Thursday, September 21, 2017

Fwd: Post at Berkeley

The Department of Music at the University of California, Berkeley,
invites applications for a tenure-track appointment at the rank of
Assistant Professor in the areas of Music and Technology, with an
expected start date of July 1, 2018.

We seek applicants with a record of research in the fields of music
and technology through any combination of journal publications,
technological innovations, associated work in composition, sound art,
or trans-disciplinary collaboration. The ideal candidate will present
new visions for the research agenda at the Center for New Music and
Audio Technologies (CNMAT).

Follow this link for more details and to submit application materials:
https://aprecruit.berkeley.edu/apply/JPF01479

Tuesday, September 19, 2017

Fwd: iPads in HE 2018 Call for Papers Update

The 3rd biennial iPads in Higher Education Conference, iHE 2018 will
be hosted by Bath Spa University in Bath, UK 10th - 13th April 2018.

Revised call for papers: 29th September 2017

We understand some of you have encountered problems submitting your
papers to EasyChair, we apologise for this and have resolved the
issue. We have also revised our deadline for submissions. Proceedings
will be published open source and selected papers will be released in
a special edition journal.

http://www.ihe2018.org/ihe-comittee/submissions/

Submission information

Long papers (5k-6k words) – 20 minute presentation +10 min Q&A
Short papers (2k-3k words) – 10 minute presentation +5 min Q&A
Posters

*Revised Submission Deadline : Friday 29th September 2017*
Accept/Reject Notification and feedback: Friday 10th November 2017
Camera-Ready Submission of all papers: Friday 19th January 2018
Publication of programme: Monday 19th February 2018

www.ihe2018.org

Emerging from the Art+DesignLab in Cyprus, through the first
conference in Paphos in 2014 and most recently at San Francisco
university, iPads in Higher Education provides a unique platform for
sharing experiences, engaging in debate, and inspiring new approaches
to enhancing learning and teaching.

Our students expect fast and free, they expect to be able to access
and engage using their phones and other devices as part of their
learning and our staff expect to use devices to be proactive and
creative scholars. We know more about our data and are more concerned
than ever before about security and protecting our privacy in this
ever changing world.

Since its introduction in 2010 the iPad, like the iPhone, has
fundamentally changed our perception of mobile devices, providing us
with opportunities to alter the way in which we engage students.
Increasingly, new devices such as Google Pixel, Microsoft's Surface,
and mobile phone technologies have also positioned themselves as
viable tools for enhancing student engagement.

The conference will explore and facilitate discourse around the role
of iPads and other emerging mobile technologies in education,
research, culture, and policy.

Pedagogy & Instruction

This category covers the use of mobile technologies to enhance student
learning and engagement on any level, from primary school to graduate
and post-graduate studies.

- Assessing educational apps
- Instructional innovations
- Faculty professional development
- Assessing educational apps
- Collaborative, project-based and context-based learning
- Engagement with Learning Management Systems/Virtual Learning Environments

Research & Theory

Papers and presentations in this category could include the use of
theory in mobile technology research, a comparison of research
methods, innovative approaches to research, ethical considerations in
research, and challenges with conducting research using mobile
technologies.

- Empirical research on the instructional use of mobile devices
- Case studies on the instructional use of mobile devices
- Action research with mobile devices
- Pilot projects
- Research in App creation

Emerging Mobile Technologies

Topics in this category could address newer mobile technologies,
including both devices and apps. These sessions could be more
informative rather than research-based, and could include less formal
experiences using new technologies.

- Evaluation of iPads and other mobile devices
- Mobile creativity tools
- Enabling flexible learning
- Virtuality
- App production
- Augmented Reality
- Immersive environments

Culture, Policy & Ethics

Culture – defined in the broad disciplines of sociology, anthropology
and psychology; Policy – defined in terms of administration in the
adaptation of mobile technologies or the study of explicit and
implicit actions reflected in a learning environment/institution;
Ethics – ethical considerations of mobile technology, including but
not limited to areas such as privacy, permission and security.

