Subject: [AUDITORY] VU 3 - Open Call! Symposium on experimental, electronic and improvised music in Park City, Utah. July 2019. OPEN CALL!!! From: Ashkan Fakhrtabatabaie <ashkantbt@xxxxxxxx> Date: Wed, 27 Mar 2019 11:49:21 -0600 List-Archive:<http://lists.mcgill.ca/scripts/wa.exe?LIST=AUDITORY>--00000000000068209f0585170fad Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: quoted-printable *VU 3* *OPEN CALL!! Please submit music & papers!* The third Vu Symposium on experimental, electronic, and improvised music, will be held in Park City, Utah on July 10-12, 2019. www.vusymposium.org As always, the theme of the Vu Symposium is broad and inclusive. This year's theme is =E2=80=9Cpushing the envelope.=E2=80=9D We invite scholars, performers, ensembles, composers, critics, and anyone and everyone interested in experimental, improvised, and/or electronic music to present papers, pieces, curated concerts, ideas, half-ideas, lectures, performance pieces, improvisations, or installations that ask, answer, or critique our theme. Our goal is to provide a forum in which any thinker and/or practitioner who is writing about, performing, presenting, or otherwise championing experimental, improvised and electronic music can freely engage in discourse. The format of the symposium will vary each year based on the nature and the number of submissions but will include: concerts, roundtables, paper presentations, and longer lectures. This symposium does not focus on keynotes, featured ensembles, or featured composers, it is focused on the free exchange of ideas of its participants. Because of this, our symposium is free of charge. Participants are highly encouraged to attend all three days of the symposium. Participants are also discouraged to schedule other performances during the symposium. The Vu Symposium is sponsored by Listen/Space, a 501(c)3 non-profit arts organization. Print and electronic conference proceedings are published by the University of Utah Marriott Library, so any participant that would like to publish their paper, presentation, or performance may do so. Link to past proceedings: https://vusymposium.lib.utah.edu/ Park City, Utah is a small mountain town that also happens to host many conferences and festivals, including the Sundance Film Festival. Free public transportation, convenient accommodations, outdoor activities, and great restaurants are literally steps away from our symposium=E2=80=99s hom= e base at the Park City Library. Each day of the Vu Symposium will feature performances and presentations. There may also be an opportunity for presenting sound installations or using Park City itself as a venue for a music-based public work. Propose something! Unlike other conferences and symposia, we will organize the format of our symposium based on the uniqueness of the submissions. *So, surprise us. * If you would like to present a 5-minute thought or assertion, or an hour-long lecture, submit it. We also encourage submission in *both categories: music and papers/presentations*. Tell us about your creative work, then present it. Tell us about how you approached performing a work, then play it. We are particularly interested in student work, half-ideas, works-in-progress, and other incomplete works. Remember, it is your choice if you would like to include your work in our conference proceedings, so take risks and bring ideas that would benefit from discourse challengeable ideas. This symposium is about solidifying, critiquing, and reinforcing ideas as a collective group of like-minded researchers as much as it is a venue to present polished, finished works. Please review our two calls and submit as many ideas as you would like to both. Email any questions about submissions to: *CALL FOR MUSIC* Each day of the Vu Symposium will feature concerts and performances in the Jim Santy Auditorium. Ensembles, performers, improvisers, and composers may submit works