generate + test  Australasian Computer Music Conference 12 - 14 July 2005  Creative Industries Precinct,  Queensland University of Technology  Brisbane, Australia  Submissions are now being accepted online for        •       musical works        •        papers        •        posters        •        artist talks        •        studio reports        •        workshops  Visit the conference website and follow the submissions link http://acmc05.org/  Submissions close on 14/03/05

ArtBots 2005 Call for Works The fourth annual ArtBots: The Robot Talent Show, an international art exhibition for robotic art and art-making robots, will take place at Saints Michael and John Church in Dublin, Ireland on July 15-17, 2005. Creators of talented robots are invited to submit their work for possible inclusion in the show. Proposals and works-in-progress are welcome, provided a detailed production timeline and samples of previous work are included in the application. The deadline for entries is April 1st, 2005. The ArtBots curators for 2005 are: Douglas Repetto (Columbia University Computer Music Center), Michael John Gorman (The Ark), and Marie Redmond (Trinity College Computer Science). ArtBots 2005 is sponsored by The Ark and The Columbia University Computer Music Center and is being produced as part of The Ark's summer "Save the Robots" festival. Please see http://artbots.org for more information and entry instructions.

Call for works and papers Suivi par un appel de communications en français In and out of the sound studio A conference at Concordia University, Montreal, July 25-29, 2005 You are invited to propose papers, presentations, performances and concert works for a conference at Concordia University July 25-29, 2005, focusing on gender and sound technologies. Artists, scholars and producers in such areas as: museum sound theatre sound film, video, digital media or video game sound design electroacoustic music community radio radio art public radio sound documentary performance art music recording ... and other areas of sound practice are encouraged to submit proposals for scholarly presentations as well as less traditional forms of address. Presentations will be in French and/or English.  Performances will take place at Concordia’s Oscar Peterson Hall, Studio XX, la Société des Arts Technologiques, and CKUT Radio. Conference participants will have the opportunity to attend academic panels as well as technical, aesthetic and professional sessions on working with sound technologies. During the conference, we will be doing initial production on a sound documentary about gendered practices in sound work. Interviews and audio recordings will take place during the conference, and a production room will be set up for ongoing editing throughout the event. Please send: a 250-300 word abstract technical requirements for your presentation a short cv by April 15, 2005, to: In and Out of the Sound Studio Conference Dr. Andra McCartney Communication Studies Concordia University HB 404 7141 Sherbrooke St. W. Montréal, QC H4B 1R6 Canada or by email to: andra@vax2.concordia.ca Appel de communications In and out of the sound studio, Dedans/Dehors du studio Universitée Concordia, Montréal, du 25 au 29 juillet 2005. Nous invitons les chercheurs, artistes et producteurs à soumettre des propositions de communication, des concerts ou des performances sur les thèmes suivant : genre, sons, technologies et technologies sonores. Nous invitons particulièrement les personnes s’intéressant au son dans les phonothèques, théâtres, films, vidéo, média digital, jeux vidéos, musique électro-acoustique, radio communautaire, radio publique, radio artistique, documentaire radio, performance artistique, enregistrement et autre domaine touchant la « pratique sonore » à soumettre leur proposition. Les présentations peuvent être des conférences en français ou en anglais, ou des performances ou autres formes non traditionnelles de présentation. L’événement aura lieu à l’Université Concordia, à Montréal, du 25 au 29 juillet 2005. Les performances se tiendront au Hall Oscar Peterson de Concordia, au Studio XX, à la Société des Arts Technologiques et à la radio CKUT. In and out of the sound studio, Dedans/Dehors du studio comprendra des panels de discussions académiques ainsi que des ateliers de perfectionnement technique et esthétique sur les technologies sonores. L’événement servira aussi de site initial de production d’un documentaire radio portant sur le genre et les pratiques sonores. Des interviews et enregistrements auront lieu pendant la conférence et un espace de production sera disponible pour du montage. Les propositions de conférence ou de performance doivent comprendre un résumé d'une page (250-300 mots, double interligne), un court cv, et une description du matériel audiovisuel requis. Les propositions doivent être envoyées d’ici le 15 avril à l’adresse suivante : In and Out of the Sound Studio Conference Dr. Andra McCartney Communication Studies Concordia University HB 404 7141 Sherbrooke St. W. Montréal, QC H4B 1R6 Canada ou par email à: andra@vax2.concordia.ca

