ICMC 2026: International Computer Music Conference 2026 ligeti center Hamburg, Germany, May 10-16, 2026

Conference website	http://icmc2026.ligeti-zentrum.de
Submission link	https://easychair.org/conferences/?conf=icmc2026
Submission deadline	December 15, 2025

ICMC Hamburg 2026: Call for Submissions

Innovation, Translation, Participation

Please visit this page in the upcoming weeks and months as we will periodically be updating its contents.

The International Computer Music Conference (ICMC) 2026, organized by the ligeti center, will be held in Hamburg, Germany, from May 10-16, 2026. We invite submissions in all areas related to computer music, electronic music, and multimedia.

This year’s conference theme is “Innovation, Translation, Participation”. Following this theme, we will be reviving the Off-ICMC as a series of satellite events aimed at the general public (see our Off-ICMC call below).

There will also be special focus on the computer music pioneer Clarence Barlow who organized the first ICMC on German soil in Cologne in 1988 and would have turned 80 on December 27, 2025.

All submissions will undergo a double-blind peer review process. Accepted papers will be published in the official conference proceedings. Additionally, all accepted works will be featured in a program booklet distributed to conference attendees and available online.

ICMC HAMBURG 2026 will be held in a hybrid format. Paper authors who cannot physically attend may present remotely. Composers and Sound Artists whose works are fixed and not performative, may also present remotely. 

Due to the technical requirements and experiential nature of performative works, installations, and accepted submissions for the innovation showcase (which combines poster presentations and live demonstrations) it is expected that contributors attend the conference in person. We particularly encourage submissions by artists with disabilities, as well as works that explore accessibility and inclusive practices in music and sound art.

All submissions are to be made through the EasyChair conference system. Pieces submitted via other channels will not be considered.

Registration is required of all persons whose work is accepted and intended for presentation at ICMC HAMBURG 2026. Registration fees cover admission to all events at the conference.

Submission Deadlines

Call announcement: September 1, 2025

Conference system opening: October 15, 2025

Conference system closing: December 22, 2025

Notification of acceptance: March 1, 2026

Camera-ready deadline: April 1, 2026

Program online: May 1, 2026

All submission deadlines are AoE. The call is open to all regardless of gender, nationality, age, religion, and career or majors.

Conference chair: Georg Hajdu

 

Call for Papers

ICMC HAMBURG 2026 invites submissions of full papers (up to 8 pages) and short papers (up to 4 pages) that resonate with the conference theme Innovation, Translation, Participation.

We welcome works in the following broader categories, including but not limited to:

• Artificial Intelligence & Machine Learning in Music
• Physical Modelling 
• Signal Processing
• Music Information Retrieval
• Quantum Computer Music 
• Immersive Media (3D audio, XR technologies) 
• Interactive Media 
• Networked Music Performance 
• Music Notation & Representation 
• History of Computer Music
• Pedagogy of Computer Music
• Haptics and Robotics in Music 
• Health and Digital Music Technology 
• Artistic Research in, for and through Digital Music Systems building 
• Studio Reports
• Special Topic: Early AI systems and the legacy of Clarence Barlow
• Special Topic: Novel concepts in 3D audio including wireless multi-channel audio as well as physical / embodied sound diffusion

We particularly encourage submissions that combine innovative approaches to music with groundbreaking technology and scientific insights.

Both full and short papers will be included in the proceedings. Authors of the selected papers will have the opportunity to present their work orally during the conference.

Winners of the Best Paper Award will be invited to publish an extended version of their paper in a special issue of the Computer Music Journal.

Full papers should present completed research with comprehensive methodology and artist and/or technical results. Short papers are suitable for work-in-progress, preliminary findings, or focused technical solutions demonstrating clear potential impact.

Papers will be reviewed based on their artistic/musical contribution, technical/scientific merits, originality and innovation, presentation quality, and relevance to the extended field of computer music. 

Only original work not previously published or submitted for publication is considered for acceptance. Authors of accepted submissions who cannot physically attend the conference may present remotely.

