Monday, July 10, 2017

BEATBOXING without a Voicebox


Featuring Marv Radio (3-fold UK Beatbox Champion), La Verne Williams (Soprano), CTS male voice ensemble (lead Owen Stark), Marc Masson (piano) and our laryngectomy choir. 

Event date: Sunday 23rd July 

Time: 16:00-17:00

Location: Emmanuel Church, Lyncroft gardens, West Hampstead

Tickets details: http://www.shoutatcancer.org/tickets

Free Entry for Laryngectomees and Partner (do register!)

Link documentary on BBC II!

Link Facebook: 

Link youtube

Friday, July 7, 2017

Fwd: Study Day on Music and Space


Dear colleagues,

might be of interest to you or your students. Feel free to share widely.

Study Day on Space and Music - 28 October 2017 - University of Manchester
https://www.rma.ac.uk/news/2017-10-CFP-Music-and-Space.pdf

What do we mean when we talk about space in music? This study day aims to bring together composers, musicologists and practitioners from all areas of music to explore the concept of space in music. We encourage 20-minute presentations in any appropriate format such as papers, musical works, performances, etc. Participants can combine the study day with the MANTIS electroacoustic music festival in the evening of 28 October and 29 October.

Best regards,


-------------------------
Núria Bonet
PhD Candidate (Computer Music)
ICCMR, Plymouth University



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[House of Lords Hansard] Education: English Baccalaureate

[copied from https://hansard.parliament.uk/lords/2017-07-03/debates/4AC97B74-6896-4BDA-908E-F0188DB1E757/EducationEnglishBaccalaureate]

Education: English Baccalaureate

Question

14:36:00

Asked by

The Earl of Clancarty
To ask Her Majesty's Government when they will respond to the public consultation Implementing the English Baccalaureate which closed on 29 January 2016.

The Parliamentary Under-Secretary of State, Department for Education (Lord Nash) (Con)
My Lords, the results of the consultation on implementing the English baccalaureate and the Government's response will be published in due course—I hope soon.

The Earl of Clancarty (CB)
My Lords, is this long delay because the overwhelming public response voices the concern that the EBacc excludes art and design subjects? I ask the Minister not to continue to justify the EBacc with the New Schools Network stats on the percentage of pupils taking one arts GCSE, which represented a shift away from other qualifications, but instead to look at the latest Ofqual figures revealing—two years in a row—a hugely alarming 8% decline in the take-up of arts GCSEs. The EBacc must be scrapped.

Lord Nash
I can tell the noble Earl that it is not a result of the points he has made. We have been considering carefully a great many responses, and there have been a few political issues in the meantime. I am certainly encouraged to see that we have been improving the quality of these subjects with help from the Royal Academy of Engineering and the James Dyson Foundation. The decline in the subjects to which the noble Earl refers has been more than made up for in the substantial increase in the number of pupils taking IT and the now almost 70,000 pupils taking computing.

Lord Baker of Dorking (Con)
My Lords, is the Minister aware that the GCSEs which are just now finishing this term have seen a drop in every technical subject and every creative and artistic subject? If this trend continues, there will be no technical education or creative education in schools for those aged under 16. This is a disgrace and really is unacceptable. Changes must be made to the EBacc, otherwise the Government will not meet their objective to improve technical education.

Lord Nash
I refer to my previous remarks about the take-up of computer science and the dramatic increase in the number of pupils taking IT. Of course, we must always remember the very low base that we had in 2010 when only one in five pupils was taking a core suite of academic subjects, which we know are so essential particularly for those from a disadvantaged background. I think that we should all be extremely pleased that we have actually doubled the percentage, which is rendering our education provision much more fit for pupils, particularly for pupils from a disadvantaged background.

Baroness McIntosh of Hudnall (Lab)
My Lords, can the Minister please explain the remarks he made in answer to the noble Earl, Lord Clancarty? I believe he said that the loss of entries into the creative subjects is more than made up for by an increased number of entries for IT and computer science. Can he explain in what way those things compensate for one another?

