Saturday, June 29, 2013

Deadline EXTENDED to July 9 -- Musical Metacreation Workshop (MUME2013)

-------- Original message --------
From: Graeme McCaig <graeme_mccaig@SFU.CA>
Date: 29/06/2013 09:40 (GMT+00:00)
Subject: Deadline EXTENDED to July 9 -- Musical Metacreation Workshop (MUME2013)

Call for Participation -- please distribute widely

Musical Metacreation 2013
Submissions Now Due July 9

((( MUME 2013 )))
2nd International Workshop on Musical Metacreation

Held at the Ninth Annual AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment (AIIDE'13)
Northeastern University, Boston, Massachusetts, USA
October 14-15, 2013


New Deadline for Paper and Demo Submissions:
*** July 9, 2013 ***

New Info for Interested Industry Presenters:


We are delighted to announce the 2nd International Workshop on Musical Metacreation (MUME2013) to be held October 14 and 15, 2013, in conjunction with the Ninth Annual AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment (AIIDE'13). MUME2013 builds on the enthusiastic response and participation we received for the inaugural workshop in 2012, which received 31 submissions, 17 of which were accepted (a 55% acceptance rate). This year the workshop has expanded to 2 days.

Thanks to continued progress in artistic and scientific research, a new possibility has emerged in our musical relationship with technology: Generative Music or Musical Metacreation, the design and use of computer music systems which are "creative on their own". Metacreation involves using tools and techniques from artificial intelligence, artificial life, and machine learning, themselves often inspired by cognitive and life sciences. Musical Metacreation suggests exciting new opportunities to enter creative music making: discovery and exploration of novel musical styles and content, collaboration between human performers and creative software "partners", and design of systems in gaming and entertainment that dynamically generate or modify music.

MUME brings together artists, practitioners and researchers interested in developing systems that autonomously (or interactively) recognize, learn, represent, compose, complete, accompany, or interpret music. As such, we welcome contributions to the theory or practice of generative music systems and their applications in new media, digital art, and entertainment at large. Join us at MUME2013 and take part in this exciting, growing community!


We encourage paper and demo submissions on topics including the following:
    * Novel representations of musical information
    * Systems for autonomous or interactive music composition
    * Systems for automatic generation of expressive musical interpretation
    * Systems for learning or modelling music style and structure
    * Systems for intelligently remixing or recombining musical material
    * Advances or applications of AI, machine learning, and statistical techniques for musical purposes
    * Advances or applications of evolutionary computing or agent and multiagent-based systems for musical purposes
    * Computational models of human musical creativity
    * Techniques and systems for supporting human musical creativity
    * Online musical systems (i.e. systems with a real-time element)
    * Adaptive and generative music in video games
    * Methodologies for, and studies reporting on, evaluation of musical metacreations
    * Emerging musical styles and approaches to music production and performance involving the use of AI systems
    * Applications of musical metacreation for digital entertainment: sound design, soundtracks, interactive art, etc.

Format and Submissions

The workshop will be a two day event including:
    * Presentations of FULL TECHNICAL PAPERS (8 pages maximum)
    * Presentations of POSITION PAPERS and TECHNICAL IN-PROGRESS WORK (5 pages maximum)
    * Presentations of DEMONSTRATIONS (3 pages maximum)
    * One or more PANEL SESSIONS (potential topics include international and networked collaborations, evaluation methodologies, generative music in art vs. games)
    * Presentations by INDUSTRY PARTNERS

Workshop papers will be published in a Technical Report by AAAI Press and will be archived in the AAAI digital library.
Submissions should be made in AAAI, 2-column format; see instructions here:

We also invite companies involved in Musical Metacreation and its application to present their work and challenges to the MUME community. Each industrial partner selected will be given a timeslot to present/demo during the workshop. Interested industry representatives, for more info see:

For complete details on attendance, submissions and formatting, please 
visit the workshop website:
*** ***

Important Dates

Submission deadline: July 9, 2013
Notification date: August 6, 2013
Accepted author CRC due to AAAI Press: August 14, 2013
Workshop date: October 14-15, 2013

Workshop Organizers

Dr. Philippe Pasquier (Workshop Chair)
School of Interactive Arts and Technology (SIAT)
Simon Fraser University, Vancouver, Canada

Dr. Arne Eigenfeldt
School for the Contemporary Arts
Simon Fraser University, Vancouver, Canada