Call for Papers: Submission Guidelines

All submissions must be in English and use appropriate and inclusive language.

Paper submissions should be made using the templates provided and submitted through EasyChair. Please remove any identifying information from your submission materials to ensure a double-blind peer review process. Non-anonymized submissions will be excluded from the reviewing process.

LaTeX, MS Word, and OpenDocument Text templates are available here.

Note that page limits include references.

For any questions regarding submissions, please contact the ICMC HAMBURG 2026 Paper Chairs: papers@icmc2026.ligeti-zentrum.de

Paper Chairs: Miriam Akkermann and Konstantina Orlandatou.

 

Call for Music

ICMC HAMBURG 2026 invites submissions of musical works that engage with digital technologies and resonate with the conference theme Innovation, Translation, Participation.

We welcome fixed media pieces, performative works, improvisations, and live electronic sets, with or without visuals. Works should preferably be 8 minutes or shorter (a maximum of 12 minutes for fixed media). Improvisers are asked to provide an audio sample together with a description of their set-up.

Ensembles in residence:

• Ensemble Resonanz
• Ensemble 404 (predominantly for composed music)
• SPIIC+ Ensemble (predominantly for improvised music)
• Asya Fateyeva – saxophones 
• John Eckhardt – double bass 

See also the special calls below.

Categories

Composed works

Composed works for solo instrument and electronics

Any instrument may be used if performed by the composer. For works to be performed by Ensemble 404, the following instruments are available: violin, viola, cello,  flute, clarinet, bassoon, contrabassoon, recorder, piano/keyboard, organ, percussion.

The electronics may consist of fixed media, real-time processing, live electronics, or a combination thereof.

Works may be diffused in stereo, quadraphonic, or 8.1.

Composed works for small ensemble (2–4 instruments) and electronics

Works may include the composer’s instrument(s) together with the performers of the Ensemble 404 (see list above).

The electronics may consist of fixed media, real-time processing, live electronics, or a combination thereof.

Works may be diffused in stereo, quadraphonic, or 8.1.

Improvised works

Improvised work for solo instrument and electronics

Any instrument may be used if performed by the composer. For works to be performed by the SPIIC+ Ensemble, the following instruments are available: violin, viola, cello, double bass, flute, saxophone, clarinet, bassoon, contrabassoon, recorder, piano/keyboard, organ, percussion. Works may employ graphic, networked, or real-time notation. Composers must manage the notation system independently; iPads may be provided for dynamic notation.

The electronics may consist of fixed media, real-time processing, live electronics, or a combination thereof.

Works may be diffused in stereo, quadraphonic, or 8.1.

Improvised work for ensemble and electronics (SPIIC+ Ensemble)

Collective improvisation projects with the SPIIC+ Ensemble are welcome. Works may employ graphic, networked, or real-time notation. Composers must manage the notation system independently; iPads may be provided for dynamic notation. The electronics may consist of fixed media, real-time processing, live electronics, or a combination thereof.

Works may be diffused in stereo, quadraphonic, or 8.1.

Fixed media

Acousmatic works, with or without video, are welcome. Works may be diffused in stereo, quadraphonic, 8.1, or immersive 20.6 formats (ligeti center Production Lab; technical specifications to be provided).

Live electronic works

Live electronic sets are welcome, including custom instruments, DJ/VJ sessions, and live coding. Works may include video or be audio-only. Submissions must include a stereo reference file (.wav/.aif., mp4 if video included). Works may be diffused in stereo, quadraphonic, 8.1, or immersive 20.6.

Call for Music: Submission guidelines

• Works must be new and original, and must incorporate digital technologies in their creation, production, or performance.
• All participants are responsible for securing the necessary permissions for public presentation.
• Duration: preferably less or equal to 8 minutes (a maximum of 12 minutes for fixed media).
• The electronic part may consist of fixed media, real-time processing, live electronics, or a combination thereof. Participants must be able to install and operate their own electronic setups (including soundcards). TRS connections will be available for connection to the mixing console.
• Diffusion is available in stereo, quadraphonic, and 8.1. For fixed media / multimedia and live-electronic works, it is also possible to use the immersive 20.6 system of the Production Lab at the ligeti center (technical specifications to be provided).

