 2012, 12.00 CET (GMT+1)

Even more calls

Please note that this page is no longer updated.

This is a list of conference calls for 2013. Please note that, though I only list deadlines for paper submissions, many of these conferences also accept music and performances. Links to past conferences are at http://delicious.com/eamlibrarian/conferences.

CMMR 2013. 10th International Symposium on Computer Music Modelling and Retrieval/Computer Music Multidisciplinary Research 2013, "Sound, Music & Motion", October 15th – 18th 2013, CNRS - Laboratoire de Mécanique et d’Acoustique, Marseille, France. Paper submission deadline: June 15th 2013

ISMIR 2013. 14th International Society for Music Information Retrieval Conference, 4th - 8th of November 2013, Curitiba, Brazil (organized by PUCPR). Paper submission deadline: 10 May 2013

NIME 2014. 14th International Conference on New Interfaces for Musical Expression (NIME), June 30 - July 3, 2014, Goldsmiths University of London, London, UK. Paper draft submission (mandatory): January 31, 2014

More calls, conferences and some other stuff

Maryanne Amacher online archive: http://maryanneamacher.org/

An online open source database of city sounds and soundmaps from around the world using online found sounds and field recordings: http://soundcities.com/

A nice collection of sound art links: http://www.onelonelypixel.org/soundart.html

Conferences

KISS2011. Kyma International Sound Symposium, 15-18 September 2011, Porto, Portugal

TCMP2011. Tracking the Creative Process in Music, September 29th – October 1st 2011, Maison Européenne des Sciences de l’Homme et de la Société, Lille

First international Csound Conference. September 30 to October 2 2011, HMTM (Hochschule für Musik, Theater und Medien), Hannover

Sound Art Theories Symposium 2011, November 5-6, School of the Art Institute of Chicago. Deadline for paper submissions: August 1, 2011

Symposion on Xenakis’ electroacoustic music, 23-25 may 2012, Université Paris 8, E.A. 1572. Esthétique, musicologie, danse et création musicale in collaboration with Cdmc, Grm, Cix, Ircam, Motus. Deadline for proposals of papers: 1th of January 2012

IRCAM music research residency 2012-13. Application deadline: October 14, 2011 (Midnight Paris Time)

For more conferences, see Some conference calls for 2011.

Some conference calls for 2011

FIMPaC 2011. The Forum for Innovation in Music Production and Composition, Thursday 12 & Friday 13 May 2011, Leeds College of Music. Deadline for the submission of proposals: Friday 25 March 2011

Audio-visuality. A conference on the experience of audio-visual art, artefacts, and media texts. May 26-29, 2011, Aarhus(?), Denmark. Deadline for paper submissions: February 15, 2011

NIME 2011. 11th International Conference on New Interfaces for Musical Expression. 30 May - 1 June 2011, Oslo, Norway. Deadline for paper/performance/installation/workshop submissions: 31 January 2011 (22:00 CET)

EMS 2011. Electroacoustic Music Studies Conference, June 14-18, New York. Deadline for receipt of proposals for papers: Monday, January 17, 2011 midnight EST

ICAD 2011. International Community for Auditory Display conference, June 20-24, Budapest. Deadline for papers, posters, and aural categories (short oveview of intent): 31 January 2011

SMC 2011. 8th Sound and Music Computing Conference, 6-9 July 2011, Padova, Italy. Deadline for paper and music submissions: Friday 25 March 2011

ACMC 2011. The Australasian Computer Music Conference 2011, 6-9 July 2011, The School of Music, University of Auckland, New Zealand. The special theme of ACMC11 is Organic Sounds in Live Electroacoustic Music. Deadline for receipt of proposals of papers and creative work: Thursday 31 March 2011

ICMC 2011. International Computer Music Conference (ICMC), 31 July to 5 August, Huddersfield, West Yorkshire, UK. Deadline for music and paper submissions: 18 January

UVM 2011. Understanding Visual Music 2011, Concordia University, Montreal, Canada, August 26th and 27th. Deadline for reception of proposals: June 18th, 2011

DAFx-11. The 14th International Conference on Digital Audio Effects, September 19-23, IRCAM, Paris, France. Deadline for full paper/poster submissions: Thursday March 31th, 2011. The proceedings are available online.

