XXIII CIM – Call for participation (EN)

 

XXIII Colloquium on Music Informatics
Ancona, October 25-28, 2022

Associazione di Informatica Musicale Italiana
www.aimi-musica.org

Università Politecnica delle Marche
www.univpm.it

Associazione Acusmatiq MATME
www.acusmatiq.it 

PHYSICAL BODIES / CORPI FISICI

The XXIII CIM was conceived from the urge of filling gaps between absence and presence, past and present, abstract and physical. One interpretation of this topic is obvious: the forced stop that affected the arts and de-materialized the physical body of the performer and the musical instruments into a stream of data. This social issue had an impact on the computer music community, driving new trends in network-mediated performance, fostering new research questions on the future of the arts, but also showing how fragile is culture without physical interactions. Our intention here is to physically gather the community again to put the in-presence physical body as the object of artistic and social debate: the body of the performer, the body as an instrument and the body of the instrument.

Indeed, the musical instrument, with its physical presence and its resonant body, is the second key of interpretation of the conference topic. Computer music is in a continuous dialectic with the body of the musical instrument: as a discipline, it strives to be information-centric and remove any physical constraint (sound from the abstract), however on the other side, it periodically returns back to the physicality of the musical instrument with novel augmentation techniques (sound from the physical). Our intention is to discuss the musical instrument with its physicality, and doing so prompts us to put Ancona and the Marche Region under the spotlight. Known for its tradition of musical instruments making, our region hosted its last CIM in 1983, a long absence. To close this gap we aim to bring musical instruments on the stage again, especially those that have their roots here: the accordion, the organ and the synthesizer.

We are delighted to announce the XXIII edition of the Colloquium of Musical Informatics (CIM). Following the tradition established in 1976, the CIM programme includes scientific presentation,  novel musical works, workshops, demos and artistic contents related to Arts and Sciences.

The scientific works will be selected after a Call for papers. The musical and artistical works will be selected through a Call for scores and through an anonimous peer review process.

In addition, we wish to anticipate the forthcoming foundation of a competition for tridimensional electroacoustic compositions dedicated to Eugenio Giordani, organized at the Sonosfera® in the near city of Pesaro, the day after CIM ends. For this competition (ISAC 2022 – International Sonosfera Ambisonics Competition), a specific call will be set out at a later time and will be open to works realized in ambisonics technology.

Call for papers

The prospective participants are invited to present and discuss their scientific and artistic research results by submitting a written manuscript to one of the available paper tracks. The authors of the selected papers will be required to present their works in the form of an oral or poster presentation.

Regular Track

This track includes most of the current topics in computer music. A partial list of the related topics follows:

  • Artificial Intelligence and Machine Learning in Music
  • Aesthetics of Computer and Interactive Music
  • Algorithmic Composition
  • Auditory display and data sonification
  • Computational Ethnomusicology
  • Computer environments for sound/music processing
  • Computer Systems in Music Education
  • Gestures, motion and music
  • History of Electro-acoustic Music
  • Humanities in sound and music computing
  • Languages for Computer Music
  • Music Information Retrieval
  • Networked Music Performance
  • New Interfaces for Musical Expression
  • Perception and cognition of sound and music
  • Physical modelling of Musical Instruments
  • Sonic interaction design
  • Human-Computer musical interaction
  • Sound and music for VR and games
  • Sound/music and the neurosciences
  • Sound/music signal processing algorithms
  • Spatial sound & Spatialization Techniques
  • Technologies for the preservation, access and modelling of musical heritage
  • Smart Musical Instruments
  • Internet of Musical Things
  • Historical, aesthetic, socio-cultural research of electroacoustic music and sound-based-art
  • Analysis and study of the sources of electroacoustic music and sound-based-art
Special Track: “Technologies for Music Education and Rehabilitation”

CIM 2022 will host a workshop where outstanding themes concerning the use of technologies for music education and rehabilitation will be discussed. The workshop is open for participation to teachers, students and researchers in the fields of music technologies, technology-based educational approaches, distance music education, technology integration in music education curricula, computational thinking enhancement, new creativities and rehabilitation with technologies.
We welcome paper and poster contributions dealing with (but not limited by):

  • presentations of new applications and web platforms for music education
  • teachers’ educational experiences with technologies
  • assessment of the use of technologies in music educational contexts
  • blended music learning
  • distance music activities
  • learning by design projects
  • rehabilition with music technologies
Special Track: “Emerging Projects” reserved to Students and PhD candidates

Students (Undergrad/Postgrad/PhD candidates) working in the field of music and science, either from a technical/scientifical perspective, either from an artistic perspective, are invited to present their research projects even if they are not yet concluded. These works will be presented as posters in a dedicated session.

