Society for Electro-Acoustic Music in the United States National Conference Call For Participation
McNally Smith College of Music St. Paul, Minnesota
April 18-20, 2013
Submissions deadline: October 15, 2012
Any current SEAMUS member, any U.S. citizen, or anyone legally residing in the U.S. may submit works to the conference. Student submissions are strongly encouraged.
Composers and sound artists are invited to submit up to two original works from the broad spectrum of electronic music including electroacoustic works, works that combine sound and visual media, and sound installations. Regardless of the media or style utilized by the respective artist, utmost consideration is given to the entry’s musical qualities, sound artistry, and craft. All submissions will be adjudicated without regard to duration, however, preference will be given to works under 15 minutes in duration.
Piece Plus Poster Presentation
SEAMUS 2013 will include at least one event combining the concert presentation and poster presentation formats. Composers selected for this category will present their composition in a traditional concert setting and present a poster describing some aspect of the composition in the hall atrium before and after the concert. Music submitted to this category will automatically be considered a “Music Submission” and will be adjudicated using the same criteria described under “Music Submissions” above. In addition to the composition, composers must submit an abstract describing their proposed poster (maximum 250 words).
Club Venue Submissions
Works in the “Club Venue” category will be performed in a bar/club setting, later in the evening. Preference will be given to extended works, or multiple work performance sets. (approx 30 – 40 min.) Submission to this category should have a performance component that is appropriate for a bar/club venue. Works for tape alone will not be accepted in this category.
Authors are invited to submit up to one abstract (maximum 250 words) for a paper on the subject of electroacoustic music.
Panel Discussion and Demonstration Proposals
Proposals for panel discussions and demonstrations on the subject of electroacoustic music are also welcome (maximum 250 words). These should include a list of participants and their current affiliations. We also invite poster presentations for our “Electronic Music Expo” to this category.
Submissions for the above categories will be accepted until October 15, 2012 through the SEAMUS Online Portal. Complete details on the submission process are posted at www.seamusonline.org.
All submissions should be prepared for anonymous adjudication. The composer/author(s) names may appear on audio files, but may not appear on scores or papers.
Acceptance and Attendance
Notification of acceptance will be via email from the conference hosts. Every effort will be made to notify all submitters of the results by November 15. All programming decisions, including dates and times, are at the discretion of the conference hosts. Composers/Authors accepted to the conference must register and attend the conference.
SEAMUS 2013 will have four primary venus:
• McNally Smith Recital Hall: A small venue reserved for papers and presentations.
• McNally Smith Auditorium: A concert hall seating approximately 300.
• Central Presbyterian Church of St. Paul: A large church, with approximate seating capacity of 1200.
• Amsterdam Bar and Hall: A multi-stage bar for late-night concerts in downtown St. Paul.
Additional information about each venue, as well as installation spaces, is available on the SEAMUS 2013 website: http://blog.mcnallysmith.edu/seamus2013/
Ensembles and Performers
We have two ensembles in residence, as well as one guest soloist.
Zeitgeist: 2 percussion, piano, and woodwinds
Ensemble 61: piano, flute, clarinet, violin, cello, guitar, percussion, and soprano. Keith Kirchoff: solo piano
In addition, McNally Smith faculty will consider works that can be performed by their advanced students in the following departments: guitar, voice, percussion, and violin.
SEAMUS 2013 strongly urges composers to supply their own performers, as rehearsal time will be extremely short during the conference. We can not guarantee the availability of performers for any work. Works for instruments/ensembles not listed above will be considered if the composer indicates that he/she is able to provide the necessary performer(s). Visiting performers will not be charged a conference registration fee.
J. Anthony Allen, Conference Host
McNally Smith College of Music
St. Paul, Minnesota