Call for Works 2022

Updated 27 October 2021

Announcing the New York City Electroacoustic Music Festival

Monday, June 20 through Sunday, June 26, 2022

The New York City Electroacoustic Music Festival is accepting submissions for its festival in June 2022.  Now in its twelfth year, NYCEMF is the largest annual showcase of electroacoustic music in New York City, and one of the largest festivals of its kind in the world.

At the present time, cultural and performance venues in New York City are reopening to patrons that are vaccinated, and we are expecting that these restrictions will be eased as we move through the end of 2021. Thus, we are making this call for works in order to plan for the possibility that we will be able to present a live, in-person series of events.  However, since we cannot be sure that this will occur, we may have to revert to a virtual festival, as we have done for the past two years.  Full details are on our website, www.nycemf.org

All submissions must be entered online through the Conference Management Toolkit at this link. The deadline for all categories of submissions is December 31, 2021.

Call for Works

Music and Video

Composers and performers are invited to submit works in any style of electroacoustic music, in any the following categories:

  • Electronic music for fixed media alone, with up to sixteen channels of sound.
  • Works involving live electronics, including computer processing, laptop orchestras, or live coding, with up to 8 channels.
  • Works combining musical instruments or voice with live or fixed media electronics, with up to 8 channels.
  • Video and multimedia works with up to 8 channels.
  1. Individuals may submit one or two works, provided that one of the two submissions is six minutes or less. Individuals may also submit a proposal for an installation, curated concert, or other track (paper, poster, panel, workshop). Works of any length may be submitted, but, for practical reasons, we are more likely to be able to include shorter works than longer ones.  Any works over 20 minutes in duration must be submitted as part of a curated concert proposal.  This call is open to all composers and performers regardless of nationality, age, career stage, style, or area of expertise.
  2. Works in progress will be considered if a substantial portion of the work is complete. The accepted work cannot exceed the duration indicated at the time of submission, and the final versions cannot be substantially different from the work submitted.
  3. Both audio and video works must be submitted in compressed formats.  Multichannel works must be submitted as high-quality stereo mixes.
  4. Works involving instrumentalists are welcome, but if the submitter is unable to provide the performer(s), additional costs per performer will be incurred.
  5. Performers (artists who are not the composer of the work) may submit up to two works, with the agreement that they will play them if selected. If a performer wishes to submit more works, he or she may choose to propose a curated concert.
  6. A work is eligible to be submitted only if it has not been performed at a previous NYCEMF concert.
  7. Works must be submitted online through the Conference Management Toolkit (CMT).
  8. All submissions should be anonymous. Please make sure that no artist markings are recognizable.  Works that are not anonymous will not be disqualified, however.
  9. The organizers will provide in each performance space a mixing console, speaker system, microphones, cables, and a computer and audio interface for the playback of fixed media audio/video. Composers of interactive works will be responsible for providing their own computer, audio interface, and any specialized peripherals.

Performers

The featured performers for NYCEMF 2022 will be cellist Madeleine Shapiro; clarinet and tarogató player Esther Lamneck; violinist Maja Cerar; clarinetist Marianne Gythfeldt; percussionist Patti Cudd;, saxophonist Enzo Filippetti; Beatrix Wagner, flutist; duo Be.Mad (Madeleine Shapiro, cello, and Beatrix Wagner, flute); and soprano Eleanora Claps.

Multichannel Works

All performance spaces will be equipped with at least eight loudspeakers in surround sound configuration.  While we have been able to provide a 16-channel performance space in past years, we cannot be sure that we will have such a facility in 2022.  Therefore, we will accept works of up to 16 channels, provided that the composer is able to provide an 8-channel version if necessary.

Curated Concerts

Proposals are also invited for the presentation of an entire concert, not to exceed 52 minutes in duration of music. These concerts represent an opportunity for someone to put together an entire concert consisting of works of their choice. The concert may be organized around a composer, theme or idea, and it may include works of historical importance as well as more recent works. A performer may also propose a concert that he or she will play. The only limitation is that no more than two works by an individual composer may be included.  Caution: we expect to have the possibility of presenting only a few curated concerts in 2022.

Timeline

Submission deadline: December 31, 2021.

Submission fee: none.

Anticipated notification date: March 15, 2022

Review of Submissions

All submissions will be subject to peer review.

Post-review

Final audio and video files must be submitted by May 15, 2022.