Organised Sound: An International Journal of Music and Technology Call for articles and works Volume 11, Number 1 Issue thematic title: Sound, History and Memory Date of Publication: April 2006 Publishers: Cambridge University Press Issue Co-ordinators: Cathy Lane and Nye Parry. Theme: Sound, History and Memory As human beings we are defined by our memories. Our sense of ourselves, and our perception of the world around us rely on our ability to recall past experiences. Recording technology has opened up the world of memory to the sound artist/composer in many new and unique ways. The ability to reproduce sounds that have already occurred is central to the artistic use of recorded sound. It allows composers to use real world sounds motivically. It allows phonographers to capture and replay unique moments in time. It allows documentary makers to record first hand testimonies of past events and real lives. Perhaps most importantly it allows these fields to merge and intermingle, creating new hybrid forms that utilise location recordings, oral testimony and abstract sound and music. For the proposed issue of Organised Sound we would be interested in inviting papers on the wide variety of practices in our field  which involve the conscious use of memory. Themes will include: 1. History and Memory as subject matter and inspiration for sound works 2. Oral History and archive as material in sound works. 3. Memory as a structural metaphor in sonic composition We invite submissions from composers, performers, artists and researchers working within the field of sound, history and memory. Submissions related to the theme are encouraged; however, those that fall outside the scope of this theme are always welcome. Deadline for submissions is 30 June 2005. Submissions may consist of papers, with optional supporting short compositions or excerpts, audio-visual documentation of performances and/or other aspects related to your submission. Supporting audio and audio-visual material will be presented as part of the journal's annual DVD-ROM which will appear with issue 11/3. --- SUBMISSION DEADLINE: 30 June 2005 SUBMISSION FORMAT Notes for Contributors and further details can be obtained from the inside back cover of published issues of Organised Sound or from: http://uk.cambridge.org/journals/oso/ Email submissions should be sent to (please see SUBMISSION FORMAT above): os@dmu.ac.uk Hard copy of articles (only when requested) and other material (e.g., images, sound and audio-visual files, etc.) should be submitted to:         Prof. Leigh Landy           Organised Sound         Music, Technology and Innovation Research Group            Clephan Building         De Montfort University           Leicester LE1 9BH, UK. Editor: Leigh Landy Associate Editors: Ross Kirk and Richard Orton Regional Editors: Joel Chadabe, Kenneth Fields, Eduardo Miranda, Jøran Rudi, Barry Truax, Ian Whalley, David Worrall ICMA Representative: Mary Simoni International Editorial Board: Marc Battier, Laurant Bayle, Hannah Bosma, Allesandro Cipriani, Simon Emmerson, Rajmil Fischman, David Howard, Rosemary Mountain, Tony Myatt, Jean-Claude Risset, Francis Rumsey

call for anti war/anti bush music & anti bush anti war art wendy collin sorin and i are in early stages of a film inspired by the poem 'strange things begin to happen when a meteor crashes in the arizona desert'by michael basinski. the film will be a surreal take on the whole bush/iraq thing. in my previous film 'jesus and her gospel of yes' we utilized art from numerous artists within the film. so would like to make a call for anti war art and music to use in this project. collages,photography,visual poetry all welcome (keep in mind its a surrealist film). most of the art already submitted has been pre exisiting art and thats what were mostly looking for. of course we're also looking for the right music, which may fit any of the following key word: punk/avant/outsider/fringe/fusion/acid/freejazz/atonal/minimal/ surreal/electronic/ambient/collage. this can be 'literal' anti war music or we're also looking for the right music which might be somewhat 'free jazz' mixed with surreal western type music. can we pay? hell no. this will be done on a miniscule budget. but, we will credit all artists whose work we use in the film and after film is completed will put up a website with all the artwork and artist contacts on the site and may work on a soundtrack for the film as well. we did the same thing in our first film and in the credits we named all visual artists and showed one sample of their work next to their name, as well as crediting the musicians. now, we may not use all the work sent us, but we will certainly try to. too i think it an important way to voice the sentiment. IF everything goes ok we hope to start shooting in july. so,would like to start getting in the anti war art and music well before then, of course (and we need both visual art and music well before then so we can start story boarding around the art and plan on what music to use in what scenes. if interested contact me via email : eaker40b04@y... or through mine and wendy's group: http://groups.yahoo.com/group/THE_FRINGE_EZINE or check out the art in our first yahoo group for the film http://groups.yahoo.com/group/jesusandhergospelofyes under photos and files to see how we used art within that film. will give all interested artists po box to send work to(preferrably jpegs on a floppy, the music on cd or mp3s and will need a brief bio). thanks alfred pink and blue films, llc

