Opportunities

ABLAZE Records is now accepting submissions for ELECTRONIC MASTERS VOL. 12 — our international series celebrating outstanding electronic and electroacoustic music by composers from around the world

For more than a decade, ELECTRONIC MASTERS has presented adventurous, sophisticated, and compelling electronic music from an extraordinary range of composers and aesthetic traditions. The series celebrates the remarkable diversity of contemporary electronic music—from fixed media and acousmatic works to computer-generated sound, electronic transformations, live electronics, and works combining acoustic instruments or voices with electronics.

Now we want to hear what you are creating.

HAVE YOU MADE A RECORDING YOU BELIEVE DESERVES A WIDER AUDIENCE?

Submit your best original electronic or electroacoustic work for consideration by our expert selection panel.

If selected, your work will be included on ELECTRONIC MASTERS VOL. 12, receiving a partially subsidized commercial release through ABLAZE Records with worldwide distribution and professional production support.

This is an opportunity to move beyond simply having your work heard online or performed once.

Give your music a permanent place in an international professional catalog.

WE ARE LOOKING FOR:

* Original electronic and electroacoustic compositions
* Fixed-media / acousmatic works
* Computer music and digitally generated sound
* Live electronics and interactive electronic music
* Works combining acoustic instruments or voice with electronics
* Experimental and innovative approaches to electronic sound
* Music that demonstrates a distinctive artistic voice and exceptional sonic quality

Digital recordings only, please.

WHY ELECTRONIC MASTERS?

ELECTRONIC MASTERS is part of the established ABLAZE Records catalog, which represents composers and performers from around the world across a wide range of contemporary musical media.

Previous volumes have brought together composers from multiple countries and aesthetic traditions, creating a remarkable international portrait of contemporary electronic music. The series has also provided a professional platform for composers whose work might otherwise remain outside the traditional commercial recording world.

Your music could be part of that continuing history.

SUBMIT YOUR WORK TODAY

Send us your strongest electronic or electroacoustic recording for consideration for ELECTRONIC MASTERS VOL. 12

If selected, you will receive a place on the album and a partially subsidized commercial release through ABLAZE Records, with your work made available to audiences internationally.

We are looking for music that is original.
Music that is compelling.
Music that deserves to be heard.

Artists Rebecca Evans and Simon East are looking for sounds to incorporate into the soundscape for an interactive installation exploring the relationship between folk, movement and technology. The installation will be exhibited at Compton Verney and Scala Worcester in 2027.

The sounds will become part of an interactive soundscape where movement triggers different sounds, allowing participants to create and layer their own musical experience.

The sounds may also feature in a 360-degree film, experienced through VR headsets and online.

In Motion 2027 applications are now open.

In Motion is for UK-based creators working in any genre or discipline who are ready to invest time, attention and energy in deepening, expanding or reimagining their practice over an 18-month period.

There is no single route through In Motion — and no predetermined version of what success should look like. Instead, the programme is built around each artist’s ambitions, creating time and space to reflect, experiment, take creative risks and make meaningful changes in their work.

Up to 10 creators will receive:

• A bursary of £1,800
• A production grant of up to £4,000 to support with project or artistic development costs
• Regular 1:1 sessions with a dedicated team member
• Sessions with an accredited coach
• Mentoring sessions
• Group sharing sessions and workshops, including two-day residential Networking Days

📅 Applications close Monday 2 November 2026.

💻 Considering applying? Come along to one of our informal online Meet the Team sessions:
1️⃣ Monday 19 October, 12:30–1:30pm — open to all music creators
2️⃣ Tuesday 20 October, 12:30–1:30pm — for creators identifying as d/Deaf, disabled and/or neurodivergent

University of Nebraska at Kearney 2027 New Music Festival
April 2nd and 3rd, 2027

The University of Nebraska at Kearney is excited to announce its 2027 New Music Festival, being held April 2nd and 3rd, 2027, on the UNK campus in Kearney, Nebraska. Deadline for receipt is Friday, November 6th, 2026 at 11:59 pm CST.

Our guest artists will be andPlay, the The New York City-based duo of Maya Bennardo, violin, and Hannah Levinson, viola. andPlay will give a public reading of UNK student compositions on Friday, April 2nd, as well as perform the closing recital on Saturday, April 3rd. More information can be found at www.andplayduo.com.