Lord Nash
Numerically. I think we all know that the quality of some of these subjects was not what it might be, and that quite a few people were taking some of them not because they suited them but because they were easier. Of course all schools teach many of these subjects, although it may not necessarily lead to exams, and of course all schools have to provide a broad and balanced curriculum—something which the new chief inspector seems to be particularly focused on, which I am very pleased to see.

Lord Addington (LD)
My Lords, does the Minister agree that a GCSE is a good basis for starting study? As there has been a drop of 50,000 in the number of those taking design and technology GCSE, how do we get a good basis for those going on to study creative and technical subjects if we cut a subject such as that?

Lord Nash
I agree that a GCSE is an extremely good basis. In fact, the drop in take-up of design and technology over the last six years has been less than the drop over the previous four years to 2010. We are keen to improve the quality of those subjects and to give our pupils a wider choice of subjects.

Lord Berkeley of Knighton (CB)
My Lords, given that the Government frequently salute the creative industries for what they bring into the Exchequer and the tourists they bring to this country, is the Minister not concerned about the next generation of creative artists, who are not getting the necessary inspiration they need while at school?

Lord Nash
Again, this assumes quite a lot. As I said, it is clear to us that a number of pupils taking these subjects in the past were not the next generation of creative artists; they were people that suited, for instance, the Labour Government's equivalence structure, whereby they were helping the statistics. Heads will respond only to the incentives set for them. We have set them an incentive to have many more pupils doing a core academic suite of subjects. That seems to be working and we should celebrate that. But we are investing considerably in the creative subjects, and we have a number of free schools and technical colleges focused specifically on that.

Lord Watson of Invergowrie (Lab)
I very much note the concerns expressed by noble Lords on the teaching of creative and technical subjects, but, perhaps offering the Minister some welcome respite, I will look at another aspect of this Question: the rather worrying trend developing in the Department for Education and its Ministers of the inordinate amount of time it takes them to respond to consultations. In January this year, I asked in a Written Question how many DfE consultations that had a closing date between January 2015 and September 2016 had still not been responded to, including the one in the Question asked by the noble Earl, Lord Clancarty. The Minister replied, saying that there were seven—one of which, incidentally, was the revision of fire safety for buildings in schools. That cavalier approach may have been something the Government felt they could get away with when they enjoyed a majority. Now that the Tories are merely the largest of the minority parties down the Corridor, will the Minister commit to noble Lords that he will ensure his department replies to consultations in a much timelier manner?

Lord Nash
I do not think that this slow pace of response is in and of itself necessarily cavalier, but I have said I very much hope that our response on EBacc will be available shortly, and I shall do all I can to try to make sure that we respond quickly in future.

Lord Cormack (Con)
My Lords, is my noble friend truly satisfied that we are exposing our young people to the beauties of art and music, and giving them a proper opportunity to participate, in what is becoming an increasingly depersonalised age where young people spend more time with their machines and hand-held devices than they do with their fellows?

Lord Nash
I certainly agree with my noble friend's comment about the amount of time our young people spend gazing at screens of one sort or another and the balance that subjects such as music, dance and drama can provide. Of course, all good schools do this, not necessarily aiming at exams—music and dance are compulsory in key stages 2 and 3, as is drama up to key stage 4. As I said, the chief inspector is very focused on this. I am sure that noble Lords will see the fruits of that work in due course.