Annual New Music & Art Festival, to be held October 27-29, 2005, featuring guest composer Samuel Adler. The postmark deadline for consideration on this festival is February 4, 2005; late works will be considered for Festival 27. Composers whose works are selected are expected to attend, and a small travel honorarium will be offered. Submitted works will also be considered for year-round performance under the sponsorship of the MidAmerican Center for Contemporary Music. Selected works will be performed throughout the season by distinguished faculty, guest performers and student ensembles. Send one score, tape (if available), 250-word bio, and program note to: Burton Beerman, Director MidAmerican Center for Contemporary Music Bowling Green State University Bowling Green, OH 43403 USA e-mail: bbeerma@bgnet.bgsu.edu, azygmun@bgnet.bgsu.edu For more information concerning the MidAmerican Center for Contemporary Music, the New Music & Art Festival or complete guidelines for submissions, please see our web site at http://www.bgsu.edu/colleges/music/MACCM/, email azygmun@bgnet.bgsu.edu or call (419) 372-2685. Adam Zygmunt, Coordinator MidAmerican Center for Contemporary Music

CALL FOR SCORES For the fourth year, Gamma-UT is announcing a Call for Scores of student works.  Following last year's highly successful concert of electro-acoustic music, we will once again have a focus on technology and mixed media.  Student composers/video artists are  invited to submit pieces with video and music, where music plays a major role.  Electronic and acoustic music is welcome, but acoustic pieces, if they are to be played live, should be limited to 4 performers. Attendance is mandatory for those with accepted pieces (composer or video artist). The deadline for submission is February 1, 2005. Applicants will be notified of the program committee's decision via email by February 15, 2005. ß Mixed media pieces should include a hard copy of DVD (video with music) mailed to the address below. ß Pieces involving acoustic instruments should include a copy of the score.  Submissions may be emailed (pdf, sibelius, finale) or mailed in paper format.  Recordings are greatly appreciated (mp3, CD, cassette, DAT). Please include your name, email address, mailing address, institutional affiliation, and proof of student status (copy of student ID or transcript). Hard copies should be mailed to: The University of Texas Samuel Pluta GAMMA-UT Composition Chair School of Music 1 University Station E3100 Austin, TX 78712-0435 The concert will be held on April 9, 2005, following the GAMMA-UT Conference, at the University of Texas at Austin.  Submissions will not be returned.  For more information, contact: Samuel Pluta - spluta@mail.utexas.edu or Robert Honstein -  rhonstein@gmail.com.

> theres going to be another tape music fest in january @ odc > and we would like to program more local works. if any of you have > something you might want to send it in! > > for more info: > > http://www.sfsound.org/tape.html/call.html > > > thanks! > -matt > >

International Computer Music Conference call for scores deadline: Feb 5, 2005 see: http://www.icmc2005.org/index.php?selectedPage=76

