Friday, October 17, 2025

Fwd: Dance Music Matters - How Can Research Support the Future of Nightlife?

Dear colleagues,
We invite you to attend the first The Music Exchange (TMX) event of this academic year,  a research-led series from the University of Leeds School of Music that connects academia, industry, and the public through accessible discussions, collaborations, and live engagement.

Dance Music Matters - How Can Research Support the Future of Nightlife?
Date: Weds November 12th, 17:30 - 18:45
Location: Clothworkers' Centenary Concert Hall Foyer, School of Music (and online)
Free to attend - tickets available via Eventbrite (see link below email) 
Join us for a lively, hybrid seminar bringing together researchers, DJs, and industry professionals to explore the real-world value of electronic dance music culture, from its psychological and social benefits to its role in shaping communities and culture.
With UK nightclubs in rapid decline, a 37% of loss of venues since 2020, equating to 3 per week and over 150 each year if current trends continue according to the NTIA, this event asks how academic insights can be used to protect, reimagine, and advocate for nightlife as a vital part of our cultural ecosystem.
Following short research presentations by dance music researchers from the University, our panel discussion and interactive roundtable will open the floor to big questions, such as:
  • How can researchers, industry leaders, DJs, performers and eventgoers collaborate effectively to support nightlife?
  • Could nightlife venues be used as sites for scientific experimentation, research co-creation with eventgoers, or even public health interventions?
  • How do we shift perceptions of those who consider nightlife to be disruptive to a public good?
Our Speakers & Panel:
  • Professor Alice O'Grady (Professor of Applied Performance) - presenting research on older women's participation in club culture
  • James Cannon (Postgraduate Researcher) - presenting real-world club research measuring emotion, movement and social connection on the dancefloor.
  • Kikelomo Oludemi (DJ, Oroko Radio Co-Founder)
  • Rufy Ghazi (Music Tech & Research Executive, DJ)
  • Tony Rigg (Music Industry / Cultural & Creative Industries Advisor)
For more details and to claim your free ticket please see Eventbrite. We look forward to seeing you!
Eventbrite link below: 
Best wishes,
James

--
James Cannon AFHEA | Postgraduate Researcher 
School of Music, University of Leeds
PhD funded by WRoCAH (AHRC)

Research Fellow in Immersive Audio job opportunity (deadline 23 October 2025)

(Apologies for cross-posting!)

Please see below details of a job opportunity. We are seeking a Research Fellow in Immersive Audio to join us at the Institute of Sound Recording (IoSR). The deadline is 23 October. Please feel free to forward to anyone who may be interested. Thank you!

Best regards,
   Enzo


RESEARCH FELLOW IN IMMERSIVE AUDIO


Institute of Sound Recording, University of Surrey (UK)
Location: Guildford (35 minutes by fast train from London)
Salary: £37,694 p.a. - £42,254 p.a.
Post Type: full-time, fixed-term contract until 19 May 2027
Closing Date: 23.59 hours BST on 23 October 2025
Interview Date: w/c 27 October 2025

THE ROLE

Applications are invited for a Research Fellow to be based in the Institute of Sound Recording (IoSR) and to work on the EPSRC project Challenges in Immersive Audio Technologies (CIAT).

The proposed start date for the post is 20 November 2025, but this may be deferred if required. The post will be offered on a full-time fixed-term contract until 19 May 2027.

Immersive technologies will transform not only how we communicate and experience entertainment, but also our experience of the physical world, from shops to museums, cars to classrooms. Despite significant progress in the computer vision community, long-standing fundamental challenges adversely impact on audio technologies, preventing immersion into realistic acoustic scenes in which the audience feels transported to an alternate reality. Specifically, state-of-the-art immersive audio technologies (a) suffer from computational requirements preventing real-time creation of shared, interactive immersive audio experiences, and (b) are limited in their ability to efficiently deliver shared, high-quality auditory experiences to multiple listeners. CIAT's vision is to transform the state of the art by developing a principled, scalable and reconfigurable framework for capturing and reproducing only perceptually relevant information.

The post-holder will work on the development of novel psychoacoustic-based spatial audio technologies for 3D sound reproduction, and on designing and carrying out relevant perceptual evaluations. The post-holder will join a team of eight other CIAT-funded Research Fellows and PhD students--two at Surrey, three at King's College London and three at the University of Southampton.

ABOUT YOU

The successful applicant will have a range of skills, including some of the following: strong, independent research skills; a PhD, or close to completion, in engineering, computer science or related area; an excellent signal processing and/or acoustics background; experience with developing new spatial audio methods and/or with designing and executing formal listening experiments.

Applications are open to both UK and international applicants, and visa sponsorship is available.

WHAT WE CAN OFFER

The successful candidate will be hosted by the IoSR, an internationally leading centre for acoustic engineering research. The IoSR is also home to the renowned Tonmeister degree in Music and Sound Recording, which has produced a stream of highly successful graduates who have collectively received numerous accolades, including three Oscars, twelve Grammys, six Emmys, and twelve BAFTAs.

Successful candidates will gain extensive opportunities for: (i) collaboration and networking between the three partner institutions and with external academic collaborators, stakeholders, and industry partners, including Stanford CCRMA, BBC, Sonos, National Gallery; (ii) travel, including international conferences and workshops, as well as research visits at the partner institutions and Stanford; (iii) access to state-of-the-art research facilities, including the IoSR-hosted £2.2M national strategic infrastructure, AURORA3, currently being built and consisting of a full anechoic chamber and a variable acoustics room capable of adjusting both wall absorption and room volume, a world-first.

We offer a competitive remuneration package, including relocation assistance where applicable, market-leading pension scheme, and staff development opportunities.

HOW TO APPLY

Please apply with your CV and cover letter outlining why you are interested in the position on the University website:
https://jobs.surrey.ac.uk/Vacancy.aspx?id=15118&forced=2

The University of Surrey reserves the right to close this vacancy early based on volume and calibre of applications. Informal enquiries may be made to Prof Enzo De Sena e.desena@surrey.ac.uk. Applications received via email will not be considered.


--
Enzo De Sena
Professor (Full Professor)
Director, Institute of Sound Recording
Department of Music & Media
University of Surrey
Stag Hill, University Campus, Guildford GU2 7XH, UK

Office: 08aBC03
Email: e.desena@surrey.ac.uk
URL: desena.org
LinkedIn: https://www.linkedin.com/in/enzodesena

Tuesday, October 7, 2025

Organised Sound Issue 32/2 Call for Submissions: Sonic Art and the Future of Education - Cross-disciplinary perspectives

ORGANISED SOUND

Call for Submissions – Volume 32, Number 2

Thematic Issue Title: Sonic Art and the Future of Education: Cross-disciplinary perspectives

Date of Publication: August 2027

Publisher: Cambridge University Press

Issue co-ordinators: David Holland (d.w.holland@ucl.ac.uk) and Ross Purves (r.purves@ucl.ac.uk)

Deadline for submission: 15 September 2026

 

Sonic Art and the Future of Education: Cross-disciplinary perspectives

 

Since the 1960s there has been an ongoing relationship between the sonic arts and education. This is evident in the work of educators and composers such as R. Murray Schafer in Canada and Trevor Wishart in the UK, who were influential as community artists working on community-based music initiatives in and outside schools. More recently in the UK, there has been important research at De Montfort University around introducing sound-based music into schools. As also evidenced by a recent issue on radical education in electronic music (issue 29/2), such projects often involve innovative technology and approaches to teaching that influence practice in formal educational contexts while also highlighting social, economic and cultural issues related to inclusion (or lack thereof) in conventional music education.

 

This thematic issue seeks to explore how partnerships and relationships between sonic artists and educators (in both formal and informal contexts) are currently developing and asks: what contribution could sonic arts practices make, or what role could they play, in education in the future?  As lines between disciplines become more blurred, what could sonic arts practices offer and contribute to a variety of future curricula? The skills that are needed for being a sonic artist can be applied across multiple disciplines, for example as a foley artist or as a sound designer for computer games; these creative areas do not necessarily fit or align with the music curriculum currently, but could these sonic skills cross curriculum boundaries and broaden the sense of what it means to be a 21st century musician or sonic artist and the subject's potential societal impact?

 

This issue seeks to explore how skills, innovation and creativity in the field of sonic arts can influence or enhance the future of education, not just in music but across a broad horizon of subject areas. Furthermore, in a field that has traditionally been dominated by white, male, middle class composers, can sonic arts education offer a more inclusive and democratic alternative to traditional approaches to music education? One of the areas that is likely to become more important and more contested in education as AI develops will be creativity. Many of the past projects run by sonic artists in education have emphasised creativity, but in the future will the creative skills that are central to composing sonic art become redundant or will they flourish? Additionally, with a resurgence in interest in analogue tools, could this sort of approach offer a welcome relief from the increasingly dominant and homogenous world of digital music making? Or what could a synthesis of digital and analogue approaches offer across a curriculum that emphasises STEM? Could this help the curriculum develop more towards a STEAM approach? Despite subject divisions that are reinforced by current political support for a knowledge-based curriculum, there is much discussion around the blurring of these divisions through cross-disciplinary partnerships. This reflects the future need for an education that fosters creativity and making across the curriculum. This could be a curriculum that understands the need for creative scientists, as well as for artists who understand the possibilities and the opportunities afforded by new technologies.

 

 

Potential topics:

Submissions may engage with, but are not limited to, the following topics in relation to sonic arts and education:

 

  • Collaboration
  • Community-based initiatives involving the sonic arts that point to future directions in music education
  • Innovative approaches to pedagogy using sonic art
  • Sonic creativity and its role in education
  • Acoustic ecology and the future of education
  • Cross-disciplinary partnerships involving sonic arts in educational contexts
  • Sonic arts and the STEAM curriculum
  • Teacher education involving sonic arts projects
  • Gender in sound and/or music education
  • Democracy and inclusion in sound and/or music education
  • The evolution of assessment in sound and/or music education
  • Ownership and authenticity in sound and/or music education
  • Extended reality (VR/AR/MR) in sound and/or music education

Furthermore, as always, submissions unrelated to the theme but relevant to the journal's focus areas are always welcome.

Please note that Organised Sound seeks issue-driven submissions relevant to the journal's readership. It does not seek artists' statements or work/project descriptions without an underlying central question and broad contextualisation.

---

 

SUBMISSION DEADLINE: 15 September 2026

 

SUBMISSION FORMAT:

 

Notes for Contributors including how to submit on Scholar One and further details can be obtained from the inside back cover of published issues of Organised Sound or at the following url: https://www.cambridge.org/core/journals/organised-sound/information/author-instructions/preparing-your-materials.

 

General queries should be sent to: os@dmu.ac.uk, not to the guest editor.

 

Accepted articles will be published online via FirstView after copy editing prior to the full issue's publication.

 

Editor: Leigh Landy; Associate Editor: James Andean

Founding Editors: Ross Kirk, Tony Myatt and Richard Orton†

Regional Editors: Liu Yen-Ling (Annie), Dugal McKinnon, Raúl Minsburg, Jøran Rudi, Margaret Schedel, Barry Truax

International Editorial Board: Miriam Akkermann, Marc Battier, Manuella Blackburn, Brian Bridges, Alessandro Cipriani, Ricardo Dal Farra, Simon Emmerson, Kenneth Fields, Rajmil Fischman, Kerry Hagan, Eduardo Miranda, Garth Paine, Mary Simoni, Martin Supper, Daniel Teruggi, Ian Whalley, David Worrall, Lonce Wyse

