Subject: [AUDITORY] Reminder: SMC 2018 | CALL FOR PAPERS, MUSIC WORKS, INSTALLATIONS | AND SUMMER SCHOOL From: Areti Andreopoulou <aa1510@xxxxxxxx> Date: Mon, 29 Jan 2018 20:23:58 +0200 List-Archive:<http://lists.mcgill.ca/scripts/wa.exe?LIST=AUDITORY>--001a113ea8d6929e3f0563ee5938 Content-Type: multipart/alternative; boundary="001a113ea8d6929e3b0563ee5937" --001a113ea8d6929e3b0563ee5937 Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: quoted-printable Apologies for cross-posting *SMC 2018* The 15th International Sound & Music Computing Conference Dept. of Communication and Internet Studies Cyprus University of Technology, Limassol, Cyprus, 4-7 July, 2018 *CALL FOR PAPERS, MUSIC WORKS, AND INSTALLATIONS || AND SUMMER SCHOOL* Please check the conference website for updates: smc2018.cut.ac.cy Also, please do follow the Conference on Facebook <https://www.facebook.com/Smc2018-550782081935886/> and on Twitter <https://twitter.com/SMC2018_lim>! *Theme: Sonic Crossings* The main theme of the conference focuses on the ability of sound and music to cross boundaries, to eliminate borderlines and overcome physical and digital limitations. The theme also evokes the rich cultural landscape and soundscape of Cyprus, a country predominantly made up of Greek and Turkish Cypriot communities divided by a military border. Despite the political problems, Cyprus enjoys a dynamic and complex cultural and sonic unification not only through the resonances and overtones of these two strong ethnic communities but also through those of several other nationalities inhabiting the island. The theme of the conference focuses on researching different approaches of computer music and interactive music systems and monitoring the impact of technology on composition, performance, musicology and education through a discussion around the wide concept of 'crossings'. A special focus will be given to sonic crossings in our mind, in our close environment, in our society, in our natural soundscape and in our imaginary landscapes of the ocean and the space searching the dream of the Varesian "deserts". A special tribute to commemorate the thirtieth year since the passing of Giacinto Scelsi, a composer who embodies the fluid border between sound and music, is also planned. Other areas of focus will be soundscape aesthetics, sound borders - which always broaden through technology - biotechnology issues, ethics of sound and music, virtual spatialisation and cultural heritage. *Keynote Speakers* Claude Cadoz, Rebecca Fiebrink, Trevor Wishart *Submission Dates* *Papers*Full-Paper Submission Deadline - 22nd March 2018 Acceptance Notification to Authors - 3rd May 2018 Camera-ready Paper due - 19th May, 2018 *Music* Deadline for music submissions - 22nd March 2018 Notification of music acceptance - 30th April 2018 *Topics* Topics of interest include (but are not limited to): Acoustics and psychoacoustics AI and music performance Analysis/synthesis of the singing voice Applications in audio and music Architectural acoustics modeling and auralization Assistive technologies Audio and music for AR/VR Audio and music for games Audio Interactions Audio recognition and birdsinging Audio/Music Information Retrieval Auditory display Automatic music generation /accompaniment systems Bioacoustic modeling Biomusic and sound installations Computational archeomusicology Computational Byzantine musicology Computational ethnomusicology Computational musicology and mathematical music theory Computational ornithomusicology Computer music software and programming languages Data sonification Digital systems of tuning Ethics of sound and new technologies Gesture, motion and music History and aesthetics of electroacoustic music Immersive soundscape environments / Immersive Audio Interaction and improvisation Interactive environments for voice training Interactive performance systems Jazz performance and machine learning Music and robotics Music technology in education Music therapy and technology for special needs New interfaces for musical expression Perception and cognition of sound and music Recording and mastering automation techniques Sound/music and the neurosciences Spatial sound and spatialisation techniques *Composers* are invited to submit works for fixed media (electroacoustic sounds or audiovisual), live performance, or installation. Works which deal with the following themes are especially encouraged: Topic I - Music at the Borders - Engaging with Folk Music in contemporary contexts - Sounds of Tradition - Responding to past and present Topic II - Interfaces, Interactions and Improvisation - New