Opportunities

MUSICACOUSTICA-HANGZHOU 2026 will present multiple concerts showcasing a wide range of styles in electroacoustic music, highlighting cutting-edge developments in electronic music composition and performance at home and abroad. The festival now invites works from scholars, composers, and students in the global electroacoustic music community. The organizing committee will select outstanding submissions for inclusion in the concert programs according to the focus of each session.

Submission categories include fixed media, instruments with electronics, multimedia compositions, interactive compositions, and other innovative hybrid forms. This year we especially encourage interactive electroacoustic music works — in particular, pieces that integrate artificial intelligence and combine technological innovation with strong artistic expression. Submissions should pursue novel forms and distinct styles, and demonstrate high musical and technical quality. There is no strict time limit, though a suggested duration is under 10 minutes.

Submission deadline: August 30, 2026. Selected works will be announced on the festival website and via multiple platforms including the Electroacoustic Music Association of China (EMAC) WeChat account, Zhejiang Conservatory of Music WeChat account, and the Department of Music Engineering WeChat account.

Please submit works at: https://zjcmmed.mike-x.com/npiOd or scan the QR code below:

Organizing Committee of MUSICACOUSTICA-HANGZHOU 2026

https://musicacoustica.zjcm.edu.cn

We are pleased to invite composers, sound artists, researchers, and practitioners worldwide to submit works for the SPECTRA 2026 International Call for Audio Works.

SPECTRA 2026 celebrates immersive listening experiences through sound art, acousmatic music, and fixed media works under the theme “Sound Bathing: Healing, Wellness & Inner Harmony.”

Important Dates

• Submission Deadline: 30 August 2026
• Extended Deadline (CIME/ICEM Affiliate Members & Organisations only): 15 September 2026
• Exhibition: 24 October – 23 December 2026
• Concert: 5 December 2026

Submission guidelines, technical requirements, and the submission portal are available at:

https://artmemlab.wordpress.com/spectra-2026/

We warmly welcome submissions from artists around the world and look forward to sharing your work with audiences at SPECTRA 2026.

CALL FOR CONTRIBUTIONS:

The Performing Arts Technology Department is thrilled to announce the 3rd Spaceout International Ambisonics Festival, a two-day event celebrating immersive audio. We invite composers from around the world to submit 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 there are no restrictions regarding applicants’ age or nationality. All events will be open to the public. We would be delighted to welcome selected composers in person, but attendance is not required for their work to be programmed. Compositions under 12 minutes will be given priority in programming.

TRACKS:

Each composer must choose one track and may submit only one piece total

• Track 1: Fixed media
• Track 2: Inviso (inviso.cc)
• Track 3: Live Performance (In-person attendance is required)

Track 1 (Fixed Media):

Composers must submit both binaural and Ambisonic B-format files for the review process. Submissions must be interleaved multichannel WAV files in 3rd- or 5th-order Ambisonics and must comply with the ambiX format: SN3D normalization, full 3D, and ACN channel ordering.

Track 2 (Inviso):

This year, we are opening an additional submission track for Inviso, a web-based application for designing and experiencing rich and dynamic sonic virtual realities.

The Inviso track may include either fixed or interactive works. Fixed works will be presented on a screen for the audience to watch. Interactive works will allow audience members to freely engage with the compositional world by moving through the scene using the Inviso interface. The final presentation format is up to the composer and should be indicated in the submission form.

Please refer to the Inviso User Documentation here: https://docs.google.com/document/d/1PR0eUqimt2jMzya6qEXhOWH3GuSBPh4qQsjE0ljUwCg/edit?tab=t.0

Track 3 (Live Performances):

This track welcomes live ambisonics performance works in the Chip Davis Technology Studio, using the 36.2 loudspeaker system. Pieces may involve instrumentalists, vocalists, live electronics, or any combination of elements that engages with ambisonics. For live performance works in-person attendance is required, and we ask that you reach out to us before submitting so we can discuss your technical needs.

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 31, 2026
Notification of Acceptance: September 22, 2026
Festival: October 22-23, 2026

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

Following the previous editions of ESNMA — which explored the field itself, its reconfigurations, and its urgencies — the 2026 edition proposes a broader reflection on the notion of territory as a space of perception, belonging, interaction, and cultural construction. 

The exploration we propose is inherently heterogeneous. We inhabit different territories, move across distinct geographies, and experience unequal material and political conditions. The land, air, and water to which we—human and more-than-human—belong weave a different fabric for each of us. Territory is not a fixed or bounded entity, but a relational and dynamic condition shaped through coexistence, displacement, interconnection, and conflict. Living organisms and non-living systems share territories and are constituted by them. To expand our possibilities, we need to transgress. Each transgression depends on its own limits—systems of oppression, as well as intellectual, sensory, or affective constraints. The leakage between territories opens routes toward new forms of belonging, interconnection and collective imagination. 

In a critical conjuncture marked by territorial conflicts, digital colonization, and forced displacement, this call invites artists and researchers engaged in speculative and experimental practices to imagine and construct new forms of habitability through sound, performance, moving image, computation, bioart, AI systems, networked practices, and new media experimentation.

