Tuesday, April 25, 2017

Swipe, Tap, Click – Everyday Technology in Music Making

Training days led by industry experts, for music professionals

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Swipe, Tap, Click – Everyday Technology in Music Making


With sound-artist Gawain Hewitt


Sunday 7th May 10:00 – 16:00 h

Laban Building

Lunch and tea/coffee included


Are you looking for creative, affordable, and easy ways to incorporate technology into your own teaching or workshop practice?


Delivered by Gawain Hewitt, this training day will look at how free, low cost and readily accessible technology can be incorporated into your own work, using everyday devices such as iPhones and iPads and free software on computers. The session is suited for both novice and intermediate users of music technology, covering a broad range of iOS apps, as well as practical sessions on 3 specific apps and computer software.  


The day will equip you with new ideas on using technology that doesn't cost the earth and you can use to enhance your classroom, teaching practice, or workshop setting.


An optional follow-on group Skype session with Gawain after the training course is offered to all trainees and is included as part of the fee.


Arts / Cultural Organisations: £80

Individuals: £50

Fwd: SIG Seminar 2nd May, 2-3pm in room 938

Music Education Special Interest Group

Research Seminars Announcement

Virtual Choirs: Going Beyond Worldwide Massive Collectives


Dr Christopher Cayari, Purdue University, USA

Tuesday 2 May 2017

14.00 – 15.00

Room: 938

 Further details from Lucy Green, l.green@ucl.ac.uk

All are welcome!



Virtual Choirs: Going Beyond Worldwide Massive Collectives


For many, the term virtual choir has become synonymous with composer-conductor Eric Whitacre. However, thousands of people have created videos and published their own virtual ensembles online through websites like YouTube. This workshop presents the various ways choral singers perform through YouTube including joining large collective virtual ensembles like Eric Whitacre's Virtual Choir as well as collaborating internationally and creating one-person projects that resemble choruses of clones. Dr. Cayari has conducted multiple studies and authored book chapters and research articles on the topic of online choral singing and will present practical ways on how to create your own virtual choir in traditional settings or for your leisure. The benefits and drawbacks of virtual singing in various settings will also be discussed.

Christopher Cayari is on the faculty at Purdue University as an Assistant Professor of Music Education in the Rueff School of Visual and Performing Arts. He holds master's and doctorate degrees in music education from the University of Illinois at Urbana-Champaign and a bachelor's degree from Trinity Christian College in Palos Heights, Illinois, USA. Dr. Cayari's primary research interests are music making on YouTube and popular music ensembles. He is also interested in virtual identities; sexuality and masculinities; the intersections of race, ethnicity, culture, and music; and educational technologies. Dr. Cayari has led various show, jazz, and classical choirs and has extensive musical theater experience both on stage and as a director. His teaching has awarded him the honor of being named on the List of Teachers Ranked as Excellent at the University of Illinois. He has developed virtual learning communities that have been used in traditional, hybrid, and online courses. He has conducted workshops and clinics about popular vocal stylings across the US and has an international speaking record discussing technology and music education. Dr. Cayari currently teaches music for the elementary educator and is conducting various research projects on how general classroom teachers use music with their students. Dr. Cayari current and recent projects have been presented across the United States and in the United Kingdom, China, Norway, and Canada. His research has recently appeared in the Oxford Handbook series, Tech Trends, General Music Today, and the International Journal of Community Music.


Beatboxing after layngectomy

Dr Evangelos Himonides answers questions about a recent public engagement project, funded by UCL Culture.

Why did it feel important to you to undertake this project/piece of engagement? and how does it relate to your research?

I have been very passionate about supporting people with special needs and/or disabilities, but also people that face particular challenges. Throat cancer patients face multiple challenges, from the time of diagnosis, to surgery, rehabilitation, and integration. Laryngectomy has a direct impact on patients' ability to communicate with other people, and make themselves understood. In some of these challenging situations, greater awareness and understanding of the condition could enable laryngectomees to feel less excluded, but also the public to be more informed. This is why we wanted to engage the public in this event, and raise awareness, through exciting singing activity. My own research often centres on singing and its countless facets (e.g. artistry, expression, acoustics, psychoacoustics, technology, development, therapy, rehabilitation, etc.)

How did the Beacon Bursary award facilitate that?

