Thursday, March 26, 2015
Please see below the announcements for funding for PhD studentships at
the School of Computing, University of Kent, UK, including funding for
projects around Computational Intelligence. This area includes
Computational Creativity and Music Informatics. Deadline is
approaching soon, at 31st March 2015. Please do feel free to pass this
information onto others who may be interested.
Funded Research Studentships in Computational Intelligence
We invite applications for three year, funded PhD degrees.
- Decision-theoretic Planning
- Probabilistic Reasoning
- Artificial Intelligence for Games
- Computational Creativity
- Music Informatics
- Cognitive Neuroscience (e.g. Attention, Lie Detection, Brain Signal
- Simulation of Evolution and Modelling in Life Sciences
- Molecular Computing
- Data Mining and Machine Learning
- Bio-inspired Algorithms (e.g. Genetic Programming, Ant Colony
- Information Visualization
- Automated Graph Drawing
Successful applicants will be supervised within the Computational
Intelligence Research Group
For more information, see
contact the Head of Group, Professor Alex Freitas. There are a list of
suggested PhD projects at
alternatively we also welcome suggestions based around the above
Dr Anna Jordanous
School of Computing
Room M3-13, Medway Building
University of Kent
Kent ME4 4AG
Tel: +44 (0)1634 202990
Tuesday, March 24, 2015
Sheffield Performer and Audience Research Centre (SPARC) on
'Understanding audiences for the contemporary arts', to be held in the
Humanities Research Institute, University of Sheffield on Wednesday
29th April, 10.30-5.00pm. All those with an interest in contemporary
arts, from a practitioner, researcher or spectator position, are
warmly invited to join us and contribute to our discussions.
The event will include presentation of an ongoing collaboration
between the SPARC research team and Birmingham Contemporary Music
Group, invited talks from Dr Philip Thomas (University of
Huddersfield) and Kealy Cozens (Sound and Music), as well as shorter
papers on three themes relating to research with audiences: methods
and ethics, communication and collaboration, and impact and
Full details of the programme and how to register are available on the
SPARC website -
Questions about the event can be directed to the organising team on
Sheffield Performer and Audience Research Centre
Monday, March 23, 2015
2015 - Senate House, University of London
Jazz Studies within the UK is continuing to thrive as a research
field, with a number of graduate, post-doctoral, and early career
researchers adding to an already wide array of researchers in multiple
This one-day symposium aims to foster a network of postgraduates and
ECRs working within the broad area of jazz studies in the UK.
Participants will critically reflect on existing research
methodologies, and explore future directions for the academic study of
jazz. With this aim in mind, we invite papers of no more than 20
minutes, allowing time for questions and extended discussion.
Taking as broad an approach as possible, presentations may fall into
any of these categories:
- (Re)conceptualising jazz performance
- Interdisciplinary jazz studies
- Jazz and ecology
- National, transnational, global jazz
- Jazz and/as theory (Critical, Cultural, Musical)
- Jazz research and the creative industries
- Bridging the gap between academic and non-academic discourses
The event will also include a roundtable discussion on new directions
in jazz studies with Dr Tom Perchard (Goldsmiths), Dr Catherine
Tackley (The Open University) and Professor Tony Whyton (University of
Abstracts of no more than 300 words should be sent to
firstname.lastname@example.org by Monday 20th April. Decisions
will be communicated within a week of the deadline. While we invite
papers from all, preference will be given to those who are
postgraduate students/ECRs. Please include institutional affiliation,
level of study, and any AV requirements when sending abstracts.
There will be no delegate fee, however registration for this event is
essential. Please register at the following link:
Ben Norton, Royal Holloway, University of London Dr Catherine Tackley,
The Open University
The event is generously supported both by Equinox, publishers of the
Jazz Research Journal, and Royal Holloway University of London,
Department of Music.
