Subject: [AUDITORY] 1st CfP: Semantic Audio conference From: George Fazekas <gyorgy.fazekas@xxxxxxxx> Date: Tue, 25 Jun 2013 14:52:31 +0100 List-Archive:<http://lists.mcgill.ca/scripts/wa.exe?LIST=AUDITORY>--Apple-Mail=_4F1EB187-540E-4287-A130-405E4081718D Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=windows-1252 Apologies for cross-posting. *************************************************************** [First Call for Papers] *** Audio Engineering Society 53rd conference on Semantic Audio *** London, UK, January 27-29, 2014. Chairs: Karlheinz Brandenburg and Mark Sandler, Email: = 53rd_chair@xxxxxxxx Semantic Audio is concerned with content-based management of digital = audio recordings. The rapid evolution of digital audio technologies, = e.g. audio data compression and streaming, the availability of large = audio libraries online and offline, and recent developments in = content-based audio retrieval have significantly changed the way digital = audio is created, processed, and consumed. New audio content can be = produced at lower cost, while also large audio archives at libraries or = record labels are opening to the public. Thus the sheer amount of = available audio data grows more and more each day. Semantic analysis of = audio resulting in high-level metadata descriptors such as musical = chords and tempo, or the identification of speakers facilitate = content-based management of audio recordings. Aside from audio retrieval = and recommendation technologies, the semantics of audio signals are also = becoming increasingly important, for instance, in object-based audio = coding, as well as intelligent audio editing, and processing. Recent = product releases already demonstrate this to a great extent, however, = more innovative functionalities relying on semantic audio analysis and = management are imminent. These functionalities may utilise, for = instance, (informed) audio source separation, speaker segmentation and = identification, structural music segmentation, or social and Semantic = Web technologies, including ontologies and linked open data. This conference will give a broad overview of the state of the art and = address many of the new scientific disciplines involved in this = still-emerging field. Our purpose is to continue fostering this line of = interdisciplinary research. This is reflected by the wide variety of = invited speakers presenting at the conference. Keynote and invited speakers ----------------------------------------- * Meinard M=FCller (International Audio Laboratories Erlangen, Germany)=20= * Ga=EBl Richard (TELECOM ParisTech and CNRS, France) * Gerhard Widmer (Department of Computational Perception, Johannes = Kepler University, Linz, Austria) * Yves Raimond (BBC R&D, London, UK) For an up-to-date list of the invited talks, please refer to the = conference website at http://www.aes.org/conferences/53/. Submission of papers ------------------------------- Submissions may include full papers for peer review (4-10 pages, = conforming the AES conference template), or short, late-breaking paper = proposals including a title and abstract (60-120 words). Complete = manuscripts (encouraged for full peer review) should be submitted at = www.aes.org/53rd_authors by September 15, 2013. Late-breaking paper = proposals should be submitted by October 15, 2013.=20 Peer reviewed papers may be presented in the main sessions, or as a = poster at the discretion of the committee, although authors may indicate = a preference. Acceptance of papers will be determined by the 53rd = international conference review committee based on the full paper = submission. Accepted authors will be notified by November 6, 2013. Final = manuscripts must be submitted by November 27, 2013. Authors wishing = their conference papers to be considered for publication by the Journal = of the Audio Engineering Society (JAES), should read the Journal's = guidelines described at: http://www.aes.org/journal/authors/guidelines/ = and, following the conference, submit a revised and extended version of = their paper for review, using the Journal's online submission system. Acceptance of late-breaking demo and poster proposals will be determined = by the review committee based on the abstract. Accepted authors will be = invited to submit two page extended abstracts (short papers), which will = not form part of the official proceedings, but will be published online, = and available from the conference web site. (Additionally, authors of = short papers are invited to use open-access publication routes including = arXiv.org.) Accepted authors will be notified by November 6, 2013. Final = submissions will due January 6, 2014.=20 All papers must conform to the LaTeX or MS-Word templates available from = www.aes.org/53rd_authors. If you have any questions about peer reviewed = paper, poster or extended abstract submissions, please contact: = 53rd_papers@xxxxxxxx=20 Conference website: http://www.aes.org/conferences/53/ =20 Please submit manuscripts at www.aes.org/53rd_authors no later than = September 15, 2013, or proposals for the late-breaking session no later = than October 15. 