Call for music

The deadline for submitting your paper and music proposal has expired. A commission is looking into all submissions.
You will be notified on April 14 2016 whether or not your submission has been accepted.

Registration for presenters will be open as of that date. 

Since you’re submission is being reviewed, we strongly advise you to keep your registration for the ICMC 2016 on hold, until selection of the submissions is announced. You will be notified by email on April 14 2016. We will make sure there is enough capacity left for you to hold your registration until that date. You will receive an instruction how to register together with the notification of acceptance.

The registration / ticket sale for non-presenters is now open.


The International Computer Music Conference (ICMC) 2016 invites submissions of musical works for presentation at the conference, which will be held in Utrecht, the Netherlands, from 12 to 16 September 2016.

The ICMC 2016 Conference theme is: “Is the sky the limit?”

We encourage the submission of musical works (and installations) that are related, but in no way limited, to the conference topics. Submissions must be sent electronically through the submission system of the ICMC 2016 website.

Non-ICMA members can submit one work for consideration while ICMA members may submit two compositions. Only one work per composer will be programmed. Please assign each composition to one of the following categories:

  • solo instrument + electronics
  • ensemble (2-10 musicians) + electronics
  • laptop improvisation & live coding
  • audiovisual music
  • acousmatic and spatial music
  • the virtuoso new interface
  • multimedia performance
  • beat-based electronics (jazz/pop/dj/idm influenced electronic music)
  • piece + paper
  • computer-aided acoustic composition (up to 10 musicians)
  • installation
  • miscellaneous/off-ICMC

The call is open to all composers regardless of nationality, age or career stage. 
Works should not exceed 15 minutes. Works of 10 minutes or less are strongly encouraged! 
The works should not be older than 5 years (2011) and should not have been performed at a previous ICMC conference.
 All works must be submitted online, through the Conference Management System.

Important Dates

  • Submissions open: December 10, 2015
  • Deadline for submissions: February 1, 2016
  • Deadline for submissions is extended to 15 February 23:59 GMT - 8 (San Francisco time).
    The deadline for submitting your paper and music proposal has expired. A commission is looking into all submissions and will get back to you as soon as possible. The registration for ICMC 2016 will open on Tuesday 22nd of March”
  • Acceptance notification: April 14, 2016
  • Final deadline for all performance material: May 14, 2016
  • Composer registration deadline: May 14, 2016



Qualifications (all categories)

  • This call is open to all composers regardless of nationality, age or career stage.
  • Non-ICMA members can submit one work for consideration.
  • ICMA members may submit up to two works for consideration.
  • After the submission of musical works, the conference organiser will be in contact to collect ICMA membership details.
  • Submissions must be sent electronically only through the submission system of the ICMC 2016 website. (Please do not send submissions directly by e-mail). This link will be accessible from 10th December 2015.
  • Artists will be notified of the results by e-mail. Results will also be posted in our Programme section.

Music Selection Process

All submissions will be subject to blind review by an international panel of experts who specialise in the submission category concerned and have online access to all submitted materials. In order to programme a piece, it is necessary to meet the final deadlines for media and any other performance material as applicable (including scores and parts), in order to facilitate rehearsals and the technical organisation of the concerts.

Different venues throughout the conference will have different technical capacities (more information can be found under Venues), and the concerts will be curated under each submission category (program committee) to ensure the most appropriate venue for each work. Fixed media and multimedia works may be selected for concert presentation or be programmed in one of the listening rooms.

When the evaluations have been made and averaged (on a numerical scale), the concert curators will select compositions from those with the highest scores.

Selected artists who wish to have their pieces presented at the conference must register for the conference by May 14. Attendance by the composer is required. However, the performance may be cancelled if any of the following occur:

  • the music and necessary performance materials (parts, software, …) are not submitted by May 14, 2016;
  • the associated software does not function properly;
  • the performance materials are not sufficiently complete to allow the piece to be properly rehearsed and performed;
  • registration is not completed by May 14, 2016.

Final dress rehearsals / sound checks will be scheduled on the day of the concert.


Pieces will be automatically entered into the two music-related competitions: the ICMA Regional Composition Award and the ICMA Best Student Composition Award. They will also be considered for publication in the Music Selection on the conference DVD. Please opt out of this option on the submission form if you would prefer your piece not to compete.



If you have any questions or would like more information, please contact the music chair at

For submissions of Papers, please visit the relevant pages: Call for Papers



Submission Materials (all categories)

All works will be submitted only online through the ICMC 2016 website. Artists submitting works should create and submit stereo MP3-formatted audio files or video files (via an online accessible link) of their pieces; in order to facilitate blind jury review, we ask that artists not include title slides or ID3 tags on their media. Technical specifications for performance and performer scores should be submitted as well, in PDF format, and must be anonymous. A list of available equipment can be found on the Venues webpage. If any additional equipment is required, proposals should specify what can be provided by the artist/composer and what the conference is expected to provide. Installation proposals must include a spatial/physical diagram.

Submissions must include:

  • Title of work
  • Instrumentation
  • Year
  • Duration
  • Category
  • Keywords
  • Contact information
  • Program Notes/ Project Description (500 words maximum)
  • Biography (200 words maximum)
  • Stereo MP3-formatted audio files
  • Performers required (please state if you intend to bring your own)
  • Performance scores, in PDF (if applicable, even if the performer is provided) (please note this component must be blind, i.e. no author information must be contained within the PDF)
  • Technical specifications (please see the OpenConf Music Submission Form)
  • Spatial diagram for installation and multichannel music submission
  • Ensemble parts (due by May 14, 2016)

Fixed media works not selected for concert presentation may be programmed in one of the listening rooms. Please indicate on the submission form if you do not wish to be considered for this option.