Fwd: Final Call for Posters: KOSMOS Workshop "Emerging Synchronization in Music Cognition"



KOSMOS Workshop "Emerging Synchronization in Music Cognition"
Humboldt-Universität zu Berlin
Institut für Musikwissenschaft und Medienwissenschaft
September 27-30, 2017

Call for Posters

Synchronization is an emerging topic in the sciences and the humanities. The workshop builds upon the integrative potential of synchronization and aims to sharpen and to enrich existing paradigms of synchronization in a cross-disciplinary perspective. The workshop draws upon recent research on music-based, non-verbal synchronizations. Special attention will be given to the dynamics and multi-dimensionality of synchronizing processes. Thus, the prevailing functional, operative and cognitive view on synchronization shall be complemented by the affective, biogenic, evaluative and multi-modal dimensions of synchronization.
The goal of this workshop is the development of shared, theory-driven and experimentally grounded research questions on synchronization from the perspective of diverse fields and research styles (computational sciences, psychology/rehabilitation, media theory, musical neurosciences, physics, biology, mathematics, music theory) in order to achieve a non-reductive understanding of this multi-faceted phenomenon.
The KOSMOS Workshop will be led by Prof. Dr. Sebastian Klotz and Dr. Mats Küssner (both HU Berlin). A preliminary programme can be found here:

https://www.musikundmedien.hu-berlin.de/de/musikwissenschaft/trans/aktuelles-1/kosmos-workshop_vorlaufiges-programm.pdf

Submissions should be made electronically in Word or PDF format to mats.kuessner@hu-berlin.de by 15 July 2017. Please provide your name, postal and email addresses, and any institutional affiliation on the first page. Start your proposal on the second page and write no more than 250 words.

The language of the KOSMOS Workshop will be English.

We aim to notify all applicants of the outcome of the reviewing process by mid-August 2017.


Humboldt-Universität zu Berlin
Institut für Musikwissenschaft und Medienwissenschaft
Unter den Linden 6
10099 Berlin

Wednesday, June 21, 2017

Fwd: Call for contributions: Filming African Music - interdisciplinary study day, 18 November 2017




Filming African Music

18 November 2017

Bath Spa University, Newton Park campus

This interdisciplinary study day is a partnership between Bath Spa University, the African Musics Study Group UK branch (AMSG-UK), affiliated to the International Council for Traditional Music, the Afrika Eye Film Festival, Bristol (10-12 November 2017), and the British Forum for Ethnomusicology.

A holistic definition of 'music' (missing from most African lexicons) is employed by AMSG-UK to include events and communities involving sound and movement. We invite contributions from performers, music industry professionals, scholars, and active listeners that explore how video and audio recording present diverse music-making traditions to a range of audiences.

The video documentation of African music presents multiple challenges: the filming of musicians and the contexts in which they perform, both in their own cultural settings and around the world, range from the indigenous and traditional to contemporary popular musical forms. Professional and amateur filmmakers and videographers play a significant role in shaping and changing perceptions of African music, undertaking a political and selective act rather than a mere documentation of events. This raises interesting questions concerning Western and African concepts of performance and education.

The study day will consider the role of music and musicians in film, filmmaking and videography by addressing questions such as: 

What are the practical and ethical considerations concerning the filming of musicians in the field, transforming fieldwork to product, and in cinematic production? 

What are the impacts of filming or of film itself on music and dance practices in local and global communities? 

How has cinema influenced African communities? 


How do audio/visual relationships in film create meaning beyond the surface of the narrative? 

How does music content and composition in film relate to diegetic/non-diegetic sounds? 

Is there an identifiable aesthetic in the construct of African music/dance film? If so does it influence music/dance films in the UK (and/or France, USA etc.)?


How do filmmakers, videographers and musicians respond to political, cultural and aesthetic differences between Africa and the West? For example, how does the multimusicality of Malian musicians challenge the way nationhood or identity are represented? 

What role does film play a) in influencing music education in Africa or b) in educating the West about music in Africa? 

To what extent can film be used to provide music educators with evidence of a relationship between tradition and innovation in the practices of African musicians? 

What role can film play in exploring or capturing perspectives held by contemporary African musicians on their teaching and learning experiences?


Equally important is to consider what is not captured on film. The relationship between representation and politics determines how history translates through culture, thus informing debates in history and cultural studies more widely.