Thursday, March 19, 2015
Wednesday, March 18, 2015
The 2nd Nordoff Robbins Plus Conference
Evaluating music therapy:Considering value, benefit and impact
Tuesday 9th June 2015Nordoff Robbins London Centre
2 Lissenden Gardens, London, NW5 1PQ
Dr Stuart Wood, Barchester Healthcare
Nordoff Robbins is delighted to bring together leading researchers and practitioners to consider, discuss and debate evaluation in and around music therapy. There is growing pressure to provide evidence of music therapy impact and benefit, and there are debates as to what methods are and are not appropriate. In considering 'value', 'impact' and 'benefit', this conference revisits the kinds of questions that need to be asked, and answered, when seeking to describe, understand, test, and communicate about, music therapy.
Also up for debate is how goal-directed, outcome-focused evaluation approaches fit with the interactive, multifaceted and creative basis for music therapy. In the spirit of the Nordoff Robbins Plus series, speakers and respondents from adjoining disciplines, together with poster presentations and panel discussions, will offer multidisciplinary perspectives leading to robust discussions and debate.
Early bird registration (by 24th April 2015):
Regular fee: £55
Student fee: £25
Abstracts for submissions of posters are invited and welcome from a broad range of disciplines - please click here for further details
Want to know more?
The 2nd Nordoff Robbins Plus Conference is part of London Creativity and Wellbeing Week
4th - 12th June 2015
Giorgos TsirisResearcherBook your place now...The 2nd Nordoff Robbins Plus Conference, 9th of June 2015Evaluating Music Therapy: Considering value, benefit and impactWe look forward to seeing you!
Tuesday, March 17, 2015
Nick Gibb speaks at the Music Education Expo
- Department for Education and Nick Gibb MP
- Delivered on:
- 12 March 2015 (Original script, may differ from delivered version)
- Music Education Expo, central London
- First published:
- 12 March 2015
- Part of:
- Reforming qualifications and the curriculum to better prepare pupils for life after school and Schools
Minister of State for School Reform Nick Gibb outlines the government’s support for music education in schools.
Good morning. It is a great pleasure to be here today [12 March 2015] at the Music Education Expo in the Barbican, home to world-class music, theatre, art, dance and film.
And it is a fitting venue in which to be speaking about the importance of music education. As music teachers and others involved in music education, your work helps to build a love of music among pupils.
Building this love of music in schools is crucial. Because music shouldn’t be the preserve of those who can afford it, whose parents play instruments themselves or listen to music at home. This government’s plan for education has focused on raising standards for all and narrowing the gap between disadvantaged students and their peers. In the same way that high-quality schools are essential to meet this goal, so too is high-quality music education in schools.
Music is an important subject in its own right, combining intellectual rigour with creativity. The academic opportunities offered by music are clear - in 2009, 18.6% of pupils who achieved an A grade for music A level went to Oxbridge. Only 5 subjects had a higher progression rate.
The wider educational and social benefits of music are also clear. ‘The Power of Music’, recently published by Professor Susan Hallam, points to the positive effects of different aspects of music teaching and training on verbal instruction, reading and comprehension, motivation, communication and behaviour.
Senior teachers and heads in schools often speak of these benefits. As the assistant headteacher of Hackney New School, which offers all children music lessons, recently said:
Music has undoubtedly had a huge impact. Not only are pupils enjoying school more, but almost without realising it they are gaining confidence, resilience and team working skills which they then bring into other subject areas.
The ABRSM Making Music survey in 2014 found that there are particular disparities in music: children from less well-off backgrounds are less likely to play a musical instrument and less likely to have had music lessons. 40% of children from lower socio-economic groups who have never played an instrument said they had no opportunity to learn at school.
That is why when we came into government in 2010 we set out high aspirations. In the remit of the ‘Review of Music Education in England’ by Darren Henley, we stated that “every child should receive a strong, knowledge-based cultural education and should have the opportunity to learn and play a musical instrument and to sing”. Music education was patchy across the country and we wanted to change that so every pupil could benefit. The Henley Review and the subsequent National Plan for Music Education were the starting point for our approach, and set out the direction of our reforms.
Through our curriculum review, music remained a statutory subject in the national curriculum, so every child in maintained schools must study it from age 5 to 14. The new national curriculum, introduced in September, is particularly important to tackle disadvantage as the focus is on setting high expectations for everyone and ensuring that children have access to all of the national curriculum.
Alongside the new national curriculum, we have also reformed GCSEs, A levels and vocational qualifications. The greater rigour and focus on knowledge and skills in the study of music throughout key stages 1 to 3, including exposure to a wide range of music and composers, and teaching children how to read and write music using standard staff notation, will mean that music is an option for more pupils at GCSE. And the new more rigorous GCSE will in turn better prepare students for progression to A level and beyond.
Across all subjects, the importance of high-quality teaching is known to be the crucial factor in delivering better outcomes for pupils. We are fortunate to have some excellent music teachers working in our schools and I was lucky enough to present Classic FM’s primary school music teacher of the year award to Katie Crozier last year. Katie teaches at 2 schools in Huntingdonshire and has delivered significant improvement for pupils there. At her school, where she has taught since 2008, she has transformed the approach to music: the school has gone from having no orchestra and a choir of 8 members to a 50-member orchestra and a choir of 100 singers.
While there is already a great deal of good practice, we also want to make sure there is support available for teachers who may need it - in particular, practical help for non-specialist primary school teachers. I am delighted that Classic FM and the ISM are going to compile, and give schools access to, a new list of 100 pieces of classical music that every child should be familiar with by the time they leave primary school.
Being familiar with the best known classical works is as important as reading the canon. Music has been important to me personally and my suggestions for pieces to include would range from Beethoven’s Fifth Symphony to Parry’s setting of ‘I was glad’ and Allegri’s ‘Miserere’, which I still remember singing as a choirboy. I very much hope there will be strong engagement from those within music teaching with ISM and Classic FM as they develop the list.
These initiatives highlight that our ambitions cannot be achieved by acting alone. That is one of the key reasons behind the music hubs which we established in 2012 as part of the national plan. The hubs are helping to ensure that every child has the opportunity to learn instruments through whole class teaching, that there are clear progression routes available and affordable to all young people, opportunities to play in ensembles and to sing regularly, including in choirs or vocal ensembles.
In their first year, the hubs gave nearly half a million children the opportunity to learn an instrument for the first time, as well as working with almost 15,000 school choirs, orchestras and bands. 80,000 disadvantaged pupils took part in instrumental ensembles and choirs. Last year, the hubs were working with more than 60% of primary schools and more than 50% of secondary schools on their singing strategy, and 50,000 more children were receiving whole-class ensemble music teaching as a result of the hubs’ work.
On a recent school visit to Redbridge Primary School, I was able to see first-hand their whole-class ensemble teaching programme, which they offer to pupils for 3 years, first hand.
The positive impact the hubs are having is clear. That’s why in July last year we announced further funding for music hubs - an extra £18 million for music programmes, bringing the government’s investment in music education to more than £270 million since 2012.
Government support also continues for the Music and Dance Scheme, that supports the exceptionally talented at 21 music and dance centres of advanced training and 8 specialist schools, including the Royal Ballet School, which I visited recently, the Purcell School and the Yehudi Menuhin School. Programmes such as the National Youth Music Organisations, Music for Youth and In Harmony, a national scheme which focuses on offering children in 6 deprived communities an intensive orchestra experience, also give important opportunities to children up and down the country.
I was fortunate enough to attend the schools prom series, run by Music for Youth, at the Royal Albert Hall back in November, and enjoyed listening to performances by a wide range of ensembles, from the Glantaf Duo from South Glamorgan to the Wessex Youth Orchestra from Dorset.
In addition to government-funded schemes, I am pleased to see other organisations working in this area to increase opportunities in music for young people - such as the National Orchestra for All. NOFA was founded by a Teach First participant in 2011 and takes 150 musicians each year from schools in London and the west Midlands to form a full orchestra, which rehearses and performs in venues such as the Southbank Centre and the Royal Academy of Music.