Submission and selection of the scientific works

The works can be only submitted through the Easychair portal.

The papers that will be submitted must be written using the conference LateX or Word templates (see CIM_2022_templates). Papers not following the template will not be accepted. It is possible to write the papers in Italian or English, with preference for the latter, to give maximum visibility to your work. The paper length will be:

  • between 5 and 8 pages for scientific contribution for the Regular Track and Special Track “Technologies for Music Education and Rehabilitation”.
  • between 2 and 4 pages for the track “Emerging Projects”

The review process will be handed through a peer review process with at least 3 anonymous reviewers per paper, following criteria of coherence with the conference topics, scientific rigour, quality of presentation.

For each accepted work it is required that at least one author will be present at the conference, to avoid exclusion from the conference proceedings. Exceptions will be evaluated by the committee. The committee will decide the presentation mode and the date and time, based on the programme necessities. Oral and poster presentations have the same importance.

The conference proceedings will be published with a ISSN and ISBN.

Call for scores / works

Three tracks are available:

Track 1: compositions for instruments and electronics and interactive electroacoustic performances;
Track 2: A/V compositions and electroacoustic compositions on fixed media;
Track 3: audiovisual/multimedial installations.

For Track 1 we require that the works are documented by a score (in PDF format), and possibly an audio performance of the piece.

For Track 2 we require the entire work in audio or A/V format.

For Track 3, an audiovisual documentation of the work is required.

We encourage to submit a description of the work with a tech rider (type and number of necessary microphones, effects, collocation within the environment, etc).

All submitted works must include a textual description in the format provided by Easychair. If the author desires to attach additional audio/audiovisual files, they must make these accessible from a web link.

Further information on the Tracks:

Track 1
Thanks to the contribution of the Ernst von Siemens Music Foundation, we will make these instruments and performers available:

Scores for a maximum of two performers and electronics will be accepted (the saxophone quartet is considered as a performer). Other instruments are also allowed in larger chamber ensembles as long as the interpreters are entirely provided by the author. In any case, the maximum limit of 5 performers on stage currently imposed by safety regulations must be respected.

The organ will be kindly provided by the Italian company Viscount. The instrument is digital with physical modeling and it is equipped with 3 manuals, pedal board and 50 stops. The instrument has 2 expression pedals, Crescendo pedal, 6 couplers, programmable tremolos, Enclosed, Automatic Pedal, keyboard inversion, memories, 17 temperaments and the possibility of defining custom temperaments. The voices draw from the Italian, German, French, English and American organ repertoires of the Renaissance, Baroque, Symphonic and Romantic historical periods. The organ is controllable via MIDI. For further information please contact the organizing committee.

The composers and performers of the selected pieces will have the opportunity to fine-tune the performance in view of the concerts in the morning and in the afternoon before the evening show, with the presence of an assistant.

The execution of the electronic part is the responsibility of the authors.

The service will provide a 5.1 playback system (3 front, 2 rear, 1 sub) adaptable to quadraphony and stereo, a digital mixer, condenser microphones, Mac and Max software. An assistant will be available for all days of the conference.

Track 2
The formats for A/V compositions is: HD 1080 or 4K 25 fps, codec MPEG2 or MPEG4-audio stereo
48 kHz not compressed (for the performance). Formats for the electroacoustic compositions: 2 channels,
4 channels or 5.1, 48 kHz, 24 bit.

Track 3
The equipment provided for the installations include a stereo system for sound playback and a video projector with at least HD 1080 resolution. Further requests (laptop, sound cards, microphones, sensors, etc) must be discussed with the organizers who can provide no warranty. Alternatively, the authors will provide his/her own equipment to prepare the installation.

