7th International Conference of Music and Mathematics – MusMat 2022

100 Years of Xenakis: His Music and Legacy

October 18 to 21, 2022 (Online Edition)

The MusMat Research Group, the Graduate Program in Music (UFRJ) and the Graduate Program in Statistics (UFRJ) invite researchers, teachers, students, and professionals, in general, from the music field to submit work proposals to the 7th International Conference of Music and Mathematics (MusMat 2022), according to the specifications of this call. The theme of the conference is 100 Years of Xenakis: His Music and Legacy. The Organizing Committee and the concerts’ curators are in charge of receiving and selecting the works. The conference activities include: a) Keynote lectures; b) Round tables; c) Oral communications and d) Virtual concerts. In this edition, we will have participation of renowned authors, such as: Benoît Gibson, Makis Solomos, Sharon Kanach, Robert Morris, Mariana Montiel, and others.

CALL FOR PAPERS

The submitted article must consist of text originating from research, artistic production or experience (teaching, cultural production, scientific dissemination, for example, or case report). The text must explain the problem, objectives, theoretical assumptions and procedures used, in addition, to highlight the final results (if a completed work), or consistent preliminary analysis, as well as the conclusions obtained.

Each communication will have a duration of 30 minutes, 20 minutes for the presentation of the work, followed by 10 minutes of discussion.

Instructions for submissions

Articles must be submitted in “.doc”, “.rtf” or “.pdf” formats.

The article must be written in Portuguese or English.

Texts must be unpublished (not published, not in the process of publication, not presented at other events).

The texts submitted for evaluation must not contain name, institutional affiliation, or any other type of information that allows the identification of the author or authors.

The text must be formatted according to the template specifications available here. The text must be structured based on the following norms:

The page must be configured in A4 size, left, right, top and bottom margins of 2.5 cm, Georgia font, without spacing between paragraphs.

Title of the work, with each word with first capital letter (size 14, single space, bold, centralized).

Name of the author of the article (size 12, single space, italics, right alignment), institution and email (size 10, single space, italics, right alignment; followed by a line in blank). These data must be removed when sending the submission (being replaced by “XXX”) and included only in the final version of the work, if approved.

Abstract of the work with about 6 lines (size 10, single space, 2 centimeters of indentation on the left margin, justified).

Three to five keywords, separated by dots, with only the initial of each one in capital letters (size 10, single space, 2 centimeters of indentation in the left margin, justified; followed by a blank line).

Title, abstract and keywords translated (size 10, single space, 2 cm indentation in the left margin, justified; followed by a blank line): the title, abstract and keywords must be presented at the beginning of the text in the language used at work. For works in Portuguese or Spanish, after these items, they must be translated into English (all title terms and all keywords must start with a capital letter); for papers in English, these items must be translated into Portuguese.

The body of the text must be written in font size 12, spacing 1.5, without indentation, justified alignment and with indentation of the first line of a paragraph of 2 cm.

If the text is subdivided into sections, their titles should be in bold, font size 12, 1.5 spacing, justified.

Each article must have a minimum length of 8 pages and a maximum length of 12 pages (including title, abstract, keywords and respective translations, notes and references).

Musical examples (Ex.), Figures (Fig.), Tables (Tab.) Etc. they must be inserted in the text as a figure, colored or in black gradations (“.tif” or “.jpg” format in 300 dpi), numbered and accompanied by a succinct and explanatory caption of a maximum of 3 lines (size 10, single space, centralized, inserted under the illustration).

The names of musical notes must always appear in capital letters (C, D, E, etc.). For specific symbols such as sharp, flat and natural it is possible to use the BACH font. The BACH font can be downloaded at the following URL: http://www.mu.qub.ac.uk/tomita/bachfont

Explicative notes should be included only for complementary information and comments, in font size 10, with simple spacing, justified, as a footnote.

Citations with up to three lines must be inserted in the body of the text (in quotation marks, in size 12). Citations with more than three lines must be separated as a paragraph and indented 4 cm to the left (without quotes, font size 10, single space, justified alignment, without italics). Both must be followed by (AUTHOR, year: page number).

Self-citations must be omitted in the body of the text and in the references in the submission version to guarantee anonymous evaluation, being replaced by “XXX” in the submission and reinstated in the final version of the work, if approved.

For formatting references, see the template available on the MusMat Group website.

The accuracy of the references in the list at the end of the works as well as the correct citation throughout the text are the responsibility of the author (s) or authors of the work.

Formatting rules that are not provided for above must be in accordance with the current rules of ABNT (Brazilian Association of Technical Norms).

Submissions that do not meet these norms will not be evaluated by reviewers.

PROCEDURES AND PARAMETERS FOR EVALUATING ARTICLES

1. Each work will be evaluated by at least two reviewers, based on the following parameters:
2. Importance of the work for the area;
3. Content and structure of the work;
4. Results and conclusions of the work;
5. References adopted.

CALL FOR COMPOSITIONS

Composers may submit works for:

1. Solo piano – original works based on Xenakis’ music and/or stochastic processes;
2. ABSTRAI ensemble: Bassoon, sax (sopranino, soprano, alto, tenor, baritone, and bass), and clarinet (A, Bb, Eb, and bass) – Original trios, duos, or solos based on Xenakis’ music and/or Game Theory. Sub-groups and pre-recorded electronics (stereo) will also be accepted;
3. Solo percussion – original works based on Xenakis’ music and/or algebraic processes. The available instruments are: Marimba (A), vibraphone, glockenspiel, desktop bells (one octave), crotales (one octave), snare drums, tom-toms (5), congas, cymbals, drum set, triangles, tam-tam, gong, bell plate, cowbells, whip, woodblocks (6), reco-reco, bongo, superballs, crash cymbals, brushes, glass balls, sand paper, log drum, cans, anvil. Pre-recorded electronics (stereo) will also be accepted, as well as pieces requiring non-conventional objects that can be used or constructed by the musician (drill, paper box, blender, among others).

The pieces must have a maximum duration of 5 minutes. Score and parts must be sent in PDF format to the email: [email protected]. If any file cannot be attached due to size, please contact the same address to other forms of sending it. Any questions should be addressed to the Organizing Committee by e-mail: [email protected]

SCHEDULE

 

Item	Date
Call for Compositions	By 30/Jun.
Compositional results	By 30/Jul.
Call for papers	By 22/Aug.
Peer-review evaluation	By 20/Sept.
Publication of results	21/Sept.
Submission of the camera-ready paper	22/Sept. to 29/Sept.

 

Organizing committee:

Carlos Almada (UFRJ) | Carlos Mathias (UFF) | Cecilia Saraiva (UNIRIO) | Daniel Moreira (UFRJ) | Hugo Carvalho (UFRJ) | Liduino Pitombeira (UFRJ) | Ana Miccolis (UFRJ)