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
Conservatorio di Musica “S.Cecilia” Roma
Dipartimento di Nuove Tecnologie e Linguaggi Musicali
In collaboration with:
Sapienza Università di Roma
Università di Roma Tor Vergata
Faculty of Engineering
Università di Padova
Information Engineering Department
Audio Engineering Society Italy
Centro Ricerche Musicali
Fondazione Isabella Scelsi
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.
The twentieth edition of the Colloquio di Informatica Musicale is organized within the context of the 7th edition of EMUfest, “International Electroacoustic Music Festival”.
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
flute (in C and/or in G)
clarinet (B flat cl. and Bs.cl.)
bassoon and/or contrabassoon
5 sax (soprano, alto, tenor, baritone and bass)
two percussion players
guitar (classic and/or electric)
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.
The submission process will use the conference management system EasyChair (http://www.easychair.org/). The web site for the XX CIM is:
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.
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
distributed musical performance
interaction and improvisation
new interfaces for musical expression
mobile music computing
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
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
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)
Michelangelo Lupone, Nicola Bernardini
Scientific program chair:
Music program chairs:
Stefano Bassanese, Laura Bianchini, Fabio Cifariello Ciardi
Paolo Gatti, Luana Lunetta, Massimo Massimi, Giuseppe Silvi, Anna Terzaroli
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 Padovaby