Various stuff

Soundscape studies, (urban) sound design and the like seem to be rather popular in Sweden these days. I'm attending the conference Man & Sound Environment 2010 in Lund this week, a conference immediately followed by another one in Stockholm, Designing Soundscape for Sustainable Urban Development, on September, 30-October, 1.

Another recent conference held in Sweden was the 5th Audio Mostly Conference : A Conference on Interaction with Sound, September, 15-17, which took place in Piteå in Northern Sweden. Proceedings are avalible online.

For our Swedish readers
Ljudplanering is a new web portal on urban soundscapes, developed in collaboration between Movium and landscape architect Gunnar Cerwén.

There's been a recent exchange in Svenska Dagbladet on the research project "Acoustic design artifacts and methods for urban soundscapes" and its companion sound installation at Mariatorget, Stockholm:

• Helena Granström: Virtuellt naturljud inte utan problem
• Björn Hellström's reply and a short response från Granström: Kritiken missar målet

NIME 2011 - Call for participation

11th International Conference on New Interfaces for Musical Expression (NIME 2011)
30 May - 1 June 2011, Oslo, Norway

We invite you to be part of the International Conference on New Interfaces for Musical Expression. The core purpose of the NIME conference is to present the latest results in design, development, performance and analysis of/for/with new interfaces/instruments for musical use. In 2011 we will put an extra emphasis on performance aspects related to NIME, something which will also be addressed in a symposium, workshops and master classes in the days leading up to the conference.

We invite for the following types of submissions (see below for details):
- Paper (oral/poster/demo)
- Performance
- Performance Plus Paper
- Installation/exhibition
- Workshop

IMPORTANT DATES
- SID exhibition proposals: 5 November 2010 (22:00 CET)
- Paper/performance/installation/workshop submission: 31 January 2011 (22:00 CET)
- Review notification: 18 March 2011
- Final paper deadline: 26 April 2011

TOPICS
- Novel controllers and interfaces for musical expression
- Novel musical instruments
- Augmented/hyper instruments
- Novel controllers for collaborative performance
- Interfaces for dance and physical expression
- Interactive game music
- Robotic music
- Interactive sound and multimedia installations
- Interactive sonification
- Sensor and actuator technologies
- Haptic and force feedback devices
- Interface protocols and data formats
- Motion, gesture and music
- Perceptual and cognitive issues
- Interactivity design and software tools
- Sonic interaction design
- NIME intersecting with game design
- Musical mapping strategies
- Performance analysis
- Performance rendering and generative algorithms
- Machine learning in performance systems
- Experiences with novel interfaces in live performance and composition
- Surveys of past work and stimulating ideas for future research
- Historical studies in twentieth-century instrument design
- Experiences with novel interfaces in education and entertainment
- Reports on student projects in the framework of NIME related courses
- Artistic, cultural, and social impact of NIME technology
- Biological and bio-inspired systems
- Mobile music technologies
- Musical human-computer interaction
- Multimodal expressive interfaces
- Practice-based research approaches/methodologies/criticism

CALL FOR PAPERS
We welcome submissions on all above mentioned (and other) topics related to development and artistic use of new interfaces for musical expression. There are three different paper submission categories:
- Full paper (up to 6 pages in proceedings, longer oral presentation,
optional demo)
- Short paper/poster (up to 4 pages in proceedings, shorter oral
presentation or poster, optional demo)
- Demonstration (up to 2 pages in proceedings)
All accepted papers will be published in the conference proceedings.
Paper submission information: http://www.nime2011.org/submission/#papers

CALL FOR PERFORMANCES
We welcome submission of pieces for three different types of performance venues:
- Concert hall performance
- Club performance
- Foyer "stunt" performance
Any type of NIME performance pieces are welcome, but we would particularly like to encourage the use of motion capture techniques in performance. For this we can make available several different types of motion capture systems (Qualisys, XSens, Optitrack, Mega). Network pieces and mobile music pieces are also encouraged. Within reasonable limits, we may be able to provide musicians to perform pieces. Performance submission information: http://www.nime2011.org/submission/#performances

CALL FOR PERFORMANCE PLUS PAPER
To support more cross-disciplinary work between scientific and artistic research, we highly encourage submission of performance pieces related to papers. Here the scientific presentation may be the basis for the artistic presentation, or vice versa. Submissions within this category will have to be done for both the piece and the paper, with a clear note that paper and piece belongs together. Evaluation will be done on the combined quality of both submissions.

