This occasion (May 24-26, 2023) will put the emphasis on the following topics, in the wake of ISEA 2023, of the ANR BBDMI project, beside the subjects usually adressed:
- making music with the electricity of the body and the brain;
- open-source, open hardware and the small embedded systems;
- symbiosis, new models of interaction;
- a tribute to composer and researcher Horacio Vaggione, who will be 80 years old in 2023.
Articles may be written either in English or in French, between 4 and 10 pages. For the articles in English, a French abstract is mandatory. Communications will take place either as oral presentations (30 minutes, including questions), or performances-presentations (format to be defined), or demos (format to be defined). The different rooms of the conference will be equipped in multichannel.
The type of presentation (either oral presentation, or performance-presentation, or demo) should be precised by the authors when submitting. The organizing committee will approve the final choice when setting the program of the JIM.
Articles should be submitted using PDF format. The page layout should be achieved using either the Word or the LaTeX templates:
Word template
LaTeX template
Proposals should be submitted online on the website of the conference : https://jim2023.sciencesconf.org/
Submission requires the creation of a sciencesconf.org account.
If you already own a sciencesconf.org account, thank you not to create a second one, to avoid any problem.
Important dates
Deadline for paper submission: February 20th, 2023 => February 28th, 2023
Acceptation notification: March 31st, 2023
Deadline for the submission of camera-ready versions: April 28th, 2023
Conference registration : early bird March 1st, 2023 -- late May 1st, 2023 -- Deadline: May 15th, 2023
List of subjects usually addressed
- Computer systems
- Real-time systems and protocols for computer music
- Open source software for analysis, synthesis, sound processing and music creation
- New strategies for data sonification
- Algorithms and interfaces for sound spatialization
- Computer-assisted creation
- Environments and languages for musical composition
- Computer-aided orchestration
- Systems for music creation, from microstructure to macroform
- Automatic composition and arrangement systems
- Computer tools for spatialization and sound diffusion
- Performance, Performative Arts and Technology
- Software and hardware interfaces for musical interpretation and performance
- Hardware and software devices for interactive pieces
- Modeling and simulation of musical interpretation
- Capture and digital extension of the instrumental gesture
- Gesture, virtuosity and new media
- New interfaces, new ways of playing
- Music notation
- Optical score recognition software
- Systems for music editing and publishing
- Music notation and visualization
- Interactive Scores
- Historical aspects and preservation
- History and sociological aspects of computer music
- Definition/redefinition of the role of the producer in computer music (RIM)
- Standardization, archiving and transmission of musical information
- Porting and recreation of mixed and interactive works
- Preservation of works using digital technologies
- Activity reports from music research centers
- Computational musicology
- Formalization and representation of musical structures
- Computational approaches to music analysis
- Formalization and modeling of musical knowledge
- Modeling and simulation of sound and musical perception
- Tools for musical analysis
- Acoustic signal analysis and processing systems
- Recognition and automatic extraction of musical parameters
- Analysis and representation of instrumental gestures
