ICSC 2022 6th International Csound Conference

November 4th – November 6th 2022

TUS Midlands, Ireland

The 6th International Csound Conference – ICSC2022 will take place in Athlone, Ireland

From November 4th to November 6th 2022

We welcome you to come and join us for three days of music, discussions, installations, workshops and more!

This years event will be hosted in Athlone, at the recently established Technological University of the Shannon Midlands campus.

The ICSC is an artistic and academic event where members of the international Csound community meet for three days of concerts, paper presentations, keynote talks and round tables.

Everyone is cordially invited to submit proposals for papers, music, installations and workshops, or to simply just come along.

Organising Committee

Paper Review Committee


Richard Boulanger

Dr. Richard Boulanger (a.k.a. “Dr.B”), is a Professor of Electronic Production and Design at the Berklee College of Music, in Boston. He holds a Ph.D. in Computer Music from the University of California, San Diego (UCSD) where he worked at the Center for Music Experiment’s Computer Audio Research Lab (CARL) with Dick Moore, “The Father of cmusic”. After UCSD, Boulanger continued his computer music research at The MIT Media Lab, Bell Labs, Stanford's CCRMA, IBM, Interval Research, and for The One Laptop Per Child Project (OLPC). Throughout his career, Dr.B. was a close collaborator with "The Father of Csound" - Professor Barry Vercoe at MIT, and “The Father of Computer Music” - Dr. Max Mathews at Bell Labs, Stanford, and Interval. For many years, Boulanger and Vercoe worked on Csound at MIT and on the OLPC Project, and Boulanger and Mathews worked on The Radio Baton, Scanned Synthesis, and Phaser Filters. Further, Boulanger and Mathews co-wrote papers, gave lectures and workshops, and performed Boulanger’s compositions together at many Colleges and Universities in the US, and abroad at many of the Bourges and Audio Art Festivals, Also, they were featured at many AES, SEAMUS, ICMC and NIME conferences. Boulanger’s ‘open source’ masterpiece, ‘Trapped in Convert”, composed at MIT in the summer of 1979 (in Vercoe’s ‘music11’ language written in RT11 assembly and running on a DEC PDP11) and later revised at MIT in 1986 (in Vercoe’s new ‘C’ version of music11, running on a DEC-VAX11780 and now called ‘csound’), is considered to be the ‘first’ Csound piece. As an internationally recognized performing composer, Boulanger has premiered his original interactive works at the Kennedy Center, in Washington, DC, at Alice Tully Hall in NYC, and he has appeared on stage performing his Radio Baton and PowerGlove Concerto with the Newton, Brockton, New Haven, Hamilton, Stanford, Krakow and Moscow Symphonies.

Born in 1956, Boulanger’s first symphony (for Two Arp 2600’s and the 100+ member Newton Symphony Orchestra) was commissioned in 1977 (at the age of 21) by Alan R. Pearlman, (“The Father of the ARP 2600” and the President and founder of ARP Synthesizers). Dr. Boulanger has published articles on sound design, production and composition in all the major electronic music and music technology magazines in the US - Perspectives of New Music, Electronic Musician, Keyboard. He has appeared on PBS, NOVA, CBS, The Today Show, and Red Bull TV (With GZA from The Wu-Tang Clan controlling Csound with his brainwaves). Boulanger has worked with and performed with BT, Nona Hendrix, and Hank Shocklee (from Public Enemy), and done Csound-based sound design in several Hollywood Films and TV shows (including some Csound-based vocal processing of David Bowie for the SONY Film - Stealth). For MIT Press, Boulanger has authored and edited two canonical computer music textbooks: The Csound Book and The Audio Programming Book. His company, Boulanger Labs, has developed Csound-based iOS apps include csJam, csGrain and csSpectral, and for the Leap Motion Controller they developed an app called MUSE and he composed and performed a major symphonic work built around these apps called: ‘Symphonic Muse’ - featuring soloists from the Boston Symphony Orchestra. Boulanger has received many many grants, awards, and honors… most notably, he was a Fulbright Professor at the Krakow Academy of Music, and at Berklee, where he has been teaching for over 36 years, ‘Dr. B.’ has been honored with both the “Faculty of the Year Award” and the “President’s Award.”

Boulanger's philosophy is as follows: “For me, music is a medium through which the spiritual essence of all things is revealed and shared. Compositionally, I am interested in extending the ‘voice’ of both student and professional performers through technological means to help them produce a music that connects with the past, lives in the present and speaks to the future. Educationally, I am interested in helping my students to recognize, as I have, that Csound is the richest, most expressive, most versatile, and most powerful ‘instrument’ for their creative explorations, realizations, and innovations. Csound itself embraces and preserves the past and points to the future. It is both foundational and inspirational. With Csound, one literally stands on the shoulders of giants. Studying, and mastering this incredibly versatile and malleable ‘instrument’ will enable today’s most gifted, talented, brilliant, and curious audio artists, visionaries, and dreamers to create their own unique and truly personal set of musical devices, smart generative systems, new tools, new sounds, new instruments, and new ways to play, and with them, to create and communicate with an enlightened, and truly unique musical voice.”

