Tuesday, August 1, 2017

Fwd: CSMC 2017 - Call for Panel Session Participation


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 simon.cutajar@open.ac.uk by Thurs Aug 10th.


Many thanks,


Simon Cutajar


PhD Student


The Open University

Milton Keynes, United Kingdom

Email: simon.cutajar@open.ac.uk

Website: http://www.open.ac.uk/people/sc32924

-- The Open University is incorporated by Royal Charter (RC 000391), an exempt charity in England & Wales and a charity registered in Scotland (SC 038302). The Open University is authorised and regulated by the Financial Conduct Authority.

Monday, July 31, 2017

Vacancy: RSME Editor and Editorial Assistant

Vacancy: RSME Editor and Editorial Assistant

Research Studies in Music Education Journal

Editor position

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 ( graham.welch@ucl.ac.uk), by 31st August 2017. Enquiries are welcome to the current Editor, Professor Kathy Marsh ( kathryn.marsh@sydney.edu.au).

Editorial Assistant

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 ( graham.welch@ucl.ac.uk) 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 ( samantha.dieckmann@sydney.edu.au), or the current Research Studies in Music Education Editor, Professor Kathy Marsh ( kathryn.marsh@sydney.edu.au).

Sunday, July 30, 2017

Fwd: Early Reg CSMC 2017

Dear all,

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.

See: https://mcs-notes2.open.ac.uk/quickpay.nsf/Payment.xsp?ID=CSMC2017

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).

Keynote Speakers:

Professor Elaine Chew, Queen Mary, University of London

Dr. Anna Jordanous, University of Kent

Further details, including submission instructions at:

Best Wishes,
Robin Laney

The Open University is incorporated by Royal Charter (RC 000391), an
exempt charity in England & Wales and a charity registered in Scotland
(SC 038302).

Wednesday, July 26, 2017

Fwd: [ISMIR-Community] Web Audio Conference 2017: Call for Participation

Dear all,

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/programme/

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!

Best wishes,
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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professor mark sandler, FREng
royal society wolfson research merit award holder

director of the centre for digital music (c4dm)

school of electronic engineering and computer science
queen mary university of london

+44 (0)20 7882 7680+44 (0)7775 016715

@semanticaudio to follow the FAST-IMPACt Programme Grant 

Monday, July 10, 2017

BEATBOXING without a Voicebox

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 

Time: 16:00-17:00

Location: Emmanuel Church, Lyncroft gardens, West Hampstead

Tickets details: http://www.shoutatcancer.org/tickets

Free Entry for Laryngectomees and Partner (do register!)

Link documentary on BBC II!

Link Facebook: 

Link youtube

Friday, July 7, 2017

Fwd: Study Day on Music and Space

Dear colleagues,

might be of interest to you or your students. Feel free to share widely.

Study Day on Space and Music - 28 October 2017 - University of Manchester

What do we mean when we talk about space in music? This study day aims to bring together composers, musicologists and practitioners from all areas of music to explore the concept of space in music. We encourage 20-minute presentations in any appropriate format such as papers, musical works, performances, etc. Participants can combine the study day with the MANTIS electroacoustic music festival in the evening of 28 October and 29 October.

Best regards,

Núria Bonet
PhD Candidate (Computer Music)
ICCMR, Plymouth University

This email and any files with it are confidential and intended solely for the use of the recipient to whom it is addressed. If you are not the intended recipient then copying, distribution or other use of the information contained is strictly prohibited and you should not rely on it. If you have received this email in error please let the sender know immediately and delete it from your system(s). Internet emails are not necessarily secure. While we take every care, Plymouth University accepts no responsibility for viruses and it is your responsibility to scan emails and their attachments. Plymouth University does not accept responsibility for any changes made after it was sent. Nothing in this email or its attachments constitutes an order for goods or services unless accompanied by an official order form.

[House of Lords Hansard] Education: English Baccalaureate

[copied from https://hansard.parliament.uk/lords/2017-07-03/debates/4AC97B74-6896-4BDA-908E-F0188DB1E757/EducationEnglishBaccalaureate]

Education: English Baccalaureate



Asked by

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.

