Friday, October 13, 2017
Call for papers:
Research Networking Day at CTM-Festival 2018 "Turmoil"(Berlin)
Date: 27.1.2018 | 12:00 - 18:00 | Kunstquartier Bethanien (Studio 1)
In Collaboration with Humboldt University's Department of Musicology.
RND provides a platform to exchange ideas and experiences for students
and researchers from different European graduate and postgraduate
programs traversing the fields of audio, arts, media, design and
related theoretical disciplines. Students and researchers present
projects and findings connected to the CTM 2018 festival theme Turmoil
(http://www.ctm-festival.de/festival-2018/theme/) in 10-minute
sessions, linked by several discussion rounds and completed by a
CTM 2018 (http://www.ctm-festival.de/festival-2018/welcome/) will take
place from 26 January to 4 February 2018 at various Berlin venues,
including longtime partners like Berghain, HAU Hebbel am Ufer, and
Kunstquartier Bethanien. The festival's nighttime programme is
supported by an exhibition, installations, a MusicMakers Hacklab, and
a Discourse programme of talks, panels, workshops, and film
This call seeks innovative and critical submissions from all areas of
study addressing the scope of music and emotion. We invite students
and junior scientists to present their research at an international
platform that provides a good opportunity to meet various colleagues
and researchers working on related ideas. Persons pursuing higher
levels of research/studies are also welcome to submit a proposal.
Presentations should take place in English.
Please send your presentation proposal with an abstract of max. 200
words and a short bio to firstname.lastname@example.org with subject: RND
Turmoil. Application deadline: 30 November 2017.
The presentation programme will be announced before the holidays.
Unfortunately we cannot grant any funding for travel and
accommodation, but participants will receive a CTM 2018 festival pass.
For questions or further details please contact: email@example.com
Tuesday, October 10, 2017
Salary: £38,254 pa plus £1,500 London Weighting pa
Location: London, NW5 1PQ
This is an exciting opportunity for a suitably qualified person to
lead our small team of researchers (currently including researcher,
data analyst and a research assistant) in pursuing a portfolio of
research and impact evaluation activities which support the charity's
work across a wide range of settings across England and Wales.
Nordoff Robbins is the UK's largest provider of music therapy services
after the NHS. We train our own music therapists on our Master of
Music Therapy (Nordoff Robbins): Music, Health, Society programme and
also run a music therapy MPhil / PhD programme (both of which are
validated by Goldsmiths, University of London): there are
opportunities for the post holder to contribute to each of these
programmes. The main focus of the post, however, is to lead and manage
a portfolio of research and impact evaluation activities which support
the work of the charity.
Given the attention to empirical detail and the focus on
personal-musical experience within the Nordoff Robbins tradition, as
well as the turn to the social in music therapy more generally in
recent years, we require the post holder to be particularly
experienced in qualitative methodologies. However, it is also
important that they are able to make use of quantitative methods and
to support researchers' work across the methodological spectrum.
We anticipate attracting applications from candidates whose PhDs and
subsequent research experience lies in the fields of music therapy,
music sociology, music psychology or other related fields.
The post has become vacant following the appointment of the current
post holder to a prestigious position at the Royal College of Music.
For further information and details on how to apply, please visit the
careers section on our website:
Closing date for completed applications is 5.00pm Friday 13th October 2017.
Tuesday, October 3, 2017
Please note that there will be TWO seminars on Monday 6 November – details of the other seminar have already been circulated
Music Education Special Interest Group
RESEARCH SEMINAR ANNOUNCEMENT
"The development of spirituality through alternative pedagogies in Brazilian Higher Music Education"
Dr Heloisa Feichas. Music School, Federal University of Minas Gerais (UFMG), Brazil
Date: Monday 6 November 2017
Room: 804, UCL Institute of Education, 20 Bedford Way, London WC1H 0AL
Further details are available from David Baker, firstname.lastname@example.org
All are welcome
This presentation will discuss how concepts of spirituality can be related to alternative pedagogies in Higher Music Education. Firstly, concepts of spirituality will be examined within music education. This will be followed by a discussion of how the development of human competences in educational contexts leads to spiritual values, thus creating possibilities for a critical spirituality. After that, Paulo Freire's (2011) principles of "Pedagogy of autonomy" will be examined and connected with alternative pedagogies based on collaborative values. Finally, there will be reflections concerning the potential of informal learning for shifting the paradigm from an individual to collective approach. In doing so, there will be illustrations of how some of the pedagogical approaches from informal learning practices, and non-formal teaching in Brazilian Higher Music Education, contribute to raising students' consciousness and triggering spiritual values. These approaches are called a "pedagogy of integration" containing aspects of creative and collaborative learning rooted in Freire's humanist educational view. Here, essential elements in Freire's work, which advocate the conscientization of individuals within the process of education, link with values of spiritual development.
