The bulletin has now been completed and is available for members here.
At the same time we would like to thank everyone for their response to the request for old copies of bulletins made in the last newsletter. We now have the complete archive apart from the 2001/2 issue available.
ISCM World Music Days
This month brings news that, with the whole world seemingly going on lockdown, the ISCM World Music Days New Zealand has been cancelled.
Dear ISCM Members,
With great sadness, we must inform you that the 2020 General Assembly meetings and festival in New Zealand cannot take place.
Due to global developments over the past few weeks in relation to the spread of COVID-19, in particular the border closures and other restrictions that an increasing number of individual countries have been putting in place over the past few days, the ISCM Executive Committee has taken the unprecedented step of releasing the New Zealand festival organizer – the Composers Association of New Zealand (CANZ) – from its contractual obligation to host the ISCM World New Music Days in 2020. The unprecedented global crisis we face is clearly a case of force majeure.
The ISCM festival and meetings have occurred every year since the organization’s inception in 1922, the only exceptions being 1940 and 1943-45 during World War II. The New Zealand government has announced that international visitors must be subjected to 14 days self-isolation upon arrival in New Zealand. Furthermore, prudent restrictions on large gatherings, in accord with similar measures that are being announced in most other countries around the globe, are likely to be announced by the New Zealand government very soon.
The ISCM Executive Committee is very concerned about people’s health, and we appreciate the only known way to slow the spread of COVID-19 is to radically reduce population movement and large gatherings. The result of these far-reaching measures will mean that for a time many performers cannot work, many festivals and conferences are being cancelled, and the rate at which we have recently enjoyed international movement and in-person cultural exchange will drop significantly for a while. We are in uncharted territory, and the ISCM must find new ways to continue developing ways to engage with the music and culture of our wonderfully diverse regions.
In relation to the ISCM World New Music days that we can no longer hold in 2020, we are hopeful of a postponement and have asked CANZ if they would instead hold the festival in 2022, including most of the submitted and selected works that were programmed for 2020.
Working with our Legal Counsel, we are in the process of developing emergency measures that will make it possible for us to meet our statutory obligations, and soon you will be receiving an information about the important matters that need to be dealt with this year.
I am deeply disappointed that we cannot welcome you to Aotearoa New Zealand this year, and very much hope we can do so in 2022.
With best wishes,
The rules and conditions of the international composition competition "Città di Udine" (thirteenth edition) are online on TEM - Taukay music publishing house website.
- compositions for chamber instrumental group or solo instrument
- electroacoustic music
- audiovisual projects
Deadline: March 31st 2020
Select the preferred language through the buttons below in order to download the rules and conditions and the entry form.
More info on www.taukay.it
Calls for Contributions
Africa Synthesized: Electronic music pre-MP3
25-26 June 2020
Stellenbosch, South Africa
From tape loops and mix tapes to boomboxes and turntables, early developments in sound technology shaped understandings of sound, space and sense-making in Africa. Coinciding with political struggles for independence after WWII, electronic music technologies created the potential to re-envision and rearticulate African modernities. These modernities played a formative role in the development of electronic music globally: not only was the postwar musical avant-garde heavily influenced by field trips to Africa and other parts of the developing world, the World Music and ambient music industries also relied heavily on exoticized sonic worlds extrapolated from Africa. Predating Pierre Schaeffer’s first work of musique concrete by four years, Halim El-Dabh’s tape compositions trenchantly remind us that the global north was not the exclusive harbinger of innovation. Electronic music not only highlights the dynamic between the global north and south, but also between genres and spaces. The same sound technologies and techniques animated music creation in diverse settings, from the formal studios of conservatoires and radio laboratories, to clubs and home studios, blurring distinctions between highbrow and lowbrow.
Africa Synthesized will address electronic music in Africa before the advent of MP3 (c. 1995). The conference will bring together scholars, artists, producers and archivists who work with electronic sound technology broadly defined. The theme cuts across the fields of art music and popular music, and invites dialogue between academics and music producers. Africa Synthesized aims to map 20th-century itineraries of electronic music in Africa, to consider the role of Africa in the development of electronic music in the Western world, and to seek out encounters with sonic artists and practitioners working beyond academia.
We invite 20-minute papers, panels consisting of 3 to 4 papers, panel discussions, as well as performances and artistic responses. Possible topics could include:
Histories of electronic music studios in Africa
The role of Africa in the postwar music avant-garde
Electroacoustic art music from/about Africa
Ambient music from/about Africa
Contemporary uses of analogue sound equipment/recordings
Intersections between environmental sound recording and music
Electronic sound archives in/from Africa
Histories of vinyl and cassette in Africa
DIY studios, synthesizers and other electronic instruments
Electronic instrument builders and collectors in Africa
The Moog in Africa
Please send proposals to Stephanie Vos at firstname.lastname@example.org by 15 March 2020. Proposals should include:
an abstract with title (250 words for individual papers, 400 words for panels)
biographical note (not exceeding 50 words), e-mail address and phone number of presenter(s)
any additional requirements (i.e. technical and spatial requirements in the case of performances)
Notifications of acceptance will be sent by 1 April 2020.
The conference is organized by Willemien Froneman and Stephanie Vos (Africa Open Institute, Stellenbosch University) and Carina Venter (Department of Music, Stellenbosch University), and funded by the Interdisciplinary Forum for Popular Music (ifPOP) at Africa Open Institute.
The organisers envisage publishing selected papers in a peer-reviewed, edited volume after the conference.
Composition Contest PREMIO MUSICA NOVA.
The competition is intended for composers of all nationalities, and applies without age limit
Subscription deadline: May, 24th 2020
Award ceremony: September 2020
The challenge is open for receipt of entries for the Second Edition of the International Composition Contest PREMIO MUSICA NOVA.
The competition counts on a very high level Jury even this year: the Maestros Ennio Morricone (President of the Jury) and Franco Piersanti, will be joined by Lucio Gregoretti, Claudio Paradiso, Alberto Giraldi, Stefano Cucci, Paolo Rotili and Albino Taggeo.
The 2020 Edition (as specifically require Maestros Morricone and Piersanti) is intended to encourage more the young talents creativity and wants to add value and enrich the writing for solo instrument using a contemporary language: the attendees should submit the Commission a composition for solo violin or solo cello with a duration limit of 10 minutes. The challenge is intended for the musicians all around the world, with no age limit. The composition should be unpublished and unexecuted untill the end of the competition.
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