The Beacon Bursary allowed us to realise a long-time aspiration to rehearse weather Beatboxing could be a meaningful artistic, but also developmental and supportive activity with people that had undergone laryngectomy. We managed to structure a number of training sessions that led to a final public performance at the Olympic Village. Thanks to the support of UCL Culture, we were able to employ a world-leading Beatboxing artist (Marv Radio), and a renowned Classical singer (La Verne Williams), access necessary equipment, and also rent a venue at the Olympic Village, where we also held the final open to the public performance.

How did your collaboration with Shout at Cancer come about?

My collaboration with the charity Shout at Cancer really is a celebration of the importance of the symbiotic relationship of teaching, research and scholarship. Some years ago, a young and energetic medical doctor, Dr Thomas Moors, enquired about the possibility of undertaking the postgraduate module that I lead named "Choral Conducting, Leadership and Communication". Interestingly, he did not fit the usual 'profile' of my post-graduate demographic. He was not a music educator, but a junior medical doctor practising in ENT. Thomas was (and still very much is!) a man with a plan; he had a vision of forming the UK's first ever 'Alaryngeal Choir' and wanted to join our programme in order to sharpen his conducting skills, but also in order to become introduced to the evidence base on leadership and communication. I was fascinated by his vision and aspirations, and we kept 'the discourse' and enthusiasm alive since, trying to identify potential synergies. Last year, Thomas founded Shout at Cancer, and I have been trying to support him in a number of ways, but also in identifying future research foci.

What did you discover about the use of beat boxing in speech rehabilitation and trauma recovery?

The first and most important realisation is that all participants have had an absolutely wonderful experience. But many other positive things have emerged. Beatboxing has proven to be a great outlet for artistic expression for alaryngeal singers for two quite different reasons. First, beatboxing is a very inclusive, pluralistic, and also democratic artform. In beatboxing "every sound is valid"; this offers a wonderful opportunity to laryngectomees to produce sounds that are not necessarily going to be mapped onto an elitist conventional 'aesthetic chart'. They do not have to conform, which is somewhat liberating. Second, many of the popular beatboxing sounds are not 'voiced' anyway(i.e. coming from the vibration of the vocal folds) … this means that laryngectomees can produce similar sounds and sound effects as non alaryngeal singers. One additional benefit from engaging in beatboxing is its strong reliance on rhythm/timing. The participants reported that this was very beneficial for their breathing and muscle control. We are keen in researching this systematically in the future.

How do you view the relationship between the arts and health? What's next for research in this area? Do you see a future in which the two are better integrated?

I am very glad that you have asked this question! Although things have changed dramatically over the past two decades, there still is a remarkable part of the population and, quite disappointingly, the funding, government, and policy making worlds that are not quite aware how arts and health go in tandem. There is a growing body of research that clearly demonstrates the importance of musical and other artistic activity in rehabilitation, mental health, palliative care, development, pain management, but also healing. Arts, Health and Wellbeing research centres across the world and within the UK are making remarkable progress in carving a more promising future of synergies between the Arts and Sciences by conducting systematic research that interrogates this relationship. Thinking about fostering the integration of arts with sciences (applied or not), one cannot but celebrate the success of UCL's own Bachelors of Arts and Sciences programme (BASc). I am extremely proud to announce my recent collaboration with BASc and the Digital Arts in Education (DARE) centre in launching UCL's first ever music related course (now validated and to become available next academic year) titled "Interactions of Music and Science".

What did you find challenging about the process? Particularly working with patients who have been through the trauma of throat cancer and laryngectomy?

Multiple challenges existed, but these could not compete with the rewards. Unfortunately, when collaborating with a group that is continually facing major challenges, planning can never be strict, and one has to be prepared for unpredictability. This might involve remission, reaction to new medication, issues with valves, infections, psychosomatic problems, on top, of course, of everyday 'administrivia'  that might get in the way. When running a project that involves many people, one can sometimes get carried away to hope that participants would be in a state of 'cryostasis' between sessions. This, obviously, is not the case. Thankfully, the people at Shout at Cancer, including the patients, are experienced and very sympathetic to this unique context and the various challenges. The levels of altruism and collegiality have been remarkable, and I feel honoured and inspired to have been given the opportunity to conduct this project.

How would you sum up your experience?

I think that it would be better for me to offer quotations from members of the public instead…

  • It was a great experience I felt at ease and look forward to many more similar events in the future.

