Thursday, December 30, 2010
Invitations to bid for an evaluation of the perceived significance of small research grants in the music education and music psychology research community
research grants (i.e. , of awards of £10,000 or less) to the music
education and music psychology research community.
It seeks proposals from active researchers who would be willing to
undertake a detailed survey of UK-‐based researchers in
music-‐related topics to establish clearly documented evidence,
including case studies, of whether or not small grants offer
significant and lasting impact on research careers and research
The research should be completed within the calendar year 2011,
including a written interim report that will be considered by the
SEMPRE Committee at its mid-‐year meeting in May 2011 and a final
report at its December meeting.
Up to £5,000 is available to cover salary costs (which could include
teaching replacement or buy-‐out for full-‐time academic staff) and
an additional £1000 is available for direct research costs.
Expressions of interest should contain: (i) a specification of how
the research would be carried out, including detail of the
constituencies to be approached (such as NAHMHE (National Association
of Heads of Music in Higher Education), RSM, Heads of Research in all
the Conservatoires and award holders [past/present] of small research
grants); (ii) a timetable (bearing in mind the reporting needs for May
and December); and (iii) a budget.
Such expressions should be sent to Professor Graham Welch (SEMPRE
Chair) by email at email@example.com, no later than 31 January 2011.
In addition, applicants should indicate their experience and
qualifications for undertaking a project such as this by including an
It is expected that the outcomes will be announced in early February
2011 and that the research will commence later that month.
Saturday, December 11, 2010
Volume 2, Issue 2, 2010
The new issue of Approaches is now available online!
Please visit Approaches website and download it for free!
Please feel free to forward this email to any colleagues or friends of
yours. Anyone can sign up to the mailing list, by sending an email to
Editor-in-Chief of Approaches
Wednesday, December 8, 2010
August 11-14, 2011
Eastman School of Music, Rochester, NY
Due date to submit an abstract for consideration: February 1, 2011
Submitted abstracts should be no longer than 300 words and should
describe the motivation, methodology, results, and implications of
the research to the degree that this information is available at the
time of submission. For those submitting experimental work, the
description should describe the stimuli and participant groups used,
the experimental methodology, and data collected. For those
submitting theoretically based work, the description should give a
sense for the approach used and should make a case for why the
work is relevant to the field of music perception and cognition in its
aims, methods, and/or results.
Submissions should be sent by e-mail to: firstname.lastname@example.org
Please type the abstract directly into the body of the e-mail, rather
than submitting as an attachment. In the body of your email, please
list all authors and affiliations, and please indicate preference for
presentation as a talk or poster.
Conference information is available at http://www.esm.rochester.edu/smpc2011/
Feel free to contact the chair of the Program Committee at the same
address if you have questions about your submission.
Program Committee: Peter Pfordresher (University at Buffalo, chair),
Erin E. Hannon (University of Nevada, Las Vegas),
Carol Krumhansl (Cornell University),
Justin London (Carleton College),
Elizabeth Margulis (University of Arkansas),
Peter Martens (Texas Tech University),
Devin McAuley (Michigan State University),
Frank Russo (Ryerson University),
Mike Schutz (McMaster University).
Conference Organizers: David Temperley and Elizabeth Marvin (Eastman School)
Conference questions should be directed to David Temperley:
Wednesday, December 1, 2010
Wednesday, November 24, 2010
Institutional subscription: £210 / $330 | Online subscription: £177 / $265 | Individual subscription: £33 / $65
Journal of Music, Technology & Education
We invite educators, researchers and practitioners to contribute to the Journal of Music, Technology & Education (JMTE), the only journal that is specifically dedicated to the pedagogical aspects of technology in music education. Peer-reviewed, with an international editorial board, JMTE aims to draw its contributions from a broad community of educators, researchers and practitioners who are working closely with new technologies in the field. We regard such education in its widest sense, with no bias towards any particular genre.
JMTE examines pedagogy at all levels and across genres such as composition, musicology, performance and music production.
We would like to invite contributions in any aspect of the field, such as:
· Computer-mediated music composition in education
· Music performance technologies
· Audition & aural awareness training systems
· Music, technology, education & industrial practice
· Computational musicology in Further and Higher Education
· Musical creativity and technology
· Pedagogical aspects of electroacoustic composition
· Classroom engagement with new technologies
· Assessing student music technology practice
· Children's musical learning with technology
Articles should not normally exceed 6-8,000 words in length (4,000 words for position papers), should include full references, bibliography and keywords, and should also include an abstract of no more than 150 words. Illustrated articles are welcome. Short reports may be submitted on related issues, as well as conference reports, book and pedagogically contextualized software/hardware reviews.