            University of Minnesota School of Music                     Noel Zahler, Director                            Announces       the 2005 Spark Festival of Electronic Music and Art,                     Douglas Geers, Director         West Bank Arts Quarter, University of Minnesota                      Twin Cities Campus                     February 17-20, 2005 CALL FOR COMPOSERS, ARTISTS, and PRESENTERS Submission Deadline: November 22, 2004 (postmark) The University of Minnesota School of Music is proud to present the 2005 Spark Festival of Electronic Music and Art, February 17-20. The festival will be held at the West Bank Arts Quarter on the University of Minnesota, Twin Cities campus. Now in its third year, the Spark Festival showcases the newest groundbreaking works of digital music and art. Last year¹s festival included innovative works by over sixty international composers and artists. Leading scholars and technology specialists also presented papers relating to new technology and creativity. Spark invites submissions of new works incorporating new media, including electroacoustic concert music, experimental electronica, theatrical and dance works, installations, kinetic sculpture, artbots, video, and other non-traditional genres. Spark also invites submission of scholarly papers on technical and aesthetic subjects related to the creation of new media art and music. Topics of particular interest include: multi-media software and hardware development, interactive software and hardware, the use of artificial intelligence in music and the arts, spacialization, score following, machine listening, compositional applications of timbre/time, compositional tools and psychoacoustics. All accepted papers will be published as part of the Spark proceedings. MUSIC SUBMISSIONS Music submissions will be accepted in four categories: 1. Concert works: Electroacoustic works with and without performers.  Performance venues will accommodate 2-8 channel works and works with video.  Although there is no strict limit of duration, pieces of twelve minutes or less are encouraged. 2. "Club" works: Experimental electronic performances in a "club-style" venue.  Selected performers will be given sets of 15-30 minutes.  Performance venue will accommodate stereo sound and video. 3. Installations: [See "Visual Art Works" below] 4. DJ battle: A select number of DJs will be selected to compete in a one-evening event in which two winners will be selected: (1) most virtuosic and (2) most unique.  Note that prizes will be symbolic (not pecuniary!) in nature.  VISUAL ART WORKS Visual submissions will be accepted in three categories: 1. Installations and gallery works: A number of installation and gallery exhibitions will be mounted in various spaces on the UMN campus.  Please include technical and space requirements with submission. 2. Video: Video works will be screened at multiple Spark events. Videos featuring digital music compositions (two-channel) are welcome, but this is not required. Although there is no strict limit of duration, pieces of twelve minutes or less are encouraged. 3. Theater/Dance:  Theatrical and dance works incorporating new technologies are welcome at Spark 2005. Please include performance venue and technical requirements with submission. PAPERS Paper and lecture/demonstration submissions that deal with topics relating to new technology and creativity are encouraged, including intermedia composition, performance, human-computer interaction, software/hardware development, aesthetics, and history. Paper and lecture/demonstration submissions will be accepted in two categories:    1.      Standard length: Twenty-minute presentation, allowing for five minutes of Q/A.    2.      Short length: A feature unique to the Spark festival is Symposium Fast Forward, a presentation of five-minute presentations followed by five minutes of Q/A.  The idea of Symposium Fast Forward is to create an academic presentation equivalent to speed chess, in which ideas are presented quickly and succinctly, with time following for discussion. Both students and professionals are encouraged to submit presentations of this type. Standard submissions should consist of a two-page abstract with bibliography.  Camera-ready papers will be due on January 3, 2005.  Short length submissions should submit a one-paragraph abstract. Individuals may submit a maximum of one paper and one lecture/demonstration, and accepted papers and lectures/demonstrations will be submitted online. and More information about the submission process will be available soon on the Spark 2005 website when the online submission procedure has been activated. All accepted papers will be published as part of the Spark proceedings. SUBMISSION REQUIREMENTS Applicants are invited to submit one work per category in up to two categories for consideration for presentation. Student works are encouraged. Please download a submission form from www.spark.cla.umn.edu and follow the instructions for submitting works. Limited performing resources will be drawn from the University of Minnesota, but applicants are encouraged to provide their own performers if possible. More information about available performers will be posted on the www.spark.cla.umn.edu in the near future. Composers and artists whose works are selected for inclusion are encouraged to attend the festival. TECHNICAL DETAILS Selected works will be announced by December 10, and travel and accommodations information will be posted on www.spark.cla.umn.edu by the same date. Submission deadline is November 22 (postmark).  For more information, and to obtain submission forms, please visit the Spark 2005 website at http://spark.cla.umn.edu. Questions can be directed to the conference hosts at sparkfst@umn.edu. 2005 SPARK FESTIVAL SUBMISSIONM FORMS available at: http://spark.cla.umn.edu -- Noel Zahler, DMA Director Professor School of Music University of Minnesota 200 Ferguson Hall 2106 Fourth Street South Minneapolis, Minnesota 55455 Telephone: (612) 624-7060 email: nbz@umn.edu