Piece + Paper

Submissions combining a musical work with a research paper are encouraged. These provide an opportunity to discuss both the technical and aesthetic aspects of the work. Please submit the paper first via the Call for Music system. The paper presentation is contingent upon the acceptance of the piece.

Each submission must include:

• Work title, year, and description (for publication)
• Abstract (max. 1,000 characters)
• Program note (max. 3,000 characters)
• Illustration (copyright-free, jpeg)
• Primary author information: name, biography (max. 3,000 characters), photograph (copyright-free, jpeg)
• Secondary participants: names and biographies (max. 8,000 characters)
• Audio or video documentation of the work (or a similar work) in stereo (.wav/.aif, 48 kHz; mp4 if video included)
• Score and performance guidelines (if applicable) in a single PDF
• Technical requirements and setup specifications (using the official form provided at the opening of the call)

Special Call 1: Ensemble Resonanz @ Elbphilharmonie Opening Concert

In collaboration with Ensemble Resonanz, ICMC HAMBURG 2026 announces a Special Call for Works for the opening concert on May 10, 2026, at the Elbphilharmonie Hamburg. Selected works will be premiered by Ensemble Resonanz during this concert, marking the official opening of the conference. The program will include a performance of Clarence Barlow’s piece “Im Januar am Nil.”

Instrumentation

Composers are invited to submit works for string ensemble and electronics. The core instrumentation consists of 4 violins, 4 violas, 4 cellos and 2 double bass. Additional instruments (corresponding to the instrumentation of “Im Januar am Nil”) are: 2 soprano saxophones (one of them doubling with clarinet and bass clarinet), piano and percussion (see here for a complete list of instruments).

Electronics may consist of fixed media, real-time processing, live electronics, or a combination thereof. Works may be diffused in stereo, quadraphonic, 8.1, or immersive 20.6.

Special Call 1: Guidelines

• Duration: 8 - 10 minutes
• Works must be new and original, and must incorporate digital technologies in their creation, performance, or production.
• Scores and performance materials must be submitted in PDF format.
• Electronics must be installable and operable by the composer.
• Submissions must include a stereo reference file (.wav/.aif, 48 kHz; mp4 if video included).

Special Call 1: Submission Requirements

• Title, year, and description (for publication)
• Abstract (max. 1,000 characters)
• Program note (max. 3,000 characters)
• Score (PDF) and performance materials
• Technical requirements form (to be provided)
• Audio mock-up or representative recording

Special Call 2: Solo Works for Asya Fateyeva (saxophones) & John Eckhardt (double bass)

ICMC HAMBURG 2026 is pleased to announce a Special Call for Solo Works, written for two featured artists-in-residence:

Asya Fateyeva – saxophone

John Eckhardt – double bass

Selected works will be premiered by the soloists during the conference concerts.

Special Call 2: Guidelines

• Instrumentation: solo saxophone + electronics OR solo double bass + electronics
• Electronics may consist of fixed media, real-time processing, live electronics, or a combination thereof. Works may be diffused in stereo, quadraphonic, 8.1
• Duration: 6 - 10 minutes
• Works must be new and original, and must incorporate digital technologies in their creation, performance, or production.
• Scores and performance materials must be submitted in PDF format.
• Electronics must be installable and operable by the composer.
• Submissions must include a stereo reference file (.wav/.aif, 48 kHz; mp4 if video included).

Special Call 2: Submission Requirements

• Title, year, and description (for publication)
• Abstract (max. 1,000 characters)
• Program note (max. 3,000 characters)
• Score (PDF) and performance materials
• Technical requirements form (to be provided)
• Audio mock-up or representative recording

Incomplete or late submissions will not be considered. All submissions must be made via the EasyChair conference system. For any questions regarding the Call for Music Submissions, please contact the ICMC HAMBURG 2026 Music Chairs: music@icmc2026.ligeti-zentrum.de

Music Chairs: Xiao Fu and Grégory Beller.