Lord Nash
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.

Lord Nash
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?

Lord Nash
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?

Lord Nash
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?

Lord Nash
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?

Lord Nash
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?

Lord Nash
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.

Fwd: Final Call for Posters: KOSMOS Workshop "Emerging Synchronization in Music Cognition"

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 mats.kuessner@hu-berlin.de 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
10099 Berlin

Wednesday, June 21, 2017

Fwd: Call for contributions: Filming African Music - interdisciplinary study day, 18 November 2017

Filming African Music

18 November 2017

Bath Spa University, Newton Park campus

This interdisciplinary study day is a partnership between Bath Spa University, the African Musics Study Group UK branch (AMSG-UK), affiliated to the International Council for Traditional Music, the Afrika Eye Film Festival, Bristol (10-12 November 2017), and the British Forum for Ethnomusicology.

A holistic definition of 'music' (missing from most African lexicons) is employed by AMSG-UK to include events and communities involving sound and movement. We invite contributions from performers, music industry professionals, scholars, and active listeners that explore how video and audio recording present diverse music-making traditions to a range of audiences.

The video documentation of African music presents multiple challenges: the filming of musicians and the contexts in which they perform, both in their own cultural settings and around the world, range from the indigenous and traditional to contemporary popular musical forms. Professional and amateur filmmakers and videographers play a significant role in shaping and changing perceptions of African music, undertaking a political and selective act rather than a mere documentation of events. This raises interesting questions concerning Western and African concepts of performance and education.

The study day will consider the role of music and musicians in film, filmmaking and videography by addressing questions such as: 

What are the practical and ethical considerations concerning the filming of musicians in the field, transforming fieldwork to product, and in cinematic production? 

What are the impacts of filming or of film itself on music and dance practices in local and global communities? 

How has cinema influenced African communities? 

How do audio/visual relationships in film create meaning beyond the surface of the narrative? 

How does music content and composition in film relate to diegetic/non-diegetic sounds? 

Is there an identifiable aesthetic in the construct of African music/dance film? If so does it influence music/dance films in the UK (and/or France, USA etc.)?

How do filmmakers, videographers and musicians respond to political, cultural and aesthetic differences between Africa and the West? For example, how does the multimusicality of Malian musicians challenge the way nationhood or identity are represented? 

What role does film play a) in influencing music education in Africa or b) in educating the West about music in Africa? 

To what extent can film be used to provide music educators with evidence of a relationship between tradition and innovation in the practices of African musicians? 

What role can film play in exploring or capturing perspectives held by contemporary African musicians on their teaching and learning experiences?

Equally important is to consider what is not captured on film. The relationship between representation and politics determines how history translates through culture, thus informing debates in history and cultural studies more widely.

Presentations are invited which conform with or break from the conventional academic 20-minute conference paper format, including presentations using diverse media, between 10 and 30 minutes in length. Proposals for screenings outside these parameters will also be considered. We anticipate vigorous debate through sharing research-in-progress communicated through speech, performance, hands-on workshops, or film and multimedia.

The event will provide networking opportunities with filmmakers and performers, and will include:

•  Screening of 'They'll Have to Kill us First' followed by Q&A with writer Andy Morgan and filmmaker Simon Bright

•  MediaWall (digital gallery space) launch and dance improvisation

•  Evening performance with Chartwell Dutiro (mbira), Sura Susso (kora), Suntou Susso (percussion), Pete Bernard (piano), Ripton Lindsay (dance)

Conference website: Filming African Music

Submission of abstracts

Proposals (300 words max.) should be submitted to EasyChair by 12 midnight GMT on Friday 1 September 2017. Late proposals will not be accepted. You will be notified by 20 September 2017 whether or not your proposal has been accepted.

Programme Committee:
 Amanda Bayley (chair), Chartwell Dutiro, Terry Rodgers, Amanda Villepastour, Trevor Wiggins.