 

Monday, September 29, 2025

Friendly Reminder: SEMPRE Study Day- Abstract Submission Deadline 1 October 2025


Dear Friends and Colleagues,
This is a gentle reminder that the deadline for abstract submissions for the SEMPRE Student Study Day is fast approaching on 1 October 2025.
We warmly invite you to join this exciting event, which provides an excellent opportunity to showcase your work, engage with fellow doctoral and early career researchers, and connect with a dynamic community of colleagues and friends. Whether you're presenting your first paper or building on your research portfolio, this study day is designed to foster a supportive and collaborative atmosphere.
Full details, including submission guidelines and event information, can be found on our website:
If you know of students or colleagues who may be interested, do feel free to share this reminder with them.
Thank you all. We look forward to receiving your abstracts and to sharing an engaging and welcoming day together.
Warm wishes,
Graham, Evangelos and Eunice

Monday, September 22, 2025

Album Release: Stonehenge – Luciana Hamond

Album Release: Stonehenge – Luciana Hamond

We are pleased to announce the release of the album Stonehenge by pianist and neoclassical composer, Luciana Hamond, professor in the undergraduate and graduate Music programs at the Federal University of Mato Grosso, in Cuiabá, Mato Grosso, Brazil. The album was made available on major digital platforms (Spotify, Amazon Music, Apple Music, Tidal, Deezer, Pandora, among others) on September 19, 2025.

Stonehenge brings together nine original solo piano compositions, conceived from improvisations created during Luciana's doctoral studies at University College London (UCL) – Institute of Education. These pieces emerged in moments of creative block, anxiety, and introspection, later transcribed and transformed into fully developed works. The result is an intimate and poetic record that inhabits the universe of neoclassical music, blending minimalism with the expressive depth of the piano tradition.

The tracks – Anguish and Peace, Blessed Day, Compassion, Sunflower, Echoes, I Am, Stonehenge, Procrastination, and Indecision – portray an aesthetic and existential journey where music becomes a space for healing, empowerment, and connection.

With this release, Luciana Hamond reaffirms her artistic trajectory marked by the integration of piano performance, academic research, and pedagogical innovation, consolidating her presence in both the national and international musical scenes.



Profa. Dra. Luciana Hamond
Coordenadora de Música - Licenciatura - FCA Departamento de Artes - UFMT 
Líder Grupo de Pesquisa Piano e Tecnologia, Coordenadora dos Projetos de Extensão Trilhas para Vídeos e Piano em Foco MT


The Jazz Promotion Network Freelance Project Manager Job Information


 FREELANCE PROJECT MANAGER- JOB INFORMATION. 

The Jazz Promotion Network (JPN) aims to advance and support professional development, information exchange and partnership opportunities for the UK & Irish jazz industry, artists and audiences. It is a collaborative network that enables the diverse UK & Irish jazz sector to thrive, innovate and inspire. You can find further information about our work on our website: https://jazzpromotionnetwork.org.uk/. 

We are looking for one or two freelance individuals to join our team and to work with us to support the jazz scene over a period of 14 months on the 'Routes into Jazz' (RiJ) jazz industry development pilot project, from October 2025 to November 2026. The Routes into Jazz scheme responds to the need for new, younger professionals to gain the skills to work in the jazz industry. Funding has now been confirmed from Creative Scotland and Arts Council England to run pilot years of the scheme in both England and Scotland, between the 2025 and 2026 JPN conferences. A small number of mentees in each country will visit a range of settings, such as key festivals and live events, record labels, radio production companies, agents and managers and jazz education projects. Their key industry mentor will help them decide on their chosen career direction, gain an understanding of the relevant networks and contacts required, and choose placements to provide deeper knowledge. Attendance at the JPN conferences will also provide useful wider contacts and help them gain confidence in networking. This process will result not only in significant benefits to each mentee of professionally guided support and active learning but also in a 'toolkit' and evaluation of the programme developed by the mentees, used to inform future editions of the scheme. You will have responsibility for managing one (or possibly both) of the pilots of the RiJ jazz industry development projects. Details of the work involved are given below. Subject to time availability, you may also assist with other JPN activities including preparation for JPN involvement in the 2026 edition of jazzahead in Bremen, the 2026 JPN Conference in Scotland, general admin and other projects. The workload involved is likely to include the following: 