Dr. Oliver Bown
Design Lab, Faculty of Architecture, Design and Planning
The University of Sydney, Australia

Graeme McCaig (Administration & Publicity Assistant)
School of Interactive Arts and Technology (SIAT)
Simon Fraser University, Vancouver, Canada

Program Committee

Gérard Assayag - IRCAM-France
Al Biles - Rochester Institute of Technology - USA
Tim Blackwell - Department of Computing, Goldsmiths College, University of London - UK
Alan Blackwell - Cambridge University - UK
Oliver Bown - The University of Sydney - Australia
Andrew Brown - Queensland Conservatorium, Griffith University - Australia
Jamie Bullock - Integra Lab, Birmingham Conservatoire - UK
Karen Collins - University of Waterloo - Canada
Nick Collins - University of Sussex - UK
Darrell Conklin - University of the Basque Country - Spain
Arne Eigenfeldt - Simon Fraser University - Canada
Jason Freeman - Georgia Institute of Technology - USA
Guy Garnett - University of Illinois - USA
Toby Gifford - Griffith University - Australia
Luke Harrald - Elder Conservatorium of Music, The University of Adelaide - Australia
Bill Hsu - Department of Computer Science, San Francisco State University - USA
Robert Keller - Harvey Mudd College - USA
Nyssim Lefford - Audio Technology, Luleå University of Technology - Sweden
George Lewis - Department of Music, Columbia University - USA
Aengus Martin - Faculty of Engineering, The University of Sydney - Australia
James Maxwell - Simon Fraser University - Canada
Graeme McCaig - School of Interactive Arts and Technology, Simon Fraser University - Canada
Jon McCormack - Centre for Electronic Media Art, Monash University - Australia
James McDermott - Complex and Adaptive Systems Laboratory, University College Dublin - Ireland
Alex McLean - ICSRiM - University of Leeds - UK
Kia Ng - ICSRiM - University of Leeds - UK
Philippe Pasquier - School of Interactive Arts and Technology, Simon Fraser University - Canada
Marcus Pearce - Queen Mary, University of London - UK
Robert Rowe - New York University - USA
Benjamin Smith - Case Western Reserve University - USA
Richard Stevens - Leeds Metropolitan University - UK
Michael Sweet - Berklee College of Music - USA
Peter Todd - Indiana University - USA
Dan Ventura - Brigham Young University - USA
Ivan Zavada - Conservatorium of Music, The University of Sydney - Australia



Thursday, June 27, 2013

The First International Conference of Dalcroze Studies

The First International Conference of Dalcroze Studies


Coventry University UK, 24-26 July 2013


This event is part of the centenary celebrations of the London School of Dalcroze Eurhythmics. It will extend our understanding of Dalcroze Eurhythmics – and the relationships between music and movement more generally – from practice-based, pedagogical, phenomenological, empirical, neuro-scientific, philosophical, theoretical and historical perspectives. Connections to music performance, composition and therapy, as well as theatre, dance and the visual arts will be addressed by a wide variety of practitioners and researchers from all over the world.


For more information, go to:


Confirmed keynote speakers

Prof. Maxine Sheets-Johnstone, University of Oregon, USA

Prof. Louise Mathieu, Université Laval, Canada

Dr Selma Odom (Professor Emerita), York University, Canada

Dr Katie Overy, University of Edinburgh, UK

Dr Joan Pope OAM, Dalcroze Australia


There will be more than 80 separate events running in parallel: papers, workshops, symposia, performances and poster sessions. We will also present the exhibition Emile Jaques-Dalcroze: Music in Movement for the first time in the UK.


To book, go to:


Delegate fee- £120 (includes lunch & refreshments)





Association des Amis de Jaques-Dalcroze

The Dalcroze Society UK

Fondation Emile Jaques-Dalcroze


For information please visit the website or contact Julia Baron, 02476 888236 (email

Thursday, June 20, 2013

Researching Music, Technology & Education: critical insights


STOP PRESS / Save the dates: Conference Announcement & Call for Papers

SEMPRE Conference

Researching Music, Technology & Education: critical insights

3-4 April 2014

International Music Education Research Centre (iMerc)
Institute of Education, University of London

Conference Chairs:     Dr Evangelos Himonides, iMerc
                                    Dr Andrew King, University of Hull

Keynote speakers:      Professor Ian Cross, University of Cambridge
                                   Professor David Howard, University of York

Following the great success of its inaugural conference held by the University of Hull in 2010, this two-day conference will be hosted by the Department of Culture, Communication & Media, Institute of Education, University of London.