To submit to the journal, or for more information please contact the editor Andrew King at email@example.com
For more information on the journal, please see the journal's webpage:
Editor: Andrew King (University of Hull) firstname.lastname@example.org
Associate Editors: Allan Hewitt (University of Strathclyde) email@example.com
Evangelos Himonides (Institute of Education) firstname.lastname@example.org
Jonathan Savage (Manchester Metropolitan University) email@example.com
Book Reviews Editor: Rowan Oliver (University of Hull) firstname.lastname@example.org
ISSN: 1752-7066 | Online ISSN: 1752-7074 | 2010, Volume 4, 3 issues per year
Tuesday, November 23, 2010
9-11 May 2011
Berlin-Brandenburg Academy of Sciences and Humanities, Berlin, Germany
The International Conference on the Arts in Society and the International Journal of the Arts in Society provide a scholarly platform for discussions of the arts and art practices, enabling an interdisciplinary conversation on the role of the arts in society. They are intended as a place for critical engagement, examination and experimentation of ideas that connect the arts to their contexts in the world - in studios and classrooms, in galleries and museums, on stage, on the streets and in communities.
As well as an impressive line-up of plenary speakers, the conference will also include numerous paper, workshop and colloquium presentations by practitioners, teachers and researchers. We would particularly like to invite you to respond to the conference Call-for-Papers. Presenters may choose to submit written papers for publication in The International Journal of the Arts in Society. If you are unable to attend the conference in person, virtual registrations are also available which allow you to submit a paper for refereeing and possible publication.
Whether you are a virtual or in-person presenter at this conference, we also encourage you to present on the Arts in Society YouTube Channel. Please select the Online Sessions link on the conference website for further details. Additionally, please join our online conversation by subscribing to our monthly email newsletter and subscribing to our Facebook, RSS, or Twitter feeds at http://www.Arts-Conference.com/.
The deadline for the next round in the call for papers (a title and short abstract) is 21 December 2010. Future deadlines will be announced on the conference website after this date. Proposals are reviewed within two weeks of submission. Full details of the conference, including an online proposal submission form, may be found on the conference website at http://www.Arts-Conference.com/.
Thursday, November 18, 2010
Wednesday, November 17, 2010
LEEDS COLLEGE OF MUSIC
Leeds, United Kingdom
CALL FOR PAPERS and WORKSHOP PROPOSALS
Leeds International Jazz Conference 2011:
Time Captured - Jazz composition, composing and composers
Thursday & Friday 7- 8 April 2011
The 17th Leeds International Jazz Conference takes place at Leeds College of Music from Thursday 7 to Friday 8 April 2011. LIJC is an annual event focusing on jazz research, education, performance and composition. It is the only conference of its kind in the UK and offers a unique forum for musicians, academics, educators, students, and arts organisers to engage with the latest sounds and ideas in jazz. Along with paper presentations, workshops, performances and jam sessions, there are opportunities for discussion, networking, information exchange, and professional development.
LIJC 2011 focuses on the under-explored subject of jazz composition, composing and composers. In keeping with this overarching theme we are delighted to welcome two eminent keynote presenters:
Mike Gibbs, distinguished composer, arranger and trombonist is our Jazz Keynote. He will address us on composing, compositional process and the influences contributing to his own distinctive voice and methods. He also offers a workshop for small groups and jazz orchestra. Mike Gibbs has worked with many music luminaries including Pat Metheny, John McLaughlin, John Scofield, Bill Frisell, Gary Burton, John Dankworth and Laurie Anderson. Born in Rhodesia (now Zimbabwe) he was awarded scholarships to attend Lenox School of Jazz and Tanglewood Summer School where he studied with Aaron Copland, Gunther Schuller, George Russell, J.J.Johnson, Lukas Foss and Iannis Xenakis. He has several Melody Maker Awards, including First Composer, Best Big Band, Musician of the Year, First Arranger and his own album In the Public Interest was voted Best Album of 1974. He continues to write and arrange for the major European jazz orchestras. A newly commissioned piece will feature in LIJC 2011 with the LCM Jazz Orchestra.
Our academic keynote speaker is Tony Whyton Reader in Music within the School of Media, Music and Performance at Salford University, UK. His first book, Jazz Icons: Heroes, Myths and the Jazz Tradition was published by Cambridge University Press in 2010, and hot on its heels is a second book Beyond A Love Supreme (Oxford University Press). In his tenure at Leeds College of Music (1998-2007), Tony set up the Centre for Jazz Studies and was founding editor of the international journal The Source: challenging jazz criticism, the first peer reviewed interdisciplinary journal for jazz studies. He now co-edits the internationally peer-reviewed Jazz Research Journal. Tony Whyton has recently been awarded just under €1 million to lead a three-year, collaborative, pan-European project entitled Rhythm Changes: Jazz Cultures and European Identities. His work champions the relationship between theory and practice and encourages performers, composers and musicologists to engage critically with music as a discursive cultural practice.