Papers and Posters

We encourage the submission of papers on research topics including, but not limited to, the following areas:

  • 3D Audio
  • Acoustic Ecology
  • Acoustics of Music
  • Acoustics, Space, and Sound Distribution
  • Aesthetics, Theory, History and Philosophy
  • Algorithmic Composition
  • Analysis of Electroacoustic Music
  • AR & VR
  • Archiving & Preservation of Electro-acoustic Music
  • Artificial Intelligence and Music
  • Computational Musicology
  • Composition Systems and Techniques
  • Digital Audio Signal Processing and Audio Effects
  • Distributed, Telematic, and Mobile Music
  • History of Electroacoustic Music
  • Improvisation and Technology
  • Languages for Computer Music
  • Live Coding
  • Mathematical Music Theory
  • Music Education
  • Music Information Retrieval
  • New Interfaces for Musical Expression
  • Notation and Scores
  • Perception and Cognition
  • Piece plus Paper Presentations
  • Software and Hardware Systems
  • Sonification
  • Sound Synthesis
  • Studio Reports
  1. The call is open to all researchers regardless of nationality, age or career stage or area of expertise.
  2. Formats include long papers (4-6 pages), short papers (4 pages), and posters (4 pages) with optional demos.
  3. Works presented at previous NYCEMF events are not allowed unless significantly evolved.
  4. All works must be submitted online as a PDF file through the Conference Management Toolkit (CMT).
  5. All submissions should be anonymous: please make sure that no author names are recognizable.  Works that are not anonymous will not be disqualified, however.
  6. The reviews are anonymous: once accepted, camera-ready papers will need to include all author names.
  7. For conference presentation and publication proceedings, at least one author or co-author must register. A presenter only needs to register once if he or she will present more than one work at the festival.

Timeline

Submission deadline: December 31, 2021

Submission fee: none.

Anticipated notification date: March 15, 2022

Review

All submissions will be subject to peer-review.

Post-review

Following notification of acceptance, authors will be requested to submit their camera-ready PDF files by May 15, 2022.

Proceedings

All the accepted papers, irrespective of presentation format, will be included in the Conference Proceedings. The proceedings will have an ISBN and will be distributed as an electronic Open Access publication and posted to our web site. 

Installations

We invite submissions of installation works for exhibition at the conference.  Categories include but are not limited to:

  • Audience Participation Installations
  • Data-driven Installations
  • Happenings
  • Interactive Installations
  • Multimedia Installations
  • Performance-based installations
  1. The call is open to all artists/composers regardless of nationality, age or career stage.
  2. Works presented at previous NYCEMF events are not allowed unless significantly evolved.
  3. Works must be submitted online, through the Conference Management Toolkit (CMT).
  4. Submissions should be anonymous: please make sure that no artist markings are recognizable. Works that are not anonymous will not be disqualified, however.
  5. For conference presentation, the artist or at least one of the collaborators must register. A presenter only needs to register once and may be presenting more than one work at the conference. 
  6. All necessary equipment, with the exception of loudspeakers and projectors, must be provided by the artist.

Review of Works

Submissions will be subject to peer review.

Timeline

Submission deadline: December 31, 2021

Submission fee: none.

Anticipated notification date: March 15, 2022

Workshops

We invite submissions of workshop proposals at the conference.  Categories include but are not limited to:

  • Auditory Display and Sonification
  • Computer Music Composition
  • Computer Language-Based: ChucK, CSound, Live, MAX, Supercollider, etc.
  • Improvisation and Technology
  • Laptop Orchestra/Live Coding
  • Music Information Retrieval
  • New Instruments for Musical Expression
  • Preservation and Access to Electro-Acoustic Music
  • Robotics and Music
  • Soundmapping
  • Sound Reinforcement
  • Sound Synthesis
  • WebAudio
  • Other
  1. The call is open to all regardless of nationality, age or career stage.
  2. Formats include full day, half day, and quarter day.
  3. Proposals must be submitted online, through the Conference Management Toolkit (CMT).

Review of Proposals

Submissions will be subject to peer review.

Timeline

Submission deadline: December 31, 2021

Submission fee: none.

Anticipated notification date: March 15, 2022

Panels

We invite submissions of panel proposals. Categories include but are not limited to:

  • Acoustic Ecology
  • Advancing Computer Music
  • Auditory Display and Sonification
  • Crowd-Sourcing in Computer Music
  • Engagement and the Rise of Citizen-Scientists
  • Improvisation and Technology
  • Noisescapes: Urban Noise Pollution Phenomenon
  • Laptop Orchestra/Live Coding
  • Music Information Retrieval for Electro-Acoustic Music
  • New Instruments for Musical Expression
  • Preserving and Accessing Computer Music
  • Soundmapping
  • Other
  1. The call is open to all regardless of nationality, age or career stage.
  2. Proposals must be submitted online, through the Conference Management Toolkit (CMT).
  3. Venues will be at New York University,

Review of Proposals

Submissions will be subject to peer review.

Timeline

Submission deadline: December 31, 2021

Submission fee: none.

Anticipated notification date: March 15, 2022

Participation and Fees

Registration fee: approximately $220. Registration is required for all persons whose works are accepted. This fee entitles them to free admission to all events at the Festival. Attendance is not required, but even if persons submitting do not attend, the fee must still be paid.  Submitters whose works are selected are required to confirm participation in the Festival by May 1, 2022.