The government’s free school programme has also unleashed innovation in music teaching, with a number of schools offering a specialism or focus in music such as West London Free School, East London Academy of Music and Hackney New School.
There is a great deal to celebrate and to be proud of in our performance in music - from the great classical composers of past and present, to the string of UK artists who top the charts worldwide. And in 2 years’ time, Sir Simon Rattle will return to England to the London Symphony Orchestra here at the Barbican.
A strong and rigorous music education is as important a part of being well educated as learning about science, history and literature. I hope our commitment to music education in schools is clear. We want to ensure this success in music continues and I am confident that our reforms have set us off in the right direction.
Research in Popular Music Education
A One-Day Symposium
Thursday 23rd July 2015
University of Huddersfield, UK.
In association with
International Association of the Study of Popular Music (UK & Ireland)
Association for Popular Music Education
Institute of Contemporary Music Performance
Call for papers and panel discussions
The University of Huddersfield hosts this special one-day symposium to focus and reflect on the gathering momentum of research in popular music education. While music education and popular music each have well-established traditions of multi-disciplinary and inter-disciplinary research, the field of scholarly study in popular music education is less well developed. Amidst a surge of publications and burgeoning worldwide interest in this emerging field, we invite colleagues to contribute to the discussion by joining us for this event. Following the vibrant HEA/IASPM conference held at University of Edinburgh in 2014 that explored popular music pedagogy, we welcome submission of submit abstracts of 200-300 words on topics including, but not limited to:
· Popular Music Education vs Popular Music Studies
· Higher Popular Music Education
· Entrepreneurship, (neo)liberalism and contemporary higher education
· Popular music pedagogies
· Canon and creativity in curricula
· Assessment – objectives and processes
· Teaching teachers to teach popular music
These may be formal presentations, discussions, theoretical, practice-focused or industry-related. Abstracts should be emailed as Word or PDF attachments to email@example.com not later than 1st May 2015. Notifications of acceptance will be by 15th May. Submissions may be for 20-minute spoken papers, or for 60 minute panel discussions. There will be a £45 fee for attendance.
The symposium is organised by Rupert Till, lead editor of the forthcoming (April 2015) special issue of IASPM@Journal on popular music education, and Gareth Dylan Smith, lead editor of the forthcoming Ashgate Research Companion to Popular Music Education (expected summer 2016). Keynote speaker: Bryan Powell (Association for Popular Music Education, Amp Up NYC, Music Learning Profiles Project)
Reader in Music
Chair of International Association for the Study of Popular Music UK and Ireland Branch
Director of the Popular Music Studies Research Group
European Music Archaeology Project Huddersfield Co-organizer Contact
Department of Music and Drama
University of Huddersfield | Queensgate | Huddersfield | HD1 3DH
News from the National Jazz Archive
The extensive resources of the National Jazz Archive have been opened up by a project funded by the Heritage Lottery Fund.
The successful three-year project ‘The Story of British Jazz’ has significantly improved public access to the National Jazz Archive’s rich and diverse holdings and reinforced its position as the principal national resource for jazz heritage in the UK.
The key achievements have been:
• storing and conserving more than 40,000 archive items (journals, photos, posters and programmes) • cataloguing more than 4300 books • cataloguing more than 600 journals to series level along with 36 personal and seven photo collections • scanning and digitising numerous journals, photos, posters and programmes for direct access via the redesigned website, which includes a timeline of British jazz, over 360 interviews, and cross-curricular learning resources • organising more than 30 talks, open days, exhibitions, concerts, community events and family activities • training volunteers in storage, preservation and cataloguing skills.
The principal funding for the project was a grant of £311,000 from the Heritage Lottery Fund, coupled with a match-funding contribution from the Archive of approximately £12,000, including donations, a non-cash contribution from Essex County Council of £15,527, and volunteer time contribution of £6850.
Lesley Walker, Project Monitor for the Heritage Lottery Fund, said: “Over the past three years I have watched the National Jazz Archive develop into an active and lively organisation with properly catalogued and managed collections, reaching out to a much wider audience including their local communities. There is now a greater awareness within and beyond the jazz community of the Archive and its activities and ‘The Story of British Jazz’ makes the collection accessible to people everywhere.”