Call for Papers and Workshop Proposals
The conference committee invites proposals for research papers, workshops, lecture-recitals, panels and roundtable discussions. The deadline for the submissions of proposals is Monday 10 January 2011. We welcome presentations that advance the field of jazz composition and composition education, and the emergence of cross-disciplinary thinking and the development of new jazz scholarship. While we invite proposals on any area of jazz research and practice from within any discipline, preference will be given to topics which accord with the conference theme, and may address:
Defining composition, defining jazz composition
Performance and jazz composition
The changing compositional language of jazz
Jazz improvisation and composition
Improvisation and the jazz composer
Teaching and learning jazz composition
Critical evaluation of jazz composition
Precedent and tradition in jazz composition
Composition for small and large jazz ensembles
Jazz composition on record
The cult of personality and the jazz composer
National identities and jazz composition
Jazz composing and issues of notation
Jazz arranging techniques and aesthetic choices
Aesthetics and jazz composition
Inspiration and jazz composition
Influences on composition from outside jazz
The limitations of jazz scholarship for understanding composition
Individual presentations should be no more than twenty minutes in duration. There may be opportunities for longer slots for lecture-recitals and workshops. Proposals should take the form of a title followed by an abstract of not more than 200 words, and should include details of each presenter(s) including brief biographical description. The deadline for submissions is Monday 10 January, and decisions will be notified shortly after this date.
Any queries about a proposal should be directed to the LIJC 2011 Conference Director: Louise Gibbs email@example.com
Submissions should be addressed to: Caroline Stephenson, Academic Administrator, firstname.lastname@example.org or sent to her at:
Leeds College of Music
3 Quarry Hill
For more information and to make a booking for the conference go to:
Queries about attending LIJC 2011 should be addressed to: Louise Wood email@example.com
Tuesday, October 26, 2010
Music Education Special Interest Group
Research Seminar Announcement
Music Teacher Education in Brazil and the UK: Challenges and perspectives
Professor Graham Welch, Institute of Education, University of London, UK; Dr. Sérgio Figueiredo, State University of Santa Catarina, Brazil; Dr. José Soares, State University of Santa Catarina, Brazil.
Thursday 16th December 13.00 – 15.00
In Brazil students have to follow a different route to become a music teacher to that of the UK. There are significant variations in the preparation of music teachers, both across and within individual programmes, and these are reflected in a range of trainee teachers experiences. It is a complex matter to make comparisons between the mechanisms that operate in different countries for several reasons, in particular the fact that Higher Education Institutions and educational systems in general can vary in a number of ways and are influenced by socio-economic factors, government policies and other external factors. However, an understanding of similar or contrasting features in the preparation of music teachers in Brazil and UK is of great value in tackling social, political and educational problems. The purpose of this seminar is to hold a debate on the current challenges that face prospective music teacher in Brazil and the UK. The seminar is organized as follows:
Dr. Sérgio Figueiredo
Dr. Figueiredo will present an overview of Music Teacher Training Courses in Brazil. He will also discuss the implications of a new Law 11.769/2008, which stipulates that music should be a compulsory part of the syllabus in the school curriculum at all levels of basic education, and should serve to prepare new music teachers in Brazil.
Professor Graham Welch
Professor Welch will discuss significant concerns about music teacher education in England. He will present the pathways to become a music teacher in the UK.
Dr. José Soares e Dr. Sérgio Figueiredo
Dr. Soares and Dr. Figueiredo will give a presentation on the preliminary results of a research project "Becoming a music teacher in Brazil". This is being carried out by the Music Education Research Group (MusE) and funded by the Coordination for the Improvement of Higher Education (CAPES), a department of the Ministry of Education, Observatory Program. The aim of the project is to identify the determinants factors that affect the process of becoming a music teacher in Brazil.
Biography of presenters
Professor Graham Welch
Professor Graham Welch holds the Institute of Education, University of London Established Chair of Music Education and is Deputy Dean of the Institute's Faculty of Culture and Pædagogy. He is elected Chair of the international Society for Education, Music and Psychology Research (SEMPRE) and president-elect of the International Society for Music Education (ISME). He also holds Visiting Professorships at the Universities of Sydney (Australia), Limerick (Eire), Helsinki (Finland) and Roehampton (UK). He has acted as a special consultant: (i) on aspects of children's singing and vocal development to the USA National Center for Voice and Speech (NCVS) in Denver and the Swedish Voice Research Centre in Stockholm and (ii) on aspects of educational and research development in the areas of arts and music education, curriculum and teacher development to the British Council in the Ukraine and Argentina, the Ministry for Education and Youth in the United Arab Emirates and the National Research Foundation of South Africa. Publications number over two hundred and embrace musical development and music education, teacher education, the psychology of music, singing and voice science and music in special education and disability. Publications are primarily in English, but also in Spanish, Portuguese, Italian, Swedish and Chinese. Graham Welch is member of the editorial boards of the: Journal of Research in Music Education (JRME), Music Education Research (MER), International Journal of Music Education (IJME), Research Studies in Music Education (RSME), International Journal of Research in Choral Singing (IJRCS) and Psychology of Music (PsyMus).
