Tuesday, September 19, 2017
be hosted by Bath Spa University in Bath, UK 10th - 13th April 2018.
Revised call for papers: 29th September 2017
We understand some of you have encountered problems submitting your
papers to EasyChair, we apologise for this and have resolved the
issue. We have also revised our deadline for submissions. Proceedings
will be published open source and selected papers will be released in
a special edition journal.
Long papers (5k-6k words) – 20 minute presentation +10 min Q&A
Short papers (2k-3k words) – 10 minute presentation +5 min Q&A
*Revised Submission Deadline : Friday 29th September 2017*
Accept/Reject Notification and feedback: Friday 10th November 2017
Camera-Ready Submission of all papers: Friday 19th January 2018
Publication of programme: Monday 19th February 2018
Emerging from the Art+DesignLab in Cyprus, through the first
conference in Paphos in 2014 and most recently at San Francisco
university, iPads in Higher Education provides a unique platform for
sharing experiences, engaging in debate, and inspiring new approaches
to enhancing learning and teaching.
Our students expect fast and free, they expect to be able to access
and engage using their phones and other devices as part of their
learning and our staff expect to use devices to be proactive and
creative scholars. We know more about our data and are more concerned
than ever before about security and protecting our privacy in this
ever changing world.
Since its introduction in 2010 the iPad, like the iPhone, has
fundamentally changed our perception of mobile devices, providing us
with opportunities to alter the way in which we engage students.
Increasingly, new devices such as Google Pixel, Microsoft's Surface,
and mobile phone technologies have also positioned themselves as
viable tools for enhancing student engagement.
The conference will explore and facilitate discourse around the role
of iPads and other emerging mobile technologies in education,
research, culture, and policy.
Pedagogy & Instruction
This category covers the use of mobile technologies to enhance student
learning and engagement on any level, from primary school to graduate
and post-graduate studies.
- Assessing educational apps
- Instructional innovations
- Faculty professional development
- Assessing educational apps
- Collaborative, project-based and context-based learning
- Engagement with Learning Management Systems/Virtual Learning Environments
Research & Theory
Papers and presentations in this category could include the use of
theory in mobile technology research, a comparison of research
methods, innovative approaches to research, ethical considerations in
research, and challenges with conducting research using mobile
- Empirical research on the instructional use of mobile devices
- Case studies on the instructional use of mobile devices
- Action research with mobile devices
- Pilot projects
- Research in App creation
Emerging Mobile Technologies
Topics in this category could address newer mobile technologies,
including both devices and apps. These sessions could be more
informative rather than research-based, and could include less formal
experiences using new technologies.
- Evaluation of iPads and other mobile devices
- Mobile creativity tools
- Enabling flexible learning
- App production
- Augmented Reality
- Immersive environments
Culture, Policy & Ethics
Culture – defined in the broad disciplines of sociology, anthropology
and psychology; Policy – defined in terms of administration in the
adaptation of mobile technologies or the study of explicit and
implicit actions reflected in a learning environment/institution;
Ethics – ethical considerations of mobile technology, including but
not limited to areas such as privacy, permission and security.
- Using BYOD or institutional devices
- Developing a mobile strategy
- App creation
- Research issues
- Students as co-creators
- Teaching in schools
- Use of web tools
- Social media strategies
- Data management
Listed by UNESCO as a world heritage site, the city of Bath is famous
for its beautiful architecture, iconic sights and fascinating history,
all of which attracted visitors for thousands of years. The city was
founded upon natural hot springs with the steaming water playing a key
role throughout its history. Lying in the heart of the city the Roman
Baths were constructed around 70 AD as a grand bathing and socialising
complex. It is now one of the best preserved Roman remains in the
The conference is hosted by Bath Spa University
More information at www.ihe2018.org
Neil Glen MA RCA firstname.lastname@example.org
Monday, September 11, 2017
Saturday, 23rd September 2017
We're pleased to announce that we will be hosting a digital exhibition to showcase the research of the Enhancing Audio Description Project (AHRC) into how sound design techniques can be used to rethink accessibility to film and television for visually impaired audiences.
We will be screening a short film with its enhanced accessible soundtrack. There will be four screenings throughout the day where each one-hour session consists of an introduction to the project, a short film screening and a Q/A session.
Sessions start at 9:30, 11:00, 13:30 and 15:00. Please only book one.
The event will be held in the Clore Auditorium at the Tate Britain.
Tickets to the event are free, however, we do ask that you book tickets for the screening time which you will be attending, you can book tickets here
Friday, September 8, 2017
Fwd: Serious Games, Education and Inclusion for Disabled People: Call for papers for The British Journal of Educational Technology
Call for papers for a Special Section of The British Journal of Educational Technology
Serious Games, Education and Inclusion for Disabled People.
Dr Marion Hersh, Biomedical Engineering, University of Glasgow, Scotland email@example.com
Dr Barbara Leporini, ISTI - CNR, Pisa, Italy
Digital games of all types, including serious games, are becoming increasingly popular. Their potential for using serious games in education makes it imperative that serious games for learning are designed in ways which take account of the needs of disabled students and staff and ensure their full inclusion. Otherwise, there will be an increasing digital divide. This is becoming increasingly urgent, as educational digital games are becoming more widespread.
This special section will aim to stimulate critical debate on and research into all aspects of digital games to support the learning of disabled people. This will include
theories, approaches, principles, applications, the state of the art and the implementation of inclusive games in general, as well as specifically in the context of education and innovation.