The study day is being run in partnership with Afrika Eye Film Festival, Bristol, 10-12 November 2017, and Cardiff University, School of Music which is hosting a related event on Tuesday 14 November 2017, comprising the annual Royal Anthropological Institute Blacking Lecture, given by Lucy Duran (winner of an AHRC Research in Film Award, 2015), and a free afternoon dance workshop with live drumming (1-3pm) and evening performance by Senegalese musician Landing Mané.

Further information can be obtained from Amanda Bayley: fam2017@bathspa.ac.uk

Amanda Bayley
Professor of Music
Department of Music
Bath Spa University
Newton Park. Bath, BA2 9BN

Join us on: Facebook | Twitter | YouTube | LinkedIn

Monday, June 12, 2017



A new PhD studentship opportunity, funded by National Productivity
Investment Fund (NPIF), at the Sonic Arts Research Centre (SARC),
Queen's University Belfast.

Details of the scheme are provided at the Northern Bridge website


Designing inclusive music technologies: Transforming lives of disabled
musicians through music improvisation and digital technologies

Main academic supervisors:

Dr Franziska Schroeder and Dr Miguel Ortiz, Sonic Arts Research Centre
(SARC), Queen's University Belfast

Belfast BT7 1NN f.schroeder@qub.ac.uk


Drake Music NI (www.drakemusicni.com); Farset Labs Belfast
(www.farsetlabs.org.uk); and the Ulster Orchestra


This project will examine practices of inclusive music making and
accessible design with digital musical instruments, used by disabled
musicians. The aim is to undertake an interdisciplinary exploration
combining music improvisation, and digital design of inclusive musical
interfaces. The studentship allows for a music/interface design
researcher to work in the areas between music improvisation, critical
disability studies and digital design to highlight and implement
innovative modes of inclusive musical interactions for disabled
musicians. The research is industry facing as the researcher works
between Queen's University (Sonic Arts Research Centre), Drake Music
NI (a charity working with disabled musicians), the Ulster Orchestra
(to test and implement designs, with view to creating a unique
inclusive music orchestra in Northern Ireland that includes abled and
disabled musicians), and digital design company Farset Labs Belfast
(to develop and make inclusive musical instruments tailored to the
needs of disabled musicians).

The researcher might investigate how music technology might be seen as
a barrier or as a facilitator; to what extent the design of music
technologies might enhance and facilitate participation in music
making; the question of music improvisation and inclusivity; how
improvisatory strategies might support inclusive music making in the
context of working with digital musical instruments; how we challenge
traditional musical ontology. And finally, the researcher might look
into a wider understanding of disability, and address the extent to
which inclusive approaches to music making can empower disabled
people, and thereby challenge exclusionary practices and the
marginalisation of disabled people in music making.


dr f r a n z i s k a s c h r o e d e r

School of Arts, English and Languages, Queen's University Belfast

Head of Performance (Music), Senior Lecturer and

School's Impact and Public Engagement Champion

Tel. 028 9097 1024
Email: f.schroeder@qub.ac.uk





Sunday, June 11, 2017

Fwd: New Open Access Journal: Music & Science

SAGE Publishing announces a partnership with the Society for
Education, Music and Psychology Research (SEMPRE) to launch a new open
access journal Music & Science, providing a platform for engaged
debate and insight into music research from a wide range of scientific
perspectives. Scientific research is integral to gaining a greater
understanding of how music is a cultural phenomenon and is yet
grounded in our biology. Interdisciplinary in scope and focus, the
journal will publish research from a wide cross-section of disciplines
and perspectives that will illuminate—or that can be illuminated
by—scientific approaches to understanding music, from cognition,
neuroscience and psychoacoustics to computational approaches and
studies in digital culture. The first papers are due to be published
in September 2017.

The journal's point of departure is the idea that science—or, more
accurately, the sciences—can help us to make sense of music and its
significance in our lives. Music exists in complex and diverse forms
across historical time and within and across different societies;
music is indisputably a cultural phenomenon but our musicality is
grounded in our biology; we need to draw on the sciences to address
music's biological materiality, but we must also be attuned to the
distinctive functional and discursive properties that are embodied in
different cultures' musics.