  • A thrill to have been there, so inspiring, keep up the amazing work.

  • Amazing effort! Sentences like "I cannot" look ridiculous to be said by anyone about anything after this event! Congratulations!

  • This event was truly inspirational. To hear the stories of the larynx group, accompanied by the beautiful words spoken by the children and then the great music really touched my heart. I think the work of all those involved should be applauded and supported. I hope in the future similar events can happen to raise awareness and get the needs of this condition more in the public eye.

  • Really interesting to see the work done and the progress made by the alaryngeal individuals, and learn more about the challenges they face and what can be done.

  • The speeches delivered by some of the participants were moving and thought provoking. Understanding that the operation not only removes the voice box but also make the act of breathing so much hard gave me a new sense of respect and appreciation for what these people are going through. The courage and physical stamina they have shown in the face of their situation is a massive inspiration.

  • This was absolutely brilliant! I still feel blessed... Thank you for this experience.

  • A unique experience and approach to vocal development and requires lateral thinking and helps as a result a not only the feeling of rhythm but also understanding of the mechanics, aiding breathing control.

  • I was very impressed, particularly by the kids. The audience participation was a good idea, perhaps more of that in future.

  • As a Laryngectomy participant, this was unique experience performing in front of people of all ages & letting them know, Life is to Live on even After losing natural speaking ability.

  • Great time had by all really really enjoyed it.

  • This was an inspirational and informative event. The concept was so simple yet so uplifting. Thank you for the opportunity to hear patients, professionals, young people and the public share in making amazing music together.

  • This charity gives patients such hope that where they are now, does not always have to be where they stay, they are not alone, and that they can achieve anything that they put their mind to. There is life after Laryngectomy! And events like this will educate the public on these forgotten patients and their condition.

  • Fantastic!! Great community feel to the event, very entertaining and thought-provoking.

  • I had a great time and met some really interesting people. Such an inspiring and unique event. Thank you

Why is public engagement with research so important?

I might be biased, as I am an academic at the UCL Institute of Education, the world's number one institution in educational and social sciences research. Education is therefore core to my ethos, heart and soul, whatever these mean to different colleagues here at greater UCL. Public engagement with research is not just important, it is absolutely vital. During these challenging times, where even the notion of 'fact' (i.e. the core of scientific enquiry) is being tortured to its limits, it is awareness that needs to be nurtured and fostered. Raised awareness leads to better education and better education leads to a better society, and this, in my opinion, is a fact!

What's next for you?

We shall continue pursuing further funding opportunities and designing future research. I am currently working towards the development of a baseline map of the acoustical properties of the alaryngeal voice, in collaboration with Thomas. We are also exploring possibilities with Wellcome and other funding bodies. The future is exciting. Thank you so much for supporting this work. I am very grateful to UCL Culture for the wonderful opportunity.

BOOK LAUNCH 2nd MAY at UCL Knowledge Lab 5.00 - 6.30pm

Two books produced by CCM staff members and other colleagues are being launched after the DARE/EMEL event next Tuesday afternoon.  You are most welcome to come along!


Evangelos Himonides will introduce:

King, A., Himonides, E., & Ruthmann, A. (Eds.). (2017). The Routledge companion to music, technology, and education. New York: Routledge.



"Distinctive contributions are always welcomed in the literature, so it was with great pleasure that I became acquainted with this edited volume that draws together valuable insights across a range of topics related to music, technology, and education. Because it fills a much-needed gap in the literature, this comprehensive, insightful, and unique volume will be applauded by music educators internationally."

—Gary McPherson, Ormond Professor and Director, Melbourne Conservatorium of Music, the University of Melbourne, Australia


John Potter and Julian McDougall will introduce:

Potter, J., & McDougall, J. (2017). Digital Media, Education and Culture: Theorising Third Space Literacies. London: Palgrave Macmillan/Springer.



