Opportunities

Twice every year we open up our sound archives and invite artists to choose a field recording to recompose, reimagine and remix into a brand new composition – these are the Autumn Project and the Spring Project.

Entering our tenth anniversary year, we wanted to make this a special Spring Project, and as such it’s our biggest yet, with 170 recordings available to work with.

The project is completely open to all artists and musicians anywhere in the world. You can select any sound that speaks to you, and then create a composition based on that field recording to be part of our global sound map.

Every sound that’s added to the sound map also goes out to thousands of subscribers as a podcast episode on Spotify, Apple Music and all the usual places.

Selected compositions will also feature on our annual “best of” compilation at the end of the year, Sounds of the Year (which has been running since 2016), and will be archived by the British Library.

re:natura is opening their fifth annual Call for Submissions!

Submission Form:

https://forms.gle/Quw9LNL48v5cEYNw9

After last year’s breezy topic Æther, our fifth annual compilation, re:natura #05 – Crescere asks crucial questions about the concept of growth. Derived from Latin Crescere (to grow – think Crescendo), we want to encourage you to dive deeply into the concept of growth in natural sciences with a focus on biodiversity.

***

Please find all infos and tons of inspiration in our Submission Form: https://forms.gle/Quw9LNL48v5cEYNw9

Submissions are due Sunday, June 29, 2025

***

Hendrik Klatte

label.re.natura@gmail.com

SOUND/IMAGE Festival 2025 – Reflecting Forwards – (6th-9th November 2025) We seek submissions that explore the diverse areas of sound / image practice and actively encourage applications from candidates of all ethnicities, backgrounds and genders, who are traditionally underrepresented. We invite composers, filmmakers, artists, performers, architects to share their creative practice and research amongst a global community of artists and creatives working at the intersection of media.

In addition, because we are keen to welcome innovators and foster the next generation of new practitioners, we will give special consideration to applications from students, apprentices and emerging artists.

Call for works: 

Sound and Music  

Audiovisual  

Talks  Workshops / Practical Demonstrations  

Live Performances 

Installations  

In this 10th edition of the SOUND/IMAGE festival we invite new and returning contributors to both showcase their research and critically reflect on the current and future state of creative practice research. Across this anniversary edition of the festival we will be asking:

How far have we come in the past ten-years?

Where do we want to be in ten years-time?

What does it mean to belong to an international community of scholarship in creative practice research?

How do we best connect our research to new audiences in a climate of ever evolving global challenges?

In what ways, can we advocate for the novel perspectives of practice research perspectives to make a difference to our fields and beyond the academy?

Deadline

Deadline for submissions is Monday 30th June 2025 at 23:59 UTC+1.  

All submissions will be considered by the festival panel. We will aim to provide a response before the end of July 2025.  

Further information:  

Only works of under 15 minutes in duration will be considered (excluding installations).   

Please complete a separate form for each individual submission.  

Artists can submit a maximum of three submissions across all categories.  

Artists and practitioners are required to attend and present in person.

All artists are required to purchase a festival pass which will be available at a reduced rate (£25). 

This fee provides support for catering, technical support etc.  

SUBMIT YOUR WORK ONLINE HERE:

https://cmt3.research.microsoft.com/SOUNDIMAGEFestival2025/Submission/Index

International Call for Electroacoustic Works and Experimental Videos.

2025 marks the fifth consecutive year that “La Hora Acusmática” has been online. We are proud to celebrate a new season and are pleased to invite artists of any age and nationality to participate with electroacoustic works or experimental videos for performance in virtual concerts on our YouTube channel.

Conditions:

Each artist may only submit one electroacoustic piece or video with a maximum duration of 9 minutes.

Artists who participated in the previous year will not be eligible for this call.

Works containing only audio must be in .aiff or .wav stereo format. In case of video, .mov or .mp4.

The audio or video file must be accompanied by a brief commentary on the work (50 words), a bio (50 words), and a personal link.

The deadline for submissions is June 30, 2025, at 11:59 PM, Argentina time.

The composer must send a link to their piece, which cannot be expired, to the following email address (do not send an attachment):

lahoraacusmatica@gmail.com

If any of the above conditions are not met, the work in question will not be considered.

The results will be announced on July 31, 2025, and the opening date of the 2025 cycle will be September 19, time to be confirmed.

The works not initially selected will be included in various concerts scheduled by “La Hora Acusmática,” to be confirmed.

NEW ARTIST CALLOUT

We’re super-excited to be teaming up with Bradford Sound Women Network for Plug It Up, a new sonic arts festival taking place at Theatre in the Millfrom 17-19 October as part of Bradford 2025 UK City of Culture.

To support Bradford-based women and minority gender sound artists to develop their own work, we’re offering three seed-funding commissions of £500 for new works to be shared at the festival.

If you’re 18+ and based in #Bradford, check out the full callout here: https://bit.ly/seedcallout

Apply by 8pm on 30 June!

The 5^th edition of the encounters PAYSAGES | COMPOSÉS – Écologie sonore · Musiques de recherche (« Sound ecology · Music research » ), will take place over several times during September & October 2025, in several venues and spaces located in Grenoble and surrounding area.

This event brings forward sonic experimental research as a mean of (re)composing the listening experience of the sonic medium in which we are immersed daily.

For this new edition, APNÉES opens a call for works (divided into 4 categories), with the goal of gathering a heteroclite program of sound pieces, which will be proposed to listening, all along the festival, in different spots and configurations: the involved sonic spaces will thus become encounter and crossing fields where sonic practice and environmental listening can convey an ecological thought and reflection.

CATEGORIES

A) Stereo pieces

B) Binaural pieces (for headphones diffusion)

C) Multichannel (8-channel) pieces
(for projection on APNÉES’ multichannel device 8.1, within the activity of the inDREAM – international network for the Diffusion of Recorded Electronic & Acousmatic Multichannel music – network)

D) Fixed-media audiovisual works (works including both a sonic and a visual component)
Note : only audiovisual works on digital format and stereo audio track will be accepted

HOW TO APPLY

Composers, creators, and sound artists (either individuals or collectives) are invited to submit their works (field-recording, soundscape, acousmatic works, …) via the following form :

ENTER THE FORM

including the following elements:

• Non-perishable link to an audio file (.wav 48kHz, 24bit format) archived on a permanent platform (Drive, Cloud, Dropbox, … – not WeTransfer or similar), accessible until October 6, 2025.
• Application file, in a single .pdf file shared via a non-perishable link (Drive, Cloud, Dropbox, … – not WeTransfer or similar), accessible until October 6, 2025 and including :
  ► Description/note of intent of the piece, allowing assessment of relevance to the festival theme and including author, year of composition and duration
  ► Short bio (max 200 words)
  ► Distribution plan (for multichannel works)

SELECTION CRITERIA

• Originality and experimental character of the works, in relationship with the festival’s main theme:  namely, the ability to rethink and reconfigure the soundscape listening experience through experimental sound practices and esthétics. 
• Priority given to emerging artists and female artists
• For audio-visual works : the role of sound within the audio-visual work is evaluated in priority
• No duration limit is set, but we strongly encourage the participation of short (<12 min) or very short (<5 min) forms
• Works already selected or submitted for previous editions of the festival cannot be resubmitted for this edition.