that fit in the following categories: - Ensemble performances with or without fixed-media or live 2-channel electronics - Solo performances with or without fixed-media or live 2-channel electronics - Fixed-media 2-channel electronic works - Improvised solo or ensemble performances with or without fixed-media or live 2-channel electronics We do not currently have any performers available, so composers are encouraged to submit fixed-media electronic works or to arrange for performers to attend the symposium. Composer/performer joint submissions are encouraged. Rehearsal time is possible and concerts will be organized after all submissions have been reviewed. Since our symposium blends the role of composers and performers, performers are asked to be an equal and active participant in the paper presentations and lectures and presenters are asked to attend concerts and performances. Composers, ensembles, or performers may propose concerts or works of any length. If you are an ensemble and would be interested in performing works by composer participants in addition to your proposed concert, please indicate that in your submission. *Please send a description of your work proposed, a work sample, and a short bio by April 15, 2019 to:* *katie.porter@xxxxxxxx (Subject: MUSIC)* *CALL FOR PAPERS & PRESENTATIONS* *Pushing the Envelope* *=E2=80=A6in Experimental, Electronic, and Improvised Music* *Please submit a bio, abstract, idea, and/or complete paper by April 15, 2019 to:* *katie.porter@xxxxxxxx (Subject: PAPER)* Length is up to you. What do you have to say? How long will it take you? The format of our symposium is extremely flexible. Take advantage of our flexibility to express ideas, concepts, or assertions in unconventional ways, if appropriate. Students are encouraged to apply as well as professionals working on careers outside of academia. Here are some potential paper/lecture topics, but feel free to propose your own: - Performance Practice - Compositional Process - Interpretation - Pedagogy =E2=80=93 Teaching EEI music itself, or using EEI music as a = teaching tool. Does it work? Does it not work? How do younger students react t= o experimental music? - Graphic Notation - Improvisation and Game Theory - Alternate Intonation Systems - Entrepreneurship =E2=80=93 music in general, popular and concert, is b= eing painted into a corner, how can music at the fringes exist? - Musical Analysis =E2=80=93 new tools are needed to examine music of Ch= ristian Wolff, for instance - Music Theory =E2=80=93 What is next? Who will write meta-meta-meta-ho= dos? Can it be written, or has there been too much of a sea change in EEI music? What theory is helpful with improvised music? - Aesthetics =E2=80=93 Recently, a composer came through Utah and procla= imed =E2=80=9CThe only invalid reason to compose a piece is to try and create= something new.=E2=80=9D What is a valid reason to compose? What is an invalid on= e? Is validity valid? - Ethics - Technique =E2=80=93 How do you rehearse improvisation? Should you? H= ow do you rehearse Earle Brown? Should you? - History - Social or Political Context - Open-ended Compositions =E2=80=93 Launchpad for improvisation, or gate= way into composition? - Performer/Composer =E2=80=93 does this work? Does this mean you perfo= rm exclusively your own music? Can your music outlive you? Does this matt= er any more? --00000000000068209f0585170fad Content-Type: text/html; charset="UTF-8" Content-Transfer-Encoding: quoted-printable <div dir=3D"ltr"><div class=3D"gmail_default" style=3D"font-family:tahoma,s= ans-serif;font-size:small"><div class=3D"gmail-m_6176790451258434658gmail-m= _-522957219501715747gmail-m_2659500035667364550gmail-_1mf gmail-m_617679045= 1258434658gmail-m_-522957219501715747gmail-m_2659500035667364550gmail-_1mj"= style=3D"font-family:inherit"><b>VU 3</b></div><div class=3D"gmail-m_61767= 90451258434658gmail-m_-522957219501715747gmail-m_2659500035667364550gmail-_= 1mf gmail-m_6176790451258434658gmail-m_-522957219501715747gmail-m_265950003= 5667364550gmail-_1mj" style=3D"font-family:inherit"><b><br></b></div><div c= lass=3D"gmail-m_6176790451258434658gmail-m_-522957219501715747gmail-m_26595= 00035667364550gmail-_1mf gmail-m_6176790451258434658gmail-m_-52295721950171= 5747gmail-m_2659500035667364550gmail-_1mj" style=3D"font-family:inherit"><b= >OPEN CALL!! Please submit music & papers!