Thursday, September 13, 2018

Fwd: TISMIR Journal Launch and Call for Papers

Dear colleagues,

It brings us great pleasure to announce the launch of the first issue of TISMIR, the Transactions of the International Society for Music Information Retrieval
TISMIR was established to complement the widely cited ISMIR conference proceedings and provide a vehicle for the dissemination of the highest quality and most substantial scientific research in MIR. TISMIR retains the Open Access model of the ISMIR Conference proceedings, providing rapid access, free of charge, to all journal content. In order to encourage reproducibility of the published research papers, we provide facilities for archiving the software and data used in the research. The TISMIR publication model avoids excessive cost to the authors or their institutions, with article charges being less than the ISMIR Conference registration fee. You can read more about the motivations for the launch of TISMIR and our envisioned perspectives for TISMIR's future in Ubiquity's interview with the Editors-in-Chief here.

The first issue contains an editorial introducing the journal, four research papers and one dataset paper:

Editorial: Introducing the Transactions of the International Society for Music Information Retrieval - Simon Dixon,  Emilia Gómez,  Anja Volk

Multimodal Deep Learning for Music Genre Classification - Sergio Oramas,  Francesco Barbieri,  Oriol Nieto,  Xavier Serra

Learning Audio–Sheet Music Correspondences for Cross-Modal Retrieval and Piece Identification - Matthias Dorfer,  Jan Hajič jr.,  Andreas Arzt,  Harald Frostel,  Gerhard Widmer

A New Curated Corpus of Historical Electronic Music: Collation, Data and Research Findings - Nick Collins,  Peter Manning,  Simone Tarsitani

A Case for Reproducibility in MIR: Replication of 'A Highly Robust Audio Fingerprinting System' - Joren Six,  Federica Bressan,  Marc Leman

Pop Music Highlighter: Marking the Emotion Keypoints - Yu-Siang Huang,  Szu-Yu Chou,  Yi-Hsuan Yang

Two more papers (one research paper and one overview paper) are in press.

Authors:  We look forward to receiving new submissions to the journal - please see the Call for Papers below.

Best Regards
Simon Dixon, Anja Volk and Emilia Gómez
Editors-in-chief, TISMIR


The ISMIR Board is happy to announce the launch of the Transactions of the International Society for Music Information Retrieval (TISMIR), the open-access journal of our community.

TISMIR ( publishes novel scientific research in the field of Music Information Retrieval (MIR), an interdisciplinary research area concerned with processing, analysing, organising and accessing music information. We welcome submissions from a wide range of disciplines, including computer science, musicology, cognitive science, library & information science, machine learning, and electrical engineering.

TISMIR is established to complement the widely cited ISMIR conference proceedings and provide a vehicle for the dissemination of the highest quality and most substantial scientific research in MIR. TISMIR retains the Open Access model of the ISMIR Conference proceedings, providing rapid access, free of charge, to all journal content. In order to encourage reproducibility of the published research papers, we provide facilities for archiving the software and data used in the research. TISMIR is published in electronic-only format, making it possible to offer very low publication costs to authors' institutions, while ensuring fully open access content. With this call for papers we invite submissions for the following article types:

Article types
Research articles must describe the outcomes and application of unpublished original research. These should make a substantial contribution to knowledge and understanding in the subject matter and should be supported by relevant experiments.
Overview articles should focus in detail on specific aspects of MIR research. Overview articles will provide a comprehensive review of a broad MIR research problem, a critical evaluation of proposed techniques and/or an analysis of challenges for future research. Papers should critically engage with the relevant body of extant literature.
Datasets should present novel efforts in data gathering and annotation that have a strong potential impact in the way MIR technologies are exploited and evaluated.

If the paper extends or combines the authors' previously published research, it is expected that there is a significant novel contribution in the submission (as a rule of thumb, we would expect at  least 50% of the underlying work - the ideas, concepts, methods, results, analysis and discussion - to be new). In addition, if there is any overlapping textual material, it should be rewritten.

Review process
The journal operates a double-blind peer review process.  Review criteria include originality, consideration of previous work, methodology, clarity and reproducibility.