Areas and Communication Topics 

– Performance, Migration and Spatial Practice 
– Sound Art and Material Ecologies
– Bioart and Ecological Media
– Digital Territories and Technological Autonomy
– Cyberfeminist, Decolonial and Speculative Frameworks
– Hybrid Epistemologies, Memory and Ancestral Knowledge
– Outer Space and Extraterrestrial Imaginaries

Submissions should contain the following info:

– Title
– Authors’ names, affiliations and contacts
– Abstract, 250-800 words
– 3-5 keywords
– 3-5 references
– Authors’ short bio (maximum 200 words)

Only proposals written in English will be considered

For any inquiries, please send an email to: esnmaconference.porto@ucp.pt

The authors of the selected abstracts will be invited to submit full-length papers after the conference for peer review. The chosen papers will then be published in a CITAR Book Collection with DOI and ISBN. Please find the latest edition of the book here: https://openbooks.ucp.pt/ucp/catalog/book/280

The Microsoft CMT service was used for managing the peer-reviewing process for this conference. This service was provided for free by Microsoft and they bore all expenses, including costs for Azure cloud services as well as for software development and support.

THE FESTIVAL

Hybrid Horizons is a three-day festival and conference of contemporary experimental and research-based music, co-produced by the Greek Composers Union and the Megaron — Athens Concert Hall, dedicated to mixed electroacoustic composition, multichannel spatial audio, and the use of artificial-intelligence technologies as designed and authorially controlled systems.

The event unfolds in three interconnected strands: a conference of papers and keynote lectures · a pedagogical programme, in which eight young Greek composers write new works for the French Ensemble Multilatérale (ensemble-in-residence) with electronics and 8.1 multichannel audio, under the guidance of four composer-mentors · and a series of concerts presenting the outcomes of this process alongside works by invited artists.

The central question: how does the notion of composition shift — or expand — when sound emerges not only from the direct control of material, but also from the design of the conditions within which it acquires behaviour, temporality, and form?

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KEYNOTE LECTURES

— Mikhail Malt (IRCAM, Paris): “Realizations & Expansions: Performance Cases of an Open Work using Artificial Intelligence Generative Tools”

— Panayiotis Kokoras (University of North Texas): “Sound Virtuosity and Post-Instrumental Composition: Sound as Structural Unit”

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THEMATIC AREAS

We invite composers, performers, researchers, musicologists, and music technologists to submit proposals exploring — but not limited to — the following areas:

1. Mixed electroacoustic composition — relationships between acoustic and electroacoustic/electronic sound, fixed-media and real-time approaches
2. Multichannel and spatial audio — composition, spatialisation, and listening in space (ambisonics, multichannel setups, spatialization strategies)
3. Artificial intelligence as a designed system — compositional control, limits and rules, interactive and generative systems within the composer’s responsibility
4. Contemporary music as an architecture of conditions — the role of the composer, the performer, and technology in designing the behaviour, temporality, and form of sound
5. Performance practice and technology — the relationship between performer, instrument, and electronic means
6. Critical, historical, and analytical approaches — aesthetic, theoretical, and historiographical readings of mixed, spatial, and technologically mediated music-making

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PRESENTATION FORMATS & PUBLICATION

Standard paper: 15–20 min · Extended paper: 30 min · Poster session: 5 min

Presentations may be delivered in person or online (video presentation), in Greek or English. For non-English presentations, the abstract must be submitted in English.

The abstracts of the accepted presentations will be published in an online (digital) book of abstracts, under the scientific supervision and editorship of the festival’s composer-mentors (see Credits).

Travel and accommodation costs are covered by the participants themselves. Upon request, the organising committee can provide a letter of invitation to support funding applications to institutions and to the participants’ home universities.

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CREDITS

Composer-mentors: Mikhail Malt (IRCAM) · Panayiotis Kokoras (University of North Texas) · Stylianos Dimou (Grieg Academy, University of Bergen) · Alexandros Spyrou (College of Music, Academy of Performing Arts, University of the Arts Sharjah)

The Call for Abstracts and the festival’s pedagogical and academic programme are curated by Stylianos Dimou & Alexandros Spyrou (production and artistic-academic team), under the supervision of Michalis Paraskakis, President of the Greek Composers Union.

THE FESTIVAL

The  Seanaps Festival for transdisciplinary approaches in experimental music, art, and culture in Leipzig is celebrating its anniversary this year from September 17 to 20, 2026, under the title TEN. Inspired by the iconic short film “Powers of Ten” (1977), we’re exploring sound as a scalable medium and creating spaces for shared listening experiences.

Once again this year, our Seanaps radio program—in collaboration with Sphere Radio (Leipzig), Cashmere Radio (Berlin), Studio Néau (Eupen), and Radio Corax (Halle) —is an integral part of the festival.

To this end, we’re launching the open call ZÄHLZEITEN effective immediately through August 31, 2026.

Situated at the intersection of new beginnings and transience, the theme encompasses the traces of age, erosion, and decay, the persistence of waiting periods, ritual and historical narratives; and the organizing structures of patterns, grids, algorithms, and binary worlds. In short: everything between the biological pulse, the economic rhythm, and the archiving of the years of life.

Submit your audio pieces, radio plays, compositions, or soundscapes that engage with, present, or question “counting times” and measurements of time. Selected pieces will be broadcast live on the radio as part of the festival program. We’ll notify you if your submission is selected, including the broadcast time.

The New Consonance Association announces a call for audiovisual works.

The selected works will be scheduled during the 63rd Festival of New Consonance in a day to be held in December 2026 in Rome at Il Mattaio in Rome – La Pelanda.

The call is open to all audiovisual authors and composers, regardless of nationality, and is reserved for those under 40 (born by 31/12/1987) in support of policies to enhance youth creativity.