Submission deadline: 18^th July 2025 (23:59 UTC+2)

Selected works confirmation: early August 2025

Info & questions: contact.apnees[at]gmail.com

“Sound, Music: Space, Place”

UCL East (London, UK ), 3 – 7 November 2025

Conference website: https://cmmr2025.prism.cnrs.fr

CMT submission site: https://cmt3.research.microsoft.com/CMMR2025

The 17th edition of the International Symposium on Computer Music Multidisciplinary Research (CMMR) will take place at University College London’s East London campuses, 3 – 7 November 2025.

CMMR 2025 welcomes contributions focusing on the multidisciplinary intersection of sound, music, and computing.

Under this year’s theme, “Sound, Music: Space, Place”, we particularly encourage submissions that discuss the spatial and situated dimensions of sonic practice.

The conference is hosted by UCL’s internationally renowned departments of Anthropology (within the forward-thinking School for the Creative & Cultural Industries) and the Bartlett School of Architecture. The conference is co-organised with the CNRS-AMU PRISM laboratory (Perception, Representations, Image, Sound, Music).

CMMR creates an open and inclusive space dedicated to sharing a wide range of insights and innovations that bridge sound, music, and computing. We invite participation from academics, composers, industry professionals, practitioners, and all others with relevant interests.

CMMR 2025 will feature a diverse range of activities across the following tracks: regular papers, demonstrations, music, tutorials, and workshops. CMMR 2025 is planned to be an in-person event; all presenters are required to attend and present onsite.

Topics

A comprehensive list of topics can be consulted on the website, available at: https://cmmr2025.prism.cnrs.fr/

Special Sessions

CMMR 2025 also invites contributions to dedicated special sessions, further details of which can be found at:

https://cmmr2025.prism.cnrs.fr/regular-paper-special…/

Submission Guidelines

Regular paper submission guidelines are available on the conference website at:

https://cmmr2025.prism.cnrs.fr/regular-paper-submission…/

Authors should prepare their papers using the LaTeX (recommended) or Word template provided on the conference website, at the above link.

Regular papers must be submitted as PDF using the CMMR 2025 Microsoft CMT submission site by selecting theappropriate track.

Peer Review Process

All submissions will undergo single-blind peer review by at least two reviewers to ensure their quality and suitability for the conference. Authors of accepted papers are required to address reviewers’ comments in their camera-ready submission.

Registration & In-Person Requirement

At least one author of each accepted paper is required to be registered for the symposium by the author registration deadline.

This year’s CMMR is an in-person conference, and all presenters are required to attend and present their work on site.

Proceedings

Accepted papers will be published under a Creative Commons License via a publicly-available repository service. Each paper will be assigned a persistent DOI.

Post-Proceedings

Continuing the tradition of previous CMMRs, extended versions of selected papers are planned for publication in Springer Verlag’s Lecture Notes in Computer Science (LNCS) Series. Papers will be chosen for inclusion based on the outcome of the peer-review process and their presentation at the conference.

Important Dates
1 July: Deadline for regular papers (oral and poster)
14 July: Deadline for Demos
15 July: Deadline for Tutorials
25 July: Deadline for Sound & Music works
25 July: Deadline for Workshops

15 August: notification of acceptance

Paper author registration deadline
21 September 2025

Early registration
22 August – 6 October 2025

Normal registration
7 October – 26 October 2025

Late registration
27 October – 7 November 2025

Conference

Conference dates: 3 – 7 November 2025

Stay updated on:

 Conference Website

 Instagram — #cmmr25

For all enquiries, please contact us at: cmmr25@ucl.ac.uk

We look forward to receiving your submissions!

The CMMR 2025 Organising Committee

The Synthesizer Research Network invites participation in a one-day symposium event. Participation can be in the form of a paper presentation, or performance-demonstration.

***Rationale and context***

The synthesizer is an instrument with a long history that has played an important role in popular and experimental music from the late 1960s onwards. The Synthesizer Research Network (SyReN) will initiate dialogue and collaborations between musicians, academic researchers, non-academic scholars, software and hardware engineers, composers, and other expert groups. These different communities share a common interest in the history, design, or musical practice of synthesizers. SyReN aims to provide an organised route for exchange of knowledge between these groups to explore how we can expand our understanding of how synthesizers are used by musicians (both past and present) and potentially use that knowledge to inform the design of future instruments.

Themes or questions for critical discussion:

Synthesizer practice: performance, composition, sound design

* How has synthesizer performance practice evolved over time, within specific genres?

* To what extent is the full potential of specific instruments exploited by musicians?

* Do specific categories of synthesizer have archetypal sounds and styles of performance practice that can be defined?

* What gaps currently exist in our knowledge of synthesizer practice?

Industrial design and musical practice

* Do variations in synthesizer design have an impact upon musical practice?

* Why are certain parameters or functions used more than others by musicians?

* What are the musical impacts of changes to synthesizer specifications?

* What gaps exist in our knowledge of synthesizer design?

Exploring the history and music of the synthesizer

* Has the perception of the synthesizer changed over time within different academic, professional, industrial, and enthusiast communities?

* How may our view of the synthesizer be augmented by broader cultural studies, including (but not limited to): race, disability, gender, sexuality and social class?

* What gaps currently exist in synthesizer scholarship and musicology?

Additionally, the over-arching question for all SyReN activities will be:

How can the network enhance synthesizer research and facilitate new discoveries that will be valuable to musicians, academics, engineers, and non-academic experts?

The deadline for submissions will be: 31 July 2025.

Please apply using the form available to download from our website: https://synthresearch.org/symposium

Forms and enquiries about the event should be emailed to Ewan Stefani – e.j.stefani@leeds.ac.uk with “SYREN 2025” in the subject line before the deadline. 

https://docs.google.com/…/1FAIpQLSdIgcslGGm…/viewform…

The Digital Media and Arts Research Centre (DMARC) is delighted to announce a new composer in residency programme in collaboration with the Contemporary Music Centre, Ireland. 

The CMC/DMARC Sonic Arts Residency offers an exciting opportunity for Irish and international composers and sound artists to develop their creative practice and foster experimentation using the University of Limerick’s world-class facilities.

These include:

• The Electronic Music Studio (EMS) featuring both digital and analogue workflows, including a bespoke Buchla 200e
• A 32-channel immersive sound lab (SpADE) and a makerspace to support electronics and fabrication requirements 
• The facility also provides a range of well-equipped recording studios with a wide selection of microphones and production hardware and software

About DMARC and the EMS

DMARC is located at the Computer Science and Information Systems Department at the University of Limerick. The University of Limerick campus is a strikingly beautiful location that stretches across 130 hectares along the River Shannon and features a state-of-the-art library, Ireland’s largest concert hall and diverse opportunities in both culture and sports.

DMARC has a long history of supporting the digital arts, electronic music and computer aided composition. These include hosting the 2022 International Computer Music Conference, the 2020 International Conference on Live Coding, offering the Diffusion Prize (with RTÉ Lyric FM) and working as technology partner with Light Moves Festival (with Dance Limerick). 

EMS was launched in 2024 and features a range of digital and analogue instruments with a Buchla 200e as the studios’ centrepiece. Programme Details:

• Residency placements will be offered during the following periods:
  • 9 September – 9 December 2025
  • 26 January – 26 June 2026
• Each residency will last 10 working days. Additional time may be requested where this does not incur additional costs (see below)
• A travel bursary will be provided up to €350
• An accommodation bursary will be provided up to €1,400 (ten nights) and DMARC will work with the artist in identifying suitable accommodation options
• An honorarium of €1,000 is provided by the Contemporary Music Centre
• There will be an outreach / presentation element to the residency.  This will include:
  • A one hour talk/performance that provides the community of students and researchers at DMARC with an insight into their practice
  • The artist may also be offered the opportunity to contribute about the residency and their work to the Contemporary Music Centre’s website or podcast

The residency programme will run from 2025-28 and will support a total of 4 Irish and 2 international artists.Assessment:

Candidates will be selected through an online application form that includes submission of a CV, work samples, and a creative proposal. 

