Friday, February 26, 2016
Thursday, February 25, 2016
Fwd: Call for Papers: Making Time in Music: an international conference, 12-13 September 2016, Faculty of Music, Oxford
12-13 September 2016
Faculty of Music, University of Oxford
Call for Papers
The capacity to be in time together lies at the heart of all
music-making and is one of the most profound of human capabilities;
being in time together is implicated in social bonding, altered
states, and foundational pleasures associated with music. The ways in
which we play in time together, also mark out difference-between
genres and between instruments (and instrumentalists), between studio
and live performance, between the virtuoso and the beginner.
Two assertions about the temporal in music are the starting point for
our call for papers: David Epstein's comment in his seminal book,
Shaping Time, that time is 'the critical element in performance', and
Lefebvre's lament that rhythm has been music's neglected component.
These comments underscore the aim of this conference, which is to
bring time and timing to the fore in our thinking about musical
experience, and in particular, its production.
The conference committee encourages submissions from scholars
representing diverse disciplines whose interests lie in time, timing
and timekeeping, and their construction by musicians. We welcome
papers that address the subject from the following broad perspectives:
the psychological/cognitive foundations of this human achievement,
time and timing as part of specific cultural praxis, critical
approaches to time and technology, the aesthetics of timing, and
musical time's relationship to social being.
The following list of questions indicates some broad concerns of the
conference but is suggestive rather than prescriptive.
- How is the time of music implicated in social being and sociability?
In what ways does the social penetrate the temporality of music?
- Can we speak of cultures of time in music? How does the relatively
tacit feel for time amongst musicians connect with the discursive?
- What is the relationship between the relatively automatic capacity
to be in time together and timekeeping as intentional and expressive?
- In what ways have technologies changed our relationship to time in
music? Is temporality changed through developments in recording and
- What are the politics of musical time?
- What methods are available to us to address questions of
temporality, music, the social and the psychological?
- How do we teach and learn about time in music?
Proposals of 250-300 words are invited for spoken papers of 20
minutes. These should be sent as a Word attachment to
firstname.lastname@example.org and must include the following: Title,
author(s), affiliation(s), email address for contact. The deadline for
proposals is Friday 15 April 2016 at midday. Decisions on proposals
will be communicated by Monday 9 May 2016.
Registration will open on Tuesday 10 May. Information about the
conference-accommodation, travel information, draft programme and so
on will be available on our website:
It is hoped that some papers from the conference will contribute to a
volume, Making Time in Music, edited by Mark Doffman.
The conference committee is: Dr Mark Doffman, Dr Jonna Vuoskoski, and
Dr Toby Young (all University of Oxford), and Dr Emily Payne
(University of Leeds).
Dr Emily Payne
Postdoctoral Research Assistant, John Cage and the Concert for Piano
and Orchestra Project
School of Music, University of Leeds, Leeds LS2 9JT, UK
Tel. +44 (0)113 343 8209 / +44 (0)7816 401211
Wednesday, February 24, 2016
CALL FOR PAPERS
Music Education in Context
Hilary McQueen, Andrea Creech, Maria Varvarigou
publishing summer 2017
The power of music to enrich and enhance people's lives is well documented. There are numerous examples of the positive impact of music education. The contexts in which people of all ages learn about music vary widely, yet each can provide the catalyst for engagement with music that can have both individual and more extensive benefits. Therefore, particularly at a time of financial constraints and global unrest, it is important that the contribution of education in the arts, such as music, is kept to the fore.
For this special feature in the London Review of Education we invite articles that demonstrate or seek to gain a better understanding of the ways in which music education contribute to individual health, well-being, or broader educational gains, or to community and societal cohesion. Papers might refer to research reports of completed work or work in progress. Particularly welcome would be evidence for the contribution that music education makes in a specific context, which might be a country, a county, a local community, or a project that promotes music education for a specific purpose. Other contributions could take the form of a review of resources for music education, including those available online. As the journal is an open-access online publication, we also welcome the inclusion of auditory or visual material.
