Wednesday, December 5, 2018

Fwd: SIG NOTICE: Some More PhD Scholarships at UWL

 

Please note the deadline of 9 December.

 


From: IASPM UK and Ireland <IASPMUK-AND-I@JISCMAIL.AC.UK> on behalf of Simon Zagorski-Thomas <Simon.Zagorski-Thomas@UWL.AC.UK>
Sent: 28 November 2018 17:51
To: IASPMUK-AND-I@JISCMAIL.AC.UK
Subject: Some More PhD Scholarships at UWL

 

The University of West London (London College of Music) is now offering PhD scholarships for highly motivated individuals. These are open to all UK/EU students who qualify and include:

  • PhD fee waiver at the Home/EU rate
  • tax-free stipend of £15,000 per annum

The principal subject areas are outlined below:

Other ideas will also be considered – contact to discuss.

Closing date for applications: 9 December 2018, 23:59.

Interviews will take place shortly afterwards. Please note that the university expects shortlisted applicants to attend face-to-face interviews. The scholarships will commence in January 2018.

Further details can be viewed at: 

https://www.jobs.ac.uk/job/BOF465/the-vice-chancellors-phd-scholarships

Preliminary enquiries can be directed to simon.zagorski-thomas@uwl.ac.uk , who will be delighted to discuss the interests of potential applicants, and help to shape the proposed theme of any application.

 

Performance in the Studio: communication and interaction between musicians and technicians in the recording environment

 

The study of communication and interaction in the recording studio is an ongoing theme in the musicology of record production and this project would focus on a relevant aspect of LCM's world-leading research in this area. The prospective student should choose a specific focus such as contemporary song writing techniques, recording improvisations, performing for sound-to-picture work etc. Working with a theoretical framework drawn from embodied

/ grounded cognition and network- or system-based creativity, this project would utilise filmed recording sessions, interviews and stimulated recall to explore the ways that musicians and technicians work together in the studio environment.


Principal Supervisor

Simon Zagorski-Thomas is Professor of Music at the London College of Music: For informal queries about this PhD project, please contact Professor Zagorski-Thomas at simon.zagorski- thomas@uwl.ac.uk

  

An Embodied / Ecological Approach to Audio Mixing 

Building on LCM's world-leading research into the notion of sonic cartoons this project would explore the connections between the complexities of 'real-world' sonic phenomena and the use of audio production and processing tools to create schematic representations that afford related metaphorical interpretations. This project will explore these metaphorical connections through analyses of the 'real-world' phenomena and the construction of instrumental timbres, audio panoramas and musical narratives that utilise schematic features from the analyses. The analysis techniques will combine spectrographs, musicological description and audience / expert surveys to triangulate these forms of evidence.

 

Principal Supervisor

Simon Zagorski-Thomas is Professor of Music at the London College of Music: For informal queries about this PhD project, please contact Professor Zagorski-Thomas at simon.zagorski- thomas@uwl.ac.uk

Part Learning in Popular Music Performance: tacit learning of tacit knowledge in a popular music ensemble context

Much of the process of part writing and arranging in popular music ensembles is unspoken and often even unconscious. Using a process of filmed rehearsals, interviews and stimulated recall, this study will seek to explain the ways in which popular musicians acquire this form of tacit knowledge and synchronise their actions into a 'head arrangement'. The study will use theories of situated learning, embodied / grounded cognition and network- or system- based creativity. This approach to learning will then inform a series of proposals for incorporation into ensemble-based performance pedagogy. Ideally the candidate will propose ways in which the impact of this research can be exploited in conjunction with LCM Exams and their international network.

 

Principal Supervisor

Elizabeth Pipe is Senior Lecturer at the London College of Music: For informal queries about this PhD project, please contact Dr Pipe at elizabeth.pipe@uwl.ac.uk

 

A creative practice-as-research approach to exploring issues of gender, music and technology

Staff at LCM established the international 21st Century Music Practice research network and are at the forefront of  practice-as-research  in  music. This project will continue the process of refining rigorous methodologies in practice-as-research while also furthering UWL's


research excellence in the field of gender studies. In addition to creative practical work the candidate will use the exegesis of the PhD to illustrate and explain the development of new technical and/or metaphorical musical language, concepts and structures that illuminate aspects of the gender studies agenda. Ideally the project will propose ways in which the creative output can contribute to LCM's research impact agenda.