Presentations are invited which conform with or break from the conventional academic 20-minute conference paper format, including presentations using diverse media, between 10 and 30 minutes in length. Proposals for screenings outside these parameters will also be considered. We anticipate vigorous debate through sharing research-in-progress communicated through speech, performance, hands-on workshops, or film and multimedia.

The event will provide networking opportunities with filmmakers and performers, and will include:

•  Screening of 'They'll Have to Kill us First' followed by Q&A with writer Andy Morgan and filmmaker Simon Bright

•  MediaWall (digital gallery space) launch and dance improvisation

•  Evening performance with Chartwell Dutiro (mbira), Sura Susso (kora), Suntou Susso (percussion), Pete Bernard (piano), Ripton Lindsay (dance)

Conference website: Filming African Music

Submission of abstracts

Proposals (300 words max.) should be submitted to EasyChair by 12 midnight GMT on Friday 1 September 2017. Late proposals will not be accepted. You will be notified by 20 September 2017 whether or not your proposal has been accepted.

Programme Committee:
 Amanda Bayley (chair), Chartwell Dutiro, Terry Rodgers, Amanda Villepastour, Trevor Wiggins.

The study day is being run in partnership with Afrika Eye Film Festival, Bristol, 10-12 November 2017, and Cardiff University, School of Music which is hosting a related event on Tuesday 14 November 2017, comprising the annual Royal Anthropological Institute Blacking Lecture, given by Lucy Duran (winner of an AHRC Research in Film Award, 2015), and a free afternoon dance workshop with live drumming (1-3pm) and evening performance by Senegalese musician Landing Mané.


Further information can be obtained from Amanda Bayley: fam2017@bathspa.ac.uk

-- 
Amanda Bayley
Professor of Music
Department of Music
Bath Spa University
Newton Park. Bath, BA2 9BN

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Monday, June 12, 2017

PhD studentship: DEADLINE COMING UP VERY SOON - 19 JUNE

DEADLINE COMING UP VERY SOON - 19 JUNE:





A new PhD studentship opportunity, funded by National Productivity
Investment Fund (NPIF), at the Sonic Arts Research Centre (SARC),
Queen's University Belfast.

Details of the scheme are provided at the Northern Bridge website
http://www.northernbridge.ac.uk/studentships/npif/



Title:

Designing inclusive music technologies: Transforming lives of disabled
musicians through music improvisation and digital technologies

Main academic supervisors:

Dr Franziska Schroeder and Dr Miguel Ortiz, Sonic Arts Research Centre
(SARC), Queen's University Belfast

Belfast BT7 1NN f.schroeder@qub.ac.uk

Partners:

Drake Music NI (www.drakemusicni.com); Farset Labs Belfast
(www.farsetlabs.org.uk); and the Ulster Orchestra
(www.ulsterorchestra.org.uk).

Summary:

This project will examine practices of inclusive music making and
accessible design with digital musical instruments, used by disabled
musicians. The aim is to undertake an interdisciplinary exploration
combining music improvisation, and digital design of inclusive musical
interfaces. The studentship allows for a music/interface design
researcher to work in the areas between music improvisation, critical
disability studies and digital design to highlight and implement
innovative modes of inclusive musical interactions for disabled
musicians. The research is industry facing as the researcher works
between Queen's University (Sonic Arts Research Centre), Drake Music
NI (a charity working with disabled musicians), the Ulster Orchestra
(to test and implement designs, with view to creating a unique
inclusive music orchestra in Northern Ireland that includes abled and
disabled musicians), and digital design company Farset Labs Belfast
(to develop and make inclusive musical instruments tailored to the
needs of disabled musicians).

The researcher might investigate how music technology might be seen as
a barrier or as a facilitator; to what extent the design of music
technologies might enhance and facilitate participation in music
making; the question of music improvisation and inclusivity; how
improvisatory strategies might support inclusive music making in the
context of working with digital musical instruments; how we challenge
traditional musical ontology. And finally, the researcher might look
into a wider understanding of disability, and address the extent to
which inclusive approaches to music making can empower disabled
people, and thereby challenge exclusionary practices and the
marginalisation of disabled people in music making.











