Monday, April 28, 2014

CFP London International Piano Symposium

Forwarded message

Call for papers for the London International Piano Symposium, 13th, 14th & 15th February 2015 at the Royal College of Music
Welcome to the Art and Science of Piano Performance, an interdisciplinary symposium for the enhancement of teaching and performance in the twenty-first century.

We announce the second of the three, three-day London International Piano Symposium.  It will be held at the Royal College of Music in London on the 13th, 14th, & 15th of February 2015.  These symposia provide an opportunity to hear papers, lecture recitals and debates on piano performance by distinguished researchers and practitioners working at the shared boundaries of science and music.

All human beings, according to Oliver Sachs in Musicophilia (2007) ‘perceive music, perceive tones, timbre, pitch, intervals, melodic contours, harmony and (perhaps most elementally) of all rhythm’ (xi).  The pianist however, not only takes all these elements to construct music in his or her mind using the auditory systems and the multi-layered neural systems in the brain, but also the motoric system to enact their performance. In an ideal performance, all the elements described here function in a unitary way, but all too often there is an emphasis on the mental rather than the physical activity.  This symposium seeks hard evidence based on research at the interface between art and science which demonstrates the importance of a more unified approach to piano performance

For details please go to:

Cristine MacKie
Director London International Piano Symposium
Tel: 020 8789 6163

Sunday, April 27, 2014

Reminder: New Submission Deadline for the International Conference of Students of Systematic Musicology (SysMus14) is May 8, 2014

The Music, Mind and Brain group at Goldsmiths, University of London is pleased to host the Seventh International Conference of Students of Systematic Musicology (SysMus14) from September 18th-20th, 2014. SysMus is an annual conference organized by students for students. It provides postgraduate students opportunities to present their research as oral papers or posters and to meet and discuss their own research, while also enjoying keynote speeches by internationally renowned researchers.

SysMus14 will provide early career researchers a meeting place to communicate their research and exchange ideas and concerns, while also acting as a hub for fruitful discussions. It will serve as an intersection point for many different kinds of research and approaches related to the empirical study of music.

Systematic musicology is an umbrella term for a wide range of research on themes including, but not limited to, music perception and cognition, musical structure, music education, music therapy, music and emotion, music and language, acoustics and psychoacoustics, and computer music. Systematic musicology combines a mix of methodologies from the sciences and humanities, including empirical psychology, sociology, cognitive sciences and computing to neurosciences, acoustics and physiology.

PhD and Masters level students are invited to submit an abstract (max 350 words) by May 8, 2014 following the guidelines provided on the SysMus14 website at!sysmus-2014/cfmp. Abstracts will be subject to a double-blind peer-review by a Scientific Committee consisting of doctoral students and post-doctoral researchers representing different fields related to the study of systematic musicology. Decisions will be announced by June 20th. Talks will be 20 minutes long, followed by a 10-minute discussion; posters will be displayed throughout the conference and presented during a designated poster session.

Further information about the abstract format, important dates, registration, the venue, accommodation and travel is available online on the SysMus14 website. Any specific questions may be directed to the Organising Committee at

We are looking forward to welcoming you to London in September! The SysMus14 Organising Committee 

Friday, April 25, 2014

Vacancy: Peter Sowerby Research Associate in Performance Science

Peter Sowerby Research Associate in Performance Science

Fixed-term for one year (starting September 2014)


The Royal College of Music is one of Britain’s leading conservatoires. It provides specialised musical education and professional training at the highest international level for performers and composers.


This is a newly created fixed term post (one year) which sits within the RCM’s Centre for Performance Science (CPS), an internationally distinctive centre for research, teaching and knowledge exchange in music performance science. The post, which is funded by the Peter Sowerby Foundation, is linked to the CPS’s Performance Simulator, an innovative training facility that enables musicians to practise and refine their professional skills in interactive, virtual performance environments. The appointment will involve taking a lead role in researching and developing applications of the simulator, including designing original studies into musicians’ learning and performance and working to apply project outcomes widely across the RCM’s learning and teaching activities.


You should be an active researcher with a proven ability to manage large-scale projects, preferably within the fields of applied performance psychology and physiology (e.g. studies of heart rate variability in stress assessment contexts), and an ability to work effectively in music education and training settings.


The successful applicant should be available to start by 1 September 2014.


For further information please see the ‘Jobs and Opportunities’ section of our website at


Completed application forms should be returned to Tim Rounding at or Royal College of Music, Prince Consort Road, London, SW7 2BS.