Assessment will be based on the following criteria:

1. The artistic quality of the applicant’s proposal
2. How the residency opportunity could support the candidate’s current career stage and artistic goals
3. Balanced representation of genres, gender, and geographical regions is a consideration.

Apply now:

To apply for this residency, please complete the ONLINE APPLICATION FORM. 

Closing Date: 1 AUGUST 2025. Late applications will not be accepted.

This form requires basic applicant information, and your creative proposal (250 words) for the residency which should also detail any technical requirements.

If you have questions about the application process, please contact: jurgen.simpson@ul.ie / jgrimes@cmc.ie

Applications will be jointly assessed by representatives from DMARC and the Contemporary Music Centre.

Sonic Nomads is a new sound festival in Seoul, South Korea. Hosted by Transients, a South Korean sound art collective, the festival focuses on field recording and soundscape compositions. It will take place in mid-October (the detailed dates are to be confirmed).

As part of the festival, we will be organising a number of listening sessions (in the form of a listening lounge, deep-listening sessions, and a listening booth). If you have a piece for us to consider for our programme, do get in touch with us!  

⸻

Submission Guidelines:
• Submit one piece of work using field recordings and/or on the theme of urban soundscape
• Your proposal should include the following:
• A work (stereo; between 5-15 minutes long, but we will also consider longer works; please provide a link to download the file in wav. or aif. format, not mp3 or other compressed file format): 
• Brief note on the work and any technical requirements, if applicable 
• Short artist bio (max 200 characters) with any links (website and/or any social media links)

Deadline: 10 August 2025 Submit to: 3.transients@gmail.com

📅 Sonica Glasgow 2026 dates are 24^th September – 4^th October  
📍 Various venues & spaces Glasgow wide

About

Sonica is an 11-day biennial festival in Glasgow, dedicated to world-class visual sonic arts. The award-winning festival will present cutting edge work by international artists alongside emerging or exceptional UK and Irish talent across the city from Thurs 24^th Sep – Sun 4^th October 2026. 

Want to get a feel for the kind of work we programme? Check out our 2024 festival round up video and our archives [here] to see what Sonica is all about!

This opportunity is open to artists based in the UK and Ireland, working in:

• 🎶 Sonic installations (especially for outdoor or site-specific spaces*)
• 🎥 Audio-visual performances
• 💻 Real-time visuals for performance

*We are very keen on works for unusual spaces within Glasgow.  If your work is site specific please detail the type of venue/space that would be suitable. Also please take into consideration the Artist Fee regarding scale.

We want to hear from artists, with work ready to show, at any career stage, and from all backgrounds. We’re particularly keen to support applications from artists underrepresented in the sector, including:

• Black, Asian or ethnically diverse artists
• D/deaf or disabled artists
• Women and gender expansive artists
• LGBTQIA+ artists
• Artists with caring responsibilities
• Working class or low-income background artists

Please note: we are not looking for proposals in theatre, literature, comedy, circus or dance. This is for existing, documented and completed workonly (with at least one public showing), unless you’re applying as a real-time visual artist for live performance, in which case examples of previous work will be accepted.

We can only accept one project per applicant.

The selection panel are: Cathie Boyd, Artistic Director and Founder of Cryptic and Sonica; Riah Naief, Listen Gallery and Claire Moran, Executive Producer, Cryptic.

What We Offer

💸 A fee of £750–£1,000, depending on the nature of the work and your experience

🛏️ Travel, accommodation and per diems for artists outside Glasgow, including costs for support workers where applicable
📣 Venue hire and staffing, PR and marketing support
🎥 Video and photographic documentation of your work
🌍 A platform to showcase your practice within an international festival plus tickets to selected performances
🤝 Network-building opportunities alongside emerging and established international artists as part of our Sonica PRO with invited UK based and international programmers

Access

Cryptic is committed to Inclusion, Diversity, Equity and Accessibility.  We will work with all applicants during the selection and interview process and will ensure that access requirements are not a factor in our decision making. We will work with you to understand your specific needs and will be supportive in discussing these with you at any stage of the application and selection process. If you have any access requirements that you would like us to know about, please include these in your application.

We want to make sure that our Call Outs are accessible to as many people as possible and are committed to making reasonable adjustments to remove barriers to participation for people of all backgrounds.

We understand that the application process can present different challenges for different people. As alternatives to the online application, we will accept:

• Video or audio applications (submitted through our online application form or via email)
• Word document form (to be filled and returned to us by post or email)
• This information and the application form is also available in Screen reader accessible PDFs, Large print etc.

In addition, we can offer:

• An extension for application deadlines if you have requested access support for applying to our programmes
• An agreed contribution to financial support so you can arrange your preferred access support

If you have questions around access support as part of the application process, please get in touch to let us know how we can help by contacting

Blair Wallace: crypticprojects@gmail.com

How to Apply

📝 Complete the application form
📋 Complete the Inclusion Form (for monitoring purposes only).
This information is vital so we can understand how we might improve our Call Out processes. The anonymised information contained in the form is not shared with the shortlisting panel or forms part of the selection process.

➡️ Apply here: sonic-a.co.uk/sonica-2026-open-call-form

Drop-In Sessions

💬 Come meet the team and ask any questions!
💻 23rd July, 14:00–15:00. Zoom online session.

📍 25th July, 14:00 – 15:00. In person in Glasgow, Location TBC
📧 RSVP to crypticprojects@gmail.com detailing which session you would like to attend.

Timeline

• 🕛 Application Deadline: 12 noon, Monday 25^th August 2025
• 📬 Shortlisted artists contacted: Mid – end September
• 🎥 Zoom/in-person meetings: October
• ✅ Final decisions: November

Please note: late applications will not be accepted, unless an extension has been approved. We are a small team and can only offer feedback to shortlisted artists.

Questions?

We’re happy to help. Email crypticprojects@gmail.com

The Performing Arts Technology Department is thrilled to announce the 2ndSpaceout Ambisonics Festival, a two-day event celebrating immersive audio. We invite composers worldwide to contribute their Ambisonic works and join us in the Chip Davis Technology Studio at the University of Michigan’s School of Music, Theatre & Dance for this unique sonic experience.

There are no entry or registration fees and no restrictions regarding the age or nationality of applicants. All events will be open to the public. Attendance is not required.

Submission details:

Please submit your work using this form. https://forms.gle/5RUwP7unxRqhx1NN9

Composers can submit stereo files for the review process. Selected composers will be required to submit Ambisonic B-format files. Submissions need to be interleaved multichannel WAV files in 1st/3rd/5th order Ambisonics that comply with the ambiX format (SN3D, full 3D, ACN channel ordering). Reaper or Max will be used to decode the B-format files for loudspeaker array playback.

Compositions of less than 12 minutes will be given priority in the programming.

Each composer may only submit one piece.

About Chip Davis Technology Studio:

36.2 loudspeaker layout (14 Genelec 8050s, 22 Genelec 8040s, 2 RCF 8004 subwoofers) that can support up to 5th-order Ambisonics.

Timeline:

Submission Deadline: August 15, 2025
Notification of Acceptance: September 15, 2025
Ambisonics Submission Deadline for Selected Works: October 1, 2025
Festival: October 16-17, 2025

All deadlines are 23:59 Anywhere On Earth (AOE).