The works will be selected by an internal commission of Nuova Consonanza.
Preference will be given to those works where sound brings significant added value to the audiovisual relationship. Works with multi-channel audio are also allowed.

The artistic direction reserves the right to take into account the proposals also for the future Festivals of New Consonance.

Participation is free.

Specifications of the required works :

Video:
4/3 or 16/9 format
File format: Mp4 or Mov

Codecs allowed: ProRes, H264, H265, DNxHD

There are no multi-screen projections.

The audio part must be included in the video file but must also be sent separately (video and audio file duration must be identical).

Accepted audio formats:
linear PCM not compressed (Wav)

Number of audio channels accepted:
Stereo;
Quadriphons;
5.1
7.1
Ambisonic up to 7th order
Ottophony (with channel numbering from 1 to 8 starting from front Left and then in hourly order)

The works will however be disseminated in concert through a single standard 7.1 dissemination system. Configurations that use multiple channels than available will be adapted to this system via conversion algorithms.

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

Each author will be able to present a maximum of two works.
For authors who want to attend their screening there is no reimbursement of expenses.


Mode of participation

The works must be sent to Nuova Consonanza by 1 September 2025, exclusively by email, at call@nuovaconsonanza.it.

In the same email must be sent:

• completed and signed registration form
• an identity document
• biography of the author (max 900 characters spaces included)
• Photograph of the Author
• Notes on the work (max 1000 characters)

The texts must be in PDF format

All audio files must be in “wav” format and uploaded in high quality to a permanent storage service (for example, Dropbox or Google Drive).

The Artist in Residence at ICST program aims to strengthen the exchange with the artistic community in current research fields. In 2027, the program includes residencies in the fields of Spatial Audio, Klavierautomat (Algorithmic Composition), Moving Loudspeakers, Dance and Generative AI and Object Performance. 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 Perception, Generative Art, Object Performance, Pedagogy of Electroacoustic and Computer Music, Sound Design, Sound Moving Sources, Theory, Notation and Representation, as well as interdisciplinary projects on Acoustic Modelling and Hearing Health.

Klang Festival is staging an open call for our 2027 season, with the theme of MUSIC/MOVEMENT.    

To help us with the selection process, we have engaged the duo toaspern|moeller. The duo, founded in 2020 by dancer/choreographer Alma Toaspern and singer/composer Mathias Monrad Møller, explores the intersection of movement and sound. In the pair’s creation processes music and dance are not created separately, but form the necessary conditions for each other. Their critical eye on the interaction between music and movement make them the ideal choice for the selection process.

We’re looking for adventurous and engaging projects across experimental music, sound, and performance, that explore the idea of MUSIC/MOVEMENT in some way. The definition of ’movement’ is open for interpretation – for example, working with dancers, incorporating choreography into a performance, or moving through an open space.

What we’re looking for:

1-3 projects to be presented during Klang Festival 2027.

Projects that are production-ready (not in development).

Smaller-scale productions that can be set up and performed on the same day.

Projectsthat address the theme of MUSIC/MOVEMENT in some way.

The venue will be Dansehallerne. The capabilities of the venue will be taken into account in the selection process.

Submission Process

1 July – 1 September 2026

The open call is live. All submissions will be reviewed by the Klang team for feasibility (no artistic evaluation at this stage). 

September 2026

toaspern|moeller and Klang Festival will review the feasible submissions and select 2 projects for performance.

October 2026

All applicants contacted with the jury’s final decision.

November 2026-February 2027

Klang Festival will meet with the teams of selected projects to confirm final details.

June 2027

Performance of selected projects at Klang Festival 2027. Provisional dates: 15.-18. June 2027.

How to Apply

Please send a project proposal via email to opencall@klang.dk. Please include ”Open Call 2027” in the subject line of the mail.

We prefer proposals to be no more than one A4 page in pdf format, and to include links to relevant media. 

Your proposal should include:

– A description of the artistic content of the project, including how it relates to the theme of MUSIC/MOVEMENT

– A rough budget/financial overview 

– Short biographies of artists involved

– Duration

– Documentation (recordings, video, etc). Please include all media as links, not as attached files

Important Notes

We’re looking for ready-to-go projects — not commissions or works-in-progress. It will not be possible for Klang to contribute to any commission fees for the open call projects.

Klang aims to cover production costs and performer fees.

Travel and accommodation costs will be discussed with the artists on a case-by-case basis.

If your project has partial funding (e.g. commission fees, travel grants), please mention this in your application.

Klang Festival reserves the right to postpone or cancel projects after selection, according to the capabilities of our final festival budget. Cancellation policy will be discussed with artists during preliminary meetings.     

We are pleased to announce the Open Call for NOIS//E 2026 – Practices of Presence in the Post-Generative Age, an interdisciplinary festival and symposium taking place in Milan, Italy, from 13–15 November 2026.

The call is open to artists, composers, performers, filmmakers, visual artists, researchers and interdisciplinary practitioners working across sound, electronic and electroacoustic music, audiovisual practices, moving image, installation, performance, visual arts, immersive environments, artistic research, talks and lecture-performances.

Following the experience of NOIS//E 2025 – Nature Art Sound in Calabria, which brought together more than 50 international artists from 19 countries, the project continues its exploration of artistic practices that investigate presence, embodiment, listening and the critical use of technology in the post-generative age.