The term education is understood very widely to cover anything which aims to increase the knowledge, skills or understanding of disabled people. It includes learning, education, training and/or rehabilitation in formal and/or informal contexts and both learning on one's own and with a teacher and/or as part of a class.
All papers should have a significant original contribution. However, this can take varying forms, including presentation and discussion/evaluation of the results of a survey; presentation, discussion and evaluation of new digital games for disabled and/or all learners; and/or review and critical evaluation of the current state of the art. Research methodologies should be clearly, but concisely presented and show rigour. All papers should clearly describe the underlying theoretical and conceptual framework and relevant to an international audience.
Submission and Inquiries
We therefore invite submissions concerning the application of serious games to support the education, learning and inclusion of disabled people, with education understood very broadly. There is a two stage submission process. The first stage is an abstract of up to 250 words. The authors of particularly high quality abstracts will be invited to the second stage, submission of a full paper. Therefore, abstracts need to demonstrate that the paper fits the special section remit, has a rigorous methodology, is innovative, makes a significant contribution to the field and is relevant to an international audience. Full papers will undergo the standard reviewing process. Therefore, invitation to submit a full paper is just that and should not be taken as indication that the final paper will be accepted.
Authors who are unsure whether their work is suitable for the special issue should submit an abstract with a query to the guest editors well in advance of the deadline.
Abstracts should be clearly and concisely written and generally include the following:
• An introduction of one or two sentences stating the research aims and educational context; e.g. undergraduate; high school; pre-school, all levels etc.
• For empirical reports, a brief summary of the data collection methodology.
• A summary of the outcomes and an indication of their strength and significance
• Concise conclusions and implications in two or three sentences. What new insights does this research provide? What is its unique and significant contribution to the field? How is it relevant for a diverse international audience?
Abstracts to Guest Editors: 6th October 2017
Notification of Abstract Acceptance and invitation to submit full paper: 16th October 2017
Submission deadline for full paper: 8th December 2017
Approval of full article for peer review: 15th December 2018
Last Article Acceptances: 30th April 2018
Articles published online as soon as copyediting is completed.
Issue Publication July 2018.
Fwd: CfP: JAES Special Issue on Augmented and Participatory Sound and Music Interaction using Semantic Audio
• Systems for augmented and/or participatory composition and performance
• Semantically-enhanced human-computer interaction
• Novel interfaces for sound design, audio engineering and post-production
• Auditory display and data mining using sonification
• Smart musical instruments and the Internet of Musical Things
• Gestural interaction with sound or music
• Biosensors and wearables for sound and music interaction
• Intelligent navigation in audio libraries and recommendation
• Augmented and virtual reality with or for sound and music
• Affective and human-centred computing applied to sound and music
• Intelligent music tutoring systems and games
• Signal processing, machine learning and semantic analysis for interactive audio applications
• Health, accessibility and industrial applications
• Evaluation, user studies, co-design and experience design methodologies
Submission deadline: October 29, 2017
Planned Publication: February/March 2018
Please submit complete 6 to 8-page papers by October 29, 2017. All submissions will be peer-reviewed according to standard JAES review procedures. We welcome original research as well as revised and expanded versions of "Audio Mostly 2017" or AES conference papers addressing the theme of this special issue. Please follow the Author Guidelines found at: http://www.aes.org/
George Fazekas <firstname.lastname@example.org>
Mathieu Barthet <email@example.com>
George M. Kalliris <firstname.lastname@example.org>
Lecturer in Digital Media
Centre for Digital Music
School of Elec. Eng. and Comp. Sci.
Queen Mary University of London, UK
Wednesday, August 30, 2017
Research Seminar Announcement
A double-bill from Jordan
The Development of Contemporary Arabic Music in Jordan: The Modernised
Use of Oriental Modes (Maqamat) in Keyboard and Orchestral Composition
Dr. Haitham Sukkarieh, University of Jordan
Teaching Western Music in Jordan: an Anglicised-Russian-Jordanian perspective
Dr Anna Galakhova, National Music Conservatory and University of Jordan
Tuesday 17th October
4.00 – 5.30 pm
Further details from David Baker, email@example.com
All are welcome
The Development of Contemporary Arabic Music in Jordan: The Modernised
Use of Oriental Modes (Maqamat) in Keyboard and Orchestral Composition
This will be a workshop presentation with musical illustrations,
incorporating an introduction to Arab Maqamat (modes), the
harmonization of Maqamat, and relationships with contemporary
classical composition. Maqamat are divided into two kinds: with
quarter tones (3/4 quarter interval) and without quarter tones ( 1/2,
1, and 1.5 intervals). Dr Haitham will explain all the main Maqamat
and their branches, playing examples on his own keyboard, and showing
how oriental instruments play music in different styles. He will
discuss how contemporary Arab composers use oriental Maqamat in
Teaching Western Music in Jordan: an Anglicised-Russian-Jordanian perspective
It feels just like yesterday: on my first arrival at the Institute of
Education, back in October 1992 as a full-time MA student arriving
from Jordan, I encountered the local part-time MA students from London
being left completely astounded when I told them I was a full-time
teacher of Western classical music in Jordan! The question still
reverberates in my ear: 'How could you possibly teach music in Jordan
if I cannot convince my Moslem students in girls' schools in London to
attend music lessons, because their father say music is 'Haram' and it
is a sin to be involved in any musical activity?" In fact I have
taught music in Jordan since 1984 at some well-established private
bilingual schools and specialist music institutions. I have indeed
frequently faced some restrictions being placed on my professional
skills. However, the position of music teaching in Jordan certainly
cannot be compared to, for example, its position in Saudi Arabia,
Yemen or Iran. In this presentation I will discuss the development of
music education in Jordan between 1984 and the present, from an
Anglicized-Russian expatriate classroom music teacher perspective;
socio-cultural conflicts within Western music teaching in Jordan;
Trends and issues encountered teaching classroom music to Jordanian
teenagers; and problems observed in teaching classical Western piano
to young adult beginners in Jordan.
