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[AIMI] XXII Colloquium of Musical Informatics,Udine, November 20-23, 2018 – call for participation


Machine Sounds, Sound Machines

The general theme of the 2018 edition is the relationship between sound and machine. Through their ever-growing development, machines are becoming protagonists in every process involving musical sound. Limited until few years ago to the traditional sound recording, synthesis, processing and reproduction stages, recently their role has tremendously expanded thanks to the possibility to collect, analyse and widely spread large amounts of data. The computer science community has not been surprised by this growth, indeed fueled by the own activity of its researchers, and yet this community must act now not to lose the artistic and creative roadmap that so far has kept such machines soundness stable. The old approaches must face an artificial intelligence that acquires data pervasively and then, once such data have been processed through algorithms which are harder and harder to understand, prominently dictates the taste and the new frontiers of music. For this reason the XXII Colloquium of Musical Informatics will enrich its program about sound machines with a list of preliminary tutorials around the same argument. Such events are targeted to an audience counting young musicians, and especially students from the Schools of music, whose artistic and creative activity is hoped to be part of a deeper understanding of the machine aimed at keeping its sound behavior. This hope was shared as early in 1991 by Jean-Claude Risset who, in a Computer Music Journal contribution, fostered a new role of the machine concerning music sharing and for suggesting solutions to musicians without depressing their creativity. With the same spirit of sharing, the XXII Colloquium of Musical Informatics will tribute part of the opening concert to the composer one year after his death, and furthermore welcome thematic works in his memory.

Call for papers

Participants are invited to present and discuss the results of their artistic/scientific research works in the form of oral or poster communication. Students including PhD’s making research in musical informatics are invited to present their results from (including running) research projects on both technological/scientific and artistic topics: in this case they are not requested to discuss established results and the related results can be communicated in form of poster and/or demo.

Call for scores/works

Three competitions will be called:

  1. compositions for instruments and/or electronics, interactive electro-acoustic performances (C1)
  2. audio-video compositions, recorded electro-acoustic compositions (C2)
  3. audio-video and multimedia installations (C3)

All scores must be scanned or printed and then submitted as a pdf document (C1). Complete works must be submitted in audio (C2) or audio-video format (C2 and C3). A description including technical information (type and number of microphones needed for the representation, effects, positioning and environment for the installations, etcetera).

Further info:

1. The ensemble for submissions to C1 includes

  • flute
  • clarinet (two performers)
  • piano
  • violin
  • cello
  • double bass.

Acceptable scores will employ no more than two instruments and/or electronics. More instruments are allowed involving also larger ensembles only if entirely provided by authors. Selected composers will be granted one slot of the rehearsal day to prepare the concert with the local ensemble. They will find availability of Max software, one mixer Midas M32R, 8 microphones Neumann KM184, 2 microphones Neumann U87, 2 microphones AKG 414, 2 microphones Audio Technica AT450, 1 MacBook Pro 15” along with a 8-channel reproduction system. Execution of the electronic part will be responsibility of the authors.

2. Acceptable formats for audio-video compositions (C2): HD 1080 or 720 25p, codec MPEG2 or MPEG4 _ audio ST 48kHZ uncompressed (for representation). Acceptable formats for electro-acoustic compositions: 2 to 8 channels, 48 kHz, 24 bit.

3. Equipment available for the installations (C3) includes a two-channel sound reproduction system. Further requests (laptop, audio cards, microphones, sensor equipment, etc) will be submitted directly to the organization for possible support to installations. Alternatively, authors will supply with their own equipment to their realization.


Important dates:

  • Opening of Easychair portal for submissions: May 15, 2018
  • Submission deadline: July 15, 2018
  • Notification to authors: August 31, 2018
  • Final version: October 1, 2018.

Works will be submitted through EasyChair to the web address: [to be announced]

Submissions must be prepared according to the following templates (LaTeX, MS Word): CIM_2018_templates in both early and final version. Italian and English language is accepted. Furthermore:

  • Paper lengths of scientific and artistic communications: oral presentation between 6 and 8 pages, poster submission between 1 and 2 pages.
  • Artistic productions: in addition to the aforementioned paper, include a description (see the Call for scores/works). Possible additional audio-video/musical documents will have to be made accessible through the web. The review committees can decide to accept oral communications as posters.

“Aldo Piccialli” Award

The best contribution, independently of the presentation format, and by decision of the Program Committee, will be awarded the prize in memory of Aldo Piccialli, a symbolic recognition to the originality and innovation brought to the Italian research in musical informatics.


Particular attention will be given to works concerning the theme of the symposium. Different topics related to music, science and technology are welcome, and especially:

  • Aesthetics of Computer and Interactive Music
  • Algorithmic Composition
  • Auditory display and data sonification
  • Computational Ethnomusicology
  • Computer environments for sound/music processing
  • Computer Systems in Music Education
  • Gestures, motion and music
  • History of Electro-acoustic Music
  • Humanities in sound and music computing
  • Languages for Computer Music
  • Music Information Retrieval
  • Networked Music Performance
  • New Interfaces for Musical Expression
  • Perception and cognition of sound and music
  • Physical modelling of Musical Instruments
  • Sonic interaction design
  • Human-Computer musical interaction
  • Sound and music for VR and games
  • Sound/music and the neurosciences
  • Sound/music signal processing algorithms
  • Spatial sound & Spatialization Techniques
  • Technologies for the preservation, access and modelling of musical heritage
  • Work and research by Jean-Claude Risset

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