Location:

Chip Davis Technology Studio

Brehm Technology Suite, 1100 Baits Dr Floor L1, Ann Arbor, MI 48109

Department of Performing Arts Technology

School of Music, Theatre & Dance
University of Michigan
Ann Arbor, MI USA

Contact: ambisonics.submissions@umich.edu

The Sonic Arts Forum will be holding an event at University of Wales, Trinity Saint David, Swansea College of Art on Saturday 15th of November 2025.

This is an opportunity for creative people, working with sound as a significant element in their practice, to introduce their work, and receive feedback in a friendly, and supportive, environment.

Over the past 21 years our events have featured introductions from a wide spectrum of artists, musicians, technologists and noise-makers working with improvisation, live electronics, field recordings, fixed media, audio vision, installation, algorithmic composition etc. We are an inclusive group with introducers coming from a range of backgrounds: from postal work to academia, and much inbetween.

We particularly welcome applications from: women, LGBTQ+, neurodiverse/neurodivergent, non-traditional musical backgrounds, minority ethnic backgrounds, and other under represented groups.

NB Introducers will have to be physically present.

Deadline: 15 August 2025

Unfortunately we cannot make any contribution to travel or accommodation expenses.

Selection panel: Ian Gibson, Elizabeth Irvine-Brown, Susan Matthews, Coryn Smethurst

https://docs.google.com/…/1FAIpQLSdIgcslGGm…/viewform…

Sonorities Festival Belfast 2026 Open Calls are now live on our website. https://sonorities.net

Application deadline: 31st August 2025

Festival dates: 15th-18th April 2026

We hope to see you in Belfast next April

Nuova Consonanza on the occasion of its 62nd Festival will dedicate a large section to exploring the relationship between music and sound spatialization.

For this reason, it announces a call for electroacoustic works in which the aspect of sound spatialization is a significant component of the composition.
Composers are invited to submit electroacoustic works, purely acousmatic or with the addition of a live solo instrument, designed for multichannel spatialization systems.

The call is open to all composers, regardless of nationality, and is reserved for authors under 40 years of age (born by 12/31/1986) in support of policies to enhance youth creativity.

The selected works will be programmed during the 62nd Festival di Nuova Consonanza in two concerts scheduled for autumn 2025 in Rome, at the “Mattatoio – la Pelanda”.

The works will be selected by an internal committee of Nuova Consonanza.
The artistic direction reserves the right to take the proposals into consideration also for future editions of Nuova Consonanza Festival.

Work Requirements:

The submitted works must be designed for multichannel diffusion according to one of the following standards:
Quadriphonic
Ottophonic
5.1
7.1
7.1.4
Dolby Atmos
Ambisonic up to the 7th order

All works, in any case, will be broadcasted in concert via a single standard 7.1.4 diffusion system. Works requiring more speakers than those available will be adapted to this system via conversion algorithms.

For electroacoustic works with a live solo instrument (with or without pre-recorded material), if live processing with complex systems or systems designed by the author is foreseen, the author must provide the necessary instruments.

The duration of each work is not pre-established, but a maximum duration of 15 minutes is preferred.

Each author may submit a maximum of two works.

No reimbursement of expenses is foreseen for selected authors.

The Artist in Residence at ICST program aims to strengthen the exchange with the artistic community in current research fields. In 2026, the program includes residencies in the fields of Spatial Synthesis (ICST Studio Residency), Klavierautomat (Algorithmic Composition), Moving Loudspeakers, Dance and Generative AI and Wave Field Synthesis. The residencies include the use of infrastructure and facilities, professional support from ICST researchers, as well as meals and lodging. Musicians and artists working with sound and sound media, whose work reflects an in-depth interest in one of the mentioned research areas, are welcome to apply. The call is published every year in June.

The Institute for Computer Music and Sound Technology (ICST) is a research institution that situates itself at the intersection of technology and performance practice. The institute follows an artistic research approach that links conceptual reflection and engineering with artistic creation and education. The scope of the institute’s activities encompasses topics such as Interfaces & Augmented Instruments, Auditory and Haptic Perception, Sound Spatialization, Performance Practice, Acoustic Ecology, Algorithmic Composition and Generative Art.

When should I apply for a MacDowell Fellowship?

Thank you for your interest in applying to MacDowell, a home for art and artists. Those who arrive for a residency with intentionality, frequently enter a period of intense productivity and in many cases have a transformative experience. That said, in our most recent application cycles, we’ve seen a very large number of talented and worthy artists, making for a very competitive field.

Please note the main components of what the selection panels consider during the review process are: a list of professional achievements in an artistic field (consideration of your prior body of work), a current work sample (demonstration of your practice), and your project proposal (what you hope to accomplish with your residency).

While my wish is that we could offer many more Fellowships, we are limited by the number of studios we have available on campus. I encourage you to prepare your application carefully and reach out to any member of the admissions team if you have questions.

If you’re prepared to make the most of a MacDowell Fellowship, click the button at the bottom of this page to begin the application process.

Sincerely,
Chiwoniso Kaitano
executive director

About 300 artists in seven disciplines are awarded Fellowships each year and the sole criterion for acceptance is artistic excellence. There are no residency fees, and need-based stipends and travel reimbursement grants are available to open the residency to the broadest possible community of artists. 

MacDowell encourages applications from artists of all backgrounds and all countries in the following disciplines: architecture, film/video, interdisciplinary arts, literature, music composition, theatre, and visual arts. Any applicant whose proposed project does not fall clearly within one of these artistic disciplines should contact the admissions department for guidance. We aim to be inclusive, not exclusive in our admissions process.

For questions, please contact admissions@macdowell.org.

We are now accepting applications for Spring Summer 2026!
The deadline to apply is September 10, 2025 at 11:59 p.m. EST

Open Call – Radio Raheem & Inner Spaces

Radio Raheem and Inner Spaces join forces to support new voices of sound experimentation.
We are looking for composers under 40 who work between electronic music, sound art and electroacoustic research.
The selected artists will have the opportunity to perform within the Inner Spaces exhibition.

There is a reimbursement of expenses for the performances.

The CTM 2026 Radio Lab will support the creation of one new work exploring the intersection of radio and live performance, while also responding to the 2026 festival theme, dissonate < > resonate. The call is open to artists worldwide and relevant to fields of experimental music, sound art, radio art, new radio drama, and performance. The Radio Lab call’s focus is on live performance formats rather than installations.

The commissioned work will premiere at CTM 2026 Festival in Berlin (23 January – 1 February 2026), and will be broadcast in Deutschlandfunk Kultur’s Klangkunst programme in Spring 2026 in the form of a 40–55 minute radio piece. The Österreichischer Rundfunk (Austrian Broadcasting Service) will also present the work via one or more of its platforms: the Ö1 Zeit-Ton or Ö1 Kunst zum Hören radio shows, and/or the ORF musikprotokoll im steirischen herbst festival in Graz (Autumn 2026). 

Theme: dissonate < > resonate

Read more about the CTM 2026 theme dissonate < > resonate. 

Budget & Conditions

One selected work will be supported by a fee of 5000€. The commission winner is responsible for covering costs relating to the research and creation of the work (eg. collaborator honorariums, specific materials purchase, etc). Technical/staging costs for CTM and for possible presentations at ORF musikprotokoll im steirischen herbst festival will be covered additionally, upon discussion with the respective organisers. 