Submission deadline: 5 September 2026

Application form & full information:
https://www.noislashe.com

Contact:
info@noislashe.com

This open call is for works strongly grounded in experimental sound practices and audio art, and driven by conceptual approaches or sonic narratives. Its aim is to support exploration at the blurred edges between sound, noise, music, storytelling, poetry, documenting and more, while reflecting on ideas, stories, current events or the very processes of sound and listening. Both text and music can form integral parts of the piece, but the challenge is to develop works where sound is the main medium.

Works should respond to the CTM 2027 theme Process…ing. Active listening – as a form of individual or relational process – should inform the proposals to this call. In this spirit, applications should include information on how the work could be developed for two complementary yet different outputs – as a live event at CTM 2027, and as a radio broadcast on Deutschlandfunk Kultur and Ö1 / ORF.

At CTM, proposed works should focus on the shared listening experience at an international music festival. Works will be presented in the silent green Kuppelhalle with an intimate setup where the audience is seated around the performer(s), and surrounded by a 6.1-channel PA-System. We welcome creative use of this setting, including working with the distribution of fewer channels, stereo or mono signals. Minimal lighting and scenography can be included insofar as they reinforce the listening experience and concept, for example through the performer’s presence, gestures, sound objects etc. Scenography is not necessary however – performances in the dark are also suitable. Proposals including video and complex scenography are outside the scope of this call.

For radio/podcast, proposals should consider particular mechanisms needed for a successful individual listening experience – it is not enough to submit a recording of the performance. Some suggestions when thinking through radio are: considering what active listening can mean through broadcasts, imagining various listening environments (home stereo, car radio, headphones, etc), and diverse forms of listening. The broadcast will be transmitted during a late night slot to a largely German-speaking audience who are not music or sound art specialists.

The commissioned works will premiere at CTM 2027 Festival in Berlin (22–31 January 2027), and will be broadcast in Deutschlandfunk Kultur’s Klangkunst programme in Spring 2027 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 Blaue Stunde (Kunstradio) radio shows, and/or the ORF musikprotokoll im steirischen herbst festival in Graz (Autumn 2027). Subsequently the world will be available for streaming online via the websites and apps of Deutschlandfunk and ORF for at least one year.

Theme: Process…ing

Read the CTM 2027 theme Process…ing.

Budget & Conditions

Two selected works will be supported by a fee of 6000 € each. The commission winners will give up to two performances of their works during CTM. Winners are 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. 

Works including language or bits of spoken word/lyrics might consider accessibility for an international audience (at CTM Festival) respectively German speakers (for the Radio broadcast). Guidance and certain possible costs related to radio production (translations, voiceovers, recording studio time) can be provided by Deutschlandfunk Kultur upon discussion. 

Travel expenses to Berlin and lodging during the production/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: 6 September 2026 at 23:59 local Berlin time (UTC+2)
• Winners notified and announced: mid October 2026
• Production phase (remote): late October 2026 – January 2027
• Presentation at CTM 2027 Festival: 22 – 31 January 2027
• Deutschlandfunk Kultur – Klangkunst radio broadcast: Spring 2027
• Presentation via ORF and /or musikprotokoll: Autumn 2027

Jury

The international jury consists of Jan Rohlf (co-founder CTM Festival), Marcus Gammel (Deutschlandfunk Kultur), Anna Soucek (ORF Ö1), and one independent artist who will be disclosed together with the results.

Questions

Please send an email to in_listening(at)ctm-festival.de with the subject »In Listening« should you have any questions about applying.

A Note on AI

We want to hear your ideas in your own voice.

What matters to us most is your artistic thinking, not elaborate application writing. We recognise the helpfulness of AI tools to help brainstorm, structure, translate, or polish applications, especially for people whose first language is not English. We are looking for your authorship and clarity of ideas – meaning your perspective, your artistic reasoning, and what genuinely drives your proposal. Applications where AI has replaced rather than supported that voice are harder for the jury to evaluate meaningfully and may not stand out.

Application Form

Due to the international nature of the jury, we ask that applications be submitted in English. 

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

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 your fee, collaborator fees, materials purchase, maintenance costs, etc. Maximum 4 pages)
• technical requirements (a rough idea of your technical equipment needs and staging)
• 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.

IntAct Festival invites all international artists from all disciplines to submit their works for exhibition and performance during the 8th edition of IntAct — New Music and Art Festival.

Venue: Bacc หอศิลปวัฒนธรรมแห่งกรุงเทพมหานคร

Festival Dates: 17–20 December 2026

Theme: “…if…”
A condition suspended between reality and virtuality. Building on the festival’s ongoing inquiry into artistic transformation, IntAct 2026 invites artists to question the conditions that make creativity possible. Inspired by Bergson’s idea of creative evolution, “…if…” considers creativity as a process of continual actualization — where the past is not a fixed archive, but a virtual force reactivated by the present and opened toward unforeseeable futures.

What drives humanity to continue creating new things through the shifting relationship between past, present, and future?
Can creativity become timeless or borderless? Or is it inevitably shaped by the systems, technologies, and realities we construct?

This edition invites artists and thinkers to inhabit the uncertain space between what has already occurred and what may yet unfold — a space of possibility, speculation, and transformation.