Publication frequency
The journal is published online as a continuous volume and issue throughout the year, following an open access policy. Articles are made available as soon as they are ready to ensure that there are no unnecessary delays in getting content publicly available.

Editorial team
Editors in Chief
Simon Dixon, School of Electronic Engineering and Computer Science, Queen Mary University of London, United Kingdom
Emilia Gómez, Music Technology Group, Universitat Pompeu Fabra, Barcelona, Spain
Anja Volk, Department of Information and Computing Sciences, Utrecht University, Netherlands

Editorial Board
Juan P. Bello, Department of Music and Performing Arts Professions, & Department of Electrical and Computer Engineering, New York University, United States
Arthur Flexer, Austrian Research Institute for Artificial Intelligence (OFAI), Austria
Fabien Gouyon, Pandora, United States
Xiao Hu, Faculty of Education, Division of Information & Technology Studies, University of Hong Kong
Olivier Lartillot, Department of Musicology, University of Oslo, Norway
Jin Ha Lee, Information School, University of Washington, United States
Meinard Mueller, International Audio Laboratories Erlangen, Germany
Geoffroy Peeters, Sound Analysis/Synthesis Team, UMR STMS IRCAM CNRS, France
Markus Schedl, Department of Computational Perception, Johannes Kepler University Linz, Austria

Reviewers: The editorial board counts on reviewers from the ISMIR community, who are crucial to the success of the journal. To become a reviewer, please register here

Journal Manager
Tim Wakeford, Ubiquity Press, United Kingdom


Anja Volk, 
Assistant Professor, MA, MSc, PhD
Editor-in-Chief of Transactions of ISMIR (

Department of Information and Computing Sciences 
Utrecht University
Tel.:+31 (30) 253 5965

Friday, August 31, 2018

JPME: Call for papers for a special issue on modern band

Journal of Popular Music Education

Call for papers for a special issue on modern band

Guest Editors: Ann Clements and Clint Randles


Modern Band is a stream of music education that broadens the repertoire and instrumentation typically found in school-based instrumental programs in the United States. The repertoire of modern band includes rock, rap, metal, reggae, EDM, county, and other genres as they emerge. Modern band instrumentation includes guitar, bass, keyboards, drums, vocals, ukulele and a full range of hardware and software technologies. 


Modern Band in Higher Education

            Modern band is expanding rapidly in higher education. Over 40 colleges and universities have include Modern Band in a college course syllabus. Lebanon Valley College now offers a graduate certificate in modern band and the University of Kentucky offers a summer Modern Band Institute. In the past four years, more than 60 colleges and universities have hosted modern band workshops, and several Higher Education institutions are also purposely placing their music education student teachers in schools with modern band programs. 


Little Kids Rock

            The term "modern band" has been popularized by Little Kids Rock (LKR), a non-profit organization that provides instruments, curriculum and professional development to K-12 and collegiate educators. A number of school districts, including some of the nation's largest public school systems have adopted modern band programming by making it an official part of their music programs and are working closely with Little Kids Rock, state governments and other funders to help make modern band available to children throughout their schools. 


This special issue of JPME invites colleagues to submit critical, empirical, descriptive and philosophical papers on topics including, but not limited to: 


·      Modern band ensembles in K-12 contexts

·      Modern band and pre-service music teacher education

·      Songwriting and improvisation in modern band ensembles

·      Professional development in/and modern band 

·      The Modern Band Fellowship

·      Music as a Second Language

·      Diverse approaches to facilitating modern band ensembles

·      Critiques of Modern band

·      Little Kids Rock- opportunities and challenges


Scholarship from and across all relevant research methods and disciplines is welcome. Please submit manuscripts of between 6,000 and 8,000 words (double-spaced, Times New Roman, font size 12, including references) by January 1, 2019.  You can submit your paper through the

JPME website. Please refer to JPME submission guidelines and Intellect style guide when preparing a submission. Less traditional format submissions are also welcomed for the perspectives and practices section of the journal. 