The selected artist(s) will be offered a short residency in January 2026 to finalise their live presentation at CTM 2026. Travel expenses to Berlin and lodging during the residency and festival period will be covered by CTM. Please bear in mind that project proposals involving multiple collaborators are possible, but should aim for a modest travel budget to be seriously considered.

Deutschlandfunk Kultur and CTM Festival will provide support, counselling, and general assistance during the production of the work.

Schedule & Deadline

• Deadline for submission: 14 September 2025 at 23:59 local Berlin time (UTC+2)
• Winners notified and announced: first half of October 2025
• Production phase (remote): late October 2025 – January 2026
• Final production phase (residency in Berlin): January 2026
• Presentation at CTM 2025 Festival: 23 January – 1 February 2026
• Deutschlandfunk Kultur – Klangkunst radio broadcast: Spring 2026
• Presentation via ORF: Autumn 2026

Jury

The international jury consists of Jan Rohlf (co-founder CTM Festival), Marcus Gammel (Deutschlandfunk Kultur), Elisabeth Zimmerman (ORF), and one independent artist who will be disclosed together with the results.

Past Winners

Take a look at all CTM Radio Lab works commissioned since the lab’s beginnings in 2014.

Questions

Please send an email to radiolab[at]ctm-festival.de with the subject »Radio Lab« should you have any questions about applying.

Application Form

Before applying, please have the following documents ready for upload in PDF format, maximum size 20Mb:

• project description including rough budget (rough breakdown of the project’s costs, for example collaborator fees, materials purchase, maintenance costs, etc. Maximum 4 pages)
• technical requirements
• your CV (for projects that involve duos or groups, please combine CVs into one pdf document)

IMPORTANT: please label all of your PDF documents with your first + last name so that our application system accurately groups them together.

In the case of duos or group projects, please select one person as the main/contact applicant.

The eviMus Festival and the KuBa – Kulturzentrum am EuroBahnhof present the “Saabrücker Tage für elektroakustische und visuelle Musik” in Saarbrücken (Germany).  The eviMus Festival is a three-day festival focusing on new music in all of its forms. All events are free and open to the public. All composers, regardless of nationality, age or career stage, are invited to apply. Since the number of applications exceeds the places available, there will be a selection process.

The submitted works must fulfill the following requirements:

1. Category A – Fixed media:
Four channel up to eight channel works for fixed media (Format: WAV or AIFF files, 44,1 kHz, 24 bits, separate channels -mono-). Stereo works are not going to be considered.

2. Category B – Video:
Works for video and music are eligible (stereo or more channels).

Composers can submit several works (but only one work per composer will be included in the concerts). Works which last 8 minutes or less are preferred; no work should exceed 10 minutes.

HOW TO APPLY:
The participation in the Call for Works implies the acceptance of our privacy policy.

The application has to comprise the following documents/files:

1. Registration form (Click here)

2. Curriculum vitae or bio (only PDF)

3. Description of the idea of your work (program notes and summary information about electronics – only PDF).

4. Link (ONLY Streaming! – Soundcloud, Youtube, Vimeo, etc) containing a stereo version of the piece (Category A or B). The link must be available until the publication of the results. Works via Dropbox or Google Drive or Wetransfer will not be accepted.

Please do not send audio or video or compressed files (zip, rar, etc)

Email submissions to:

subject: “call for works 2025_YourLastName”

For example:

Composer: Michael Mustermann
subject: “call for works 2025_Mustermann”

Composers can submit several works (but only one work per composer will be included in the concerts). Works which last 8 minutes or less are preferred; no work  should exceed 10 minutes.

The participation in the Call four Works implies the acceptance of our privacy policy.

Processing personal data in the context of Call for Work applications of the ‘Saarbrücker Tage für elektroakustische und visuelle Musik’:
Personal data collected during the application process will only be used to carry out the event (especially for the selection process, presentation of the candidates, press releases, promotion of the event, presentation of the artist and its works during the event and execution of all remaining measures necessary for carrying out the event). Legal basis is article 6 paragraph 1 lit. b and f GDPR.

Start of applications: 1th Mai 2025

Deadline for applications:  31th august 2025      15th september 2025

End of selection process and notification: 1st october 2025

Final deadline for all performance material:    15th october 2025

Composers will be notified of the results by e-mail.

The application is free of charge

Team Organisation eviMus 2025

The residencies at Q-O2 offer time and space for artistic research, reflection, and creation in the field of experimental music and sound art. For each residency, we provide the necessary technical equipment, a travel allowance, and accommodation in the Q-O2 apartment for international residents. Residencies are usually between three and six weeks long.

 
Upon completion of the residency, a presentation to an audience can be arranged if desired but is not expected of the artist. What we require are some traces of the residency, whether these are left in word, image and/or audio form. If you are interested to get involved with the city and its inhabitants, we are here to help to make such meetings possible.

In 2026, Q-O2 will host 14 residencies in 2026 of which 7 for international and 7 for local artists (living in Belgium) working with, on or around sound. We are open for artists, art workers and theorists who wish to work on a research-oriented project (please mind that we do not organise residencies directed at production).

We offer a work studio and material, a creative and communicative environment, and the possibility to present your work to a public and/or propose a workshop. For international residents we provide accommodation in a shared apartment and a contribution to travel expenses of max 200€. A small subsistence budget will be reserved for all artists who do not come with other funding. Residencies are usually four weeks long.

To apply, please send a concise project proposal of not more than one page and a link to your website or other secondary information by September 15th to info@q-o2.be, stating “Residency26” as subject. Make sure that after sending the application you receive a confirmation of reception by email. Please also provide information about your place of residency and specify your interest in Q-O2 and Brussels as a working environment. Proposals can be written in Dutch, English, and French.

To stay in the loop, please register to our newsletter: https://www.q-o2.be/en/contact/

Why Apply?

Are you an artist with a curious mind who’d like to push the limits of your practice? We hope that’s why you’re reading this, and why you will apply.

You could use the funding for:

• planning, researching and developing,
or delivering, a new immersive arts project
• attending residencies, relevant events and workshops
• accessing training and other forms of support
• buying materials, software licences
and other technical tools
• paying artists, technologists and other collaborators
• hiring studio, rehearsal, exhibition or event spaces
• researching and integrating accessibility options
for audiences’ access needs
• making audience testing or exhibitions more accessible, diverse and inclusive (by, for eg, paying for BSL interpreters, accessible formats, captioning, etc)
• marketing your project and developing your audience (Expand and Experiment only)

See our funding guidelines
below for a full breakdown of eligible costs.

Eligibility

You are eligible to apply for an Immersive Arts grant if you:

• are an individual artist, creative
practitioner or creative technologist
  (or)
• are applying on behalf of an arts-based organisation, small group
or collective (10 people or fewer for Experiment
and Explore, up to 50 people for Expand)
• are based in the UK
• are aged 18 or over 
• have a UK bank account in your own name.

Eligible artists can submit one application in this round of funding, to either Explore, Experiment or Expand. You can apply for this round of funding regardless of whether you applied in a previous round.

How to apply

You can apply to Immersive Arts by audio, video or text, and in English, Welsh, or British Sign Language using our application portal. 

Our funding guidelines are available to download below in English, Welsh, large print, Easy Read, British Sign Language and audio. 

When to apply

The deadline for applications is Monday 29 September 2025 at  14.00. 

Access support for your application

In some cases, we can help you with your application by supporting access costs, (ie support workers or interpreters). 

The deadline to request access support is Monday 1 September 2025 at 17:00.

You can find more information about access support and how to contact us on our access support page.

