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Please redistribute where you think is appropriate:
thank you,

 marco trevisani
 marco@xxxxxxxxxxxx
 www.icmc2001.org
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ICMC 2001 -- CALL FOR SUBMISSIONS

The 2001 ICMC will take place from Tuesday, September 18 to Sunday,
September 22, 2001 in Havana, Cuba. We are currently accepting submissions
for papers and musical submissions until the deadline of January 15, 2001.

***NOTE -- Please consult the website at:  www.ICMC2001.ORG for detailed
submission instructions.  The information on this web site will be
considered the official version of the ICMC 2001. ***

Call for Musical Submissions

ICMC 2001 welcomes submissions using:  computers and various acoustic
instruments (see below), interactive performance, improvisation, sonic
processing and spatialization, loudspeakers and sound diffusion systems
(eight channels maximum).  Composers are strongly encouraged to provide
their own computers, associated hardware and software required for their
performance.  The ICMC committee reserves the right to reject submissions
that are not practical to perform in Cuba.

There are two principle ensembles available:

The Cuban ensemble "Nuestro Tiempo," with flute, oboe, clarinet, bassoon,
horn, trumpet, trombone, 2 percussion, keyboard, 6 first violins, 4 second
violins, 3 violas, 3 cellos, 2 contrabass.

The Danish ensemble "Contemporanea," with Fritz Gerhard Berthelsen,
clarinets, Christian Martinez, percussion, Arendse Dalgaard, violin,
Kalina Goudeva, double bass, and Ejnar Kanding, computer, sound diffusion.


In addition, there are several guitar ensembles, a saxophone quartet,
clarinet quartet, piano/violin duo, chorus, and extensive percussion, in
classical, folkloric and popular idioms.

Naturally, works using digitally generated tape are also welcome. All
commonly used formats (DAT, ADAT, CD) may be submitted.
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Call for Papers

All contributions of papers, posters, studio reports, and demonstrations
must be submitted by e-mail.

***Abstracts must be submitted as standard ASCII files***

Final submissions will be in .ps or .pdf format; please refer to web page
for details.  This year we welcome extended abstracts, not to exceed 3,000
words for Long Paper submissions and no more than 1,500 words for other
submissions. Do not sneak in references to yourself in the abstract; the
jury process is anonymous.

Email all abstracts to:    papers@xxxxxxxxxxxx
(ICMC 2001 Papers Chair:  Dr. Peter Driessen, University of Victoria,
Canada)

Remembering the legacy of Stanley Kubrick, we subtitle this historic
conference "ICMC 2001 in Havana: A Cultural Odyssey."  Papers dealing with
the influence of digital technology in both Western music and in other,
traditional cultures are strongly encouraged, and also papers dealing with
improvisation in electroacoustic music.  We will have special sessions
relating to "Open Art, Open Software & Open Hardware," with the following
focus:

* Open source Standards for Encoding and Communication of Music and
Sound
* Open art, open software, open hardware
* Linux, Hurd and Audio
* Improvisation in Computer Music
* Visualizing Music
* Sound Repositories
* Open Scientific Literature

And the general categories below:

                  Acoustics of Musical Instruments and Voice
                  Aesthetics of Computer Music and Music Technology
                  Artificial Intelligence and Computer Music
                  Audio Analysis and Resynthesis
                  Audio Hardware and Signal Processing
                  Auditory Displays
                  Codes, Systems and Data Structures for Music
  Representation, Notation, and Printing
                  Composition Systems, Techniques, and Tools
                  Computer Assisted Music Analysis
                  Computer Assisted Music Education and Music Therapy
                  Computer Music and Other Digital Art/Multimedia and Film
                  Digital Sound Processing: Sound Analysis and Synthesis
                  Gesture Sensors and Controllers
                  Human Machine Interaction in Music Performance and Sound
Installations
                  Interactive and Real-Time Performance Systems
                  Machine Recognition of Audio and Music
                  MIDI Applications
                  Music Distribution via Internet
                  Music and Acoustic Analysis
                  Music Education
                  Music Grammars and Languages, Methods and
Languages for Synthesis
                  Music Workstations and Performance Interfaces
                  Musical Emotion and Appreciation: Analysis,
Simulation and Enhancement
                  New Musical Instruments, Enhanced Musical Instruments
                  Perception, Cognition and Psychoacoustics
                  Physical Modeling
                  Real-Time Sound and Music Synthesis Systems
                  Room Acoustics
                  Spatialization
                  Standards for Encoding and Communication of
Music and Sound (e.g. MPEG-4, etc.)
                  Studio Reports
                  Virtual Music Environments and Immersive Systems
                  Other


Laboratorio Nacional de Música Electroacústica
Calle 17 esq. I, No 260, Primer piso, Vedado, C. Habana,CP 10400,Cuba
Tel. (537) 30-3983 Fax. (537) 66-2286/33-3716
E-mail: Lnme@xxxxxxxxxxxxxxx

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