In addition to traditional CMMR topics, we propose a certain number of special sessions. The aim of these sessions is to encourage more specific contributions.
Submissions to these sessions are done by selecting the title of the special session in the topics section of the standard paper submission page.
This paper session is dedicated to the research heritage that computer music pioneer and composer, Jean-Claude Risset left us. In line with his interdisciplinary approach to research, no restriction with respect to research fields are given in this session, meaning that submissions related to musicology (analysis of his published or unpublished works, impacts on new generations…), physics and mathematics (sound modeling, analysis by synthesis, …) as well as human perception and cognition (timbre perception, illutions linked to pitch and rhythm, ...) are welcome.
The goal of this special session is to gather researchers involved in interactive audio for creative industry (radio, cinema, television, animation, games) and digital art, proposing novel ways to conceive new and enhanced user experiences. Contributions are encouraged in, but not limited to, the following topics: sound design for AR/VR, dynamic sound scapes, spatialized sounds, experience design, content authoring, audio-driven apps for blinds and/or all publics, etc.
This session covers all aspects of embodied musical interaction, from human–computer interaction to gestural musical instruments. Possible themes include questions of what constitutes “instrumental”, the body as musical interface, performance practice, and research on embodied sonic cognition mediated by digital technology.
Sound design is a process in which the global coherence of a new functional sound is considered in relation to users’ pleasure and brand identity in the environment in which the sound will be used. This special session invite authors to present and discuss such process in terms of tools used at the different stages of a sound design project ranging from interactive installations to health applications. Presentations of tools to improve communication during a brief, to sketch ideas during co-design sessions, or to evaluate final sound products are welcome.
This session will focus on distributed systems for musical notation and participative concerts. Web technologies and mobile devices have given rise to new forms of music making in which the audience can interact with musicians on stage, turning any browser-capable device into musical instruments, controllers or scores. Calling for papers concerned with technologies for musical notation, this session will also encompass all forms of smartphone/tablet-embedded music applications.
The purpose of this session is to study improvisation as a musical practice, but also from the perspective of art and philosophy, questioning the role of improvisation in research, creation and in the receivers’ daily life. How does improvisation function in our ways of thinking and acting the world? How does it foster our relationships with others?
The aim will be to study through different modalities (perceptual or/and representative) the emergence of situations where improvisation is at the center of the creative process. If the study of musical practice (free/experimental, but also idiomatic/historically informed) remains the preferred field for this session, other artistic practices and multidisciplinary approaches will also be considered.
Through the notions of perception and interpretation will questioned the nature of the relationship between audiovisual work and audio-spectator. Different types of works in their specificity can be approached: fiction, documentary or experimental work, videomusic or vusic (chansign and deaf music)…
Cognitive neuroscience and neuroimaging studies have largely contributed to increase our understanding on the brain networks supporting music processing. This special session aims to gather researchers studying the neural bases of music processing such as music perception, music production, melodic and rhythm processing, music emotion, music aesthetics and reward.
Husserlian phenomenology describes the structure and content of conscious experience. In recent years, phenomenological approaches (also called first-person or non-objectifying approaches) have been developed in the fields of perception, artistic creation, composition, improvisation, music interpretation, sound and music listening, film, performance ... These approaches allow us to better understand the embodiment processes. That is why, for this 14th edition of the CMMR, we propose a session about phenomenology and the themes mentioned above.
It is somewhat surprising to associate the words deaf and music, because deafness is often considered as the world of silence. However, deaf people do listen to and practice music, and show a unique relationship with sounds in general by developing different listening behaviours compared to normal-hearing listeners. This special session proposes to review different aspects of deafmusical listening, on the basis of rehabilitation strategies offered by hearing aids and cochlear implant technologies, but also by focusing on the bodily and visual aspects of their natural experienceof music. This will provide the opportunity to reconsider their listening and ordinary relationships to sound realities: from the ear to the body, from the audible to the sensitive.
This session is dedicated to the use of sound in virtual environments. We welcome both theoretical presentations concerning these “new auditoriums” and studies of practical projects. Virtual “worlds” and 3d imagery are rapidly gaining ground as tools for use in the social science. In regard to audio research they are used both for creative practice and for experimental studies. They can be used to promote musical gameplay or as a way to represent architectural or cultural sound heritage.