In the city or the countryside? In Arles, Marseille, Paris, Noirlac or Quebec? As part of its support for authors of narrative audio, Phonurgia Nova is developing a residency program supported by SACEM. It helps support the birth of original works in the podcast and radio creation spectrum, and relies on partners committed to multidisciplinary support for sound creation. Numbering 6 in 2026, these residencies allow you to start or finalize an original project while benefiting from “tailor-made” technical and artistic support. Depending on the progress of the selected project, the jury awards either “writing assistance” or “creation assistance”. The host studios are the GRM of the INA, the GMEM national center for musical creation , Euphonia , the CCR of L’Abbaye de Noirlac,  AVATAR in Quebec (Canada) and Les Murs blancs in Arles. Each residency is allocated a €2,000 budget. A workspace is provided to the winners in each studio. The range of recording and post-production equipment is tailored to each project. To be eligible, submitted projects must demonstrate an authorial approach. All lengths, all subjects, all genres, and all forms are welcome, as long as the intention is to “take listening further.” Projects are reviewed based on applications, the format of which is left to the candidates’ discretion. The deadline for receiving applications is  September 30th, midnight Paris time.

Here is the schedule:

June 15: opening of the call for projects

September 30: closing date for submitting projects

October 15: Jury meeting

October 31: communication of results

2026: welcoming residents to partner locations.

Please note before submitting a project…

1 – We do not impose any specific application template. However, it is important that you describe your project in as much detail as possible, specifying its progress and what you expect from the residency.

2 – These residencies may concern both started and unstarted projects, for which there is no recording available yet.

3 – If you have a preference for one of the studios, you can mention it when applying.

4 – You can present your project in the category where it makes sense, and if none corresponds to it, register it in the one which seems closest to you.

5 – The residency schedule will be established by cross-referencing the constraints of the winners and the host studios.

6 –  Jury : Each edition is the result of a unique collaborative pre-selection process. The cards are never shuffled in advance. What is the jury looking for? — “The unexpected,” assures Daniel Deshays.

Online registration form

Diasporas Now, in partnership with the V&A, South London Gallery, Spike Island, and Primary, announce an open call for Global Majority artists working in live art for a national tour of commissioned performances under the theme of Macrocosmic Futures.

Details: 

Diasporas Now will commission six performances by Global Majority artists over four evenings at U.K. arts institutions across Bristol (Spike Island), Nottingham (Primary), and London (V&A South Kensington, South London Gallery). The commissions will be selected via national open call by the Diasporas Now judging panel and representatives from the partner institutions.

For this open call, Diasporas Now seeks proposals for performances that embody the themes of Macrocosmic Futures, working with live art mediums that span performance art, dance, visual art, and experimental music.

About Macrocosmic Futures: 

Diasporas Now’s 2025-2026 tour theme Macrocosmic Futures combines ancestral practices with new technologies as tools of divination toward preferred futures – rescripting interconnected narratives from the microcosm of our embodied realities to the macrocosm of our political and ecological landscapes.

Drawing from the framework of Afrofuturism and speculative fiction, Macrocosmic Futures widens the scope to pan-diasporic, pre-colonial perspectives – how can we relate to ourselves, to each other, and to more-than-human consciousness, when we centre values outside the historical trajectories of colonialism and capitalist extraction? What rituals can we co-create as future ancestors in the face of planetary transformation?

Diasporas Now: Macrocosmic Futures is supported by the Arts Council England.

Structure and Fees: 

Each of the six selected commissions will be awarded £1,050, with the suggested budget breakdown:

• £300 artist fee x 2 performances at Bristol (Spike Island) or Nottingham (Primary), and London (V&A South Kensington or South London Gallery)
• £200 research and development stipend
• £250 travel and accommodation stipend

All artists will be provided AV, production, marketing, and curatorial support between Diasporas Now and partner institutions.

Eligibility:

• Deadline for applications is Monday, 6 October at midnight (selection outcomes  will be announced in the first week of November)
• Collaborative and collective applications are welcomed, but fees are fixed per application
• All applicants must be living and working in England
• All applicants, and at least 50% of collaborations or collectives, must identify as Global Majority
• All applicants must be working across mediums suited for live performance, and include proposals of a duration of 20-30 minutes
• All applicants must confirm in-person availability for 12 December 2025, and 26 February, 3 June, and 26 June 2026 (each performance will take place on only two of these dates, but event allocation will be decided by the curatorial panel and not by artists’ requests)
• The application can propose an adaptation of an existing work, or a new performance, relating to the themes of Macrocosmic Futures

About Diasporas Now:

Diasporas Now is a live art community and cultural agency that champions artists of the Global Majority through collaborative performance incubation, institutional residencies, curated programming, and alternative arts education.

For questions or accessibility requests, please email diasporasnow@gmail.com

With the programme Braunschweig Projects, HBK Braunschweig offers 7 artistic fellowships on behalf of the State of Lower Saxony for the year 2026/27:

– Sound art (2 scholarships)
– Visual arts (5 scholarships)

The programme is aimed at  artists, who would like to work on a project in the immediate vicinity of HBK Braunschweig. With their project proposal, fellows should make a significant contribution towards the further development of forms of artistic practice.

All fellows will be assigned a mentor, who will help with the integration into university life. Mentors are fine arts professor and can be chosen by the fellows themselves. In addition, all professors of the fine arts department will be available for artistic discourse with the fellows. 

Fellows will have the opportunity to present the current status of their artistic project within the university. In addition, they are expected to participate in the Welcome Weeks (20 – 30 April 2026) and in a joint final presentation in January/February 2027.

Braunschweig Projects: Funding & Residency

Funding is provided in form of stipends in the amount of 1,500€ per month over a period of 12 months. A studio apartment in Braunschweig, designed for one person, will be available rent-free for the duration of the fellowship. A contribution of 200€ per month towards incidental living costs must be paid by the fellows. During the funding period, fellows are required to reside at HBK for at least 8 months during the lecture period in the summer and winter semesters. The funding period will begin on 1 April 2026. Fellows can move into their accommodation from 15 April 2026.

There will also be an allowance for project and travel costs. After deduction of the travel costs of all scholarship holders, the remaining amount will be divided among the fellows based on a project calculation and in consultation with the chosen mentor. The realisation of the contributions for the final exhibition as a joint project will be key.

Braunschweig Projects: Funding criteria

A pre-requisite for a fellowship is a successfully completed art degree. The most recent studies must have been completed after 1 April 2015 and before 1 April 2022. Applicants must be able to show proof of extensive artistic practice and exhibition participation. A fellowship cannot be granted if the applicant is receiving regular benefits from third parties during the funding period (e.g. residence or salary payments or work scholarships) or a state subsidy.

APPLICATION

Applications in German or English should be submitted using the application form with specific reference to one of the scholarships advertised above to the following e-mail no later than 05.10.2025: application-bsprojects@hbk-bs.de (e-mail must be received by 11:59 pm, applications received after this will not be considered).

E-mails (RE: application-bsprojects / Braunschweig Projects 26/27 Sound Art OR Fine Art) should not exceed 15 MB, otherwise they will not be considered, and must contain the following documents:

1) Fully completed and signed application form with personal details, curriculum vitae and project description (approx. 3 pages)
(PDF file, max. 1 MB/ file name: APF_ applicant name)

2) Evidence of artistic work: portfolio with any links to video and audio files of artistic works incl. password, if required
(PDF file, max. 12 MB/ file name: Portfolio_ applicant name)

3) Copy of graduation/degree certificate of most recent degree or certified translation in German
(PDF file, max. 1 MB/ file name: Degree_applicant name)

Applications which do not meet the above requirements (complete documents, correct file types, file names, file sizes, e-mail receipt) will not be considered.

