• audio
• video (Quicktime and video stills)
• imagery (still photos, screen captures, etc.) shareware
• freeware
• hypertext
• and other CD-burnable formats.

The millennium bug is coming, and its accompanying panic has already arrived. But with New Year's Eve 2000 still some months away, we can still afford to contemplate the past century.

Leonardo Music Journal (LMJ) is in a reflective mood (could that be the real bug?). What have we done to music through computer technology, the Internet and multimedia? Where is the composer, the programmer, the author, the DJ or VJ, the artist, the broad/netcaster, the enthusiast or the bricoleur? What distinguishes the experimental, new and alternative from the traditional? Who draws the borderlines between genres, social groups and disciplines? Is there a reason to examine the possibilities of the intersection of art, science and technology, or is there nothing more to expect than what we currently find on the Web once the wavelets are correctly formatted, transmitted fiber-optically and copied from disc to disc? Does the audience consist of millions of machines that keep the systems running, or a few humans caring to click and download and listen? Who takes the call?

A Walk Through The Bazaar

The current musical landscape seems more diverse than ever before. But if conventional wisdom shows all media converging via the computer paradigm, then certainly music is no exception. Composers in all genres have moved to the computer for editing, synthesis and mixing. MIDI is where we left it a couple of years ago, and newer processors have let us overwhelm ourselves with software that allows complex sound synthesis and real-time manipulation. Furthermore, music and sound are losing their autonomy, and a growing number of multimedia composers is getting involved in performances and CD-ROM editions. They are mostly doing this not through high-end super-expensive production software but small-scale and low-cost code, often programmed by enthusiasts and shared all along by a growing community of do-it-yourself noise makers. We intend the CD companion to LMJ Volume 9 to show what is happening with shareware and freeware. Who are the developers? Who are the users? What is your music? Take the call.

A Different Kind Of Code(C): Be Connected

Will the Internet become so mature that we will speak only of a new generation of "netcomposers"? This call is not about the new data types & protocols, but about a new generation of media artists that uses sounds and images and works with low data-rate transfers-netcasters, performers, DJs, VJs and others putting free audio on-line. A growing number of creative people are building new communities linked by a constant stream of on-line music and imagery. The LMJ CD companion will spotlight these communities. Who are you? Where are your servers? What is your music? Take the call.

Finally, if anyone out there feels neglected or is convinced this call does not touch ground for them, please contact us. Show us why sound and music in 1999 is different, and provide us with the appropriate examples--or samples.

We will consider any format (multimedia or otherwise) used by contemporary music/sound-related artists. Please provide a short explanation of your proposal and its significance along with a description of the format(s) of your submission. We will provide an upload site for small files and a snail-mail address to which you may send tapes or CD-Rs. For more information, e-mail 1999 LMJ CD curator Guy van Belle at Guy.VanBelle@rug.ac.be.