Submissions for ICMC 2013 have now closed.
15 May 2013 Papers and Works Acceptance Notification
The International Computer Music Conference (ICMC) 2013 invites submissions of musical works for presentation at the Conference. Composers can submit several works, and have to assign each to one of the following categories:
- solo instrument + electronics
- small and large ensemble + electronics
- live coding
- video and music
- acousmatic music
- new interfaces for musical expression
- inter-media performance
- laptop ensemble
- computer-aided acoustic composition
- spatial music
- networked performance
- Submissions open 10th January 2013
- Deadline for submission of works is 10th February 2013 (UTC +8, Perth, Western Australia time)
- Notification of selected works will be announced on 29th April 2013
- Final deadlines for media and any other performance material: 3rd June 2013
- Registration deadline: 3rd June 2013
Qualifications (all categories)
- This call is open to all composers regardless of nationality, age, or career stage.
- The submission fee for one work is $20 AUD
- ICMA members may submit up to 2 works without charge
- All submission fees must be paid before the deadline for submission of works, otherwise the works submitted will not be considered.
- After the submission of musical works the conference organiser will be in contact to organise payment of the submission fee or to collect ICMA membership details.
- All work(s) must be submitted online. This link will be accessible from 10th January 2013.
- Artists will be notified of the results by email. Results will also be posted in our Program section.
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. 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 wish to have their pieces presented at the conference must register for the conference by 10th June. 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 etc.) are not submitted by 3rd June 2013
- associated software does not function properly; or,
- the performance materials are not sufficiently complete to allow the piece to be properly rehearsed and performed.
- 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 one of the music chairs – contact.
Submission Materials (all categories)
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. Installation proposals must include a spatial/physical diagram.
Submissions must include:
A PDF document containing following information:
- Biography (100 words maximum)
A separate PDF containing the following information (please note this component must be blind, i.e.: no author information must be contained within the PDF).
- Program Notes/ Project Description (200 words maximum)
- Link to a web-page containing audio files or video files of the work (or direct links to the files)
- Technical specifications
- Performers required (please state if you intend to bring your own)
- Spatial diagram for installation and multichannel music submission
A third PDF document containing performance scores, if applicable (please note this component must be blind, i.e.: no author information must be contained within the PDF). Ensemble parts due by 3rd June 2013
Available ensembles and performers available to perform works at the conference
- Decibel [fl/afl/bfl, clar/bclar/ssax/asax/tsax, percussion, piano, violin/viola, cello, electronics] www.decibel.waapamusic.com http://www.decibel.waapamusic.com/
- Clocked Out – piano, percussion and electronics http://www.clockedout.org/
- Mark Gasser – piano and electronics – http://en.wikipedia.org/wiki/Mark_Gasser
- Didgeridoo and electronics
- Mace Francis Orchestra – jazz big band and electronics [4 sax, 3 tpr/flugel horn, 3 trombone, guitar, electric bass, drum kit] http://macefrancis.com/projects/mace-francis-orchestra/
- Western Australian Laptop Orchestra [up to 20 laptops, students at the Western Australian Academy of Performing Arts and UWA]
- Vanessa Tomlinson – solo percussion and electronics
A 14.2 spatial configuration is available for Spatial works
Detailed Description of Categories
Solo instrument + electronics
The music falling under this category is for soloist and live 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 adjunction of an electronic part: from fixed media to real-time rendering, and/or a combination of both. The organizers have access to a list of performers that you can check above, and the music will be judged solely on its artistic merit. Composers may also propose to provide their own performers, though the financial resources connected to that cannot be provided by the organizers. Every effort will be made to stage selected pieces but for practical reasons a performance cannot be guaranteed on initial notification.
This category is for laptop performance, where generally, the laptop is in the center stage and the performer supports a wide variety of tools for generating real-time works. His craft becomes a kind of instrumental virtuosity, as the number of parameters that they tend to operate simultaneously. Supported with external tools, (faders, keyboards, pedals) including video cameras that interact with their software, and even small real sound generators, these artists cover a wide branch of contemporary music and sound art. Including a screencast of the performance with the submission is highly recommended.
This category is for music performance that involves the changing of rules while they are followed. Classically this involves the live modification of computer source code while it is executed. However, the use of electronic computers is not strictly necessary in live coding, for example the rules may instead be followed by human musicians or dancers, and submissions which expand the definition of live coding are encouraged. Video documentation of past works should be included where possible, or otherwise descriptions should be sufficiently detailed to allow review of both aesthetic and conceptual aspects of the proposal.
New interfaces for musical expression
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 with video and music. The video part 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.
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 8 discrete loudspeakers (+ subs) will be provided, with the loudspeaker layout available in advance.
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 medias must be present for the ‘inter’ 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.
Computer-aided acoustic composition
This category is for compositions created by algorithmic approaches or any forms of artificial intelligence designed to help in the creation of new music. The music may be fixed or interactive (generated in real-time) for acoustic or electronic instruments.
There are three spaces available for installations this year. For detailed information see Venues page.
Installations will be installed in the Education Studio, Studio 2 and The Tower Studio inside The Perth Institute of Contemporary Art. See floor plan below for site dimensions.
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 submissions which address the conference theme of “new developments in electroacoustics”. The performance of the pieces will be followed by oral presentations by the composers. The musical piece may be associated with any of the above mentioned categories. No submission fees will be charged for pieces entered under this category.
If a work does not fit in any of the previous categories, please submit it here. The music chair can re-assign a piece in one of the previous categories at their discretion.