The submission site is now open at The deadline has been extended to 23:59, 10 January 2022, Pacific Time. Please read the rules below before submitting.

General Rules

  • 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:
  • 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
  • Composition/performance
  • 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
  • Happenings
  • Improvisation and Technology
  • Instrument(s) + Electronics
  • Interactive Installations
  • Laptop Orchestra/Live Coding
  • Live Electronics
  • Media Arts
  • Media/Music Programming, Languages, etc
  • Miscellaneous/off-ICMC
  • 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
  • Soundmapping
  • Soundscape works
  • Spatial Audio
  • Telematic and networked performance
  • WebAudio

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.