- Using BYOD or institutional devices
- Developing a mobile strategy
- App creation
- Research issues
- Students as co-creators
- Teaching in schools
- Vlogs
- Use of web tools
- Social media strategies
- Data management

The Location
Listed by UNESCO as a world heritage site, the city of Bath is famous
for its beautiful architecture, iconic sights and fascinating history,
all of which attracted visitors for thousands of years. The city was
founded upon natural hot springs with the steaming water playing a key
role throughout its history. Lying in the heart of the city the Roman
Baths were constructed around 70 AD as a grand bathing and socialising
complex. It is now one of the best preserved Roman remains in the
world.

The conference is hosted by Bath Spa University

More information at www.ihe2018.org

Neil Glen MA RCA n.glen@bathspa.ac.uk

Monday, September 11, 2017

Fwd: Accessible Filmmaking, Sound Design and Binaural Audio - Event in London


Saturday, 23rd September 2017

We're pleased to announce that we will be hosting a digital exhibition to showcase the research of the Enhancing Audio Description Project (AHRC) into how sound design techniques can be used to rethink accessibility to film and television for visually impaired audiences.

We will be screening a short film with its enhanced accessible soundtrack. There will be four screenings throughout the day where each one-hour session consists of an introduction to the project, a short film screening and a Q/A session.

Sessions start at 9:30, 11:00, 13:30 and 15:00. Please only book one. 

The event will be held in the Clore Auditorium at the Tate Britain.

Tickets to the event are free, however, we do ask that you book tickets for the screening time which you will be attending, you can book tickets here 

Best wishes,

Mariana

--
Dr Mariana Lopez
Lecturer in Sound Production and Post Production
Department of Theatre, Film and Television, University of York
Web: http://www.york.ac.uk/tftv/; http://www.marianajlopez.wordpress.com

Friday, September 8, 2017

Fwd: Serious Games, Education and Inclusion for Disabled People: Call for papers for The British Journal of Educational Technology



Call for papers for a Special Section of The British Journal of Educational Technology

Serious Games, Education and Inclusion for Disabled People.

Guest Editors:
Dr Marion Hersh, Biomedical Engineering, University of Glasgow, Scotland marion.hersh@glasgow.ac.uk
Dr Barbara Leporini,  ISTI - CNR, Pisa, Italy
barbara.leporini@isti.cnr.it

Overview
Digital games of all types, including serious games, are becoming increasingly popular. Their potential for using serious games in education makes it imperative that serious games for learning are designed in ways which take account of the needs of disabled students and staff and ensure their full inclusion.  Otherwise, there will be an increasing digital divide.  This is becoming increasingly urgent, as educational digital games are becoming more widespread.

This special section will aim to stimulate critical debate on and research into all aspects of digital games to support the learning of disabled people.  This will include
theories, approaches, principles, applications, the state of the art and the implementation of inclusive games in general, as well as specifically in the context of education and innovation.

The term education is understood very widely to cover anything which aims to increase the knowledge, skills or understanding of disabled people.  It includes learning, education, training and/or rehabilitation in formal and/or informal contexts and both learning on one's own and with a teacher and/or as part of a class.

All papers should have a significant original contribution.  However, this can take varying forms, including presentation and discussion/evaluation of the results of a survey; presentation, discussion and evaluation of new digital games for disabled and/or all learners; and/or review and critical evaluation of the current state of the art.  Research methodologies should be clearly, but concisely presented and show rigour.  All papers should clearly describe the underlying theoretical and conceptual framework and relevant to an international audience.

Submission and Inquiries
We therefore invite submissions concerning  the application of serious games to support the education, learning and inclusion of disabled people, with education understood very broadly.  There is a two stage submission process.  The first stage is an abstract of up to 250 words.  The authors of particularly high quality abstracts will be invited to the second stage, submission of a full paper.  Therefore, abstracts need to demonstrate that the paper fits the special section remit, has a rigorous methodology, is innovative, makes a significant contribution to the field and is relevant to an international audience.  Full papers will undergo the standard reviewing process.  Therefore, invitation to submit a full paper is just that and should not be taken as indication that the final paper will be accepted.

