The Society for Electro-Acoustic Music in the United States (SEAMUS) 2018 National Conference will be held at the University of Oregon School of Music and Dance in Eugene, Oregon March 29-31, 2018. SEAMUS 2018 will be presenting an exciting and diverse range of electro-acoustic music including fixed media electroacoustic works, real-time interactive performance compositions, works that combine sound and video, and sound installations. The University of Oregon, the School of Music and Dance, and Future Music Oregon are thrilled about hosting the SEAMUS conference and we look forward to having you visit our beautiful campus.
Composers and sound artists may submit one original work from the broad spectrum of electronic music. This includes fixed media electroacoustic works, real-time interactive performance compositions, works that combine sound and video, and sound installations. Submissions will open August 24, 2017 and close 11:59 PM PDT, October 1, 2017. A link to the submission portal will be provided as we approach the portal opening date.
Selected works will be presented in one of our two 8-channel concert halls, our late-night venue, our listening room, or as an installation. The faculty performers at the School of Music are exceptional and will provide composers exquisite performances and audiences exciting listening experiences. Regardless of the media or style utilized by the respective artist, utmost consideration will be given to the entry’s musical qualities and sound artistry.
The adjudication is a double-blind review process where composers of the submissions are not identified for the judges. Composers whose work is selected for inclusion in the conference are required to attend the conference.
We strongly encourage student submissions.
We invite proposals from performers of electro-acoustic music to present a curated concert of music performed by them or their ensemble. The proposal should take the form of a text document that lists the (1) title, (2) composer, (3) duration, and (4) technical requirements for each piece contained in the proposal. The text document should also provide links to audio recordings of three recent performances (one of which must be a live recording (not studio) and one of which must include the use of electro-acoustics). Video recordings are not accepted. This is a double-blind, peer-reviewed evaluation process, and all submitted recordings must be strictly anonymous: the performer(s)’s name(s) must not appear anywhere on the recording or on the website from which the recording is accessed. Please ensure that links do not expire.
We also seek proposals for lectures (more like dramatic rants) on provocative topics related to music and the arts – the more provocative the topic, the more likely it is to be accepted into the conference. The proposals should be 300-500 words in length; the provocative lecture should be fifteen minutes in duration with 10-15 minutes allotted for responses and questions. While we are seeking “hot” topics we strive to attract proposals that are well-organized, intellectually substantial and that stir debate. We do not conceptualize these lectures as being platforms that serve performance art works. Provocative topics affiliated with politics and religion will not be considered.
Questions can be directed to Jeffrey Stolet at firstname.lastname@example.org