It is not possible to apply for both scholarships at the same time.

• Call Braunschweig Projects 2026/2027 (PDF)
• Application form (to be used​​​​​​​)
• Notes on data protection (to be used)

The Missouri Experimental Sonic Arts Festival (MOXsonic) is three days (March 19-21, 2026, Thursday through Saturday) of concerts, research presentations, workshops, demonstrations, and conversations. Our goal is that academic and independent artists, individuals and groups, music and sonic adventurers, and more will gather for an exploration of sonic possibilities and community. This is an in-person event with attendance required for all presenting.

MOXsonic’s concert events feature experimental music with a focus on live performance with interactive technologies. Improvisers, composer/performers, and teams of composers and performers are especially welcome, as are performers who would like to present new or recent works by others.

We welcome a wide variety of applications and believe that a diversity of voices, perspectives, gender, genre, age, and identity will make for a positive and strong event. Make no presumptions as to what projects we will select—surprise us with your submission. If you are unsure of how to categorize what you want to do, please reach out via the contact form on our website and we will help.

MOXsonic showcases a variety of events, musics, and research presentations, including:

1. Six Concerts in Hart Recital Hall, featuring a Meyer Sound 17.5 system, video projection, and more.
2. Thursday, Friday and Saturday Nightlife: where musicians can stretch out and explore, including longer improvised music sets, ambient music, experimental music, live coding, creative DJing, and more while other participants socialize.
3. Research presentations, paper presentations, software/hardware demonstrations, and workshops.
4. Five-minute Lightning Video Research Presentations: Following the “Enlighten us, but make it quick!” format. This is intended to be an opportunity to present your scholarly, technological, or creative research to many people with a formal viewing of all videos followed by a live question and answer period. These have been SUPER successful and engaging!
5. Fixed media performances take place in our amazing Electronic Music Composition Studio. The studio operates as an interactive listening room with its 17.1 Genelec system, large comfortable chairs, and is accessible during the festival. PLEASE NOTE: your attendance in person at the festival is required for fixed media pieces to be presented. 

Individual and group submissions are expected to be self-contained with their own performers, own laptops, and own interfaces: we supply the space(s), sound systems, technical crew, the organization, the community, audience, and PR. A list of what we are able to supply—along with details of our performance spaces—is available at http://moxsonic.org/tech-and-space/

Please note: For the current MOXsonic adventure, we are unfortunately NOT able to provide travel funding or honoraria. We are more than happy to help with language and/or letters of acceptance for grant applications to support your participation from funding institutions.

There are no application fees, no registration fees, and no ticket fees for MOXsonic. All events are freely available to the artists, guests, and public.

You are welcome to submit proposals in multiple categories, but ***please*** only one submission per category. Each submission *must* be on a separate form with complete information on each form.

If accepted, attendance is required.

You can register and send the fee now!

1. The competition MUSICA NOVA was for the first time realized in 1969.
2. Composers are invited to submit their works of electro-acoustic music (EAM) created after 1st January 2022. We place emphasis on the inner meaningfulness of the composition.
3. Category A is open to compositions of autonomous art EAM or only one independent movement.
4. Category B is open to compositions of autonomous art EAM or only one independent movement, for acoustic instrument/voice/ensemble and electronic media (live electronics included). Send a complete version of the composition, please, not only EA part. Incomplete compositions will be excluded.
5. Category C “wild card” is open to authors who have doubts about the classification into category.
6. Each composer may submit only one entry to each category in duration of no longer than 20 minutes, and the work may not have been awarded a prize in another competition, nor been submitted to previous MUSICA NOVA competitions.
7. Competition entries in both categories must be submitted with the name of the composer specified.
8. Members of the jury cannot take part in the competition.
9. The jury of the competition shall be appointed by the leadership of the Society for Electro-acoustic Music and composed of leading composers of electro-acoustic compositions, musicologists, critics, and recording engineers specializing in the electro-acoustic music field.
10. The recording have to be uploaded to the server musicanova.seah.cz or send electronically another way till October 31st 2025:
    1. Entries into categories A and B shall be accompanied by a score (if necessary), technical and artistic description, name of studio where work was produced, their durata, graphs, etc., to be judged by the jury 
    2. Entries into categories A and B shall be accompanied by a brief artist statement, short biography, nationality, address, telephone number, e-mail (attached form), see attached form 
    3. N.B: You can register electronically on musicanova.seah.cz and upload your composition (in MP3, aif, wav format) on the server for better preparation working of jury. Your composition will be accessible only for you and jury
11. The entry fee for each composition is 50 € (or equivalent). If you register electronically, you can pay on-line via paypal (paypal@seah.cz) or Way of payment: IBAN: CZ48 0800 0000 0000 1404 5349, BIC: GIBACZPX, address of the bank: Ceska sporitelna, a.s., Sladkovského nám. 4, 130 00 Praha 3, Czech Republic
    Please, address your documentation to the address of Arts and Theatre Institute, Celetná 17, 110 00 Prague 1 to the name of L. Dohnalová. If your transfer charges would be too expensive, write to: lenka.dohnalova@seah.cz, please. If your transfer charges would be to expensive, write to: musicanova@seah.cz, please.
12. The audio recordings entered in the competition shall not be returned to the composers and shall remain in the Society for Electro-acoustic Music archives.
13. By entering his/her work in the competition, the composer provides the license to publish his work at the non-profit concerts of SEAH, streaming on the web site Musica nova (in mp3), publishing one year on the Youtube channel Musica nova, and / or radio broadcasting / EBU linked to the Musica nova brand. 
14. Prizes shall be awarded for the winning entries after the jury has announced its verdict, which cannot be appealed. The jury can decide to either combine, divide or not award some of the prizes. 
15. Prizes in Categories A, B and C include: First Prizes, Honorable Mentions and Special Prizes for Czech composer.
16. All entrants shall be notified of the verdict by the jury on the awarding of prizes and honorable mentions by 30 November 2025.
17. Awarded compositions will be presented during the Concert of laureats in December 2025 in Prague (via off and/or on version).

In Motion is a transformative 18-month artist development programme for composers and music creators of all backgrounds and genres who find themselves at pivotal points in their careers.

We support composers to design and embark on the next chapter of their creative and professional journey, providing the space, personalised support and funding to realise their ambitions. Built on our expertise and position in the sector, the programme is shaped directly in response to the needs and strengths of the artists we work with to help them make positive and lasting changes in their practice.

• In 2025, we received 450 applications and selected 10 composers for In Motion and eight composers for the Seed Award.
• In 2024, we received 355 applications and selected 10 composers for In Motion and eight composers for the Seed Award

In Motion is made possible with the generous support of Arts Council England, PRS Foundation, Jerwood Foundation, Garrick Club Charitable Trust, Michael Guest Charitable Trust, Marchus Trust and Creative Scotland.

Download information about In Motion in EasyRead format (PDF)

What is smallforms?

smallforms is a concert series and music label for contemporary and experimental forms of music based in Vienna. Our monthly program consists of recording sessions in the afternoon and public live sets in the evening. Since 10 years, smallforms is following the idea to move beyond genres, to challenge attitudes of listening and to establish opportunities of networking and international outreach for independent musicians and sound artists.

Open Call

For the year 2026 (March – December) we are looking for new proposals to be presented live as part of our annual programme — with the option to apply also for an additional recording-session on the same day, which will be released on digital platforms via our label.

Who can apply?