Authors who are unsure whether their work is suitable for the special issue should submit an abstract with a query to the guest editors well in advance of the deadline.

Abstracts should be clearly and concisely written and generally include the following:
•    An introduction of one or two sentences stating the research aims and educational context; e.g. undergraduate; high school; pre-school, all levels etc.
•    For empirical reports, a brief summary of the data collection methodology.
•    A summary of the outcomes and an indication of their strength and significance
•    Concise conclusions and implications in two or three sentences. What new insights does this research provide? What is its unique and significant contribution to the field? How is it relevant for a diverse international audience?

Important Dates:
Abstracts to Guest Editors: 6th October 2017
Notification of Abstract Acceptance and invitation to submit full paper: 16th October 2017
Submission deadline for full paper: 8th December 2017
Approval of full article for peer review: 15th December 2018
Last Article Acceptances: 30th April 2018
Articles published online as soon as copyediting is completed.
Issue Publication July 2018.

Fwd: CfP: JAES Special Issue on Augmented and Participatory Sound and Music Interaction using Semantic Audio


[Apologies for cross posting, please circulate widely. Call for submissions to JAES special issue. Submission deadline: 29 Oct. 2017]

Dear All,

Following on from the success of Audio Mostly 2017, we are happy to announce an upcoming special issue in the Journal of the Audio Engineering Society on Augmented and Participatory Sound and Music Interaction using Semantic Audio. 

Authors of research papers matching to the theme of the special issue (described below) as well as authors of significantly extended versions of Audio Mostly 2017 papers are invited to submit their work to this edition. The special issue is planned to be published early in 2018, therefore a tight reviewing and revision schedule is in place. The paper submission deadline is 29 Oct. 2017. 

The full text of the call and instructions for authors can be found at the following link: http://www.aes.org/journal/pdfs/2017/CfP_APSMIUSA_2017.pdf


JAES Special Issue on Augmented and Participatory Sound and Music Interaction using Semantic Audio 

Theme: 
Augmentation implies pushing boundaries and going beyond the ordinary, for instance to provide greater degrees of freedom or access to new information. Participation is concerned with the role and engagement of agents in processes or situations. In this special issue, we invite studies applying these concepts to sound and music interaction using semantic audio technologies. Augmentation and participation both have strong design implications for interactive audio systems as they require an enrichment or rearticulation of affordances and agency. For instance, the gestures of a drummer could be the source of accompanying visualisations, or an audience could be given a creative role during a performance. Central to systems of this kind are semantic audio technologies situated at the confluence of signal processing, machine learning, and data and knowledge representations. Together with sensors, wearables and web frameworks, they provide a range of information processing techniques and design media with which to explore augmentation and participation. Associating meaning to audio and contextual signals has the potential to create new opportunities for stakeholders in the production-consumption chain, to enable interaction with audio in human terms, and to facilitate new connections between computer representations of sound and music and the physical world. We also encourage authors to evaluate and discuss to what extent novel augmented and/or participatory systems affect user experience and emotional response at the individual or social level. This special issue is motivated by the success of the Audio Mostly 2017 conference (AM'17) themed "Augmented and Participatory Sound and Music Experiences". Original papers presenting unpublished work related to research on - but not restricted to - the topics listed below are invited for consideration, including significantly extended work that was presented at AM'17.

