The submission site is now open at https://cmt3.research.microsoft.com/User/Login?ReturnUrl=%2Ficmc2022. Submissions are due 23:59, 3 January 2022, Pacific Time. Please read the rules below before submitting.
- Open to all regardless of nationality, age, career stage, gender, religion, etc.
- There are no submission fees. However, if selected, you must register and attend the conference (in-person or online). Only one presenter is required to register in collaborations. If a participant is presenting more than one submission, they are only required to register once.
- Submissions must be made in English.
- Submission materials must be anonymised.
- All submissions must be submitted online through the Conference Management Toolkit (CMT) found here: https://cmt3.research.microsoft.com/User/Login?ReturnUrl=%2Ficmc2022.
- Submissions will be subjected to double-blind peer review.
- Submissions may be presented for the in-person event or the online event.
Additional Rules for Music Submissions
- Submissions should indicate whether the piece requires our featured performers. ICMC cannot provide any other performers. Composers must provide their own performers for any other instruments.
- In the instance where a composer is providing their own performer, only the composer must register. Performers do not need to register. However, unregistered performers may not attend other ICMC events.
- The composer(s) must attend the conference in-person for any works that require performers.
- Presenters are encouraged to submit concert works less than 15 minutes duration.
- Presenters may indicate that their music submission is intended for the late-night concert hosted at an informal venue. Presenters are encouraged to keep the set to less than 40 minutes duration.
- Works must NOT have been presented at previous ICMCs.
- Submissions must be .mp3, .wav, .aiff, .mov, .mp4, .zip, and less than 100 MB in size. If files are too large, a DOWNLOAD link must be provided. The download must be available until March 1, 2022. Any author identifying information in the files (e.g., metadata, titles, ID3 tags, etc.) must be anonymised.
- Audio-visual works may be submitted in this track.
We invite submissions in computer music disciplines including, but not limited to:
- Acousmatic and Spatial Music
- Acoustic Ecology
- Acoustics, physical models, etc
- Advancing Computer Music
- Aesthetics, Theory, History of computer music
- Algorithmic or generative art/music
- Audience Participation Installations
- Audiovisual Works
- Auditory Display and Sonification
- Computer Language-Based: Faust, ChucK, CSound, Live, MAX, Supercollider, etc.
- Computer Music Composition
- Computer-aided Acoustic Composition
- Crowd-Sourcing in Computer Music
- Data-driven Installations
- Digital Signal Processing
- Fixed Media
- Improvisation and Technology
- Instrument(s) + Electronics
- Interactive Installations
- Laptop Orchestra/Live Coding
- Live Electronics
- Media Arts
- Media/Music Programming, Languages, etc
- Multimedia Installations
- Music education
- Music Information Retrieval
- New Instruments for Musical Expression
- Noisescapes: Urban Noise Pollution Phenomenon
- Open Source topics and communities
- Performance-based installations
- Preserving and Accessing Computer Music
- Psychology of music
- Robotics and Music
- Sound Art
- Sound Reinforcement
- Sound Synthesis
- Soundscape works
- Spatial Audio
- Telematic and networked performance
We are especially looking for submissions addressing:
- Software Engineering in Computer Music – Sponsored by Lero, the Irish Software Institute. This can be broadly interpreted as the entirety of building software (e.g, process, code, architecture).
- Topics related to diversity, equality and inclusivity in computer music, including gender, race, economic, disabilities, or other factors for underrepresentation in computer music.
We also welcome submissions outside the theme.