CfP: International Festival For Innovations In Music Production And Composition (Leeds College of Music)

Leeds College of Music and the City of Leeds:
„International Festival For Innovations In Music Production And Composition“
12–13 March 2015 – Leeds College of Music
Deadline: 20 November 2014
Keynote speaker and artist: Trevor Wishart
Second Keynote: TBC

The International Festival for Innovations in Music Production and Composition takes place at Leeds College of Music and the City of Leeds from Thursday 12 to Friday 13 March 2015. iFIMPaC is an annual event focusing on practice related innovations in Music Production and Composition. iFIMPaC creates a unique environment for composers, producers, music industry representatives, academics, educators and students to discuss their compositional, pedagogical and production work as practice-led research. This year’s event will be in association with Nonclassical where we will be running a Nonclassical club night.

The shifting relationships between spaces and places in music production practice (rise of the project studio and its effect on practice)

The Association for the Study of the Art of Record Production (ASARP) will chair an industry round table discussion exploring the shifting relationships between spaces and places in music production practice. Guests include recording engineers and producers representing the larger well established studios and artist/ producer led studios.

Submission And Registration Requirements:

All submissions must include:

  • First name
  • Last name
  • Postal address
  • Email address
  • Title of the paper or composition
  • Affiliation (for example, university or company)
  • A declaration as to whether or not you wish your email address to be published on the delegate list.
  • 250-word biog

Papers, presentations and workshop submissions must also include:

  • 250-word abstract
  • Word, text and rtf document(s). pdf documents are not accepted.

The following are welcome, but this is not meant to be an exhaustive list:

  • Creative practices (including interdisciplinary practices)
  • Theory and Philosophy
  • Music Production and Critical Theory
  • Aesthetics
  • Electroacoustic Music and Analysis
  • Innovative approaches: music technology in a commercial setting
  • Innovative approaches: music technology in an academic setting
  • Live Coding
  • Digital Audio Signal Processing
  • Improvisation
  • Unique Interfaces
  • Software and Hardware Systems
  • Music Production and Critical Theory
  • Composition Systems and Techniques
  • Impossible performances – using music production technologies to ‘bring back’ dead performers.
  • The shifting relationships between spaces and places in music production practice (rise of the project studio and its effect on practice)
  • Dispersed creativity and how people are collaborating as a result of new technologies
  • Producers conducting analyses of their own works and highlighting areas of innovative/good practice.
  • The role of music producers within the music industry.

While proposals are invited on any area of composition/production research and practice from within any discipline/genre, preference will be given to topics that include interdisciplinary approaches that inform new insights into the creative applications of music technology, compositional methodology and/or production. Individual presentations should be no more than twenty minutes in duration (there will be a further five minutes for questions). There may be opportunities for longer durations for lecture-recitals and workshops.

Composition, Multimedia submissions must also be/include:

  • No more than 13 minutes in duration
  • Programme notes
  • Duration of the submitted piece
  • Any details regarding set-up requirements (e.g. multi-channel works)
  • Information as Word, text and rtf document(s) – pdf documents are not accepted.
  • (If Multimedia) a Video file no longer than six minutes demonstrating the submitted piece (only Movand Mpeg-4 are acceptable). You may also provide links to embedded video.

The following are welcome, but this is not meant to be an exhaustive list:

  • Stereo acousmatic music
  • Contemporary classical pieces*
  • Interdisciplinary work that includes sound/music
  • Multichannel pieces (up to 8 channels + LFE)
  • Multimedia/Audio Visual pieces
  • solo instrument and fixed medium*
  • solo instrument and live electronics*
  • laptop improvisation/live coding
  • club music (electronic music influenced by pop, IDM and electronica)
  • Live electronica (up to 20 minutes)
  • Live IDM (up to 20 minutes)
  • demonstrations of unique interfaces/instruments/controllers
  • Piece and paper
  • Experimental DJ sets (up to 20 minutes)
  • other (we are happy to consider music that doesn’t fall into the above categories and may be wholly acoustic so long as the submitted piece presents contemporary insights into music composition)
  • We may be able to supply performers in some instances, but you should consider acquiring your own performers as iFIMPaC’s budget is small. Please see the web link for further information (information will be posted soon).

Successful applicants will need register and pay a delegate fee in order to be programmed.

If your submission is successful, and is acousmatic, but you cannot attend, you will still need to register. You may have a nominee to diffuse your work.

Deadline and mode of submission

The deadline for the submission of proposals is 20 November 2014.

Registration fees are TBC

Any queries about a proposal should be directed to the IFIMPaC 2015 Conference Director: Dr Dale Perkins

Papers: Paper abstracts with all associated materials (e.g. biog) should be sent as an email attachment to Abstracts must be formatted as doc, docx, txt or rtf documents (no pdf documents please). All files must be zipped as one file and named as follows: iFIMPaC-2015 -surname_forename.

Compositions and multimedia: These should be sent as download links in the body of an email. Acousmatic works should be presented in their entirety. Multichannel works should be sent as a single set of mono files and include a stereo reduction. All audio files should be 44.1KHz and 24bit.

Pieces that involve live performances (including laptop improvisation and interactive technologies) should be presented as video files (only ‘mov’ and ‘mpeg 4’ formats are acceptable) or web links.

If you wish to apply for a receipt for materials uploaded, please email with:IFIMPaC-surname_forename in the Header.

Leeds College of Music
3 Quarry Hill
United Kingdom

Queries about attending iFIMPaC should be addressed to:
Queries about the ASARP panel should be addressed to:

%d Bloggern gefällt das: