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.

Friday, June 9, 2017

Fwd: Research Fellowship in Performance Science

Dear Colleague,

I would like to bring your attention to the advertisement below for a
permanent, full-time Research Fellowship in the Centre for Performance
Science at the Royal College of Music, London.

We are looking for someone to take a leading role in developing and
expanding our research portfolio in the field of Arts in Health. The
Job Description and Further Particulars are available at
http://www.rcm.ac.uk/about/jobs/jobs/jobtitle,25121,en.aspx, and an
overview of CPS research in this field is available at
http://performancescience.ac.uk/musichealth.

Please feel free to circulate this announcement. I would be delighted
to answer questions about the post.

With best wishes,
Yours sincerely,

Aaron Williamon


Aaron Williamon
Professor of Performance Science

CENTRE FOR
PERFORMANCE SCIENCE

The CPS is a partnership of
Royal College of Music | Imperial College London

+44 (0) 207 591 4348 | www.PerformanceScience.ac.uk




_______________





RESEARCH FELLOW IN PERFORMANCE SCIENCE



Closing date: 12pm on Monday, 17 July 2017

Interview date: Tuesday, 22 August 2017

Salary: £45,463 - £52,080 per annum



Job ref no: 505-17



This role is offered on a permanent, full time (1.0 FTE) basis and is
available from January 2018.



Founded in 1882, the Royal College of Music (RCM) is a world-leading
music conservatoire with a prestigious history and contemporary
outlook. Our 800 undergraduate and postgraduate students come from
over 60 countries and are taught in a dynamic environment, leaving the
RCM to become the outstanding performers, conductors and composers of
the future. In 2017, the RCM was named by the QS World University
Rankings as the top conservatoire in the UK and second in the world
for the Performing Arts.



The Centre for Performance Science takes a strongly interdisciplinary
approach to investigating performance, accessing expertise and
facilities across the RCM and Imperial College London.



Based at the RCM, this permanent, full-time Research Fellowship is in
the field of Arts in Health. You will be well positioned to forge
partnerships in performance science throughout the RCM and Imperial
College, including (but not limited to) Imperial's Faculty of Medicine
and affiliated hospitals. In addition, you will teach on the RCM's MSc
in Performance Science, leading a new module in Performing Arts in
Health, and will contribute to the RCM's doctoral programme in
performance science.



In the first three years of the appointment (2018-20), you will play a
key role, as an investigator, in shaping and delivering HEartS, a £1
million public health project funded by the Arts and Humanities
Research Council. Further information is available at
www.PerformanceScience.ac.uk/HEARTS.



We are looking for candidates with the following attributes:



- You will have an extensive track record of research in
Performance Science or a related field

- You will have expertise in research design, project management
and the collection, processing and analysis of large datasets

- You will have experience of teaching, examining and research
supervision at undergraduate, masters and doctoral levels

- You should have a global perspective and significant
international contacts.



To apply, please complete our Application and Equal Opportunities
Monitoring forms available to download at
http://www.rcm.ac.uk/about/jobs/jobs/jobtitle,25121,en.aspx, and
submit along with a list of publications by the closing deadline. CVs
without an application form will not be accepted.



Completed forms should be returned by post or email to Isabella
Enstrom, HR Assistant:



Royal College of Music, Prince Consort Road, London SW7 2BS

Email: recruitment@rcm.ac.uk

Thursday, June 8, 2017

SAGE Publishing launches Music & Science journal with the Society for Education, Music and Psychology Research

Press Release

Contact: Katie Baker katie.baker@sagepub.co.uk  / Tel: +44 (0)20 7324 8719

 Mollie Broad mollie.broad@sagepub.co.uk / Tel: +44 (0)207 324 8782

 

 

SAGE Publishing launches Music & Science journal with the Society for Education, Music and Psychology Research

 

London, UK (June 08, 2017). SAGE Publishing today announced 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.

 

Editor-in-Chief Ian Cross remarked:

 

"Our 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.  This journal is a much needed space for scholars to communicate new insights in music and science research, helping to broaden our understanding of how music, culture and biology are linked.  Together with SAGE Publishing and SEMPRE, I am excited to bring this new forum into the community, and look forward to debating and sharing new ideas with a broad and international audience base."

 

Graham Welch, SEMPRE President, commented:

 

"Two years in the planning, the new online, open-access journal Music & Science has been developed in recognition of the ever-expanding fields of research related to music.  Over the past five years, our analysis shows that there has been wide disciplinary development across the sciences and music and consequently we would like to celebrate and support these advances by bringing such research under one multi-science publication umbrella in order to nurture new knowledge, new audiences and greater cross- and interdisciplinary recognition.  Such a journal is intended to expand our horizons whilst complementing SEMPRE's existing journals."

 

Miranda Nunhofer, Executive Director, Humanities and Social Science Journals, SAGE Publishing, further commented:

 

"Music & Science is an exciting new open access venue for the publication of new insights across the expanding research field of music and science.  We are delighted to be working with SEMPRE to facilitate the publication and dissemination of research in this innovative and interdisciplinary area of study. The journal is an exciting new addition to our expanding open access programme at SAGE, and to our portfolio of music journals."

 

Find out more about the journal here.

 

# # #

 

Sara Miller McCune founded SAGE Publishing in 1965 to support the dissemination of usable knowledge and educate a global community. SAGE is a leading international provider of innovative, high-quality content publishing more than 1,000 journals and over 800 new books each year, spanning a wide range of subject areas. Our growing selection of library products includes archives, data, case studies and video. SAGE remains majority owned by our founder and after her lifetime will become owned by a charitable trust that secures the company's continued independence. Principal offices are located in Los Angeles, London, New Delhi, Singapore, Washington DC and Melbourne. www.sagepublishing.com

 

Music & Science journal aims 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 traditions.

 

The Society for Education, Music and Psychology Research (SEMPRE) was founded in 1972, growing out of the Reading Conferences on Research in Music Education that were started in 1966 by Arnold Bentley. Originally known as the 'Society for Research in Psychology of Music and Music Education' ('SRPMME'), SEMPRE remains to this day the only society which embraces research in both music education and music psychology, providing an international forum to encourage the exchange of ideas and to disseminate research findings. http://www.SEMPRE.org.uk/

 

 

 

Sunday, June 4, 2017

Fwd: Computer Simulation of Musical Creativity 2017

Dear all,

 The second Conference on Computer Simulation of Musical Creativity will be held at the Open University in Milton Keynes (UK) from 11 to 13 Sept 2017.

 Deadline for paper submission:  10 June 2017

 Keynote Speakers:

 Professor Elaine Chew, Queen Mary, University of London

 Dr. Anna Jordanous, University of Kent


 Further details, including submission instructions at: https://csmc2017.wordpress.com/

Robin Laney
Open University

Thursday, June 1, 2017

Fwd: CfP: 4th Intl. Digital Libraries for Musicology workshop, Shanghai, Sat 28 Oct 2017 – reminder



[with apologies for cross posting]

SECOND CALL FOR PAPERS

4th International Digital Libraries for Musicology workshop (DLfM 2017)

Saturday 28th October 2017

Shanghai Conservatory of Music, Shanghai, China

Proceedings published in ACM ICPS

A satellite event of ISMIR 2017 <https://ismir2017.smcnus.org/>

<http://www.transforming-musicology.org/dlfm2017/>

In 2017 DLfM calls for paper submissions to two tracks: a 'proceedings
track' for short and full papers which will be presented at the
workshop and published in the workshop proceedings; and a 'Transforming
Musicology challenge' track for presented papers and posters.


WORKSHOP LOCATION

Shanghai is one of the most populous cities in the world, a major
international gateway to China and an important academic centre,
housing over thirty universities and colleges. As a location for
a satellite workshop of ISMIR, it is especially convenient, being
on the route many attendees will use to return home.

The Shanghai Conservatory of Music was one of the first in China to
offer higher education in music and has an international reputation
for the standard of its students and teaching staff. The Conservatory
also houses a substantial library and a Museum of Oriental Musical
Instruments.


BACKGROUND

Many Digital Libraries have long offered facilities to provide
multimedia content, including music. However there is now an ever more
urgent need to specifically support the distinct multiple forms of
music, the links between them, and the surrounding scholarly context,
as required by the transformed and extended methods being applied to
musicology and the wider Digital Humanities.

The Digital Libraries for Musicology (DLfM) workshop presents a venue
specifically for those working on, and with, Digital Library systems
and content in the domain of music and musicology. This includes Music
Digital Library systems, their application and use in musicology,
technologies for enhanced access and organisation of musics in Digital
Libraries, bibliographic and metadata for music, intersections with
music Linked Data, and the challenges of working with the multiple
representations of music across large-scale digital collections such
as the Internet Archive and HathiTrust.

This, the fourth Digital Libraries for Musicology workshop, is a
satellite event of the annual International Society for Music
Information Retrieval (ISMIR) conference being held in nearby Suzhou,
and in particular encourages reports on the use of MIR methods and
technologies within Music Digital Library systems when applied to the
pursuit of musicological research.

DLfM 2017 proceedings will be published in the ACM Digital Library as
part of the ICPS series, and proceedings of previous DLfM workshops can
be found in the ACM Digital Library: <http://dl.acm.org/citation.cfm?id=2970044>


WORKSHOP OBJECTIVES

DLfM will focus on the implications of music on Digital Libraries and
Digital Libraries research when pushing the boundaries of contemporary
musicology, including the application of techniques as reported in
more technologically oriented fora such as ISMIR and ICMC.

This will be the fourth edition of DLfM following a very successful and
well received workshops at Digital Libraries 2014, JCDL 2015, and ISMIR
2016, giving an opportunity for the community to present and discuss
recent developments that address the challenges of effectively
combining technology with musicology through Digital Library systems
and their application.

The workshop objectives are:

- to act as a forum for reporting, presenting, and evaluating this
work and disseminating new approaches to advance the discipline;
- to create a venue for critically and constructively evaluating and
verifying the operation of Music Digital Libraries and the
applications and findings that flow from them;
- to consider the suitability of existing Music Digital Libraries,
particularly in light of the transformative methods and
applications emerging from musicology, large collections of both
audio and music related data, 'big data' method, and MIR;
- to set the agenda for work in the field to address these new
challenges and opportunities.


TOPICS

Topics of interest for the workshop include, but are not limited to:

- Music Digital Libraries
- Applied MIR techniques in Music Digital Libraries and musicological
investigations using them
- Techniques for locating and accessing music in Very Large Digital
Libraries (e.g. HathiTrust, Internet Archive)
- Music data representations, including manuscripts/scores and audio
- Interfaces and access mechanisms for Music Digital Libraries.
- Digital Libraries in support of musicology and other scholarly
study; novel requirements and methodologies therein
- Digital Libraries for combination of resources in support of
musicology (e.g. combining audio, scores, bibliographic,
geographic, ethnomusicology, performance, etc.)
- User information needs and behaviour for Music Digital Libraries
- Identification/location of music (in all forms) in generic Digital
Libraries
- Mechanisms for combining multi-form music content within and
between Digital Libraries and other digital resources
- Information literacies for Music Digital Libraries
- Metadata and metadata schemas for music
- Application of Linked Data and Semantic Web techniques to Music
Digital Libraries, and for their access and organisation
- Optical Music Recognition
- Ontologies and categorisation of musics and music artefacts


SUBMISSIONS

We are pleased to announce that the DLfM 2017 proceedings will again be published
in the ACM Digital Library as part of the ICPS series.

Papers will be peer reviewed by 2-3 members of the programme committee.

Please produce your paper using the ACM template and submit it to DLfM
on EasyChair by 30 June 2017 (see IMPORTANT DATES).

