Thursday, January 28, 2016

Fwd: Postdoc at Durham: Interpersonal Entrainment in Music Performance

We are currently inviting applications for a two year postdoctoral position at Durham University to work on musical entrainment. Please see details below: to apply, go to

Martin Clayton and Tuomas Eerola

Durham University




Post: Post-Doctoral Research Associate


Department of Music

Contract Type:

1.0 FTE Fixed Term for 2 years


Grade 7 £31,656 – £33,574

A Postdoctoral Research Associate position is available to pursue research in the field of entrainment within Durham University's Music Department. The position is associated with the project 'Interpersonal Entrainment in Music Performance', which is funded by the Arts and Humanities Research Council (AHRC) and designed to explore the dynamics of interpersonal coordination in music performance, its perception, and its cross-cultural variability. The project includes two workshops at Durham and a final conference at Sydney, and also involves a number of visiting researchers staying for periods in Durham, sharing materials and discussing research methods. The successful applicant will work directly with Professors Martin Clayton and Tuomas Eerola, and will be expected to take an active role in the operation and development of the research and in the research team's collaboration. The role will also involve working with our project partners, Prof. Antonio Camurri (Casa Paganini – InfoMus, Genoa) and Prof. Peter Keller (MARCS Institute, University of Western Sydney), including the opportunity to spend time as a visiting researcher at these institutions, and to work with a number of visiting researchers. The post-holder will be expected to contribute to the dissemination of the research through contributions to publications and through attendance at global conferences, and will have opportunities to gain experience in teaching and supervision. The post is fixed term for a duration of 24 months, with an expected start date of 1

st April 2016.

More details about the project:

Contact for informal enquiries: Professor Martin Clayton,


The successful candidate will take a prominent role in two aspects of the research, working closely with Professors Martin Clayton and Tuomas Eerola as well as with our partners and visiting researchers, technician and administrator.

(1) Working on the analysis of interpersonal entrainment in music performance, employing appropriate methods to investigate audiovisual recordings of performances.

(2) Developing cross-cultural analyses that take into account these entrainment analyses as well as the ethnographic context of the musical genres under consideration.

In addition, the post holder will be expected to:

 Use initiative and creativity to identify areas for research, develop new research methods and extend the scope of the research project.

 Work effectively, both independently and as part of a research team, in dealing with problems that may affect the timely achievement of research objectives.

 Disseminate methods and findings both within the project team and externally, for instance through conference presentations and publications.

 Take an active interest in the management of the project, contributing to project meetings and workshops and engaging with colleagues (including in the context of visits to partner institutions).

 Liaise with research colleagues and make internal and external contacts to develop knowledge and understanding and to form relationships for future research collaboration.

 Contribute to undergraduate teaching and postgraduate supervision in appropriate areas, to an extent consistent with both their career development needs and the successful pursuit of the research project.

Person Specification


1. A PhD in music, ethnomusicology, music psychology, or another relevant field (awarded by the date of appointment)

2. Experience in analysis of audiovisual recordings

3. Experience in computational feature extraction and time-series analysis techniques

4. Demonstrable interest in cross-cultural music research

5. Experience in presenting research results at conferences

6. Ability to work successfully within a team environment


1. Experience of carrying out empirical studies of interpersonal entrainment

2. Experience in preparing research papers for publication in peer-reviewed global journals

3. Knowledge of appropriate computing environments and of statistics

4. Awareness of methodological and ethical issues in ethnomusicology

Additional Information

Applications are particularly welcome from women and black and minority ethnic candidates, who are under-represented in academic posts in the University.

Please note that interviews will be held on Monday 7

th March 2016.

Tuesday, January 26, 2016

Fwd: ICMPC14 abstract submissions extended: due Monday Feb. 1

Thank you everyone for the 550+ abstracts that have been submitted on time! Unfortunately, the submission portal closed slightly earlier than anticipated and to rectify this situation (and for those who would still like to participate), ICMPC14 abstracts may be submitted through next Monday: February 1, 2016.

Submit your abstract here:

Also, don't forget to friend us on Facebook:
Or follow us on Twitter: @icmpc14

For questions & comments, contact the organizing committee:

We look forward to seeing you at ICMPC14!


The Organizing Committee

Monday, January 18, 2016

War, Exile and the Music of Afghanistan: The Ethnographer’s Tale



War, Exile and the Music of Afghanistan: The Ethnographer's Tale

Thursday 21 January at 10.00 am (tea & coffee served from 9.30 am)

Anthropology Library and Research Centre, British Museum


The British Museum's Anthropology Library and Research Centre, in conjunction with the Royal Anthropological Institute, is pleased to present 'Reviewer meets Reviewed', a discussion between Prof John Bailey author of War, Exile and the Music of Afghanistan: The Ethnographer's Tale, and Dr Nichola Khan, who will review the book for the Journal of the Royal Anthropological Institute.

Arranged chronologically, the book traces the sequence of political events – from 1978, through the Soviet invasion, to the coming of the Taliban and, finally, the aftermath of the US-led invasion in 2001. Baily examines the effects of the ever-changing situation on the lives and works of Afghan musicians, following individual musicians in detail. At the heart of his analysis are vignettes of ten musical personalities – some of friends, and some newly discovered. The result is a personal memoir by an ethnomusicologist known for his deep commitment to Afghanistan, Afghan musicians and Afghan musical culture.

Bookings/enquiries: Ted Goodliffe (

Location : Anthropology Library, British Museum
Great Russell Street
United Kingdom

Friday, January 15, 2016

Fwd: Research Seminar Announcement - Music Education Special Interest Group - Monday 7th March 2016

Music Education Special Interest Group


Research Seminar Announcement


"The effect of the medium of communication on remote instrumental music lessons"


Dr Sam Duffy, Cognitive Science Research Group, Music Cognition Lab, Queen Mary, University of London


Monday 7th March 2016


Room: 944


Further details from Lucy Green,


All are welcome


A common way to learn to play a musical instrument is through regular one-to-one lessons with an experienced musician. However musicians travel frequently to perform and temporary separation of a tutor-student pair can occur at critical times, such as prior to an important audition or exam. Some students in geographically isolated locations find it difficult to access the level of expertise they need for their instrument, making it difficult to fulfil their potential. A solution to these problems is to conduct remote lessons through videoconference, however the medium changes the nature of communication in ways which impact directly on lesson interaction.


Sam will provide an overview of her doctoral studies in this area, using video-ethnography to compare student-tutor interaction during 'same room' or co-present one-to-one instrumental lessons to remote lessons mediated by videoconference. A key finding from this work is that the small fragments of music which are characteristic of this type of teaching interaction are managed conversationally, and themselves take on characteristics of conversation turns. Hence a significant effect of changing the medium of communication to video for a remote lesson is the impact on lesson dialogue, including the musical contributions. Changes in spatiality and non-verbal interaction are also considered, for example rather than the 'face-to-face' configuration enforced by videoconference, alternative technology to support remote music tuition could instead be based around the joint focus of the co-present lesson interaction, the shared music score.


Sam's research interests include examining the interaction between musicians in different contexts such as performance, education and social music making; the impact that can be achieved through music in a community; and how technology can be used to transform these interactions. Her thesis "Shaping Musical Performance Through Conversation" examined the effect of remote teaching technology on student-tutor interaction during one-to-one instrumental music lessons. Sam was 
Creativeworks London Researcher in Residence at the London Symphony Orchestra in 2015, using qualitative methods to examine the practice of impact evaluation by Project Managers working at the London Symphony Orchestra's education and community programme, LSO Discovery.  Based in the Cognitive Science Research Group and the Music Cognition Lab at Queen Mary University of London, Sam is currently working on an interdisciplinary project with the London Sinfonietta to investigate new ways of bringing participatory music education to children, using a game based iPhone app based on the piece Clapping Music, by the minimalist composer Steve Reich.



Tuesday, January 12, 2016

Fwd: Funded PhD in Machine Listening / Music Informatics at Queen Mary University of London

> Dear all,
> A funded PhD place in the fields of machine listening / music informatics is available at the Centre for Digital Music, Queen Mary University of London.
> Full details below, or at .
> Best,
> Emmanouil Benetos
> Funded PhD studentship in Machine Listening / Music Informatics at the Centre for Digital Music, Queen Mary University of London
> Applications are invited from all nationalities for a funded PhD Studentship starting Autumn 2016 within the Centre for Digital Music (C4DM) in the fields of machine listening / music informatics.
> RESEARCH PROJECT: PhD applications are invited that address one of the following topics:
> - Recognition and Separation of Musical Instruments in Polyphonic Audio: The goal of this project is to develop computational techniques for automatic identification/separation of multiple instruments in music signals, as well as instrument assignment – i.e. assigning detected notes to a specific instrument.
> - Sound Event Detection in Multisource Environments: This project will focus on detecting sound events from everyday acoustic scenes. The successful candidate will research and develop computational methods suitable for detecting overlapping acoustic events in noisy and complex environments.
> - Music Language Models for Audio Analysis: The goal of this project is to develop language models for polyphonic music and integrate them to systems for analysing music signals (e.g. automatic music transcription, chord estimation), in a similar way that spoken language models are combined with acoustic models for automatic speech recognition.
> SKILLS: Candidates must have a first-class honours degree or equivalent, and/or a good MSc Degree in Computer Science, Electronic Engineering, Music/Audio Technology, or a related discipline. Knowledge of digital signal processing and/or machine learning is desirable, as well as programming experience in, e.g. MATLAB, Python, Java, C++ or similar. Experience in research and a track record of publications is advantageous. Formal music training is also desirable for the 3rd topic. There is scope to tailor the research to the interests and skills of the successful candidate.
> SUPERVISION: The candidate will be supervised by Dr Emmanouil Benetos ( The project will be based in the School of EECS, and the student will join a group of around 60 full-time PhD students, post-doctoral researchers and academics in the Centre for Digital Music (, a world-leading multidisciplinary research group in the field of Music & Audio Technology.
> FUNDING: The studentship is for 3 years, and covers student fees as well as a tax-free stipend of 16,057 GBP per annum.
> To apply, please follow the on-line process at (; click on the list of Research Degree Subjects, select 'Electronic Engineering' in the 'A-Z list of research opportunities', and follow the instructions on the right-hand side of the web page.
> Please note that instead of the 'Research Proposal' we request a 'Statement of Research Interests'. Your statement should answer two questions: (i) Why are you interested in the topic described above? (ii) What relevant experience do you have? Your statement should be brief: no more than 500 words or one side of A4 paper. In addition we would also like you to send a sample of your written work (e.g. excerpt of final year dissertation or published academic paper). More details can be found at: . Informal enquiries about the studentship can be made by email to Dr Benetos (
> The closing date for the applications is 29 February 2016; interviews are expected to take place during March 2016.
> --
> Dr Emmanouil Benetos
> RAEng Research Fellow, Lecturer
> Centre for Digital Music
> School of Electronic Engineering and Computer Science
> Queen Mary University of London
> Tel: +44 (0)20 7882 7986

Fwd: ICMPC14 Abstracts due soon

Don't forget! ICMPC14 abstracts are due soon: January 22, 2016.

Submit your abstract here:

Also, don't forget to friend us on Facebook:
Or follow us on Twitter: @icmpc14

For questions & comments, contact the organizing committee:

We look forward to seeing you at ICMPC14!


