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Studio director, historian, music analyst, and composer Peter Manning has passed away after serving in the Department of Music at Durham University, UK, for over 50 years. The fact that his book Electronic and Computer Music has been in print since 1985 and is now in its fourth edition speaks to his reputation for sharing insights into the history of the discipline. Inside Computer Music (2020), which Manning co-authored with Michael Clarke and Frédéric Dufeu, provides a relatable and interactive view into the history of computer music with analyses, case studies, and interviews, as well as online videos demonstrating the techniques used and emulations of the software used to create the works that are analyzed in the book.Marking its 15th anniversary, the Destellos Foundation in Argentina awarded prizes for acousmatic music in the International Destellos Competition on Electroacoustic Music. First prize went to Alex Buck for “Does_it_Matter”; additional prizes were awarded to John Young, Joseph Sims, and David Berezan, with Adam Stanoviç, Pauline Patie, and Mikel Kuhen receiving honorable mentions. This iteration of the competition also featured a public jury composed of professionals from the areas of music, literature, philosophy, aesthetics, and the plastic arts who awarded their first prize to John Young and Ricardo de Armas, second prize to Åke Parmerud and Joseph Sims, and third prize to Ayako Sato, Theodoros Lotis, Tomas del Porto, and Rosalia Soria.Web: www.fundestellos.orgThe Georgia Tech School of Music hosted a concert by the nine finalists of the 2022 Guthman Musical Instrument Competition at the Ferst Center for the Arts, Atlanta, Georgia, on 12 March 2022. Judges Gerhard Behles, Paola Antonelli, and Rick Beato awarded first prize to Dániel Váczi and Tóbiás Terebessy for the glissotar, a continuous-pitch, single-reed wind instrument building on the slide saxophone and the Hungarian tarogato—the glissotar also won the people's choice award. Second place went to Xiao Xiao, Gregoire Locqueville, Christophe d'Alessandro, and Boris Doval for the t-voks system for voice cross-synthesis using a theremin; third place was awarded to Giacomo Lepri for the chowndolo, which is driven by a pendulum swinging within magnetic fields; and the judge's special award went to Physical Synthesis for the cicada, a voltage-controlled mechanical oscillator, which its creators call an acoustic synthesizer. The finalist concert is available for viewing online, along with videos demonstrating the finalists’ instruments.Web: guthman.gatech.edu/2022-competitionThe University of Limerick in Limerick, Ireland, hosted the International Computer Music Association's annual conference (ICMC), 3–9 July 2022. Keynote presentations included George E. Lewis reflecting on the improvising computer (Lewis also began the opening concert of the conference), Rebecca Fiebrink reflecting on human and machine creativity, and a lecture-recital by Roger Doyle. Additionally, the Crash Ensemble (Ireland) was featured, presenting two concerts.Also among the conference's 35 concerts, Kyle Hutchins performed Barry Moon's “Gonna Cut You Up” for saxophone, inspired by William Burroughs's cut-up techniques in writing prose. Andreja Andric, Małgorzata Żurada, Maja Bosnić, and Marija Šumarac presented “Concert for Smartphone Network,” using networked mobile devices to drive animation and sound synthesis in invigorating 1-bit audio. Stewart Engart's “Usynlig” resulted from a music information retrieval process analyzing over 64,000 sounds and reassembling them, grouped by inherent similarities to form new musical gestures. Robert McClure's “syn” imagines a future dominated by synthetic beings and an individual who “sins” against that culture by using imagination and self-expression. Esther Lamneck performed Alfonso Belfiore's “Quanti di luce e suono” for tarogato with live audiovisual processing and “Wind Trails,” which includes Persian singing by Lamneck's collaborator Mahoor Pourmoghadam. Miriam Akkermann's “CO-V” is driven by statistics about COVID-19 infections, deaths, and vaccinations in Germany. Karl F. Gerber's and Karina Erhard's “Don't Block the Flöte” placed a flute in a duo with an alto recorder that was played by robotics. Manuella Blackburn's “Farewell Fairlight” consists entirely of sounds drawn from an early 1980s Fairlight CMI synthesizer, including samples from its eight-inch floppy diskettes as well as external sounds, including those of its switches, fans, and signature light pen interface. The Best Music awards by region went to Sean