Hence the need for this journal, which is intended to provide a
peer-reviewed platform for researchers to communicate important new
insights in music research from the full spectrum of relevant
scientific and scholarly perspectives to the widest possible audience.
It aims to publish research across the field of music and science as
broadly conceived, encompassing studies in cognition, neuroscience and
psychoacoustics; development and education; philosophy and aesthetics;
ethnomusicology and music sociology; archaeology and ethology; music
theory, analysis and historical studies; performance science and
practice-based research; computational approaches and studies in
digital culture; acoustics, sound studies, and soundscape studies;
music therapy; and clinical implications and approaches, including
psychoneuroimmunology, health and well-being. Its goal is to be truly
interdisciplinary: to give researchers from the many different
scientific traditions that have been applied to music the opportunity
to communicate with—and to learn from—each other, while encouraging
dialogue with music scholars whose work is situated in artistic,
performative or humanistic domains. In short, it aims to publish
research from any discipline or perspective that can illuminate—or
that can be illuminated by—scientific approaches to understanding

Music & Science welcomes original research, commentaries and reviews,
and sets no upper or lower limit on article length. As the journal is
online it can host audio and video files. It has an open data policy;
authors should be prepared to share and to make freely available data
sets as well as relevant musical materials—audiovisual, sonic and
notated. Authors are also encouraged to publish a summary of their
research in audiovisual or podcast form alongside their submission to
highlight for a non-specialist audience the significance of their
research in the broad field of music and science as well as its
potential impact.

Together with SAGE, the editors aim to ensure that Article Processing
Charges (APCs) are kept as low as possible so as to stimulate
submissions from international researchers at all stages in their
career. For its first year of operation, there will be no APC;
subsequently the APC will be set at £400, and there will be a discount
of 50% for members of SEMPRE. Publication will be continuous and the
editors will aim for a turn-around time for submissions that is as
fast as is commensurate with a rigorous reviewing process.

Find out more about the journal:

Friday, June 9, 2017

Fwd: Research Fellowship in Performance Science

Dear Colleague,

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

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

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

With best wishes,
Yours sincerely,

Aaron Williamon

Aaron Williamon
Professor of Performance Science


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

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



Closing date: 12pm on Monday, 17 July 2017

Interview date: Tuesday, 22 August 2017

Salary: £45,463 - £52,080 per annum

Job ref no: 505-17

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

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

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

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

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

We are looking for candidates with the following attributes:

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

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

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

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

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

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

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

Email: recruitment@rcm.ac.uk

Thursday, June 8, 2017

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

Press Release

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

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



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


London, UK (June 08, 2017). SAGE Publishing today announced a partnership with the Society for Education, Music and Psychology Research (SEMPRE) to launch a new open access journal Music & Science, providing a platform for engaged debate and insight into music research from a wide range of scientific perspectives.


Scientific research is integral to gaining a greater understanding of how music is a cultural phenomenon and is yet grounded in our biology. Interdisciplinary in scope and focus, the journal will publish research from a wide cross-section of disciplines and perspectives that will illuminate—or that can be illuminated by—scientific approaches to understanding music, from cognition, neuroscience and psychoacoustics to computational approaches and studies in digital culture. The first papers are due to be published in September 2017.


Editor-in-Chief Ian Cross remarked:


"Our point of departure is the idea that science—or, more accurately, the sciences—can help us to make sense of music and its significance in our lives.  This journal is a much needed space for scholars to communicate new insights in music and science research, helping to broaden our understanding of how music, culture and biology are linked.  Together with SAGE Publishing and SEMPRE, I am excited to bring this new forum into the community, and look forward to debating and sharing new ideas with a broad and international audience base."


Graham Welch, SEMPRE President, commented:


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


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


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


Find out more about the journal here.


# # #


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


Music & Science journal aims to be truly interdisciplinary: to give researchers from the many different scientific traditions that have been applied to music the opportunity to communicate with—and to learn from—each other, while encouraging dialogue with music scholars whose work is situated in artistic, performative or humanistic traditions.