Heloisa Feichas gained her PhD in Music Education from the Institute of Education, University of London. She has recently finished post-doctoral work at UNESP (the State University of São Paulo, Brazil) focussing on Paulo Freire's ideas and collaborative learning concepts. Heloisa is Senior Lecturer within the Music School of the Federal University of Minas Gerais (UFMG) in Brazil. She is also an active pianist performing Brazilian popular music in a variety of ensembles. Her main research interests are popular music and the sociology of music education. Heloisa has worked in cooperation with Music School of Pitea, Luleå University in Sweden and also with Guildhall School of Music and Drama, London for their Connect project.
Friday, September 29, 2017
Digital Music Research Network (DMRN+12) will take place in London on
19 December 2017.
Please pass on to colleagues and other researchers who may be interested.
Any abstracts by 17 November 2017 please!
*** CALL FOR CONTRIBUTIONS ***
DMRN+12: Digital Music Research Network 1-Day Workshop 2017
Arts One Lecture Theatre
Queen Mary University of London
Tue 19 December 2017
Prof Augusto Sarti (Politecnico di Milano)
will talk on "Capturing and Rendering Spatial Audio".
Digital music is an important and fast-moving research area. Sophisticated
digital tools for the creation, generation and dissemination of music have
established clear synergies between music and leisure industries, the use of
technology within art, the creative industries and the creative economy.
Digital music research is emerging as a "transdiscipline" across the usual
academic boundaries of computer science, electronic engineering and music.
The Digital Music Research Network (DMRN) aims to promote research in the
area of Digital Music, by bringing together researchers from universities
and industry in electronic engineering, computer science, and music.
DMRN will be holding its next 1-day workshop on
** Tuesday 19 December 2017 **
The workshop will include invited and contributed talks, and posters will be
on display during the day, including during the lunch and coffee breaks.
The workshop will be an ideal opportunity for networking with other people
working in the area. There will also be an opportunity to continue
discussions after the Workshop in a nearby Pub/Restaurant.
Call for Contributions
You are invited to submit a proposal for a talk and/or a poster to be
presented at this event.
TALKS may range from the latest research, through research overviews or
surveys, to opinion pieces or position statements, particularly those likely
to be of interest to an interdisciplinary audience. Talks will be 20 minutes
including questions. Short announcements about other items of interest
(e.g., future events or other networks) are also welcome.
POSTERS can be on any research topic of interest to the members of the
network. Posters (A0 portrait) will be on display through the day, including
lunch break and coffee breaks.
Please submit your talk or poster proposal in the form of an abstract
(1 page of A4, see template) in an email to email@example.com
following information about your presentation:
* Preference for talk or poster (or "no preference").
Abstract submission deadline: Friday 17 November 2017.
For past proceedings, visit: DMRN+11 Proceedings
* 17 Nov 2017: Abstract submission deadline
* 1 Dec 2017: Notification of acceptance
* 8 Dec 2017: Early Bird Registration deadline
* 19 Dec 2017: DMRN+12 Workshop
For further information, visit:
I look forward to seeing you in London in December!
Panos Kudumakis, PhD
qMedia, Queen Mary University of London
Mile End Road, E1 4NS, UK
Tuesday, September 26, 2017
Please note that there will be TWO seminars on Monday 6th; details of the other seminar to follow
Music Education Special Interest Group
Research Seminar Announcement
'Taking Race Live': creating an inclusive music curriculum
Dr Helen Julia Minors, Kingston University, London
Date: Monday 6th November 2017
Time: 4.30 – 5.30 pm
Further details from David Baker, firstname.lastname@example.org
All are welcome
In response to constructing an inclusive music curriculum in HE, the funded project "Taking Race Live" (2014-2017) seeks to positively validate students' prior experience while enhancing their engagement through a variety of student-led trips, practical learning, and critical discussion of issues central to employability skills. Appointing student partners, the project worked on a principal of distributed leadership, to encourage students to learn a wide range of skills encompassing people-event-time management, which we hoped would impact positively on students' confidence, resilience and sense of inclusion.