musical interfaces/instruments - Exploration of gestures and what they trigger - The performer as composer: new directions in improvisation We also encourage submissions that use ancient music, voice and instruments from the Mediterranean. Please contact the music chair for more details. *Summer School* The theme of the Summer School will be 'Computational Ethnomusicology'. The Chair of the Summer School is George Tzanetakis. The Summer School will be having a mix of workshops and lectures from both industry and academia. The aim is to broaden the skills palette and hands-on technical skills of the participants. Summer School will take place from 30th of June to 3th of July, in the Cyprus University of Technology facilities. Applicants for a place in the Summer School should express their interest by sending their Curriculum Vitae and a letter of interest that clearly indicates their motivation and previous experience with sound and music computing research by 1st of March, 2018. A maximum of 20 selected participants will be notified by 3rd of June, 2018= . All applications and inquiries can be directed to the SMC Summer School Chair. *Organizing Committee* Conference Chair and SMC Liaison - Nicolas Tsapatsoulis Paper Selection Chair - Anastasia Georgaki Paper Selection Co-Chair - Areti Andreopoulou Music Selection Chair - Evis Sammoutis Music Selection Co-Chair - Panayiotis Kokoras Summer School Chair - George Tzanetakis Technical Director - Yiannis Christidis Conference Assistant - Markos Souropetsis [image: =CE=95=CE=BD=CF=83=CF=89=CE=BC=CE=B1=CF=84=CF=89=CE=BC=CE=AD=CE=BD= =CE=B7 =CE=B5=CE=B9=CE=BA=CF=8C=CE=BD=CE=B1 2] --001a113ea8d6929e3b0563ee5937 Content-Type: text/html; charset="UTF-8" Content-Transfer-Encoding: quoted-printable <div dir=3D"ltr"><div>Apologies for cross-posting</div><div><b><font size= =3D"4"><br></font></b></div><b><font size=3D"4">SMC 2018</font></b><br><br>= The 15th International Sound & Music Computing Conference<br>Dept. of C= ommunication and Internet Studies<br>Cyprus University of Technology, Limas= sol, Cyprus, 4-7 July, 2018<br><br><b>CALL FOR PAPERS, MUSIC WORKS, AND INS= TALLATIONS || AND SUMMER SCHOOL</b><br><br>Please check the conference webs= ite for updates:=C2=A0<a href=3D"http://smc2018.cut.ac.cy">smc2018.cut.ac.c= y</a><br>Also, please do follow the Conference on <a href=3D"https://www.fa= cebook.com/Smc2018-550782081935886/">Facebook</a> and on <a href=3D"https:/= /twitter.com/SMC2018_lim">Twitter</a>!<br><br><b><font size=3D"4">Theme: So= nic Crossings</font></b><br><br>The main theme of the conference focuses on= the ability of sound and music to cross boundaries, to eliminate borderlin= es and overcome physical and digital limitations. The theme also evokes the= rich cultural landscape and soundscape of Cyprus, a country predominantly = made up of Greek and Turkish Cypriot communities divided by a military bord= er. Despite the political problems, Cyprus enjoys a dynamic and complex cul= tural and sonic unification not only through the resonances and overtones o= f these two strong ethnic communities but also through those of several oth= er nationalities inhabiting the island.<br><br>The theme of the conference = focuses on researching different approaches of computer music and interacti= ve music systems and monitoring the impact of technology on composition, pe= rformance, musicology and education through a discussion around the wide co= ncept of 'crossings'. A special focus will be given to sonic crossi= ngs in our mind, in our close environment, in our society, in our natural s= oundscape and in our imaginary landscapes of the ocean and the space search= ing the dream of the Varesian "deserts". A special tribute to com= memorate the thirtieth year since the passing of Giacinto Scelsi, a compose= r who embodies the fluid border between sound and music, is also planned. O= ther areas of focus will be soundscape aesthetics, sound borders - which al= ways broaden through technology - biotechnology issues, ethics of sound and= music, virtual spatialisation and cultural heritage.