Proposed Topics:
• Systems for augmented and/or participatory composition and performance
• Semantically-enhanced human-computer interaction
• Novel interfaces for sound design, audio engineering and post-production
• Auditory display and data mining using sonification
• Smart musical instruments and the Internet of Musical Things
• Gestural interaction with sound or music
• Biosensors and wearables for sound and music interaction
• Intelligent navigation in audio libraries and recommendation
• Augmented and virtual reality with or for sound and music
• Affective and human-centred computing applied to sound and music
• Intelligent music tutoring systems and games
• Signal processing, machine learning and semantic analysis for interactive audio applications
• Health, accessibility and industrial applications
• Evaluation, user studies, co-design and experience design methodologies

Important Dates:
Submission deadline: October 29, 2017
Author Notification: December 5, 2017 (approx.)
Planned Publication: February/March 2018

Author Guidelines:
Please submit complete 6 to 8-page papers by October 29, 2017. All submissions will be peer-reviewed according to standard JAES review procedures. We welcome original research as well as revised and expanded versions of "Audio Mostly 2017" or AES conference papers addressing the theme of this special issue. Please follow the Author Guidelines found at: http://www.aes.org/journal/authors/guidelines/. Papers should be submitted online at: http://www.aes.org/journal/submit/. When submitting a paper, please choose the category "Special Issue (Augmented and Participatory Sound and Music Interaction using Semantic Audio)" rather than Research Paper or Engineering Report. This special issue is planned to be published in early 2018, therefore a tight reviewing and revision schedule will be in place.


Guest Editors:
George Fazekas <g.fazekas@qmul.ac.uk>
Mathieu Barthet <m.barthet@qmul.ac.uk>
George M. Kalliris <gkal@jour.auth.gr>



Best wishes on behalf of the guest editors,
George


George Fazekas
Lecturer in Digital Media
Centre for Digital Music
School of Elec. Eng. and Comp. Sci.
Queen Mary University of London, UK
email: g.fazekas@qmul.ac.uk

Wednesday, August 30, 2017

Fwd: The Musical Brain is looking for a new Director








The Musical Brain is looking for a new Director.


Hilary Bartlett, Trust Secretary and Director of The Musical Brain since its foundation in 2010, has announced her retirement, with effect from September 2017.  Working in a voluntary capacity she has had responsibility for the assembly and delivery of events as approved by the trustees, financial control, and initiating and programming conferences, working together with a salaried part time Administrator.  In addition, she has provided office space in her home and acted as financial guarantor as and when necessary. 

As you can imagine, we will be extremely sorry to lose Hilary.  One of the founders of The Musical Brain, she has been at the very heart of the organisation throughout its life and has led and managed its activities with great purpose, charm and good humour, as all who have had dealings with us will know.  It will be difficult to find someone to cover all Hilary's roles, and we are open to proposals that may involve changes to our management structure.

The Musical Brain is unique in the way it combines live performance of the highest standard with cutting-edge scientific debate, involving lecturers and performers in the whole of each event, joining in discussion, interacting with the audience and taking part in panel sessions.  We are proud of the ground the Trust has covered, its following and its record to date.  Click here for programme archive.
 
We have no financial reserves; activities are supported by ticket sales, grants and donations.  This approach has worked successfully so far.
 
This is a fascinating opportunity for someone with a passionate interest in the arts and sciences, relevant experience and vision.  If you are interested as an individual, or as a member of an organisation with an interest in collaborating, please email me:
michael@themusicalbrain.org 
 
Greg Harradine, The Musical Brain Administrator:
greg@themusicalbrain.org is available to answer any questions.
 
As there will be an interregnum until the new director / new organisational structure is in place, the next two Why Sing? conferences: The Power of Singing: Religion, Revolution and Tribalism, originally scheduled for 24 November 2017, and the final two-day conference, Singing Together: Wellbeing and Learning, will now take place at future dates to be advised. Walking with Elgar will take place on 15/16 September as scheduled.
 
 Michael Pugh
 Chairman

 




Fwd: Music SIG Research Seminar Tuesday 17 October 2017, 4-5.30pm.