The Organizing Committee

Fwd: NIME 2016 – 3rd Call for Participation

NIME 2016 – 3rd Call for Participation

NIME (New Interfaces for Musical Expression) is the premier conference in designing human-machine interfaces and interactions for musical performance. NIME gathers researchers and practitioners together for lectures, installations, concerts, and workshops.
NIME 2016 will be held in Brisbane, Australia, from 11-15 July 2016.
Web site:
Call for Participation
Submission of new work for presentation at the conference is invited in the following categories:
    •     Papers and Posters
    •    Performances, Installations and Exhibitions
    •    Demonstrations
    •    Workshops and Unconference day activities

Important Dates
    •    Submission: January 25, 2016.
    •    Review notification: March 28, 2016
    •    Camera-ready paper/program note deadline: April 18, 2016

Theme and Process
The thematic focus of this year's conference is Musician & Machine. Submissions that extend, stretch, or challenge the NIME topics and themes, are also welcome. Submissions should be made at the dedicated submission site.
This year all submissions (including papers) are encouraged to include a short video, that assists in demonstrating the research claims, performance aesthetic, quality of demonstration, etc. Papers, video or program notes from all accepted submissions will be published in the conference proceedings, under an ISSN/ISBN reference, and will be archived online after the conference to be tracked by citation tools.
All submissions will be subject to a peer review process by an international expert committee. Given the new focus on accompanying video documentation, the review process will be single-blind for all categories (this means the author's identities will be known to the reviewers, but the reviewers will remain anonymous).
In addition to submissions that address the specific theme (Musician & Machine) of this year's edition of the conference, original contributions are encouraged in, but not limited to, the following topics:
    •    Novel controllers, interfaces or instruments for musical expression
    •    Augmented/hyper instruments
    •    Novel technologies for collaborative performance
    •    Theoretical or philosophical discussions about performing with new interfaces
    •    Sensor, actuator technologies, haptic and force feedback devices
    •    Explorations of the relationship between motion, gesture and music
    •    Interfaces for musical expression for people with special needs
    •    Musical applications of robotics
    •    New performance paradigms for mobile music technologies
    •    Musical mapping strategies
    •    Embedded musical instruments and embedded sound art installations
    •    Interactive sound art and installations
    •    Musical human-computer interaction
    •    Interface protocols and data formats
    •    Performance rendering and generative algorithms
    •    Machine learning in musical performance
    •    Artistic, cultural, and social impact of NIME technology
    •    User studies and evaluations of new interfaces for musical expression

More information
Visit the NIME 2016 web site ( for further details about the conference and submission requirements.

We hope to see you at NIME 2016.

Monday, January 11, 2016

Fwd: Second Call for Participation: Workshop on Auditory Neuroscience, Cognition and Modelling

Dear All (with apologies for cross-posting),

On February 17th, 2016, a workshop on Auditory Neuroscience, Cognition
and Modelling will be held at Queen Mary University of London. We aim
to bring together cognitive scientists, neuroscientists and computer
scientists working on sound and music processing, as well as
researchers from related fields. In particular, we are interested in
fostering interdisciplinary collaborations between psychologists and
neuroscientists studying auditory perception and computer scientists
and engineers engaged in auditory modelling and signal processing. New
insights on the computational, cognitive and neural underpinnings of
speech, music and sound processing will be presented, with a focus on
EEG and MEG data analysis. The workshop will provide an opportunity
for researchers to gain a deeper understanding of current research
methods and to foster multidisciplinary collaborations.

Further information is available on the website:

Registration is free but mandatory and can be done here:

== Call for Abstracts ==

We invite you to submit an abstract for poster presentation. A subset
of the submissions will be selected for oral presentation. We welcome
all submissions addressing the processing of sound and music from a
cognitive/neuroscientific or computational perspective. Please send your
submission in a text file (.txt, .rtf or .doc) to, containing the following information:

1) Title
2) Author names
3) Author affiliations
4) Corresponding author's email address
5) Abstract (max. 400 words)

The deadline for submissions is January 17th, 2016.

We look forward to receiving your registrations and paper submissions.

The organising committee:

Marcus Pearce
Emmanouil Benetos
Yvonne Blokland

Music Cognition Lab, Queen Mary University of London

Fwd: CfP - Inaugural Issue of the Journal of Creative Music Systems

Dear all,

this is a reminder of the CfP for the inaugural issue of the Journal of Creative Music Systems.
Deadline for submission of papers: 31st January 2016

Call for Papers - Inaugural Issue                                                              
Journal of Creative Music Systems (

The Journal of Creative Music Systems (JCMS) is a new open-access journal publishing peer-reviewed articles on computational creative systems in the domain of music. JCMS is intended to serve as a forum for scholarly dialogue regarding the most important emerging issues in the field.