Kingston University has a KPI regarding the BAME attainment gap. The work of this project demonstrates, through qualitative/quantitative analysis, that an inclusive curriculum and research with student partners is able to produce significant results. The qualitative feedback conveys a wide variety of benefits regarding employment and critical thinking. This project runs in collaboration between Music and Sociology (to 2016), and has been expanded to encompass both TV and Dance (2016-2017) in order to demonstrate how the methods of the project can be expanded university-wide. Having won the University's "Rose Award" for "Teaching, Learning and Assessment Research" (October 2016), the project has received wide recognition. Initial results were presented as part of the Higher Education Race Action Group (2016), ISME (2016), and used as a HEFCE case study (2015). Now ready to present qualitative/quantitative results of a longitudinal student of level 5 music students, the student focus groups, student data (including retention and retention) and wider staff-student feedback offer significant insights into constructing and applying an inclusive curriculum. This paper critically questions and demonstrates an inclusive HE music curriculum. It concludes with actions for the current academic year and suggestions for the wider HE music context.
Dr. Helen Julia Minors is Head of Department of Music and Associate Professor of Music at Kingston University, London. She is currently the elected chair of the National Association for Music in Higher Education. She has published widely including: Music, Text and Translation (Bloomsbury 2013); book chapters in Bewegungen zwischen Hören und Sehen. Denkbewegungen über Bewegungskünste (Verlag Koenigshausen Neumann 2012), Musique française: esthétique et identité en mutation 1892-1992 (Delatour 2012), Erik Satie: Art, Music and Literature (Ashgate 2013), The Routledge International Handbook of Intercultural Arts Research (Routledge 2016), Opera and Translation: Eastern and Western Perspectives (John Benjamins 2017) and Historical Interplay in French Music and Culture (Routledge 2017); and articles in Opera Quarterly (2006), Dance Research (2009), Ars Lyrica (2011), Cahiers de la Société québécoise de recherche en musique (2012), Choreologica: The Journal of European Association of Dance Historians (2013) and London Review of Education (2017). Funded research projects have included: Translating Music Network (AHRC 2013-2014) and Taking Race Live (Access Funding 2015-2017).
Thursday, September 21, 2017
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:
Tuesday, September 19, 2017
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.
Long papers (5k-6k words) – 20 minute presentation +10 min Q&A
Short papers (2k-3k words) – 10 minute presentation +5 min Q&A
*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
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
- 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
- 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
- Use of web tools
- Social media strategies
- Data management
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
The conference is hosted by Bath Spa University
More information at www.ihe2018.org
Neil Glen MA RCA email@example.com
Monday, September 11, 2017
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
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.
Dr Marion Hersh, Biomedical Engineering, University of Glasgow, Scotland firstname.lastname@example.org
Dr Barbara Leporini, ISTI - CNR, Pisa, Italy
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?
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
• 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
Submission deadline: October 29, 2017
Planned Publication: February/March 2018
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/
George Fazekas <email@example.com>
Mathieu Barthet <firstname.lastname@example.org>
George M. Kalliris <email@example.com>
Lecturer in Digital Media
Centre for Digital Music
School of Elec. Eng. and Comp. Sci.
Queen Mary University of London, UK
Wednesday, August 30, 2017
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
Further details from David Baker, firstname.lastname@example.org
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
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
Thursday, August 24, 2017
21 CENTURY DEVELOPMENTS IN MUSICAL SOUND PRODUCTION, PRESENTATION AND
TUESDAY 21 NOVEMBER 2017
NOTTINGHAM CONFERENCE CENTRE, BURTON STREET, NOTTINGHAM NG1 4BU
Further information about the event, including details of how to
register, can be found at:
Please send any enquiries to: email@example.com
Wednesday, August 23, 2017
Fwd: 3rd Conference of the Australian Music & Psychology Society (AMPS) & 5th International Conference on Music and Emotion (ICME)
3rd Conference of the Australian Music & Psychology Society (AMPS) & 5th International Conference on Music and Emotion (ICME)
The University of Queensland, Brisbane, Australia, 7-9 December 2017
Hosted by the School of Music, The University of Queensland (UQ)
CALL FOR PAPERS
We are pleased to announce that the next Australian Music and Psychology Society (AMPS) 2017 Conference, incorporating the 5th International Conference on Music and Emotion (ICME5), will be held in Brisbane at The University of Queensland, Australia, 7-9 December 2017.