Although the 'musicking' humanity has been reliant on technology from the very beginning of its musical 'journey', we cannot deny that, nowadays, technology changes, develops, and its role is being redefined at a dramatically greater rate. This SEMPRE conference aims to celebrate technology's challenging role(s) and provide a platform for critical discourse and the presentation of scholarly work in the broader fields of digital technologies in:
      music composition and creation
      music performance
      music production (recording, studio work, archival and/or communication of music)
      diverse musical genres (e.g. popular, classical, world, etc.)
      real world praxial contexts (e.g. classroom, studio, etc.)
      assessment of musical development and/or assessment of performance
      computational musicology
      special educational contexts/needs

The conference will provide opportunities for colleagues to present and discuss ideas in a friendly and supportive environment, as well as to provide a meeting point for academics, scholars, teachers, and practitioners who are seeking to form connections and synergies with participants from around the world. The event will include 20 minute spoken paper presentations, poster presentations, workshops, open dialogue sessions, as well as two keynote addresses from renowned scholars (more details will become available on the SEMPRE website shortly).
Submissions for both spoken papers and posters will be structured in short-paper format (500-1000 words) and include the following information:
1. Title
2. Submission to be considered for Paper or Poster
3. Author's full name (First, Last)
4. Author's Affiliation
5. Author's Country
6. Author's Email Address
[repeat  points 3 to 6 for each individual author]
7. Abstract
8. Keyword 1, Keyword 2, Keyword 3
9. Aims
10. Methods
11. Outcomes
12. Implications (could be combined with 'Outcomes', above)
13. Acknowledgements (only if applicable, should you need to acknowledge a funding body or other body and/or individual whose support has been vital)
14. Three key references *only* (please use the American Psychological Association-APA version 6 referencing style)

All accepted, peer refereed papers will be included in a dedicated paperback volume, under the SEMPRE Conference Series imprint, published by the International Music Education Research Centre. The volume will be fully indexed and become available on all major bookstores and retailers. All conference delegates will receive a printed copy as part of their conference registration.
Some authors will be invited to contribute expanded versions of their papers for a forthcoming edited volume by a leading publisher in the field; further details will become available online (SEMPRE website) soon.

Submissions will open on 1 September 2013, on the SEMPRE website.
The hard deadline for submissions will be 31 December 2013.

For further information, please contact:
Dr Evangelos Himonides
Institute of Education
University of London
20, Bedford Way
London WC1H 0AL
United Kingdom

The Noises of Art

The Noises of Art Conference
Aberystwyth Arts Centre, 4-6 September 2013
Call for Papers/Performances & Presentations Deadline:
For both paper and virtual presentations and the Postgrad strand
July 1st 2013
Please send submissions and any queries to Sophie Bennett:

For more details please visit our website:
The conference addresses what is arguably the most prolific, varied,
and ground-breaking period in the coming together, exchange, and
mutual influence of visual art and sound-based practices (such as
music and the spoken word).
Organized by the School of Art in collaboration with the Courtauld
Institute of Art, London and Aberystwyth Arts Centre.

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Copyright © 2013 The Noises of Art Conference, All rights reserved.
Our mailing address is:
The Noises of Art Conference
Aberystwyth Arts Centre, United Kingdom
Aberystwyth, Wales SY23 3DE
United Kingdom

Tuesday, June 18, 2013

[Deadline extended] Third Annual Conference of the Society for Music Education in Ireland

3rd Annual Conference of The Society for Music Education in Ireland: The Music Education Gathering 2013 takes place 1-3 November 2013 at St. Patrick's College, Drumcondra (Dublin).  This unique event brings together the largest forum of international and national speakers on Music Education held in Ireland since the mid-1990s, including David Elliot (Canada/US), Harry White (Ireland), Sheila Woodward (South Africa/US), Mícheál Ó Súilleabháin (Ireland), Marie McCarthy (Ireland/US) and Keith Swanwick (UK). Representing the third annual conference of the Society for Music Education in Ireland, The Music Education Gathering 2013 will include keynote papers, music making workshops, showcase concerts, research papers and informal music happenings.  It will coincide with The Fidelio Trio Winter Music Festival, also at St Patrick's College 1-3 November featuring the London-based world renowned ensemble The Fidelio Trio with special guests.