CALL FOR INSTALLATIONS
In connection with NIME 2011 an exhibition on sonic interaction design will be curated in collaboration with the EU COST IC0601 Action on Sonic Interaction Design (SID). For the exhibition we are looking for works using sonic interaction within arts, music and design as well as examples of sonification for research and artistic purposes. The exhibition will take place at the Norwegian Museum of Science, Technology and Medicine and run for three months over the summer 2011. We also aim to include works in public spaces to be presented at various locations in Oslo (possibly) for a shorter duration in parallel with NIME. This is a curated exhibition, and there is a possibility for funding and assistance to be provided for selected artists. Note that there is an early deadline for submissions within this category (5 November). Further enquiries concerning the SID exhibition should be addressed to the curators (exhibition@nime2011.org).

In addition to the exhibition, we also call for installations to be presented during the NIME conference only. These may be foyer location installations or room-based installations. Installation submission information: http://www.nime2011.org/submission/#installations

CALL FOR WORKSHOPS
We call for short (3 hours) or long (6 hours) workshops and tutorials. These can be targeted towards specialist techniques, platforms, hardware, software or pedagogical topics for the advancement of fellow NIME-ers and people with experience related to the topic. They can also be targeted towards visitors to the NIME community, novices/newbies, interested student participants, people from other fields, and members of the public getting to know the potential of NIME.

Tutorial proposers should clearly indicate the audience and assumed knowledge of their intended participants to help us market to the appropriate audience. Workshops and tutorials can relate to, but are not limited to, the topics of the conference. This is a good opportunity to explore a specialized interest or interdisciplinary topic in depth with greater time for discourse, debate, collaboration. Admission to workshops and tutorials will be charged separately from the main conference. Proposer(s) are responsible for publishing any workshop proceedings (if desired) and should engage in the promotion of their event amongst own networks. Workshops may be cancelled or combined if there is inadequate participation. Workshop submission information: http://www.nime2011.org/submission/#workshops

If you have any inquiries, please email us at post@nime2011.org. Please feel free to forward this message to others. On behalf of the NIME 2011 committee, Alexander Refsum Jensenius (University of Oslo)
Kjell Tore Innervik (Norwegian Academy of Music)

Call: Seventh International Conference on Music Since 1900

The theme of the Biennial Conference is music since 1900, conceived in the broadest possible terms. Proposals for papers may be submitted on any topic relating to 20th- and 21st-century musics (of any genre), drawing on scholarly approaches from any relevant intellectual discipline.

The Music Analysis Conference welcomes papers on any aspect of theory and analysis relating to music of any genre and historical period.

Editorial representatives from Music Analysis and twentieth-century music will be keen to discuss the possibility of developing conference papers into articles for their respective journals.

In addition to open sessions, the Programme Committee warmly invites proposals for papers to be read at the sessions devoted to the following themes:

• computing and contemporary musicology
• curating the new
• electroacoustic music and intermedia
• film music
• the future of the digital economy
• the impact of technology on music
• jazz
• new historiographies
• phenomenology
• popular music
• temporalities
• timbre

Proposals in the following categories will be considered:

• Papers (20 minutes maximum, with 10 minutes for discussion)
• Paper sessions (three or four papers, each of 20 minutes maximum, with 10 minutes for discussion)
• Roundtable discussions (up to 6 participants, each giving a short position paper, followed by a general discussion)
• Recitals, lecture-recitals and lectures illustrated by sound diffusions or audio-visual screenings

Programme Committee: Dr Paul Archbold, Dr Arved Ashby, Prof. Rachel Cowgill, Prof. William Drabkin, Dr Nicholas Gebhardt, Prof. Adam Krims, Dr Alan Marsden, Prof. Deborah Mawer, Prof. Peter Nelson, Dr Nicholas Reyland, Prof. Michael Spitzer, Dr Edward Venn (Chair), Dr Charles Wilson.