 

Principal Supervisor

Sara McGuinness is Associate Professor at the London College of Music: For informal queries about this PhD project, please contact Dr McGuinness at sara.mcguinness@uwl.ac.uk

 

The Feldenkrais Method: Beyond Improved strategies for musical practice

Since its inception the somatic learning technique founded by Mosche Feldenkrais has been associated with performing arts-training. Feldenkrais worked with the guitarist Narciso Yepes, the violinist Yehudi Menuhin and the conductor Igor Markevitch. Scholarship on Feldenkrais and musicians has focused primarily on mechanical technique rather than developing new thinking and practices of listening and learning from the history, aesthetics, and the underlying strategies and philosophy of embodiment intrinsic to the Method. The proposed PhD would develop new pathways to practice (multi-modal approaches to problems for example) from these contexts and trial them with London College of Music students to connect theory and practice.

 

Principal supervisor

Robert Sholl is Professor of Music in London College of Music. For informal queries about this PhD project, please contact Professor Sholl at robert.sholl@uwl.ac.uk

 

Tuesday, November 27, 2018

Fwd: SEMPRE Graduate Conference - Monday 25 March 2019

SEMPRE Graduate Conference - Monday 25 March 2019

This one- day SEMPRE conference is for graduate students to present and discuss their own original research in music psychology, music education, and in the wider field of music and science. Graduate students from any institution are welcome to apply to participate  The conference will take place at the Faculty of Music of the University of Cambridge (UK) on March 25, 2019

Professor Martin Rohrmeier, director of the Digital and Cognitive Musicology Lab at the École Polytechnique Fédéral de Lausanne, will be joining us as the keynote speaker.  Registration cost for attendees and presenters is £25 and includes lunch, coffee, and refreshments. The deadline for registration for attendees and presenters is 18 March 2019, subject to places being available.

Graduate students interested in presenting in one of the three formats (5 min flash talk, 25 min long talk, or poster presentation) should submit a 300 word abstract, stating preferred presentation format. Proposals should be submitted in PDF format to Gabriele Cecchetti at gc573@cam.ac.uk by 11 January 2019. Please use "SEMPRE Graduate Conference 2019, Abstract" as your subject line, and state your student status, your institution and your nationality. If your abstract is accepted for inclusion you may be eligible for a SEMPRE Conference Award to help cover travel and registration costs.

Monday, November 26, 2018

Fwd: Developing Countries - Resources online --- IFORS

Dear Colleagues, 

The aim of the IFORS Developing Countries On-Line Resources page is to
offer the OR worker all publicly-available materials on the topic of OR
for Development. It also aims to provide a venue for people who are
working in the area to share their completed or in-process work, learn
from others, and stimulate comments and discussions on the
work.Regarding IFORS Developing Countries OR resources website, its
regular updates - and your possible submission of "free" (not copyright
protected) material, you might occasionally visit
http://ifors.org/developing_countries/index.php?title=Main_Page.

"Operational Research" (OR) is the discipline of applying advanced
analytical methods to help make better decisions. By using techniques
such as problem structuring methods and mathematical modelling to
analyze complex situations, Operational Research gives executives the
power to make more effective decisions and build more productive systems.

The International Federation of Operational Research Societies (IFORS;
http://ifors.org/) is an almost 60-year old organization which is
currently composed of 51 national societies.Regional Groups of IFORS
are:ALIO (The Latin American Ibero Association on Operations Research),
APORS (The Association of Asian-Pacific Operational Research Societies),
EURO (The Association of European Operational Research Societies), NORAM
(The Association of North American Operations Research Societies).IFORS
conferences are taking place every three years; IFORS 2017 has been
successfully celebrated in Quebec City, Canada.

Thank you very much for your attention.

With kind regards,
best wishes,
Luciana Buriol, Sue Merchant, Gerhard-Wilhelm Weber

PS: Feedback is welcome via buriol@inf.ufrgs.br,
suemerchant@hotmail.com, gerhard.weber@put.poznan.pl.

Saturday, November 24, 2018

[IMR event] Brian Ferneyhough in conversation with Julian Anderson

Forthcoming events

AUTUMN 2018

Brian Ferneyhough 

in conversation with Julian Anderson

Talk: Thursday 29 November 2018, 18:00

Chancellor's Hall, Senate House,  Malet Street, London WC1E 7HU

Admission free. 

Promoted by Institute of Musical Research with the support of the Hepner Foundation.

The Institute of Musical Research celebrates Brian Ferneyhough's seventy-fifth birthday with a talk with the composer Julian Anderson. Brian Ferneyhough (b.1943) is widely recognized as one of today's foremost living composers. Since the mid-1970s, when he first gained widespread international recognition, his music has earned him an enviable reputation as one of the most influential creative personalities and significant musical thinkers on the contemporary scene.