"This book is for all those who realize we face new and complex problems in education today; that staying in our academic silos and engaging in business as usual will no longer do; and that digital technology can free teachers to be designers, curators, and aggregators, bringing astonishing resources to learners of all ages and in all places. It is a magnificent piece of work and a breath of fresh air." (James Paul Gee, Mary Lou Fulton Presidential Professor of Literacy Studies, Regents' Professor, Arizona State University, USA)



If you would also like to attend the DARE/EMEL event which precedes the book launch, from 1.30 pm please email Michelle Cannon -m.cannon@ucl.ac.k

Monday, April 24, 2017

Fwd: RMA Annual Conferece, 7-9 September 2017

Royal Musical Association 53rd Annual Conference

University of Liverpool

7 – 9 September, 2017


Twitter hashtag: #RMAConf2017

The Royal Musical Association announces the biggest programme yet for its 53rd Annual Conference, which will be hosted by the University of Liverpool from Thursday 7 to Saturday 9 September 2017.

The conference is the single event in the UK calendar that seeks to celebrate the entire range of current musical research in progress around the world in all its richness and diversity. Some quotes from 2016 participants: 'RMA Annual Conferences are going well. I think the "buzz" has returned'. 'Lovely conference, with a great atmosphere'.

Featuring a packed schedule of panel sessions and papers, lecture recitals and lectures, presentations will encompass a wide variety of music and performance related disciplines. With wonderful opportunities for networking and engagement, this three-day conference promises to be diverse, lively and unmissable for anyone interested in the study of music and/or its performance.

Highlights include:

·         RMA-Sponsored Peter Le Huray lecture by Andrea Lindmayr-Brandl

Andrea Lindmayr-Brandl is Professor of Music at the University of Salzburg, a member of the International Musicological Society directorium and an authority on early Austrian music and music printing, on Schubert and much more besides.

 ·         Presentation of the RMA's annual Edward Dent Award Medal to Mark Katz, who will deliver the Dent lecture
Mark Katz is Professor in Music History at the University of North Carolina at Chapel Hill and author of acclaimed books on how technology has changed music, on violin research and on the art and culture of the hip-hop DJ.

·         A record 220 speakers and musicians from countless universities and colleges in eighteen different countries.Sixteen themed panel sessions, a further 96 individual presentations, and nine lecture-recitals on topics spanning 800 years and ranging over an astonishing number of corners of the globe.

RMA President Mark Everist says: 'It is a great pleasure to welcome members and non-members to the RMA's annual conference in Liverpool.  The programme ranges wide across time, place and idiom, and promises to give us just the right environment for the sorts of creative engagement we expect from this event'.

The RMA Annual Conference 2017 takes place at the University of Liverpool. Social events, based around the conference schedule, will celebrate partnerships with the city's cultural institutions such as The Royal Liverpool Philharmonic, the Tate Liverpool, and The Beatles Story. For more details, conference programme, updates and to book a place at the conference please visit the conference website:  https://www.liverpool.ac.uk/music/rma2017/

For interviews and further information please contact:

 Kenneth Smith, Senior Lecturer and Conference Director, University of Liverpool. Tel: +44 (0)151 794 2647. Email Kenneth.Smith@liverpool.ac.uk


 Warwick Edwards, RMA Conferences Coordinator. Tel: +44-141-334 9229. email: Warwick.Edwards@glasgow.ac.uk

 For pictures please contact Katy Hamilton, RMA Membership Development Officer. Email membership@rma.ac.uk


Dr. Katy Hamilton
Membership Development Officer
Royal Musical Association

Wednesday, April 19, 2017

Fwd: 3rd Workshop on Intelligent Music Production (WIMP 2017): Call for Papers

3rd Workshop on Intelligent Music Production (WIMP 2017)
Friday 15 September 2017
Media City UK, University of Salford
Call for papers

The production of music often involves interdisciplinary challenges, requiring creativity, extensive knowledge of audio processing and exceptional listening skills. Many of these complex production processes have rules that could be made more intuitive, or managed by intelligent processes. Intelligent Music Production focuses on developing systems that map these requirements into automated or adaptive processes within the production chain to achieve results which are both efficient and aesthetically pleasing. 
This event will provide an overview of the tools and techniques currently being developed in the field, whilst providing insight for audio engineers, producers and musicians looking to gain access to new technologies. The day will consist of presentations from leading academics, keynotes, posters and demonstrations. 
Suggested topics:
- Intelligent music production systems for common tasks such as level-balancing, equalisation, dynamic range processing, audio editing, etc.
- Intelligent music production systems capable of: generating/performing music; supporting the musical creativity of human users; incorporating affective responses.
- Philosophical foundations of IMP systems
- Accessibility in IMP systems
- Surveys of state-of-the-art techniques in the area
- Studies on the applicability of IMP techniques to other research areas
Submissions in the following general areas will also be considered:
- Perception, psychoacoustics and evaluation
- Source separation
- Semantic audio processing
- Musical similarity and structure analysis

Paper submission:
We welcome submissions on intelligent music production from researchers worldwide at all stages of their careers.
Paper submissions are accepted in PDF format and should be between 2 and 4 pages including references. Templates for submission can be found on the event website. Papers should be sent to wimp2017@semanticaudio.co.uk.
On submission, authors should express in their email a preference for either poster or oral presentation. Posters will be presented during the coffee and lunch breaks.

