Tuesday, November 13, 2012

Music Encoding Conference 2013

The Music Encoding Conference 2013: Concepts, Methods, Editions
22-24 May, 2013

You are cordially invited to participate in the Music Encoding Conference 2013 – Concepts, Methods, Editions, to be held 22-24 May, 2013, at the Mainz Academy for Literature and Sciences in Mainz, Germany.

Music encoding is now a prominent feature of various areas in musicology and music librarianship. The encoding of symbolic music data provides a foundation for a wide range of scholarship, and over the last several years, has garnered a great deal of attention in the digital humanities. This conference intends to provide an overview of the current state of data modeling, generation, and use, and aims to introduce new perspectives on topics in the fields of traditional and computational musicology, music librarianship, and scholarly editing, as well as in the broader area of digital humanities.

As the conference has a dual focus on music encoding and scholarly editing in the context of the digital humanities, the Program Committee is also happy to announce keynote lectures by Frans Wiering (Universiteit Utrecht) and Daniel Pitti (University of Virginia), both distinguished scholars in their respective fields of musicology and markup technologies in the digital humanities.

Proposals for papers, posters, panel discussions, and pre-conference workshops are encouraged.  Prospective topics for submissions include:
* theoretical and practical aspects of music, music notation models, and scholarly editing
* rendering of symbolic music data in audio and graphical forms
* relationships between symbolic music data, encoded text, and facsimile images
* capture, interchange, and re-purposing of music data and metadata
* ontologies, authority files, and linked data in music encoding
* additional topics relevant to music encoding and music editing

For paper and poster proposals, abstracts of no more than 1000 words, with no more than five relevant bibliographic references, are requested.  Panel sessions may be one and a half or three hours in length.

Abstracts for panel sessions, describing the topic and nature of the session and including short biographies of the participants, should be no longer than 2000 words.

Proposals for pre-conference workshops, to be held on May 21st, must include a description of space and technical requirements.

Author guidelines and authoritative stylesheets for each submission type will be made available on the conference webpage at http://music-encoding.org/conference/2013 in early December.

All accepted papers, posters, and panel sessions will be included in the conference proceedings, tentatively scheduled to be published by the end of 2013.

Important dates:
31 December 2012: Deadline for abstract submissions
31 January 2013: Notification of acceptance/rejection of submissions
21-24 May 2013: Conference
31 July 2013: Deadline for submission of full papers for conference proceedings
December 2013: Publication of conference proceedings

Additional details will be announced on the conference webpage (http://music-encoding.org/conference/2013).

If you have any questions, please contact conference2013@music-encoding.org.

Program Committee:
Ichiro Fujinaga, McGill University, Montreal
Niels Krabbe, Det Kongelige Bibliotek, København,
Elena Pierazzo, King's College, London
Eleanor Selfridge-Field, CCARH, Stanford
Joachim Veit, Universität Paderborn, Detmold

(Local) Organizers:
Johannes Kepper, Universität Paderborn
Daniel Röwenstrunk, Universität Paderborn
Perry Roland, University of Virginia

For the Program Committee and the local organizers,

Raffaele Viglianti
PhD Candidate and PG Research Assistant
Department of Digital Humanities
King's College London

Thursday, November 8, 2012

Call for POSTERS for Foundations for Excellence Conference 2013


Foundations for Excellence 2013

Environments and Models

25 – 26 February 2013

Dartington Hall, Totnes, Devon - England


The next biannual conference of Foundations for Excellence will be
held 25 – 26 February 2013. It is an opportunity for music and dance
practitioners to join together and share best practice about the
Health and Wellbeing of Young Musicians and Dancers. This year's
conference will focus on Environments and Models, what are examples of
best practise in which musicians and dancers can learn and develop
safely and what we can do to improve those environments and models.


Poster submissions detailing original research are invited from across
the performing arts and other performance disciplines. Submissions
should take the form of 500-word structured abstracts, with
information provided under each of the following headings:

· Background

· Aims

· Main contribution

· Implications

· Keywords (n=5)

Submissions should be sent to s.brewer@swms.org.uk by 14th December
2012. Indicate 'F4E 2013' in the subject line of the email.

Review process

Each submission will be reviewed anonymously by the F4E Steering Group
according to its originality, importance, clarity, and
interdisciplinarity. Corresponding authors will be notified by email
of the Steering Group's decision by 14th January 2013. Once accepted,
no changes of author or title will be permitted. Posters must be
delivered at the conference as projected in the submitted proposals or
represent bona fide developments of the same research. All presenters
are required to register for the conference.

The official language of the conference is English.

Sophie Brewer

Programmes Manager - South West Music School

PO Box 730


Devon EX1 9RA

Tel :- 01392 460770

visit www.swms.org.uk for all up-to-date information


South West Music School

registered in England as a company limited by guarantee and a charity.

Company No. 7307202 Charity No. 1138482

Registered office: Foot Anstey, Senate Court, Southernhay Gardens,
Exeter. EX1 1NT (NOT a correspondence address)

Tel: 01392 411221 Fax: 01392 685220

website: www.footanstey.com

Please consider the environment. Do you need to print this email?
This e-mail, and any attachments, are private and intended only for
the personal and confidential use of the designated recipient(s)
above. Unauthorised use, disclosure, storage or copying are
prohibited. If you are not the intended recipient, please destroy all
copies and inform the sender by return e-mail.
Although the Royal College of Music ICT Department checks emails and
attachments for known viruses and other defects, you open attachments
at your own risk. The Royal College of Music accepts no responsibility
for any loss or damage arising in any way from the receipt or use of
this message. Full contact details are found at www.rcm.ac.uk.