●Working with JPN Trustees and other part time staff on announcement of scheme and recruitment of RiJ mentees and mentors.



●Attending the pre-JPN Conference meeting on November 5 2025 in Cardiff for bursary holders and potential RiJ mentees.


●Leading on organisations of interviews for the four RiJ Mentees along with JPNTrustees in mid-late November , and related communication after the meeting.


●Leading on identification of appropriate mentors for mentees, and organisations of dates for meetings.


Leading on identification of appropriate placements in discussion with mentees and mentors, negotiating suitable visit dates in collaboration with placementhosts. Making in person visits to each placement.


Choosing topics and trainers and dates for 3 online training sessions open to RiJmentees, JPN members and others. Marketing these via the JPN mailing list and elsewhere.


●Organising review meeting with mentors, mentees and JPN Trustees in summer2026.


●Preparing a Toolkit and report for be presented at the 2026 JPN Conference inScotland.


Other activities. 

Subject to time availability, the Project Manager may also assist with other JPN activities including preparation for JPN involvement In the 2026 edition of jazzahead in Bremen, the 2026 JPN Conference and other projects.

Line Management: 

The JPN Project Manager will report to the Chair or Vice-Chair of the JPN Board. 

Useful knowledge, experience and personal skills could include: 

●Good knowledge of the UK/Irish jazz scene as a whole and personal contacts with some key individuals within it.

●Experience of working with small/semi-professional organisations and volunteers, as well as larger scale bodies.

●Personal experience of mentoring/supporting less experienced colleagues.

●Excellent administrative and financial management abilities.

●Good face to face and written communication skills.

●Confidence in working without day-to-day support and using initiative to solve problems. 


Working location: 

The Project Manager will be expected to work from his/her own premises. The Project Manager coordinating the Routes into Jazz programme in Scotland (plus other activities) will be expected to be based in Scotland. The Project Manager coordinating the Routes into Jazz programme (and other activities) in England could be based in either Scotland or England but if based in Scotland would need in-depth knowledge of the English jazz scene. 

Those interested in applying should send a full CV and covering letter explaining what 

interests them in the position, and why they believe they would be the best candidate to appoint. Applications are also accepted as video files and audio recordings. Please state if you are interested in the Scottish position, English position, or both remits. The JPN is committed to promoting and maintaining an inclusive and supportive ethos and we welcome applications with equal enthusiasm regardless of race, colour, age, gender, sexual orientation, nationality or disability from across all the regional communities that we work with. 

Please direct enquiries and applications to comms@jazzpromotionnetwork.org.uk for the attention of Pauline Black, Chair, JPN. Closing date for applications will be midnight on 15th October 2025. Online Interviews are planned for 20th October 2025. The successful applicant will be expected to attend the JPN Conference in Cardiff on November 6/7. Expenses will be provided for this. 

Hours: 

Scottish position: 40 days @£200 per day, £8000 total 

English position: 40 days @£200 per day, £8000 total 

Contract type: Freelance Length of contract: 14 months total 

Jazz promotion network (JPN) bursary scheme



 JPN 2025 Bursary Scheme 

The 2025 JPN Showcase and Conference takes place in Cardiff from lunchtime on Thursday Nov 6 until 11 pm on Friday November 7 (https://jazzpromotionnetwork.org.uk), at the Royal Welsh College of Music and Drama and Cardiff University. It is the UK's only dedicated conference for those involved in the jazz sector and provides an opportunity to see some of the most exciting bands working across the UK/Ireland and also contribute to conference sessions on common issues and challenges. It is a friendly event with under 200 delegates and previous bursary holders have found it an enjoyable experience (see below). 