Peuquet for “Plane of Slight Elevation” (Americas), Brett Battey for “Estuaries 4” (Europe), and Yu Chung Tseng for “Points of Departure II” (Asia–Oceania).Among the nine paper sessions and one “piece + paper” session, Rodney DuPlessis demonstrated an approach to applying principles of quantum mechanics in music, culminating in a composition called “Psi.” DuPlessis also joined Curtis Roads and Jack Kilgore in presenting EmissonControl2, a real-time sound file granulator. Ken Paoli presented an analysis of Phil Winsor's later work for multichannel audio and video. Kosmas Giannoutakis and Juan Carlos Vasquez introduced a protocol called Proof of Creative Contribution (PoCC), a blockchain system for collaborative composition that measures the values of each composer's contributions. Roger B. Dannenberg presented a new version of O2, a middleware communication protocol for real-time networked music, and won the Best Paper award for this work.Several papers focused on accessibility, including an Accessible Virtual Reality Musical Instrument by Lewis Smith, Frank Lyons, Brian Bridges, and Rob Casey; WOW-LOG, a project by WONWOORI, Jong-Hwa Park, and Ji-Yoon Hong that seeks to make music that is adapted to the abilities of cochlear implant users; and Nathan Wolek's and Grace McEllroy's initiative to print spectrograms in three dimensions for blind students—Wolek and McEllroy won the Best Presentation award for this work.Web: icmc2022.orgThe 27th International Symposium on Electronic Art (ISEA) took place 10–16 June 2022 in Barcelona, Spain, organized by the Open University of Catalonia. Keynote speakers Joan Foncuberta, Christl Baur, Olga Goriunova, and Richard Solé explored the symposium's main theme of “Possibles.” Subthemes explored the “Human and Non-Human,” “Natures and Worlds,” “Futures and Heritages,” and “Educations and Societies,” ending in Barcelona's first show to feature 100 drones with musical accompaniment.Web: isea2022.isea-international.orgThe 19th Sound and Music Computing (SMC) Conference took place 5–12 June 2022 in Saint-Étienne, France, and partially online, in conjunction with the third International Faust Conference (IFC) on 7 June and a special young researcher session of Journées d'Informatique Musicale (JIM) on 9 June. Keynote presentations included Ge Wang on excellence, ethics, and the sublime in technology design; Yann Orlarey reflecting on developments leading to the Faust (“Functional Audio Stream”) programming language in its 20th year; Sasha Leitman on physical interaction in the acoustic world; and Michel Buffa on the history of audio on the World Wide Web. The Best Paper award went to Claire Richards, Roland Cahen, and Nicolas Misdariis for presenting multimodal methods for composing using sound and touch; the Best Presentation award was given to the Yann Seznec and Sandra Pauletto for their conservation-minded, voice-driven “singing shower”; and the Young Researcher award went to Alice Sauda, Mathieu Giraud, and Emmanuel Leguy for Dezrann, a Web platform for annotating music to share analyses in the classroom. Proceedings are available online.Web: smc22.grame.frThe Association for Computational Creativity presented its 13th annual conference (ICCC) 27 June–1 July 2022 at the Free University of Bozen-Bolzano, Italy. Keynote presentations included Aaron Hertzmann on how computers using artificial intelligence could be considered artists; Allison Parrish on authorship and computer-generated literature; Ellen Pearlman on the future of performance driven by biosensors and artificial intelligence; and Oliviero Stock on human issues of machine learning, including humor and wit, attention, and ethics. Proceedings are available online.Web: computationalcreativity.net/iccc22The 17th annual Audio Mostly conference on interaction with sound took place 6–9 September 2022 at the St. Pölten University of Applied Sciences in St. Pölte, Austria, with a theme of “What you hear is what you see?”, reflecting on mixed modalities in sound interaction. Keynote speakers included Sacha Krstulović on the concept of digital signal processing as a service, Chris Chafe on various types of delays occurring in acoustic and Internet performance, Hannes Raffaseder on lessons from the digital evolution of music, and Stefania Serafin on multisensory experiences in music therapy. The event also included the seventh AllAroundAudio Symposium on 6 September, with a focus on products, applications, and environments, and the third International Workshop on the Internet of Sounds on 7 September. The Best Paper award went to Stuart Cunningham and Iain McGregor for