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




Sunday, June 4, 2017

Fwd: Computer Simulation of Musical Creativity 2017

Dear all,

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

 Deadline for paper submission:  10 June 2017

 Keynote Speakers:

 Professor Elaine Chew, Queen Mary, University of London

 Dr. Anna Jordanous, University of Kent

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

Robin Laney
Open University

Thursday, June 1, 2017

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

[with apologies for cross posting]


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

Saturday 28th October 2017

Shanghai Conservatory of Music, Shanghai, China

Proceedings published in ACM ICPS

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


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


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

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


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

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

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

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


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

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

The workshop objectives are:

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


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

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


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

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

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

All submitted papers must:

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

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

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

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


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


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

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

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

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


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


Programme Chair
Dr Kevin PAGE, University of Oxford

Local Chair
Prof. YANG Yandi, Shanghai Conservatory of Music

Publicity and Proceedings Chair
David LEWIS, University of Oxford

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

Fwd: announcing student bursaries for Web Audio Conference

thanks to the generosity of our sponsors, we are able to offer a limited number of student accommodation bursaries for the Web Audio Conference.

these will cover the 3 nights of 20th - 22nd August (ie check in 20th, check out 23rd). the accommodation is at the Mile End campus, where the conference will be held, is en-suite and includes breakfast.

as we expect demand to outstrip supply, there will be a selection process. therefore if you are a bona fide student, please submit a 1 page pdf document as an attachment, sent to wac2017@qmul.ac.uk
Other sources of support for rest of costs
Short statement (less than 100 words): How I will benefit from attending WAC 2017.

you must also include a scanned, signed (pdf) letter from your supervisor, confirming that you are a student and why it is not possible to cover your attendance without a bursary.

the closing date for bursary applications is: Monday 26th June, with an expectation to inform all applicants 1 week later.

[there are also rooms available for £75 per night. Please check the WAC web site for details]

thanks and best wishes


Monday, May 22, 2017

The Arts Wall, featuring Aaron Dworkin, Yo-Yo Ma and Lara Downes

Sphinx Special Artistic Advisor Yo-Yo Ma, Dean Aaron Dworkin of the University of Michigan School of Music, Theatre & Dance, and pianist Lara Downes, a Sphinx Medal of Excellence winner, came together at SMTD recently to celebrate the power and purpose of the arts in America.

one-day- conference on PROFESSIONAL DOCTORATES


This one-day-conference aims to explore how researching professionals transform both their professional practices and identities through innovative approaches to simultaneously engage with professional and academic worlds. This conference will engage delegates in possibility thinking around doctoral journeys and outcomes. Engagement will be interactive, exploratory, performative with extended dialogues on sustaining the impact of the professional doctorate. Submission should be addressed to ONE of the following themes (with particular emphasis on sharing tools that help):
Researching and writing reflexively
Innovating and sustaining impact as researching professionals
Possibility thinking around doctoral journeying
The day has been organised to provide time for discussion of themes emerging throughout the day and to plan future dissemination and events. Lunch and teatime refreshments will be provided.
More information on the programme for the day will be posted on the EdD website:

Keynotes by Prof Karen Littleton and Prof Saville Kushner
Plus: A panel sharing approaches to developing portfolio dissertation designs Our Faculty EdD Research Community presentations

Track the day on Twitter at #EdDconf17!

REGISTER HERE: http://bit.ly/edd1day17
Registration fee £25

Doctoral Researchers  - Transforming Knowledge, Transforming Practice
Karen Littleton is Professor of Education at the Open University, UK. She has research expertise in the psychology of education and collaborative creativity. Karen is currently responsible for capacity building within the Centre for Research in Education and Educational Technology, the second largest educational research unit in the UK. She is also the writer-in- residence at Westbury Arts Centre, Bucks.
In this session, we will consider how EdD researchers are distinctively placed to create innovative, research-based solutions to contemporary educational challenges. We will explore how the EdD research process is implicated in the creation of sustainable impact and the transformative legacies of such work.