2013. Proposed topics for papers ------------------------------------- * Audio signal processing and feature extraction * Machine learning methods for audio content analysis * Intelligent audio production using semantic analysis * Intelligent audio effects * Semantic audio description and ontologies * Semantic Web and Linked Data for audio * Automatic tagging of audio signals * Speech processing and analysis * Content-based audio retrieval * Music informatics and retrieval * Automatic music transcription * Audio source separation * Audio restoration * User interfaces for audio management and retrieval * Applications in gaming, entertainment, education, etc=85 Conference Programme ----------------------------------- The three day conference programme includes oral and poster sessions to = be held at the Barbican Centre in a convenient central London location, = social events, and a technical tour at the BBC in London (participant = numbers will be limited and subject to registration on a first come = first served basis). An additional tutorial day will be held at Queen = Mary University of London on effective research practices (e.g. the use = of version control and unit testing in audio research) and selected = topics TBC (e.g. Semantic Web technologies for audio and/or Sparse = Representation). Important dates ----------------------- Manuscript deadline: September 15, 2013. Late-breaking demo/poster proposal deadline: October 15, 2013. Acceptance emailed: November 6, 2013. Camera-ready submission deadline: November 27, 2013. Late-breaking paper deadline (extended abstracts): January 6, 2014. Paper co-chairs ----------------------- Christian Dittmar, Fraunhofer IDMT George Fazekas, Queen Mary University of London Sebastian Ewert, Queen Mary University of London Email: 53rd_papers@xxxxxxxx Organising Committee -------------------------------- Karlheinz Brandenburg (chair), Fraunhofer IDMT Mark Sandler (chair), QMUL Chris Baume, BBC R&D Christian Dittmar, Fraunhofer IDMT George Fazekas, QMUL Joshua D. Reiss, QMUL Michael Terrell, QMUL Panos Kudumakis, QMUL Sebastian Ewert, QMUL Sue White, QMUL Thomas Wilmering, QMUL Yading Song, QMUL= --Apple-Mail=_4F1EB187-540E-4287-A130-405E4081718D Content-Transfer-Encoding: quoted-printable Content-Type: text/html; charset=windows-1252 <html><head></head><body style=3D"word-wrap: break-word; = -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; = ">Apologies for = cross-posting.<br><br><div><br>*******************************************= ********************<br><br></div><div>[First Call for = Papers]<br><br></div><div><br><div>*** <b>Audio Engineering Society = 53rd conference on Semantic = Audio</b> ***</div><div><br></div><div>London, UK, January 27-29, = 2014.<div><b>Chairs: Karlheinz Brandenburg and Mark = Sandler,</b> Email: <a = href=3D"mailto:53rd_chair@xxxxxxxx">53rd_chair@xxxxxxxx</a></div><div><br></= div><div><div><br>Semantic Audio is concerned with content-based = management of digital audio recordings. The rapid evolution of digital = audio technologies, e.g. audio data compression and streaming, the = availability of large audio libraries online and offline, = and recent developments in content-based audio retrieval have = significantly changed the way digital audio is created, processed, and = consumed. New audio content can be produced at lower cost, while also = large audio archives at libraries or record labels are opening to = the public. Thus the sheer amount of available audio data grows more and = more each day. Semantic analysis of audio resulting in high-level = metadata descriptors such as musical chords and tempo, or the = identification of speakers facilitate content-based management of audio = recordings. Aside from audio retrieval and = recommendation technologies, the semantics of audio signals are = also becoming increasingly important, for instance, in object-based = audio coding, as well as intelligent audio editing, and processing. = Recent product releases already demonstrate this to a great extent, = however, more innovative functionalities relying on semantic audio = analysis and management are imminent. These functionalities may utilise, = for instance, (informed) audio source separation, speaker segmentation = and identification, structural music segmentation, or social and = Semantic Web technologies, including ontologies and linked open = data.<br><br>This conference will give a broad overview of the state of = the art and address many of the new scientific disciplines involved in = this still-emerging field. Our purpose is to continue fostering this = line of interdisciplinary research. This is reflected by the wide = variety of invited speakers presenting at the = conference.<br><br><b>Keynote and invited = speakers</b></div><div>-----------------------------------------<br><br>*&= nbsp;<b>Meinard M=FCller</b> (International Audio Laboratories = Erlangen, Germany) <br>* <b>Ga=EBl Richard</b> (TELECOM = ParisTech and CNRS, France)<br>* <b>Gerhard = Widmer</b> (Department of Computational Perception, Johannes Kepler = University, Linz, Austria)<br><br>* <b>Yves Raimond</b> (BBC = R&D, London, UK)<br>For an up-to-date list of the invited talks, = please refer to the conference website at <a = href=3D"http://www.aes.org/conferences/53/">http://www.aes.org/conferences= /53/</a>.