Gareth Dylan Smith, PhD
Visiting Research Professor of Music
Department of Music and Performing Arts Professions
NYU Steinhardt

Wednesday, August 29, 2018

Fwd: New open access online version of 'Yearbook of Music Psychology'

This information is sent on behalf of Profs. Wolfgang Auhagen, Claudia
Bullerjahn, and Christoph Louven

Dear colleagues, authors, and readers,

The German Society for Music Psychology (Deutsche Gesellschaft für
Musikpsychologie, DGM) and the editorial board are very pleased to
launch the newly designed 'Yearbook of Music Psychology' (Jahrbuch
Musikpsychologie, JBDGM). From now on, you will find the new online
content of the Yearbook at as part of
PsychOpen GOLD, the open access platform of the Leibniz Center for
Psychological Information and Documentation (ZPID). The online JBDGM
complements the print version that has been published annually since

JBDGM publishes empirical and theoretical contributions in German and
English from all areas of music psychology, including related fields
such as music sociology, music education, and acoustics. Original
contributions will be published immediately after successful review
and will then be available free of charge worldwide according to the
OpenAccess principle.

With the official launch of JBDGM, first contributions of the volume
28 (2018) on the topic of "Music and Motion" have already been
published. However, the volume is not yet completed, and will be
supplemented by other contributions successively, as soon as they are
ready for publication. Any submission of further contributions for
this volume is possible now.

In addition of being free of charge for readers, authors will also not
face any costs for publication: JBDGM does not charge any processing
or assessment fees. Selected contributions also appear once a year,
supplemented by exclusive reviews and conference reports, in a
subsequent edition of a printed book published by Waxmann-Verlag
(Münster/Germany). The print version will be delivered as before to
all members of the DGM free of charge as an annual complimentary copy.

In summary, publishing music psychology research in JBDGM provides:

High quality standards: Submitted research contributions are subject
to an anonymous peer review process according to international
standards. In addition to peer review, contributions pass through
procedures for plagiarism testing and plausibility checks of
statistical results.
Internationality: The Yearbook of Music Psychology accepts submissions
in German and English. In addition, each article contains both a
German and English abstract.
Fast publishing: Positively reviewed contributions are promptly
published at PsychOpen. Authors do not have to wait for the completion
and printing of a complete book. From submission to worldwide
publication, only a few weeks pass at the most.
Visibility: All contributions are included in the relevant musicology
and psychology databases (e.g. RILM, PSYNDEX) and can be searched for
and used immediately worldwide.
Multimedia capabilities: In addition to the actual texts, JBDGM also
publishes media such as sound samples or videos as well as research
Transparency and traceability: JBDGM strongly recommends the
publication of the research data of an empirical contribution as well
as further material (e.g. analysis syntax, questionnaires etc.), which
are necessary for the traceability of the data collection and
analysis. JBDGM thus follows the guidelines of the German Research
Foundation (DFG) and the German Society for Psychology (DGPs). The
PsychArchives Repository of the ZPID is available for the publication
of research data and material.
Free of charge: We are committed to open access of scientific research
and its free dissemination. Therefore, in Yearbook Music Psychology,
both the use of our content for readers as well as the submission,
review, and publication of contributions for authors are free of

We would be very pleased if you liked the new concept of the 'Yearbook
Music Psychology', and we invite you to register at You are then automatically recognised as a reader
and will be informed immediately when new posts appear. We would be
even more pleased if you considered JBDGM as a publication outlet for
your own research.

Submissions, also for volume 28 (Music and Movement), are possible now.

The Editors of JBDGM

Wolfgang Auhagen, Claudia Bullerjahn, Christoph Louven

Fwd: 2 PhD research positions available in EU-funded project at Hamburg University

For researchers with a background in music or dance psychology, music
or movement science, psychology or a related field

We invite applications for two PhD positions within the EU-funded
research project "Slow Motion: Transformations of Musical Time in
Perception and Performance" (SloMo). The research team investigates
musicians, dancers, and audiences of performances in a series of
empirical studies using a range of interdisciplinary methods including
motion capture, eye tracking and physiological measures.