JPN is offering bursaries to enable a limited number of interested people across the UK and Ireland to attend the conference. With support confirmed from the four UK Arts Councils we are able to offer a limited number of bursaries for applicants from any of these countries, though the number possible in each case differs according to the grant awarded. Some of these will offer partial support for travel and accommodation costs and others will offer support for all costs. Priority will be given to new attenders and those under 35 interested in gaining a deeper understanding of the jazz industry as a possible source of employment (as artist, promoter, educator, manager, broadcaster etc). 

Comments from some of our bursary holders over the past few years have included: 

It was a great opportunity to meet others from around the UK and Irish jazz scene, the majority having never met previously. It was inspiring to hear representatives of the Five Nations talk about their sectors' own trials and tribulations of restarting after the past two years and the successes that people have built on over their careers. 

For those interested in broadening their contact list in the UK jazz scene it is a great opportunity to meet others in your niche field. I feel it would be a great opportunity for young musicians and promoters who haven't had the experience or chance to meet those who've been there and done it. 

The network membership as a whole was very welcoming and generous with their time, which helped me to understand how my work as a promoter fits into the wider British and Irish scene. 

This was my first time attending JPN as well as my first time in the beautiful city of Belfast. I wasn't sure what to expect from the conference and was worried it might be quite a "dry" experience to attend as an artist. These expectations were unfounded as I had a wonderful time and made connections with some amazing musicians and creators on the Irish music scene. 

The JPN conference is an invaluable and unique opportunity to engage and share ideas with industry figures from across the UK and Ireland, and through attending this year's event in Birmingham I was able to strengthen existing connections (including meeting several e-mail only connections in person for the first time) as well as make new ones which will benefit not only my own career but those of the other artists I work with. 


Assessment Criteria 

Decisions on your application will be made by a 5 nations industry panel including members of the JPN board and will be assessed according to the criteria below. 

To be eligible for a bursary you must be: 

- Over 18 

- Working in jazz and improvised music or keen to explore this as a career option 

- Based in England, Scotland, Wales, Ireland or Northern Ireland 

- Available to attend the JPN Conference in Cardiff from November 6-7 2025. 

- Able to arrange and book your own travel and accommodation (The JPN Team can offer advice for anyone with particular access needs). 


We will take the following factors into account, when making decisions: 

- The positive impact attending the JPN conference will have on the applicant's career 

- Applicants U35 will be given priority, as potential future mentees in our Routes into Jazz industry development scheme. 

- The cost of travel in comparison to other applicants 

- Whether the applicant has previously been supported by JPN's bursary scheme. Priority will be given to new applicants. 


JPN will prioritise applications which promote a fair and diverse representation of applicants across all participating nations. 

How to Apply You need to complete a short google form. We will ask you for some factual information in addition to the following assessment questions: 

1. How will a bursary help you to attend the JPN conference? 

2. Please tell us your estimated travel and accommodation costs for the conference (please use journey planners, advanced tickets and budget accommodation to make this estimate) 

3. Tell us why attending the JPN Conference is important to the development of your career and what you hope to gain 

4. Let us know of any access needs you may have if attending the conference. 


The deadline to apply is 5 pm Friday September 26. Apply at THIS LINK. 


Performance Science^25

Dear friends and colleagues, 

The 2025/26 academic year marks 25 years of performance science at the Royal College of Music. 

Performance Science^25 is a series of events celebrating of the College's leadership in the field of performance science, highlighting the innovative (and often unconventional) perspectives and partnerships that have fuelled our research, teaching and knowledge exchange activities. 

