CMMR2015 is now over! We hope all who came enjoyed the experience.
A video documentary of CMMR 2015 is available on the media pages.
Electronic proceedings are now available on the downloads pages.
The 11th International Symposium on Computer Music Multidisciplinary Research (CMMR) Music, Mind, and Embodiment took place in Plymouth, UK on 16-19 June 2015.
The Interdisciplinary Centre for Computer Music Research is hosting the symposium on campus in the center of Plymouth, in their newly completed multi-million pound headquarters, "The House", which includes a multichannel diffusion suite and full scale auditorium for concert performances. The symposium is jointly organised by the ICCMRand the CNRS - Laboratoire de Mécanique et d'Acoustique (France),
Further details will be published here soon. Please see also the 1st International Workshop on Brain-Computer Music Interfacing and the Motion and Music Workshop both of which will be held as satellite workshops on Monday 15 June 2015.
The CMMR acronym originally symbolized Computer Music Modelling and Retrieval and the first CMMR gatherings mainly focused on information retrieval, programming, digital libraries, hypermedia, artificial intelligence, acoustics and signal processing. Little by little CMMR has moved towards more interdisciplinary aspects related to the role of human interaction in musical practice, perceptual and cognitive aspects linked to sound modelling and how sense or meaning can be transmitted either from isolated sounds or musical structure as a whole. During CMMR 2012 the steering committee therefore decided to slightly change the significance of the acronym from Computer Music Modelling and Retrieval to Computer Music Multidisciplinary Research. This approach was a huge success at CMMR 2013 in Marseille - new research communities are now fully integrated to the conference in addition to the traditional ones.
This year, we encourage the submission of contributions on the theme of Music, Mind, and Embodiment.
The notion of mind and embodiment is important in any field related to sound and music and is therefore well adapted to this interdisciplinary conference,
since it can be studied from different standpoints spanning from physics to perceptual and cognitive considerations, and from scientific to artistic approaches.
Some central questions of interest in this context are (but not necessarily restricted to):
Contributions on others topics as described in the call for contributions (not currently available online) are also welcome.
We look forward to seeing you,
Prof Eduardo R Miranda (conference chair)
Joel Eaton (programme committee)
Dr Duncan Williams (music committee)