[MWS]: Call for proposals EMS06 Symposium Appel à communications EMS06 Beijing

Mit Nov 16 11:41:35 CET 2005

(voyez ce texte en français en bas)

Call for Proposals

Electroacoustic Music Studies Network (EMS) - International Conference
Series in a special cooperation with the Electronic Music Association of
China's (EMAC) MusicAcoustica 2006 Festival in Beijing

EMS06 - Electroacoustic Music Studies – Conference Theme: Terminology and
Translation
Scientific Committee
Marc BATTIER (MINT-OMF, Université de Paris-Sorbonne)

Joel CHADABE (EMF)

Kenneth FIELDS (CEMC/CCOM )
Leigh LANDY (MTI  – De Montfort University)
Daniel TERUGGI (INA/GRM)
ZHANG Xiaofu (CEMC/CCOM)
Time and place:  23-26 October, 2006 – BEIJING, CHINA
The EMS conference is organised yearly through the initiative of the
Electroacoustic Music Studies Network, an international team which aims to
encourage reflection on the better understanding of electroacoustic music
and its genesis, appearance and development over the span of a century.  The
organizers are all engaged in the key areas of debate and actively seeking
the development of solutions.

The first conference, in October 2003, was a result of the initiatives of De
Montfort University (UK), the University of Paris-Sorbonne (France), and
INA/GRM (France).  It took place at the Georges-Pompidou Centre in Paris,
within the auspices of IRCAM’s Résonances 2003 festival. It second event
took place in October 2005 in collaboration with Concordia and McGill
Universities and the Université de Montréal. Selected papers of both events
appear in Organised Sound (Cambridge University Press). As of 2006, thanks
to a collaboration with ISAST (International Society for the Arts, Sciences
and technology) and OLATS (Observatoire Leonardo des Arts et
Technosciences), a Leonardo-EMS prize will be given to a selected
communication of a researcher under 35 years of age for publication of the
paper in Leonardo (MIT Press).

Organisation of the EMS06 conference
Electronic Music Association of China (EMAC)
De Montfort University (G-B)
Electronic Music Foundation (USA)
INA/GRM (France)
Center of Electroacoustic Music in China, China’s Central Conservatory of
Music

MusicAcoustica Festival
Université de Paris-Sorbonne (France)

Electroacoustic Music Studies Network
MTI (Leigh Landy, EARS ElectroAcoustic Resource Site, MTI Research Centre,
De Montfort University)
INA/GRM (Daniel Teruggi)
MINT (Marc Battier, Musicologie, informatique et nouvelles technologies,
OMF, Université de Paris-Sorbonne)

The special theme of EMS06 is:
Electroacoustic Music Studies –Terminology and Translation
In harmony with the week-long MusicAcoustica06 event (22–29 October) which,
as is the EMAC06 conference, is focusing on the broader theme of ‘Language’,
EMS06 will concentrate on a crucial aspect of language, namely terminology.
The current interest in construction of domain-specific lexicons, ontologies
and semantically structured word nets should be as highly relevant to
practitioners in the field of electroacoustic music as it is now in every
other professional community. Every expert domain must address the effect
that semantic linkage is having on the organisation of their field. In fact,
even beyond critical issues such as those arising from translation of new
terms (such as microsound or ambient music) into languages like Chinese, the
terminology in our field is in an awkward state. It is assumed that projects
posing new approaches toward coherent structuring of local knowledges will
have faced not only these trans-terminological issues but also multilingual
issues. The objective of this ‘summit’ is to create a forum of sustained
co-operation.

The theme is related to:
1. Ontologies (Structured Terminology)
2. Glossaries (Construction, Evolution, Translation, Platforms)
3. Thesauri (Multilingual)
4. The Knowledge Base (Schemas, Prototypes)
5. Semantic Web (Metadata, Linkage)
6. Discourse Analysis (Authoritative Sources)
7. Music/Journal/Content Database Organisation and Indexing
8. Expert Domains (Community: People who use/live the vocabulary)

Associated questions include:
• Why would ontological or conceptual models be useful in professional
sound/technology practices and scholarship?
• What are the specific issues which surround the design and technical
construction of multilingual expert terminologies?
• What examples exist in other related fields which are involved in the
effort to assemble authoritative lexicons or knowledge bases? Who are our
partners (people, tools) in this endeavor?
• What are the lessons learned from historical or ongoing projects in the
audio community to assemble, evolve and maintain glossaries?
• How are semantic web technologies influencing the creation of glossaries,
documentation of software and distribution of electronic music and research
articles?
• Are there potential uses for structured vocabularies in music composition
or music programming?
• To what extent do local issues and/or language issues relate to these
themes?

It goes without saying, knowledge domain experts of electroacoustic music
must contribute toward the construction and maintenance of knowledge bases
and conceptual models in their field. These efforts are critically relevant
at this historical moment as we move into the semantic web era. Any lack on
our part in rigorous specification will ultimately wind up in the hands of
the non-expert information specialist. Current projects related to knowledge
organisation by way of ontology specification, metadata design, topic
mapping, discourse analysis, keyword derivation and multilingual glossary
projects are directly influencing the development of semantically organised
music content.

Further typical EMS themes include:

1) Sources and resources
- What types of materials are being or should be documented?
- How does one create, expand, preserve and offer access to collections?
- What opportunities exist for exchange and collaboration?
- How can we help make the electroacoustic music repertoire more accessible?

2)  Discourse / analysis of electroacoustic musics
- What types of discourse are relevant to electroacoustic works?
- Which forms of representation and which approaches to analysis are useful?
- Which analytical methods are currently being developed?
- How can one adapt existent analytical methods of music to elec
–troacoustic works,

many of which involve no prescriptive notation?