<br><br><b><font size= =3D"4">Keynote Speakers</font></b><br>Claude Cadoz, Rebecca Fiebrink, Trevo= r Wishart<br><br><b><font size=3D"4">Submission Dates</font></b><br><b>Pape= rs<br></b>Full-Paper Submission Deadline - 22nd March 2018<br>Acceptance No= tification to Authors - 3rd May 2018<br>Camera-ready Paper due - 19th May, = 2018<br><br><b>Music</b><br>Deadline for music submissions - 22nd March 201= 8<br>Notification of music acceptance - 30th April 2018<br><br><br><font si= ze=3D"4"><b>Topics</b></font><br>Topics of interest include (but are not li= mited to):<br><br>Acoustics and psychoacoustics<br>AI and music performance= <br>Analysis/synthesis of the singing voice<br>Applications in audio and mu= sic<br>Architectural acoustics modeling and auralization<br>Assistive techn= ologies<br>Audio and music for AR/VR<br>Audio and music for games<br>Audio = Interactions<br>Audio recognition and birdsinging<br>Audio/Music Informatio= n Retrieval<br>Auditory display<br>Automatic music generation /accompanimen= t systems<br>Bioacoustic modeling<br>Biomusic and sound installations<br>Co= mputational archeomusicology<br>Computational Byzantine musicology<br>Compu= tational ethnomusicology<br>Computational musicology and mathematical music= theory<br>Computational ornithomusicology<br>Computer music software and p= rogramming languages<br>Data sonification<br>Digital systems of tuning<br>E= thics of sound and new technologies<br>Gesture, motion and music<br>History= and aesthetics of electroacoustic music<br>Immersive soundscape environmen= ts / Immersive Audio<br>Interaction and improvisation<br>Interactive enviro= nments for voice training<br>Interactive performance systems<br>Jazz perfor= mance and machine learning<br>Music and robotics<br>Music technology in edu= cation<br>Music therapy and technology for special needs<br>New interfaces = for musical expression<br>Perception and cognition of sound and music<br>Re= cording and mastering automation techniques<br>Sound/music and the neurosci= ences<br>Spatial sound and spatialisation techniques<br><br><b>Composers</b= > are invited to submit works for fixed media (electroacoustic sounds or au= diovisual), live performance, or installation. Works which deal with the fo= llowing themes are especially encouraged:<br><br>Topic I - Music at the Bor= ders<br>- Engaging with Folk Music in contemporary contexts<br>- Sounds of = Tradition<br>- Responding to past and present<br><br>Topic II - Interfaces,= Interactions and Improvisation<br>- New musical interfaces/instruments<br>= - Exploration of gestures and what they trigger<br>- The performer as compo= ser: new directions in improvisation<br>We also encourage submissions that = use ancient music, voice and instruments from the Mediterranean. Please con= tact the music chair for more details.<br><br><font size=3D"4"><b>Summer Sc= hool</b></font><br>The theme of the Summer School will be 'Computationa= l Ethnomusicology'. The Chair of the Summer School is George Tzanetakis= . The Summer School will be having a mix of workshops and lectures from bot= h industry and academia. The aim is to broaden the skills palette and hands= -on technical skills of the participants.<br>Summer School will take place = from 30th of June to 3th of July, in the Cyprus University of Technology fa= cilities.<br>Applicants for a place in the Summer School should express the= ir interest by sending their Curriculum Vitae and a letter of interest that= clearly indicates their motivation and previous experience with sound and = music computing research by 1st of March, 2018.<br>A maximum of 20 selected= participants will be notified by 3rd of June, 2018.<br>All applications an= d inquiries can be directed to the SMC Summer School Chair.<br><br><b><font= size=3D"4"><br>Organizing Committee</font></b><br>Conference Chair and SMC= Liaison - Nicolas Tsapatsoulis<br>Paper Selection Chair - Anastasia Georga= ki<br><br>Paper Selection Co-Chair - Areti Andreopoulou<br>Music Selection = Chair - Evis Sammoutis<br>Music Selection Co-Chair - Panayiotis Kokoras<br>= Summer School Chair - George Tzanetakis<br>Technical Director - Yiannis Chr= istidis<br>Conference Assistant - Markos Souropetsis<div><br></div><div><br= ><img src=3D"cid:ii_15fd3a29bb5ffc30" alt=3D"=CE=95=CE=BD=CF=83=CF=89=CE=BC= =CE=B1=CF=84=CF=89=CE=BC=CE=AD=CE=BD=CE=B7 =CE=B5=CE=B9=CE=BA=CF=8C=CE=BD= =CE=B1 2" width=3D"192" height=3D"80" class=3D"m_65121522424546092m_3606108= 105289136681m_7018508938871220077m_-3067896645368501532m_-76789238856893243= 29m_-5466467185328998685gmail-m_-4435280312247557148m_-6223555207441628949m= _-5059739802438947397gmail-m_9072012216415578436gmail-CToWUd m_651215224245= 46092m_3606108105289136681m_7018508938871220077m_-3067896645368501532m_-767= 8923885689324329m_-5466467185328998685gmail-m_-4435280312247557148m_-622355= 5207441628949m_-5059739802438947397gmail-CToWUd m_65121522424546092m_360610= 8105289136681m_7018508938871220077m_-3067896645368501532m_-7678923885689324= 329m_-5466467185328998685gmail-CToWUd CToWUd" style=3D"margin-right:0px"><b= r><br></div></div> 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