Further details, including instructions for submission of proposals can be viewed on the SMEI website

Please note that the submission deadline has been extended to 31 July 2013

Tuesday, June 11, 2013

AHRC Collaborative Doctoral Awards at Sheffield

TWO AHRC-FUNDED DOCTORAL STUDENTSHIPS: Music, place and people: investigating the impact of Western classical music provision and attendance in two English cities


The Department of Music, University of Sheffield is pleased to announce two doctoral studentships under the AHRC's Collaborative Doctoral Awards scheme, in conjunction with Music in the Round (MitR) and the City of Birmingham Symphony Orchestra (CBSO). Students will be supervised by Dr Stephanie Pitts and their work will fall within the remit of the Sheffield Performance and Audience Research Centre (SPARC). The studentships will begin on 1st October 2013, and can be taken as full-time (3 years) or part-time (6 years) registration.


Project overview

The Music, Place and People project seeks to understand the place of Western classical music providers in two contemporary English cities, by investigating the factors currently affecting the cultural provision and impact of the two partner organisations' work, and their remit within their home cities of Sheffield and Birmingham.


The context in which both Music in the Round (MitR) and the City of Birmingham Symphony Orchestra (CBSO) operate is a rapidly changing one, encompassing shifts in public funding, demographic profiles, changes throughout the education system and an increased foregrounding of digital distribution of all kinds of music. Both organisations have a wide musical remit, within which Western classical music is the most prominent feature of their programming; both have worked hard in recent years to broaden the demographic of their audience and to offer events in new formats, such as MitR's 'Pay What you Want' concert and CBSO's 'Friday Night Classics'. Both recognise, however, that while these initiatives might have

short-term effects on attendance and box office income, there is a need for a more radical examination of contemporary attitudes to Western classical music. This project aims to provide such investigation, shedding light on the place of these

organisations within the cultural life of their cities, and asking broader questions about the cultural and social value of live classical music listening for current, potential, and absent listeners:


1.      How does live music listening relate to other arts/leisure activities for regular audience members at CBSO/MitR?

2.      What are the attitudes to Western classical music expressed by non-attenders? How are these affected (or not) by the place of CBSO/MitR in their home cities?

3.      How can existing methods of audience research be developed to capture the experience of infrequent or non-attenders more effectively?

4.      How could these arts organisations and others like them adapt to their circumstances, in relation to social media, local demographics, changes in live/recorded listening habits?

5.      Where does the future of Western classical music lie in these two cities and beyond?

The starting point for both studentships will be a mainly qualitative investigation of the existing provision and perceptions of the partner organisations in their home cities, through questionnaires, interviews and focus groups with existing audience

members, city officials (Council, Education Dept etc), and other leisure groups and audiences. Comparisons will be made by the end of the first year across the two cities and types of classical music provision (chamber/orchestral), to analyse

factors shaping the attitudes, attendance habits and experiences of local residents and to theorise more widely about the future of live classical music listening in relation to previous research. From this initial groundwork, the students will be

expected to define more challenging questions for the remainder of their doctoral studies, and it is anticipated that the two projects could take quite different directions after their first year of shared focus and investigation. Possibilities could

include 'audience exchanges' with other arts providers in the cities, the use of life history research to establish the factors that draw people into or away from classical music, and the exploration of digital media as a way of engaging new audiences.


This project will contribute to knowledge by addressing current challenges in research and practice: how to attract new audiences to classical music (Dobson & Pitts, 2011; Kolb, 2001; Arts Council England, 2011), how to capture the experience of live arts attendance through more sophisticated research tools (Radbourne et al., 2011) and how to respond to changes in technology in promoting audience engagement (Wall & Long, 2012; MTM London, 2010). It will enable knowledge exchange between the partner organisations and others, and so demonstrate the value of research in supporting arts engagement and understanding.


The studentships

One student will be appointed to work closely with each partner organisation, who will provide workplace experience in marketing, audience development and/or educational work, as well as free access to concerts or events that are relevant to the research. 


The timescale outlined below illustrates how the two students will be

encouraged to work in parallel for their first year, gathering extensive and rich data

about the perceptions of the two organisations across their cities, before defining

independent research questions in the second and third year of their studies:


Year 1



Student 1 attached to MitR

Student 2 attached to CBSO

Both engaging in regular work placements and initial fieldwork, including interviews with current audiences, city officials, other leisure groups in the city

Reporting &



Regular meetings in the university and MitR/CBSO

Six monthly reports to MitR/CBSO governance

End of Year 1 presentation at Graduate Study Day and at MitR annual conference


By end of year 1: both students to have compiled a report on their organisation, addressing preliminary research questions and identifying a focus for continued investigation. Plan for Year 2/3 of PhD to be approved as part of confirmation process in university, and to be agreed with partner organisations.