His works include the opera Shadowtime, the orchestral works Plötzlichkeit, La Terre est un homme and Transit, six numbered string quartets and several smaller works for the ensemble, concertos for solo instrument and chamber ensemble including La chûte d'Icare, Incipits and Terrain, and many virtuosic solo works. His recent cycle of works, Umbrations, was premiered in Frankfurt: one of these works, Christus Resurgens, will receive its London première at Wigmore Hall on Monday 26 November.

Julian Anderson (b.1967) is one the leading composers of his generation, with commissions and performances throughout the UK, Europe, Asia and the United States.  His opera Thebans was premiered at ENO in 2014, and he has recently composed string quartets for the Arditti and JACK.  The BBC featured a 'Total Immersion' day of his music in 2017, and he holds the post of Professor of Composition and Composer in Residence at the Guildhall School of Music and Drama.

A series of talks by leading international composers, linked to performances of their work in the UK. Organised by Dr Paul Archbold, in collaboration with Contemporary Music Research Unit Goldsmiths, Guildhall School, Kings College London, Institute of Modern Languages Research School of Advanced Study University of London, and Royal Holloway University of London, in association with BBC Symphony Orchestra, London Sinfonietta,  Huddersfield Contemporary Music Festival and Wigmore Hall.

Wednesday, November 21, 2018

Fwd: CFP: Audience Research in the Arts Conference



Audience Research in the Arts Conference
The University of Sheffield
3–5th July 2019

http://www.sparc.dept.shef.ac.uk/audience-research-in-the-arts-conference-3-5-july-2019/

Sheffield Performer and Audience Research Centre (SPARC) is hosting a conference in partnership with the International Network for Audience Research in the Performing Arts (iNARPA), The Audience Agency, Routledge, The University of Leeds and Deakin University, to bring together researchers and industry professionals who investigate audience engagement with the arts. This conference comes at the culmination of two substantive contributions to the field of audience research at The University of Sheffield; the Understanding Audiences for the Contemporary Arts (UACA) study and the Modern Fairies project. The conference will also celebrate the publication of a Cultural Trends special double issue on 'Audience Data and Research' and launch a sector-facing handbook from the UACA project. It will feature sharing sessions from the two research projects and papers from contributors to the special issue.

CALL FOR PAPERS

Contributors are encouraged to present their work to a broad audience, so it can be readily understood by industry professionals, arts practitioners, policy-makers and the general public, as well as academics. Proposals are invited on the following themes:

- Considerations of how audiences find meaning in the works that they see, and the relationship this has to the artists' intended meaning
- Artist and audience communication, and ways in which the audience can feed into the creative process
- The place of cultural intermediaries (which could be artists or arts managers) in shaping audience experience
- Reflections on collaborative audience research, considering the role of partners and gatekeepers, means of knowledge exchange and collaborative learning.
- Innovative or emerging audience research methodologies, how can we make our research accessible and meaningful to participants?
- How audience research might better drive sectoral change and impact on arts policy

Papers addressing these themes are especially welcome, but the committee will consider any submissions relating to audience research and arts audiences today.

We are seeking proposals for:
- Papers (20 minutes with 10 minutes for questions)
- Collaborative presentations (or combination of two papers, one from an academic and one from a practitioner they work with)
- Panels (3 or 4 linked papers around a theme, totalling 1.5 or 2 hours)
- Round tables (3 or 4 shorter presentations, around 15 minutes each, followed by a chaired discussion, totalling 1.5 or 2 hours)
- Lightning talks (7-minute unscripted talks, usually accompanied by slides)
- Posters
- Films or other media presentations

The conference will also include PGR panels and workshops from the board of Cultural Trends; a separate call for papers for will be announced shortly.

Please send proposals to sparc@sheffield.ac.uk including: an abstract (250 words), your name, institutional affiliation (if any), email address, short biography (100 words) and any special AV requirements.

Deadline: 7th January 2019
Contributors notified by the end of January

Tuesday, October 30, 2018

British Library Music Doctoral Open Day: Tue 4 Dec 2018

Bookings are now open for the British Library Music Doctoral Open Day.
This will take place on Tuesday 4 December 2018 in the British Library
Knowledge Centre.

The day provides an introduction to the rich resources available at
the British Library to support music research of all kinds. The draft
programme is available at https://bit.ly/2yFhKc2 and includes specific
content on popular music.