Project manager Angela Davies said: “The Story of British Jazz project team successfully delivered a dynamic programme of activity, which has significantly raised the profile of the Archive, created an infrastructure for the sustained management and preservation of its unique collection and encouraged greater interaction with the Archive. This could not have been achieved without the enthusiastic support from the trustees, volunteers and partner organisations.”
Partnerships and collaborations were arranged throughout the project with nearly 30 organisations, including the British Music Experience, Chelmsford Museum Service, Essex Heritage Education Group, Essex on Tour, Essex Youth Jazz Orchestra, Group for Education in Museums, Guildhall Music Library, Horniman Museum, Jazz FM, Loughton Festival, Loughton Library, Loughton Youth Project, Love Loughton, Restore Community Church, and West Dean College.
The project team were: Angela Davies (project manager), Fiona Cormack (project archivist till 2013), Jo Blyghton (project archivist from 2013), and Sam Fieldhouse (learning and outreach officer).
To support and manage the project, trustees with expertise in archives, conservation, finance, marketing, legal, and audience development were recruited. A series of seven fundraising concerts was organised in 2014, featuring the Gresty-White Ragtimers, Kenny Ball Jazzmen led by Keith Ball, Paul Jones, Liane Carroll, John Altman, Digby Fairweather and Val Wiseman.
The work of the Archive is continuing, and significant collections of material have been donated during the course of the project, including hundreds of photos of musicians taken by Denis Williams, personal papers from Ottilie Patterson, Don Lusher, Lew Stone and Nat Gonella.
Further details of the Archive are available at www.nationaljazzarchive.org.uk, 020 8502 4701 or firstname.lastname@example.org
• The National Jazz Archive is a registered charity based in Loughton Library in Essex. It holds the UK’s finest collection of written, printed and visual material on jazz, blues and related music, from the 1919 to the present day. The Archive holds more than 4000 reference books, specialist periodicals and bulletins spanning over 600 titles, archival material, artwork, ephemera and photographs. It is open on Monday, Tuesday, Wednesday and Friday from 10am to 1pm.
• The Archive’s vision is to ensure that significant jazz material is safeguarded for future generations of enthusiasts, professionals and researchers.
• The Archive is supported by Essex County Council, which provides rent-free accommodation and a part-time Research Archivist, whose role involves helping visitors, providing an enquiry service, responding to research requests from students, writers, enthusiasts and journalists, and organising the NJA celebrity fundraising events.
• Technical support partners for ‘The Story of British Jazz’ project were: Inclusive Digital – website designers; Townsweb Archiving – scanning and digitisation; PastView – web-based search engine; and CALM – archival cataloguing software.
• The Archive works in partnership with organisations around the UK to disseminate its resources, including the Essex Record Office and higher education institutions.
Nick Clarke, Trustee, National Jazz Archive Loughton Library, Traps Hill, Loughton IG10 1HD www.nationaljazzarchive.org.uk, 020 8502 4701 or email@example.com
Get in touch
- Sing this year's NSUD anthem! I'm still singing is a beautiful and uplifting number all about how singing connects us and fills us with positivity.
- Print out our NSUD Activity Pack for a wealth of ideas, puzzles and games.
- Use our Star Challenges to give singing structure to your day. How many points will you get?
- Upload your event to our map to share your plans with others - don't be shy!
- Print out your certificate and display it proudly for taking part!
Early Music Wells: Lamentations by Candlelight
Saturday 21st March
19:00 - 20:00
Description:Saturday 21 March, 7.00pm (in the Quire). EARLY MUSIC WELLS: LAMENTATIONS OF JEREMIAH. The Early Music Wells Consort, directed by Matthew Owens, sings some of the finest Italian and Franco-Flemish Renaissance settings of the Lamentations of Jeremiah, including works by Brumel, Lassus, and Palestrina. Tickets: £12.00; available from Wells Cathedral Shop Box Office and at the door.