Proposal Instructions/Guidelines
Abstracts and proposals should be prepared as follows:

• For individual papers: up to 250 words
• For paper sessions: 250-word (maximum) summary and up to 250 words for each session participant
• For roundtable discussions: 250-word (maximum) and up to 150 words for each panel participant
• For recitals, lecture-recitals and lectures illustrated by sound diffusions or audio-visual screenings: 250 word (maximum) summary, plus participant CVs and recordings / scores / other details of works to be included in the event

Further information for applicants:

• Only one proposal of each type is permitted per applicant
• Proposals should not substantially duplicate presentations being given at conferences or other events proximate in time or place to ICMSN 2011 / LancMAC
• All proposals must be sent by email as a MS Word attachment to msnmac2011@lancaster.ac.uk

DEADLINE FOR PROPOSAL SUBMISSION: 3 DECEMBER 2010

Successful applicants will be informed by 17 January 2011

New proceedings online

7th Sound and Music Computing Conference
The papers presented at the 7th Sound and Music Computing Conference that took place at the UPF from the 21st to the 24th on July 2010 are now online at http://smcnetwork.org/resources/smc2010. The papers have been published on the smcnetwork.org website under a Creative Commons license.

Interactive Sonification workshop - ISon 2010
The proceedings of the Interactive Sonification workshop - ISon 2010 are now available on-line at http://www.interactive-sonification.org/ISon2010/proceedings/. The proceedings are licensed as an Open Access publication.

SuperCollider Symposium 2010 call for Submissions

SuperCollider Symposium 2010 Berlin
http://supercollider2010.de
http://supercollider.sourceforge.net

We would like to announce that we are hosting the next SuperCollider Symposium in Berlin, September 23-26, 2010. Berlin is a very attractive city for artists and has great diverse and lively music scenes. We have found some great locations for concerts, workshops and conference talks, and we are currently finalizing the rest of the locations and will provide more detailed information on our website shortly.

The symposium will introduce SuperCollider (SC) to new users, show the current state of development, and host talks and presentations of a variety of artistic and/or scientific projects realised with SC. The 4-day conference will be preceeded by 5 days of workshops intended as community service to help beginning programmers, composers and artists with specific SuperCollider techniques. All Concerts, performances and exhibitions will be open to the public.

Call for Works, Installations, Papers, Workshops
We are now inviting proposals for participation in the fourth SuperCollider Symposium in Berlin, Germany, September 23-26, 2010.

You can propose works or installations to be performed or shown in different venues:
http://supercollider2010.de/calls/14-call-for-works
http://supercollider2010.de/venues

You can propose papers and presentations to be read at the conference:
http://supercollider2010.de/calls/15-call-for-papers-presentations-demos

You can propose workshops to be held in September 18-22, 2010
http://supercollider2010.de/calls/16-call-for-workshops

Please read the general info for calls:
http://supercollider2010.de/calls/13-calls-general

All entries will be evaluated by appropriate juries (for details see individual calls).

For more information and contacts go to http://supercollider2010.de

Symposion on Music/Sonic Art call for papers

In conjunction with InterSymp 2010: 22nd International Conference on Systems Research, Informatics and Cybernetics

Symposion on Music/Sonic Art

August 2-6, 2010
Markgraf-Ludwig Gymnasium, Hardstrasse 2, Baden-Baden, Germany

CALL FOR PAPERS:
We are pleased to announce the International Symposium on Music/Sonic Art: Practices and Theories, an interdisciplinary two-day event to be held in Baden-Baden, Germany. The provisional dates of the Symposium are August 2-3 in order that participants can also attend other symposia such as: the 8th Special Focus Symposium on Art and Science, the 3rd Symposium on Systems Research in Arts and Humanities and Comprovisations: Improvisation Systems in Performing Arts and Technologies.

Proposals for sessions and individual papers for the International Symposium on Music/Sonic Art: Practices and Theories are invited from academics, practitioners and post-graduate students of diverse fields of investigation, according to one of the following formats: academic research paper (including research in progress), report on practice-based work or educational programmes. (Delegates wishing to present performances are advised to consult the call for papers of symposia listed above.) All proposals will be judged based on their scholarly quality, originality and potential for further discourse.