Open Call Categories

Call for Artwork

Call for Performance

Important Dates
Application Deadline: 15 September 2026
Application Fee: USD 10 per submission
Selection Announcement: 30 September 2026
Exhibition & Performance Dates: 17–20 December 2026

Apply Now

Application Form: https://forms.gle/iYyBuaLgrt3LhEHY8

More Information: tmaoinfo@gmail.com

We look forward to receiving your work and welcoming artists from around the world to IntAct 2026 in Bangkok, Thailand.

Wildness is often understood as that which escapes control. It may be found in untamed landscapes or hidden within urban infrastructure; in systems that exceed their creators’ intentions; in collective action and acts of creative disruption; in unruly behaviours and emergent forms of life. Yet in an increasingly managed and mediated world, what does it mean to remain wild? What happens when sound is allowed to escape established categories, hierarchies, disciplines, technologies, and modes of listening? How can we rewild our music?

BEAST invites artists, composers, performers, technologists, researchers, and creative practitioners to explore wildness in all its sonic ferality. We welcome works that engage with ecological complexity, non-human worlds, undomesticated technologies, improvisation, uncertainty, resistance, transformation, and evolution.

The SoundChain International Composition Competition is a one-round composition competition for composers under the age of 40 for new multi-channel and stereo electroacoustic compositions. The competition is held every two years.

The aim of the competition is to encourage the creation and creation of new innovative accusmatic compositions and to inspire young domestic and international composers by creating related professional publications reflecting newly created works and their technical and aesthetic character, and by continuously exploring this dynamically developing compositional field.

Compositions submitted to the competition must be between 7 and 20 minutes in length, must not have been previously published, premiered or commissioned, and are then judged anonymously.

Adora New Music announces the Call for Acousmatic Music, an initiative aimed at promoting the dissemination of fixed-media acousmatic music and supporting the work of composers within the professional circuit of new music creation.
The outcome of this open call will be the release of a compilation album on digital streaming and download platforms and, subject to feasibility, in a limited physical edition (CD or vinyl). Selected works will be presented in concert at the Sala Berlanga in Madrid in spring 2027, in collaboration with the Fundación SGAE.

Eligibility
The call is open to composers of any nationality, aged 18 or over, with legal capacity to sign licensing agreements in accordance with European regulations. Each participant may submit a maximum of two works unpublished in a commercial recording context, belonging to the field of acousmatic or fixed-media electroacoustic music. Works involving live performers or audiovisual components will not be accepted.
The recommended duration is between 4 and 12 minutes per piece, with a maximum of 15 minutes. Multichannel works are accepted, provided that a stereo mix is submitted for evaluation and album inclusion. Audio files must be delivered in .wav or .aif format, 48 kHz, 24-bit, stereo.

There is a registration fee of €12.50 (plus applicable taxes) per submitted work, intended to cover the costs of the selection process and album production. No monetary prizes will be awarded.

Selection process
Works will be evaluated by an artistic committee alongside invited specialists in acousmatic and electroacoustic music. Assessment criteria include artistic quality and originality, technical quality of the audio material, and diversity of styles, aesthetics and geographical backgrounds, with attention to the overall coherence of the compilation. Between 8 and 12 works will be selected. The committee’s decisions are final and not subject to appeal.

Timeline
Submission deadline: 30 September 2026, 23:59 CET
Results announcement: late 2026
Album release and premiere concert: spring 2027

MID SIDE Aps and its record label Empirica announce a call for acousmatic compositions and audiovisual works, in stereo or multichannel format.

The selected works will be presented in the Listening Room of CLAB Studios in Foggia (Italy) during the REF – Resilience Festival 2026, which will take place from 27 to 30 December 2026.

This edition starts from a simple idea: going back to the studio as a place of experimentation. Electronic and electroacoustic music was born exactly there, in the tape rooms and radio laboratories of the mid-twentieth century — Schaeffer’s musique concrète in Paris, the elektronische Musik of the WDR in Cologne, the Studio di Fonologia della RAI in Milan, the Columbia–Princeton Electronic Music Center in New York. Those spaces did not merely adopt new technology: they invented new ways of listening. REF 2026 asks artists to take up that same impulse and rework it in a contemporary key, treating today’s studio — its software, its interfaces, its tools for spatialisation and machine learning — as a laboratory for sonic research, and bringing the results into the listening room.

The call is open to all composers and multimedia artists, regardless of nationality and age. Participation is possible both individually and as a group, and the same artist or group may submit more than one work.

The works will be selected by an internal committee composed of members of MID SIDE Aps and of the Empirica label. The committee reserves the right to exclude works that do not provide adequately clear information; incorrect completion of the application form results in automatic exclusion. The committee’s judgment is final and indisputable.

Categories and specifications

[A] Acousmatic — stereophonic or multichannel acousmatic compositions. Works in several movements are also accepted.
Audio format: WAV, 48000 Hz, 24 bit.
Stereo works: one single stereo WAV file.
Multichannel works: a stereo reduction (single WAV file) plus the multichannel version as a single interleaved WAV file (quadraphonic or octophonic), together with a channel_setup.pdf describing loudspeaker layout and channel order.
Maximum duration: 20 minutes.

[B] Audiovisual — experimental audiovisual productions, with stereo or multichannel audio.
Video: mp4, mov or m4v — 1080p — H.265 or H.264, with an embedded stereo mix for the preview.
Multichannel audio: in addition to the video, the soundtrack as a single interleaved multichannel WAV file (48000 Hz, 24 bit — quadraphonic or octophonic), together with a channel_setup.pdf.
Maximum duration: 20 minutes.

All files must be shared via a Google Drive link with viewing permissions. No other platforms will be accepted.