The conference is intended to engage faculty and student (Honours, Masters, PhD) involvement, and encourage discussion and exchange of ideas around the theme, Musical Affects.
The conference theme is intentionally broad to encourage diverse perspectives on music, psychology and emotion, including:
• music perception and cognition,
• music performance,
• music education,
• music health and wellbeing,
• music therapy,
• music composition,
• music and dance,
• psychoacoustics and models of music processes.
We invite abstracts of up to 250 words for spoken papers (15 mins + 5 mins Q&A), posters, symposia, and workshops.
The internationally recognised Viney-Grinberg Piano Duo, one of the Ensembles-in-Residence at The University of Queensland, will perform for conference delegates and guests on 7 December 2017 at 6pm in the Nickson Room at the School of Music.
Confirmed keynote speakers include:
• Professor Michael Spitzer (University of Liverpool; ICME founder), and
• Adjunct Associate Professor Nikki Rickard (Monash University; Psychology Program Director, Online Education Services)
Special panel discussions will be led by:
• Professor Emery Schubert (The University of New South Wales), and
• Professor Margaret Barrett (The University of Queensland)
Abstracts submission deadline: 29 August 2017
Notification sent to authors: 3 October 2017
Final abstracts due: 10 October 2017
Early bird registration closes: 10 October 2017
AMPS 2017 incorporating ICME5: 7-9 December 2017
Performance by the Viney-Grinberg Piano Duo: 6 pm, 7 December 2017
All submissions will be made through "EasyChair". Go to https://easychair.org/conferences/?conf=musicaffects17
Once logged in, Click on "New Submission"
For oral and poster presentations, submit an abstract of up to 250 words together with title of the presentation, preferred format, 5 keywords (to assist with allocation to appropriate reviewers), and author names. Please structure your abstract as appropriate to your discipline. For example, background and aims, methods, results, discussion.
Proposals for a symposium on a specific theme should include a 250-word abstract that sets out the goals of the symposium and the titles and authors of the papers within the symposium. A 250-word abstract for each paper within the symposium will also need to be submitted. A standard symposium submission includes 4 papers.
Proposals for a workshop that would be of broad interest should consist of a 250 word abstract outlining the goal, format, length, target audience and presenters involved with the proposed workshop.
Contact Details: firstname.lastname@example.org
We look forward to seeing you at the conference in December!
Mary Broughton on behalf of the Conference Committee for AMPS 2017 incorporating ICME5
Dr Mary Broughton | Lecturer in Music Psychology
School of Music | The University of Queensland
Brisbane, Queensland 4072, Australia
Telephone: + 61 7 33654116
Dr Evangelos Himonides FRSA, FBCS CITP
Reader in Technology, Education, and Music
University College London
Tuesday, August 1, 2017
Panel session - Domain-Specific Generative Music: Music in Computer Games at CSMC2017
Participants sought for a panel session entitled "Domain-Specific Generative Music: Music in Computer Games" being held at the 2nd Conference on Computer Simulation of Musical Creativity at The Open University in Milton Keynes, United Kingdom between the 11th and 13th of September 2017.
Participant should submit a brief description of the participant's perspective on the topic (100 words max) to email@example.com by Thurs Aug 10th.
The Open University
Milton Keynes, United Kingdom
Monday, July 31, 2017
Research Studies in Music Education Journal
Applications are invited for the Editor of the SEMPRE journal Research Studies in Music Education, 2017-2022, published by SAGE.
Research Studies in Music Education is a peer-reviewed journal, currently published in print twice a year, and moving to three times a year in 2019. The journal receives a large number of submissions across a wide range of disciplines related to the broadly conceived understanding of research in music education.
The primary role of Editor is to decide, with the support of anonymous peer review, which submissions merit publication in the Journal. The Editor should be an excellent and diplomatic communicator, self- motivated and highly organised, and with exceptional attention to detail. An excellent command of written and spoken English is essential. It is expected that the Editor should have expertise across a broad range of appropriate disciplines associated with music education research, as well as some experience of academic publishing. The Editor is supported by an editorial team, including a paid editorial assistant and an international Editorial Board, by SEMPRE, and by SAGE, the commercial academic publishers of the Journal. We welcome applications from individuals or dual/shared applications.