Paper Proposals/Abstracts should be submitted as soon as possible but no later than March 30, 2010. Notification of Acceptance and a Paper Template will be sent to authors by April 9, 2010. Further details on Submission Guidelines, the Copyright Transfer Form, and the Conference Registration Form are available at the IIAS home page: www.iias.edu.

Please note that the early registration fee is 345.00 Euros (per one Conference participant) if paid on or before May 1, 2010 and 395.00 Euros thereafter: this includes participation in all Symposia of the IIAS InterSymp 2010 Conference, the festive reception, the symposium booklets and the Music/Sonic Art Symposium Proceedings - Volume I.

Paper committee: Prof. Dr. Mine Dogantan-Dack (Middlesex University, UK); Prof. Clarence Barlow (University of California, Santa Barbara, USA); Holger Zschenderlein (University of Brighton, UK); Fiorenzo Palermo (University of Middlesex, UK); Dr. John Dack (Lansdown Centre for Electronic Art, Middlesex University, UK).

Sound ACTs call for papers

Sound as Art - Sound in Culture
Sound in Theory - Sound in History
Conference on Sound Studies

University of Aarhus, Denmark
September 23–25, 2010

The aim of the conference is to profile contemporary sound studies as an interdisciplinary field of studies and to contribute to the discussion and development of the auditive paradigm in general. Key concepts like 'acoustemology', 'acoustic space', 'sonic environment', and 'atmosphere' might be reflected upon and developed as well, both at a theoretical level and with regard to specific cultural, medial and aesthetic contexts.

The program of the conference will consist of keynote lectures, plenary roundtables, thematic workshops and individual presentations of papers and sound art projects. Keynote speakers are Dr. Penelope Gouk (University of Manchester), Dr. Jean-Paul Thibaud (CRESSON), and professor Adam Krims (University of Nottingham).

Special sessions will be held for sound artists to present and discuss their work, and a workshop will take place on Friday where small groups of sound artists will develop sound installations for presentation in the evening. A special call for this stream will be issued.

The conference is organized by the National Research Network on Auditive Culture, the research project Audiovisual Culture, the research group Urban Sound Institute (and www.usit.nu), and the Nordic Branch of the International Association for the Study of Popular Music.

Proposals for presentations (20/10 mins) or workshops (90 mins) must be submitted to the conference organisers/programme committee by April 1, 2010 as an email attachment (rtf/pdf/doc) to soundstudies@hum.au.dk. Please include the following information: Paper abstract and title (max. 200 words), name(s), affiliation, e-mail, and technical equipment required (PC/DVD/CD/data projector/over-head projector/etc.). Notifications of acceptance will be sent no later than May 3, 2010.

The official language of the conference is English. The conference fee is 1.000 D.Kr/€135.

For more info, see http://auditiveculture.ku.dk/dokument7/

FIMPaC 2010 call for papers

Forum for Innovation in Music Production and Composition (FIMPaC)
Thursday 20 and Friday 21 May 2010
In Association with: Journal for Music, Technology and Education, www.intellectbooks.co.uk

The Forum for Innovation in Music Production and Composition takes place at Leeds College of Music from Thursday 20th to Friday 21st May 2010. FIMPaC is an annual event focusing on research and practice related to innovations in Music Production and Composition. This year's event is in association with the Journal for Music, Technology and Education. FIMPaC¹s goal is to bring together composers, producers, music industry representatives, academics, educators and students to discuss their practice, research and industry experiences; FIMPaC encourages participants and delegates that represent the commercial music industry and academia.

Keynote Speakers

• Jazzie B, founder of the collective Soul II Soul is our Keynote for 20th May and will open the conference. He will discuss his experiences within the Commercial Music Industry.
• David Toop will open the second day of the conference and address connections between commercial and experimental music and whether we can sustain notions of their independence. David will also be performing in the evening.

Call for Papers
This year's call for papers is in association with the Journal for Music, Technology and Education. Proposers are asked to indicate on their submission if they would like their work to be considered for publication in a forthcoming issue of the journal.

For more information go to http://www.lcm.ac.uk/research-conference/fimpac.htm.