Closing date for receipt of applications is 12 noon on Friday 16 May 2014.


Interviews will be held on Thursday 5 June 2014.


The Royal College of Music is an equal opportunities employer.

Wednesday, April 23, 2014

Youth Music charity invests £1.2m in new approaches to music in schools


23RD April, 2014






Ten pioneering ‘Exhanging Notes’ projects awarded grants to explore new collaborative approaches to music education in schools for young people at risk



The National Foundation for Youth Music today announced grants totalling £1,195,308 to support new partnerships between schools and music education providers who normally work in out-of-school settings.  Investment of up to £120,000 is being made available to music projects delivered by these new partnerships.


Projects benefiting from funding include Leeds based charity, Opera North working in Winifred Holtby Academy in Hull, Kinetika Bloco working in St Gabriel’s College, Lambeth, London, and Derbyshire Music Education Hub, which will work across the Virtual Schools Network in Derbyshire.


The ‘Exchanging Notes’ initiative aims to establish if this collaborative approach brings additional benefits for young people at risk of low attainment, disengagement or educational exclusion. Over a four year period, Birmingham City University will be undertaking a rigorous study of the ten projects to evaluate the educational, musical and other outcomes of these new models of partnerships for the pupils involved. It will also examine how the distinctive educational approaches used in schools and out-of-school settings might be combined to improve young people’s educational outcomes and encourage the exchange of ideas, practice and understanding of effective music teaching techniques between practitioners working in these different settings.


This action research project follows publication of Youth Music’s ‘Communities of Music Education’ pilot study which highlighted some of the key differences in music education experienced outside and inside the classroom. The study noted that the teaching style used in the out-of-school music projects placed an equal focus on personal and social outcomes as well as musical outcomes. The findings also indicated that partnership-working between different settings was a positive and valuable process with practitioners recognising strengths in different methods of delivery.


Derbyshire Music Education Hub, in partnership with Derbyshire ‘Virtual School’ and delivery partner organisation Baby People, was awarded a grant of £120,000 to bring care and education professionals together with specialist music providers to support children in care. The programme will use music education to improve social and emotional resilience amongst the young participants from twenty schools across the county and increase their academic achievement.   There will also be a focus group for music leaders, teachers and supporters to share learning. A toolkit with case studies, practice notes, impact, evidence and signposts will be produced.


Jayne Briggs, School Improvement Adviser, Derbyshire Music Education Hub says: “We are delighted that Youth Music is providing this opportunity for us to work with our Virtual School in an action research study, using music-making to engage and motivate young people in challenging circumstances. Narrowing the gap between the attainment of children in care and all young people is a high priority for Derbyshire. Our approach will be for our delivery partners, Baby People, to use music to harness the interests and personal passion of the young people to help drive their learning and show improvements in their attainment across the curriculum.”


Opera North and Winifred Holtby Academy, located on the Bransholme estate north of Hull, have been awarded a grant of £120,000 to work with pupils who suffer socio-economic disadvantage and face low attainment.  Opera North's approach will use the voice as a way into musical learning, with a focus on classical music styles although folk, gospel, jazz and popular genres will also be included.


Kinetika Bloco, in partnership with Sound Connections and Lambeth Music Education Hub, was awarded a grant of £120,000 to work with Saint Gabriel’s College in Lambeth, London to deliver a programme of music and leadership opportunities. Participants will receive tuition on percussion, steel pan, woodwind and brass instruments and over 600 young people will be involved. The aim of the project is to develop a Bloco in-school model which joins up formal and non-formal music-making to empower young people through activities that develop their creative life skills and transform their educational attainment.


Matt Griffith says:  “In designing the Exchanging Notes programme, we encouraged schools, music organisations and local music education hubs to work together. The range of applications we received has shown us how vibrant our music education system can be with, in many cases, very creative ideas for partnership working. We look forward to the outcome of this action research project with great excitement as it is the first time such a rigorous study of combined approaches between schools and music providers, who normally work in out-of-school settings, has been done. The results may well turn out to be of enormous significance to stimulate fresh thinking in music education and support the aspirations set out in the National Plan for Music Education.”