ArtSong Competition Application Deadline: January 15, 2005 Seeks works for voice and piano (with one additional instrument an option) for their ArtSong Competition. Cash awards and performances. For complete information, visit http://www.composersforum.org/opportunities_detail.cfm?oid=4417 Details The American Composers Forum and The Schubert Club are pleased to announce a Call for Scores for its ArtSong Competition. Composers are invited to submit works for voice and piano, with optional accompaniment of one additional instrument. ArtSong is designed to honor the best in current American art song and to provide composers with a prominent presentation of their music. The competition capitalizes on the presence of international caliber vocalists who are scheduled to perform at the June 2005 Saint Paul Summer Song Festival, including Dawn Upshaw, Isabel Bayrakdarian, Nathan Gunn, and Michael Schade. GUIDELINES Eligibility: Scores are invited from composers who are U.S. citizens or permanent residents. There is no age limit and students are welcome. Applicants need not be members of the American Composers Forum, but are encouraged to join. Winning composers must be current members in order to receive the award. Membership status will not be considered in the selection process. Work: Composers may submit works for piano and one of the following voice parts: soprano, mezzo-soprano, tenor, or baritone. Optional accompaniment of one additional instrument may be drawn from the following: fl, ob, cl, eh, bs cl, bn, hn, tpt, tbn, perc, vn, va, vc, cb. Works containing electronic components/ content are eligible, but composers must provide all hardware and software necessary for performance. There is no limit to the number of entries per composer. Duration: Works may be a single song, a song cycle or group of songs (3-15 minutes duration). Text: The work may be a setting of any sacred or secular text in any common language. The rights to all texts must be secured; entries with texts that are not public domain must include documentation of permission/rights. Performance History: As the program's intent is to showcase new works, preference will be given to unperformed works. However, works with a limited performance history will also be considered. Submitted works must be unpublished and composed within the past five years. AWARDS First Prize: $1000, Performance by one of the above vocalists at 2005 St. Paul Summer Song Festival. Second Prize: $750 and Third Prize: $500; Note: While Second and Third place works may be presented, these works cannot be guaranteed a performance. SUBMISSION REQUIREMENTS Applications must include the following: *       One bound and legible score. Please indicate duration and voice part. *       Program notes with date of composition, including the work's performance history, if any. *       Proof of public domain or author's written permission for use of text. *       Biography for publicity purposes, not to exceed two pages. Please include complete contact information. *       Recording (MIDI is acceptable) of the submitted work, if available. *       A self-addressed, stamped envelope for return of materials (optional). Deadline:  Postmarked on or before January 15, 2005. Selection Process: Applications and scores will be screened for completeness by ACF staff. Final selection and programming decisions will be based on a high level of artistic quality and made by an independent panel of experts. The names of the 2005 panelists will be announced after the selections are complete. Note: American Composers Forum and The Schubert Club reserve the right not to make an award. Winners will be notified by March 1, 2005. Send to: ArtSong Competition American Composers Forum 332 Minnesota Street, Suite E145 Saint Paul, MN 55101 For additional information, contact David Wolff at 651-251-2833, or email. 

Essentially Choral Call for Scores

(Postmark Deadline: September 10, 2004) The American Composers Forum and VocalEssence announce a call for Scores for Essentially Choral, the fourth annual reading session for works for voice and instruments.  Essentially Choral provides a unique opportunity for talented emerging composers to write for choral ensemble with instrumental accompaniment of up to fifteen instruments. For complete guidelines and application forms, please select the Essentially Choral section at: www.composersforum.org/programs.cfm Up to five composers will be selected to have their works read by the Ensemble Singers, VocalEssence's 32-voice professional chorus, and professional orchestral musicians. Selected composers will attend a rehearsal with the Ensemble Singers, a three-hour reading session with the vocalists and instrumentalists, and a mentoring session with internationally recognized composer Sven-David Sandström and VocalEssence Artistic Director Philip Brunelle. Selected composers must be U.S. citizens or legal permanent residents. Composers who are currently enrolled as students must be thesis status/ABD. Travel and lodging assistance is provided for composers living in the five boroughs of New York City and Minnesota composers residing outside the Twin Cities area, as stipulated in the Jerome Foundation grant guidelines. Composers from other locations are invited and encouraged to apply, but must finance their own travel and lodging. Composers selected will receive a $500 honorarium to defray expenses, and will be required to attend the reading and surrounding activities. Works should be for SATB, SSAATTBB, or variations thereof. Other voicings are accepted but please note that there are 32 singers in total. Applicants do not need to be members of the American Composers Forum; however, selected composers must become members in order to receive awards. For more information, contact: David Wolff, Director of Minnesota Chapters American Composers Forum 651.251.2833 or dwolff@composersforum.org