Interested applicants should send a full CV, list of two academic or other relevant referees and a 500 word statement of their vision for the future development of the Journal to Professor Graham Welch, Chair of SEMPRE ( firstname.lastname@example.org), by 31st August 2017. Enquiries are welcome to the current Editor, Professor Kathy Marsh ( email@example.com).
The position of RSME Editorial Assistant currently carries an annual honorarium of £1,900 from appointment in 2017 (subject to tax, if applicable) and is an important role in supporting the Editor and Editorial Board of the Research Studies in Music Education Journal. It requires someone with exceptional attention to detail, good time management skills, an ability to manage a complex online system, and high levels of discretion, as well as knowledge of the academic subject matter covered by the journal. The approximate time involved is around 5-8 hours per week, depending on the flow of activity. The role includes dealing with author enquiries, checking manuscripts on submission and resubmission, proof reading of accepted manuscripts before they are passed to the publisher (e.g., checking style, English, academic conventions), and processing manuscripts through the SAGE online system in a timely fashion. The role also involves monitoring manuscript progress through the online system and ensuring the editorial team are kept informed of tasks in hand. In addition, the Editorial Assistant will support the editor with social media and digital initiatives, including posting on the RSME twitter account and, for example, curating thematic material from previously published topical RSME articles for online dissemination and discussion.
The post would suit a doctoral/post-doctoral student, or recent graduate in music education/psychology of music, or a closely related area, and it is intended that this appointment will provide at least some overlap between the current and new Editors (a new Editor will be appointed in 2017). Interested applicants should send a full CV and names of two referees (at least one of whom is academic) who can comment on their ability and motivation to undertake this work to Professor Graham Welch, Chair of SEMPRE ( firstname.lastname@example.org) by 30 September 2017. It is hoped that an appointment will be made by the end of October 2017 or soon after. Any informal enquiries about this role can be directed to the current Editorial Assistant, Samantha Dieckmann ( email@example.com), or the current Research Studies in Music Education Editor, Professor Kathy Marsh ( firstname.lastname@example.org).
Sunday, July 30, 2017
Early registration for the second Conference on Computer Simulation
of Musical Creativity to be held at the Open University in Milton
Keynes (UK) from 11 to 13 Sept 2017 has opened until Aug 10th.
The following calls have been extended until Aug 8th.
Panel Sessions: Please submit title and short description (max 200 words).
Short Talks: Please submit abstract (max 300 words).
Workshops/Tutorials: Please submit short description (max 300 words).
Professor Elaine Chew, Queen Mary, University of London
Dr. Anna Jordanous, University of Kent
Further details, including submission instructions at:
The Open University is incorporated by Royal Charter (RC 000391), an
exempt charity in England & Wales and a charity registered in Scotland
Wednesday, July 26, 2017
we are happy to announce that the programme for this year's Web Audio Conference (WAC) is now available on our website: http://wac.eecs.qmul.ac.uk/
This will be the third installment of the conference (after IRCAM/Mozilla in Paris and GeorgiaTech in Atlanta) and will be held at the Centre for Digital Music, Queen Mary University of London from August 21-23, 2017.
The final programme features a wide range of oral paper presentations and talks, poster presentations, interactive demos, web-based artworks and installations, as well as two nights with performances and concerts. We are looking forward to fantastic keynotes given by Chris Chafe (CCRMA / Stanford University) and Franziska Schroeder (SARC / Queen's University Belfast). Additionally, there will be joint activities with the co-located Audio Mostly conference on Wednesday.
Further, there will be a wide variety of tutorials, given by Paul Adenot (Mozilla), Felicia Lim / Jamieson Brettle (Google), Nicholas Jillings / Ryan Stables (BCU), Christoph Guttandin (Media Codings) and Iwan Dewi Lavanant (...Loops). That means we will learn about the latest developments and additions to the web audio api right from Mozilla, Google's work on open standards for producing spatial audio in the browser, how to build audio effects on the web, how to effectively test web audio code and how to collaboratively improvise music in the browser.
So if you think that Web Audio is or will be relevant, please register today (early bird registration ends on 31 July).