Year 2


Students now working more independently, still

attached to 'their' organisation but pursuing research questions defined at end of Year 1. These should include more innovative methodologies, attempts to reach previously silent constituents in audience research, theoretical frameworks drawn from interdisciplinary literature.

Example: The student working with CBSO could

investigate perceptions of Western classical music

amongst the BME community, by carrying out

fieldwork in contexts where this audience is more

prevalent, and conducting life history interviews to find out how attitudes to music are shaped by school and home.

Reporting &



Regular meetings in the university and MitR/CBSO

Six monthly reports to MitR/CBSO governance

Presentation at a national conference e.g. Society for Education Music and Psychology Research (SEMPRE) Jointly written article based on first year data collection.


By the end of Year 2, both students to be working on independent questions, and to be networking across each city to broaden the scope and reach of their work. Data will have been collected that is sufficient to make recommendations to the organisations, with some of these to be implemented in Year 3 for evaluation by the completion of the project.

Year 3


Students now working towards completion and writeup, monitoring the effects of any intervention studies and consulting beyond the partner organisations to understand the wider relevance of their work.

Example: The student attached to MitR could have identified a need for greater online presence for the organisation, and be working on evaluating initiatives in this area, through comparisons with other organisations and theories of community and attachment.

Reporting &



Regular meetings in the university and MitR/CBSO

Six monthly reports to MitR/CBSO governance

Presentation at an international conference e.g.

International Conference on Music Perception and

Cognition (ICMPC).  Students to run a professional conference in Sheffield to report work to Arts Council and other organisations.


Successful completion of PhDs at end of Year 3.

Reports to professional networks.

Academic publications (beyond the end of the project) to include journal articles and jointly authored book.

Expected change to practice in partner organisations, meeting the remit to understand, articulate and promote the place of classical music in contemporary society.


Since the student working with CBSO will need to spend substantial periods of time in Birmingham for data collection, it may be appropriate for that person to be resident there and to travel to Sheffield for monthly supervision meetings. Both students will be required to participate in the five graduate study days run by the department during each academic year, and in the Doctoral Development Programme which supports all postgraduate research students in assessing and fulfilling their training needs.  Costs of travel between Birmingham and Sheffield as necessary will need to be met from within the AHRC grants, which include an additional annual payment of £550 towards the costs of travelling to and working with the external partners.


Financial information

In the 2013-14 academic year, full-time awards provide a maintenance grant payment of £13,726, plus payment of standard tuition fees. The studentship is available to support three years' full-time work, subject to satisfactory progress, and can be taken on either a full-time or a part-time basis. For further details, please see the AHRC Student Funding Guide:


Criteria and application process

Successful applicants will need to show evidence of a clear interest in this area of research, training and experience (preferably at Masters level) in data collection and analysis, excellent writing skills, and an exciting and realistic vision for the three years of the project.  Please apply by sending a covering letter addressing these points and a CV giving full details of relevant academic and practical experience; you should also arrange for two references to be submitted by the closing date of 1st July 2013.  Interviews will be held in Sheffield on Friday 12th July.


Address for applications:

Email (preferred) –

Post – Dr Stephanie Pitts, Department of Music, University of Sheffield, 34 Leavygreave Road, Sheffield, S3 7RD


Links and further information


MitR -


University of Sheffield, Department of Music –

Thursday, June 6, 2013

Mechanical Musical Instruments Conference, 7th & 8th July, Guildhall School



Dear all,


Please find details below of our forthcoming ResearchWorks conference, Mechanical Musical Instruments and Historical Performance.

Sunday 7 & Monday 8 July Ÿ Lecture Recital Room, Guildhall School of Music & Drama

This two-day conference on Mechanical Musical Instruments and Historical Performance at the Guildhall School will include keynote speaker Peter Holman, Arthur Ord-Hume, performances by Guildhall students and professionals and a visit to the Colt Clavier Collection.

The conference fee is £40, however concessions are available to NEMA members and staff and students of the Guildhall School.

All bookings can be made via the NEMA website at:


For further information on the conference, contact Emily Baines at