</b></div><div class=3D"gmail= -m_6176790451258434658gmail-m_-522957219501715747gmail-m_265950003566736455= 0gmail-_1mf gmail-m_6176790451258434658gmail-m_-522957219501715747gmail-m_2= 659500035667364550gmail-_1mj" style=3D"font-family:inherit"><b><br></b></di= v><div class=3D"gmail-m_6176790451258434658gmail-m_-522957219501715747gmail= -m_2659500035667364550gmail-_1mf gmail-m_6176790451258434658gmail-m_-522957= 219501715747gmail-m_2659500035667364550gmail-_1mj" style=3D"font-family:inh= erit">The third=C2=A0<span class=3D"gmail-m_6176790451258434658gmail-m_-522= 957219501715747gmail-m_2659500035667364550gmail-m_891715872256581723gmail-i= l">Vu</span>=C2=A0Symposium on experimental, electronic, and improvised=C2= =A0music, will be=C2=A0held in Park City, Utah on=C2=A0July 10-12, 2019.<br= ></div><div class=3D"gmail-m_6176790451258434658gmail-m_-522957219501715747= gmail-m_2659500035667364550gmail-_1mf gmail-m_6176790451258434658gmail-m_-5= 22957219501715747gmail-m_2659500035667364550gmail-_1mj" style=3D"font-famil= y:inherit"><div style=3D"font-family:Arial,Helvetica,sans-serif"><p><a>www.= vusymposium.org</a><br></p><p>As always, the theme of the=C2=A0<span class= =3D"gmail-m_6176790451258434658gmail-m_-522957219501715747gmail-m_265950003= 5667364550gmail-m_891715872256581723gmail-il">Vu</span>=C2=A0Symposium is b= road and inclusive.=C2=A0=C2=A0</p><p>This year's theme is =E2=80=9Cpus= hing the envelope.=E2=80=9D=C2=A0=C2=A0</p><p>We invite scholars, performer= s, ensembles, composers, critics,=C2=A0and anyone and everyone=C2=A0interes= ted=C2=A0in experimental, improvised,=C2=A0and/or electronic music to prese= nt papers, pieces, curated concerts, ideas, half-ideas, lectures, performan= ce pieces, improvisations, or installations that ask, answer, or critique o= ur theme.</p><p>Our goal is to provide=C2=A0a forum in which any thinker an= d/or practitioner who is writing about, performing, presenting, or otherwis= e=C2=A0championing experimental, improvised and electronic music can freely= engage in discourse.=C2=A0 The format of the symposium will vary each year= =C2=A0based on the nature and the number of submissions but will include: c= oncerts, roundtables, paper presentations, and longer lectures.=C2=A0=C2=A0= </p><p>This symposium does not focus on keynotes, featured ensembles, or fe= atured composers, it is focused on the free exchange of ideas of its partic= ipants.=C2=A0 Because of this,=C2=A0our symposium is=C2=A0free of charge.= =C2=A0 Participants are highly encouraged to attend all three days of the s= ymposium.=C2=A0 Participants are also discouraged to schedule other perform= ances during the symposium.</p><p>The=C2=A0<span class=3D"gmail-m_617679045= 1258434658gmail-m_-522957219501715747gmail-m_2659500035667364550gmail-m_891= 715872256581723gmail-il">Vu</span>=C2=A0Symposium is=C2=A0sponsored by List= en/Space, a 501(c)3 non-profit arts organization.=C2=A0 Print and electroni= c conference proceedings are published by the University of Utah Marriott L= ibrary, so any participant that would like to publish their paper, presenta= tion, or performance may do so.=C2=A0 Link to past proceedings:=C2=A0<a>htt= ps://vusymposium.lib.utah.edu/</a></p><p>Park City, Utah is a small mountai= n town that also happens to=C2=A0host many=C2=A0conferences and festivals,= =C2=A0including the=C2=A0Sundance Film Festival.