Articles are usually in the form of 6,000-word research articles, but the editors are open to considering other types of material – such as shorter research commentaries – that are appropriate for an academic journal. All contributions will be subject to full peer review. It is essential that auditory and visual material of individuals or groups meets ethical requirement including the informed consent of those represented.
Please send abstracts, outlines and expressions of interest to Dr Hilary McQueen (email@example.com) by 25 July 2016. The deadline for article submissions is 25 November 2016. Informal enquiries are welcome and should be addressed to Hilary.
Tuesday, February 23, 2016
expecting to have funded PhD studentships(s) available soon.
If interested, please contact me (Dr Robin Laney: robin.laney @
open.ac.uk) for an informal discussion and advice on constructing a
proposal early, as a polished proposal will be needed.
Applications from part-time candidates also welcome.
I am interested in hearing from candidates in music computing,
particularly for combinations of the following topics, but students
are free to choose an area.
Musical Contrast (and Similarity)
Music and Emotion
Music and Narrative
Musical Pattern Discovery
Statistical Music Generation
Music for Computer Games
Collaborative Music Environments
MIR in Creative Settings
A separate topic that might be of interest, and draw on some of the
same themes and technologies, is the use of ubiquitous technology in
group conflict resolution.
The Open University is incorporated by Royal Charter (RC 000391), an
exempt charity in England & Wales and a charity registered in Scotland
Monday, February 22, 2016
Music Education Special Interest Group
Research Seminar Announcement
"The effect of the medium of communication on remote instrumental music lessons"
Dr Sam Duffy, Cognitive Science Research Group, Music Cognition Lab, Queen Mary, University of London
Monday 7th March 2016
Further details from Lucy Green, firstname.lastname@example.org
All are welcome
A common way to learn to play a musical instrument is through regular one-to-one lessons with an experienced musician. However musicians travel frequently to perform and temporary separation of a tutor-student pair can occur at critical times, such as prior to an important audition or exam. Some students in geographically isolated locations find it difficult to access the level of expertise they need for their instrument, making it difficult to fulfil their potential. A solution to these problems is to conduct remote lessons through videoconference, however the medium changes the nature of communication in ways which impact directly on lesson interaction.
Sam will provide an overview of her doctoral studies in this area, using video-ethnography to compare student-tutor interaction during 'same room' or co-present one-to-one instrumental lessons to remote lessons mediated by videoconference. A key finding from this work is that the small fragments of music which are characteristic of this type of teaching interaction are managed conversationally, and themselves take on characteristics of conversation turns. Hence a significant effect of changing the medium of communication to video for a remote lesson is the impact on lesson dialogue, including the musical contributions. Changes in spatiality and non-verbal interaction are also considered, for example rather than the 'face-to-face' configuration enforced by videoconference, alternative technology to support remote music tuition could instead be based around the joint focus of the co-present lesson interaction, the shared music score.
Sam's research interests include examining the interaction between musicians in different contexts such as performance, education and social music making; the impact that can be achieved through music in a community; and how technology can be used to transform these interactions. Her thesis "Shaping Musical Performance Through Conversation" examined the effect of remote teaching technology on student-tutor interaction during one-to-one instrumental music lessons. Sam was
Creativeworks London Researcher in Residence at the London Symphony Orchestra in 2015, using qualitative methods to examine the practice of impact evaluation by Project Managers working at the London Symphony Orchestra's education and community programme, LSO Discovery. Based in the Cognitive Science Research Group and the Music Cognition Lab at Queen Mary University of London, Sam is currently working on an interdisciplinary project with the London Sinfonietta to investigate new ways of bringing participatory music education to children, using a game based iPhone app based on the piece Clapping Music, by the minimalist composer Steve Reich.
Wednesday, February 17, 2016
Fwd: FW: SIG NOTICE: CFP - Researching Music: Interviewing, Ethnography, and Oral History (IASPM/IMR/BFE)
Monday 6 June
Senate House, University of London
The Institute of Musical Research, the British Forum for Ethnomusicology, and the UK & Ireland branch of the International Association for the Study of Popular Music invite proposals from researchers interested in participating in a full-day seminar at Senate House, University of London, on Monday 6 June. The seminar will explore recent thinking about methods for researching music, from a variety of disciplinary perspectives, with a particular focus on interviewing, ethnography, oral history, and the relationship between them. Speakers will include Ruth Finnegan, Sara Cohen, Rachel Beckles Willson, Lucy Durán, Simone Krueger, Sue Onslow, and Jaime Jones.
