Apr 222014
 

CALL FOR PAPERS AND CONTRIBUTIONS

XX CIM – Colloquio di Informatica Musicale

Rome, Conservatorio di Musica “Santa Cecilia”

October 20–22, 2014

AIMI – Associazione di Informatica Musicale Italiana                                                       

www.aimi-musica.org

Conservatorio di Musica “S.Cecilia” Roma

Dipartimento di Nuove Tecnologie e Linguaggi Musicali

www.conservatoriosantacecilia.it

 

 In collaboration with:

Sapienza Università di Roma

INFOCOM Department

infocom.uniroma1.it

 

Università di Roma Tor Vergata

Faculty of Engineering

www.ing.uniroma2.it

 

Università di Padova

Information Engineering Department

dei.unipd.it

 

Audio Engineering Society Italy

www.aesitalia.org

 

CEMAT Federation

www.federazionecemat.it

 

Centro Ricerche Musicali

www.crm-music.it

 

Fondazione Isabella Scelsi

www.scelsi.it

 

The Associazione di Informatica Musicale Italiana (Italian Computer Music Association) – AIMI, founded in 1981, is a point of reference in Italy for musicians and researchers investigating the relationships between music, science and technology. AIMI, which counts among its associated musicians and researchers of international relevance, organizes every two years the so called CIM – Colloquium on Computer Music, which represent the most relevant appointment for the scientific and musical debate and within the Italian community of music informatics.

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The twentieth edition of the Colloquio di Informatica Musicale is organized within the context of the 7th edition of EMUfest,  “International Electroacoustic Music Festival”.

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LIQUID MUSIC

The Colloquio di Informatica Musicale reaches in 2014 its twentieth edition. This landmark strongly suggests a critical look at our past and a reflection over the far-reaching changes which are currently taken place in our societies. The end of the industrial society, the beginning of the information era so precisely described by Manuel Castells, the new phase of modernity characterized by Zygmunt Bauman with the adjective “liquid” (in contrast with the “solid” one, so tangible and systemic), cannot leave music creation indifferent; and even more so when creation that is so strongly connected to technology and instrumental innovation: in fact, it it precisely this creation that has made fundamental contributions to the transition to the information society. Thus, computer music (now sound and music computing) is one of the leading actors in this context, and this twentieth colloquium intends to be a moment of reflection of the changes currently in progress.

 

The CIM programme includes scientific and artistic communications, tutorials activities and artistic productions. The scientific and artistic communications will be selected through a Call for papers, and the musical and artistic works through a Call for scores/works. All the submission will be evaluated by a Scientific and a Musical Committee, respectively.

Call for papers

Participants are invited to present and discuss the results of their artistic and/or scientific research as an oral communication or a poster.

Furthermore, students and Ph.D. students in Music and Technologies programs are encouraged to present their research projects as work in progress, even if not yet concluded: in this case we do not expect the presentation and discussion of results. This kind of works will be presented as poster and/or demo.

Participants must send their contribution within June 23rd, 2014 at 11:59 PM CEST,  as a paper (please use the attached templates below) 6 pages long for an oral presentation, or 1-2 pages long for a poster. Languages employed can be Italian or English.

Call for scores/works

The present CIM edition includes three calls for:

 

1. instrumental scores and electronics

2. interactive performances

3. video-musical and electroacoustic compositions

 

1. The available instruments for the first call are

  • two violins

  • viola

  • cello

  • flute (in C and/or in G)

  • oboe

  • clarinet (B flat cl. and Bs.cl.)

  • french horn

  • bassoon and/or contrabassoon

  • 5 sax (soprano, alto, tenor, baritone and bass)

  • two percussion players

  • guitar (classic and/or electric)

  • piano

 

Any combination of the above ensemble is allowed, ranging from solo instrument + electronics up to the entire ensemble.

Other instruments are welcome, even in larger ensembles, if and only if entirely provided by the authors.

2. The second call includes works for one or more performers which may employ any kind of New Interface for Musical Expression (NIME). The instrument/s and performers should be supplied by the author/s in their entirety.

3. Formats for the submission of video-musical compositions:  videos in any resolution in either .m4v or .mp4 formats.

Formats for the concert of video-musical compositions:

 

- Video HD 1080p in .mov format

Formats for the submission of electroacoustic compositions: stereo, 44.1 kHz,  16 o 24 bit.

Formats for the concert of electroacoustic compositions: from 1 to 8 interleaved channels, 44.1 kHz,  16 or 24 bit.

Participants must send their contribution within June 23rd, 2014 at 11:59 PM CEST, with a description of the work in the format previewed by CIM (see below for templates). Languages can be Italian or English. In addition, a manuscript and scanned (or printed) score in pdf format (call 1), an audio-video documentation of the performance (call 2), a complete work in an audio or audio-video file (call  3) are respectively required.