Further details about the grants awarded under the  ‘Exchanging Notes’ programme can be found at


 PIC ATTACHEDCaption:  Kinetika Bloco musicians lead TeamGB in the Greatest Team Parade, London 2012 Olympics





·         Youth Music believes that music-making is life-changing and the charity wants the opportunity for music-making to be available to all children.   Every year, Youth Music provides more than 90,000 young people with the chance to take part in a local music project. 


·         Many of these children and young people face challenges in their lives including coping with disability, homelessness or living in care.  Others simply need help to develop their full musical talent and potential.


·         In addition to developing musical skills, Youth Music projects help young people to develop their creative and social skills, make positive contributions to their community and live happy, successful lives. Youth Music projects work across all music genres.


·         Youth Music currently supports over 400 music projects around the country.


·         The charity knows that many more young people still need its help and continues to fundraise to realise its mission to ensure that all children and young people have access to life-changing music-making opportunities.


·         Find out more about the work of Youth Music by visiting


For enquiries about Youth Music please contact:


David O’Keeffe,

Media and PR Consultant,

Youth Music



T:   0207 902 1096

M:  07977 067576.


For the projects mentioned please contact:

1.Kinetika Bloco:


Tamzyn French

Bloco Manager

Kinetika Bloco


T: 07795142535 


2. Derbyshire Music Education Hub

Jayne Briggs

School Improvement Adviser

with responsibility for the

Derby & Derbyshire Music Partnership  -  Leading the Music Education Hub for Derbyshire

T: 01629 532871


3. Opera North

Rebecca Walsh,

Education Director

Opera North

Tel:  0113 243 9999




David O’Keeffe
Media and PR Consultant
National Foundation for Youth Music

T 020 7902 1096

M :07977 067576

website     twitter    facebook

Join us in supporting life-changing music-making.

Donate here

Suites 3-5, Swan Court, 9 Tanner Street, London, SE1 3LE
Registered charity 1075032




Fwd: Music SIG Seminar Wed 9 July, 12-1pm in room 938


Music Education Special Interest Group


Research Seminar Announcement



Images-schemas and communicative musicality in early infancy: the bodily bases of musical meaning

Isabel Cecilia Martinez, Professor at the Faculty of Fine Arts, Universidad Nacional de La Plata, Argentina, Argentina


Wednesday 9th July 2014




Room 938


Further details from Graham Welch,


All are welcome


Image-schemas are recurrent, dynamic instantiations of sensory-motor activity that bring at once “embodied” and “mental” non-conscious, emotional, preverbal meaning to human experience. It is assumed that the origins of image-schemas can be traced as far back as early infancy, emerging in the context of communicative musicality. Every-day adult-infant multimodal interactions would thus provide the enactive scenario where these embodied structures begin to develop in cognition. The talk presents the results of microanalytical data of adult-infant interaction in contexts of communicative musicality where those structures seem to emerge, and then seeks to follow through their developmental path to adult music cognition.

Isabel Cecilia Martínez carried out her PhD in Music, Psychology and Education, at the Department of Music Education, Roehampton Surrey University, UK. She is Professor at the Faculty of Fine Arts, Universidad Nacional de La Plata, Argentina, where she teaches undergraduate courses on Ear Training and Methodology of Higher Music Education and Teacher Training, and master and doctoral courses as well. She is the Director of the Laboratory for the Study of Musical Experience (LEEM) a Music Research Unit recently created at the UNLP. She leads a research team on Embodied Music Cognition, supervising MA, PhD, and post doctoral students. Her research interest focuses on embodied music cognition: perception, performance and development. She is the current President of SACCoM (Argentine Society for the Cognitive Sciences of Music).


Tuesday, April 22, 2014

Seminar announcement: Johanna Devaney and Michael Mandel in ENG 209 on 5/2/2014

Dear all,

On Friday, May 2nd at 2:00pm, Johanna Devaney and Michael Mandel, of
Ohio State University, will present two seminars back-to-back,
entitled "Analyzing recorded vocal performances" and "Strong models
for understanding sounds in mixtures", respectively, in ENG 2.09 (the
Engineering building) at Queen Mary University of London, Mile End
Road, London E1 4NS. Details of the talks follow.