_________________________________________________

dr f r a n z i s k a s c h r o e d e r

School of Arts, English and Languages, Queen's University Belfast

Head of Performance (Music), Senior Lecturer and

School's Impact and Public Engagement Champion


Tel. 028 9097 1024
Email: f.schroeder@qub.ac.uk
http://www.sarc.qub.ac.uk/~fschroeder/

https://improvisationresearch.com

https://improvisationinbrazil.wordpress.com

https://improvisationinportugal.wordpress.com


www.facebook.com/creativeartsqub
www.twitter.com/creativeartsqub

Sunday, June 11, 2017

Fwd: New Open Access Journal: Music & Science

SAGE Publishing announces a partnership with the Society for
Education, Music and Psychology Research (SEMPRE) to launch a new open
access journal Music & Science, providing a platform for engaged
debate and insight into music research from a wide range of scientific
perspectives. Scientific research is integral to gaining a greater
understanding of how music is a cultural phenomenon and is yet
grounded in our biology. Interdisciplinary in scope and focus, the
journal will publish research from a wide cross-section of disciplines
and perspectives that will illuminate—or that can be illuminated
by—scientific approaches to understanding music, from cognition,
neuroscience and psychoacoustics to computational approaches and
studies in digital culture. The first papers are due to be published
in September 2017.

The journal's point of departure is the idea that science—or, more
accurately, the sciences—can help us to make sense of music and its
significance in our lives. Music exists in complex and diverse forms
across historical time and within and across different societies;
music is indisputably a cultural phenomenon but our musicality is
grounded in our biology; we need to draw on the sciences to address
music's biological materiality, but we must also be attuned to the
distinctive functional and discursive properties that are embodied in
different cultures' musics.

Hence the need for this journal, which is intended to provide a
peer-reviewed platform for researchers to communicate important new
insights in music research from the full spectrum of relevant
scientific and scholarly perspectives to the widest possible audience.
It aims to publish research across the field of music and science as
broadly conceived, encompassing studies in cognition, neuroscience and
psychoacoustics; development and education; philosophy and aesthetics;
ethnomusicology and music sociology; archaeology and ethology; music
theory, analysis and historical studies; performance science and
practice-based research; computational approaches and studies in
digital culture; acoustics, sound studies, and soundscape studies;
music therapy; and clinical implications and approaches, including
psychoneuroimmunology, health and well-being. Its goal is to be truly
interdisciplinary: to give researchers from the many different
scientific traditions that have been applied to music the opportunity
to communicate with—and to learn from—each other, while encouraging
dialogue with music scholars whose work is situated in artistic,
performative or humanistic domains. In short, it aims to publish
research from any discipline or perspective that can illuminate—or
that can be illuminated by—scientific approaches to understanding
music.

Music & Science welcomes original research, commentaries and reviews,
and sets no upper or lower limit on article length. As the journal is
online it can host audio and video files. It has an open data policy;
authors should be prepared to share and to make freely available data
sets as well as relevant musical materials—audiovisual, sonic and
notated. Authors are also encouraged to publish a summary of their
research in audiovisual or podcast form alongside their submission to
highlight for a non-specialist audience the significance of their
research in the broad field of music and science as well as its
potential impact.

Together with SAGE, the editors aim to ensure that Article Processing
Charges (APCs) are kept as low as possible so as to stimulate
submissions from international researchers at all stages in their
career. For its first year of operation, there will be no APC;
subsequently the APC will be set at £400, and there will be a discount
of 50% for members of SEMPRE. Publication will be continuous and the
editors will aim for a turn-around time for submissions that is as
fast as is commensurate with a rigorous reviewing process.

Find out more about the journal:
https://us.sagepub.com/en-us/nam/music-science/journal202491.