JCMS is intended to focus on computer systems which generate, perform or analyse music, and which either demonstrate a distinct degree of creativity or which shed light on the nature of creativity. Both empirical articles, which focus on the design and implementation of new techniques; as well as theoretical papers, which investigate the scientific and philosophical foundations of music-creative systems, are encouraged. In recognition of the inherent interdisciplinarity of the field,  JCMS  encourages  submission of articles at the intersection of different disciplines, such as music (theory, analysis, history), artificial intelligence, music information retrieval (MIR), cognitive science, evolutionary theory, mathematics and philosophy.

For the journal's inaugural issue, topics of submissions may include, but are not limited to:

Computer Systems
  • systems capable of generating music;
  • systems capable of performing music;
  • systems capable of (online) improvisation;
  • systems capable of analysing music;
  • robotic systems;
  • systems implementing societies of virtual musicians;
  • systems that enhance the musical creativity of human users;
  • music recommendation systems;
  • systems implementing computational aesthetics, emotional response, novelty/originality;
  • surveys of state-of-the-art techniques in the area;
  • validation methodologies;
  • philosophical/mathematical foundations of creative music systems;
  • evolutionary models for music creative systems;
  • cognitive models for music creative systems;
  • studies on the applicability of music-creative techniques to other research areas;
  • new models for improving music creative systems.
Types of Submissions
JCMS accepts articles, research reports, reviews and tutorials. Articles should make a major theoretical or empirical contribution to knowledge. Research reports should describe research which is in a preliminary phase. Reviews provide critical commentary on scholarly books, articles and events such as conferences relevant to the field. Tutorials are intended to illustrate new technologies relevant to CSMC.

Deadlines for Inaugural Issue
  • Submission of papers: 31st January 2016
  • Reports from referees sent to authors: 31st March 2016
  • Submission of revised papers: 15th April 2016
  • Expected publication date: May 2016
Submission Instructions
Please visit the JCMS website ( for a description of the journal, instructions to authors and submission guidelines.

Further Information
For any enquiries, please contact Valerio Velardo, Associate Editor, at 

Best wishes,
Valerio Velardo

University of Huddersfield inspiring tomorrow's professionals.

This transmission is confidential and may be legally privileged. If you receive it in error, please notify us immediately by e-mail and remove it from your system. If the content of this e-mail does not relate to the business of the University of Huddersfield, then we do not endorse it and will accept no liability.

Learning to Compose and Improvise in an Oral Tradition: Cognitive Aspects of Indian Music

Learning to Compose and Improvise in an Oral Tradition: Cognitive Aspects of Indian Music

Principle Supervisor: Professor Richard Widdess (SOAS)

Co-Supervisor: Professor Susan Hallam (IOE)

While there has been considerable psychological research on the ways that musicians learn to play and perform, almost all of this research has been conducted in a Western musical context. Meanwhile ethnomusicological research has not extensively benefited from or contributed to the insights of music psychology. This means that we do not have a comparative, culture-sensitive understanding of how musical structure and creativity are learned in different cultures and musical systems.

The high dependence on writing in Western classical music makes it an untypical case. In North Indian classical music, most teachers avoid or strictly limit the use of writing and verbal explanation, instead requiring the pupil to memorise extensive materials, and to compose and/or improvise new material that is grammatically and stylistically acceptable. The cognitive processes involved in learning to perform and create music should be particularly apparent in this context.

The successful candidate will work with teachers and students of North Indian classical music, in India and/or the UK, focussing on vocal music, and on the development of musical schemas and improvisation skills in students at different stages of learning. Applicants should have a background in  ethnomusicology, music cognition or music education.