Dr. Sérgio Figueiredo
Sérgio Figueiredo is Associate Professor at the State University of Santa Catarina, Brazil. He holds a PhD in Music Education at the Royal Melbourne Institute of Technology – RMIT University, Melbourne, Australia. He also holds a Master degree from Federal University of Rio Grande do Sul, Brazil. He is member of the editorial board of the Revista ABEM (Journal of Brazilian Society for Music Education). He has published in English, Spanish and Portuguese. His main areas of research interest include initial and continuing education of generalist and specialist music teachers, choral education and Philosophy of Music and Music Education. He is the coordinator of the Music Commission at the Ministry of Education in Brazil, specifically at INEP, for evaluation issues. He also is a member of the CNIC – a National Committee for Cultural Issues, at the Ministry of Culture, Brazil. He is a member of the ISME Research Commission, representing Latin America and Caribe. Currently he is the President of Honour of the Brazilian Society for Music Education (ABEM), being the president between 2005 and 2009.
Dr. José Soares
José Soares holds a PhD in Music Education at the Institute of Education, University of London. He also holds a Master degree from Brazilian Conservatory of Music, Rio de Janeiro, Brazil. He has presented in conferences in Brazil and abroad. He is a member of the editorial board of the Revista ABEM (Journal of Brazilian Society for Music Education). His main areas of interests include creativity, research methods and music teacher education. He is a lecturer at the State University of Santa Catarina. He is involved in the research project 'Becoming a Music Teacher in Brazil', funded by the Coordination for the Improvement of Higher Education (CAPES), National Institute for Educational Studies Anísio Teixeira (INEP) and Secretariat for Continuing Education, Literacy and Diversity (SECAD).
Music Education Special Interest Group
Research Seminar Announcement
Exchanging "Insider" Knowledge: Youth-Led Participatory Action Research in Music
Dr. Susan O'Neill, Faculty of Education, Simon Fraser University, Canada
Tuesday 16th November 2010; 12.30-1.30; Room 944
Further details from Lucy Green: firstname.lastname@example.org
All are welcome
There is evidence that the involvement of young people as collaborators in the process of research contributes to the value and relevance of the information gathered. Young people, working within their own peer cultures, have a perspective that is not always easy for researchers and teachers to tap into. Yet, their "insider" knowledge can make an important contribution to curriculum initiatives and pedagogical approaches. This exploratory study draws on Participatory Action Research (PAR) frameworks and Inquiry-Based Learning (IBL) to engage young people, teachers, and researchers in a collaborative "Music Inquiry Project". The project provides learning opportunities for youth to reflect on themselves and the ways they engage with music at school. The study explores how we might use youth-led research to build and sustain a culture of "knowers" in the classroom that fosters an appreciation of local knowledge and the capacity to speak out about that knowledge. It examines a pedagogical approach that can act as a catalyst rather than a constraint for expanding equitable learning opportunities that are reflective, dialogical, collaborative, participatory, interactive, integrative, value-driven and strength-based. It also affords opportunities for young people to gain an understanding of the need for advocacy efforts aimed at changing attitudes and promoting positive youth music engagement and a thriving music culture in their school.
Susan O'Neill is Associate Professor in Arts Education at Simon Fraser University in Vancouver, Canada. She is Director of Research for Youth, Music and Education (RYME) and Senior Editor of the Canadian Music Educators' Biennial Book Series, Research to Practice. She has published widely in music psychology and music education. She applies her multidisciplinary background (three separate graduate degrees in music, education, psychology) to the study of young people's artistic beliefs and values, youth-led participatory action research, and the impact of youth music engagement on motivation, identity, well-being, media literacy, and cultural understanding. As a flutist, she performs benefit concerts to raise awareness of social justice issues with her husband, pianist Yaroslav Senyshyn. One of their joint recitals was recently released on CD, Live at Von Kuster Hall (Platon Promotions).
Thursday, July 29, 2010
Jon Boden's big singalong
A few weeks ago Jon Boden, the current BBC Folk Singer of the Year, went to a friend's home studio in Sheffield and recorded an unaccompanied version of the famous old folk song The Larks They Sang Melodious (alternatively known as Pleasant and Delightful). On Midsummer Day (24 June) he posted it on a new website he'd created and embarked on the first step of a strange and demanding odyssey, in which he vows to record and post a different folk song every day for a year.
A far cry from his more familiar role as extrovert frontman with the 11-piece folk big band Bellowhead, the Folk Song a Day concept has already attracted accusations that Boden has either lost his marbles or become a shameless self-publicist. Yet behind this novel initiative lies a serious intent, which poses profound questions about the changing role of song in society. Namely, have we lost the joy of singing for its own sake, and the social benefits of community, self-expression and identity that go with it? And, if so, can they be recovered?