The one-day conference will take place at the Digital Performance Lab at the University of Salford Media City campus (15 September 2017), and will be preceded by a welcome event with demos at the University of Salford main campus (14 September 2017).

Important dates:
10 April 2017 1st call for papers
10 May 2017 2nd call for papers
15 June 2017 Deadline for full-paper submission
15 July 2017 Notification of acceptance
15 August 2017 Camera-ready paper submission
14 September 2017 Welcome event and demos
15 September 2017 Conference

Further details will be made available at http://www.semanticaudio.co.uk/events/wimp2017/. For more information about the event, please get in touch with the Intelligent Music Production committee:
Bruno Fazenda (chair), b.m.fazenda@salford.ac.uk 
Alex Wilson (co-chair), a.wilson1@edu.salford.ac.uk 
Ryan Stables, ryan.stables@bcu.ac.uk 
Josh Reiss, joshua.reiss@qmul.ac.uk 
Brecht De Man, b.deman@qmul.ac.uk 


Brecht De Man
Postdoctoral researcher
Centre for Digital Music
Queen Mary University of London

School of Electronic Engineering and Computer Science
Mile End Road
London E1 4NS
United Kingdom

Skype: brechtdeman
Twitter | LinkedIn | GitHub
Google Scholar | ResearchGate | Academia

Fwd: Computer Simulation of Musical Creativity 2017

Dear all,

 The second Conference on Computer Simulation of Musical Creativity will be held at the Open University in Milton Keynes (UK) from 11 to 13 Sept 2017.

 Keynote Speakers:

 Professor Elaine Chew, Queen Mary, University of London

 Dr. Anna Jordanous, University of Kent

 Deadline for performance/concert/workshop proposals:      10 May 2017

 Deadline for paper submission:                                         10 June 2017

 Further details, including submission instructions at: https://csmc2017.wordpress.com/

 Programme Committee

 Robin Laney, The Open University

 Freida Abtan, Goldsmiths, University of London
 Kat Agres, Agency for Science, Technology and Research, Singapore
 Sarah Angliss, Goldsmiths, University of London
 Tim Blackwell, Goldsmiths, University of London
 Tom Collins, Lehigh University
 Darrell Conklin, University of the Basque Country
 Simon Cutajar, The Open University
 Frederic Dufeu, University of Huddersfield
 Alice Eldridge, University of Sussex
 Andrea Franceschini, University of Cambridge
 Dorien Herremans, Queen Mary, University of London
 Simon Holland, The Open University
 Steven Jan, University of Huddersfield
 Vincent Koops, Utrecht University
 Adam Linson, Edinburgh University
 Róisín Loughran, University College Dublin
 Alan Marsden, Lancaster University
 Eduardo Miranda, Plymouth University
 Iris Ren, Utrecht University
 Robert Samuels, The Open University
 Bob Sturm Queen Mary, University of London
 Valerio Velardo, University of Huddersfield
 Anna Xambó, Georgia Institute of Technology
 Janet van der Linden, The Open University
 Raymond Whorley, The Open University
 Geraint Wiggins, Queen Mary, University of London
 Alistair Willis, The Open University

 The Open University is incorporated by Royal Charter (RC 000391), an exempt charity in England & Wales and a charity registered in Scotland (SC 038302).

Tuesday, April 11, 2017





5th International Workshop on Musical Metacreation


June 19-20, 2017, Georgia Tech, Atlanta, USA.

=== The 2017 MuMe workshop is opening up a new call for late papers ===

Re-opened to admit late breaking developments and works in progress, this late papers deadline is your opportunity to get feedback on your work and join the debate.

=== The 2017 MuMe concert call for works is still open.===

We are pleased to announce our partnership with the Chamber Cartel who will be available for performing successful works.