Information on how to access the school can be found at If you are coming
from outside Queen Mary, please let me know, so that I can provide
detailed directions and make sure no-one is stuck outside the doors.
If you wish to be added to / removed from our mailing list as an
individual recipient, please send me an email and I'll be happy to do


Speaker 1: Johanna Devaney

Title: Analyzing Recorded Vocal Performances


A musical performance can convey both the musicians' interpretation of
the written musical score as well as emphasize, or even manipulate,
the emotional content of the music through small variations in timing,
dynamics, tuning, and timbre. This talk presents my work on
score-guided automatic musical performance analysis, as well as my
investigations into vocal intonation practices. The score-audio
alignment algorithm I developed to estimate note locations makes use
of a hybrid DTW-HMM multi-pass approach that is able to capture onset
and offset asynchronies between simultaneously notated chords in
polyphonic music. My work on vocal intonation practices has examined
both solo and ensemble singing, with a particular focus on the role of
musical training, the presence and/or type of accompaniment, and the
organization of musical materials on intonation.


Johanna Devaney is an assistant professor of music theory and
cognition at The Ohio State University. Her research applies a range
of interdisciplinary approaches to the study of musical performance,
motivated by a desire to understand how performers mediate listeners'
experience of music. Her work on extracting and analyzing performance
data, with a particular focus on intonation in the singing voice,
integrates the fields of music theory, music perception and cognition,
signal processing, and machine learning. She has released a number of
the tools she has developed in the open-source Automatic Music
Performance and Comparison Toolkit ( Johanna completed
her PhD at the Schulich School of Music of McGill University. She also
holds an M.Phil. degree from Columbia University, as well as an MA
from York University in Toronto. Before working at Ohio State, she was
a postdoctoral scholar at the Center for New Music and Audio
Technologies (CNMAT) at the University of California, Berkeley.


Speaker 2: Michael Mandel

Title: Strong models for understanding sounds in mixtures


Human abilities to understand sounds in mixtures, for example, speech
in noise, far outstrip current automatic approaches, despite recent
technological breakthroughs. This talk presents two projects that use
strong models of speech to begin to close this gap and discusses their
implications for musical applications. The first project investigates
the human ability to understand speech in noise using a new
data-driven paradigm. By formulating intelligibility prediction as a
classification problem, the model is able to learn the important
spectro-temporal features of speech utterances from the results of
listening test using real speech. It is also able to successfully
generalize to new recordings of the same and similar words. The second
project aims to reconstruct damaged or obscured speech similarly to
the way humans might, by using a strong prior model. In this case, the
prior model is a full large vocabulary continuous speech recognizer.
Posed as an optimization problem, this system finds the latent clean
speech features that minimize a combination of the distance to the
reliable regions of the noisy observation and the negative log
likelihood under the recognizer. It reduces both speech recognition
errors and the distance between the estimated speech and the original
clean speech.


Michael I Mandel earned his BSc in Computer Science from the
Massachusetts Institute of Technology in 2004 and his MS and PhD with
distinction in Electrical Engineering from Columbia University in 2006
and 2010 as a Fu Foundation School of Engineering and Applied Sciences
Presidential Scholar. From 2009 to 2010 he was an FQRNT Postdoctoral
Research Fellow in the Machine Learning laboratory at the Université
de Montréal. From 2010 to 2012 he was an Algorithm Developer at
Audience Inc, a company that has shipped over 350 million noise
suppression chips for cell phones. He is currently a Research
Scientist in Computer Science and Engineering at the Ohio State
University where he recently received an Outstanding Undergraduate
Research Mentor award. His research applies signal processing and
machine learning to computational audition problems including source
separation, robust speech recognition, and music classification and

Other upcoming C4DM Seminars:

Richard Foss (Rhodes University), Thursday 1 May 2014, 2:00pm ("The
delights and dilemmas associated with sending audio over networks")
Matt McVicar (AIST Japan), Monday 12 May 2014, 3:30pm ("Towards the
automatic transcription of lyrics from audio")
Paul Weir (Aardvark Swift Recruitment, Audio director of Soho
Productions), Wednesday 21 May 2014, 3:00pm

Aled Jones becomes Youth Music Ambassador


Press Release


22nd April, 2014





The National Foundation for Youth Music announced today that Aled Jones has become an Ambassador for the charity. Aled’s career, spanning over 25 years, has embraced singing, acting, dancing, writing as well as radio and TV presenting. 


He has become a regular face on television, most recently as presenter of ITV’s flagship morning programme ‘Daybreak’ and on the BBC’s ‘Songs of Praise’.  Aled launches his own new ITV show ‘Weekend’ this coming Saturday at 8.30am, ITV1.  He also presents a weekly Sunday music programme on Classic FM as well as his own chat show on BBC Radio Wales.


