Call for Works

Announcing the International Computer Music Conference and New York City Electroacoustic Music Festival

 

June 16-23, 2019

Last updated: December 29, 2018

We are extending the deadline for ICMC-NYCEMF 2019 until January 15, 2019. This will be an absolute deadline with no further extensions. We are also extending our notification deadline until March 1, 2019.

The International Computer Music Conference (ICMC) and New York City Electroacoustic Music Festival (NYCEMF) invite submissions of music, papers, installations, panels and workshop proposals. The 2019 ICMC will be a joint ICMC-NYCEMF conference and festival to be held Sunday June 16 through Sunday June 23, 2019. The event will take place in the heart of New York City at New York University and the Abrons Arts Center.

Music

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

  • Electroacoustic music for fixed media alone, with up to 16 channels.
  • 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.
  • Open to all composers, regardless of nationality, age or career stage.

Details

  1. Individuals may submit up to two works. Individuals may also submit proposals in other tracks (e.g. installations, papers, etc). Works of any length may be submitted, but, to be as inclusive as possible, we are more likely to be able to include shorter works than longer ones. If submitting two works, at least one work should be under 6 minutes long.
  2. Works in progress are acceptable if a substantial part of the work is complete. If accepted, the final version of the work (1) cannot exceed the duration indicated at the time of submission and (2) cannot be substantially different from the versions submitted.
  3. Please upload high quality MP3 stereo mixes for your audio including multichannel works. For video works, we strongly prefer lower resolution video files.
  4. Composers may submit works for any instrumentation. However, instruments/performers provided by ICMC-NYCEMF are limited to those in item 10. Please visit our Web page for the most up-to-date list of performer/instrument possibilities.
  5. Performers (artists that are not the composer of the work) may also submit up to two works with the agreement that they will play them if selected.
  6. A work is eligible if:
    1. It has not been played at either the NYCEMF or the ICMC for the last three years, and
    2. Has only been played at one of the two entities prior to 2019.
  7. Works must be submitted online through our Conference Management Toolkit site.
  8. All submissions should be anonymous. Please make sure that no author markings are included.
  9. The organizers will provide in each performance space a mixing console, sound reinforcement system, microphones, cables, and a computer and audio interface for fixed audiovisual media playback. Composers of interactive works will be responsible for providing their own computer, audio interface, and any specialized peripherals.
  10. Performers (to be updated): saxophonist Enzo Filippetti, cellist Madeleine Shapiro, pianists Keith Kirchoff and Jocelyn Ho, clarinet and tarogató player Esther Lamneck, violinist Maja Cerar, clarinetist Marianne Gythfeldt, percussionist Patti Cudd, the Splice Ensemble, and soprano Elenora Claps, the NYU New Music Ensemble, the NYU Community Orchestra, and the El Music group. Other performers may be used as well.

3D Spatialization Lab

A special room will be equipped with an array of 16 speakers, 8 in the usual surround sound configuration and 8 at a higher level. The audience will be seated in the center of the space. We solicit works that will take advantage of our Spatialization Lab, and we encourage works that use the full 16-channel capability as well as the diffusion of works with fewer channels. We will allow composers whose works are played in this space additional tech time to plan their diffusion. Only fixed audio works (no video) will be played in this space.

Timeline

Submission deadline: December 31, 2018.

Submission fee: none.

Anticipated notification date: February 15, 2019

Review of Works

All submissions will be subject to peer review.

Post-Review

Final audio and video files must be submitted by May 15, 2019.

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 electroacoustic 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

Details

  1. The call is open to all researchers regardless of nationality, age or career stage and area of expertise.
  2. Formats include long papers (4-6 pages), short papers (4 pages), and posters (4 pages) with optional demos. Please use one of the 2019_ICMC_Paper_Templates for paper submissions.
  3. Works must be submitted as a PDF file through the Conference Management Toolkit (CMT).
  4. Submissions should be anonymous: please make sure that no author names are recognizable.
  5. Reviews are anonymous: once accepted, camera-ready papers will need to include author names.
  6. For conference presentation and publication proceedings, at least one author or co-author must register. A presenter only needs to register once and may presentg more than one work at the conference.

Review of Works

All submissions will be subject to peer review.

Timeline

Submission deadline: December 31, 2018.

Submission fee: none.

Anticipated notification date: February 15, 2019

Post-Review

Following notification of acceptance, authors will be requested to submit their camera-ready PDF files by May 15, 2019.

Proceedings

All the accepted papers, regardless 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

Details

  1. The call is open to all artists/composers regardless of nationality, age or career stage.
  2. Works presented at previous ICMCs are not permitted 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.
  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. All necessary equipment with the exception of loudspeakers and projectors will need to be providede by the artist.

Review of Works

Submissions will be subject to peer review.

Timeline

Submission deadline: December 31, 2018.

Submission fee: none.

Anticipated notification date: February 15, 2019

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 electroacoustic Music
  • Robotics and Music
  • Soundmapping
  • Sound Reinforcement
  • Sound Synthesis
  • WebAudio
  • Other

Details

  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 Works

Submissions will be subject to peer review.

Timeline

Submission deadline: December 31, 2018.

Submission fee: none.

Anticipated notification date: February 15, 2019

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 electroacoustic Music
  • New Instruments for Musical Expression
  • Preserving and Accessing Computer Music
  • Soundmapping
  • Other

Details

  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 Works

Submissions will be subject to peer review.

Timeline

Submission deadline: December 31, 2018.

Submission fee: none.

Anticipated notification date: February 15, 2019

Other Information

Heritage Programs

Continuing our efforts to preserve and archive computer music works, we will continue the Computer Music Heritage program this year where participating artists’ works will be preserved at the NYU Library as part of the electroacoustic Mine (EAMM) project. Additionally, as part of this year’s theme, we will continue the Soundscape Heritage program launched at the 2018 ICMC in Korea. More details regarding our efforts will be forthcoming on the conference website.

Children’s Program

We also plan to continue the highly successful iIMPACT Kids Program launched at the 2018 ICMC. More information regrading this program developed by NYU’s iMPACT team will be forthcoming on the website.

Registration

Authors are required to confirm participation in the Conference by May 15, 2019. Registration is required for all persons whose works are programmed at ICMC-NYCEMF 2019. Please refer to our Web page for details on registration fees.