Composers may submit one (1) score to this call. There are four (4) categories for submission:

Category 1: Composer-provided performers and/or composers performing their own works.

Category 2: Open-score compositions. These works must be for an open/indeterminate ensemble and may include instruments, voice, electronics, and found objects. Performers will be selected from UNK faculty, students, and the UNK New Music Ensemble.

Category 3: UNK-provided performers. Solo and chamber scores for subsets (1-5 performers) of the following instruments and voices (one performer each) with or without electronics:

Flute
Alto Saxophone
Euphonium/Tuba
Piano
Percussion (see FAQ for instruments)
Mezzo-Soprano Voice (F3 – A5)
Baritone Voice (G2 – G4)

Category 4: Fixed-media compositions or sound installations up to 5.1.

Guidelines and Eligibility:
1. Composers of any nationality and age are encouraged to apply. We especially encourage submissions from composers from underrepresented communities.

2. Each composer may submit one piece for consideration. Composers who submit more than one piece for consideration will be disqualified.

3. Submissions must be between 1 – 20 minutes in duration.

4. While there is no attendance requirement, preference will be given to composers who are able to attend the festival.

5. There is no submission fee. If you would like to support the UNK New Music Series and Festival with a tax-deductible donation, you can do so here: https://nufoundation.org/fund/01139600/

6. Please make sure that your submission links are accessible. Links that deny access to the judges will be disqualified.

FAQ:

Q: May I submit more than one piece?
A: No. Composers may only submit one piece. Composers who submit more than one piece for consideration will be disqualified.

Q: Is there anything I should make sure of regarding my submission link?
A: Please ensure that the link you provide is accessible to anyone with the link. There are several judges for this festival, and so the link must be accessible to anyone with it. Submissions whose links are not accessible will not be accepted.

Q: May I submit a piece that involves both faculty and student performers?
A: Yes! Our faculty and student performers often collaborate. Please know that the majority of our students are music education majors, and all are at the undergraduate level.

Q: What kinds of percussion instruments do you have?
A: For non-pitched percussion, we have all standard orchestral/band percussion instruments. For pitched percussion, we have the following: Glockenspiel, Crotales (2 octaves), Xylophone, 2 Vibraphones, 2 Marimbas (both 5-octave), Chimes, and Timpani (5). If you have questions regarding specific percussion instruments, please contact Dr. Tyler Hawk at hawkt@unk.edu

Q: Do you have any funding to support travel?
A: Unfortunately, we are not able to fund any travel to the festival.

Q: If selected, am I required to attend the festival?
A: While there is no requirement, composers who can attend the festival will be given preference due to the collaborative and communal nature of the festival.

Q: Is there a submission fee?
A: No! It is completely free to submit to the UNK New Music Festival. If you would like to support us, please consider donating by clicking on the following link: https://nufoundation.org/fund/01139600/

Note: Please make sure that your submission links are accessible. Links that deny access to the judges will be disqualified.

Deadline for receipt is Friday, November 6th, 2026 at 11:59 pm CST.

Submission link: https://forms.gle/SxTbJbngcBit2Wsj9

Questions can be sent to Dr. Anthony Donofrio: donofrioaj@unk.edu.

We are inviting Scottish based emerging artists to develop existing projects for Cryptic Nights 2027/28. If your work combines original sound or music with performance, installation, screen-based art or technology, we would like to hear from you.

Since 2009, Cryptic Nights has supported 350+ artists, many of whom have gone on to have highly successful careers, including Lu Sisi, Anna Meredith, Rachel Maclean and SHHE.

Want to get a feel for what Cryptic Nights is all about? You can check out our archive here.

What We Offer

• Fee: £800 for solo artists and up to a max of £2000 for group
• Support: One mentoring session from the Cryptic team
• Development time: Up to two-day residency plus performance/presentation
• Documentation: Professional photography of your work and video documentation
• Marketing & PR: Campaign support from Cryptic
• Travel & accommodation: For artists based outside Scotland’s Central Belt
• Audience insights: Feedback pack after your event
• Free tickets: To other Cryptic Nights events

Who Can Apply:

• Emerging artists based in Scotland (at any stage of life).
  An emerging artist may be at the start of their career, changing direction in their practice, or starting to explore new ways of working.
• Projects using original sound or music.
• Artists who are not in full-time education (no formal education experience required).
• Works that use technology in new and creative ways.