A Jordanian composer and conductor, Dr. Haitham Sukkarieh has had many
orchestral compositions performed in Jordan and other countries. He is
Associate Professor of Music Composition in the Faculty of Arts and
Design, The University of Jordan, and Head of the Music Department. He
earned a doctorate in the Department of Composition and Conducting
with honours from the Higher Institute of the Music Academy of the
Arts, Cairo, in 2011, as well as many awards and honors. He has
published widely on the development of Oriental music, and has created
a new oriental mode (Maqam).
Dr. Anna Galakhova's music teaching experience in Jordan between 1984
and the present covers one-to-one piano teaching, student choral
training, International General Certificate of Secondary Education
music, and general classroom music to various age-groups of school and
university level students at several well-established private schools
and music institutions in Jordan. Currently, Dr. Galakhova is teaching
History of Music to BA Music students at the National Music
Conservatory and piano to BA Music students at the University of
Jordan and the National Music Conservatory. With piano training based
in her native St Petersburg, Anna is a trice British Graduate with her
LRSM in Piano Teaching, (ABRSM, 1991), MA in Music Education
(Institute of Education University of London, 1992-93), and PhD in
Music (Canterbury Christ Church University, University of Kent, 2009).
Besides having staged several charity piano concerts in Amman, such as
a Piano Concerto by Grieg with the orchestra of the National Music
Conservatory in December 1994, she has participated in the First
Jordanian Song Competition as an accompanist to the orchestra and
choir of about 100 musicians in September 2001, and composed and
conducted the Conference Hymn for the thirty-second International
Girl-Scouts Conference in Amman in June 2004, to mention but a few
activities. Dr. Galakhova has worked on several full-scale school
musical productions in Amman, such as 'The Wiz', 'Ruddigore', 'You're
a Good Man Charlie Brown' and 'Oliver' and, has directed 'My Fair
Lady' under the patronage of the Ministry of Culture of Jordan in May
Thursday, August 24, 2017
21 CENTURY DEVELOPMENTS IN MUSICAL SOUND PRODUCTION, PRESENTATION AND
TUESDAY 21 NOVEMBER 2017
NOTTINGHAM CONFERENCE CENTRE, BURTON STREET, NOTTINGHAM NG1 4BU
Further information about the event, including details of how to
register, can be found at:
Please send any enquiries to: firstname.lastname@example.org
Wednesday, August 23, 2017
Fwd: 3rd Conference of the Australian Music & Psychology Society (AMPS) & 5th International Conference on Music and Emotion (ICME)
3rd Conference of the Australian Music & Psychology Society (AMPS) & 5th International Conference on Music and Emotion (ICME)
The University of Queensland, Brisbane, Australia, 7-9 December 2017
Hosted by the School of Music, The University of Queensland (UQ)
CALL FOR PAPERS
We are pleased to announce that the next Australian Music and Psychology Society (AMPS) 2017 Conference, incorporating the 5th International Conference on Music and Emotion (ICME5), will be held in Brisbane at The University of Queensland, Australia, 7-9 December 2017.
The conference is intended to engage faculty and student (Honours, Masters, PhD) involvement, and encourage discussion and exchange of ideas around the theme, Musical Affects.
The conference theme is intentionally broad to encourage diverse perspectives on music, psychology and emotion, including:
• music perception and cognition,
• music performance,
• music education,
• music health and wellbeing,
• music therapy,
• music composition,
• music and dance,
• psychoacoustics and models of music processes.
We invite abstracts of up to 250 words for spoken papers (15 mins + 5 mins Q&A), posters, symposia, and workshops.
The internationally recognised Viney-Grinberg Piano Duo, one of the Ensembles-in-Residence at The University of Queensland, will perform for conference delegates and guests on 7 December 2017 at 6pm in the Nickson Room at the School of Music.
Confirmed keynote speakers include:
• Professor Michael Spitzer (University of Liverpool; ICME founder), and
• Adjunct Associate Professor Nikki Rickard (Monash University; Psychology Program Director, Online Education Services)
Special panel discussions will be led by:
• Professor Emery Schubert (The University of New South Wales), and
• Professor Margaret Barrett (The University of Queensland)
Abstracts submission deadline: 29 August 2017
Notification sent to authors: 3 October 2017
Final abstracts due: 10 October 2017
Early bird registration closes: 10 October 2017
AMPS 2017 incorporating ICME5: 7-9 December 2017
Performance by the Viney-Grinberg Piano Duo: 6 pm, 7 December 2017
All submissions will be made through "EasyChair". Go to https://easychair.org/conferences/?conf=musicaffects17
Once logged in, Click on "New Submission"
For oral and poster presentations, submit an abstract of up to 250 words together with title of the presentation, preferred format, 5 keywords (to assist with allocation to appropriate reviewers), and author names. Please structure your abstract as appropriate to your discipline. For example, background and aims, methods, results, discussion.
Proposals for a symposium on a specific theme should include a 250-word abstract that sets out the goals of the symposium and the titles and authors of the papers within the symposium. A 250-word abstract for each paper within the symposium will also need to be submitted. A standard symposium submission includes 4 papers.
