XIX CIM – Colloquium on Music Informatics              


Trieste, Conservatory of Music “Giuseppe Tartini”

November 21–24, 2012


AIMI – Italian Association of Music Informatics                                                                     

Conservatory of Music “Giuseppe Tartini”, Trieste, Italy     
Department of New Languages and Music Technologies


In collaboration with:

University of Udine, Italy
Department of Mathematics and Computer Science

Casa della Musica, Trieste, Italy

Cantierezero, Austria-Italy
Translocal collective for music and contemporary arts

Teatro Miela

Consortium GARR
The Italian Academic & Research Network


With the patronage of the Municipality of Trieste         
__________________________________________comune di trieste

with the support of the
Kathleen Foreman Casali Foundation


and with the friendly help of Musicali Rossoni

Media partner:

RTV Koper-Capodistria


The Italian Association of Music Informatics – 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 – Colloquia on Music Informatics, which represent the most relevant appointment for the scientific and musical debate and within the Italian community of music informatics.




The themes of the 2012 edition are multimodality and interactivity. By means of the digital technologies, the different forms of art tend to establish strong aesthetical connexions and cohabitation grounds. In particular sound is more and more present and felt as necessary in any kind of artistic expression. In a recent call for papers by the Leonardo Music Journal, one can read: “Art is getting noisier every day. Whether made by sculptors, video artists, composers, printmakers or installation artists, there’s no question but that “Sound Art” is a genre ascendant.” Sound is integrated in a multimodal sense within the artistic discourse and technology is one among the most effective ways to achieve such a goal. In a similar fashion, nowadays technology steers the emergence of artistic works, where the interaction between machine and performer (or machine and public) becomes increasingly and dynamically related to the body and to what happens in the environment where the work is situated. The idea of embodiment and of developing physical ways of interaction with the machine foster new forms of expression and relationship with the technology, not only in an artistic context but also in our everyday life.

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 July 23rd, 2012 as a paper (please, employ the attached templates below) 6 to 8 pages long for an oral presentation, or 1-2 pages long for a poster. Languages 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
–          accordion;
–          percussions (one performer; available instruments: 1 vibraphone, 5 temple blocks, 1 tam tam medium size,
_____1 suspended cymbal medium size).

Only works for a single performer and electronics are eligible, i.e.: accordion and electronics or percussions and electronics.
Other instruments are welcome, even in larger ensembles, if entirely provided by the authors.

2. The second call involves works for one or more performers, which employ any kind of New Interface for Musical Expression (NIME).

3. Formats for the submission of video-musical compositions:  video PAL (720 x 576) 4:3  or  16:9 (PAL widescreen), codec MPEG2 or MPEG4 _ audio ST 48kHZ not compressed or compressed.
Formats for the concert of video-musical compositions:
– PAL (720 x 576) 4:3 or 16:9 (PAL widescreen), codec DV, MPEG2 or MPEG4 _ audio ST 48kHZ no compression
– HD 720 25p or 50i, codec MPEG2 or MPEG4 _ audio ST 48kHZ no compression
– HD 1050 25p or 50i, codec MPEG2 or MPEG4 _ audio ST 48kHZ no compression.
Formats for the submission of electroacoustic compositions: stereo, 44.1 or 48 kHz,  16 or 32 bit.
Formats for the concert of electroacoustic compositions: 2 to 8 channels, 44.1 or 48 kHz,  16 or 32 bit.

Participants must send their contribution within July 23rd, 2012 a description of the work in the format previewed by CIM (please, employ the template contained in the template folder below: CIM2012_music_template.doc). Languages can be Italian or English. In addition, it is required 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).



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


Papers, musical work descriptions and musical scores will have to be uploaded in pdf format. Audio-video or audio documentation will have to be available on some website provided by the authors. Whenever necessary and appropriate, the scientific committee will have the right to ask to convert oral presentations in poster presentations during the review process.


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

Important Dates

Submission deadline: July 23, 2012      
The CALL FOR PAPERS is extended to July 31
(the deadline of the Call for scores/works sticks to Monday, July 23)
Communication of the results to the authors: September 23, 2012
The communication of the results has been postponed to September 27th. Sorry for the delay!
Final version of the paper for publication on the Proceedings: October 22, 2012
XIX CIM – Music Informatics Symposium: November 21-24, 2012


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).

– The page number is fixed to 6-8 for oral presentations and 1-2 for posters.
– Only the pdf file must be submitted by means of the EasyChair system.
– Admitted languages are Italian and English.

CIM 2012 Template (click to download)


Paper and music program committee:

Federico Avanzini, University of Padua
Stefano Bassanese, Conservatory of Turin
Davide Bonsi, University of Venice
Nicola Buso, Conservatory of Trieste
Antonio Camurri, University of Genoa
Sergio Canazza, University of Padua
Carmine Emanuele Cella, IRCAM Paris (F)
Andrea Cera, Accademy of Brera – New Technology in Art, Milan
Riccardo Dapelo, Conservatory of Genoa
Amalia De Götzen, Aalborg University, Copenhagen (DK)
Stefano Delle Monache, University IUAV of Venice
Agostino Di Scipio, Conservatory of Naples
Roberto Doati, Conservatory of Genoa
Carlo Drioli, University of Udine
Federico Fontana, University of Udine
Michele Geronazzo, University of Padua
Antonio Grande, Conservatory of Como
Giorgio Klauer, Conservatory of Como
Michelangelo Lupone, Conservatory of L’Aquila
Enrico Marchetto, University of Padua
Paolo Pachini, Conservatory of Trieste
Stefano Papetti, ICST, Zurich University of the Arts (CH)
Fábian Pérez Tedesco, Conservatory of Trieste
Pietro Polotti, Conservatory of Trieste
Davide Rocchesso, University IUAV of Venice
Antonio Rodà, University of Padua
Corrado Rojac, Conservatory of Trieste
Daniele Salvati, University of Udine
Sylviane Sapir, Conservatory of Como
Stefania Serafin, Aalborg University, Copenhagen (DK)
Domenico Scjaino, Conservatory of Trapani
Simone Spagnol, University IUAV of Venice
Andrea Valle, University of Turin
Alvise Vidolin, Conservatory of Padua
Gualtiero Volpe, University of Genoa
Stefano Zambon, Viscount SpA, Italy
Laura Zattra, Conservatory of Padua


General chair:

Pietro Polotti

Scientific program chairs:

Carlo Drioli, Federico Fontana

Music program chairs:

Nicola Buso, Giorgio Klauer, Paolo Pachini




FacebookFacebookby feather
 Posted by at 16:33