We are not looking for:

• Traditional theatre, literature, music, comedy, circus or dance.
• New work – this is for developing an existing work only.

We’re particularly keen to support applications from artists who are currently 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

Selection Panel: Sonia Killmann, Musician and Composer; Daira Ronzini, artist; and Cathie Boyd from Cryptic.

Access

Cryptic is committed to Inclusion, Diversity, Equity and Accessibility.

We want to make sure that our call outs are accessible to as many people as possible. We are committed to remove barriers to participation.

We are members of Keychange and have made a commitment to achieve gender parity across our programmes of work.

We will work with all applicants to ensure their access needs are met during the selection and presentation process and will ensure that access requirements are not a factor in our decision making. If you have any access requirements that you would like us to know about, please include these in your application.

There is an access budget to support the needs of D/deaf, disabled or neurodivergent applicants or those with caring responsibilities. 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. We are a Disability Confident Employer.

Application

We understand that the application process can present different challenges.

As alternatives to the online application form, 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 Easy Read, Screen reader accessible PDFs, Large print etc.

In addition, we can offer:

• An extension for application deadlines, if you need access support.
• An agreed contribution of up to £150 for access support in making your application.

Advice Sessions

Come meet the team and ask any questions!

• Wednesday 21 October, 12-1pm in person at the Cryptic Office, 5 Florence Street, Glasgow, G5 0YX
• Tuesday 3 November, 6-7pm Zoom online session

To reserve a 20-minute slot, please contact Lizzie Urquhart at crypticprojects@gmail.com or WhatsApp, text or phone (0)7836 358136 Monday-Thursday between 10am and 5pm.

How to Apply

• Complete the application form (written, video or audio)
• Complete the inclusion form (written, video or audio)

Apply here: https://www.cryptic.org.uk/cryptic-nights-2027-28-application-form/

To work on your application offline, you can download our application form here.

Please note: late applications will not be accepted (unless you have requested an extension).

We are a small team and can only offer feedback to shortlisted artists.

Key Dates

• Advice sessions: Wednesday 21 October 2026, 12-1pm in person // Tuesday 3 November 2026, online
• Deadline: 12 noon, Thursday 19 November 2026
• Shortlisting Panel Meeting: Late November/Early December 2026
• Informal Meetings with shortlisted artists only: January 2027
• Confirmation of programmed artists: February 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

We are pleased to invite contributions to this Special Issue on Audio
for Extended Reality, to appear in the Journal of the Audio Engineer-
ing Society (JAES) (http://www.aes.org/journal/).

This Special Issue follows AVARIG2026, the 6th International
Conference on Audio for Virtual and Augmented Reality and
Immersive Games, and is open to all researchers, developers,
and audio professionals working in the field whether or not they
presented at the conference. The field spans spatial sound, audio
signal processing, psychoacoustics, AI for audio, and interactive
media, reflecting the scope of the newly formed Audio Engineering
Society (AES) Technical Committee on Immersive Media and
Gaming.

We welcome original research papers, engineering reports, and
tutorials on but not restricted to the following topics:

• 3D audio mixing and content production
• Six-degrees-of-freedom navigable spatial audio/sound field
  interpolation
• Acoustic simulation of immersive audio environments
• Audio analysis and synthesis
• Audio capture and synthesis for immersive sound fields and
  applications
• Audio Everywhere: from enterprise and broadcast to cross-
  platform virutal reality (VR)
• Audio for location-based installations (entertainment, exhibits)
• Audio for mobile and handheld devices/interactive sound
• Audio signal processing
• Auditory rendering platforms/loudspeakers and headphones
• Binaural audio rendering and reproduction
• Cross-modal interaction (sound + image + haptics)
• Developing audio standards for VR/augmented reality
  applications
• Game engines in audio production and postproduction
• Immersive/interactive sound design
• Immersive and interactive audio over networks
• Immersive audio codecs (interactive/real-time playback in games)
• Immersive sound production techniques for remote work
• Machine learning, deep learning, and AI audio
• Music composition for immersive media
• Perception and subjective evaluation of spatial/immersive audio
• Perceptual effects of cross-modal interaction in immersive game
  contexts
• Room acoustics identification
• Sound effects, production techniques, and future production
  workflows
• Spatial audio (3D audio, ambisonics, object-based)
• Spatial audio quality, compression, streaming, and latency
• Transparent hearing applications and hardware
• VR/augmented reality/mixed reality applications (case studies)
• Virtual environment modelling (synthetic sound fields, rever-
  beration)