· Closing Date: 23 September 2018

· Starting date of position: 1 February 2019 for a duration of 3 years

· Salary range: 29,800-34,600 Euro/year pre-tax, depending on experience

The PhD students will carry out a number of experimental studies in
accordance with the goals of the SloMo project. They will record and
analyze experimental data, and contribute significantly to
presentations and publications. An excellent Master's degree in music
or dance psychology, movement science, psychology or a related area is
required. Very good skills in quantitative empirical research and
statistics as well as proficient English language skills are
necessary. Programming experience (e.g. Matlab) and/or experiences in
motion capture or neuroscience are beneficial. Knowledge of German is
not required for the work within the SloMo team.

Informal enquires are welcome:
Applications (a single PDF of cover letter specifying the motivation,
curriculum vitae, and copies of degree certificate, and contact
details of two referees) should be sent to
Interviews are scheduled for October 2018.

For further information, see and

Prof. Dr. Clemens Wöllner
Universität Hamburg
Institute for Systematic Musicology
ERC Project SloMo
Alsterterrasse 1, Rm 114
20354 Hamburg

Thursday, August 9, 2018

Fwd: Panel session - "The Role of Cognition in Creative Music Systems at CSMC2018"



Panel session - "The Role of Cognition in Creative Music Systems at CSMC2018"


Dear all,

We are looking for panelists to lead a discussion on "The Role of
Cognition in Creative Music Systems" at the 3rd Conference on Computer
Simulation of Musical Creativity at University College Dublin from
20th to 22nd August.

Various systems exist that can generate music, with varying degrees of
success, addressing a range of objectives. The evaluation of such
systems varies in approach and in degree of rigour. Furthermore, these
systems vary in the way they model music, and the degree to which that
modelling reflects human cognition.

The role of cognition is either absent or indirectly addressed in much
work. Its importance is addressed as a key theme in two articles.
Wiggins et al. (2010) argue that music cannot be considered at just
the surface level, as cognition involves extra information. Widmer
(2016) argues that in the field of Music Information Retrieval,
musical interaction with computers would be qualitatively improved if
computers had a deeper understanding of music than at present.

The panel session will discuss the following questions:

1. What are the features of music that make it meaningful to people?

2. To what extent do current creative music systems address these?

3. What needs to be addressed?


Widmer, G. (2016). Getting closer to the essence of music: the con
espressione manifesto. ACM Transactions on Intelligent Systems and
Technology, Special Issue on Intelligent Music Systems and
Applications, 8(2), 13 pp.

Wiggins, G.A., Müllensiefen, D., Pearce, M.T. (2010). On the
non-existence of music: Why music theory is a figment of the
imagination. Musicae Scientiae vol. Discussion Volume 5, 231-255.

Interested participants should submit a brief description of the
participant's perspective on the topic (100 words max) to by Wednesday 15th August.

Best Wishes,
Robin Laney,
Open University

Sunday, August 5, 2018

Fwd: CFP for the 14th (2019) Art of Record Production Conference

The Art of Record Production Conference 2019

In C: Creation, Connectivity, Collaboration, and Controllers

• Hosted by Berklee College of Music, Boston, May 17–19, 2019
• DEADLINE for abstracts: September 28, 2018, 12:00 a.m., EDT
• Notification by October 29, 2018

Our title for the 14th Art of Record Production Conference is inspired
by Terry Riley's seminal, minimalist work "In C" (1964). When asked
how he would describe the relationship between his drive to push
technology to its limits in the 1960s and the musical possibilities
that resulted, Riley replied that it was all driven by "the 'What if?'
principles." This conference seeks to bring together scholars,
artists, and innovators applying "What if?" principles to practice and
research. Our "C" themes—creation, connectivity, collaboration, and
controllers—all represent areas of movement in contemporary record
production, and we invite participants to interpret them creatively as
they relate to active research projects and creative work. Consider
the following questions about each thematic component.

How do we define creativity in record production? What is the object
that we create, and who contributes to it? How has music technology
affected what it means to be a creative producer? Who are the creators
that have influenced our field and how can we understand and interpret
their contributions?