Mode of participation

Applications are submitted exclusively through the online form at https://www.midside.it/callforworks2026

Deadline: 23:59 on 25 November 2026 (UTC+1).

Participation fee: €15 (tax included) per work. The fee is a donation to MID SIDE Aps to support the expenses of the project. No reimbursement of expenses is provided for selected artists.

Full call (PDF): https://midside.it/ref_media/CALL_FOR_WORKS_2026_EMPIRICA.pdf
Contact: midsideaps@gmail.com | empiricarecords@gmail.com

Rules
– The competition is anonymous and open to composers of any nationality and age, each of whom may submit only one work.
– The winners of previous Xenakis competitions cannot participate in our 6th competition.
– The submitted work shall be an electroacoustic composition to be diffused by loudspeakers without the use of live sound interventions.
– The submitted work might implement a maximum of 8 channels (speakers) and must have a duration between 7 and 15 minutes.
– The submitted work may have been performed in concerts but It should not be the object of any discographic or publication rights.

Deadline
– The deadline for submissions is the 1st of January 2027

Prize
The Jury will select and mention the 5 highest quality works and will award three of them with prizes of €600 €400 €300 respectively. Contemporary Music Lab will present the distinguished pieces in a concert in November of 2027. The chair of the jury will be present there for this special event.

Fee

The entry fee for participation is 15€. You can use the following links to pay online.

EMS 2027 invites composers and sound artists to submit fixed-media works in stereo or multichannel formats of up to eight channels. Works engaging with the conference theme, “The Nature of Electroacoustic Music,” are particularly encouraged. The two concerts will also offer an informal setting for exchange among artists and audiences.
Concert dates: June 25 and June 26, 2027

Concert venue: Li Ying Concert Hall, Peking University, Beijing [北京大学百年讲堂 李莹厅]

Deadline for submissions: FEBRUARY 1,  2027

Acceptance Announcement: MARCH 15, 2027

Eligibility

The call is open to composers and sound artists of all ages and career stages.
Collaborative works are welcome.
Each applicant may submit one completed work.

Works completed within the past five years are preferred, and works presented at a previous EMS conference will not normally be reconsidered.

Formats and Playback Materials

Stereo and multichannel fixed-media works of up to eight channels are accepted. The venue uses an eight-channel horizontal loudspeaker array. Ambisonic works should be decoded and submitted as multichannel renders suitable for this system.

Multichannel submissions must include the multichannel audio files, a complete stereo reduction for review, and a loudspeaker-layout diagram with clearly labelled channels.

Duration

Works of up to 10 minutes are preferred, with shorter works especially welcome. Longer works may be considered in exceptional cases.

Submission Materials

Applicants should provide:

For multichannel works, channel numbers must correspond to the loudspeaker-layout diagram included at the end of the downloadable form below.

• title and year of composition; 
• exact duration and channel format; 
• a program note of up to 150 words; 
• a technical note of up to 250 words; 
• a short biography of up to 100 words. 

A brief statement relating the work to the conference theme may also be included.

Audio Specifications

Audio files should be submitted in WAV format, 44.1 kHz, 48 kHz, or 96 kHz.

Suggested file names: ComposerName_WorkTitle_STEREO.wav

• Mono files: ComposerName_WorkTitle_CH01.wav 
• Stereo-pair files: ComposerName_WorkTitle_CH01-02.wav 

Live Diffusion

Works will be presented with live diffusion, preferably by the composer or a member of the concert team.

Special Playback Requirements

Any non-standard routing, software, project files, computer requirements, or other special playback needs must be declared at the time of submission.

Review Process

Submissions will be reviewed by the concert selection committee based on artistic quality, relevance to the conference theme, technical feasibility, program balance, and the practical requirements of the venue.

Participation

Selected composers and sound artists are required to attend the concert, briefly introduce their works, and, where appropriate, take part in live diffusion.

Rights and Documentation

Applicants must hold all necessary rights to the submitted material. Copyright remains with the composer or rights holder. Information concerning recording, video, streaming, and online archiving will be provided separately.

Timeline (all deadlines are by 11:59 pm Beijing time)

• Submission deadline: February 1, 2027  
• Notification of results: March 15, 2027 
• Acceptance confirmation: March 22, 2027 
• Final performance materials due: May 17, 2027 
• Technical checks and rehearsal: June 25–26, 2027 (morning and afternoon) 
• Concert: June 25 and 26, 2027 (evening; time TBA), Li Ying Concert Hall 
Peking University, Beijing [北京大学百年讲堂 李莹厅]

Contact

• General enquiries: ems2027concert@outlook.com

• Technical enquiries: emsconcert2027te@outlook.com

Submission

Please submit this form:

• Fixed-Media Works submission:
Fixed-Media Works Submission Form

  For questions requiring longer answers, such as the short biography, programme note, and technical note, please submit your answers on a separate page.

EMS2027 seeks to present, alongside up-to-date research results, a number of papers investigating how today’s and tomorrow’s specialists expect this important field to evolve. Will it settle in as a contemporary sub-area of musicology? Or will it find its own foci of scholarly endeavour thanks to the fact that it incorporates all sounds as well as many forms of technology?