Proposals for a workshop that would be of broad interest should consist of a 250 word abstract outlining the goal, format, length, target audience and presenters involved with the proposed workshop.
Contact Details: email@example.com
We look forward to seeing you at the conference in December!
Mary Broughton on behalf of the Conference Committee for AMPS 2017 incorporating ICME5
Dr Mary Broughton | Lecturer in Music Psychology
School of Music | The University of Queensland
Brisbane, Queensland 4072, Australia
Telephone: + 61 7 33654116
Dr Evangelos Himonides FRSA, FBCS CITP
Reader in Technology, Education, and Music
University College London
Tuesday, August 1, 2017
Panel session - Domain-Specific Generative Music: Music in Computer Games at CSMC2017
Participants sought for a panel session entitled "Domain-Specific Generative Music: Music in Computer Games" being held at the 2nd Conference on Computer Simulation of Musical Creativity at The Open University in Milton Keynes, United Kingdom between the 11th and 13th of September 2017.
Participant should submit a brief description of the participant's perspective on the topic (100 words max) to firstname.lastname@example.org by Thurs Aug 10th.
The Open University
Milton Keynes, United Kingdom
Monday, July 31, 2017
Research Studies in Music Education Journal
Applications are invited for the Editor of the SEMPRE journal Research Studies in Music Education, 2017-2022, published by SAGE.
Research Studies in Music Education is a peer-reviewed journal, currently published in print twice a year, and moving to three times a year in 2019. The journal receives a large number of submissions across a wide range of disciplines related to the broadly conceived understanding of research in music education.
The primary role of Editor is to decide, with the support of anonymous peer review, which submissions merit publication in the Journal. The Editor should be an excellent and diplomatic communicator, self- motivated and highly organised, and with exceptional attention to detail. An excellent command of written and spoken English is essential. It is expected that the Editor should have expertise across a broad range of appropriate disciplines associated with music education research, as well as some experience of academic publishing. The Editor is supported by an editorial team, including a paid editorial assistant and an international Editorial Board, by SEMPRE, and by SAGE, the commercial academic publishers of the Journal. We welcome applications from individuals or dual/shared applications.
Interested applicants should send a full CV, list of two academic or other relevant referees and a 500 word statement of their vision for the future development of the Journal to Professor Graham Welch, Chair of SEMPRE ( email@example.com), by 31st August 2017. Enquiries are welcome to the current Editor, Professor Kathy Marsh ( firstname.lastname@example.org).
The position of RSME Editorial Assistant currently carries an annual honorarium of £1,900 from appointment in 2017 (subject to tax, if applicable) and is an important role in supporting the Editor and Editorial Board of the Research Studies in Music Education Journal. It requires someone with exceptional attention to detail, good time management skills, an ability to manage a complex online system, and high levels of discretion, as well as knowledge of the academic subject matter covered by the journal. The approximate time involved is around 5-8 hours per week, depending on the flow of activity. The role includes dealing with author enquiries, checking manuscripts on submission and resubmission, proof reading of accepted manuscripts before they are passed to the publisher (e.g., checking style, English, academic conventions), and processing manuscripts through the SAGE online system in a timely fashion. The role also involves monitoring manuscript progress through the online system and ensuring the editorial team are kept informed of tasks in hand. In addition, the Editorial Assistant will support the editor with social media and digital initiatives, including posting on the RSME twitter account and, for example, curating thematic material from previously published topical RSME articles for online dissemination and discussion.
The post would suit a doctoral/post-doctoral student, or recent graduate in music education/psychology of music, or a closely related area, and it is intended that this appointment will provide at least some overlap between the current and new Editors (a new Editor will be appointed in 2017). Interested applicants should send a full CV and names of two referees (at least one of whom is academic) who can comment on their ability and motivation to undertake this work to Professor Graham Welch, Chair of SEMPRE ( email@example.com) by 30 September 2017. It is hoped that an appointment will be made by the end of October 2017 or soon after. Any informal enquiries about this role can be directed to the current Editorial Assistant, Samantha Dieckmann ( firstname.lastname@example.org), or the current Research Studies in Music Education Editor, Professor Kathy Marsh ( email@example.com).
Sunday, July 30, 2017
Early registration for the second Conference on Computer Simulation
of Musical Creativity to be held at the Open University in Milton
Keynes (UK) from 11 to 13 Sept 2017 has opened until Aug 10th.
The following calls have been extended until Aug 8th.
Panel Sessions: Please submit title and short description (max 200 words).
Short Talks: Please submit abstract (max 300 words).
Workshops/Tutorials: Please submit short description (max 300 words).
Professor Elaine Chew, Queen Mary, University of London
Dr. Anna Jordanous, University of Kent
Further details, including submission instructions at:
The Open University is incorporated by Royal Charter (RC 000391), an
exempt charity in England & Wales and a charity registered in Scotland
Wednesday, July 26, 2017
we are happy to announce that the programme for this year's Web Audio Conference (WAC) is now available on our website: http://wac.eecs.qmul.ac.uk/
This will be the third installment of the conference (after IRCAM/Mozilla in Paris and GeorgiaTech in Atlanta) and will be held at the Centre for Digital Music, Queen Mary University of London from August 21-23, 2017.
The final programme features a wide range of oral paper presentations and talks, poster presentations, interactive demos, web-based artworks and installations, as well as two nights with performances and concerts. We are looking forward to fantastic keynotes given by Chris Chafe (CCRMA / Stanford University) and Franziska Schroeder (SARC / Queen's University Belfast). Additionally, there will be joint activities with the co-located Audio Mostly conference on Wednesday.