We warmly invite all PhD students to attend. Masters students
considering studying at doctoral level are also welcome.

Places can be booked at
https://www.bl.uk/events/doctoral-students-open-day-20182019-music.



Dr Amelie Roper
Research Development Manager
The British Library
96 Euston Road
London
NW1 2DB

Thursday, October 25, 2018

Shout at cancer forthcoming concerts at the Tabernacle

Dear friends and colleagues

As you might know, I have been working closely with an amazing Charity called Shout at Cancer, supporting people with throat cancer.

For those of you that would like to attend the next very exciting Shout at Cancer concert on Tuesday 30 October 2018, please see the information on the venue (Tabernacle) website:
https://www.tabernaclew11.com/events/2018-10-30-shout-at-cancer-weve-found-our-voice-the-tabernacle

a video teaser is available here: https://www.youtube.com/watch?v=4uFN4KBSLWQ

A different type of concert is also available the day before (Monday 29 October 2018), also at the Tabernacle. The theme for this concert is: "Classical music with a pinch of salt", featuring The Verdammte Spielerei (Belgian saxophone band and stand-up comedian) in concert with Hanne Roos (Soprano) and Marc Masson (Piano). More information about this is available here: https://www.tabernaclew11.com/events/2018-10-29-classical-music-with-a-pinch-of-salt-the-tabernacle

If you have time for either concert this coming Monday or Tuesday, do consider attending! The cause is powerful, and the work is extremely exciting.

with best wishes,

Evangelos
--
Dr Evangelos Himonides FRSA, FBCS CITP
Reader in Technology, Education, and Music
University College London

-----------------------------------------------------------------------
see:
[book] https://goo.gl/Jf2nht
[book] https://goo.gl/vNRM1E
[article] https://goo.gl/gPaCij
[article] https://goo.gl/vR5wh5
-----------------------------------------------------------------------

Wednesday, October 24, 2018

Fwd: Music PhD Studentships

Funded TECHNE AHRC Doctoral Studentships at Kingston:


https://www.jobs.ac.uk/job/BNN090/phd-studentship-techne-ahrc-phd-studentships-in-the-arts-and-humanities 

AHRC TECHNE PHD studentships at Kingston School of Art, Kingston University London. Fully funded full time and part time PhD studentships available for October 2019 start
Please contact Dr. Oded Ben-Tal (o.ben-tal@kingston.ac.uk) with questions about developing a proposal. 

Initial  application deadline January 7th, final TECHNE deadline February 1st.

Thursday, October 18, 2018

The UK House of Lords debates music education - 17 October 2018

Members of the Lords, including the chairs of the Royal College of Music and the English Schools' Orchestra, will debate the state of music education in schools, in the House of Lords on Thursday 18 October. Find out more here: https://www.parliament.uk/business/news/2018/october/lords-debates-music-edcuation/

 

Monday, October 15, 2018

Fwd: Call for Candidates - SysMus Executive Committee

Call for Candidates – SysMus Executive Committee


We are establishing the SysMus Executive Committee to guarantee the
continuation of the SysMus conference series in the future. This
Executive Committee will comprise the following positions elected by
the SysMus Council (currently 17 members) and other candidates: 1
Chair, 1 Vice-Chair, 1 Secretary, 1 Advisor, and 2 Members-at-large.
The current SysMus Council approved the new guidelines of the SysMus
Conference Series (see attachment).


The purpose of this email is to solicit nominations for the positions
of Chair, Vice-Chair, Secretary and 2 Members-at-large for the new
SysMus Executive Committee, which will start its work on November 1st,
2018, for a period of two years.


Self-nominations are welcome and should include a short statement of
motivation (100 words) and a picture.

Duties associated with each position are listed below.


Please turn in nominations to both Birgitta Burger
(birgitta.burger@jyu.fi) and Manuela Marin (manuela.marin@uibk.ac.at)
by October 19th, 2018, CEST.