We are looking forward to welcoming you to London!
the WAC organizing committee
Dr Sebastian Ewert
Lecturer in Signal Processing
Centre for Digital Music (C4DM) and Machine Listening Lab (MLLAB)
School of Electronic Engineering and Computer Science
Queen Mary University of London
+44 20 7882 8287
New open-access journal Transactions of ISMIR, open for submissions (tismir.ismir.net).
ISMIR 2017 will take place in Suzhou, China, October 23-28, 2017. Website: https://ismir2017.smcnus.org/
ISMIR 2018 will take place in Paris, France.
ISMIR 2019 will take place in Delft, The Netherlands.
ISMIR Home -- http://www.ismir.net/
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school of electronic engineering and computer science
queen mary university of london
+44 (0)20 7882 7680; +44 (0)7775 016715
Monday, July 10, 2017
Featuring Marv Radio (3-fold UK Beatbox Champion), La Verne Williams (Soprano), CTS male voice ensemble (lead Owen Stark), Marc Masson (piano) and our laryngectomy choir.
Event date: Sunday 23rd July
Location: Emmanuel Church, Lyncroft gardens, West Hampstead
Tickets details: http://www.shoutatcan
Free Entry for Laryngectomees and Partner (do register!)
Link documentary on BBC II!
Friday, July 7, 2017
PhD Candidate (Computer Music)
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The Earl of Clancarty
To ask Her Majesty's Government when they will respond to the public consultation Implementing the English Baccalaureate which closed on 29 January 2016.
The Parliamentary Under-Secretary of State, Department for Education (Lord Nash) (Con)
My Lords, the results of the consultation on implementing the English baccalaureate and the Government's response will be published in due course—I hope soon.
The Earl of Clancarty (CB)
My Lords, is this long delay because the overwhelming public response voices the concern that the EBacc excludes art and design subjects? I ask the Minister not to continue to justify the EBacc with the New Schools Network stats on the percentage of pupils taking one arts GCSE, which represented a shift away from other qualifications, but instead to look at the latest Ofqual figures revealing—two years in a row—a hugely alarming 8% decline in the take-up of arts GCSEs. The EBacc must be scrapped.
I can tell the noble Earl that it is not a result of the points he has made. We have been considering carefully a great many responses, and there have been a few political issues in the meantime. I am certainly encouraged to see that we have been improving the quality of these subjects with help from the Royal Academy of Engineering and the James Dyson Foundation. The decline in the subjects to which the noble Earl refers has been more than made up for in the substantial increase in the number of pupils taking IT and the now almost 70,000 pupils taking computing.
Lord Baker of Dorking (Con)
My Lords, is the Minister aware that the GCSEs which are just now finishing this term have seen a drop in every technical subject and every creative and artistic subject? If this trend continues, there will be no technical education or creative education in schools for those aged under 16. This is a disgrace and really is unacceptable. Changes must be made to the EBacc, otherwise the Government will not meet their objective to improve technical education.
I refer to my previous remarks about the take-up of computer science and the dramatic increase in the number of pupils taking IT. Of course, we must always remember the very low base that we had in 2010 when only one in five pupils was taking a core suite of academic subjects, which we know are so essential particularly for those from a disadvantaged background. I think that we should all be extremely pleased that we have actually doubled the percentage, which is rendering our education provision much more fit for pupils, particularly for pupils from a disadvantaged background.
Baroness McIntosh of Hudnall (Lab)
My Lords, can the Minister please explain the remarks he made in answer to the noble Earl, Lord Clancarty? I believe he said that the loss of entries into the creative subjects is more than made up for by an increased number of entries for IT and computer science. Can he explain in what way those things compensate for one another?
Numerically. I think we all know that the quality of some of these subjects was not what it might be, and that quite a few people were taking some of them not because they suited them but because they were easier. Of course all schools teach many of these subjects, although it may not necessarily lead to exams, and of course all schools have to provide a broad and balanced curriculum—something which the new chief inspector seems to be particularly focused on, which I am very pleased to see.
Lord Addington (LD)
My Lords, does the Minister agree that a GCSE is a good basis for starting study? As there has been a drop of 50,000 in the number of those taking design and technology GCSE, how do we get a good basis for those going on to study creative and technical subjects if we cut a subject such as that?
