The Call for Music and Papers is now closed.
Many thanks to all our participants!
The International Computer Music Conference (ICMC) 2015 invites submissions of musical works for presentation at the Conference. Non-ICMA members can submit one work for consideration while ICMA members may submit two compositions. Only one work per composer will be programmed. Please assign each composition to one of the following categories:
- solo instrument + electronics
- ensemble (2-10 musicians) + electronics
- laptop improvisation and live coding
- video and music
- acousmatic music
- new interfaces for musical expression
- inter-media performance
- piece + paper (including computer-aided acoustic composition)
- networked performance
- club electro (jazz/pop/dj/idm influenced electronic music)
- Special Category for large ensembles + electronics (limited number of performances per ensemble)
- Chamber Choir 16-voice SATB + electronics
- Trombone Choir + electronics
- Jazz Ensemble + electronics
- String Orchestra (4/4/3/2/1) + electronics
- Wind Ensemble + electronics
Submissions open: January 11th, 2015 Deadline for submission of works: February 8th, 2015 23:59 (UTC -6) Extended deadline for music submissions: February 15th, 2015 23:59 (UTC -6) Acceptance notification: April 19th, 2015 The adjudication process has been completed. Due to the extended deadline, acceptance announcements will be made a week later on April 27.
- Final deadlines for all performance material: May 10th, 2015
- Composer registration deadline: May 31st, 2015
Qualifications (all categories)
- This call is open to all composers regardless of nationality, age, or career stage.
- Non-ICMA members can submit one work for consideration.
- ICMA members may submit up to two works for consideration.
- After the submission of musical works, the conference organizer will be in contact to collect ICMA membership details.
- Submissions must be sent electronically only through the Conference Management System (Please do not send Submissions directly by e-mail). This link will be accessible from 11th January 2015.
- Artists will be notified of the results by email. Results will also be posted in our Program section.
Music Selection Process
All submissions will be subject to blind review by an international panel of specialists in the given category of submission, with access to all submitted materials online. Final deadlines for media and any other performance material as applicable (including scores and parts) must be met if a piece is to be programmed, in order to facilitate rehearsals and technical organization for the concerts.
Different venues throughout the conference will have different technical capabilities (more information can be found at Venues), and the concerts will be curated under each submission category (post-jury) to ensure the most appropriate venue for each work. 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 want to have their pieces presented at the conference must register for the conference by June 14th. Attendance by the composer is highly encouraged but not absolutely required for the performance to happen. However, the performance may be canceled if any of the following occur:
- The music and necessary performance materials (parts, software, …) are not submitted by May 10th;
- associated software does not function properly; or,
- the performance materials are not sufficiently complete to allow the piece to be properly rehearsed and performed; or,
- registration is not complete by May 31st, 2015.
Final dress rehearsals / sound checks will be scheduled on the day of the concert.
Pieces will automatically be entered into the two music-related competitions: the ICMA Regional Composition Award and the ICMA Best Student Composition Award. They will also be considered for publishing on the Music Selection of the conference DVD. Please opt out of this option on the submission form if you would prefer your piece not to compete.
More information about the conference can be found on the website. Any questions regarding the call for musical works can be addressed directly to the music chair.
Submission Materials (all categories)
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 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. A list of available equipment can be found at Venues webpage. 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.
Submissions must include:
- Title of work
- Contact information
- Program Notes/ Project Description (500 words maximum)
- Biography (200 words maximum)
- Stereo MP3-formatted audio files or MP4-formatted video files
- Performers required (please state if you intend to bring your own)
- Performance scores, in PDF (if applicable, even if the performer is provided) (please note this component must be blind, i.e.: no author information must be contained within the PDF)
- Technical specifications (please see the OpenConf music Submission Form)
- Spatial diagram for installation and multichannel music submission.
- Ensemble parts (due by May 10th, 2015)
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.
Available ensembles and performers available to perform works at the conference
Available musicians/acoustic instruments provided by the organizers:
- flute (piccolo, alto, bass)
- recorder (SATB)
- clarinet (bass)
- saxophone (SATB)
- percussion (1-4 performers)
- classical guitar
- electric guitar and bass
- voice (SATB)
- double bass
Detailed Description of Categories
solo instrument + electronics
The music falling under this category is for soloist and electronics. The instrumental part must be for acoustic instruments of any tradition (or electric guitar, electric violin etc.). In the unlikely eventuality that the organizers 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 the financial resources connected to that cannot be provided by the organizers. 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.
ensemble + electronics
This category includes music written for ensembles from 2 to 10 musicians, with the addition of an electronic part: from fixed media to real-time rendering, and/ or a combination of both. The organizers 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.
laptop improvisation and live coding
This category is for laptop(s) performance, where the laptop(s) is/are the center 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 conventional external controllers (faders, keyboards, pedals) is allowed. Video documentation of past works should be included where possible, or otherwise descriptions should be sufficiently detailed to allow review of both esthetic and conceptual aspects of the proposal.
new interfaces for musical expression
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.
video and music
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.
dance and music
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.
acousmatic and spatial music
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 spatialization of sound should be performed real-time by him or third person. In the second case, spatialization instructions are encouraged. In case of multi-channel in the submission for the selection you have to submit only a reduced stereo MP3 file.
piece + paper (including computer-aided acoustic composition)
This category allows a concert performance of any musical work accompanied by a paper presentation that details a key aspect of the work. Particularly welcome are purely acoustic pieces in which the computer plays a significant compositional role (e.g algorithmic composition). The composer should describe the role of the computer in the composition. 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 fewer performers, and of 10 minutes or less, are strongly encouraged. The paper part must be submitted through the Paper 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 using up to 8.1 audio systems, pre-recorded or real-time generated, plus video or lights, with or without interaction at the available spaces:
- UNT on the Square
- College of Music Commons
- Students Union
- CEMI Studios (MU2011, 209, 2008)
- HAL lab
club electro (jazz/pop/dj/idm influenced electronic music)
This category allows for submission of music that explores hybrid forms, not necessarily in terms of appropriate venue, but from an esthetic stance. DJ set, jam band, songwriters, jazz soloist with a machine counterpart, etc: as long as the electronic part is significant and relevant, works in this category are welcome.
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.