Aled says: “Music has played a huge part in my life from a very young age and has helped me to become the person I am.  Learning to sing and perform in public really helped to develop my confidence as well as my musical skills so I know how powerful it is to support disadvantaged young people as they explore and develop their creativity in making music.  Youth Music simply changes their lives.”


Youth Music’s Executive Director, Matt Griffiths says:  “We are thrilled that Aled has become one of our Ambassadors.  He combines his musical pedigree with a rare popular appeal and we know that music is in his heart.  For every child we support, we know there is at least one more waiting for our help. We are very grateful that Aled is helping us in this work to reach out to those who are missing out on the opportunity to make music.”


Aled recently talked about his reasons for helping Youth Music in a video thanking players of People’s Postcode Lottery for £100,000 in support of this work. People’s Postcode Lottery is a charity lottery and funding from players has contributed £39.9 million to good causes. Aled’s video can be viewed at


Youth Music is a national charity using music to transform the lives of over 90,000 disadvantaged children and young people every year. It supports over 400 music organisations around the country providing music-making opportunities, across all genres, for children living in challenging circumstances. These circumstances may include coping with disability or special educational needs, living in care, in poverty or in rural isolation. Projects range from supporting seriously ill young babies in hospitals to using music to help teenagers into further education or employment.


Born in Bangor, Aled Jones shot to fame as a 12-year-old for his version of Walking In The Air, the theme tune to Raymond Briggs' ‘The Snowman’.   The recording reached number 5 in the UK charts and made Aled the most famous chorister in the country.  He has recorded 29 albums, selling over 6 million copies, and has released two music-themed books, ‘Aled’s Favourite 40 Hymns’ and ‘Favourite Christmas Carols’. He has performed a variety of roles in musicals including Joseph in ‘Joseph and the Amazing Technicolour Dreamcoat’ and Caractacus Potts in ‘Chitty Chitty Bang Bang’.





Pic Attached: Caption: Aled Jones has become an Ambassador for Youth Music


Notes to Editors:




·         Youth Music believes that music-making is life-changing and the charity wants the opportunity for music-making to be available to all children.   Every year, Youth Music provides more than 90,000 young people with the chance to take part in a local music project. 


·         Many of these children and young people face challenges in their lives including coping with disability, homelessness or living in care.  Others simply need help to develop their full musical talent and potential.


·         In addition to developing musical skills, Youth Music projects help young people to develop their creative and social skills, make positive contributions to their community and live happy, successful lives. Youth Music projects work across all music genres.


·         Youth Music currently supports over 400 music projects around the country


·         The charity knows that many more young people still need its help and continues to fundraise to realise its mission to ensure that all children and young people have access to life-changing music-making opportunities.


·         Find out more about the work of Youth Music by visiting


For enquiries about Youth Music please contact:


David O’Keeffe,

Media and PR Consultant,

Youth Music



T:   0207 902 1096

M:  07977 067576.




David O’Keeffe
Media and PR Consultant
National Foundation for Youth Music

T 020 7902 1096

M :07977 067576

website     twitter    facebook

Join us in supporting life-changing music-making.

Donate here

Suites 3-5, Swan Court, 9 Tanner Street, London, SE1 3LE
Registered charity 1075032




Tuesday, April 8, 2014

Reminder - Deadline 15th April: CFP - 9th Art of Record Production Conference: Oslo Dec 4-6 2014

CFP 2014 ARP Conference

The 9th Art of Record Production Conference:

Record Production in the Internet Age

December 4-6, 2014

University of Oslo

Our conference panel is pleased to invite proposals for papers dealing with the following broad thematic areas:

A. Recording aesthetics

The short yet intensive history of record production has revealed an indisputable relationship between recording technology and the finished sound recording. Magnetic tape became a harbinger of a technological revolution in the 1950s, while digital technology made its mark on the sound of the 1980s and, in more recent years, digital audio workstation (DAW), which has had a profound effect on the musical output.

  • How do we theorise and analyse the musical output of the historical as well as the contemporary use of music technology in recording studios, as well as in concert settings?
  • What kind of recording aesthetics has grown out of the new virtual musical arenas (such as the Internet), as a consequence of new multi-medial contexts?

Of particular interest are papers that address aspects of acoustic versus electronic sound (similarities and differences, affordances, perception, use of virtual sound sources etc), studio versus laptop production, and live versus recorded formats.