 

Call for Installations

ICMC HAMBURG 2026 invites submissions for installations, including – but not limited to – the following categories:

• Audio-visual installations (interactive or static, mono or multichannel)
• Sound installations (interactive or static)
• Soundscape / environmental works (e.g. artistically designed ambient works)
• Spatial and immersive audio or audio-visual formats
• Interactive multimedia systems
• Sound sculptures
• Soundwalks
• Performances in public space
• Multimodal works, especially those incorporating haptic interfaces
• Works at the intersection of art/music and medicine

Installations will primarily be exhibited at the conference venue in the facilities of TU Hamburg, as well as in other publicly accessible locations nearby.

Thematic Focus

We especially encourage submissions that relate to the thematic focus of ICMC HAMBURG 2026:

• Artificial Intelligence & Machine Learning in Music
• Physical Modelling
• Signal Processing
• Music Information Retrieval
• Quantum Computer Music
• Immersive Media (3D audio, XR technologies)
• Interactive Media
• Networked Music Performance
• Music Notation & Representation
• History of Computer Music
• Haptics and Robotics in Music
• Health and Digital Music Technology
• Artistic Research in, for and through Digital Music Systems Building

We particularly welcome works that combine innovative artistic approaches with cutting-edge technology, scientific insight, and meaningful narratives.

On-Site Support

The local team will support selected artists with the set-up, configuration, and maintenance of their works.Artists are expected to arrive well in advance of the opening in order to coordinate installation, carry outtesting, and ensure their pieces are fully prepared for the exhibition.

Sound Art & Public Performances

In close coordination with the Off-ICMC, selected works will also be presented in public spaces. The aim is to engage local residents in their everyday environments, ensuring low-barrier participation for the Hamburg public.

We welcome creative ideas and concepts and will strive to provide the project-specific technical infrastructure needed.

Evaluation Criteria

• Completeness of submission and adherence to guidelines
• Feasibility in terms of complexity, maintenance, and safety
• Originality and creative execution
• Aesthetic and technical quality
• Novelty and relevance to computer music and related fields
• Accessibility and low-threshold engagement

Responsibilities of Artists

The conference organizers can only provide basic technical infrastructure. Any specialized technology must be provided by the artists themselves and transported to Hamburg at their own expense. Artists are also responsible (unless otherwise agreed) for supervising and insuring their own equipment. The organizers cannot assume liability for third-party belongings.

Sound sculptures are also welcome at ICMC HAMBURG 2026; however, transport and insurance costs must likewise be covered by the selected artists.

Installation Schedule

Setup: Mon, May 4 – Sun, May 10 (pre-conference); Mon, May 11 – Tue, May 12 (final checks and adjustments)

Exhibition: Wed, May 13 – Sat, May 16

Opening reception: Date to be announced

Dismantling: Sun, May 17

Selected artists must be present for the final installation checks on May 11 or 12, as well as for the opening, to ensure proper and functional presentation. Exhibition spaces will be supervised by non-technical staff during opening hours, responsible only for turning systems on/off and ensuring general security. For any complex calibration or initialization processes, the presence of the artist or a designated representative is required.

Multiple submissions per artist are allowed, but only one work can be accepted for presentation at the conference. A paid registration as a conference participant is required for accepted works to be presented.

Call for Installations: Submission Guidelines

All submissions must be in English.Please include the following materials and information:

• Project title & description (max. 500 words)
• Documentation of previous works (if applicable)
• Materials, dimensions, and duration of the work
• Audio-visual documentation/video examples of the project
• Technical requirements
• Preferred installation category and space
• Equipment list (what is to be provided by the organizers / what the artist will bring)
• Power and performance requirements
• Spatial layout (floor plan)
• Estimated setup and dismantling time
• Staffing/monitoring needs
• Additional project-specific information

Submissions must be made through the ICMC HAMBURG 2026 EasyChair conference system.There is no fixed template for technical specifications, but all information must be clearly provided in either .doc, .docx, or .pdf format.Important: Please remove all identifying information from submission materials to ensure double-blind peer review.