Further, there will be a wide variety of tutorials, given by Paul Adenot (Mozilla), Felicia Lim / Jamieson Brettle (Google), Nicholas Jillings / Ryan Stables (BCU), Christoph Guttandin (Media Codings) and Iwan Dewi Lavanant (...Loops). That means we will learn about the latest developments and additions to the web audio api right from Mozilla, Google's work on open standards for producing spatial audio in the browser, how to build audio effects on the web, how to effectively test web audio code and how to collaboratively improvise music in the browser.
So if you think that Web Audio is or will be relevant, please register today (early bird registration ends on 31 July).
We are looking forward to welcoming you to London!
the WAC organizing committee
Dr Sebastian Ewert
Lecturer in Signal Processing
Centre for Digital Music (C4DM) and Machine Listening Lab (MLLAB)
School of Electronic Engineering and Computer Science
Queen Mary University of London
+44 20 7882 8287
New open-access journal Transactions of ISMIR, open for submissions (tismir.ismir.net).
ISMIR 2017 will take place in Suzhou, China, October 23-28, 2017. Website: https://ismir2017.smcnus.org/
ISMIR 2018 will take place in Paris, France.
ISMIR 2019 will take place in Delft, The Netherlands.
ISMIR Home -- http://www.ismir.net/
--- You received this message because you are subscribed to the Google Groups "Community Announcements" group.
To unsubscribe from this group and stop receiving emails from it, send an email to community+unsubscribe@ismir.
To post to this group, send email to firstname.lastname@example.org.
Visit this group at https://groups.google.com/a/
To view this discussion on the web visit https://groups.google.com/a/
For more options, visit https://groups.google.com/a/
school of electronic engineering and computer science
queen mary university of london
+44 (0)20 7882 7680; +44 (0)7775 016715
Monday, July 10, 2017
Featuring Marv Radio (3-fold UK Beatbox Champion), La Verne Williams (Soprano), CTS male voice ensemble (lead Owen Stark), Marc Masson (piano) and our laryngectomy choir.
Event date: Sunday 23rd July
Location: Emmanuel Church, Lyncroft gardens, West Hampstead
Tickets details: http://www.shoutatcan
Free Entry for Laryngectomees and Partner (do register!)
Link documentary on BBC II!
Friday, July 7, 2017
PhD Candidate (Computer Music)
This email and any files with it are confidential and intended solely for the use of the recipient to whom it is addressed. If you are not the intended recipient then copying, distribution or other use of the information contained is strictly prohibited and you should not rely on it. If you have received this email in error please let the sender know immediately and delete it from your system(s). Internet emails are not necessarily secure. While we take every care, Plymouth University accepts no responsibility for viruses and it is your responsibility to scan emails and their attachments. Plymouth University does not accept responsibility for any changes made after it was sent. Nothing in this email or its attachments constitutes an order for goods or services unless accompanied by an official order form.
The Earl of Clancarty
To ask Her Majesty's Government when they will respond to the public consultation Implementing the English Baccalaureate which closed on 29 January 2016.
The Parliamentary Under-Secretary of State, Department for Education (Lord Nash) (Con)
My Lords, the results of the consultation on implementing the English baccalaureate and the Government's response will be published in due course—I hope soon.
The Earl of Clancarty (CB)
My Lords, is this long delay because the overwhelming public response voices the concern that the EBacc excludes art and design subjects? I ask the Minister not to continue to justify the EBacc with the New Schools Network stats on the percentage of pupils taking one arts GCSE, which represented a shift away from other qualifications, but instead to look at the latest Ofqual figures revealing—two years in a row—a hugely alarming 8% decline in the take-up of arts GCSEs. The EBacc must be scrapped.
I can tell the noble Earl that it is not a result of the points he has made. We have been considering carefully a great many responses, and there have been a few political issues in the meantime. I am certainly encouraged to see that we have been improving the quality of these subjects with help from the Royal Academy of Engineering and the James Dyson Foundation. The decline in the subjects to which the noble Earl refers has been more than made up for in the substantial increase in the number of pupils taking IT and the now almost 70,000 pupils taking computing.
Lord Baker of Dorking (Con)
My Lords, is the Minister aware that the GCSEs which are just now finishing this term have seen a drop in every technical subject and every creative and artistic subject? If this trend continues, there will be no technical education or creative education in schools for those aged under 16. This is a disgrace and really is unacceptable. Changes must be made to the EBacc, otherwise the Government will not meet their objective to improve technical education.
I refer to my previous remarks about the take-up of computer science and the dramatic increase in the number of pupils taking IT. Of course, we must always remember the very low base that we had in 2010 when only one in five pupils was taking a core suite of academic subjects, which we know are so essential particularly for those from a disadvantaged background. I think that we should all be extremely pleased that we have actually doubled the percentage, which is rendering our education provision much more fit for pupils, particularly for pupils from a disadvantaged background.
Baroness McIntosh of Hudnall (Lab)
My Lords, can the Minister please explain the remarks he made in answer to the noble Earl, Lord Clancarty? I believe he said that the loss of entries into the creative subjects is more than made up for by an increased number of entries for IT and computer science. Can he explain in what way those things compensate for one another?
Numerically. I think we all know that the quality of some of these subjects was not what it might be, and that quite a few people were taking some of them not because they suited them but because they were easier. Of course all schools teach many of these subjects, although it may not necessarily lead to exams, and of course all schools have to provide a broad and balanced curriculum—something which the new chief inspector seems to be particularly focused on, which I am very pleased to see.