B. Musical Ownership and Authorship

Contemporary culture is characterized by changing means and modes of music production, distribution and consumption. This is partly due to the new musical arenas of the Internet. A crucial issue however is the potential mismatch between these new practices and existing intellectual property law.

  •  How might we better describe and understand the relationship between law and practice? Should the jurisdiction within this field be altered?
  •  How do “alternative” notions of ownership and authorship, based on borrowing and sharing, relate to the music-economical means for survival within the music industry?
  • How is the fair use doctrine enacted in practice, what are the implications of this practice for music makers and scholars, and what should be considered to be “fair” in given contexts?

We are particularly interested in the ways in which the attribution of authorship is legitimized in cases where a music recording is a collaborative product, either in the form of a performer/producer/songwriter/engineer-collaboration or a virtual “collaboration” through music recycling. To what extent, then, is the traditional “author figure” a relevant concept in collaborative contexts?

C. Virtual archives and new platforms for distribution

The advent of digital technologies has created new environments for the distribution and reception of music. As a consequence, user patterns, music delivery platforms, distribution and business models have dramatically changed over the last decade, and continue to evolve. Among the questions addressed in this section are:

  • What are the roles of archives and how do we conceptualize this in a situation where listeners may have access to most of music history's record productions 24/7/365?  
  • How do digital platforms for online communication and distribution, such as streaming services and social media, influence the use and dissemination of music in contemporary music culture?
  • In which ways do the various digital platforms for music distribution impact on the production of music (formats, recording aesthetics, sound quality etc.)?

The relationship between professional and user-generated content in this development is of paramount importance. To this end, we ask: How do professional and user-generated services interact?

D. Music Production in a Transcultural Space

Music production, both in professional studios and home recording facilities, are increasingly implicated in transcultural contexts. Of particular relevance is the use of interactive media by musicians and groups in both regional and international contexts. In recent years, new forms of networking have afforded forming and sustaining new communities across geographical and stylistic boundaries.

  •  What are the characteristics of the musical trends, performances, production practices and approaches to recording typical of such diverse, globally distributed communities?
  • Moreover, if transculturalism emphasizes the significance of continual interactivity among certain communities, how do recordings express this? To what extent do such recordings reflect cultural diversity?
  • Is there a meaningful relationship between particular places and particular sounds? What are the musical or sonic components forming such a regional identity?

The study of record production reveals divisions based on cultural, racial, gendered, or socio-economic classifications in countless ways. This section seeks to address the fascinating phenomena of recording practices, traditions, and productions within a transcultural context.


In addition to the above themes and topics, we also welcome proposals for presentations and posters exploring aspects of music production, performances and practical demonstrations on other topics related to the Art of Record Production.

We invite contributions from any relevant academic perspective, within and outside fields, such as popular music studies, ethnomusicology, performance studies, communication and media studies, cultural studies, historical musicology, the history of technology, ergonomics, acoustics and psychoacoustics, music theory, music cognition, music and music technology education, and the philosophies of music, mediation and technology. Please include a note on methodology where appropriate, and an indication of the theme (A, B, C or D) your work is intending to address. In addition to this we would also like a short indication of your institutional affiliation.

Papers or demonstrations that require recording / studio / 5.1 playback facilities are also encouraged but selection will be subject to a feasibility study by the conference panel at the University of Oslo.

Proposals for individual papers and poster presentations should not exceed 300 words and should be in Word Document, Rich Text File or Text file formats (doc, docx, rtf or txt files).

We are using the web based tool Easy Chair to organize the submissions to ARP 2014. Please create an account and upload your submission to Easy Chair. Follow this link:

You will be asked to choose which of these 4 tracks (themes) to submit your paper to:
Recording aesthetics
Musical ownership and authorship
Virtual archives and new platforms for distribution
Music production in a transcultural space

If you have already submitted your abstract, that's fine. We will import this into the system manually.

Presenters at the conference must be members of the Association for the Study of the Art of Record Production. It costs £15 (about US$25, CAN$28, AU$28 or NOK155) for the annual subscription and you can join at: ASARP

The deadline for proposals is April 15, 2014.

Anne Danielsen                     Host of the 9th Art of Record Production Conference

Stan Hawkins                        Host of the 9th Art of Record Production Conference

Hans T. Zeiner-Henriksen    Host of the 9th Art of Record Production Conference

Katia Isakoff                           Director of the Art of Record Production Conference

Simon Zagorski-Thomas      Director of the Art of Record Production Conference