Nielsen's Law states that users' internet bandwidth grows by 50
percent per year. How has this phenomenon affected the art of record
production? What musical and sonic innovations are afforded by
ever-increasing connectivity? How has the rise of the project/DIY
studio afforded connections between creators? What creative or
academic projects are ARP participants working on that investigate
music and connectivity?

Record production began as a collaborative art, and for many
producers, collaboration remains a vital part of the creative toolbox.
Technologies have changed over time, but creative collaboration in
music production is fundamentally a human negotiation—a synthesis of
ideas and processes to arrive at a single outcome. We invite papers
from colleagues who are engaged in musical or academic collaboration.

The MIDI protocol was developed in 1983 and almost immediately spawned
a plethora of hardware controllers. Since that time, controllers and
control surfaces have evolved in design, precision, and
responsiveness, allowing for production environment where almost
anything can be a controller. In 2009, Thor Magnusson described all
musical instruments as "cognitive extensions"—and digital instruments
as carriers of "symbolic instructions written for the meta-machine,
the computer." In a sense, perhaps all musical tools—instruments,
hardware, and software—are controllers. We invite papers relating to
the broad theme of control in music production.

Conference Fees
• Full registration fee: $350
• Full-time student registration fee: $150

Registration Information
• Conference booking opens in September 2018 via this website.
• An early-bird discount of $50 applies to all registrations
received by December 31, 2018.
• Registration closes on March 31, 2019.
• All presenters must be members of the Association for the
Study of the Art of Record Production (ASARP) (renew/how to join:

Organizing Committee

• Joe Bennett: Chair of the 14th Art of Record Production Conference
• Tracy Gibb: Assistant Director for Conference Services and
Special Events at Berklee
• Katia Isakoff: Chair of the 14th Art of Record Production Conference
• Shara Rambarran: Chair of the 14th Art of Record Production Conference

Submit your abstract at:
• Deadline: September 28, 2018
• Notification of acceptance by October 29, 2018
• All papers are 30 minutes total (typically, 20-minute paper;
five-minute Q&A; five-minute changeover).
• Abstracts should be 300 words, maximum.
• Only one abstract submission per individual is permitted.
• For enquiries and more information please visit:
Dr. Shara Rambarran BA (Hons) PGCE FHEA
Musicologist | Educator | Music Consultant | Author
t: @Sharadai
i: shara_rambarran

Wednesday, August 1, 2018

[CfP] RIME2019 :: The 11th International Conference for Research in Music Education

 The 11th International Conference for Research in Music Education

April 23-26 2019

Bath Spa University


Call for Papers – Deadline 31 October 2018


The aim of the conference is to gather together researchers, teachers and practitioners to share and discuss research that is concerned with all aspects of teaching and learning in music: musical development, perception and understanding, creativity, learning theory, pedagogy, curriculum design, informal settings, music for special needs, technologies, instrumental teaching, teacher education, gender and culture. Music education is also viewed in the context of arts education, the whole curriculum and its sociocultural contexts. 




Professor Amanda Bayley, Bath Spa University

Professor Petter Dyndahl, Inland Norway University of Applied Sciences

Professor John Kratus, Michigan State University

Professor Mari Shiobara, Kunitachi College of Music, Tokyo (retired)



  • Abstracts of no more than 300 words should be submitted with an indication of the mode of presentation:  e.g. paper, poster, symposium etc.
  • Abstracts should be sent as Word compatible documents. Please DO NOT send pdf documents.
  • Authors who intend to submit their work to the journal should indicate this on the abstract (i.e. 'this article will also be submitted to the journal for review')
  • Paper presentations should be 20 minutes in length, to be followed by up to 10 minutes chaired discussion time.
  • Practical workshops linking research to practice are especially welcome.
  • If you are interested in organising a symposium please contact the conference director before submitting an abstract.
  • Criteria for acceptance: original, well conducted and reported research, relevant to an international audience in the field of music education, demonstrating sufficient command of English.
  • A short curriculum vitae (resumé) of no more than one side of A4 must be attached.