<br><br><br></div><div><br><b>Submission of = papers</b></div><div>-------------------------------<br><br>Submissions = may include full papers for peer review (4-10 pages, conforming the AES = conference template), or short, late-breaking paper proposals including = a title and abstract (60-120 words). Complete = manuscripts (encouraged for full peer review) should be = submitted at <a = href=3D"http://www.aes.org/53rd_authors">www.aes.org/53rd_authors</a> = ;by <b>September 15, 2013.</b> Late-breaking paper proposals = should be submitted by <b>October 15, 2013.</b> <br><br>Peer = reviewed papers may be presented in the main sessions, or as a poster at = the discretion of the committee, although authors may indicate a = preference. Acceptance of papers will be determined by the 53rd = international conference review committee based on the full paper = submission. Accepted authors will be notified by November 6, = 2013. Final manuscripts must be submitted by November 27, = 2013. Authors wishing their conference papers to be considered for = publication by the Journal of the Audio Engineering Society (JAES), = should read the Journal's guidelines described at: <a = href=3D"http://www.aes.org/journal/authors/guidelines/">http://www.aes.org= /journal/authors/guidelines/</a> and, following the conference, = submit a revised and extended version of their paper for = review, using the Journal's online submission = system.<br><br>Acceptance of late-breaking demo and poster proposals = will be determined by the review committee based on the abstract. = Accepted authors will be invited to submit two page extended abstracts = (short papers), which will not form part of the official = proceedings, but will be published online, and available from the = conference web site. (Additionally, authors of short papers are invited = to use open-access publication routes including arXiv.org.) = Accepted authors will be notified by November 6, 2013. Final = submissions will due January 6, 2014. <br><br>All papers must = conform to the LaTeX or MS-Word templates available from <a = href=3D"http://www.aes.org/53rd_authors">www.aes.org/53rd_authors</a>.&nbs= p;If you have any questions about peer reviewed paper, poster or = extended abstract submissions, please contact: <a = href=3D"mailto:53rd_papers@xxxxxxxx">53rd_papers@xxxxxxxx</a>. <br>Conf= erence website: <a = href=3D"http://www.aes.org/conferences/53/">http://www.aes.org/conferences= /53/</a></div><div> </div><div><b>Please submit manuscripts = at <a = href=3D"http://www.aes.org/53rd_authors">www.aes.org/53rd_authors</a> = ;no later than September 15, 2013</b>, or proposals for the = late-breaking session no later than October 15. = 2013.</div><div><br><br><b>Proposed topics for = papers</b></div><div>-------------------------------------<br><br>* = Audio signal processing and feature extraction<br>* Machine learning = methods for audio content analysis<br>* Intelligent audio production = using semantic analysis<br>* Intelligent audio effects<br>* Semantic = audio description and ontologies<br>* Semantic Web and Linked Data for = audio<br>* Automatic tagging of audio signals<br>* Speech processing and = analysis<br>* Content-based audio retrieval<br>* Music informatics and = retrieval<br>* Automatic music transcription<br>* Audio source = separation<br>* Audio restoration<br>* User interfaces for audio = management and retrieval<br>* Applications in gaming, entertainment, = education, etc=85<br><br><br></div><div><b>Conference = Programme</b></div><div>-----------------------------------<br><br>The = three day conference programme includes <b><i>oral and poster = sessions</i></b> to be held at the <b><i>Barbican = Centre</i></b> in a convenient central London location, social = events, and a <b><i>technical tour at the BBC</i></b> in = London (participant numbers will be limited and subject to registration = on a first come first served basis). An <b><i>additional = tutorial day</i></b> will be held at <b><i>Queen Mary = University of London</i></b> on effective research practices (e.g. = the use of version control and unit testing in audio research) and = selected topics TBC (e.g. Semantic Web technologies for = audio and/or Sparse = Representation).</div><div><br></div><div><br></div><div><b>Important = dates</b><br>-----------------------<br><br><b>Manuscript</b> deadlin= e: <b>September 15, = 2013.</b><br><b>Late-breaking </b>demo/poster proposal = deadline: <b>October 15, 2013.</b><br>Acceptance emailed: November = 6, 2013.<br>Camera-ready submission deadline: November 27, = 2013.<br>Late-breaking paper deadline (extended abstracts): January 6, = 2014.<br><br><br><b>Paper = co-chairs</b></div><div>-----------------------<br><br>Christian = Dittmar, Fraunhofer IDMT<br>George Fazekas, Queen Mary University of = London<br>Sebastian Ewert, Queen Mary University of = London<br>Email: <a = href=3D"mailto:53rd_papers@xxxxxxxx">53rd_papers@xxxxxxxx</a><br><br><br><b>= Organising = Committee</b></div><div>--------------------------------<br><br>Karlheinz = Brandenburg (chair), Fraunhofer IDMT<br>Mark Sandler (chair), = QMUL<br><br>Chris Baume, BBC R&D<br>Christian Dittmar, Fraunhofer = IDMT<br>George Fazekas, QMUL<br>Joshua D. Reiss, QMUL<br>Michael = Terrell, QMUL<br>Panos Kudumakis, QMUL<br>Sebastian Ewert, QMUL<br>Sue = White, QMUL<br>Thomas Wilmering, QMUL<br>Yading Song, = QMUL</div></div></div></div></body></html>= --Apple-Mail=_4F1EB187-540E-4287-A130-405E4081718D--