Lord Addington (LD)
My Lords, does the Minister agree that a GCSE is a good basis for starting study? As there has been a drop of 50,000 in the number of those taking design and technology GCSE, how do we get a good basis for those going on to study creative and technical subjects if we cut a subject such as that?
I agree that a GCSE is an extremely good basis. In fact, the drop in take-up of design and technology over the last six years has been less than the drop over the previous four years to 2010. We are keen to improve the quality of those subjects and to give our pupils a wider choice of subjects.
Lord Berkeley of Knighton (CB)
My Lords, given that the Government frequently salute the creative industries for what they bring into the Exchequer and the tourists they bring to this country, is the Minister not concerned about the next generation of creative artists, who are not getting the necessary inspiration they need while at school?
Again, this assumes quite a lot. As I said, it is clear to us that a number of pupils taking these subjects in the past were not the next generation of creative artists; they were people that suited, for instance, the Labour Government's equivalence structure, whereby they were helping the statistics. Heads will respond only to the incentives set for them. We have set them an incentive to have many more pupils doing a core academic suite of subjects. That seems to be working and we should celebrate that. But we are investing considerably in the creative subjects, and we have a number of free schools and technical colleges focused specifically on that.
Lord Watson of Invergowrie (Lab)
I very much note the concerns expressed by noble Lords on the teaching of creative and technical subjects, but, perhaps offering the Minister some welcome respite, I will look at another aspect of this Question: the rather worrying trend developing in the Department for Education and its Ministers of the inordinate amount of time it takes them to respond to consultations. In January this year, I asked in a Written Question how many DfE consultations that had a closing date between January 2015 and September 2016 had still not been responded to, including the one in the Question asked by the noble Earl, Lord Clancarty. The Minister replied, saying that there were seven—one of which, incidentally, was the revision of fire safety for buildings in schools. That cavalier approach may have been something the Government felt they could get away with when they enjoyed a majority. Now that the Tories are merely the largest of the minority parties down the Corridor, will the Minister commit to noble Lords that he will ensure his department replies to consultations in a much timelier manner?
I do not think that this slow pace of response is in and of itself necessarily cavalier, but I have said I very much hope that our response on EBacc will be available shortly, and I shall do all I can to try to make sure that we respond quickly in future.
Lord Cormack (Con)
My Lords, is my noble friend truly satisfied that we are exposing our young people to the beauties of art and music, and giving them a proper opportunity to participate, in what is becoming an increasingly depersonalised age where young people spend more time with their machines and hand-held devices than they do with their fellows?
I certainly agree with my noble friend's comment about the amount of time our young people spend gazing at screens of one sort or another and the balance that subjects such as music, dance and drama can provide. Of course, all good schools do this, not necessarily aiming at exams—music and dance are compulsory in key stages 2 and 3, as is drama up to key stage 4. As I said, the chief inspector is very focused on this. I am sure that noble Lords will see the fruits of that work in due course.
KOSMOS Workshop "Emerging Synchronization in Music Cognition"
Humboldt-Universität zu Berlin
Institut für Musikwissenschaft und Medienwissenschaft
September 27-30, 2017
Call for Posters
Synchronization is an emerging topic in the sciences and the humanities. The workshop builds upon the integrative potential of synchronization and aims to sharpen and to enrich existing paradigms of synchronization in a cross-disciplinary perspective. The workshop draws upon recent research on music-based, non-verbal synchronizations. Special attention will be given to the dynamics and multi-dimensionality of synchronizing processes. Thus, the prevailing functional, operative and cognitive view on synchronization shall be complemented by the affective, biogenic, evaluative and multi-modal dimensions of synchronization.
The goal of this workshop is the development of shared, theory-driven and experimentally grounded research questions on synchronization from the perspective of diverse fields and research styles (computational sciences, psychology/rehabilitation, media theory, musical neurosciences, physics, biology, mathematics, music theory) in order to achieve a non-reductive understanding of this multi-faceted phenomenon.
The KOSMOS Workshop will be led by Prof. Dr. Sebastian Klotz and Dr. Mats Küssner (both HU Berlin). A preliminary programme can be found here:
Submissions should be made electronically in Word or PDF format to email@example.com by 15 July 2017. Please provide your name, postal and email addresses, and any institutional affiliation on the first page. Start your proposal on the second page and write no more than 250 words.
The language of the KOSMOS Workshop will be English.
We aim to notify all applicants of the outcome of the reviewing process by mid-August 2017.
Humboldt-Universität zu Berlin
Institut für Musikwissenschaft und Medienwissenschaft
Unter den Linden 6
Wednesday, June 21, 2017
Filming African Music
18 November 2017
Bath Spa University, Newton Park campus
This interdisciplinary study day is a partnership between Bath Spa University, the African Musics Study Group UK branch (AMSG-UK), affiliated to the International Council for Traditional Music, the Afrika Eye Film Festival, Bristol (10-12 November 2017), and the British Forum for Ethnomusicology.
A holistic definition of 'music' (missing from most African lexicons) is employed by AMSG-UK to include events and communities involving sound and movement. We invite contributions from performers, music industry professionals, scholars, and active listeners that explore how video and audio recording present diverse music-making traditions to a range of audiences.
The video documentation of African music presents multiple challenges: the filming of musicians and the contexts in which they perform, both in their own cultural settings and around the world, range from the indigenous and traditional to contemporary popular musical forms. Professional and amateur filmmakers and videographers play a significant role in shaping and changing perceptions of African music, undertaking a political and selective act rather than a mere documentation of events. This raises interesting questions concerning Western and African concepts of performance and education.
