Piece + Paper

The submission site is now open at https://cmt3.research.microsoft.com/ICMC2022/. 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: 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 Piece + Paper

  • This track is specifically formatted for a presentation to include a performance and a paper. The paper presentation and the piece together must not exceed 30 minutes.
  • Featured performers are not available for this track.
  • Works must NOT have been performed at previous ICMCs.
  • Full paper submissions must be uploaded in PDF format using the paper template provided: MS Word and LaTex templates.
  • All submissions should be anonymous: please make sure that no author names are recognizable.
  • The reviews are anonymous: once accepted, camera-ready papers will include of author names.
  • Submissions must be .mp3, .wav, .aiff, .mov, .mp4. 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.

Topics

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.