Iain McCurdy

Iain McCurdy is a composer and lecturer originally from Belfast and currently based at Maynooth University, Ireland. He has been working with, and contributing to, the Csound project since 1999. His contributions to Csound have included working on the FLOSS manual project and contributing to the Springer Csound Book. He has also written a catalogue of over 600 interactive examples for Csound covering many of its capabilities. This resource has proved valuable for many learning the program. More recent work has focussed on the popular Csound front–end, Cabbage. Since January 2016 Iain has held the position of Lecturer in Music at the University of Maynooth (National University of Ireland) where his teaching duties cover composition, electronic music, programming and research supervision. He is currently the Director of Music Studios at Maynooth. As a composer his work has covered the areas of acousmatic, electroacoustic, instrumental, sound installation and cross–disciplinary works involving all four. His work with sound installations and alternative controller design has drawn in exploration of electronics, sensors and instrument building. Other foci of work are recording, videography, surround sound, ambisonics and other esoteric microphone technologies. More information about Iain is available at his website: www.iainmccurdy.org.

Rory Walsh

Rory is a graduate of Maynooth University, Ireland, and a lecturer in the Dundalk Institute of Technology's School of Computing, Music, and Creative Media. Since finishing his studies he has collaborated with a diverse range of artists both as a musician and in the capacity of audio software developer. His software is being used in many universities around the globe, including Berklee College of Music in Boston Massachusetts, Trondheim University, and St.Petersburg's University of Telecommunications. Rory makes extensive use of the Csound host API, and has used it to make Csound accessible within a host of audio applications, ranging from digital audio workstations to industry leading audio middleware.


TUS Midlands

University Road,




N37 HD68

Travel details coming soon...


We are now accepting submissions of music, papers and workshops covering all topics related to Csound

We are particularly interested in proposals for sound installations, workshops and non duration-specific sound works.

There are several acoustically isolated spaces available for such pieces, so please get in touch via email to discuss viability.

Call for papers

Papers are welcome on all topics related to Csound. The list of topics of interest includes, but is not limited to, the following:

Submissions and guidelines

All papers are to be submitted through the EasyChair conference system, and will be peer-reviewed in a double blind process by a qualified committee.

The maximum paper length is six pages including abstract, figures, tables and eventual references. An additional seventh page is accepted provided it only includes references.

To guarantee the double blind review process, manuscripts should not include the author names nor affiliations.


Manuscripts should be prepared according to the provided template, that also includes more detailed formatting guidelines.

Call for Music

Pieces are welcome in all styles, realised using Csound. All pieces will be reviewed in a double blind process by a qualified music committee.

Submissions will be accepted in the following categories:

Two systems will be available for sound diffusion: a stereo 2.1 system, and an octophonic 8.1 system distributed in a regular octagon. More details about the 8-channel sound system and loudspeaker layout can be found in this document.

Submissions and guidelines

Everyone is invited to submit more than one piece; however, only one piece per author will be accepted.

Please note that while the maximum duration for music submissions is 16 minutes, shorter pieces might have a better chance to be accepted. Submissions in these categories should be for one of the two setups described above; other loudspeaker layouts will not be available.

Pieces including live performance can be programmed only if the composer(s) provide the necessary performers.

To submit, please send an email to icsc2022.music@gmail.com, and set the Subject to the title of your piece.

In the body of the message include a link to a downloadable compressed archive containing two files:

The compressed archive file can be in any standard format, like .zip, .7-zip, .tar.gz, .tar.bz2, etc.


Call for Installations

Sound installations and site-specific sound art are welcomed. We have a number of interesting spaces, some open, some isolated, which may be suitable for your piece, get in touch if you have specific questions about the available spaces.

Submissions and guidelines

Proposals for sound installations do not have a priori limitations in duration or sound system required. Their acceptance, however, will be subject to their feasibility.

To submit, please send an email to icsc2022.music@gmail.com, and set the Subject to the title of your piece.

In the email please attach this completed submission form, with all fields appropriately filled. Please include links to previous work or other supporting material in the section provided in the submission form. Use permanent links such as Google Drive or Dropbox, not links that will expire such as WeTransfer.

Call for Workshops

If you have an idea for a workshop, be it software or hardware-based, we'd love to hear about it. There are some great facilities available in the Engineering building at TUS that can cater for a range of workshops, get in touch if you have specific questions about the facilities.

Submissions and guidelines

Proposals for workshops will be will be subject to their feasibility.

To submit, please send an email to icsc2022.music@gmail.com, and set the Subject to the title of your piece.

In the email please attach this completed submission form, with all fields appropriately filled. Please include links to previuos work or other supporting material in the section provided in the submission form. Use permanent links such as Google Drive or Dropbox, not links that will expire such as WeTransfer.


For further inquiries about submissions, please do not hesitate to contact us.


Important dates and deadlines

Paper submissions

Music, Installation, and Workshop submissions




Registration will open on July 22

Watch this space...