The study day will consider the role of music and musicians in film, filmmaking and videography by addressing questions such as:
• What are the practical and ethical considerations concerning the filming of musicians in the field, transforming fieldwork to product, and in cinematic production?
• What are the impacts of filming or of film itself on music and dance practices in local and global communities?
• How has cinema influenced African communities?
• How do audio/visual relationships in film create meaning beyond the surface of the narrative?
• How does music content and composition in film relate to diegetic/non-diegetic sounds?
• Is there an identifiable aesthetic in the construct of African music/dance film? If so does it influence music/dance films in the UK (and/or France, USA etc.)?
• How do filmmakers, videographers and musicians respond to political, cultural and aesthetic differences between Africa and the West? For example, how does the multimusicality of Malian musicians challenge the way nationhood or identity are represented?
• What role does film play a) in influencing music education in Africa or b) in educating the West about music in Africa?
• To what extent can film be used to provide music educators with evidence of a relationship between tradition and innovation in the practices of African musicians?
• What role can film play in exploring or capturing perspectives held by contemporary African musicians on their teaching and learning experiences?
Equally important is to consider what is not captured on film. The relationship between representation and politics determines how history translates through culture, thus informing debates in history and cultural studies more widely.
Presentations are invited which conform with or break from the conventional academic 20-minute conference paper format, including presentations using diverse media, between 10 and 30 minutes in length. Proposals for screenings outside these parameters will also be considered. We anticipate vigorous debate through sharing research-in-progress communicated through speech, performance, hands-on workshops, or film and multimedia.
The event will provide networking opportunities with filmmakers and performers, and will include:
• Screening of 'They'll Have to Kill us First' followed by Q&A with writer Andy Morgan and filmmaker Simon Bright
• MediaWall (digital gallery space) launch and dance improvisation
• Evening performance with Chartwell Dutiro (mbira), Sura Susso (kora), Suntou Susso (percussion), Pete Bernard (piano), Ripton Lindsay (dance)
Conference website: Filming African Music
Submission of abstracts
Proposals (300 words max.) should be submitted to EasyChair by 12 midnight GMT on Friday 1 September 2017. Late proposals will not be accepted. You will be notified by 20 September 2017 whether or not your proposal has been accepted.
Amanda Bayley (chair), Chartwell Dutiro, Terry Rodgers, Amanda Villepastour, Trevor Wiggins.
The study day is being run in partnership with Afrika Eye Film Festival, Bristol, 10-12 November 2017, and Cardiff University, School of Music which is hosting a related event on Tuesday 14 November 2017, comprising the annual Royal Anthropological Institute Blacking Lecture, given by Lucy Duran (winner of an AHRC Research in Film Award, 2015), and a free afternoon dance workshop with live drumming (1-3pm) and evening performance by Senegalese musician Landing Mané.
Further information can be obtained from Amanda Bayley: firstname.lastname@example.org--
Monday, June 12, 2017
A new PhD studentship opportunity, funded by National Productivity
Investment Fund (NPIF), at the Sonic Arts Research Centre (SARC),
Queen's University Belfast.
Details of the scheme are provided at the Northern Bridge website
Designing inclusive music technologies: Transforming lives of disabled
musicians through music improvisation and digital technologies
Main academic supervisors:
Dr Franziska Schroeder and Dr Miguel Ortiz, Sonic Arts Research Centre
(SARC), Queen's University Belfast
Belfast BT7 1NN email@example.com
Drake Music NI (www.drakemusicni.com); Farset Labs Belfast
(www.farsetlabs.org.uk); and the Ulster Orchestra
This project will examine practices of inclusive music making and
accessible design with digital musical instruments, used by disabled
musicians. The aim is to undertake an interdisciplinary exploration
combining music improvisation, and digital design of inclusive musical
interfaces. The studentship allows for a music/interface design
researcher to work in the areas between music improvisation, critical
disability studies and digital design to highlight and implement
innovative modes of inclusive musical interactions for disabled
musicians. The research is industry facing as the researcher works
between Queen's University (Sonic Arts Research Centre), Drake Music
NI (a charity working with disabled musicians), the Ulster Orchestra
(to test and implement designs, with view to creating a unique
inclusive music orchestra in Northern Ireland that includes abled and
disabled musicians), and digital design company Farset Labs Belfast
(to develop and make inclusive musical instruments tailored to the
needs of disabled musicians).
The researcher might investigate how music technology might be seen as
a barrier or as a facilitator; to what extent the design of music
technologies might enhance and facilitate participation in music
making; the question of music improvisation and inclusivity; how
improvisatory strategies might support inclusive music making in the
context of working with digital musical instruments; how we challenge
traditional musical ontology. And finally, the researcher might look
into a wider understanding of disability, and address the extent to
which inclusive approaches to music making can empower disabled
people, and thereby challenge exclusionary practices and the
marginalisation of disabled people in music making.
dr f r a n z i s k a s c h r o e d e r
School of Arts, English and Languages, Queen's University Belfast
Head of Performance (Music), Senior Lecturer and
School's Impact and Public Engagement Champion
Tel. 028 9097 1024
Sunday, June 11, 2017
Education, Music and Psychology Research (SEMPRE) to launch a new open
access journal Music & Science, providing a platform for engaged
debate and insight into music research from a wide range of scientific
perspectives. Scientific research is integral to gaining a greater
understanding of how music is a cultural phenomenon and is yet
grounded in our biology. Interdisciplinary in scope and focus, the
journal will publish research from a wide cross-section of disciplines
and perspectives that will illuminate—or that can be illuminated
by—scientific approaches to understanding music, from cognition,
neuroscience and psychoacoustics to computational approaches and
studies in digital culture. The first papers are due to be published
in September 2017.