realistic Foley sound for animated walk cycles, and the Best Music or Installation award was given to Matthew Riley and Uyen Nguyen for YomeciBand, which turns a public walkway into a collaborative musical interface.Web: audiomostly.com/2022Held online and hosted by the University of Auckland, New Zealand, the 22nd New Interfaces for Musical Expression (NIME) conference adopted a theme of “Decolonising Musical Interfaces,” in response to increasing numbers of works that interrogate hegemonies in new music, in addition to furthering New Zealand's initiatives to discuss decolonization and the value of indigenous cultures. As part of this thematic discourse, a group led by Juan Pablo Martinez Avila reflected on historical contributions to the discipline coming from Latin America with the perspective of “Being (A)part of NIME.” Laurel S. Pardue and S. M. Astrid Bin considered how trends in software development can perpetuate a cultural hegemony, often going unnoticed. Laddy Patricia Cadavid Hinojosa adapted the traditional Andean yupana, a counting device like an abacus, to turn it into a musical interface.In other presentations, Noura Howell's “Embodied Transductions” explored feedback resonances in an ironing board and a cedar hope chest, combined with heart, breath, and vocal sounds picked up by a stethoscope. Travis West evaluated of a variety of fingering systems for pitch control in search of an optimal approach. Enrico Dorigatti and Raul Masu presented a reflection on environmental sustainability in circuit bending, proposing best practices for future work.The conference included NIME's first doctoral consortium, a mentorship program designed to help newcomers and underrepresented groups enter the discourse, and a call for new music created with interfaces that had appeared at NIME previously. Keynote presenters included Khyam Allami, Hundred Rabbits (Rek Bellum and Devine Lu Linvega), and Sally Jane Norman.Web: nime2022.orgThe third Conference on AI Music Creativity was held online, hosted from Japan, 13–15 September 2022, with a theme of “The Sound of Future Past,” considering issues in approaching music traditions through artificial intelligence. Keynote presentations included Nao Tokui on using artificial intelligence in musical performance, Dorien Herremans on deep learning and musical emotion, and Patrick Savage on ethical considerations in applying artificial intelligence to traditional forms of music, using Japanese and English folk songs as examples. Proceedings are available online.Web: 2022.aimusiccreativity.orgThe 25th International Conference on Digital Audio Effects (DAFx) took place, in person for the first time since 2019, at the University of Music and Performing Arts Vienna, Austria, 6–10 September 2022. The outcomes of this conference were merged with those of the previous two editions, which were held online, and the collection is now called the Vienna Conference Series. Keynote presentations included Gaël Richard on a hybrid approach to deep learning applications in audio, Davide Rocchesso on approaches to sound design inspired by quantum mechanics, and Elaine Chew on connections between music and the science of the heart. In the Best Paper awards, the gold award went to Lenny Renault, Rémi Mignot, and Axel Roebel for their work on MIDI-to-audio piano synthesis, and the silver award was awarded to John Muradeli, Cyrus Vahidi, Changhong Wang, Han Han, Vincent Lostanlen, Mathieu Lagrange, and George Fazekas for differentiable time–frequency scattering on a graphics processing unit (GPU). There was a tie for the bronze award, going to Julian Parker, Sebastian Schlecht, Rudolf Rabenstein, and Maximilian Schäfer, for their work using recurrent neural networks for physical modeling synthesis, and to Eloi Moliner and Vesa Välimäki, for their model for synthesizing gramophone noise. Proceedings are available online.Web: dafx2020.mdw.ac.atUniversité Côte d'Azur hosted the seventh International Web Audio Conference (WAC) 6–8 July 2022 in Cannes, France. Invited speakers included Ariane Stolfi, who presented a live improvised musical score to two classic silent films using the playsound.space Web audio instrument, and Paul Adenot, who shared techniques for rapid real-time audio programming, with additional presentations by Hongnan Choi, David Rousset, and Mark Sandler. Proceedings and video presentations are available online.Web: wac2022.i3s.univ-cotedazur.frThe tenth Music Encoding Conference (MEC), the conference of the Music Encoding Initiative, took place 19–22 May 2022, hosted by Dalhousie University in Nova Scotia, Canada. Keynote presentations