Detailed Description of Categories

solo instrument + electronics

Music in this category is for soloist and electronics. The instrumental part must be for acoustic instruments of any tradition (or electric guitar or electric violin). Utrecht also has the possibility of using the Yamaha Disklavier, organ and dance organs (midi-fied). In the unlikely event of the organisers not being able to provide a professional performer on a given instrument, arrangements may be made with the composer to provide one. Composers may also propose to provide their own performer, although the organisers cannot provide the financial resources for any fees. The electronic part can range from a fixed media background part to real-time rendering or processing. The composer can also perform it in real time.



ensemble (2-10 musicians) + electronics

This category includes music written for ensembles of 2 to 10 musicians, with the addition of an electronic part: from fixed media to real-time rendering, and/or a combination of both. The organisers have access to an extensive list of first-class performers on most Western orchestral, popular and traditional instruments, and the music will be judged solely on its artistic merit. Composers may also propose to provide their own performers, though funding cannot be guaranteed and this must be negotiated with the chair on selection. Although every effort will be made to stage the selected pieces, for practical reasons a performance cannot be guaranteed on initial notification. (See preferred instruments below.)

laptop improvisation & live coding

This category is for laptop(s) performance, where the laptop(s) is/are the centre of the stage. Whether it concerns live coding, just-in-time-composition or ASCII keyboard beating, these pieces should have a laptop performer defending this technology as a musical instrument. Utrecht also has the possibility of using the Yamaha Disklavier in combination with live coding. The use of projection (for the code) and conventional external controllers (faders, keyboards and pedals) is allowed. Video documentation of past works should be included where possible, or otherwise descriptions should be sufficiently detailed to allow review of both aesthetic and conceptual aspects of the proposal.



audiovisual music

This category is for works with pre-prepared video and music. The video part can be of any kind (animation, video art, documentary or fiction). It must be single-screen, and can be high-definition (full HD projector available) or standard definition. The audio part can be up to 16 channels plus subs.

acousmatic and spatial music

This category is for music where there is nothing on stage but loudspeakers! The music can be stereo and projected through an orchestra of loudspeakers, or can be from multi-channel sources. A system of 16 discrete loudspeakers (plus subs) will be provided, with the loudspeaker layout available in advance. The composer has to declare if the spatialisation of sound should be performed real-time by him or by a third party. In the second case, spatialisation instructions are encouraged. In the case of multi-channel, only a reduced stereo MP3 file has to be submitted in the selection procedure. An extra category is the Wave Field Synthesis; a 192-speaker system. For specifications please go to their website



the virtuoso new interface

Works in this category must showcase new interfaces in action! New interfaces addressing the concerns of concert presence, virtuosity and interface transparency/expressivity should be showcased to the highest level. New ways of using old interfaces (i.e. highly augmented instruments) are also welcome. Including a video of the performance with the submission is highly recommended.

multimedia performance

This category is for works that include electronics and other elements: for instance, a piece with a new interface, laptop, performer and interactive live video. At least two kinds of media must be present to comply with the ‘multi’ aspect of the call, which may include: robots and automatons, video, live performance, fixed media, video projections, still projections or automated lights, etc.


beat-based electronics (jazz/pop/dj/idm influenced electronic music)

This category allows for the submission of music that explores hybrid forms, not necessarily in terms of appropriate venue, but from an aesthetic point of view. It may concern a DJ set, a jam band, songwriters or a jazz soloist with a machine counterpart, etc. Providing the electronic part is significant and relevant, works in this category are welcome.

piece + paper

This category allows a concert performance of any musical work accompanied by a paper presentation that details a key aspect of the work. Musical examples can be demonstrated in real time during the presentation by the performer(s), and then the piece will be performed in its entirety. Works for 10 or fewer performers, and of 10 minutes or less, are strongly encouraged. The paper part must be submitted through the Paper Management System.



computer-aided acoustic composition (up to 10 musicians)

This category is for purely acoustic pieces (played by acoustic instruments), in which the computer plays a significant compositional role (e.g. algorithmic composition). The composer should describe the role of the computer in the composition. Pieces should be for 1-10 musicians.


This category is for audio installations using up to 8.1 audio systems, pre-recorded or real-time generated, plus video or lights, and with or without interaction.




In this category you can submit pieces that are exclusively for the Off-ICMC or which might fit better in Off-ICMC than in any of the previous categories (e.g. Game Audio or jingles). A piece can be reassigned to one of the previous categories at the discretion of the music chair.

Ensembles and performers available to perform works at the conference

Available musicians/acoustic instruments provided by the organisers are musicians from the following ensembles: Insomnio and Modelo62.

  • flute (piccolo, alto, bass)
  • recorder (SATB)
  • oboe
  • clarinet (bass)
  • bassoon
  • saxophone (SATB)
  • horn
  • trumpet
  • trombone
  • tuba
  • timpani
  • percussion (1-4 performers)
  • classical guitar
  • electric guitar and bass
  • harp
  • piano
  • harpsichord
  • voice (SATB)
  • violin and electric violin
  • viola
  • cello
  • double bass