The call is open for musicians, sound artists and performers dealing with sound. We are especially looking for diverse approaches to live situations and public encounter. The call focuses on proposals that expand formula of working with sound and music, joyfully explore various notions of voice, noise and instrumental and move beyond commodifying logics in music-making.

How to apply?

Please send the following material:
(1) audio and video links.
(2) short text (max. 600 characters!) about your proposal.
(3) short cvs of all participants.

In case of interest of live act + recording session, please let us know in the application.

Facts:

1 – 3 artists / proposal
Payment: At this point, we can confirm a fee of 400 Euro/ per person
30 – 60min / live set

Deadline: 30. November 2025

Contact: office@smallforms.org

smallforms.org
smallforms.org/open-call-2026
smallforms.bandcamp.com
www.instagram.com/smallforms

Curated by Alisa Beck and Gustavo Petek

kindly supported by:
Stadt Wien Kultur MA7
BMWKMS
SKE

Spatial Audio Gathering is back with a 2026 edition sponsored by the British Electroacoustic Network, running from the 31st March – 1st April 2026 at Leeds Beckett University!

The Spatial Audio Gathering is a meeting point – a gathering – for those interested in spatial audio, sound art, and electroacoustic music. Through a programme of concerts, talks, posters, and audiovisual screenings, the conference serves as a space for diverse voices of enjoyers practitioners and theoreticians alike around a central topic, generating meaningful discussion, debate, and new ideas in the field of spatial audio.

Hosted in the Leeds Beckett School of Arts, the conference will take place between the ambisonics black box theatre, and a Dolby Atmos enabled cinema room.

We are currently accepting submissions!

Submission areas include:

– Acousmatic/Electroacoustic works (including multichannel and ambisonics)

– Audiovisual compositions

– Live spatial performances

– Talks (15 minutes maximum)

– Posters

Find the full description at

https://spatialaudiogathering.github.io/cfw.html

Submit your works at

https://cmt3.research.microsoft.com/SAG2026

Our very special tenth anniversary Autumn Project is now open for artists to get involved!

Twice per year, we open up the Cities and Memory vaults, giving artists access to our sound database to pick a recording, and create a reimagined composition using that recording.

This is our biggest ever Autumn Project, with – amazingly – 300 high-quality recordings from all over the world for artists to use as inspiring source material.

As befits our tenth anniversary, this is a very special selection of 300 recordings – here are just a few of the highlights:

Beneath the ice at the North Pole 🧊

Village soundscapes from rural China 🇨🇳

Incredible soundscapes from “potent places” such as the Fuhrer’s bunker in Berlin, Auschwitz in Poland, Kabul in Afghanistan and Utøya in Norway ⚠️

Extensive recordings from our recent trip to Oslo, including island soundscapes, the Nordic Pixel Forest, Untuned Bell installation, liturgies, processions and public transportation 🇳🇴

A sonic exploration of Berlin, including museum installations, huge cathedral bells, and sounds from inside a concrete bunker wall 🇩🇪

Sporting recordings from Court No.1 at Wimbledon, and capturing the passion of German football crowds ⚽️

Amphibian choruses at night in rural Ghana 🇬🇭

Sacred spaces from communion at Westminster Abbey to a call to prayer in Uzbekistan 🇺🇿

Trains, trams, ferries, buses, cable cars, airports and station – a whole world of travel sounds 🛂

The sounds of work and industry, from glassblowing and fishing boats to the sounds of artisanal candy being manufactured by hand 🍭

Natural soundscapes from rivers, rice fields, lakes, forests, wetlands, mountains and jungles 🌴

The sounds are divided up by category, country and city so you can easily find the types of sound you’re most interested in working with.

The Micro-commissions programme gives awards of up to £1,000 to support Wandsworth based creatives, during the London Borough of Culture year, to create new artworks.

With a straightforward application process and light-touch reporting, the aim is to pilot new ways of supporting the borough’s cultural sector and to nurture local talent. 

These micro-commissions are open to Wandsworth based creatives only. Successful awards will be inspiring ideas around the theme of health and happiness.

Application process

Applications Open: Thursday 5th June.

There will be an 8-week rolling deadline (from June 2025 to December 2026).

Applicants should allow at least a nine-week turnaround period from submission to project commencement date.

How to Apply 

Applicants can apply by filling out our Micro-commissions Form or submitting a short video – a recording of lead artist responding to application form prompts.

Video Application

If you’d prefer, your application can also take the form of a video application (.mov, .mp4) or audio submission (.wav, mp3) rather than applying through the written application form.

If you are submitting a video, please include a verbal declaration against each point/question in the application form, including a detailed breakdown of how you will use your budget (this can be based off of the budget spreadsheet here) and end the video with your name and the date. 

Please return the video with date of submission to: arts@wandsworth.gov.uk

You may apply for up to £1,000

Decisions will be made by The London Borough of Culture Champions Group.

The Champions group will consider

• How your proposal meets London Borough of Culture Themes
• How inspired they are by your description of “Tell us what you would like to do”
• How excited they are by what you say in “Tell us what you hope to achieve through this micro-commission” 
• How confident they are in your ability to deliver through your response to “Tell us more about your artistic practice up until now?” Additional, funding from other sources may be included in your proposal. Details should be provided in the proposal.

Funding distribution 

Micro-commissions will be decided on a rolling basis from July 2025 till December 2025.

Applications will be considered at the following decision-making meetings:

• July
• September
• October
• November
• December

Evaluation

Successful applicants will be asked to comply with our Communications requests. Applicants will be asked to:

• Supply artwork copy & images;
• Supply evaluation material/case study content;
• Supply any photography or film taken at activity and give Wandsworth Council permission to use for future marketing;
• Submit a Creative Profile on Welcome to Wandsworth (if not setup);
• Add any events (if public facing) to Welcome to Wandsworth ‘What’s On’ pages.

We may also ask you to:

• Offer a guest blog (200-300 words with imagery)
• Be interviewed by young reporter/school journalists

FAQs

Who can apply for a grant through the Microgrants project?

Wandsworth based creatives only. The applicant must have a Wandsworth postcode.

How much can I apply for?

You may apply for up to £1,000.

How many funding rounds are there?

There will be at least four rounds, depending on demand.

Can I speak to someone about my project before applying?

We will not be providing individual advice session for this programme, however if you require access support with your application please contact arts@wandsworth.gov.uk

Can the micro-commission funding be spent on capital?

No. Funding can support purchase of materials and small assets, but these must be relevant to delivery of the artwork. 

Can the Micro-commission support business as usual?

No

Can additional funding from other sources be included in the proposal? 

Additional funding from other sources may be included in your application. Details should be provided in the application (or video)

Can I apply for the Micro-commission if I’ve already received another London Borough of Culture Community Investment Grant?

Yes, although we may prioritise applications from those who have not received funding from us before.

Who will review the proposals? 

Our London Borough of Culture Local Champions will be the decision-makers on the award of the Micro-commissions. Made up of Wandsworth residents from diverse backgrounds, the group are ensuring the year is truly made with, by and for local communities. 

When will I find out if I have been successful?

We will contact you within one week of decision meeting (see dates above) to let you know if you have been successful. You will receive one of the following notifications:

• Successful: (Your application has been selected for funding you can commence you activity)
• Reserve: (We were unable to fund your project in the current round and will be automatically considered at a future decision meeting).
• Unsuccessful: Your application was not suitable for funding (you may not apply for future rounds).

How long should do I have to complete my artwork?

Artworks must be completed by 31st March 2026.