Time was when locals would get together in pubs, private houses or at public gatherings, joining in song as a matter of course. Stimulated in part by many inviting anecdotes of these occasions from England's most revered traditional singers, the Copper Family, several of the early British folk revivalists of the 1960s were driven by the dream of breathing life into old folk songs and restore them to community life. These revivalists achieved much, notably a nationwide circuit of clubs, which attracted devoted enthusiasts and supported a network of professional musicians as folk music blossomed into a thriving art form. But in a fast-moving world, their original ideals were strangled by the march of television, communication and globalisation – with the inevitable decline in pub culture and community spirit itself – and some of those early performers such as Norma Waterson consequently now regard the revival as a failure.
Yet a vibrant new generation of folk musicians have imaginatively reinvigorated the genre in recent years. The title of Jim Moray's award-winning 2008 album, Low Culture, was a deliberate expression of what he felt folk music should represent. "The tradition isn't something out of the ordinary, it's the very definition of ordinary," he says. "If folk is the music of the people then it's surely wrong to treat it as 'high art' that should be preserved unchanged. Folk music is low culture."
Similar thoughts occupy Boden. He says he regards himself primarily as an unaccompanied singer, despite his membership of Bellowhead, but insists that A Folk Song a Day is a serious effort to raise the profile of social singing. He has also launched a monthly Saturday night folk club encompassing an informal singaround at his own local, the Royal Hotel in Dungworth, which is already embedded in folk music lore as one of the South Yorkshire pubs maintaining a unique local carol-singing tradition of songs exclusive to the area.
"The Dungworth carol singing is extraordinary, but it shouldn't be extraordinary," says Boden. "People who wouldn't do it in any other context go to the pub at Christmas and sing those songs properly – really, really loud. But then you get to the end of the carol season and you think, 'Why the hell don't we do this all year?'"
So he decided he would do it all year – and the Dungworth experiment seems to be working as villagers with no interest in the formal folk song movement descend on the bar to exercise their lungs on a round of populist chorus songs, such as The Larks They Sang Melodious and others that have made early appearances on Boden's site.
"I'd love to see more singing sessions in pubs – ideally unaccompanied – without the pub getting freaked out," Boden says. "The biggest challenge is to get a pub to turn the TV or jukebox off, but the chance is there to find a common cause because pubs are under so much threat. Some people feel uncomfortable – they think their space is being invaded, and if you suddenly enter a random pub and burst into song you're more likely to be thrown out than be bought a drink. I've certainly been told to shut up on occasions. You have to get people used to the idea. It's not the fault of the song, it's the fault of lack of song. People get paranoid about singing in public and I think it stems from parents telling their children they can't sing. It happens a lot. You wouldn't tell someone they have an awful talking voice or they have bad breath, but there seems to be no problem in telling someone they can't sing."
There's no shortage of scientific research to support his theory that social singing is good for body and soul. Professor Graham Welch, the chair of music education at the Institute of Education in London, declares that everyone has the ability to sing and, irrespective of quality, it enhances our mood and reduces stress. "The health benefits of singing are both physiological and psychological," he says. "Music is very good for every aspect of you as a human."
One unlikely convert to the power of social singing is Brian Eno, who hosts regular a cappella singing sessions at his London studio with friends, who have included Paul McCartney. "It's all about the immersion of the self into the community and that's one of the greatest feelings," he says. "I stop being 'me' for a little while and become 'us', and that way lies empathy, the great social virtue."
Yet the only public places you can have a good sing without risking ridicule or abuse are either churches or football grounds. Boden is an atheist who doesn't like football so he's opted instead for the pub-singing option and A Folk Song a Day podcasts. There were 6,000 hits for his opening rendition of The Larks They Sang Melodious, and interest has grown rapidly since, sparking lively debate on the comment pages, especially over his recent inclusion of Mercedes Benz, a gospel pastiche written by Janis Joplin, Michael McClure and Bob Neuwirth. Joplin sang it unaccompanied, and although Boden paradoxically adds a mournful concertina, he's happy to classify it as a folk song. "I learned it as a folk song at Forest School camps before I'd ever heard the Janis Joplin version," he says, amused by the fuss its inclusion has caused. "People criticise me for doing that but don't bat an eyelid about the Kipling-Peter Bellamy songs I have done."
He's got a whole year of this and knows that tougher terrain lies ahead, especially as his repertoire extends to only 200 songs and he'll need to learn more by next spring. There are also the practical problems involved in making daily recordings during forthcoming extensive tours with both Bellowhead and his other band, the Remnant Kings. "I should have got an iPhone when I had the chance. I might have to borrow one to record stuff when we're on the road. But it's really interesting and it's nice not to have to worry about commercial pressures. Apparently I'm No 1 in the music podcast charts. I've no idea what that means but it sounds good."