=== Important dates ===
Deadline for submission of late papers and musical works: April 20th
Notification of acceptance: May 7th.

Camera-ready version: May 19th, 2017
Concert rehearsals: June 18th.
MuMe academic workshop and concert: June 19th.
ICCC conference: June 21th-23rd.

=== Submission ===
For all information regarding submission, head to http://musicalmetacreation.org/.

Follow us on Twitter @MetaMusical.

Workshop Organizers


Pr. Philippe Pasquier (Workshop Chair)

School of Interactive Arts and Technology (SIAT)

Simon Fraser University, Canada



Pr. Arne Eigenfeldt

School for the Contemporary Arts

Simon Fraser University, Canada

Dr. Oliver Bown

Design Lab, Faculty of Architecture, Design and Planning

The University of Sydney, Australia

Kıvanç Tatar

School of Interactive Arts and Technology,

Simon Fraser University, Vancouver, Canada.



Kıvanç Tatar
PhD Student
Interactive Arts and Technology
Simon Fraser University, Vancouver, Canada
Email: kivanctatar@gmail.com
Website: https://kivanctatar.wordpress.com/

Thursday, April 6, 2017

World Premiere Beatboxing without a voice box


World Premiere Beatboxing without a voice box, London, UK.
Shout at Cancer and UCL proudly announce the FREE event, featuring MarvRadio (Beatboxer), La Verne Williams (Opera Singer) and our participants who had their voice box surgically removed (Laryngectomy). We will be performing together with a number of young people from East London.
Saturday 8 April 2017, 4-5 pm, Timber Lodge Café – 1A Honour Lea Avenue- Queen Elizabeth Olympic Park, London E20 1DY
Shout at Cancer is a newly founded charity dedicated to helping people rebuild their lives after laryngectomy – the surgical removal of the voice box, usually performed in patients with highly developed stages of throat cancer. The psychosocial impact of losing the voice is significant, affecting a person's professional and social life in a devastating way. It should be no surprise that patients often fall prey to social isolation and depression.
The changes following treatment to the structures involved in phonation introduce substantial challenges for cancer patients and can be experienced in speech after laryngectomy, radiotherapy and/or chemotherapy.
Regular exercise is important in controlling these structures and keeping them supple. It is however a difficult task for a speech therapist to keep the patient engaged and motivated to practise.
Together with MarvRadio, three-time UK beatboxing champion, we have developed a repertoire of basic beatbox techniques to create a wide variety of exercises that are fun, interactive and maximize the use of the structures important in voicing.
With the support of UCL Culture and Atos Medical we have organised the world premiere of a beatboxing group of participants who have had a laryngectomy.
Reader in Technology, Education, and Music at University College London (UCL),  Dr. Evangelos Himonides:
"Via integrated beat boxing sessions open for youth and laryngectomy patients, we aim to engage participants, educate them, and create a  stimulating and interactive environment for collaborative artistic performance between cancer patients, and young people, who will be introduced to our research in an accessible and creative way. I am particularly excited about the support that we have received from UCL Culture, in order to organise this event at the heart of the Olympic Village, and within a wider geographical location that is reportedly above average statistics for throat cancer referals. UCL aims to play a key role in the rejuvenation of the wider area, with UCL East, expected to open in 2018, being envisaged as a radical new model of how a university campus can be embedded in the local community and with businesses, as well as providing world-leading research, education, entrepreneurship and innovation."
Director of Shout at Cancer and Doctor with special interest in voice pathology, medical lead and research coordinator Dr. Thomas Moors:
"There's more music in your voice than you think, for this occasion we've used beatbox techniques to explore your voice and teach you how to control it better. Thanks to our techniques you'll be able express yourself and your emotions easier, you'll be able to avoid a lot of misunderstandings."
Our aim is to improve the voice and quality of life after laryngectomy, to build confidence and help people reintegrate into society.  We use workshops that incorporate breathing, singing and acting techniques with public performances and collaboration with musicians, singers and actors.
Our goal is simply to help give a voice back to every person who has had it taken away by cancer.
Our slogan is: "Together we shout louder"
Thanks to pilot studies at Royal Preston Hospital, Addenbrookes Hospital Cambridge and the University Hospital in Brussels (St-Pierre) we have been able to research and implement practices that vastly improve the vocal outcome and quality of life.
The charity, led by Dr Thomas Moors has workshops running in London, Cambridge,  Preston and soon we'll start groups in Birmingham, Norwich and Plymouth.