included Gimena del Rio Riande on an open scholarly edition of Castilian and Galician-Portuguese lyric poetry and Ichiro Fujinaga on the optical recognition of early Western music notated in neumes. The Best Paper award went to Jessica Grimmer for a case study on community and sustainability in the Music Encoding Initiative, and the People's Choice Best Paper award was given to Andrea Lindmayr-Brandl, Katharina Loose-Einfalt, Clemens Gubsch, Paul Gulewycz, Marlene Peterlechner, and Günther Koliander for their work on recognizing and handling watermarks in music manuscripts by Franz Schubert.Web: music-encoding.org/conference/2022The International Community for Auditory Display held its 28th annual conference (ICAD) online 24–27 June 2022. Fitting the theme of “Safe and Sound,” keynote presentations included Robert Alexander on sonification for well-being and Judy Reed Edworthy on effective auditory safety alarms. The event also included a sonification concert featuring musical works based on sonifying data from diverse sources: the Anthropocene epoch, the COVID-19 genome and its spread worldwide, leisure activities in select lifestyles, pollution, mass shootings, urban noise levels, and outer space.Web: icad2022.icad.orgPRISM Laboratory and partners invited researchers, composers, educators, members of industry, performers, software developers, librarians, and others for the seventh International Conference on Technologies for Music Notation and Representation (TENOR) 9–11 May 2022 in Marseille, France, in a hybrid format including some online presentations. The conference featured three keynote presentations: Craig Vear of De Montfort University, UK, exploring how digital notation has impacted music-making; Terri Hron and Sandeep Bhagwati discussing a trans-traditional perspective on notation technologies; and Raphaël Imbert and Benjamin Lévy presenting IRCAM's OMax machine listening and improvising software. Special sessions focused on computer-aided composition, the history and aesthetics of notation, comprovisation (exploring the possible relationships between composition and improvisation), and augmented-reality, virtual-reality, and distributed forms of music notation. The event also included three concerts as well as a workshop on the comprovisation concept. Conference proceedings are available online.Web: tenor2022.prism.cnrs.frThe Sonic Arts Research Centre (SARC) at Queen's University Belfast, UK, hosted over 100 artists in the Sonorities Festival 6–10 April 2022 in eight venues, in addition to nine installations throughout SARC's facilities and two mobile audio walks available online. Events included concerts, screenings, and talks, with featured performances by the the and duo with a live audiovisual by and Keynote speakers included on lessons for drawn from the early of the and and on the applications of and in the and early New Electroacoustic Music Festival took place June 2022 at the Center for and including for and invited the to the instrument live using a Web interface. and used a mobile device to an acoustic feedback presented a work for that was in response to the COVID-19 performed for and to the of for saxophone and audio a of in this time based on a of featured networked animation driven by of in and audio by a to the The also included a concert to the music of to at of in to the COVID-19 Travis presented a audiovisual of and on Latin as well as the of and concert to the of presented works by Richard with Wang, and video are available online.Web: and Computing Community held its conference June 2022 at in the keynote on which is a and performance that on in the of and a and a performance of and from an for the part of the Association for Computing Conference on in Computing hosted in New a of presented the and Workshop online on May 2022. focused on through the of learning, and up as and the of data in machine and issues including urban and University of of Sound as well as the of in June–1 July 2022. The eight concerts in the included a concert by Robert a concert to and of the Electroacoustic Music a new work by for and audio and performances by artists with throughout its history including and as well as performances of works by Robert and The also included two installations and an demonstrating first control of the New of presented the New Electroacoustic April 2022 at in using live with the and the Persian the works on the concert also included sounds from a and live The artists were based in Georgia, and as well as New The concert and are available for viewing online.Web:

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