- How can we further develop the field of study of electroacoustic musics?

3) Analytical tools
- How are analytical tools being produced and disseminated in the community?
- What means are available for communicating the sonic 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?
4) Taxonomy, terminology, and aesthetic diversity
- What 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?
- Are there aesthetic questions that are specific to electroacoustic music?

Proposals concerning other aspects of electroacoustic music studies are, of
course, welcome.

Format for presentations:

Spoken presentations

Proposals for spoken presentations should be submitted in the form of an
extended abstract (maximum 2 pages) accompanied by a detailed C.V. and list
of publications.  The abstract should be ready for publication if the
proposal is accepted. The duration of each paper will be 20 minutes (not
including the question period).  The papers may be given in English or
French. Multimedia support will be provided in the form of video projector
(for laptops), overhead projector, CD player, internet access and stereo
sound system.

A programme containing the paper abstracts will be distributed.

Dates

22 October 2006 – Opening of the MusicAcoustica Festival
23-26 October 2006 – Conference sessions and concerts
22-29 October 2006 – EMAC conference sessions and concerts in parallel
throughout the week, sight-seeing excursion

Guidelines for submissions

Deadline for receipt of proposals (abstracts and CVs of contributors):
Saturday 1 February 2006
Submissions are to be made electronically.  Send abstract (in French or
English, 2 pages maximum) + 1 detailed CV + a list of publications and a
brief 15 line maximum biography to the following e-mail address:
ems at lists.ccom.edu.cn. Please ensure that your name, institutional /
organisational affiliation (if any), contact address, telephone, and
preferred e-mail address are included on the abstract.

Publication

A selection of the papers is scheduled to be published in Organised Sound
(Cambridge University Press) in 2007. Other papers will be published on the
EMS website: www.ems.dmu.ac.uk <http://www.ems.dmu.ac.uk/> . In both cases
examples on other media (audio, audio-visual) will be welcome.

EMS06 Website
www.ems.dmu.ac.uk/ems06

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EMS06

Electroacoustic Music Studies – Études des musiques électroacoustiques.

Thème de la conférence : Terminologie et traduction

Appel à communications

Electroacoustic Music Studies Network (EMS) - International Conference
Series en collaboration avec Electronic Music Association of China's (EMAC)
MusicAcoustica 2006 Festival à Beijing

Comité scientifique
Marc BATTIER (MINT-OMF, Université de Paris Sorbonne)

Joel CHADABE (EMF)

Kenneth FIELDS (CEMC/CCOM )
Leigh LANDY (MTI  – De Montfort University)
Daniel TERUGGI (INA/GRM)
ZHANG Xiaofu (CEMC/CCOM)
date et lieu :  23-26 octobre, 2006 – BEIJING, CHINE
La conférence EMS est organisée tous les ans à l’initiative de
Electroacoustic Music Studies Network, une équipe internationale dont le but
est de réunir les réflexions et faire connaître les initiatives destinées à
mieux comprendre les musiques électroacoustiques dont la genèse,
l'apparition et les développements s'étendent sur un siècle. Les
organisateurs sont tous concernés par les questions débattues et largement
impliqués dans le développement de solutions.
La première édition a eu lieu à l’initiative des universités DeMontfort
(Grande-Bretagne) et Paris-Sorbonne (France) et de l’INA-GRM (France). Elle
s’est déroulée au Centre Georges-Pompidou à Paris, dans le cadre du cycle
Résonances de l’IRCAM en octobre 2003. La seconde édition a été organisée à
Montréal (Québec) avec les Universités Concordia, McGill et de Montréal. Une
sélection de communications a été publiée dans Organised Sound (Cambridge
University Press). A partir de 2006, grâce à une collaboration avec ISAST
(International Society for the Arts, Sciences and technology) et OLATS
(Observatoire Leonardo des Arts et Technosciences), un prix Leonardo-EMS
sera décerné à une communication d’un chercheur âgé de moins de 35 ans à
chaque conférence pour publication dans Leonardo (MIT Press).

Organisation de la conférence EMS06
Electronic Music Association of China (EMAC)
De Montfort University (G-B)
Electronic Music Foundation (USA)
INA/GRM (France)
Center of Electroacoustic Music in China, China’s Central Conservatory of
Music

MusicAcoustica Festival
Université de Paris-Sorbonne (France)

Electroacoustic Music Studies Network
MTI (Leigh Landy, EARS ElectroAcoustic Resource Site, MTI Research Centre,
De Montfort University)
INA/GRM (Daniel Teruggi)
MINT (Marc Battier, Musicologie, informatique et nouvelles technologies,
OMF, Université de Paris-Sorbonne)

Le thème spécial de EMS06 est : Terminologie et traduction

En harmonie avec le festival MusicAcoustica06 (22-29 octobre), centré cette
année avec la conférence EMAC06 sur le large thème du Langage, EMS06 aura
pour fil conducteur la question cruciale de la terminologie.

L’intérêt actuel pour la constitution de lexiques spécifiques à des
domaines, des ontologies et des réseaux sémantiquement structurés devrait
apparaître pertinent aux yeux de la communauté des musiques
électroacoustique, comme il l’est pour d’autres domaines. Chaque domaine
d’expertise doit comprendre comment la question des liaisons sémantiques a
sur leur champ. Même au delà des questions apparaissant lors de la
traduction de termes nouveaux dans des langues comme le chinois, la
terminologie de notre domaine est dans un état critique. Il faudrait croire
que les projets qui avancent de nouvelles approches vers la constitution de
connaissances locales auront déjà affronté non seulement ces points
terminologiques mais aussi les questions qui portent sur le multi-linguisme