Submissions will be judged on their academic quality, novelty,
and relevance to the theme of this Special Issue. Authors of accepted
AVARIG2026 papers are encouraged to submit an extended version
containing at least 30% new material beyond their conference
proceedings manuscript. The Special Issue is equally open to
original submissions that were not presented at the conference.

GUEST EDITORS

Benoit Alary (Institut de Recherche et Coordination Acoustique/
Musique [IRCAM]/ Sciences et Technologies de la Musique [STMS],
France)
Jean-Marc Jot (Virtuel Works, USA)
Masataka Nakahara (SONA/ONFUTURE, Japan)

AUTHOR GUIDELINES

We welcome original research and review papers and revised and expanded
versions of AVARIG2026 conference papers addressing the theme of this
Special Issue. Please follow the Author Guidelines available at: https://
aes.org/publications/journal-of-the-audio-engineering-society/journal-au-
thor-guidelines/.

Papers should be submitted online at: http://www.editorialmanager.com/
jaes/.

When submitting a manuscript, please choose the category “Special Issue
(Audio for Extended Reality)” rather than “Research Paper,” “Engineering
Report,” or “Review Paper.” All submissions will be peer reviewed according
to standard JAES review procedures.

Submission deadline: Monday, November 30, 2026

Planned publication: June–August 2027

The 2026 Autumn Project is open now for artists and musicians from any background – we want you to help us remix the world, one sound at a time.

Twice every year, we open up the Cities and Memory sound vaults to offer you a selection of inspiring field recordings to work with – all you need to do is choose one recording, and create a reimagined composition based on that sound.

We’ve dug deep into the vaults, and conducted some special field recordings trips ourselves just for this project, so this year’s selection is one of the most fascinating we’ve ever offered, with more than 200 recordings across 36 countries.

Space has long been the primary domain of discourse in electroacoustic music, from the space the sound is being situated in, to the space that the sound is being projected at. In the context of our festival which also spans digital arts and electronic music beyond the school of the acousmatic, the meaning of ‘space’ expands instantly as those worlds collide. For our sophomore edition, TagTEAMS 2027 returns with the theme of “SuperColliding Spaces.” Here, a collision of spaces—space as interpretive, imagined, and physical; the space sound inhabits, travels through, and transforms; outer space itself; and the spaces where different artistic practices intersect, overlap, and collide—takes center stage.

The Thai ElectroAcoustic Music Society (TEAMS) is seeking submissions for TagTEAMS 2027, the second edition of TEAMS’s annual festival of electroacoustic music and digital arts in Thailand.

*Selected artists are NOT required to attend the festival in person, but encouraged.

Categories for works accepted for consideration include: 

• Fixed Electroacoustic Work (fixed media, with or without video, including works in ambisonics)
• *NEW* Mixed Electroacoustic Work (works for solo live instruments and electronics) 
• *NEW* Keyboard + Electronics Work (works for keyboard and electronics) 
• Live Electronic Performance (live sets)
• Video Art with Sound (audiovisual works and short films included)

*Artists may submit multiple works as separate entries.*

We welcome the following audio formats:
Monaural, Stereophonic, Quadraphonic, 5.1, 7.1, Octophonic (French), and Ambisonics (up to 3rd Order)

Electroacoustic works and performances length should nominally be under 15 minutes, while short films should not exceed the length of 40 minutes while also not less than 5. Thai artists and composers are especially encouraged to submit.

Loudspeaker configuration and channel configuration are subjected to change based on technological and logistical availability without prior notice.

Please note that works submitted to the open call must be completed before submission of the call. DJs and bands will not be considered. TagTEAMS is set to be held in April 2026 at Bangkok Kunsthalle, with curated works performed on the TEAMSpace non-standard multi-loudspeaker diffusion system. 

Submissions must be made to this Google Forms by 31st December 2026, 23:59:59 (AoE – Anywhere on Earth). Results will be notified privately.