If you are available for an artist talk or would like to offer a project-related workshop, please indicate this in the corresponding checkbox in the EasyChair System.

For further questions regarding the call or submissions, please contact: installations@icmc2026.ligeti-zentrum.de.

Installation Chairs: Jacob Sello and Quirin Nebas.

 

Call for Workshops

As part of ICMC HAMBURG 2026, a wide range of workshops can be offered. Researchers will have the opportunity to put into practice the results presented in their papers, posters, or performances, while participants can explore new technologies in depth under expert guidance, gain hands-on experience, and engage in direct exchange with the developers.

Please send your workshop proposals to Jacob Sello (Installation Chair) or Quirin Nebas (Installation Co-Chair). Please provide a detailed description of your suggested content including prerequisites, limitations, and technical requirements.

 

Call for Innovation Showcase (Poster and Demo)

ICMC HAMBURG 2026 invites submissions for the Innovation Showcase, which combines poster presentations and live demonstrations. Submissions in this category should be short papers (up to 2 pages) that resonate with the theme Innovation, Translation, Participation. We welcome works in the following broader categories, including but not limited to:

• Composition, Performance, and Interactive Systems
• Digital Musical Instruments and Human-Computer Interaction in Music
• Sound and Signal Processing
• Artificial Intelligence, Machine Learning, and Data Analysis
• Virtual Reality, Gaming, and Networked Systems
• Education, Historical Perspectives, and Infrastructure

We encourage submissions of all stages, including works-in-progress, preliminary research findings, focused technical solutions, brief case studies, and fully developed projects. The crucial aspect is that the work lends itself to engaging presentations through posters or hands-on demonstrations. Submissions should offer interactive experiences that allow conference attendees to directly engage with the work/technology, comprehend its musical applications, and appreciate its innovative elements. Each submission will be evaluated based on its creative and intellectual merit, practical functionality, suitability for interactive presentation, and potential impact on the field of computer music. Selected submissions will be included in the proceedings.   

Call for Innovation Showcase:  Submission guidelines

All submissions must be in English and must use appropriate and inclusive language.

Submissions should be made using the templates provided and submitted through the EasyChair conference system. Alongside the 2-page paper, submissions conceived for live demonstrations must include a technical rider and video documentation (max. 5 minutes). Please remove any identifying information from all submitted materials to ensure a double-blind peer review process. LaTeX, MS Word, and OpenDocument Text templates are available here.

For any questions regarding submissions, please contact the ICMC HAMBURG 2026 Paper Chairs: papers@icmc2026.ligeti-zentrum.de.

Paper Chairs: Miriam Akkermann and Konstantina Orlandatou.

 

Call for Off-ICMC

Off-ICMC HAMBURG 2026 will take place alongside the regular conference program. It serves as a platform for critical and experimental formats that explore diverse forms of artistic expression, technology, and social engagement. The program invites the general public to participate and engage in accessible events and open discourse.

We are inviting submissions in the following format: 

Ctrl+Alt+Music: The Science Slam on Music in the Digital Age

General Information

• The Science Slam “Ctrl+Alt+Music” serves as a kick-off for the Off-ICMC and is aimed especially at the general public, while mutually appealing to an expert audience.
• It will take place on Tuesday evening, May 12, 2026.
• Participants are invited to present their research in a clear and accessible manner, ideally enriched by creative or humorous elements.

Your Contribution

• Duration: max. 10 minutes
• Languages: German (preferred) or English
• Use of accompanying visual media is encouraged
• Use of live instruments is possible

Suggested Topics

We invite contributions that address fundamental debates or current developments in the field of computer music. Submissions may focus on innovative technologies and methods, artistic practices, and performance formats, as well as historical, theoretical, and pedagogical perspectives within the field.

Requirements

• Title and description of the slam submission
• If necessary: technical rider
• An application video (max. 3 minutes)

For any questions regarding submissions, please contact the Off-ICMC HAMBURG 2026 Team: Nadine Schwalb and Joana Naomi Welteke, agentur@ligeti-zentrum.de

We look forward to your contributions!