SUM - symposium and concert in Stockholm

SUM symposium and concert in Stockholm, Wednesday, February 17, 2010

Systematic Understanding of Music
Today, digitally informed music has reached a point where it has become feasible to detect emotion content in the musical audio stream (sound). When this is applied in real-time to aspects of its response, a new context for the creation, performance and listening to music is established where man and machine can interact in much more meaningful ways than previously. This provides for new and more engaged expressions, giving new horizons for musical artwork.

The purpose of the SUM project is to develop such tools by building on existing work by internationally outstanding scholars in the Nordic countries in digital signal processing, music cognition, emotion expression, and interaction software development. For additional information about the SUM project: http://re-new.org/research/sum/

SUM symposium
Onsdagen den 17 februari 2010 kl 10.00-17.00
A330 (Kompositionsseminariet), Kungliga Musikhögskolan, Valhallavägen 105, Stockholm (T-Bana Stadion)
Lars Graugaard (DK), Anders Friberg (KTH), Marcus Wrangö (KMH)

10.00 Introduktion till SUM / Lars Graugaard
11.00 Känslor i musik / Anders Friberg
12.00 Probabilistic melody maker / Anders Friberg & Lars Graugaard
13.00 Lunch
14.00 Kreativa möjligheter
Systematiskt bruk av känslor i musik / Lars Graugaard
15.00 Demo: Gestiska sensorer / Marcus Wrangö
16.00 Tillämpningar och presentationer
(re-new digital arts festival) / Lars Graugaard
17.00 Slut

Konsert
Onsdag 17 februari, kl 20.00. Fylkingen, Torkel Knutssongatan 2, Stockholm (T-Bana Mariatorget)

Symposiet är gratis, konserten kostar 80 kr (student 60 kr).

Call for Papers: COMPROVISATIONS - Improvisation Systems in Performing Arts and Technologies

INTERSYMP 2010
22nd International Conference on Systems Research, Informatics And Cybernetics
August, 2­-6, 2010
Markgraf-­Ludwig Gymnasium, Hardstrasse 2, Baden-­Baden, Germany

Special Focus Symposion (August 5, 2010) on COMPROVISATIONS - Improvisation Systems in Performing Arts and Technologies

Submission details are available as a PDF.

Linux Audio Conference 2010 call for papers, music and workshops

The conference about Open Source Software for music and audio
May 1-4 2010
Hogeschool voor de Kunsten Utrecht (HKU)
Utrecht, The Netherlands
http://lac.linuxaudio.org/2010

Calls are under the tab Participation on the website.

"Sound is Motion" symposium and doctoral thesis defence

KTH, Stockholm, Sweden, February 11-12

A symposium entitled "Sound is Motion" will be held on February 11, in connection to Kjetil Falkenberg Hansen's doctoral thesis defence on February 12. Both events take place at the Department for Speech, Music and Hearing, KTH, in Stockholm, http://www.speech.kth.se/info/location.html and are open for all, and if you happen to be around Stockholm at the time, you are very welcome to participate.

"Sound is Motion" symposium, February 11, 14:00
Sound is usually the result of actions, such as body gestures or mechanical movements. Therefore sound is closely related to motion. Humans are very sensitive to variations of the acoustical signal in the time-frequency plane, making it possible to discriminate between body gestures even in sound.

In recent years, significant advances have been made in the study and development of techniques for musical motion data analysis and motion capture. In general, body gestures allow expressive control in sound production, and interpretation of gestures enables the extraction of the expressive content in human continuous actions.

In the "Sound is Motion" symposium, six experts will tackle the field of Sound and Motion from different perspectives. The symposium starts at 14:00. Place: Room Fantum, Department for Speech, Music and Hearing, KTH, in Stockholm.

"The acoustics and performance of DJ scratching" PhD defence, February 12, 10:00
Kjetil Falkenberg Hansen will defend his thesis "The acoustics and performance of DJ scratching. Analysis and modeling". This thesis focuses on the analysis and modeling of scratching, in other words, the DJ (disk jockey) practice of using the turntable as a musical instrument. Scratching has developed to become a skillful instrument-playing practice with complex musical output. The impact on popular music culture has been significant, and for many, the DJ set-up of turntables and a mixer is now a natural instrument choice for undertaking a creative music activity. Six papers are included in the thesis, where the first three approach the acoustics and performance of scratching, and the second three approach scratch modeling and the DJ interface.