Jon Boden can be heard daily on afolksongaday.com
Tuesday, July 27, 2010
It is with great pleasure that we launch the first edition of the Hellenic Journal of Music, Education and Culture. The international, on-line, peer-reviewed and open-access journal is the first of its kind to be published in Greece and has been designed to provide a unique opportunity for researchers across the world to engage with important contemporary issues at the interface of these three fields. As you will see from the opening articles, we have colleagues from diverse cultural and international settings who are reporting and discussing their research and practice. Articles are in English or Greek to reflect the origins of the journal and also to facilitate its potential impact in the symbiotic development of the research communities both within and outside Greece. We hope that you enjoy the journal contents and that you will take an opportunity to contribute in the future.
PhD, IoEUL Chair of Music Education, IoE, University of London, UK
Department of Arts and Humanities,
Associate Professor Music Department, Ionian University, Greece
Notes for contributors
ISSN online version: 1792-2518
HeJMEC is an international open-access and peer reviewed journal devoted to critical studyand critical analysis of issues related to the fields of Music, Education, and Culture.
HeJMEC draws its contributions from a wide community of researchers. Its reach is international since we want the publication to reflect a wide variety of perspectives from disciplines within the fields of music education and musicology. The journal is concerned with the dissemination of ideas relating to theoretical developments in the above fields and welcomes cross - and inter- disciplinary contributions of research and literature in the areas of music, education and culture.
Music and Education: The wide range of topics includes various aspects of music education (pedagogy, history, philosophy, sociology, psychology, technology, and aesthetics) addressing vocal, instrumental, general music at all levels, from early childhood through adult and comparative studies.
Education is interpreted in a broad sense including all aspects of teaching and learning within formal and informal contexts (such as, musical development; socio-cultural issues; creativity; gifted and talented students; special needs; community settings; teachers' professional development; curriculum design; assessment) in order, additionally, to challenge established accounts of music education policy-analytic methods and to explore alternative approaches to policy-making.
Music and Culture: Our aim is to provide essential reading on different aspects of the study of music from a cultural point of view (ideology, music and words, music and society, music and postmodernism, music and genre, and so forth); also, to relate them with educational issues (music cultural policy, the learning process, the relationship to educational institutions, and so forth). The journal thus offers a unique forum for researchers to develop views on music as a social and cultural product, as part of human behaviour and in relation to broadly perceived educational issues at the leading edge of musical and multidisciplinary scholarship.
Every issue will include articles on the topics, case studies and book reviews. Articles in Greek or English will be accepted. We recommend that you review the About the Journal page for the journal's section policies, as well as the Author Guidelines. Authors need to register with the journal prior to submitting, or if already registered can simply log in and begin the 5 step process. For guidelines in order to submit an article please refer to: http://hejmec.eu/ojs-2.2.4/index.php/HeJMEC/about
We welcome submissions for our forthcoming issues. The deadline for submissions for our next issue is 31/10/2010.
Please see our website for more details: http://www.hejmec.eu/
October 31, 2010 – paper submission
January 31, 2010 – notifications of acceptance
March 31, 2011 - notifications / corrections from reviewers
April 31, 2010 – final texts
Wednesday, July 21, 2010
- Symposium Dates: June 19-22, 2011
- Location: Michigan State University, East Lansing, Michigan, USA
- Deadline for proposals: November 1, 2010
The International Symposia on the Sociology of Music Education have been a primary conduit for the dissemination and discussion of scholarship on sociological issues related to music education since the first symposium in 1995.
The 2011 conference organizers invite the submission of proposals for papers on aspects of practice, theory, philosophy and research in the sociology of music education. "Sociology" refers to behaviors, beliefs, and identities among groups of people. "Music education" is understood to include all forms of teaching and learning in music – formal, informal, and non-formal.
The symposium welcomes research into music education in schools, colleges, universities, communities, studios, homes, the internet, and any other contexts. Submissions are encouraged from researchers at all stages of their careers. Research from qualitative, quantitative, mixed-method, or philosophical approaches are welcome. Submissions focusing on music from outside of Euro-American traditions are especially encouraged.
Conference presentations will be 30 minutes in length. Proposals should contain 500 to 700 words and should provide reviewers with sufficient detail to judge the purpose, methods, results, and scholarship of the presentation. Send proposals as .doc or .pdf attachments. Do not include your name or any identifying information on the attached proposal. The deadline for proposals is November 1, 2010, and notification of acceptance will be sent by December 1, 2010. Please send proposals and any direct any questions you may have to one of the three regional conference organizers, in accordance with your location.
- John Kratus – United States, Central America, South America, and the Caribbean: email@example.com
- Gareth Smith – Europe and Africa: firstname.lastname@example.org
- Kari Veblen – Canada, Asia, Australia, and the Pacific: email@example.com
The conference will be held at the Kellogg Hotel and Conference Center, which is located on the campus of Michigan State University in East Lansing. The Lansing metropolitan area is served by the Lansing Capital City Airport (LAN). Accommodations: Kellogg Hotel and Conference Center, 55 S. Harrison Road at Harrison Road and Grand River Ave., (http://www.hfs.msu.edu/kellogg/). (800) 875-5090 (local phone: (517) 432-4000), $89 single/double. Free parking is available to conference attendees. For further information regarding accommodations, contact John Kratus, firstname.lastname@example.org.