=C2=A0 Free public transpor= tation, convenient accommodations, outdoor activities,=C2=A0and great resta= urants=C2=A0are literally steps away from our symposium=E2=80=99s home base= at the Park City Library.=C2=A0=C2=A0</p><p>Each day of the=C2=A0<span cla= ss=3D"gmail-m_6176790451258434658gmail-m_-522957219501715747gmail-m_2659500= 035667364550gmail-m_891715872256581723gmail-il">Vu</span>=C2=A0Symposium wi= ll feature performances and presentations.=C2=A0 There may also be an=C2=A0= opportunity for presenting sound installations or using Park City itself as= a venue for a music-based public=C2=A0work.=C2=A0 Propose something!</p><p= >Unlike other conferences and symposia, we will organize the format of our = symposium based on the uniqueness of the submissions.</p><p><b>So, surprise= us.=C2=A0</b></p><p>If you would like to present a 5-minute thought or ass= ertion, or an hour-long lecture, submit it.</p><p>We also encourage submiss= ion in=C2=A0<b>both categories: music and papers/presentations</b>.=C2=A0 T= ell us about your creative work, then present it.=C2=A0 Tell us about how y= ou approached performing a work, then play it.</p><p>We are particularly in= terested in student work, half-ideas, works-in-progress, and other incomple= te works.=C2=A0=C2=A0Remember, it is your choice if you would like to inclu= de your=C2=A0work in our conference=C2=A0proceedings, so take risks and bri= ng ideas that=C2=A0would benefit from discourse=C2=A0challengeable ideas.= =C2=A0=C2=A0</p><p>This symposium is about solidifying, critiquing, and rei= nforcing=C2=A0ideas as a collective group of like-minded researchers as muc= h as it is a venue to present polished, finished works.</p><p>Please review= our two=C2=A0<span class=3D"gmail-m_6176790451258434658gmail-m_-5229572195= 01715747gmail-m_2659500035667364550gmail-m_891715872256581723gmail-il">call= s</span>=C2=A0and submit as many ideas as you would like to both.</p><p>Ema= il any questions about submissions to:=C2=A0</p><p><b><span class=3D"gmail-= m_6176790451258434658gmail-m_-522957219501715747gmail-m_2659500035667364550= gmail-m_891715872256581723gmail-il">CALL</span>=C2=A0FOR MUSIC</b></p><p>Ea= ch day of the=C2=A0<span class=3D"gmail-m_6176790451258434658gmail-m_-52295= 7219501715747gmail-m_2659500035667364550gmail-m_891715872256581723gmail-il"= >Vu</span>=C2=A0Symposium will feature concerts and performances in the Jim= Santy Auditorium.=C2=A0=C2=A0Ensembles, performers, improvisers, and compo= sers may=C2=A0submit=C2=A0works that fit in the following categories:</p><u= l><li style=3D"margin-left:15px">Ensemble performances with or without fixe= d-media or live 2-channel electronics</li><li style=3D"margin-left:15px">So= lo performances with or without fixed-media or live 2-channel electronics</= li><li style=3D"margin-left:15px">Fixed-media 2-channel electronic works</l= i><li style=3D"margin-left:15px">Improvised solo or ensemble performances w= ith or without fixed-media or live 2-channel electronics</li></ul><p>We do = not currently have any performers available, so composers are encouraged to= submit fixed-media electronic works or to arrange for performers to attend= the symposium.=C2=A0=C2=A0</p><p>Composer/performer joint submissions are = encouraged.=C2=A0 Rehearsal time is possible and concerts will be organized= after all submissions have been reviewed.=C2=A0 Since our symposium blends= the role of composers and performers, performers are asked to be=C2=A0an e= qual and active participant in the paper presentations and lectures and pre= senters are asked to attend concerts and performances.</p><p>Composers, ens= embles, or performers may propose concerts or works of any length.=C2=A0 If= you are an ensemble and would be interested in performing works by=C2=A0co= mposer participants in addition to your proposed concert, please indicate t= hat in your=C2=A0submission.