The defense starts at 10:00. Place: Room F2, Lindstedtsvägen 26, KTH, Stockholm

Via Roberto Bresin

Call for papers: Sound studies konference in Århus, september 2010

Sound as Art - Sound in History, Sound as Culture - Sound in Theory
Conference on sound studies
University of Aarhus, Denmark
September 23–25, 2010

Call for papers

Today, sound studies provide an important framework for furthering cultural research related to a broad range of historical and contemporary issues. Also, sound studies contribute to the understanding of currents in social and global activity increasingly determined by auditory, sonic, and communicative materiality. At the same time, the exploration of auditivity and auditory cultures raises a series of significant aesthetic, medial, historical, cultural, and theoretical questions.

Cultural changes related to globalization and digital media have questioned traditional paradigms of vision containing notions of visual representation, semiotics, and a hermeneutics based on reading. Such changes suggest an auditive paradigm in which modes of interaction, mobile communications, and spatial and geographic fluidity lead to a renewed sense of orality and listening. In research this new paradigm is establishing itself as the interdisciplinary field of sound studies. It draws on disciplines such as musicology, performance studies, art history, anthropology, cultural studies, urban studies, and histories of technology and media while influencing these disciplines with new modes of reflection on and examination of their respective methodologies and subsequent political effects.

The aim of the conference is to profile contemporary sound studies as an interdisciplinary field of studies and to contribute to the discussion and development of the auditive paradigm in general. Key concepts like 'acoustemology', 'acoustic space' or 'sonic environment' might be reflected upon and developed as well, both at a theoretical level and with regard to specific cultural, medial and aesthetic contexts.

The programme of the conference will consist of keynote lectures, plenary roundtables, thematic workshops and individual presentations. Individual presentations and entire workshops may draw inspiration from the following array of questions:

• What is the experiential framework of listening and auditive culture, and how is the world constituted (identity, locality, sociality, culture etc) through auditive practice?
• How has musical and technological sound production and perception changed through the last century and how has it contributed to everyday soundscapes, the concert hall, and the media?
• What can we know, i.e., what types of knowledge, identity and meaning are made possible through acoustic practice – are there any limits to sound taken as an experiential framework and as cognition?
• What perspectives might arise from current studies of auditory modes of relating to space, of appropriating, expressing and designing social environments?
• How does sound help define urban environments, and how might issues related to urban planning, architectural design, and noise benefit from a deeper and more complex understanding of sound?
• What are the correlations between listening and other sensory modalities, the body, sociality, materiality, technology and media (sound viewed as a cognitive paradigm isolated from actual resonating sound).
• How do auditive practices appear to be conventional or normative? How do auditive practices, in conjunction with other sensory modalities, articulate value, aesthetics, ethics and morals in culture?
• How do we further the development of academic terminologies for dealing with sound?
• How can transgressions of traditional distinctions between sound, music and art be understood in a socio-cultural perspective?
• What do the specific aesthetic aspects of sound art seek to achieve in contrast to the predominance of visuality and modes of seeing within the arts?
• How is artistic and academic education in sound competence developing?

Proposals for presentations (20/10 mins) or workshops (90 mins) must be submitted to the conference organisers/programme committee by April 1, 2010 as an email attachment (rtf/pdf/doc) to soundstudies@hum.au.dk.

Please include the following information: Paper abstract and title (max. 200 words), name(s), affiliation, e-mail, and technical equipment required (PC/DVD/CD/data projector/over-head projector/etc.).

Notifications of acceptance will be sent no later than May 3, 2010.

Keynote speakers are Dr. Penelope Gouk (University of Manchester), Dr. Jean-Paul Thibaud (CRESSON), and professor Adam Krims (University of Nottingham).

The official language of the conference is English. The conference fee is 1.000 D.Kr/€135. Please contact one of the organisers mentioned below in case you need more information.

The conference is organized by the "National Research Network on Auditive Culture"(http://auditiveculture.ku.dk/), the research project "Audiovisual Culture" (http://www.ak.au.dk/en), and the Nordic Branch of the International Association for the Study of Popular Music.