The conference website will be available in October 2010.
Friday, July 16, 2010
WITS UNIVERSITY - FACULTY OF HUMANITIES
WITS SCHOOL OF ARTS MUSIC
Wits Music is distinctive in being the only university music department in Africa to be part of a School of Arts that includes television and film, drama, digital arts, fine arts, and arts, culture and heritage studies divisions: www.wits.ac.za/wsoa. The School is seeking to make two appointments from 1 January 2011 in the following areas, and we strongly encourage applicants from the designated groups.
1. LECTURER IN MUSICOLOGY/ETHNOMUSICOLOGY
The incumbent's primary areas of research and teaching experience should be in popular music and jazz, though ideally their experience and interests will be broad enough to encompass other areas. Duties: Teach undergraduate courses in Western and African popular music and jazz, as well as in other areas, and supervise graduate students. In addition, the incumbent will be expected to contribute to cross-disciplinary teaching in the School. Part of his/her teaching and research should be focused on Africa. S/he will be expected to play a role in the administration of the Music Division and the School.
2. LECTURER IN COMMUNITY MUSIC
Duties: Develop, teach and coordinate a new area of specialisation in the BMus degree in the field of community music, and teach in the area of music education. It is recommended that the incumbent will be able to teach in other fields, particularly in the area of performance or music history. Part of his/her teaching and research should be focused on Africa. S/he will be expected to play a role in the administration of the Music Division and the School. Qualifications and Experience: Preferably a PhD, or MA with professional registration and progress towards a PhD. Some university teaching experience; an established research record or demonstrable potential as a researcher; and working experience in community music contexts for Lecturer in Community Music.
Enquiries:Head of Music, Dr Grant Olwage (Grant.Olwage@wits.ac.za), or the Head of School, Professor Georges Pfruender (Georges.Pfruender@wits.ac.za).
To apply:Submit a letter of motivation and detailed curriculum vitae with names and e-mail addresses of three academic referees as well as certified copies of degrees/diplomas, supporting documentation and identity document to: Mrs Margaret Deyi (Margaret.Deyi@wits.ac.za), Humanities Human Resources Office, University of the Witwatersrand, Private Bag 3, Wits 2050, South Africa.
Closing date:31 July 2010.
Monday, July 5, 2010
Wednesday, June 30, 2010
Thursday, June 17, 2010
Leading Music Education
May 29-June 1, 2011
Don Wright Faculty of Music
University of Western Ontario
London, Ontario, Canada
KEYNOTE SPEAKER CHRISTOPHER SMALL
Author of Music, Society, Education (1977)
Music of the Common Tongue: Survival and Celebration in African
American Music (1987)
Musicking: The Meanings of Performing and Listening (1998)
Proposals are invited from music education researchers, music
educators, community musicians and graduate students to present
papers, research posters or workshops as part of the international
conference Leading Music Education to be hosted by the University of
Western Ontario, May 29 to June 1, 2011.
Although music is often considered an educational frivolity by
politicians, there is an abundance of research and scholarship
demonstrating not just its ubiquity but its power in our lives. Music
plays important roles in shaping identity and community, in promoting
personal growth, health and wellness, and in raising our consciousness
with respect to social and other problems throughout the lifespan. It
can however also be used as entertainment to serve economic purposes
or as propaganda to manipulate. This conference seeks to promote
awareness of music's centrality in contemporary society and culture
and the important role music leaders play therein. It aims to foster
international dialogue and disseminate research on issues of music,
culture, community, music leadership and education.
Invitation to submit proposals
Proposals are welcomed for papers and research posters addressing
themes such as:
• music and lifelong learning
• community music
• music as culture
• the politics of music and music education
• educational philosophy and sociology (including professional ethics)
• related music leadership issues in both school and society
Proposals for practical workshops demonstrating how these or similar
ideas might be applied to actual professional practice in the school
and community, healthcare or media studies are also encouraged.
For research papers and poster submissions please include a single
page providing author's name, institutional affiliation, address,
phone number, e-mail address and a one page abstract of the work to be
presented (approximately 500 words) clearly labeled POSTER or PAPER.
Those intending to present workshops should include a letter of
introduction stating the applicant's professional/institutional
affiliation, contact information and professional qualifications and a
500 word outline of the intended workshop.
The deadline for submission of proposals in electronic format is
September 30, 2010. Authors must include a statement certifying that
their papers are original work. Notification of the status of papers
and workshop proposals will be made by October 30, 2010.