Proposals or expressions of interest are particularly welcome from late-stage doctoral students and early career scholars, who are invited to share their recent experiences and insights with those near the beginning of their research. More senior scholars are also warmly invited to participate and exchange ideas with the next generation of researchers.
The seminar will include a mixture of practical sessions and critical discussion of methods. The organisers are not seeking full-length papers but rather shorter presentations or provocations (c. 10 minutes) - whether primarily theoretical or anecdotal - for inclusion on panels. The tenor of the event is intended to be informal and collegial, more workshop than conference; ideas in progress, methodological dilemmas, and confessions of mistakes are therefore welcome. Methodological expertise is less important than a willingness to discuss problems and explore solutions.
The primary aim of the seminar is to encourage the exchange of ideas concerning research methodologies between scholars working on music or sound within different disciplines (music, media, geography, sociology, anthropology, etc.) and sub-disciplines (ethnomusicology, popular music studies, musicology). The seminar is envisaged as a unique opportunity to promote the sharing of questions, experiences, good practice, and advice among scholars whose objects of study may be similar or even the same but whose methodological approaches may vary. It is also designed to assist researchers of music who seek to cross methodological boundaries between different disciplines and sub-disciplines - in particular those who are already engaging, or plan to engage in the near future, with research methods in which they may not have formal training or experience. In sum, the seminar is intended to strengthen the methodological foundation for the increasing interdisciplinarity of the study of music.
Proposals (max. 250 words) and enquiries should be sent to email@example.com.
Registration for attendees will be opened closer to the date. Information will be circulated via this list and the IMR website (www.the-imr.uk).
Tuesday, February 9, 2016
The Journal of Popular Music Education seeks to define, delimit, debunk, disseminate, and disrupt practice and discourse in and around popular music education. Popular music education takes place at the intersections of identity realization, learning, teaching, enculturation, entrepreneurship, creativity, a global multimedia industry, and innumerable instances of music making as leisure. Through drawing together diverse, rigorous scholarship concerning learning in, through and about popular music worldwide, JPME seeks to identify, probe and problematize key issues in this vibrant, evolving field. Scholarship from and across all relevant research methods and disciplines is welcome.
Areas for consideration could include but should not be limited to: performance, recording, production, songwriting, composition, technology, listening, movement, socializing, identity, travel, social classification and stratification, marketing, politics, religion, nationalism, fashion, multi-arts and cross-cultural perspectives.
Please email manuscripts of between 6,000 and 8,000 words (double-spaced, Times New Roman, font size 12) for the attention of editors Gareth Dylan Smith and Bryan Powell to firstname.lastname@example.org.
CFR: Call For Reviews
Journal of Popular Music Education seeks scholarly reviews of the latest books, films, media, exhibitions, musical groups and performers, and popular music education events. If you would like to suggest something for review, please contact our reviews editor at email@example.com.
Wednesday, February 3, 2016
Tenovus Cancer Choirs Project Officer/Research Assistant
Job Reference Number: 501-16
£31,856 - 35,369 per annum, pro rata
Part-time (0.8FTE) fixed-term for 24 months
The Royal College of Music is one of Britain's leading conservatoires. It provides specialised musical education and professional training at the highest international level for performers and composers.
This part-time fixed term post (24 months) sits within the Centre for Performance Science (CPS), an internationally distinctive centre for research, teaching, and knowledge exchange in performance science. The post-holder will be responsible for coordinating the running of the 'Tenovus Cancer Choirs' research project, which will investigate the impact of singing on psychological and biological responses of cancer patients, carers and staff involved in weekly choirs. Key tasks will include recruiting cancer patients, staff and carers to be involved in the research study including publicising the study, consenting patients, collecting psychological and biological data, maintaining the study database and supporting the research.