Best wishes and thank you for your interest in SysMus,


Manuela Marin & Birgitta Burger
Election Officers



Executive Role Profiles


Chair
- Heads the Executive (in close collaboration with the Vice-Chair),
and by extension the SysMus Council
- Oversees the Executive
- Calls meetings and prepares meeting agendas
- Is a point of contact for future SysMus conference hosts and the
main person responsible for the effective functioning of the SysMus
Series
- Leads in strategic planning and execution of strategic plan
- Must be a member of the Council or a former Hosting Committee
- Must be a Master's or Doctoral candidate or within 3 years of having
completed her/his graduate studies


Vice-Chair
- Oversees the Executive in close collaboration with the Chair
- Supports the Chair in all issues regarding the functioning of the
SysMus Series
- Calls meetings and prepares meeting agendas
- Leads in strategic planning and execution of strategic plan
- Must be a member of the Council or a former Hosting Committee
- Must be a Master's or Doctoral candidate or within 3 years of having
completed his/her graduate studies


Secretary
- Manages communications to and from the Executive to the Council and
wider audiences via the SysMus Executive's shared email account
- Takes minutes at meetings and circulates to Executive and Council
- Maintains and updates the general SysMus conference series website
- Manages social media pages and Google Group
- Recruits candidates for the election of the Executive
- Manages the list of active Council members
- Must be a Master's or Doctoral candidate or within 3 years of having
completed her/his graduate studies


Members-at-large

- Participates in meetings and decision-making and supports other
members of the Executive
- Flexibility to further define role as member-at-large and Executive see fit
- In general, shall see the welfare of the SysMus conference series
- Must be a Master's or Doctoral candidate or within 3 years of having
completed her/his graduate studies
- Should belong to different sub-disciplines of systematic musicology
to represent the field in its diversity, preferably with one member
representing the humanities side of systematic musicology

Sunday, October 14, 2018

Fwd: NordicSMC winter school (Oslo 4-8 March 2019)


--   Alexander Refsum Jensenius, Ph.D.  Associate Professor, Department of Musicology, University of Oslo  http://people.uio.no/alexanje/    Deputy Director, RITMO Centre for Interdisciplinary Studies in Rhythm, Time, and Motion  http://www.uio.no/ritmo/    New book: "A NIME Reader"  http://link.springer.com/book/10.1007/978-3-319-47214-0    New master's programme: "Music, Communication & Technology"  http://www.uio.no/mct-master/


To unsubscribe from the MUSIC-AND-SCIENCE list, click the following link:
https://www.jiscmail.ac.uk/cgi-bin/webadmin?SUBED1=MUSIC-AND-SCIENCE&A=1

Monday, October 8, 2018

Call for Participation: APME 2019

Call for Participation: APME 2019

June 12-15, 2019

New York University (NYU)

The Association for Popular Music Education is pleased to announce a call for participation in the 2019 conference at NYU, entitled "Celebrating Diversity in Popular Music Education".  We welcome proposals for papers, presentations, workshops and performances from a broad range of contexts and perspectives. 

Application Deadline is December 1, 2018

Note: All accepted participants are required to be current members of APME and pay to register for the conference.

 

Papers
Paper presentations run 20 minutes, plus 5 minutes for questions.

Pop 10
A "Pop 10" is a 10-minute TED-talk-style presentation, followed by discussion. The idea behind the Pop 10 is to present one compelling idea quickly, similar to a 'lightning talk'.  

Panel Presentation
A 50-minute session on a single topic with multiple presenters

Workshops
Workshops are designed to share and inform, providing the opportunity for audience participation. Workshops are either 20 or 50 minutes plus 5 minutes for questions.

Demonstrations
Demonstrations are sessions that showcase a technique, method, project, tool, resource, pedagogical idea, etc. Demonstrations are scheduled for 20 minutes,  plus 5 minutes of questions.

Performances
Performing groups or individual artists from any educational setting are encouraged to apply. Performances are limited to 40 minutes, including an additional 60-minute workshop with an APME clinician.


The mission of the Association for Popular Music Education (APME) is to promote and advance popular music at all levels of education both in the classroom and beyond.


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 Retrievalhttps://transactions.ismir.net/
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


CALL FOR PAPERS


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 (http://tismir.ismir.net) 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 http://tismir.ubiquitypress.com/author/register/reviewer/

Journal Manager
Tim Wakeford, Ubiquity Press, United Kingdom

Contact
tismir@ismir.net

Website
http://tismir.ismir.net/
*********************************************************************************
Anja Volk, 
Assistant Professor, MA, MSc, PhD
VIDI-laureate
Editor-in-Chief of Transactions of ISMIR (tismir.ismir.net)

Department of Information and Computing Sciences 
Utrecht University
http://people.cs.uu.nl/volk/
Tel.:+31 (30) 253 5965
email: a.volk@uu.nl

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 https://jbdgm.psychopen.eu 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
1984.

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
data.
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
charge.

We would be very pleased if you liked the new concept of the 'Yearbook
Music Psychology', and we invite you to register at
jbdgm.psychopen.eu. 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