For any inquiries regarding the open call application process, please contact teams.mulch@gmail.com

So long I was __________ that I forgot my own scream.

I’m Nguyễn Hoàng Gia Bảo, a Vietnamese multimedia artist and poet working with text, sound, moving image, and performance.

For 100 Screams, I am collecting 100 scream recordings and 100 inscriptions from participants anywhere in the world. The recordings will be collaged and composed into a 100-hour sound work, alongside a spatial installation developed from the inscriptions.

Anyone can participate. No professional recording equipment is required.

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.

01

Purpose and format   PURPOSE & FORMAT

The competition is devoted to the creation of art music, including classical, contemporary and experimental music, and aims to provide opportunities for the evaluation and presentation of new works regardless of nationality or generation.

Two rounds per year

To provide more independent opportunities for outstanding works to be evaluated, the competition is normally held twice a year. Each round is adjudicated as a separate competition and has its own awards. The official deadline and schedule for each round are published on the official website.

Previous-edition statistics

6th edition (2026): 348 applications / 277 applicants / 40 countries and regions

Schedule for this edition

All dates and times are based on Greenwich Mean Time (GMT). A high volume of traffic may occur near the deadline, so early submission is recommended.

Item

Date and time (GMT)

Approximate Japan time

Standard period

From the opening of the form to 17 January 2027, 23:59

Until 18 January, 08:59

Final period

18 January 2027, 00:00–31 January 2027, 23:59

18 January, 09:00–1 February, 08:59

Deadline

31 January 2027, 23:59

1 February 2027, 08:59

Results

28 February 2027 (planned)

Official website and email

02

Eligibility   ELIGIBILITY

• There are no restrictions on nationality or age.
• Each submitted work must be the applicant’s own original work, composed solely by the applicant. Jointly composed works are not eligible.
• Prize recipients may be asked to provide identification or other documents for identity verification.
• A composer may submit more than one work, but each work requires a separate application and separate fee.

03

Eligible works   WORKS

• Works in the field of art music, including classical, contemporary and experimental music, are eligible.
• Instrumentation and duration are unrestricted; eligible works include solo, chamber, choral, orchestral and concerto works, among others.
• Works that have already been performed, recorded or published, and works that have received awards in other competitions, are eligible.
• The presence of tonality, melody or harmonic progressions is not in itself a limitation. For works intended primarily as popular music, background music, or music for film, video or games, applicants are also encouraged to consider the ISAC International Popular & Media Composition Competition (https://en.iseshimaart.com/popular-music-composition-competition).
• Purely electronic works and works based primarily on electronic media are also eligible. Depending on the nature of the work, applicants may also wish to consider the Aion Digital Art Prize (https://www.aionlabo.com/en/blank-2).
• Applicants warrant that their submitted work does not infringe any copyright or other rights of a third party.
• A work that has not received an award in this competition may be resubmitted in a later round with a new application and fee. The same work may not be resubmitted after receiving a Grand Prize or Special Prize.

04

Submission materials   SUBMISSION MATERIALS

Submit at least one of A or B below; both may be submitted.

A | Score or description of the work

• If a score exists, it may be uploaded directly through the application form as a PDF. Submission of a score is not mandatory.
• If no score exists, a PDF explaining the structure, techniques, playback method and other essential information may be submitted.

B | Audio or video recording

• Enter an external link in the form that is available for streaming or download. Audio and video files cannot be uploaded directly to the form.
• A live recording is not required; a reference recording made with computer-generated sound may also be submitted. See the next section for the requirements governing external URLs.
• Recommended filename for a score or description: ComposerName_WorkTitle_Score.pdf. Before submitting, verify that the name, title and content correspond.

05

External links and review materials  AUDIO LINKS & REVIEW

Requirements for external links

1. SoundCloud, YouTube, Youku, Vimeo, Google Drive and similar services may be used.

2. Access must not require signing in to a viewer’s personal account, individual approval, an access request from the competition office or entry of a password.

3. The same URL and the same content must remain available for streaming or download until the results are announced. Check for regional restrictions, link expiry, deletion and replacement of files.

4. The work or recording may not be replaced after the application has been completed. The competition office may ask for correction of an error in the URL or access settings, provided that the submitted content is not changed.