You should have a track record in social science research or evaluation, experience consenting patients to research, communications and marketing skills and be a highly organised independent, accurate worker with excellent interpersonal skills.
The successful applicant should be available to start no later than 18 April 2016, and would preferably be available from the start of April 2016.
For further details and an application form, please visit the 'Jobs and Opportunities' section of our website at www.rcm.ac.uk.
Completed application forms should be returned to Olivia Towers, HR Assistant, at firstname.lastname@example.org or Royal College of Music, Prince Consort Road, London, SW7 2BS. CVs without an application form will not be accepted.
Closing date for receipt of applications is 12 noon on Thursday 25th February 2016.
Interviews will be held on Wednesday 2nd March 2015.
With some roles at the Royal College of Music, second interviews may take place.
The Royal College of Music is an equal opportunities employer.
Research Associate in Performance Science
Royal College of Music | Prince Consort Road | London SW7 2BS | United Kingdom
T: 07958 065 563 | E: email@example.com | W: www.rcm.ac.uk/cps
THIS WEEK: Thursday and Friday, 4 & 5 February, at the Bloomsbury
The Tsar wants his photograph taken
A night at the opera—a blend of the (not quite) brothers Marx
Karl and Groucho—(actually) Kurt Weill and Georg Kaiser on the run
from the Nazis
Call me Max Bialystok (in my dreams).
Join us for a funny, moving, and spectacularly creative presentation
of the Kurt Weill/Georg Kaiser opera buffa (a 'comic' opera in a
single act), The Tsar wants his photograph taken.
An extremely popular show in late Weimar Germany, the Nazis came to
power and immediately shut it down.
The Tsar wants his photograph taken is only rarely staged, in part due
to the complexity of the music. But another reason why it did not
take on much of an afterlife, after the end of the Second World War,
is because the story was not well understood or appreciated.
In the same way that successful plays and musicals, such as the recent
hits The Book of Mormon and The Curious Incident of the Dog in
Night-Time originate from specific historical moments, The Tsar wants
his photograph taken was conceived when the Soviet Union seemed
stable, and it was possible to take a somewhat nostalgic look back at
the Russian Empire. The Tsar was, after all, a human being. Was it
not possible that he would like for his picture to be taken, as befits
a proper bourgeois gentleman? Why not seek the services of Angele,
the leading photographer of Paris, renowned as an alluring genius with
But that's not all. The anarchists have been listening in and
interfering. They seek to replace Angele, at the appointed time, with
one of their own--and put a gun in the back of the camera—to murder
Along with the jarring music, catchy story-line, and dramatic action
(which includes slapstick), there were unstated subtexts. Audiences
in Germany knew well that Kurt Weill was a Jew, and that while not
overtly Jewish, the play involved characters who could be assumed to
be Jewish—villains and heroes.
And it would have been taken for granted, at the time, that the
photographer her- or himself, might have been a Jew. Photography was
a heavily Jewish trade. The Tsar was comfortable and familiar, as
were the other crowned heads of Europe, with Jews as photographers.
Beyond the historical interest, the opera represents a distinctive
enterprise in several respects. Staged at UCL's Bloomsbury (Theatre)
Studio, it is a cooperative effort between recent graduates and
current students from Oxford, Kings College London, Guildhall,
Columbia University, the Royal Academy of Music, and UCL. The
director, conductor, pianist, and performers have graced stages from
China and Singapore to the United States—as well as throughout Europe
and the UK. The background of the participants further reflect a vast
diversity of training and expertise in the arts and sciences.
And the singing alone is well worth a visit. Catch the incredible
Kate Smith, Charlotte Nohavicka, and Betty Makharinsky before they hit
Covent Garden. See the dashing Tim Frith, Christopher Holman, Angus
McPhee, and Gareth Davies, and rising stats Amy McPherson and Azura
You can say you saw a show of Leo Doulton, director, and Johann von
Stuckenbruck, a few years before they became as famous as Chris Martin
and Ricky Gervais.