</p><p><b>Please send a description of your wor= k proposed, a work sample,=C2=A0and a short bio by April 15, 2019 to:</b></= p><p><span style=3D"color:rgb(69,69,69)"><b><a style=3D"color:rgb(34,34,34)= ">katie.porter@xxxxxxxx</a>=C2=A0(Subject: MUSIC)</b></span></p><p><= b><span class=3D"gmail-m_6176790451258434658gmail-m_-522957219501715747gmai= l-m_2659500035667364550gmail-m_891715872256581723gmail-il">CALL</span>=C2= =A0FOR PAPERS & PRESENTATIONS</b></p><p><b>Pushing the Envelope</b></p>= <p><b>=E2=80=A6in Experimental, Electronic, and Improvised Music</b></p><p>= <b>Please submit a bio, abstract, idea,=C2=A0and/or complete paper by April= 15, 2019 to:</b></p><p><b><a>katie.porter@xxxxxxxx</a>=C2=A0(Subjec= t: PAPER)</b></p><p>Length is up to you.=C2=A0 What do you have to say?=C2= =A0 How long will it take you?=C2=A0 The format of our symposium is extreme= ly flexible.=C2=A0=C2=A0Take advantage of our flexibility=C2=A0to express i= deas, concepts, or assertions in unconventional ways, if appropriate.</p><p= >Students are encouraged to apply as well as professionals working on caree= rs outside of academia.</p><p>Here are some potential paper/lecture topics,= but feel free to propose your own:</p><ul><li style=3D"margin-left:15px">P= erformance Practice</li><li style=3D"margin-left:15px">Compositional Proces= s</li><li style=3D"margin-left:15px">Interpretation</li><li style=3D"margin= -left:15px">Pedagogy =E2=80=93 Teaching EEI music itself, or using EEI musi= c as a teaching tool.=C2=A0 Does it work?=C2=A0 Does it not work?=C2=A0 How= do younger students react to experimental music?</li><li style=3D"margin-l= eft:15px">Graphic Notation</li><li style=3D"margin-left:15px">Improvisation= and Game Theory</li><li style=3D"margin-left:15px">Alternate Intonation Sy= stems</li><li style=3D"margin-left:15px">Entrepreneurship =E2=80=93 music i= n general, popular and concert,=C2=A0is being painted into a corner, how ca= n music at the fringes exist?</li><li style=3D"margin-left:15px">Musical An= alysis =E2=80=93 new tools are needed to examine music of Christian Wolff, = for instance</li><li style=3D"margin-left:15px">Music Theory =E2=80=93 What= is next?=C2=A0 Who will write meta-meta-meta-hodos?=C2=A0 Can it be writte= n, or has there been too much of a sea change in EEI music?=C2=A0 What theo= ry is helpful with improvised music?</li><li style=3D"margin-left:15px">Aes= thetics =E2=80=93 Recently, a composer came through Utah and proclaimed =E2= =80=9CThe only invalid reason to compose a piece is to try and create somet= hing new.=E2=80=9D=C2=A0 What is a valid reason to compose?=C2=A0 What is a= n invalid one?=C2=A0 Is validity valid?</li><li style=3D"margin-left:15px">= Ethics</li><li style=3D"margin-left:15px">Technique =E2=80=93 How do you re= hearse improvisation?=C2=A0 Should you?=C2=A0 How do you rehearse Earle Bro= wn?=C2=A0 Should you?</li><li style=3D"margin-left:15px">History</li><li st= yle=3D"margin-left:15px">Social or Political Context</li><li style=3D"margi= n-left:15px">Open-ended Compositions =E2=80=93 Launchpad for improvisation,= or gateway into composition?</li><li style=3D"margin-left:15px">Performer/= Composer =E2=80=93 does this work?=C2=A0 Does this mean you perform exclusi= vely your own music?=C2=A0 Can your music outlive you?=C2=A0 Does this matt= er any more?</li></ul></div><div class=3D"gmail-yj6qo gmail-ajU" style=3D"o= utline:none;padding:10px 0px;width:22px;margin:2px 0px 0px;font-family:Aria= l,Helvetica,sans-serif"><br class=3D"gmail-Apple-interchange-newline"></div= ></div></div><div><div dir=3D"ltr" class=3D"gmail_signature" data-smartmail= =3D"gmail_signature"><div dir=3D"ltr"><div><div dir=3D"ltr"><div dir=3D"ltr= "><div dir=3D"ltr"><div dir=3D"ltr"><div dir=3D"ltr"><div dir=3D"ltr"><div>= <span style=3D"font-family:tahoma,sans-serif"><br></span></div><div><div st= yle=3D"font-size:small"><br></div></div><div><div><div><div><br></div></div= ></div></div></div></div></div></div></div></div></div></div></div></div></= div> --00000000000068209f0585170fad--