Public play and view counts

Counts displayed by SoundCloud, YouTube, and other external platforms may not reflect actual playback during adjudication because of each service’s counting method, embedded playback, or repeated listening to the same passage. The organizer does not use these public figures as records that adjudication took place; it keeps separate internal records of the adjudication status of each entry. Displayed counts do not indicate whether a work was adjudicated or how it was evaluated.

Handling of review materials

• Solely for adjudication, the organizer may temporarily store and reproduce submitted scores, audio recordings and videos and share them securely with members of the jury.
• An officially accepted work will be adjudicated if at least one submitted item can be reviewed.
• If none of the submitted materials can be reviewed, the work may be excluded from adjudication. The competition office is not required to request correction of the problem.
• Materials retained for adjudication are normally deleted approximately six months after the results are announced, except for information required by law, payment and prize records, or system backups.

06

Application and fees   APPLICATION & FEES

1. A separate form must be submitted for each work. If submitting multiple works, complete one application for each work.

2. An application is valid only when both the form submission and online payment are completed by the end of the applicable fee period and by the final deadline. The fee is determined by the later of the two completion times. If either remains incomplete after the final deadline, the application is invalid.

3. Payment is made through the form by credit card or PayPal. All amounts are in Japanese yen; any exchange or payment-processing fees are borne by the applicant.

Fees | per work

Option

Standard period

Final period (14 days)

Application only

JPY 5,000

JPY 7,000

Application + consolidated jury feedback

JPY 10,000

JPY 12,000

The standard fee applies only if both the application form and payment are completed by 17 January 2027 at 23:59 GMT. Otherwise, both must be completed by 31 January 2027 at 23:59 GMT and the final-period fee must be paid.

Main information required in the form

• Composer’s full legal name (used for administration, identity verification, and certificate delivery); the applicant-designated “Name for Publication and Certificate” (legal name, stage name, or pen name); delivery address; Country/Region for published results; Country/Region for certificate delivery; delivery postal code (enter N/A if the destination has no postal-code system); and contact email address entered twice.
• Work title; type(s) of submission material; and at least one of the following: a score or work-description PDF, or an external URL for an audio or video recording.
• Request for consolidated jury feedback and, if requested, delivery language; selection of the applicable fee; acceptance of these rules and the handling of personal data.
• An application may be declared invalid, excluded from adjudication, or disqualified if the submitted work is jointly composed; required information or payment is missing; false information is provided; third-party rights are infringed; the applicant does not cooperate with identity verification; or the name or delivery details contain a serious error. No feedback will be provided, and neither the application fee nor the feedback fee will be refunded, for any application that is invalid, excluded from adjudication, or disqualified. The competition office does not guarantee that it will request a correction.
• Make sure that messages from info@iseshimaart.com can be received.

Changes and refunds after submission

After payment, the applicant may not cancel the application for reasons attributable to the applicant or replace the work or recording, and no refund will be given. No feedback will be provided, and neither the application fee nor the feedback fee will be refunded, if an application is invalid, excluded from adjudication, or disqualified. A refund will be made only for a duplicate payment, cancellation of the competition by the organizer, or the organizer’s inability to provide feedback for an otherwise valid application.

07

Consolidated jury feedback (paid option)  CONSOLIDATED JURY FEEDBACK

At the time of application, an applicant may add JPY 5,000 per work to request consolidated jury feedback: one report compiling comments and advice from multiple jurors. This service is independent of the award decision.

Contents

Consolidated report compiling comments and advice from the jurors

Delivery method

To the registered email address

Expected timing

Within two months after the results (planned)

Additional fee

JPY 5,000 / work

Possible content

The content, format, and length of the report vary depending on the nature of the work and the jurors’ comments, and the report may not cover every item listed below.

• Comments on strengths and musical or technical aspects, including structure, writing, timbre, notation and presentation.
• Specific advice useful for future composition, revision, performance preparation or presentation of the work.
• The consolidated jury feedback report is scheduled to be sent to the registered email address within two months after the results are announced. Applicants may choose the delivery language. If the selected delivery language differs from the language of the original comments, a translated report will be provided. Individual jurors’ original comments will not be sent separately.