I agree that a GCSE is an extremely good basis. In fact, the drop in take-up of design and technology over the last six years has been less than the drop over the previous four years to 2010. We are keen to improve the quality of those subjects and to give our pupils a wider choice of subjects.
Lord Berkeley of Knighton (CB)
My Lords, given that the Government frequently salute the creative industries for what they bring into the Exchequer and the tourists they bring to this country, is the Minister not concerned about the next generation of creative artists, who are not getting the necessary inspiration they need while at school?
Again, this assumes quite a lot. As I said, it is clear to us that a number of pupils taking these subjects in the past were not the next generation of creative artists; they were people that suited, for instance, the Labour Government's equivalence structure, whereby they were helping the statistics. Heads will respond only to the incentives set for them. We have set them an incentive to have many more pupils doing a core academic suite of subjects. That seems to be working and we should celebrate that. But we are investing considerably in the creative subjects, and we have a number of free schools and technical colleges focused specifically on that.
Lord Watson of Invergowrie (Lab)
I very much note the concerns expressed by noble Lords on the teaching of creative and technical subjects, but, perhaps offering the Minister some welcome respite, I will look at another aspect of this Question: the rather worrying trend developing in the Department for Education and its Ministers of the inordinate amount of time it takes them to respond to consultations. In January this year, I asked in a Written Question how many DfE consultations that had a closing date between January 2015 and September 2016 had still not been responded to, including the one in the Question asked by the noble Earl, Lord Clancarty. The Minister replied, saying that there were seven—one of which, incidentally, was the revision of fire safety for buildings in schools. That cavalier approach may have been something the Government felt they could get away with when they enjoyed a majority. Now that the Tories are merely the largest of the minority parties down the Corridor, will the Minister commit to noble Lords that he will ensure his department replies to consultations in a much timelier manner?
I do not think that this slow pace of response is in and of itself necessarily cavalier, but I have said I very much hope that our response on EBacc will be available shortly, and I shall do all I can to try to make sure that we respond quickly in future.
Lord Cormack (Con)
My Lords, is my noble friend truly satisfied that we are exposing our young people to the beauties of art and music, and giving them a proper opportunity to participate, in what is becoming an increasingly depersonalised age where young people spend more time with their machines and hand-held devices than they do with their fellows?
I certainly agree with my noble friend's comment about the amount of time our young people spend gazing at screens of one sort or another and the balance that subjects such as music, dance and drama can provide. Of course, all good schools do this, not necessarily aiming at exams—music and dance are compulsory in key stages 2 and 3, as is drama up to key stage 4. As I said, the chief inspector is very focused on this. I am sure that noble Lords will see the fruits of that work in due course.
KOSMOS Workshop "Emerging Synchronization in Music Cognition"
Humboldt-Universität zu Berlin
Institut für Musikwissenschaft und Medienwissenschaft
September 27-30, 2017
Call for Posters
Synchronization is an emerging topic in the sciences and the humanities. The workshop builds upon the integrative potential of synchronization and aims to sharpen and to enrich existing paradigms of synchronization in a cross-disciplinary perspective. The workshop draws upon recent research on music-based, non-verbal synchronizations. Special attention will be given to the dynamics and multi-dimensionality of synchronizing processes. Thus, the prevailing functional, operative and cognitive view on synchronization shall be complemented by the affective, biogenic, evaluative and multi-modal dimensions of synchronization.
The goal of this workshop is the development of shared, theory-driven and experimentally grounded research questions on synchronization from the perspective of diverse fields and research styles (computational sciences, psychology/rehabilitation, media theory, musical neurosciences, physics, biology, mathematics, music theory) in order to achieve a non-reductive understanding of this multi-faceted phenomenon.
The KOSMOS Workshop will be led by Prof. Dr. Sebastian Klotz and Dr. Mats Küssner (both HU Berlin). A preliminary programme can be found here:
Submissions should be made electronically in Word or PDF format to firstname.lastname@example.org by 15 July 2017. Please provide your name, postal and email addresses, and any institutional affiliation on the first page. Start your proposal on the second page and write no more than 250 words.
The language of the KOSMOS Workshop will be English.
We aim to notify all applicants of the outcome of the reviewing process by mid-August 2017.
Humboldt-Universität zu Berlin
Institut für Musikwissenschaft und Medienwissenschaft
Unter den Linden 6