Music Education Special Interest Group
Research Seminar Announcement
A double-bill from Jordan

The Development of Contemporary Arabic Music in Jordan: The Modernised
Use of Oriental Modes (Maqamat) in Keyboard and Orchestral Composition

Dr. Haitham Sukkarieh, University of Jordan
Teaching Western Music in Jordan: an Anglicised-Russian-Jordanian perspective

Dr Anna Galakhova, National Music Conservatory and University of Jordan

Tuesday 17th October
4.00 – 5.30 pm

Room: tbc

Further details from David Baker, david.baker@ucl.ac.uk

All are welcome

The Development of Contemporary Arabic Music in Jordan: The Modernised
Use of Oriental Modes (Maqamat) in Keyboard and Orchestral Composition

This will be a workshop presentation with musical illustrations,
incorporating an introduction to Arab Maqamat (modes), the
harmonization of Maqamat, and relationships with contemporary
classical composition. Maqamat are divided into two kinds: with
quarter tones (3/4 quarter interval) and without quarter tones ( 1/2,
1, and 1.5 intervals). Dr Haitham will explain all the main Maqamat
and their branches, playing examples on his own keyboard, and showing
how oriental instruments play music in different styles. He will
discuss how contemporary Arab composers use oriental Maqamat in
orchestral works.



Teaching Western Music in Jordan: an Anglicised-Russian-Jordanian perspective

It feels just like yesterday: on my first arrival at the Institute of
Education, back in October 1992 as a full-time MA student arriving
from Jordan, I encountered the local part-time MA students from London
being left completely astounded when I told them I was a full-time
teacher of Western classical music in Jordan! The question still
reverberates in my ear: 'How could you possibly teach music in Jordan
if I cannot convince my Moslem students in girls' schools in London to
attend music lessons, because their father say music is 'Haram' and it
is a sin to be involved in any musical activity?" In fact I have
taught music in Jordan since 1984 at some well-established private
bilingual schools and specialist music institutions. I have indeed
frequently faced some restrictions being placed on my professional
skills. However, the position of music teaching in Jordan certainly
cannot be compared to, for example, its position in Saudi Arabia,
Yemen or Iran. In this presentation I will discuss the development of
music education in Jordan between 1984 and the present, from an
Anglicized-Russian expatriate classroom music teacher perspective;
socio-cultural conflicts within Western music teaching in Jordan;
Trends and issues encountered teaching classroom music to Jordanian
teenagers; and problems observed in teaching classical Western piano
to young adult beginners in Jordan.

-------------------------------------------------

A Jordanian composer and conductor, Dr. Haitham Sukkarieh has had many
orchestral compositions performed in Jordan and other countries. He is
Associate Professor of Music Composition in the Faculty of Arts and
Design, The University of Jordan, and Head of the Music Department. He
earned a doctorate in the Department of Composition and Conducting
with honours from the Higher Institute of the Music Academy of the
Arts, Cairo, in 2011, as well as many awards and honors. He has
published widely on the development of Oriental music, and has created
a new oriental mode (Maqam).



Dr. Anna Galakhova's music teaching experience in Jordan between 1984
and the present covers one-to-one piano teaching, student choral
training, International General Certificate of Secondary Education
music, and general classroom music to various age-groups of school and
university level students at several well-established private schools
and music institutions in Jordan. Currently, Dr. Galakhova is teaching
History of Music to BA Music students at the National Music
Conservatory and piano to BA Music students at the University of
Jordan and the National Music Conservatory. With piano training based
in her native St Petersburg, Anna is a trice British Graduate with her
LRSM in Piano Teaching, (ABRSM, 1991), MA in Music Education
(Institute of Education University of London, 1992-93), and PhD in
Music (Canterbury Christ Church University, University of Kent, 2009).
Besides having staged several charity piano concerts in Amman, such as
a Piano Concerto by Grieg with the orchestra of the National Music
Conservatory in December 1994, she has participated in the First
Jordanian Song Competition as an accompanist to the orchestra and
choir of about 100 musicians in September 2001, and composed and
conducted the Conference Hymn for the thirty-second International
Girl-Scouts Conference in Amman in June 2004, to mention but a few
activities. Dr. Galakhova has worked on several full-scale school
musical productions in Amman, such as 'The Wiz', 'Ruddigore', 'You're
a Good Man Charlie Brown' and 'Oliver' and, has directed 'My Fair
Lady' under the patronage of the Ministry of Culture of Jordan in May
2015.