Orange County's Pacific Symphony Carl St.Clair, Music Director AMERICAN COMPOSER'S COMPETITION 2005 Administered in partnership with American Composers Forum The Orange County, California-based Pacific Symphony invites submissions of existing orchestral works for its American Composer's Competition. This competition aims to identify exceptional new talent and voices among younger, emerging orchestral composers.  Audiences, radio listeners, and musicians alike will vote for their favorite work during two performances and a live radio broadcast on May 25-26, 2005. The three finalists will receive at least three performances of their work, expert feedback, and career counseling from orchestra musicians and established composers.  Finalists will receive a cash prize and travel stipends. A one-week residency in which the finalists will participate in community activities is a requirement of all participants.  For example, area high school students will shadow the composers during the final week of preparation and receive mentorship from the finalists. AWARDS * 1st prize: $5,000 commissioning fee (plus $2,000 for copying expenses) for a new ten (10) minute work for full symphony orchestra scheduled to receive its world premiere in the 2006-07 season. * Two runners-up:  $1,500 each. * All three top awardees will have at least two performances of their work by the Pacific Symphony and coaching from Music Director Carl St.Clair. ELIGIBILITY * Scores are invited from composers, who are U.S. citizens or permanent residents, are at an early stage in their career, and do not have widespread peer recognition.  There is no age limit and students are welcome. Candidates must certify that they are available to be present in Orange County, California for the final phase of the competition, May 21 through 26, 2005.    Previous winners are not eligible for entry. * Parts:   If selected for the final phase of the competition, the composer will be required to provide a complete set of orchestral parts (copies of each original string part can be made by the Pacific Symphony, if requested).  These parts should be created via a computer program or submitted as legible hand-written manuscript.  In both cases, the parts should be proofed by a professional editor.  Illegible parts will be result in disqualification from the competition. * The submitted work: 1. Must be an instrumental work FOR ORCHESTRA ONLY.  Concertos, vocal works, chamber orchestra works, and works for strings, winds, or brass only are not eligible. 2. May not be longer than 10 minutes in duration. 3. Must not have been performed in concert by a professional symphony orchestra (having an annual budget of over $1 million). 4. Must not be planned for performance by a professional symphony orchestra with an annual budget of over $1 million at the time of submission. 5. Must not have received a published music review from a professional music critic. * Instrumentation may not exceed: 3 flutes (1 doubling piccolo) 3 oboes (1 doubling English horn) 3 clarinets (1 doubling E-flat clarinet or doubling bass clarinet) 3 bassoons (1 doubling contrabassoon) 4 horn, 3 trumpet, 3 trombone (3rd is bass trombone), 1 tuba 1 timpani, 3 percussion, 1 harp, 1 piano/celeste strings: 16 1st violins, 12 2nd violins, 12 violas, 10 celli, 8 basses * Applicants need not be members of the American Composers Forum, but are welcome to join.  See ComposersForum.org for information. COMPETITION PROCESS * The American Composers Forum will administer a peer panel that will review the submitted works to narrow the finalist pool, and make recommendations to the Pacific Symphony for the three works that will be selected for the short-list of finalists.  Notification of the finalist pool will be mailed by January 15, 2005. * The three short-listed works will be performed by the Pacific Symphony in concert in Costa Mesa, CA on May 25, 26,  2005. The chosen first prize work will be identified by votes from all listeners and performers present in the hall on May 25 and 26, and also a live state-wide audience on K-Mozart radio for the May 26 concert.  Audiences will also be invited to offer written critiques of the works. * Finalists will be provided, at the Pacific Symphony's sole selection, roundtrip domestic coach airfare within the United States, hotel in Orange County California and $350 for expenses.  All travel and accommodation arrangements will be made through the Pacific Symphony Office. APPLICATION DEADLINE Applications must be RECEIVED by Friday, October 1, 2004 HOW TO APPLY Please send the following to Philip Blackburn, ACF-PO 332 Minnesota Street. E-145 St. Paul, MN  55101 * Two bound and legible scores of one orchestral work. Label the score cover with your name, address, and duration of work. * Recording (midi is acceptable) of the submitted work, if available * Program notes, including the work's performance history, if any.  Please indicate whether instrumental parts are available. * Composer biography for publicity purposes. * Check for $ 6.00  (payable to "ACF", to cover postage for return of materials.) QUESTIONS? Contact Philip Blackburn: pblackburn@composersforum.org Tel: (651) 251-2823 http://www.pacificsymphony.org http://www.composersforum.org APPLICATION FORM Title of work Performance History Instrumentation Duration: Composer Name Address e-mail Day time and Night Telephone Fax Return postage check $.........

Kenneth Davenport Natnl Competition for Orchestral works

Prize

$5,000.00 and performance + six day residency at SUNY New Paltz November 16, 2004 - Nov 21, 2004

guidlines

Us citizens and permanent residents born on or before Jan 1, 1983. Compositions not commercially recorded and less than 10 years old and not received any other natnl awards. winds 2,2,2,2; brass 2,2,2,1; timpani, 2 percussion; and strings; (harp and keyboard optional). Duration should be about 15 minutes. One entry per person.