The charity's aims are:

(1) the relief of persons suffering from head and neck cancer by providing help and support to relieve affective symptoms and to improve voice rehabilitation through the provision of supported and quantifiable rehabilitation techniques involving participation in music, art and drama.

(2) the advancement of education of the public, health professionals and persons affected by throat cancer and laryngectomy by providing a forum to discuss and respond to issues of interest and concerns.

(3) to promote research in head and neck cancer and the relationship between the arts and rehabilitation and disseminating the useful results for the public benefit.

We are happy discuss our work further and we would be grateful if you could help us promote the event and report on the charities work.
To Speak to Dr Evangelos Himonides, email e.himonides@ucl.ac.uk
To speak to Dr Thomas Moors, tel 07879 392005,
March 2017 Shout at Cancer and Dr Thomas Moors awarded by PM Theresa May, with the Points of Light Award.
December 2016 BBC News Look East - Norwich Christmas Concert
November 2016 The Lancet Prize for Shout at Cancer, Dr D maraschino and Dr Thomas Moors, awarded at the Global health Film Festival, Barbican, London.
The Guardian, 7th Sept 2016, 248.000 views
Documentary (6 min, Production NuNam: The comeback after throat cancer)
Inspirational song for the paralympians 2016:
Concert on invitation by the Belgian Ambassador, his excellency Mr Guy Trouveroy, at the Belgian Embassy London – 5th July 2016.
Dr. Thomas Moors and a member of the Laryngectomy Choir were interviewed on BBC Radio 4's Saturday Live - http://www.bbc.co.uk/programmes/b064sx5h

Wednesday, April 5, 2017

IMR Early Career Research Event Grants and Fellowships

The Institute of Musical Research invites applications from early career scholars to organise small conferences, workshops, or networking events during the 2017–18 academic year. Grants of up to £500 are available, and successful applicants will become IMR Early Career Fellows. This scheme reflects the IMR's aim to facilitate the transition of scholars from graduate study to careers inside and outside academia.


Events should be organised in collaboration with a music department or college and under the mentorship of an established figure within it. The IMR will provide a grant and publicity for the event; the institution is expected to contribute with further support and to host the event. There are no restrictions on the kind of event or subject matter (beyond a focus on music), but the IMR encourages proposals that promise to achieve one or more of the following aims:


a) to promote conversations between disciplines or sub-disciplines

b) to offer alternatives to a standard conference format

c) to address questions of importance or interest to a wide audience


While events may involve senior scholars, the prime constituency is intended to be early career researchers and doctoral students, and proposals that include opportunities and/or training for these sectors are particularly welcome. Applicants are encouraged to set aside a portion of the IMR funds for travel bursaries to enable qualified researchers without institutional support to participate in the event.


In order to direct limited resources to those most in need, IMR funds should not be allocated for speaker fees or catering. It is hoped that events would be free for attendees and open to the public. Where appropriate, a commitment to film or record the event and make it publicly available online would strengthen the application.


IMR Early Career Fellows will receive an institutional email address and have library rights, including electronic resources, at the University of London (Royal Holloway and Senate House).




The IMR also invites applications from early career researchers to organise events that focus on public engagement with musical research during the 2017–18 academic year. Grants of up to £500 are available.


Events should be organised in collaboration with a partner organisation, whether academic or non-academic, and an established figure within it. The IMR will provide a grant and publicity for the event; the partner organisation is expected to contribute with further support and to host the event.




Applications are encouraged from early career scholars who are within three years of completing their PhD and do not hold an academic post (such as a lectureship or postdoctoral fellowship) which allows them to apply to their employer or funder for financial support to organise an event.


Application process


There is no application form. Applicants should send the following documents to geoff.baker@rhul.ac.uk:


a) an outline and justification for the proposed event

b) a budget, including a breakdown of costs

c) a CV

d) details of the contribution to be made by the host institution or organisation, which must be agreed in principle with the Head of Department, director, or equivalent before the application is made

e) a brief statement of support from a senior mentor or collaborator within the host institution or organisation, who agrees to act in an advisory capacity


The deadline for applications is 9 am on 12 June 2017. Applicants will be notified of the outcome within one month.