Hey guys, if you are still subscribed and getting my posts after term ended, let me know so I will post over the summer, I thought a lot of you would be interested in this: http://designingsound.noisepages.com/ it is a really good blog in that area.
best, Julio
Morelia, Michoacán; May 5, 2009
Call for article submissions for Sonic Ideas/Ideas Sónicas No.3
a journal of the Mexican Center for Music and Sonic Arts
(Centro Mexicano para la Música y las Artes Sonoras, CMMAS)
The Mexican Center for Music and Sonic Arts (CMMAS) is opening a call for submissions for the third issue of Sonic Ideas/Ideas Sónicas, a journal devoted to activities in electroacoustic music and sonic art. This journal will be published both online and in printed format. The aims of the journal are to encourage, develop and disseminate information about activities and developments in the field, and in particular to foster interaction between Spanish and English speaking composers, performers, researchers, and listeners. The journal is open to all aesthetic and scholarly viewpoints and approaches. Sonic Ideas/Ideas Sónicas’ core idea is to publish novel and challenging perspectives on technology and its influence on music and sound art, and it seeks to promote serious research and debate on these topics. The journal is aimed at a broad group of English and Spanish speaking readers, including researchers, artists, musicians, composers, performers, and musicologists. We hope that in Sonic Ideas/Ideas Sónicas they will find a source of dynamic and up-to-date information, endowed with intelligent and challenging perspectives on technology and its influence on music and sonic arts. Likewise, we hope that it will become a forum within an academic framework while remaining relevant to the interests and projects of its readers.
This third issue of SonicIdeas/IdeasSónicas will deal with perspectives on the use of pulse for rhythmic construction in electronic music, sonic art and any musical genre where new instrument technologies or new compositional methods aided by technology are a central element. The ease with which sound is currently sequenced by means of musical informatics opens up a vast area for exploration into the use of rhythm in sound creativity. Furthermore, we are interested in investigating the relationship between musical styles and the explicitness of pulse in rhythmic composition. Is the use of loops and looping techniques more of a resource in electronic than in electroacoustic music? Is there an inherent relationship between rhythmic complexity and depth of musical content? Do regional tendencies and geography account for a greater or lesser incorporation of explicit pulse as a structuring element in musical creation?
Musical informatic tools allow entirely ‘acoustic’ composers to create computer-aided music with very precise control of rhythmic ideas. Do these tools invite the composer to think in terms of pulsation? Do these tools foster innovation in non-electronic contemporary music? Composers can give useful and interesting evidence on the role of pulse and rhythmic construction in their work. In this way, specific musical examples that illustrate rhythmic strategies can be shared with the research community, and the abstract inspiration for these strategies can be usefully illustrated. Therefore we invite music and sound creators, in particular, to contextualize their work within contemporary critical thinking on issues of rhythm. We also invite musicologists to offer illustrated reflections on the subject by comparing and contrasting the work of various musical creators. Contributed sound examples in .mp3 format will be made available for streaming from the CMMAS website.
Other topics of interest include:
* The rhythmic sound object and derived new musical forms.
* The structuring power of pulse.
* Issues of cueing and syncing in mixed genre electroacoustic music.
* Machine listening in terms of rhythm.
* Electronic music and dance.
* Dance music.
* Rhythmic styles in popular yet experimental electronica.
* Realtime rhythmic transformation strategies.
* Cognitive processes relating to rhythm.
* The computer as a tool in rhythmic creation.
* Mathematics in rhythmic structuring.
Authors whose contributions are published assign CMMAS the non-exclusive rights to disseminate their work in every form of media, within legal limits. Authors must posses, and provide proof of such possession with their submission, the legal right to reproduce any secondary copyright materials. Submitted articles may have been previously published. The journal will publish articles in either Spanish or English; submissions will be accepted in either language, and will be published in the submitted language. Dual-language publication will also be considered on a case-by-case basis. Articles on any aspect of electroacoustic music/sonic art will be considered, as will reviews, analyses, historical studies, tutorials and other pedagogical articles, and studio/regional/festival reports. Other proposals are welcomed. Authors must submit their proposed articles via email or on disc. Documents must be submitted as Microsoft Word documents, including all necessary graphics and musical examples. Audio examples will be considered for the online version of the journal. The deadline for submissions is October 1st, 2009. Authors should submit their proposed material, a brief (ca. 100 word) biography and contact information, including institutional affiliation, if any.
Formatting guidelines:
* A4 page size
* 2.5 cm left and right margins
* Page numbers centred at the bottom of the page, 1.25 cm from the bottom of the page
* Times or Times New Roman, 12pt font; 18pt line spacing
* Single spacing within paragraphs, double spacing between paragraphs
* Justified text
* The first line of each paragraph should be indented by 1cm.
* Headings: centred and bold in 14pt font, preceded and followed by an 18pt space.
* Italics are to be used for all quotations, note names and titles
* Quotations longer than four lines should be formatted as a block quote (left and right indent by 1 cm), preceded by a 6pt space and followed by an 18pt space (line spacing within the block quote should be 20pt).
* Underlining or other forms of emphasis should not be used.
* Indicate footnotes with a superscript number in the text.[1] Place the footnotes at the bottom of the page on which they appear. Use 10pt type for footnotes. Precede the footnote with a horizontal rule. Footnotes are to be numbered consecutively through the article.
* Illustrations, such as musical examples or tables, should be integrated within the body of the text, centered with a 10pt caption (captions are to be below the illustration) and numbered.