Submission

The submission process will use the conference management system EasyChair (http://www.easychair.org/). The web site for the XX CIM is:

https://www.easychair.org/conferences/?conf=xxcim2014

Papers, musical work descriptions and musical scores will have to be uploaded in pdf format. Instructions on how to submit the multimedia attachments will be provided to authors upon submission of the work presentation into the EasyChair system. Whenever necessary and appropriate, the scientific committee will have the right to ask to convert oral presentations in poster presentations during the review process.

Topics

Particular attention will be given to works concerning the themes of the symposium. However, any other work related to music, science and technology and in particular to the following topics is welcome:

perception and cognition of sound and music

computer environments for sound/music processing

live coding

distributed musical performance

interaction and improvisation

new interfaces for musical expression

mobile music computing

physical computing

applied electroacoustic

3D sound/music

digital audio effects

sound/music signal processing algorithms

automatic separation, recognition, classification of sound and music

music information retrieval

artificial intelligence and music

music performance analysis and rendering

automatic music generation/accompaniment systems

computational systems for musical education

history and aesthetics of electroacoustic music

humanities and sound and music computing

computational tools for systematic musicology

Important Dates

Submissions: june 23, 2014.

Review notifications to authors: august 25, 2014.

Final version of papers for camera-ready publication in the Proceedings: september 15 2014

XX Colloquio di Informatica Musicale october 20-22 2014

 

Proceedings

For both the submission and the final version of the papers to be published in the online proceedings, the authors are required to employ the attached templates (latex or MS Word).

- A maximum number of 6 pages for oral presentations and 2 for posters.

- Only the pdf file must be submitted by means of the EasyChair system.

- Allowed languages are Italian and English.

CIM_2014_templates (click to download)

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General chairs:

Michelangelo Lupone, Nicola Bernardini

Scientific program chair:

Federico Avanzini

Music program chairs:

Stefano Bassanese, Laura Bianchini

Technical Staff:

Paolo Gatti, Luana Lunetta, Massimo Massimi, Giuseppe Silvi, Anna Terzaroli

Program Committee:

Andrea Agostini, HES-SO Genève – Conservatorio di Cuneo

Federico Avanzini, University of Padova

Stefano Baldan, IUAV University of Venice

Stefano Bassanese, Conservatorio di Torino

Nicola Bernardini, Conservatorio S.Cecilia Roma

Laura Bianchini, Centro Ricerche Musicali Roma

Roberto Bresin, KTH Royal Institute of Technology

Nicola Buso, Conservatory of Music G. Tartini, Trieste

Sergio Canazza, Università di Padova

Luigi Ceccarelli, Conservatorio di Perugia

Giovanni Cospito, Conservatorio G.Verdi Milano

Giovanni Costantini, Università di Roma Tor Vergata

Riccardo Dapelo, Conservatorio di Genova

Maria Cristina De Amicis, Conservatorio “Alfredo Casella” l’Aquila

Amalia de Gotzen, Aalborg University in Copenhagen

Giovanni De Poli, Università di Padova

Stefano Delle Monache, IUAV University of Venice

Agostino Di Scipio, Conservatorio Alfredo Casella l’Aquila

Roberto Doati, Conservatorio di Genova

Carlo Drioli, Università di Udine

Federico Fontana, Università di Udine

Francesco Galante, Conservatorio di Cosenza

Michele Geronazzo, Università di Padova

Daniele Ghisi, HES-SO Genève – Conservatorio di Torino

Marco Giordano, Conservatorio Alfredo Casella l’Aquila

Giorgio Klauer, Conservatory of Padova

Silvia Lanzalone, Conservatorio di Salerno

Enrico Marchetto, Institut de Recherce et Creation Acoustique/Musique

Davide Andrea Mauro, IUAV University of Venice

Giorgio Nottoli, Università di Roma Tor Vergata

Paolo Pachini, Conservatory of Music G. Tartini, Trieste

Stefano Papetti, Zürcher Hochschule der Künste

Alessandra Carlotta Pellegrini, Fondazione Isabella Scelsi Roma

Pietro Polotti, Conservatory of Music G. Tartini, Trieste

Davide Rocchesso, IUAV University of Venice

Antonio Rodà, Università di Padova

Sylviane Sapir, Conservatorio di Como

Franco Sbacco, Conservatorio S.Cecilia Roma

Federico Scalas, Conservatorio S.Cecilia Roma

Domenico Sciajno, Conservatorio di Torino

Stefania Serafin, Aalborg University in Copenhagen

Simone Spagnol, Università di Padova

Gianni Trovalusci, Federazione CEMAT Roma

Aurelio Uncini, Sapienza Università di Roma

Andrea Valle, CIRMA – Università di Torino

Alvise Vidolin, Centro di Sonologia Computazionale – Università di Padova

Gualtiero Volpe, InfoMus-DIST-University of Genoa

Laura Zattra, Università di Padova

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