I am delighted to invite you to the following roundtable discussion on 1 October: 

LEARNING IN THE SPOTLIGHT 
17:15-18:15 | 1 October 2025
RCM Performance Hall 

Exploring the very latest developments in performance education, from advancements in training to state-of-the-art technologies underpinning performance simulation, followed by a reception and tours of the RCM Performance Laboratory. 

Contributors to include
Roger Kneebone, Professor of Surgical Education and Engagement Science, Imperial College London 
Sarah Ranchev-Hale, Head of Imperial Enterprise Lab, Imperial College London 
George Waddell, Performance Research and Innovation Fellow, Royal College of Music 

Chair
Diana Salazar, Director of Programmes, Royal College of Music 

You can book free tickets for the event here: https://rcm.ac.uk/events/details/?id=3461548 

Details of other events will follow later in the year. 

With best wishes,
Aaron Williamon 
 
 
Aaron Williamon 
Professor of Performance Science 
 
CENTRE FOR 
PERFORMANCE SCIENCE  
 
The CPS is a partnership of 
Royal College of Music | Imperial College London 
 
www.PerformanceScience.ac.uk 

Sunday, September 21, 2025

[new book] Seasoned Musicians Playing Beyond the 5th Decade; A Case Study on Symphony Orchestra Lifestyle and Ageing

[sent on behalf of Dr Warren Brodsky]

Just Published (August 14th 2025) by Oxford University Press:
Seasoned Musicians Playing Beyond the 5th Decade; A Case Study on Symphony Orchestra Lifestyle and Ageing.
480 Pages. 6 Figures. 50 Tables. ISBN: 9780198956471
By: Warren Brodsky
This investigation into the vicissitudes of ageing and the orchestral community suggests there is a more positive and successful process of ageing than previously imagined. The book is based on over 50 interviews, a tapping study, two music performance studies, and a think-aloud protocol during deliberate practice. The participants were with full-time contract professional Symphony Orchestra musicians from the BBC Philharmonic Orchestra and the Halle Orchestra (UK), the Jerusalem Symphony Broadcasting Orchestra and the Israel Sinfoneitta Orchestra (Israel), and the Freiburg Philharmonic Orchestra (Germany).

PART I. Background and Foreground
1:Rationale, Methodology, and Book Outline
2:On Becoming and Being an Orchestra Musician
PART II. The Interview Study
3:Mental Considerations for Positive Ageing Among Orchestra Players
4:Motor Considerations for Positive Ageing Among Orchestra Players
5:Emotional Considerations for Positive Ageing Among Orchestra Players
6:Music Performance Considerations for Positive Ageing Among Orchestra Players
7:Environmental and Organizational Considerations for Positive Ageing Among Orchestra Players
Part III. Performance Analysis
8:Psychomotor Tapping
9:Performing Music, Part A: Think Aloud Protocols
10:Performing Music, Part B: Music Performance Evaluation
Part IV. Seasoned Musicians
11:Positive Ageing and Creative Resilience
12:Looking Back from Retirement
13:Finale: Musical Gerontivity
Appendix A. Music Score Notation
Appendix B. Keele Assessment of Auditory Style
References
Index


Wednesday, September 17, 2025

Fwd: CFP Extension - BFE/RMA Research Students' Conference 2026




MESSAGE FOLLOWS:

BFE and RMA Research Students' Conference 2026 
6th-8th January 2026, Royal Birmingham Conservatoire, UK
Website: https://www.bcu.ac.uk/conservatoire/research/rsc2026
Email: rsc2026birmingham@bcu.ac.uk

Deadline extension: following a request from the Musici Trust, we have decided to extend the deadline for proposals by one week to Thursday 25th September. Submissions are welcome involving the study of any type of music, but we draw particular attention to the Musici Trust's new prize for the best paper on music written before 1600. Full details are available on the conference website: https://www.bcu.ac.uk/conservatoire/research/rsc2026