Applications

Postmark deadline July 2, 2004
$45 application fee payable to SUNY New Paltz
No name on score or tape recording. The title of the work should appear on an envelope containing: composer's name, address, phone number, date and place of birth, composition title, comp date, instrumentation and duration. The flyer says, "A signed statement that the entry is an original work and meets composition guidlines is required as well as assurance that the entrant will provide easily legible orchestral parts upon request and forward them free-of-charge." You may also include a tape recording or CD of the work, labelled with the title. If you want all this stuff back, send a SASE

Kenneth Davenport National Competition for Orchestral Works School of Fine and Performing Arts State University of New York at New Paltz 75 S. Manheim Blvd. Suite 9 New Paltz, New York 12561-2443

845 - 257 - 3860 FAX 845- 257- 3859

> Davia Nelson of The Kitchen Sisters in San Francisco > is putting > together a piece for NPR and needs to receive > recordings or find > references to recordings of music in which kitchen > utensils and > appliances are used as instruments. > > If anyone on the Other Minds Forum list can help, > please email Davia at > > The Kitchen Sisters Productions > <kitchensisters@zoetrope.com>

AutuMedia 2004 Call to Artists

AutuMedia is an outdoor multimedia extravaganza hosted by Media Bridges of Cincinnati. Held in the large parking lot at the corner of Race Street and Central Parkway in downtown Cincinnati, this New Media event features Film, Video, Sound, Installation, Mixed Media, Web Art and more. Submissions can be for completed works, works in progress, and new proposals. AutuMedia is open to all applicants; however, artists must be present for installation. Be apart of this year's most off/on the wall art experience! Submission Deadline:             June 30, 2004 Event Date:                   October 2, 2004 6pm-12am More info: www.autumedia.com

Recordings of noise music by women wanted for compilation CD http://ubuibi.org/wtbtn/

Call for Submissions - The CEAIT Festival 2004 at Calarts and REDCAT

SUBMISSION GUIDELINES

This year's Center for Experiments in Art, Information and Technology (CEAIT) festival will be taking place January 30 through February 1, 2004, in both the newly opened REDCAT in downtown Los Angeles and the Roy O. Disney Music Hall on the Calarts campus.

Pieces should include live electronics, instrumental performers with tape or computer, tape alone, video tape, or computer alone. There is a preference for live work over tape/CD only pieces, although tape/CD-only pieces will also be programmed. We regret that we will not be accepting proposals for audio and web installations this year, but do intend to include these media in future CEAIT events.

We accept pieces that are a maximum of 15 minutes long and will accept up to two submissions per composer or group. We accept submissions on Compact Disc, VHS, CD-Rom, or DVD. We will also accept emailed links to downloadable MP3s or Quicktime files, but please be aware that any problems encountered while downloading them will result in disqualification. Emailed submissions should be sent to ceait2004@shoko.calarts.edu.

For pieces involving performers, the composer needs to provide the performers and make necessary arrangements for the performance.

For pieces with image, we will have a projector with VHS, DVD, or CD-Rom playback available. All video Submissions should be in NTSC format.

Please include with each submission (in the body of an email or as a Word document):

• A Short Bio
• Program notes
• Composer's or group's contact information including email
• A list of technical requirements

Please Note: The festival does not provide financial support for any travel or production expenses. Any submitted materials cannot be returned unless an SASE is included in the submission.

CEAIT CONTACT INFORMATION

All submissions should be postmarked by Friday, November 21, 2003, and sent to the following address:
 
California Institute of the Arts
CEAIT Festival 2004
School of Music
24700 McBean Parkway
Valencia, CA 91355