Methodology in an Age of Madness: The Role of the EdD
in Professional Recovery
It's a big leap from an EdD dissertation to the collapse of the welfare state, Brexit and Trump
- but the bigger picture is always there. We are all implicated. In fact, the EdD occupies a special place in how we, as professionals, respond to this fast-changing, sometimes scary world. We need to reflect on how we got here, develop new ways of understanding and new forms of action. Saville, recently returned from his post as Professor of Public Evaluation at the University of Auckland, will talk about methodological creativity. He is a specialist in

We will feature interactive experiences of diverse 'portfolio' designs shared by panellists EdD graduand Dr Caroline Creaby, EdD a/r/tographer Rebecca Heaton and guests. The Faculty Librarians will be present and engaged with supporting doctoral students' journeys.
There will be awards given to the Faculty EdD communities with the most engaging and innovative
Presentation – Poster – Panel – Workshop

REGISTER HERE: http://bit.ly/edd1day17

Wednesday, May 17, 2017

Fwd: SIG Seminar 30 May, 3-5pm, room 944



Music Education Special Interest Group

Research Seminars Announcement

Dyslexia, Sensory Ethnography, and Chopi Timbila Xylophone Music in Mozambique: a presentation of the film 'Estevão: a sensory ethnomusicology of learning'

Robbie Campbell

3rd Year PhD student, Department of Music, SOAS, University of London


Tuesday 30 May 2017

15.00 – 17.00

Room: 944

 Further details from Lucy Green, l.green@ucl.ac.uk

All are welcome!


Synopsis of the film 'Estevão: a sensory ethnomusicology of learning' (71 mins)


This audio-visual presentation forms part of on-going PhD research investigating the relationships between interventions for specific learning difficulties such as dyslexia, and music - rationalised here as a sensory-rich cultural system of learning. Studies show that, due to overlaps in shared neural and cognitive processing, music may improve the ability to perform other tasks, such as reading.


Recorded during fieldwork in rural Mozambique with master chopi timbila xylophone maker and player Estevão, this study documents indigenous processes of musical acquisition and instrument manufacturing, as well as the interactions between various young members of his large extended family.


The film's construction is heavily influenced by Sensory Ethnographic Filmmaking and is realised through a series of long 'scene experiences' designed to avoid conventional narrative structure. Its ambition is also to slow subjective time in order to engage with, and reflect upon, the richly nuanced sensory interactions between people, objects, cultural practices, and the environment. This experimental presentation hopes to encourage discussion across disciplines from those who may recognise interactions and processes surrounding SEN interventions, speech and language acquisition, and other developmental and educational trajectories.


Each scene therefore has an objective to tell its own story, yet forms part of a bigger holistic experience that describes the learning environment as a complete eco-system. Sensory-based ethnographic methods also reflect dyslexia support and Special Educational Needs practices, which are typically orientated towards the multi-modal presentation of information and sensory preferences of the individual learner.






Robbie Campbell is a 3rd year PhD Music scholar at SOAS, University of London. He previously worked for many years as a location sound recordist in the television industry, and also informally as a self-taught musician, music engineer, producer, and photographer. Following a late diagnosis of dyslexia in his early 30s, Robbie decided to return to education to pursue a change of career.


Motivated by the challenges of engaging with postgraduate study as a dyslexic learner after a considerable time away from education (and with no undergraduate degree), Robbie quickly developed a set of bespoke learning strategies to manage the workload. Informed by research on dyslexia, these strategies soon became intertwined with theory and practice surrounding African music participation as well as his own reflective experiences of informal music learning.


In 2015 Robbie joined the dyslexia and arts charity Creative Mentors, working for 15 months with dyslexic and SEN schoolchildren, using music as a vehicle to explore and develop cross-curriculum learning strategies. His current research not only explores the relationships between indigenous music acquisition and interventions for learning difficulties, but also larger issues such as the accessibility of research data, and use of audio-visual sensory research methods.