* The layout of the different types of contributions should start as follows:
a) Articles and short contributions (e.g. conference reports) should begin with the title (centred, bold and in 14pt font), followed by 18pt spacing. This is to be followed by the name of the author (centred): “by [First Name, Surname]” (no title), followed by 18pt spacing.
b) Reviews should begin with the name of the author and the title of the publication/recording(s) reviewed, followed by the publication information (centred, bold, 14pt font; the title in italics): First Name Surname: title, Place: Publishers, Year. Followed by 18pt spacing. Then the name of the reviewer (in normal font): “Review by [First Name, Surname]” (no title), followed by 18pt spacing.
Julio d’Escriván, Guest Editor
Email: julio@sonicideas.org
Centro Mexicano para la Música y las Artes Sonoras
Casa de la Cultura, planta alta
Morelos Nte. # 485, centro
C.P. 58000, Morelia, Michoacán
México
Tel (+ 52) 443 317-5679
www.sonicideas.org
www.cmmas.org
I think here are some excellent ideas, check out this link:
http://failedrobot.com/thesis/
Hey guys,
I have been given a date for the music department’s festival week after all. I would like to setup the concert with multispeakers as we have been doing in acousmatics. I would welcome any work you wish to present, regardless of style (within reason :))). Please write to me and let me know if you would be interested in participating. It would be June 2nd at 2.30 pm in the recital hall. You can send me an mp3 of what you wish to playback or perform so I can select the best ones. If you would like one of your acousmatic pieces to be presented, then just let me know as I have copies of all your submissions. I would also like some presence from the laptop musicians who did such great work and whose ICMP work with controllers was quite good in the assessments. Let me know guys, I will accomodate as many artists as I can, we have a max of 70 mins.
All the best,
Julio
My ex-student and friend Jean Marc Petsas asked me to let you have this link:
http://www.londonsongwritersweek.co.uk/register.html
best!
Julio
Hi guys,
tomorrow I will be holding tutorials for MFDM at Hel045 or Hel043. Just come down ! MFDM specific toots will last for 1 hour from 9.00 am then from 10 to 11.30 I will be available also, but not exclusively, for acousmatic consults !
best,
Julio
Hel 045 is now ready for you to use, should be open all day. Any probs ask the admins in the office or get one of us to open or ask security.
Anyway, since you are already finalising your pieces, why not make the most of your work and send it to various competitions worldwide? Some of the work I have heard deserves to be heard outside unie !!
check this out:
Call for Submissions
Kansas City Kansas Community College and Lewis University are pleased to announce a call for submissions for the Electronic Music Midwest Festival, to be held November 5-7, 2009 at Kansas City Kansas Community College.Each concert will feature an 8.1 speaker diffusion system. Any composer regardless of region, age or nationality may submit one work for consideration in the following categories: 1) Two channel works for fixed media 2) Up to Eight channel works for fixed media 3) Instrument(s) and fixed media or live electronics 4) Works for video 5) Sound Installations and Interactive Media (composer to provide all non-standard equipment) 6) Live Laptop works 7) Live Interactive worksStudent submissions are strongly encouraged.Deadline: June 1, 2009, postmark deadline (scores must arrive by June 12, 2009)Entry Fee: noneSubmission Guidelines:1) For consideration, applicants must register and complete an online submission form available at http://www.emmfestival.org. Further submission guidelines are available upon submission registration.2) Accepted formats for consideration are CD, DTS CD, DVD, DVD-Audio. For judging, multi-channel works (up to 8 channels) must be submitted as a stereo mix on audio CD along with a data CD or DVD containing individual mono files (aiff or wav). A diagram must also be included describing the speaker assignment or placement of the sound files in a multi-channel sound system if non-standard configuration is required.
Here is the link:
Your final portfolio submission consists of:
* All Music for film/video, set scoring exercises and the jitter patches that have been reflected/published on the blog (all exercises must be accounted for).
-this means that somewhere on your DVD, you must have a folder containing every single exercise, all relevant jitter files and some document report version of the blog.
* Your selection of the three best tasks, which must include one of the jitter tasks, on a DVD showreel (this was explained in class).
-you submit three finalised pieces of your own choosing, which for Single Hons CMT must include Jitter. These must be highlighted by you on the DVD
-include a readme file to make sure all is clear or print out an instructions sheet to guide your examiner through the material you submitted.
Your final date will be:
Although tasks should be posted on the blog as indicated in the lesson plan above, the DVD showreel should be handed in at the end of the module, 13th of May, before 5pm, at the i-Centre.
The marking weight of the portfolio will be:
100%
The Marking scheme will be:
0-100, you need 40 or above to pass.
The 3 tasks submitted will be marked out of 25, for a total of 75%. The remaining 25% is the mark for your blog development and participation in the module’s blog community (keeping your blog up to date, commenting on fellow students’ work, etc).
Good luck. From tomorrow, Wednesday, room 045 will be available to book for mixdown checking…
best,
Julio
Hey guys,
did you know Anglia Ruskin University is an ATCe ? that means Apple Training Center for Education?
well, there is a contest I publicised here some weeks ago called the creative talent contest. Some of my students have already entered. It is open only to ATCe students like all of you are, in fact!
Go to the link below and read through for details. I was all day at Apple yesterday and they are extending the deadline by 1 week to allow more entries. I said we would send more stuff ! 
The idea is for you to send any track you have made with LogicPro, it needn’t be from one of my modules, so choose anything you like. I just thought that since you are finalising things for submission anyway, you may as well send elements of your portfolios to this contest, if you get lucky you will make some interesting music industry contacts !
Make the most of your hard work and send stuff from your portfolios which you have alreasdy made…
go here:
If you have done the course (only if you have attended it here !!), could you please take the time to fill in this survey? Its only 7 questions !
http://www.surveymonkey.com/s.aspx?sm=3iwwfi5xSLnXTQNgnwfRsg_3d_3d
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