Candidate Requirements

Candidates should have or expect to have a Master's degree in ethnomusicology, music psychology or music education. Research training will be tailored to the candidate's needs and background, drawing on the expertise available in SOAS and the Institute of Education. Language training is available in SOAS.

Due to funding restrictions, this position is only open to candidates classified as 'Home/EU' student for fee purposes.

We aim to interview shortlisted candidates in the week beginning  Monday 4th April 2016.  If possible, candidates will be given one week's notice for interview. Online interviews can be arranged.

Key References

Durán, L., Magriel, N., and Baker, G., (2011), Growing into music: Musical enculturation in oral traditions.

Hallam, S. Cross, I & Thaut, M. (2009) 'Where now?' In Hallam, S. Cross, I & Thaut, M. (eds) The Oxford Handbook of Music Psychology (pp561-568) Oxford: Oxford University Press.

Snyder, Bob (2000), Music and memory (Cambridge, Mass.: MIT Press).

Widdess, Richard (2011), 'Dynamics of melodic discourse in Indian music: Budhaditya Mukherjee's ālāp in rāg Pūriyā-Kalyān', in Michael Tenzer and John Roeder (eds.), Analytical and cross-cultural studies in world music (2; New York: Oxford University Press), 187–224.

Widdess, R. (2013), 'Schemas and improvisation in Indian music', in M. Orwin, Howes, C. and Kempson, R, (ed.), Language, music and interaction (London: College Publications).

Further details about the project may be obtained from:

Principle Supervisor: Professor Richard Widdess (


Co-Supervisor: Professor Susan Hallam (


Further information about PhDs at SOAS is available from:

Application forms and details about how to apply are available from:

Applicants should follow two steps

STEP 1:  Apply for the MPhil/PhD Music (

Applicants must submit a COMPLETE on-line application for admission to the MPhil/PhD Music as soon as possible but no later than the scholarship deadline (17:00 UK time, Friday 4th March 2016).

A complete application for admission includes transcripts, an explanation of the grading system for any degrees obtained outside of the UK, two references, CV, research proposal and a personal statement.

Please state in the application for admission that you wish to be considered for the Bloomsbury Colleges scholarship on 'Learning to compose and improvise in an oral tradition: cognitive aspects of Indian music'.  Your research proposal should take account of the project title and outline above, and indicate how you would aim to carry out the research. In your personal statement, please indicate why this project interests you, and in what ways you are qualified to undertake it.

The panel will be considering your scholarship application TOGETHER with your online application for admission.

For any queries regarding the programme application procedure, please see or email

STEP 2: Apply for the scholarship

You must apply for this scholarship via the on-line scholarship application form

For any queries regarding the studentship application procedure, please email

For any queries regarding the project, please email the Research Tutor, Department of Music: Prof. R. Widdess,

Closing date for application is:

Friday 4th March 2016, at 5pm

Thursday, January 7, 2016

MET2016: Music Education Technology CONFERENCE LONDON MARCH 2016


Dear all,

due to an overwhelming last minute response, we have decided to extend the deadline for submissions to MET2016 until *11 January 2016*.
Please spread the word widely. This 3rd conference on Music-Education-Technology is promising to be a very exciting follow up to the extremely successful conferences held in the past.

dates: 14–15 March 2016
venue: Senate House, University of London


*We are delighted to report that Paul White and Hugh Robjohns from Sound on Sound magazine will offer a Q&A session during which conference participants will be able to discuss various issues related to Music Technology, the industry, equipment, installation, production, as well as education. More details will follow closer to the event.*

You are particularly encouraged to forward this message to postgraduate students and researchers, as Sempre conferences aim to offer a supportive environment for developing researchers and teachers to present their work, network, and learn.

We are looking forward to seeing you in London in March.