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Dr Evangelos Himonides
Institute of Education
University of London

Venezuela's Youth Orchestra Program El Sistema: Myths, Metaphors and Realities, Tue 13 Nov in room 944

Research Seminar Announcement

Venezuela's Youth Orchestra Program El Sistema: Myths, Metaphors and Realities

Dr Geoff Baker, Royal Holloway, University of London

Tuesday 13th November


Room 944:

Further details from Lucy Green, l.green2@ioe.ac.uk

All are welcome!

The Venezuelan youth orchestra program El Sistema has garnered much
attention and praise in recent years. It has been enthusiastically
endorsed by major musical figures - Simon Rattle described it as "the
most important thing happening in music anywhere in the world" - and
by prestigious international institutions such as UNESCO and the
Inter-American Development Bank.

Yet there is very little in the way of research on El Sistema.
External monitoring and evaluation have been largely absent, so most
writing on the topic is based on spectacular concerts, red-carpet
tours, official interviews, and information from El Sistema's PR
department. This paper represents a first attempt to examine
critically some of the claims made by and for El Sistema on the basis
of extensive research in Venezuela.

Touching on the little-known history of the program's founder, Jose
Antonio Abreu, and of the gestation of the project itself, I analyze
the notion that El Sistema is a "revolutionary social program." It is
widely reported that the program is extremely successful: on what
basis are such claims made, and to what extent are they verifiable?
After considering the relationship between orchestral metaphors and
realities, I scrutinize the musical and social education that
participants receive through orchestral training, and thus the core
idea of "music as social action." Addressing issues such as social
inclusion, discipline, democracy, and teamwork, I ask: does an
orchestra represent an ideal, harmonious society, as the program
claims? If El Sistema is a "school of social life," what sort of
society does it model?

The implications of this analysis may be significant, given that the
program has captured the imagination of music educators and policy
makers around the globe and is being enthusiastically copied in dozens
of countries, including the UK.

Geoff Baker is a Reader in the music department at Royal Holloway,
University of London. He is the author of Imposing Harmony: Music and
Society in Colonial Cuzco (Duke University Press, 2008), which won the
American Musicological Society's Robert Stevenson Award in 2010, and
Buena Vista in the Club: Rap, Reggaetón, and Revolution in Havana
(Duke University Press, 2011). His recent research encompasses
childhood musical learning and music education in Cuba and Venezuela.
He was co-investigator on the AHRC-funded project "Growing into
music," and is making a series of documentaries and short films about
young musicians in Cuba and Venezuela. He also held a British Academy
Research Development Award in 2010-11 and undertook fieldwork in
Venezuela on the country's orchestral music education program, El
Sistema. He is in the later stages of writing a book on this topic. He
is currently attached to Oxford University, working on a project
entitled "Music, Digitization, Mediation: Towards Interdisciplinary
Music Studies."

Thursday, November 1, 2012

Frontiers in Theoretical and Philosophical Psychology | Research Topics

Dear Evangelos,

In collaboration with Frontiers in Psychology, I am currently organizing a Research Topic, "Music and the embodied mind: A jam session for theorists on musical improvisation, instrumental self-extension, and the biological and social basis of music and well-being", and as host editor I think that your work could make an excellent contribution.

All of the information for this Call for Papers can be found by following the link below to the Research Topic webpage. Also, please share this Call for Papers with friends and colleagues that you feel might be interested in contributing a submission. Thanks very much!

Guest Associate Chief Editor, Frontiers in Theoretical and Philosophical Psychology

Frontiers in Theoretical and Philosophical Psychology | Research Topics

Source: frontiersin.org

Frontiers in Theoretical and Philosophical Psychology | Research Topics publishes articles on the most outstanding discoveries across the research spectrum of Theoretical and Philosophical Psychology | Research Topics.


croom@sas.upenn.edu sent this using ShareThis. Please note that ShareThis does not verify the ownership of this email address.

ULCC: Autumn Concert

ULCC: Autumn Concert

Conference: Oliver Knussen at 60 | Friday the 2nd of November | Garden Room, Barbican| 10am-6pm

Dear all,


We are delighted to announce details of a forthcoming Event as part of the Guildhall ResearchWorks series:

Conference: Oliver Knussen at 60
Friday the 2nd of November | Garden Room, Barbican| 10am-6pm

Co-hosted by the Institute of Musical Research and the Guildhall School, this one day event explores and celebrates the extraordinary achievements of one of Britain's most inspirational musicians. Speakers including Julian Anderson, George Benjamin, Arnold Whittall and Edward Venn offer their perspective on Knussen's music and his career as composer, conductor and teacher. This is an invaluable opportunity to place the music of Oliver Knussen in a wide and imaginative context before hearing repertoire performed by the BBC Symphony Orchestra and Guildhall students on Sunday 4th November at the Barbican.

Tickets: £25 (£15 students) available from:
Barbican Box Office: 020 7638 8891 www.barbican.org.uk

For details of other events as part of the series visit www.gsmd.ac.uk/research


Best wishes,



Esther Fowler

Research & Knowledge Exchange Coordinator


Guildhall School of Music & Drama

Silk Street, Barbican

London EC2Y 8DT

020 7628 2571 ext. 5104