Important dates

  • Opening of the Easychair portal for submissions: April 1, 2022
  • Deadline for all submissions: June 1, 2022 June 15, 2022 (23:59 CEST)
  • Notification of acceptance (scientific works): July 15, 2022 August 1, 2022
  • Notification of acceptance (musical works): July 15, 2022 August 1, 2022
  • Camera ready papers must be submitted before: September 15, 2022
  • Final version of the musical works must be submitted before: September 15, 2022

“Aldo Piccialli” award

The best contribution to the scientific program, independently of the presentation format, and by decision of the Program Committee, will be awarded the prize in memory of Aldo Piccialli.

“Teresa Rampazzi” award

The best contribution to the musical program, independently of the presentation format, and by decision of the Program Committee, will be awarded the prize in memory of Teresa Rampazzi.

Both awards are a symbolic recognition to the originality and innovation brought to the Italian research in musical informatics.

Committees

General chairs:

  • Leonardo Gabrielli, Università Politecnica delle Marche
  • Gianpaolo Antongirolami, Conservatorio di Perugia

Scientific chairs:

  • Stefano Delle Monache, Delft University of Technology
  • Federico Fontana, Università di Udine
  • Stefano Squartini, Università Politecnica delle Marche
  • Luca Turchet, Università di Trento

Music chairs:

  • Nicola Casetta, Conservatorio di Pesaro
  • Alessandro Petrolati, Apesoft

Program committee:

  • Federico Avanzini, Università di Milano
  • Stefano Delle Monache, Delft University of Technology
  • Federico Fontana, Università di Udine
  • Giorgio Klauer, Conservatorio di Venezia
  • Stefano Papetti, Zurich University of the Arts
  • Anna Terzaroli, Conservatorio di Benevento

Local committee :

  • Michela Cantarini, Università Politecnica delle Marche
  • Emanuele Storti, Università Politecnica delle Marche

Reviewing committee:

Andrea Agostini
Nicoletta Andreuccetti
Massimo Vito Avantaggiato
Stefano Bassanese
Tonino Battista
Giovanni Bedetti
Alberto Boem
Alessio Brutti
Michele Buccoli
Nicola Buso
Diego Capoccitti
Nicola Cappelletti
Maura Capuzzo
Luigi Ceccarelli
Manfredi Clemente
Samuele Cornell
Stefano D’Angelo
Nadir Dalla Pozza
Riccardo Dapelo
Amalia de Götzen
Giovanni De Poli
Yuri de Pra
Fabio De Sanctis De Benedictis
Balandino Di Donato
Anthony Di Furia
Agostino Di Scipio
Roberto Doati
Carlo Drioli
Michele Ducceschi
Alessandro Fiordelmondo
Enrico Francioni
Enrico Francioni
Nicola Frattegiani
Roberto Fusco
Alessio Gabriele
Leonardo Gabrielli
Michele Geronazzo
Daniele Ghisi
Maurizio Giri
Andrea Gulli
Robert Jack
Giorgio Klauer
Sergio Lanza
Giacomo Lepri
Pasquale Lisena
Luca Andrea Ludovico
Eric Maestri
Eric Maestri
Marcella Mandanici
Raul Masu
Davide Andrea Mauro
Alessandro Ilic Mezza
Luigi Monteanni
Sandro Mungianu
Federico Ortica
Paolo Pachini
Stefano Papetti
Mattia Parisse
Pietro Polotti
Niccolò Pretto
Alessandro Giuseppe Privitera
Luca Richelli
Davide Rocchesso
Antonio Rodà
Cristina Rottondi
Mario Salvucci
Dario Sanfilippo
Sylviane Sapir
Francesco Scagliola
Nishal Silva
Giuseppe Silvi
Simone Spagnol
Emanuele Storti
Anna Terzaroli
Matteo Tomasetti
Stefano Tomassetti
Andrea Valle
Luca Vignati
Federico Visi
Gualtiero Volpe
Stefano Zambon
Roberto Zanata
Victor Zappi
Laura Zattra
Paolo Zavagna

With the friendly support of the Ernst von Siemens Foundation