{"id":11923,"date":"2012-07-09T10:34:08","date_gmt":"2012-07-09T14:34:08","guid":{"rendered":"https:\/\/itp.nyu.edu\/opportunities\/?p=11923"},"modified":"2012-07-09T10:34:08","modified_gmt":"2012-07-09T14:34:08","slug":"stockholm-music-acoustics-conference-2013","status":"publish","type":"post","link":"https:\/\/itp.nyu.edu\/opportunities\/2012\/07\/09\/stockholm-music-acoustics-conference-2013\/","title":{"rendered":"STOCKHOLM MUSIC ACOUSTICS CONFERENCE 2013"},"content":{"rendered":"
\n
\n
<\/div>\n
\n
2012-07-06 First Announcement and Call for Contributions<\/div>\n
<\/div>\n
SMAC 2013<\/div>\n
STOCKHOLM MUSIC ACOUSTICS CONFERENCE 2013<\/div>\n
30 July \u2013 3 August<\/div>\n
<\/div>\n
presented jointly with<\/div>\n
<\/div>\n
SMC 2013<\/div>\n
SOUND AND MUSIC COMPUTING CONFERENCE 2013<\/div>\n
30 July – 2 August<\/div>\n
<\/div>\n
Hosted by<\/div>\n
Sound and Music Computing Research Group (aka Music Acoustics)<\/div>\n
KTH Royal Institute of Technology<\/div>\n
Stockholm, Sweden<\/div>\n
<\/div>\n
with the collaboration of<\/div>\n
KMH Royal College of Music<\/div>\n
Stockholm, Sweden<\/div>\n
<\/div>\n
SMAC Conference Chair: Sten Ternstr\u00f6m<\/div>\n
SMC Conference Chair: Roberto Bresin<\/div>\n
SMC Music Chair: Bill Brunson<\/div>\n
<\/div>\n
Contact info<\/div>\n
SMAC 2013: smac-2013@csc.kth.se<\/a><\/div>\n
SMC 2013: smc-2013@csc.kth.se<\/a><\/div>\n
<\/div>\n
Main venue: KTH \u00a0Campus<\/div>\n
<\/div>\n
SMAC 2013 welcomes contributions in musical acoustics and closely related fields, such as<\/div>\n
\u2022 \u00a0 \u00a0 \u00a0 Instrument acoustics<\/div>\n
\u2022 \u00a0 \u00a0 \u00a0 Singing voice<\/div>\n
\u2022 \u00a0 \u00a0 \u00a0 Physics-based modelling<\/div>\n
\u2022 \u00a0 \u00a0 \u00a0 Room acoustics for music<\/div>\n
\u2022 \u00a0 \u00a0 \u00a0 Music performance analysis<\/div>\n
\u2022 \u00a0 \u00a0 \u00a0 Music performance rendering<\/div>\n
\u2022 \u00a0 \u00a0 \u00a0 Models for music analysis and synthesis<\/div>\n
\u2022 \u00a0 \u00a0 \u00a0 Music acoustics in music and physics education<\/div>\n
\u2022 \u00a0 \u00a0 \u00a0 Teaching and performing music over telepresence systems<\/div>\n
<\/div>\n
SMC 2013 welcomes contributions on all the core topics in Sound and Music Computing research, including notably:<\/div>\n
\u2022 \u00a0 \u00a0 \u00a0 Spatial sound<\/div>\n
\u2022 \u00a0 \u00a0 \u00a0 Auditory display and data sonification<\/div>\n
\u2022 \u00a0 \u00a0 \u00a0 Automatic separation, recognition, classification of sound and music<\/div>\n
\u2022 \u00a0 \u00a0 \u00a0 Automatic music generation\/accompaniment systems<\/div>\n
\u2022 \u00a0 \u00a0 \u00a0 Computational musicology<\/div>\n
\u2022 \u00a0 \u00a0 \u00a0 Computer environments for sound\/music processing<\/div>\n
\u2022 \u00a0 \u00a0 \u00a0 Content processing of music audio signals<\/div>\n
\u2022 \u00a0 \u00a0 \u00a0 Digital audio effects<\/div>\n
\u2022 \u00a0 \u00a0 \u00a0 Humanities in sound and music computing<\/div>\n
\u2022 \u00a0 \u00a0 \u00a0 Interactive performance systems<\/div>\n
\u2022 \u00a0 \u00a0 \u00a0 Interfaces for sound and music<\/div>\n
\u2022 \u00a0 \u00a0 \u00a0 Methodological issues in sound and music computing<\/div>\n
\u2022 \u00a0 \u00a0 \u00a0 Models for sound analysis and synthesis<\/div>\n
\u2022 \u00a0 \u00a0 \u00a0 Multimodality in sound and music computing<\/div>\n
\u2022 \u00a0 \u00a0 \u00a0 Music and robotics<\/div>\n
\u2022 \u00a0 \u00a0 \u00a0 Music information retrieval<\/div>\n
\u2022 \u00a0 \u00a0 \u00a0 Perception and cognition of sound and music<\/div>\n
\u2022 \u00a0 \u00a0 \u00a0 Social interaction in sound and music computing<\/div>\n
\u2022 \u00a0 \u00a0 \u00a0 Sonic interaction design<\/div>\n
\u2022 \u00a0 \u00a0 \u00a0 Sound and music for VR and games<\/div>\n
\u2022 \u00a0 \u00a0 \u00a0 Sound\/music and the neurosciences<\/div>\n
\u2022 \u00a0 \u00a0 \u00a0 Sound\/music signal processing algorithms<\/div>\n
\u2022 \u00a0 \u00a0 \u00a0 Technologies for the preservation, access and modelling of musical heritage<\/div>\n
<\/div>\n
The reviewers will select for oral presentation primarily papers that present significant experimental or theoretical results; or that otherwise advance the current knowledge in the field.<\/div>\n
<\/div>\n
<\/div>\n
Satellite events<\/div>\n
\u00b7 \u00a0 \u00a0 \u00a0 Sound and Music Computing Summer School, 3-6 August 2013 (max 20 participants)<\/div>\n
\u00b7 \u00a0 \u00a0 \u00a0 RENCON competition 30 July 2013<\/div>\n
\u00b7 \u00a0 \u00a0 \u00a0 Johan Sundberg\u2019s summer course on the Function of the Singing Voice, 5-9 August 2013 (max 25 participants)<\/div>\n
<\/div>\n
<\/div>\n
SMAC \/ SMC dates<\/div>\n
<\/div>\n
Deadline for music submissions:<\/div>\n
Friday 29 March 2013<\/div>\n
Deadline for full paper submissions (max 4 pages):<\/div>\n
Friday 29 March 2013<\/div>\n
Deadline for applications to the SMC Summer School:<\/div>\n
Friday 29 March 2013<\/div>\n
Notification of SMC Summer School acceptance:<\/div>\n
Monday 22 April 2013<\/div>\n
Notification of paper and music acceptance:<\/div>\n
Wednesday 15 May 2013<\/div>\n
Deadline for electronic submission of camera-ready papers:<\/div>\n
Monday 3 June 2013<\/div>\n
Deadline for electronic submission of final music materials:<\/div>\n
Monday 3 June 2013<\/div>\n
SMC Summer School:<\/div>\n
Saturday 3 August \u2013 Tuesday 6 August 2013<\/div>\n
RENCON Workshop and satellite events:<\/div>\n
Tuesday 30 July 2013<\/div>\n
SMC\/SMAC 2013:<\/div>\n
Wednesday 31 July – Saturday 3 August 2013<\/div>\n
<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

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