The journal's point of departure is the idea that science—or, more
accurately, the sciences—can help us to make sense of music and its
significance in our lives. Music exists in complex and diverse forms
across historical time and within and across different societies;
music is indisputably a cultural phenomenon but our musicality is
grounded in our biology; we need to draw on the sciences to address
music's biological materiality, but we must also be attuned to the
distinctive functional and discursive properties that are embodied in
different cultures' musics.
Hence the need for this journal, which is intended to provide a
peer-reviewed platform for researchers to communicate important new
insights in music research from the full spectrum of relevant
scientific and scholarly perspectives to the widest possible audience.
It aims to publish research across the field of music and science as
broadly conceived, encompassing studies in cognition, neuroscience and
psychoacoustics; development and education; philosophy and aesthetics;
ethnomusicology and music sociology; archaeology and ethology; music
theory, analysis and historical studies; performance science and
practice-based research; computational approaches and studies in
digital culture; acoustics, sound studies, and soundscape studies;
music therapy; and clinical implications and approaches, including
psychoneuroimmunology, health and well-being. Its goal is to be truly
interdisciplinary: to give researchers from the many different
scientific traditions that have been applied to music the opportunity
to communicate with—and to learn from—each other, while encouraging
dialogue with music scholars whose work is situated in artistic,
performative or humanistic domains. In short, it aims to publish
research from any discipline or perspective that can illuminate—or
that can be illuminated by—scientific approaches to understanding
Music & Science welcomes original research, commentaries and reviews,
and sets no upper or lower limit on article length. As the journal is
online it can host audio and video files. It has an open data policy;
authors should be prepared to share and to make freely available data
sets as well as relevant musical materials—audiovisual, sonic and
notated. Authors are also encouraged to publish a summary of their
research in audiovisual or podcast form alongside their submission to
highlight for a non-specialist audience the significance of their
research in the broad field of music and science as well as its
Together with SAGE, the editors aim to ensure that Article Processing
Charges (APCs) are kept as low as possible so as to stimulate
submissions from international researchers at all stages in their
career. For its first year of operation, there will be no APC;
subsequently the APC will be set at £400, and there will be a discount
of 50% for members of SEMPRE. Publication will be continuous and the
editors will aim for a turn-around time for submissions that is as
fast as is commensurate with a rigorous reviewing process.
Find out more about the journal:
Friday, June 9, 2017
I would like to bring your attention to the advertisement below for a
permanent, full-time Research Fellowship in the Centre for Performance
Science at the Royal College of Music, London.
We are looking for someone to take a leading role in developing and
expanding our research portfolio in the field of Arts in Health. The
Job Description and Further Particulars are available at
http://www.rcm.ac.uk/about/jobs/jobs/jobtitle,25121,en.aspx, and an
overview of CPS research in this field is available at
Please feel free to circulate this announcement. I would be delighted
to answer questions about the post.
With best wishes,
Professor of Performance Science
The CPS is a partnership of
Royal College of Music | Imperial College London
+44 (0) 207 591 4348 | www.PerformanceScience.ac.uk
RESEARCH FELLOW IN PERFORMANCE SCIENCE
Closing date: 12pm on Monday, 17 July 2017
Interview date: Tuesday, 22 August 2017
Salary: £45,463 - £52,080 per annum
Job ref no: 505-17
This role is offered on a permanent, full time (1.0 FTE) basis and is
available from January 2018.
Founded in 1882, the Royal College of Music (RCM) is a world-leading
music conservatoire with a prestigious history and contemporary
outlook. Our 800 undergraduate and postgraduate students come from
over 60 countries and are taught in a dynamic environment, leaving the
RCM to become the outstanding performers, conductors and composers of
the future. In 2017, the RCM was named by the QS World University
Rankings as the top conservatoire in the UK and second in the world
for the Performing Arts.
The Centre for Performance Science takes a strongly interdisciplinary
approach to investigating performance, accessing expertise and
facilities across the RCM and Imperial College London.
Based at the RCM, this permanent, full-time Research Fellowship is in
the field of Arts in Health. You will be well positioned to forge
partnerships in performance science throughout the RCM and Imperial
College, including (but not limited to) Imperial's Faculty of Medicine
and affiliated hospitals. In addition, you will teach on the RCM's MSc
in Performance Science, leading a new module in Performing Arts in
Health, and will contribute to the RCM's doctoral programme in
In the first three years of the appointment (2018-20), you will play a
key role, as an investigator, in shaping and delivering HEartS, a £1
million public health project funded by the Arts and Humanities
Research Council. Further information is available at
We are looking for candidates with the following attributes:
- You will have an extensive track record of research in
Performance Science or a related field
- You will have expertise in research design, project management
and the collection, processing and analysis of large datasets
- You will have experience of teaching, examining and research
supervision at undergraduate, masters and doctoral levels
- You should have a global perspective and significant
To apply, please complete our Application and Equal Opportunities
Monitoring forms available to download at
submit along with a list of publications by the closing deadline. CVs
without an application form will not be accepted.
Completed forms should be returned by post or email to Isabella
Enstrom, HR Assistant:
Royal College of Music, Prince Consort Road, London SW7 2BS