On behalf of the conference organisers,

Dr Evangelos Himonides
Reader in Technology, Education & Music
University College London

Fwd: Announcing An Interdisciplinary Seminar - Performance, Subjectivity and Experimentation in Artistic Research (24-25 February, Ghent, BE)

ORCiM Seminar 2016
Performance, Subjectivity and Experimentation in Artistic Research
An Interdisciplinary Seminar
24-25 February 2016
Orpheus Instituut, Ghent (Belgium)


The arts of the twentieth and twenty-first centuries have pushed us relentlessly to question inherited notions of the self, expression and communication: to ask ourselves, again and again, who we think we are and how we can speak meaningfully to one another. Increasing globalisation and the development of recording and photographic technologies, running alongside psychoanalytical understandings of selfhood and the impact of scientific principles of uncertainty, are often theorized as having prompted a crisis of identity, representation and authenticity. At the same time, the throwaway playfulness of pop culture and digital manipulation offer endless possibilities for self-reinvention. It is perhaps harder than ever to know who 'I' am, but 'I' am ever more self-aware. The fluid, dynamic, embodied and contingent qualities of subjectivity are experienced on an everyday basis.

Within arts practice, a 'performance turn' has allowed for a stronger focus on the production and experiencing of subjectivity in the context of live events: as ephemeral, dynamic, contingent and embodied, resisting conceptualisation into a stabilised notion of an artwork.

The aim of this seminar is to examine examples of such practice. The event will feature presentations, performances and installations by artist-researchers from across Europe  –  whose work relates to these questions:
  • How is subjectivity is instantiated and embodied in performance?
  • How does the activity of performance reflect and shape our understanding of felt experience?
  • How do the dynamic relationships between performer, materials, and context constitute the production of subjectivity?
  • How do these issues relate to understandings of creativity and identity?


The seminar will open at 13:00 on February 24th, 2016, and close at 16:00 the next day.
The event will feature presentations, performances and installations by artist-researchers from across Europe and a Keynote lecture by Deniz Peters (University of Music and Performing Arts Graz), titled: Out of the Self – Into the Musical Other: Improvisation as an Artistic Inquiry into Subjectivity, Empathy, and Instrumentality. 

An evening concert on day 1 includes performances of Hogg:Peters:Vogel (Trio with violin, piano, flute and electronics), Catherine Laws (piano and electronics), Stefan Östersjö (guitar) and Richard Craig (flute).  

A final and detailed schedule for the 2-day event will be published online at


Online registration is now open on

Registration Fee: € 50 (The fee includes coffee breaks, a Wednesday dinner and Thursday lunch.)

Monday, January 4, 2016

Fwd: SIG Seminar - 11th January 2016

Music Education Special Interest Group

Research Seminar Announcement

Informal Learning in a Music Teacher Education Course in Brazil: the construction of a dialogical model to understand music teaching practices

Dr Flavia Narita, Universidade de Brasília (UnB), Brazil


Monday 11th January 2016
16.30 – 17.30
Room 944


Further details from Lucy Green,


All are welcome


This presentation focuses on the construction of a theoretical model that emerged from a two-part study integrating Lucy Green's (2008) informal learning pedagogy with a mixed-mode Distance Education teacher preparation programme in Brazil. The adoption of Green's model made me rethink my praxis as a music teacher-educator due to its music-making practices and to the roles teacher and taught are invited to play. Analysis of my actions and of student teachers' lessons implementing Green's model led me to revisit some of Paulo Freire's concepts related to the teacher's role, dialogical interactions, and conscientization (critical awareness). This resulted in a theoretical model involving the mobilization of three domains: teachers' authority and theoretical knowledge, teachers' practical musicianship, and teachers' relationship with learners' musical worlds. This model was one of the findings from the first part of this research and was employed by participants of the second part of the study to analyse their own teaching. The study suggests that the use of the model might help the development of a more informed choice of teaching actions once we are aware of the domains we are mobilizing, helping us 'tune' our actions according to our educational values.


Flávia M. Narita has been a lecturer at the Universidade de Brasília (UnB), Brazil, since 2006. She did her first degree in Music Teacher Education at  the Universidade de São Paulo (USP), Brazil. She carried out her M.A. and Ph.D studies at the UCL Institute of Education, where she studied under the supervision of Professor Lucy Green.