Scope and conditions

• Feedback may be requested only at the time of application and, in principle, cannot be added or cancelled after payment.
• The feedback report is not a score sheet, a ranking, or a reconsideration, and it does not change the competition result. It does not include follow-up questions, reassessment, or ongoing consultation.
• Whether feedback is requested has no effect on adjudication or awards.
• The organizer may limit the number of feedback requests and stop accepting the paid feedback option once the limit is reached.

If feedback cannot be provided

If feedback for an otherwise valid application cannot be provided for a reason attributable to the organizer, only the additional JPY 5,000 is refunded. The application fee is non-refundable. Invalid, excluded or disqualified applications receive no feedback and no refund.

08

Adjudication   ADJUDICATION

Officially accepted works are assessed holistically against the criteria below. No particular style, tonality, technique, or aesthetic is given priority.

Criterion

Main considerations

Originality and artistic vision

The work’s own idea, artistic necessity and creativity

Musical content and expression

Development of material, expressiveness, and aural persuasiveness

Structure and temporal design

Overall form, proportion, flow, and focus

Technical realization

Use of forces, writing, timbre, notation and other means

Completeness

Coherence of the work

• The jury may consult the score, recording, video, description and other materials together, and may listen again to the complete work or compare particular passages.
• Applicants are not required to disclose relationships with jurors or the organizer in the application form. To ensure fairness, each juror must proactively disclose to the organizer, at the time of scoring, any teacher-student, family or other direct or private relationship with an entrant. That juror must take no part in scoring or preparing feedback on the entrant’s work, or in any jury deliberation concerning it.
• The jury’s decision is final. No reconsideration will be conducted after the results are announced.

09

Awards  AWARDS

Award

Number

Content

Grand Prize

Normally 1 work (maximum 2)

Total prize fund of JPY 100,000 and certificate

Special Prize

Approximately 35 works

Certificate

• Awards are counted by work, not by composer. Multiple works by the same composer may receive awards independently.
• Depending on the adjudication, an award may be withheld and the number of Special Prizes may vary slightly from approximately 35. No more than two works may receive the Grand Prize; if two are selected, the total prize fund of JPY 100,000 is divided equally, with JPY 50,000 awarded to each work.

10

Results and certificates   RESULTS & CERTIFICATES

• Results are planned to be announced on the official website on 28 February 2027; applicants will also be notified at their registered email address.
• Because email delivery cannot be guaranteed, the announcement on the official website constitutes the official result and must be checked by each applicant.
• The certificate and published results will use the applicant-designated “Name for Publication and Certificate,” which may be the applicant’s legal name, stage name, or pen name. The composer’s full legal name must be entered separately and is used only for administration, identity verification, and certificate delivery; as a rule, it is not published. “Country/Region for Published Results” is used only in the results announcement. Certificates are delivered using the legal name, delivery address, and “Country/Region for Certificate Delivery.” If the destination has no postal-code system, enter N/A. Provide an address at which the certificate can still be received after the results are announced, and avoid temporary accommodation. Certificates are normally dispatched within one month after the results are announced, but delivery may be delayed or the certificate may be provided electronically because of postal, security, or delivery conditions.
• Arrangements for payment of the Grand Prize money, identity verification and required documents will be communicated individually to the recipients.

11

Rights, publicity and personal data  RIGHTS & PRIVACY

• Copyright in the submitted work remains with the composer; entering the competition does not require an assignment of copyright.
• The name designated for the certificate and published results, the Country/Region shown in published results, and the work title are normally published on the official website, social media and other media for the announcement of results, presentation of recipients and works, and promotion of the competition.
• For an awarded work, the applicant grants the organizer a royalty-free, non-exclusive licence to reproduce, communicate to the public, publish and present, in whole or in part, the work, score, audio or video recording, description and promotional materials supplied with the application, solely for announcing results, presenting recipients and works, promoting and documenting the competition on the official website, social media, other online media, and promotional or archival materials.
• For the uses described above, the organizer pays no copyright or related-right royalties, performance fees, licence fees or other remuneration to the applicant or any other rights holder.
• Before applying, the applicant must obtain from any other copyright owner, performer, phonogram producer, publisher, collective management organization or other rights holder all permissions necessary for the uses described above. Submit only works and materials that the organizer may publish online without charge.
• Personal data is used to administer applications, verify payments, conduct adjudication, verify identity, communicate results, pay prizes, dispatch certificates, provide feedback and comply with legal obligations.

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.