EMS27 Conference Theme: THE NATURE OF ELECTROACOUSTIC MUSIC

If nature is a labyrinthine concept, famously characterized by Raymond Williams in his Keywords: A Vocabulary of Culture and Society as “perhaps the most complex word” in the English language, attempts to clarify its relationship with other phenomena and fields of cultural production will likely become only more complex. In place of primary terms, we often seem to be engaged in secondary levels of analysis: for instance, pivoting from “first” to “second nature” (Adorno) or from the “natural attitude” to various forms of the “phenomenological attitude” (Pierre Schaeffer and his successors in phenomenologically-oriented inquiry). Aesthetic ideas emerging from experimental electronic practices have likewise decentered “music” and positioned it within the broader domain of “sound,” with corresponding transformations in the disciplinary facets that embrace acoustic ecology and sound studies as well as compositional domains that include soundscape composition, field recording, and data sonification. The exceptional semantic fluidity of the concept of nature is matched by its productive energies and varieties. We invite contributions that explore new and challenging configurations of the relationship(s) between electroacoustic music(s) and nature(s). These may include historiographical and critical engagements within the broad ‘Western’ tradition we have sketched above as well as conceptualizations of “nature” and creative work with “natural” elements in electroacoustic media outside of this tradition.

ADDITIONAL EMS 2027 THEMES

The conference is also open to other topics relevant to the history and/or contemporary practice of electroacoustic music. We encourage the submission of papers relating to any aspect of the field, including but not limited to analysis, perception, listening, terminology, composition, performance, cultural issues and education.

Analysis:

– What types of discourse are relevant to electroacoustic works?
– Analysis of pieces from the repertoire (self analyses will not be accepted)
– Analytical methods currently being developed?
– Can one adapt existent analytical methods of music to electroacoustic works, many of which involve no prescriptive notation?
– How can we further develop the field of study of electroacoustic musics?

AI and musicology of electroacoustic music:

– Generative AI and questions of agency, intentionality and human expression

Transcription and representation of sound, new audio-visual tools:

– How are analytical tools being produced and disseminated in the community?
– Which means are available for communicating this sonic art form through symbolic and graphic representations?
– Does the study of electroacoustic musics require specifically designed tools or can it take advantage of methods conceived for other musics?

Taxonomy, terminology – ‘meaningful’ units of music description:

– Which systems of classification are in use or should be developed?
– How can we become more consistent in our use of terminology in a field as dynamic as electroacoustic music?

Real-time music making:

– How can live performance/composition strategies be analysed
– What is ‘live’ electronic music?

Performance, presentation, dissemination:

– What is the ‘work’?
– New presentation spaces, technologies.
– Aesthetical and musical issues raised by Internet communities, group compositions, telematics and performances.

Listening, Intention-Reception

– Issues of perception and interpretation.
– How do the composer’s intentions relate to what is perceived?

Semiotics/semiology, ‘meaning’:

– What (and how) do different electroacoustic music genres express?

Soundscape, sound ecology:

– Analytical tools for the understanding of soundscapes.
– New approaches to sound ecology, sonification, sound environment.

Genres/styles, ‘languages’:

– Questions of unity, diversity, plurality, multicultural resources, polystyle, hybridisation, ‘local music’.

Gender issues:

– Have gender balances shifted since the early days?
– The relationship between technology/electroacoustic music and gender.
– Unrecognised contributions: revising history.

Research on history of electroacoustic music:

– Research on historical documentation.
– Studies on the genesis, development and activities of private and public studios.
– How can and should we revise history?

Socio-cultural issues:

– What are the socio-cultural ramifications of electroacoustic music?

Pedagogy:

– Curriculum design.
– Balance between theory and practice, general and specific approaches.
– Real-time and interaction versus fixed medium and studio techniques.
– Teaching material: how to select it, and language issues.

Caution: Participants are discouraged from submitting proposals focusing on their own compositions as well as those discussing the development of new technological resources for musical application that have a better home at events such as ICMC.

PAPER SUBMISSION

Please see Submission Guidelines.

Deadline for submissions: FEBRUARY 1,  2027

NOTE ON ONLINE PRESENTATIONS

There will be two remote sessions, with very limited slots available. Please indicate in your submission if you are proposing an online presentation and the time zone in which you will be located when presenting.
The few online presentations we’ll accept will have to given live and not in an off-line, recorded manner.

PAPER PUBLICATION

Accepted full papers will be included in the EMS27 Proceedings booklet (PDF), while the abstracts and bios will appear in the printed EMS27 guidebook

All approved/presented papers will be published on the EMS site and the Zenodo research Web site and will receive their own DOI   

Acceptance Announcement: MARCH 15, 2027

Deadline for receiving the full papers, fornatted with EMS27 template : MAY 1, 2027

Aion Laboratory was established as a specialized division of Ise-Shima Art Company with the mission of advancing and promoting digital art. Through innovative initiatives and support for creators, it aims to foster the growth of digital artistic expression and its international recognition. We broadly invite submissions in all forms of digital and media art. Examples include, but are not limited to, the following:

Examples of Eligible Fields

Computer Art

• Works created wholly or partially using computers.

Electronic Art

• Works using electronic technologies, such as digital installations and interactive systems.

Multimedia Art

• Works integrating multiple forms of digital media, including text, images, sound, and video.

New Media Art

• Innovative works exploring emerging technologies such as augmented reality (AR), virtual reality (VR), and artificial intelligence (AI).

Acceptable Submission Formats

Document Formats

• Digital text-based works such as PDF, DOCX, and other commonly used formats.

Image Formats

• Image-based or pictorial works such as JPEG, PNG, and TIFF.

