The International Computer Music Conference (ICMC2014) jointly with the Sound and Music Computing (SMC2014) Conference invite submission of music works that will be performed in the frame of the Conference that will be held in Athens, Greece, from 14 to 20 September 2014.
The ICMC|SMC|2014 Conference theme is: Music technology meets philosophy: from digital Echos to virtual Ethos. We encourage the submission of of musical works (and installations) related, but in no way limited, to the Conference topics. Submissions must be sent electronically only through the Specific Management System (Please do not send Submissions directly by e-mail). Composers can submit several works (but only one work per composer will be include in the concerts) and have to assign each work to one of the following categories:
The call is open to all composers regardless of nationality, age, or career stage.
Works should not exceed the 15 minutes. 10 minutes or less, are strongly encouraged.
The works should be recent and not been already performed in former ICMC or SMC conference.
All work(s) must be submitted online.
|·||Submissions open:||10 January 2014|
|·||Deadline for submissions:||1 April 2014 (UTC +2) (Extended deadline 15th April 2014)|
|·||Final deadlines for all performance material:|
|·||Composer registration deadline:|
Artists will be notified of the results by email.
All submissions will be subject to blind review by an international panel of experts specialist in the given category of submission, with access to all submitted materials online.
After the evaluations are made and averaged (on a numerical scale), concert curators will select compositions from those with the highest scores.
All works will be submitted only on-line through the Specific Management System. Artists submitting works should create and submit stereo MP3-formatted audio files (multi channel should be reduced to stereo) and/or MP4-formatted video files of their pieces; in order to facilitate blind jury review, we ask that artists not include title slides or ID3 tags on their media. Technical specifications for performance and performer scores should be submitted as well, in PDF format, and must be anonymous.
If any additional equipment is required, proposals should specify what can be provided by the artist/composer and what the conference is expected to provide.
Installation proposals must include a spatial/physical diagram.
If more than one file has to be uploaded, please zip all and send as one zip file.
If you have done any mistake in your submission, you can withdraw it and resubmit.
After the selection additional will be required by 30 June 2014:
Fixed media works not selected for concert presentation may be programmed in one of the listening rooms. Please indicate on the submission form if you do not wish to be considered for this option.
Selected artists who wish to have their pieces presented at the conference must register for the conference by 15th of July. Attendance by the composer is highly encouraged but not absolutely required for the performance to happen. However, the performance may be cancelled if any of the following occur:
Final dress rehearsals/sound checks will be scheduled on the day of the concert.
Any questions regarding the call for musical works can be addressed directly to the music chair: firstname.lastname@example.org.
The music falling under this category is for a soloist and live electronics. The instrumental part must be for acoustic (or electric) instruments of any. In the unlikely eventuality that the organisers cannot provide a professional performer on a given instrument, arrangements may be made with the composer to provide one. Composers may also propose to provide their own performer, though funding cannot be guaranteed and this must be negotiated with the chair on selection. The electronic part can range from fixed media background part, to real-time rendering of processing. It can also be performed in real-time by the composer.
This category includes music written for ensembles from 2 to 10 musicians, with addition of an electronic part: from fixed media to real-time rendering, and/or a combination of both. The organisers have access to an extensive list of first class performers on most Western orchestral and popular and traditional instruments, and the music will be judged solely on its artistic merit. Composers may also propose to provide their own performers, though funding cannot be guaranteed and this must be negotiated with the chair on selection. Every effort will be made to stage selected pieces but for practical reasons a performance cannot be guaranteed on initial notification. (See preferred instruments below)
This category is for laptop(s) performance, where the laptop(s) is/are the centre of the stage: live coding, just-in-time-composition, ASCII keyboard beating, these pieces should have a laptop performer defending this technology as a musical instrument. The use of projection (for the code) and of conventional external controllers (faders, keyboards, pedals) are allowed. For more daring new interfaces, please see the following category. Including a screencast of the performance with the submission is highly recommended.
The works in this category must showcase new interfaces in action! New interfaces addressing the concerns of concert presence, virtuosity and interface transparency/expressivity should be showcased to the highest level. New ways of using old interfaces (i.e. highly augmented instruments) are also welcome. Including a video of the performance with the submission is highly recommended.
This category is for works that include electronics and other elements: for instance, a piece with new interface, laptop, performer and interactive live video. At least two kinds of media must be present for the 'multi' aspect of the call to be respected, which may include: robots and automatons, video, live performance, fixed media, video projections, still projections, automated lights, etc.
This category is for works with pre-prepared video and music. The video part can be any kind (animation, video-art, documentary, fiction), must be single-screen, and can be high-definition (full HD projector available) or standard definition. The audio part can be up to 16 channels plus subs, though only 8 channels will be matched.
In this category music is combined with dance performance. Composers have to declare if they provide their own dancer(s), though funding cannot be guaranteed and this must be negotiated with the chair on selection. In this category please submit a video with dance if possible.
This category is for music where there is nothing on stage but loudspeakers! Music can be stereo and projected on an orchestra of loudspeakers, or can be from multi-channel sources: a system of at least 24 discrete loudspeakers (including subs) will be provided, with the loudspeaker layout available in advance. The composer has to declare if the spatialisation of sound should be performed real-time by him or third person. In the second case, spatialisation instructions are encouraged. In case of multi channel in the submission for the selection you have to submit only a reduced streo MP3 file.
Here are purely acoustic pieces (played by acoustic instruments) in which the computer plays a significant compositional role (e.g algorithmic composition). The composer should described the role of the computer in the composition. The pieces should be for 1-10 musicians.
This category allows a concert performance of any musical work linked by a paper submission that details a key aspect of the work. Musical examples can be demonstrated in real-time during the presentation by the performer(s), and then the piece will be performed entirely. Works for 10 or less performers, and of 10 minutes or less, are strongly encouraged. The paper part must be submitted through the specific Papers Management System.
Pieces that are using real-time interaction over a computer network (locally or through internet) that enables musicians in different locations to perform as if they were in the same room.
Audio installations till 7.1 audio systems, pre-recorded or real-time generated, plus video or lights, with or without interaction at the available spaces:
This category allows for submission of music that explores hybrid forms, not necessarily in terms of appropriate venue, but from an aesthetic stance. Works of DJ set, jam band, songwriters, jazz soloist with a machine counterpart, electronica etc are welcome: as long as the electronic/computer part is significant and relevant. Innovative approaches are in favour. The pieces selected in this category will be played every night in a specific concert open to the wide public.
If a work does not fit in any of the previous categories (e.g. Game Audio, jingles), please submit it here. The music chair can re-assign a piece in one of the previous categories at their discretion.
Flute (+ piccolo, alto, bass)
Clarinet (+ bass)
Oboe (+ engl. horn)
Saxophone (alto, baryton )
Accordion – Bayan
Electric guitar and bass
Other instruments can be used by request.