Please send submissions to email@example.com
Dr. Ruth Wright
Chair, Department of Music Education
The Don Wright Faculty of Music
The University of Western Ontario
Canada N6A 3K7
Phone: 519 661 2111 x85339
Thursday, May 20, 2010
Workshop on Emotion and Expectation
22nd July 2010, Department of Music, University of Sheffield, UK
Call for poster presentations
Submission deadline: 30th May 2010
As a pre-event to the Conference on Interdisciplinary Musicology: Nature versus
Culture, a CIM-SEMPRE Study Day for postgraduate students is
a Workshop on Emotion and Expectation, discussion of a book section / papers
related to Emotion and Expectation, and a poster session. The day will
be from 12.30
– 17.30. The workshop and discussion will be led by Prof. David Huron from Ohio
Proposals for poster presentations are invited related to the theme of
Expectation including studies of emotional responses to music,
expectations in music
listeners, models of musical expectation or emotion, expression of emotion in
performance, cross-cultural comparisons of statistical characteristics
of music, etc.
Presentations of students with a wider domain of interest will be
considered as well,
although presentations closely related to the topic will be given priority.
Format of poster presentation proposals:
Title, Author(s), Affiliation, Abstract of around 500 words.
Registration fee will be £20 or £15 for CIM10 attendees.
Please e-mail submissions to CIM10@sheffield.ac.uk
Questions can also be directed to: CIM10@sheffield.ac.uk
CIM10 website: www.sheffield.ac.uk/cim10/
Department Website: www.sheffield.ac.uk/music/
Organisers: Dr Nicola Dibben & Dr Renee Timmers, Department of Music,
University of Sheffield, UK.
Wednesday, May 12, 2010
Sunday 30th May 4.00 pm
Rare but Delightful French Piano Music
Antony Gray & Denzel Johnson - piano
The first concert in our summer season comprises music by Saint-Saens, Reynaldo Hahn, Bizet, Andre Caplet and the Australian composer John Carmichael's 4 Homages to French Composers.
The London based Australian pianist Antony Gray has long been regarded as one of the most interesting and communicative performers of his generation.
Sunday 6th June 4.00 pm
'Aspects of Love' in the music of Mozart
Insieme vocal soloists with Clare Clements - piano
Currently Chairman of the British Flute Society and one of only a few flautists who have launched an international career, renowned flautist Wissam Boustany has toured through Europe, North and South America, Australia, Africa and the Middle/Far East as a concert artist and teacher. Geoffrey Saba made his London début in the 1970's and was awarded a bronze medal at the First Arthur Rubinstein International Piano Master Competition. His best-selling recordings for Carlton Classics have achieved tremendous critical acclaim.
Sunday 20th June 4.00 pm
Drawn from three continents, musicians from My Lady's Chamber have studied in New York, Brisbane and Toronto as well as in London at the Royal College of Music, the Royal Academy of Music and Trinity College of Music. The group aims to communicate the passion of the Baroque, whilst retaining its essential poise and elegance.
Under leader and clarinettist Elliot DeVivo, The Waldegrave Wind Quintet performs a wide range of repertoire for woodwind ensemble.
Sunday 4th July 4.00 pm
Stephanie Bodsworth is joined by Orsino Ensemble pianist Elspeth Wyllie for a programme of classical songs and operatic arias.
Montage: Music of Marin Marais (1656 -1728)
Ibrahim (Ibi) Aziz was born in Malaysia and went to Trinity College of Music London to study the viola da gamba under Alison Crum. Whilst there he won many awards and prizes. Ibi appears regularly with The Rose Consort of Viols, and often works alongside many distinguished musicians that include mezzo sopranos Catherine King and Clare Wilkinson, sopranos Evelyn Tubb and Dame Emma Kirkby, the lutenist David Miller, and vocal groups Deller Consort and Stile Antico.
Sunday 18th July 4.00 pm
Sunday 25th July 4.00 pm
Ludwig van Beethoven: Trio Op. 1 No. 2
The Randolph Piano Trio, formed in 2009, combines the considerable and varied experience of each of its musicians, who have performed widely in this country and abroad. Past chamber music collaborations have included working with such internationally acclaimed artists as cellists Leonid Gorokhov and Alexander Baillie and the Chilingirian and Lindsay Quartets. Many other collaborations have led to performances in the some of the most prestigious venues in the UK, including the Wigmore Hall, Royal Festival Hall, the Purcell Room and Bridgewater Hall, as well as festivals including Norfolk and Norwich, Harrogate, Lake District Summer Music, and the Trondheim International Chamber Music Festival.
Sunday 1st August 4.00 pm
Li Li - soprano
Winner of six singing competitions in China and the UK, including the 2010 Birmingham Conservatoire Singing Prize, the 2009 Mario Lanza Opera Prize, 2009 Ashleyan Opera Prize, and two Beijing vocal competitions dedicated to young artists, young Chinese soprano Li Li will perform an exciting programme featuring Puccini, Bach, Mozart, as well as Chinese poems and Tippett's "A Child of Our Time".
St George's Bloomsbury
6-7 Little Russell St
Bloomsbury WC1A 2HR
020 7242 1979