Call for proposals

Calendar:

Article submission deadline: Monday February 12, 2024

Notification of acceptance: Monday March 18, 2024

Deadline for submission of final versions: Monday April 15, 2024

Registration: early bird 1st March 2024 -- late 15 April 2024 -- Closing date : 1st May 2024

Topics:

Risset & Beyond:

What is Jean-Claude Risset's legacy in the fields of sound synthesis, live electronics and the use of the disklavier for musical creation in the age of AI, streaming listening practices and non-standardised electronic lutheries? "Is 'creating sound itself' still relevant in the first quarter of the 21st century? How modern is Jean-Claude Risset in an environment of constant technological innovation?

Computational musicology:

Computational musicology fuses music theory, computer science and data analysis to interpret musical structures using algorithms and statistics. Dating back to experiments that began over 70 years ago, it has subsequently led researchers to closely examine the suitability of musical theories for computer use. This rapidly evolving field, at the crossroads of tradition and innovation, raises the question of the extent to which technology can continue to improve our understanding of music without compromising the very essence of musicological work.

Intersection between computer science and empirical musicology:

Empirical musicology draws on methodologies from a variety of disciplines, including psychology, statistics, acoustics and computer science. The application of empirical methods enables a more quantifiable and reproducible understanding of music, bridging the gap between the subjective nature of musical experience and the objective analysis of musical phenomena. What references, new methods and protocols resulting from these cross-fertilisations are ready to be integrated to enrich our analysis of musical works?

Immersion, Multimodality, Virtual Reality: 

Virtual reality typically revolves around images. However, its use in the field of sound opens up promising prospects, both in industry and in artistic creation, as illustrated by the advances in binaural techniques, which now play an essential part in the user's sense of immersion. Interaction design in VR today typically entangles sound, visual and haptic feedback, and thus opens up a more forward-looking dimension to multimodal creation and the new challenges linked to multisensory interactions.

Submission details: 

Articles may be written either in English or in French, between 4 and 10 pages. For the articles in English, a French abstract is mandatory. Communications will take place either as oral presentations (30 minutes, including questions), or performances-presentations (format to be defined), or demos (format to be defined). The different rooms of the conference will be equipped in multichannel.

The type of presentation (either oral presentation, or performance-presentation, or demo) should be precised by the authors when submitting. The organizing committee will approve the final choice when setting the program of the JIM.

Articles should be submitted using PDF format. The page layout should be achieved using either the Word or the LaTeX templates:

Word template

LaTeX template

Proposals should be submitted online on the website of the conference https://jim2024.sciencesconf.org/submission/submit

Submission requires the creation of a sciencesconf.org account.

If you already own a sciencesconf.org account, thank you not to create a second one, to avoid any problem.

List of topics usually addressed :

Computer systems

• Real-time systems and protocols for computer music
• Open source software for analysis, synthesis, sound processing and music creation
• New strategies for data sonification
• Algorithms and interfaces for sound spatialization

Computer-assisted creation

• Environments and languages for musical composition
• Computer-aided orchestration
• Systems for music creation, from microstructure to macroform
• Automatic composition and arrangement systems
• Computer tools for spatialization and sound diffusion

Performance, Performative Arts and Technology

• Software and hardware interfaces for musical interpretation and performance
• Hardware and software devices for interactive pieces
• Modeling and simulation of musical interpretation
• Capture and digital extension of the instrumental gesture
• Gesture, virtuosity and new media
• New interfaces, new ways of playing

Music notation

• Optical score recognition software
• Systems for music editing and publishing
• Music notation and visualization
• Interactive Scores

Historical aspects and preservation

• History and sociological aspects of computer music
• Definition/redefinition of the role of the producer in computer music (RIM)
• Standardization, archiving and transmission of musical information
• Porting and recreation of mixed and interactive works
• Preservation of works using digital technologies
• Activity reports from music research centers
• Computational musicology
• Formalization and representation of musical structures
• Computational approaches to music analysis
• Formalization and modeling of musical knowledge
• Modeling and simulation of sound and musical perception
• Tools for musical analysis Acoustic signal analysis and processing systems
• Recognition and automatic extraction of musical parameters
• Analysis and representation of instrumental gestures