Video Formats

• Video art, animation, and short film works in formats such as MP4, AVI, and MOV.

Audio Formats

• Sound art or music works in formats such as MP3 and WAV.

Eligibility

• Open to all nationalities.
• No age restrictions.
• If an applicant has a close relationship with an Aion Laboratory member, or is that member’s student or relative, that member may not participate in the judging of the relevant work.
• List of related members: https://www.aionlabo.com/about-1
• Works created entirely by AI are not eligible.

Application Procedure

• Online application opens: April 1, 2026.
• Application deadline: March 1, 2027, 23:59 (GMT).
• Reference for GMT: https://greenwichmeantime.com/current-time/
• Entry fee: 3,000 JPY (non-refundable). After submitting the application form, payment must be made by credit card or PayPal via the following page: https://www.iseshimaart.com/digitalartprize
• All important communications will be sent from info@iseshimaart.com. Please check your email settings so that messages from this address can be received.
• Depending on the circumstances, prize winners may be asked to submit a copy of an identification document.
• The name printed on the certificate will be exactly the same as the name entered in the application form. Please ensure that your name is entered correctly. Applicants may use a name other than their legal name, such as an artist name; however, in such cases, their legal name must also be entered in the address field, as this is necessary for delivery of the certificate. Applicants must also provide an address at which they can reliably receive the certificate if awarded. Temporary addresses must not be used.
• Applicants must submit their own original work. In the case of a collaborative work, the names of all creators must be entered in the application form, separated by slashes (/). Example: Creator 1 / Creator 2 / Creator 3.

Regulations

• Submitted works may have been previously exhibited or awarded.
• Multiple submissions are permitted; however, each work requires a separate application form and a separate entry fee.
• Works must be uploaded to a file-hosting service or media-sharing platform such as Google Drive, Dropbox, SoundCloud, YouTube, Youku, or Vimeo.
• When uploading a work, applicants may also use a ZIP file containing multiple files.
• Applicants must write an explanation of the work directly in the application form.
• If AI was used in the work, applicants must explain in the application form how it was used and for what purpose.
• Until the announcement of the results, submitted works must remain accessible to the judges.
• Incomplete or incorrect application materials may result in disqualification.
• Copyright remains with the applicant; however, by submitting, the applicant grants our organization the right to introduce, share, and exhibit the work on its website and in promotional materials.
• After submission, no revision or alteration of the work will be accepted under any circumstances.
• All decisions regarding the judging results are final.
• Submission constitutes full agreement to all of these rules and conditions.
• Aion Laboratory reserves the right, after consultation with the judges, not to grant an award or to amend these rules if it considers such action justified in light of the number of submissions or the evaluation results.
• Judging will be carried out by Aion Laboratory members.
• If applicants enter social media accounts or website URLs in the application form and win an award, that information may be made public for winner promotion. If applicants do not wish such information to be published, they should leave those fields blank.

Judging Criteria

• Particular importance will be placed on originality and individuality that demonstrate new possibilities in the field of digital art.
• Technical ability to realize that originality will also be evaluated.

Contact

info[at]iseshimaart.com

Prizes

• One entrant will receive the Aion Digital Art Grand Prize (certificate and 50,000 JPY).
• Up to 35 entrants will receive the Aion Digital Art Prize (with certificate).
• Printed certificates will be sent within two months after the announcement of the results.
• Results will be announced by email on May 5, 2027, and will also be published on the official website.

Positive Ambisonics is now in its second year. We offer week-long, one-to-one
residencies for artists working with spatial audio, ambisonics, and immersive sound
practice — in one of the most acoustically distinctive environments in Europe.

The residency is built around a simple but rare proposition: dedicated time,
professional infrastructure, one-to-one mentoring, and free accommodation, in a
temperate rainforest on the west coast of Scotland. The landscape is not a backdrop — it is part of the programme. Residents engage directly with the acoustic
environment through field recording, site-specific work, and spatial composition.
We welcome artists at all career stages — from practitioners developing a spatial
audio practice for the first time, to established artists making ambitious new work that needs the right conditions to exist.

The Black Artists Grant (BAG) offered by Creative Debuts as a no-strings attached financial support to help Black artists. They can spend the grant on whatever they want – be that make new work, buy equipment or materials, travel, research, visit exhibitions or conferences, or to even just cover some life expenses.

This grant has been set up because Black artists are systematically under-supported by the art world; by institutions, curators, the artist-led scene, major and minor funding bodies, the market, art schools, and by audiences too.

Creative Debuts recognises that a full institutional overhaul and dismantling of racist structures is required to transform the industry permanently, but they hope in a small way that this grant will help enable recipients to continue their artistic practice when the odds are so stacked against them.

Before you apply, please read the grant details below:

· Applicants must be based in the UK.

· This is specifically for Black artists (those with Black heritage and identify as Black); not politically Black, not POC or BAME.

·  Recipients will be chosen monthly

·  Each successful recipient will receive £500

· Open to all creative disciplines, eg painters, musicians, directors, jewellers, set designers, sculptors, choreographers etc etc

·  There is no deadline as this is a monthly rolling grant, no age limit, and the grant does not expect any outcomes or reporting. Please only apply once, if you apply in February for example, you are still eligible for selection in a different month, all applications are kept and reviewed.

·  Applicants will not be informed if unsuccessful as all applications remain valid and are reviewed regularly by the selectors.

·  The grant currently supports 1 recipient per month.