or ceait2004@shoko.calarts.edu

***************************************************** ***************************************************** Thirteenth Annual Florida Electroacoustic Music Festival April 1-3, 2004 University of Florida Gainesville - Florida - United States of America Composer-in-Residence, Alvin Lucier James Paul Sain and Paul Koonce, Co-hosts ***************************************************** After a dozen years of service, the Florida Electroacoustic Music Festival enters its 13th year of bringing together an international rostrum of today's electroacoustic composers to present their cutting-edge music. Past composers-in-residence have included world renowned composers Hubert S. Howe, Jr., Cort Lippe, Gary Nelson, Jon Appleton, Joel Chadabe, Larry Austin, Barry Truax, Richard Boulanger, Paul Lansky, and James Dashow. Call for Works A call for electroacoustic art music works that fit into one of the following categories: works for recorded media alone - two and four channel works for performance on up to 14 speakers - octophonic/eight channel works (see media formats supported) works for recorded media and instrument(s) - special interest in works for flute, clarinet, saxophone, horn, trombone, contra-bass, piano, and percussion works utilizing interactive applications/interfaces including electroacoustic improvisation, alternative controllers, and new approaches to sound with other media in performance. Supported resources include: - Cycling 74's Max/Msp - SuperCollider - Kyma 5.13 w/ Capybara 320 - Tactex's MTC Express - Yamaha Disklavier Grand Piano - Proposals for other technologies will be considered media formats supported: CD, 16 and 24 bit RDAT, Tascam DA-88/38, Alesis ADAT 1/4" 1/2-track, and 1/4" 4-track tape Deadline for the receipt of submitted work(s): September 30, 2003 Works using live performance must be accompanied by a tape of a performance or high quality realization. All submissions must include performance materials in one of the media listed above, performance parts and/or a score, a brief biography (75-100 words), program notes (100 words or less), and contact information. Biographies or notes in excess of the maximum will be truncated. Incomplete submissions will not be considered. Please indicate whether the composer can provide the performer(s). Contact information must include a phone number, address, and if available, an email address, web site, and fax number. A self-addressed stamped envelope (SASE) is required for the return of all materials (or international postal response return coupons). Materials not accompanied by a SASE will become property of the Florida Electroacoustic Music Studio. Composers may submit no more than two compositions for performance consideration on the 13th Annual Florida Electroacoustic Music Festival. Composers selected for performance are required to attend the festival; this is to provide the festival with a sense of community. The festival is unable to provide travel grants or honoraria. Should a composer be unable to attend the festival their work will not be presented. ************** Call for Papers/Presentations A call for papers, studio reports, and lecture/demonstrations dealing with the technology, musicology, and/or aesthetics of electroacoustic music. Submissions from all current areas of research are encouraged. Possible topics include: acoustic ecology, interactive composition/synthesis, algorithmic composition, new musical interfaces, and new synthesis/processing techniques. Authors selected will be given 30 minutes to present their paper (20 minutes for delivery, and 10 minutes for questions and answers). Deadline for receipt of submitted materials: September 30, 2003 Three copies of the completed paper, studio report, or lecture/demonstration abstract must be accompanied by a brief biography of 75-100 words and a contact sheet (abstract and biography should be promptly available on data CD or via electronic transmission upon selection). Biographies in excess of the maximum will be truncated. Contact information sheet must include a phone number, address, and, if available, email address, web site, and fax number. All submitted papers will become part of the Florida Electroacoustic Music Studio Library. SEND SUBMISSION OR INQUIRES TO: Dr. James Paul Sain, FEMS Director University of Florida School of Music P.O. Box 117900/130 Music Bldg. Gainesville, FL 32611-7900 (352) 392-0223 ext. 240/voice (352) 392-0461/fax femf13@arts.ufl.edu ************** More information on the electroacoustic music program at the University of Florida and the Florida Electroacoustic Music Studio can be found at: http://emu.music.ufl.edu/ The University of Florida is located in the North Central Florida city of Gainesville. Gainesville is served by Delta Airlines (via American Southeast Airlines) and USAir Express. The city is approximately a two and a half hour drive by car from Jacksonville, Tallahassee, Orlando, and Tampa, Florida. Airport shuttle service can be provided by the festival hotel for transportation from/to the Gainesville Regional Airport (but not to other area airports). Anticipated notification of selection for those with email access will be made the week of November 15, 2003. Please add an appropriate delay for postal notification. ************** Current information on this FEMF13 call can be found at: http://emu.music.ufl.edu/femf/emufest13.html Complete FEMF13 program will be available at: http://emu.music.ufl.edu/femf/fest13prg.html

Date: Mon, 9 Jun 2003 14:22:16 -0700 (PDT) From: Edgetone Crew To: Bay Area New Music Discussion Subject: [BA-NEWMUS:9710] 2 sets open 07/03/03 CREATIVE MUSIC Thursdays @ LUGGAGE STORE GALLERY SF Hi Folks, Looking for interested artists/bands for July 3rd 2003 at the Luggage Store Gallery Thursday Night Series if anyone's interested. Those who have never played or not played in over a year preferred, but I'm open to all suggestions, and experimental genres. PLEASE REPLY to: outsoundorg@yahoo.com thanks, -Rent