All submitted papers must:

- be written in English;
- contain author names, affiliations, and email addresses;
- be formatted according to the ACM SIG Proceedings template with a
Type 1 font no smaller than 9pt;
- be in PDF (make sure that the PDF can be viewed on any platform),
and formatted for A4 size.

It is the authors' responsibility to ensure that their submissions
adhere strictly to the required format. Submissions that do not comply
with the above requirements may be rejected without review.

Please note that at least one author from each accepted paper must
attend the workshop to present their work.

ACM template: http://www.acm.org/sigs/publications/proceedings-templates
Submissions: https://easychair.org/conferences/?conf=dlfm2017
Contact email: dlfm2017@easychair.org


SUBMISSIONS - PROCEEDINGS TRACK

We invite full papers (up to 8 pages) or short and position papers (up
to 4 pages).  In addition to the general submission requirements above
(see SUBMISSIONS), we will require that camera-ready copy be received
before 15 September 2017 (see IMPORTANT DATES). At least one author
from each accepted paper must be registered by that date.


SUBMISSIONS - TRANSFORMING MUSICOLOGY CHALLENGE

What will the next generation of musicologists be studying? And how
will they carry out their research? What part will digital technology
play in the musicology of the future? And how will future musicologists
be using digital libraries?

The Transforming Musicology Challenge solicits short position paper
submissions to the Digital Libraries for Musicology Workshop of up to 2
pages (see SUBMISSIONS). Transforming Musicology Challenge papers
should describe, in detail, a musicological investigation or scenario
that uses, or might use in the future, technologies relevant to DLfM
(see the Topics section of the call). The ideal entry would speculate
on the kind work that, in the author's imagination, current
researchers' successors will be carrying out. While the primary focus
of Challenge papers should be musical scholarship, authors are
encouraged to relate research questions to the technical challenges
that must be addressed.

Musicology Challenge papers will be peer reviewed, and accepted papers
will be presented at the workshop as either part of a panel or a
poster. Transforming Musicology Challenge papers will not be included
in the main workshop proceedings, but will be compiled into a
supplement hosted on the workshop website.

While we encourage authors engage with the workshop through the
Transforming Musicology Challenge track, those who wish their papers to
appear in  the main proceedings may prefer to submit a more detailed
description of their work to the Proceedings Track as a short or long
paper (see above).


IMPORTANT DATES

Paper submission deadline (all tracks): 30th June 2017 (23:59 UTC-11)
Notification of acceptance: 3rd August 2017
Camera ready submission deadline: 15th September 2017
Workshop: 28th October 2017


WORKSHOP ORGANISATION

Programme Chair
Dr Kevin PAGE, University of Oxford

Local Chair
Prof. YANG Yandi, Shanghai Conservatory of Music

Publicity and Proceedings Chair
David LEWIS, University of Oxford


Programme Committee
Allessandro ADAMOU, Knowledge Media Institute, The Open University
Islah ALI-MACLACHLAN, Birmingham City University
Marnix van BERCHUM, Utrecht University
Richard CHESSER, British Library
Tim CRAWFORD, Goldsmiths, University of London
Johanna DEVANEY, The Ohio State University
Jürgen DIET, Bavarian State Library
Ichiro FUJINAGA, McGill University
Francesca GIANNETTI, Rutgers University–New Brunswick
Andrew HANKINSON, Bodleian Library, University of Oxford
Xiao HU, University of Hong Kong
Charles INSKIP, University College London
Frauke JURGENSEN, University of Aberdeen
Alan MARSDEN, Lancaster University
Joshua NEUMANN, University of Florida
Alastair PORTER, Universitat Pompeu Fabra
Laurent PUGIN, RISM Switzerland
David RIZO, University of Alicante
Andreas RAUBER, Vienna University of Technology
Carolin RINDFLEISCH, University of Oxford
Sertan ŞENTÜRK, Universitat Pompeu Fabra
Mohamed SORDO, Universitat Pompeu Fabra
Raffaele VIGLIANTI, University of Maryland
David M. WEIGL, University of Oxford
ZHANG Jihong, Shanghai Conservatory of Music