Submit to <>


All abstracts are anonymously reviewed. Papers to be considered for publication in the journal 'Music Education Research' should be submitted electronically directly to the journal (http://mc. Papers for the journal should be between 5000 and 8000 words and conform to requirements of the journal (see style guidelines at


Conference Director: Mary Stakelum

Further details and booking information will be available from July 2018 at



Thursday, July 12, 2018

Fwd: Hourly-paid lecturing opportunity Music Psychology at YMPG

Dear list,
we are currently recruiting an hourly paid lecturer for an
undergraduate module to be taught in the Summer Term of 2018-19 within
the York Music Psychology Group, University of York. Please find
details of the course to be taught below. Could you please forward
this email to interested colleagues and graduates?

We would require from our candidate a completed PhD in Music
Psychology or a related discipline (or to be close to PhD completion)
and some previous teaching experience. Interested candidates should
send an email to and attach a short CV and
any possible references for teaching (or give names of possible
referees). We will start considering applicants from 24 July 2018
onwards. Payments will be made according to the comprehensive lecturer
rates and there will be an opportunity to continue teaching in our
department for several subsequent years at undergraduate level.

Module title:
Introduction to the Psychology of Music

Module content:
Music Psychology aims to explain and understand musical behaviour and
experience, including the processes through which music is created,
perceived, responded to, and incorporated into everyday life (Tan,
Pfordrescher, Harré, 2010). Accordingly, this module will introduce
students to the basic mechanisms underlying these human capacities. We
will start with engaging in the functionality of the auditory system
and from there, elaborate on the perception and cognition of musical
elements, such as melody, rhythm, harmony, timbre or higher level
structures like compositional form or expressiveness. Subsequently, we
focus on basic principles underlying listener experience (aesthetics,
emotion, and preferences). Finally, the module will provide a
introduction to the mechanisms that underlie musical performance
skills, like sensorimotor learning, training, and musical talent.
During the course of this module, students will be also introduced to
basic principles of social science research methods including the
design of experimental studies, statistics, and data analyses.

Further details on the module can be found here:

Dates of the summer term in York are 15 April 2019 till 21 June 2019,
but it is not expected that applicants are present in York during the
whole term.

Kind regards,

Dr Hauke Egermann

Assistant Professor in Music Psychology
York Music Psychology Group (YMPG) (Director)
Music Science and Technology Research Cluster
Department of Music
University of York
Heslington, York
YO10 5DD, UK

Phone: +44 - 1904 - 324303

Room: MRC / 003

- my office hours are Monday to Friday 9am to 5pm -

****please have a look at my TEDx talk: *****

Dr Hauke Egermann

Assistant Professor in Music Psychology
York Music Psychology Group (Director)
Music Science and Technology Research Cluster
Department of Music
University of York
Heslington, York
YO10 5DD, UK

Phone: +44 - 1904 - 324303

Room: MRC / 003

- my office hours are Monday to Friday 9am to 5pm -

****please have a look at my TEDx talk: *****


To unsubscribe from the MUSIC-AND-SCIENCE list, click the following link:

Tuesday, July 3, 2018

Fwd: composition competition

    folk-rnn composition competition

The aim of this competition is to explore an application of machine learning to music --- in particular the online tool at

This model is an example of artificial intelligence trained on traditional tunes mainly Irish and English. The web interface allows users to generate new melodies using a few parameters (There's a video on the website that explains how it works). We are seeking works that make creative use of this tool to compose new pieces, which do not need to adhere to the idiom of the training material.

Submissions will be judged on their musical quality and their utilisation of outputs from
The winning piece will be performed by a professional ensemble at a public concert in London, UK, in early October 2018.

We welcome submissions from any composer without restriction of age or nationality. Attendance at the concert is not mandatory. There is no cost for submitting a work.

Rules for submitted works:

1. scored for any combination of the following instruments: flute, clarinet, violin, cello, and piano (only 1 each); no use of amplification or electronic instruments is allowed;

2. no longer than 10 minutes in duration;

3. must be derived in some way from material generated by the application at

4. must be accompanied by a written explanation of how the work comes about from the use artificial intelligence throughthe
 website. Composers can also accompany the text with illustrations (e.g. staff notation).

5. no restrictions on style, or the way the outputs from
 are used;

Important dates:
- August 31 2018: Submission of PDF score and required accompanying material by email to 
- September 15 2018: Notification
- September 25 2018: Performance materials due
- October 9 2018: Concert (London UK)

For more information about the technology, see the following:

If you have questions or comments, contact Dr. Oded Ben-Tal:

Fwd: ICVPB Proceedings Extension, Accommodation, other logistics

View this email in your browser

International Conference on Voice Physiology and Biomechanics

Information Update

Program: ICVPB 2018 Program is online
  • Follow the link to the Program for the 2018 ICVPB in East Lansing.  Authors and Co-authors, please review it and send us a note if you need corrections to your name, your co-author's names, and the title of your presentation.
Proceedings Template: Proceedings (extended abstract) extension
  • Linked is the template for the proceedings write-up.  This template is limited to 2 pages and can be thought of as just an extended abstract.  Please send your writeup by proceedings by 8 July.  The file can be emailed directly to  See the specific instructions below.
Accommodations: Extension of room rate
  • We were able to negotiate an extension for the block of rooms at the conference rate through the end of this week. After that, the hotels have said they would still honor the rate as long as they have space.
  • For students or anyone planning to stay in East Lansing very economically, Michigan State University on campus housing is available (it is the last one on the list).  However, these on campus options do fill up so you should reserve early.
  • The Cottonwood Suites option has agreed to offer childcare at $5USD per hour (with advanced notice) for those staying with them. Also, they will offer a free shuttle to the conference venue. 
Registration: Pre-Conference and Full Conference
  • Follow the link to register for ICVPB 2018 and the special topic pre-conference.  Note that the registration fee for the pre-conference is an additional fee. 
Dinner (Gala): Share your vocal talents
  • There will be local vocal talent performing at the GALA dinner. If you would also like to perform a short piece, let us know.

Proceedings Instructions
All contributors are requested to submit an expanded abstract write-up (maximum 2-page) to contribute to the published ICVPB 2018 Proceedings. The template for the proceedings write-up is attached.
Please email your paper as a ".doc" or "docx" file to Name your document to follow the standard file name given ("[first author surname] ICVPB2018 Proceedings Template.docx"); an example if the first author surname was Smith and there were co-authors: "Smith et al ICVPB2018 Proceedings.docx". For logistical reasons, when you email your document please include the filename in the subject line of the email similar to Subject Line: Smith et al ICVPB2018 Proceedings submission.
Presentation Instructions
Podium Presenters are allotted 15 minutes. Speakers will be grouped into small sessions of 3-4 which will be followed by a 15 minutes of Q&A for the group of presenters.
Poster Presenters are requested to hang their poster as early as able once the conference begins, preferably on the morning of the 2nd day (August 2nd).  Each poster is allotted up to 60" width, but with 52" preferable for comfort of other presenters. A size which would be optimal is 52 inches wide and 32 inches tall, though taller posters can be accommodated. The poster session will take place between 3:00-5:30PM on Thursday, 02 August.  Posters in the program are numbered. Odd number poster authors are requested to be at their poster between 3:00-4:14pm; even numbered poster authors are encouraged to be at their poster between 4:15-5:30.
Agenda Snapshot
The conference will be proceeded by a special topics symposium on 31 July.
  • Tuesday 31 July:
  • Wednesday 1 Aug: ICVPB 2018 Day 1,
    • Morning: Keynote Speakers & Open Papers
    • Afternoon: Keynote Speakers & Open Papers
  • Thursday 2 Aug: ICVPB 2018 Day 2
    • Morning: Keynote Speakers & Open Papers
    • Afternoon: Open Papers &Poster Session
    • Evening: ICVPB Dinner
  • Friday 3 Aug: ICVPB 2018 Day 3
    • Morning: Keynote Speakers & Open Papers
    • Afternoon: Adjourn
Pre-conference Symposium: Don't miss out on the preconference symposium: "Vocal Effort, Vocal Fatigue, and Vocal Load".  It is scheduled the day before ICVPB (31 July).  You can add-on registration for the preconference at the same time you register for ICVPB.