Monday, October 12, 2026

AI and creative music making in secondary classrooms: sharing practice, shaping the future

On 12 November, teacher educators and researchers from UCL Institute of Education will bring together school teachers and AI specialists for a knowledge-exchange event exploring one of the most rapidly developing questions facing music education: how artificial intelligence is beginning to shape creative music-making in secondary classrooms. The event is being led by Dr Kate Laurence and Dr Ross Purves as part of a wider project, funded by the IoE's Mary Moon Fund, examining teachers’ experiences of AI and its implications for musical creativity, teaching and assessment.

The event reflects a growing recognition that AI tools are already finding their way into young people's musical lives. From systems capable of generating melodies, rhythms and chord progressions to tools that process and manipulate audio, AI is creating new creative possibilities while also raising important questions about originality, authorship, assessment, intellectual property and equity. Yet many music teachers are navigating these developments without established sector guidance or opportunities to share emerging practice with colleagues.

Rather than promoting a single view of AI, the November gathering will create space for informed discussion of both opportunities and concerns. Participants will hear from speakers with backgrounds in music, education and artificial intelligence, exploring the creative potential of new technologies alongside the ethical dilemmas and practical challenges they present. Teachers will also be invited to share their own experiences and observations from school settings, helping to build a clearer picture of how AI is already being used by young people and educators.

A key aim of the day will be mutual learning. The organisers hope to bring together expertise from across schools and universities, creating opportunities for classroom practitioners to learn from AI researchers while ensuring that university colleagues gain insight into the realities of day-to-day teaching, curriculum delivery and assessment. The discussions will focus on practical classroom work, particularly creative composition activities, and on how teachers can support pupils to engage critically and responsibly with AI technologies. Through presentations, discussion activities and collaborative sharing of practice, participants will contribute examples, reflections and ideas that will inform the next stage of the project.

Looking beyond the event itself, Kate and Ross hope that the conversations on 12 November will contribute to the development of practical resources, ethical guidance and pedagogical recommendations for music teachers. Findings from the project are expected to inform UCL's music teacher education programmes, contribute to professional development resources, and be shared more widely with subject organisations and the broader music education community. In the longer term, the project aims to help build a confident and well-informed music teaching workforce capable of responding thoughtfully to the challenges and possibilities that AI will continue to bring to creative musical learning.

For more information, please contact Dr Kate Laurence (k.laurence@ucl.ac.uk).

Image credit: Jakub Hałun, Creative Commons Attribution-Share Alike 4.0 International, 3.0 Unported, 2.5 Generic, 2.0 Generic and 1.0 Generic license. https://commons.wikimedia.org/wiki/File:20090829_Robot_in_Shanghai_Science_and_Technology_Museum_3985.jpg
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Tuesday, October 6, 2026

Fwd: CfP: SEMPRE Spring Conference, King’s College London, 15 April 2027 – 16 April 2027



---------- Forwarded message ---------
From: Javier Rivas Rodriguez <0001cbe45976c927-dmarc-request@jiscmail.ac.uk>
Date: Tue, 6 Oct 2026 at 16:01
Subject: CfP: SEMPRE Spring Conference, King’s College London, 15 April 2027 – 16 April 2027
To: <MUSIC-AND-SCIENCE@jiscmail.ac.uk>


**This list is managed by Professor Evangelos Himonides, University College London (UCL). Before 2015, this list was managed by the Institute of Musical Research (IMR).** MESSAGE FOLLOWS:
Call for Papers: 

SEMPRE Spring Conference

The Participatory Turn in Music: Education, Cognition, Knowledge

15 April 2027 – 16 April 2027 

King’s College London, UK, and online. 

Keynote Speaker: Dr Erin Johnson-Williams, University of Southampton 
The conference theme for SEMPRE 2027 is The Participatory Turn in Music: Education, Cognition, Knowledge. The presentation of any new research is welcome at the conference, whether it engages with this theme or not.
This year’s theme explores the contested practices and meanings of musical participation as negotiated within music education, psychology, and performance across academic institutions, local communities, and wider society. By focusing on the collective and collaborative dimensions of music, the theme invites us to reflect on the actors—people, spaces, objects, technologies, concepts—involved in determining what counts as music, as well as how, where, and by whom it is produced, listened, taught, and performed. Who participates in the construction of music (as education, cognition, and knowledge)? How might we approach questions of musical participation through perspectives including psychology, phenomenology, history, ethnography, performance studies, or analysis? What can the study of participation reveal about power, agency, social relations, past and possible selves, and the collective fears and aspirations that shape our academic and musical communities?
The theme of musical participation invites us to look inward at our own institutions and disciplines, examining their hidden curricula and hierarchies, and considering the ways in which musical experience is performed, defined, measured, categorised, and transformed into transferable knowledge. At the same time, it invites us to look beyond institutional settings to community spaces, exploring how musical participation may be conceptualised differently and how different communities might speak to, challenge, enrich, and collaborate with academic institutions.
The theme also asks us to reflect on recent calls to make music more collaborative. In a “participatory turn”, music institutions have become increasingly concerned with social impact and community engagement; musicians have blurred the boundaries between performers and listeners; and cognitive scientists have explored how participation shapes embodiment and emplacement. At the same time, pressing questions around coloniality, equity, and inclusivity have raised questions about whether ostensibly democratic and emancipatory ideals of musical participation can sometimes obscure existing inequalities and inaccessibility. 
We therefore invite proposals that explore musical participation in the broadest sense, as well as proposals on subjects outside the conference theme.
The Programme and Arrangements Committees for SEMPRE @ KCL 2027 are delighted to announce the keynote speaker for this year’s conference: Dr Erin Johnson-Williams (Associate Professor in Music Education and Social Justice, University of Southampton; Project Lead, AHRC Public Engagement with Music Research Hub; Deputy Director, Centre for Music Education and Social Justice).
DEADLINE FOR SUBMISSIONS: 4 December 2026
We welcome proposals for:
  • Papers (20 minutes with 10 minutes for questions)
  • Panels (3 or 4 related papers on a shared theme, totalling 1.5 or 2 hours)
  • Roundtables (3–5 shorter presentations, 10–15 minutes each, followed by a chaired discussion, totalling 1.5 or 2 hours)
  • Performance-based presentations or workshops (20 minutes with 10 minutes for questions). Please contact the organising committee to discuss possible ideas.
  • Posters (delegates will need to print the poster independently (poster board size: 12cm wide and 177cm high) and bring it to the conference, where it will be displayed in a designated area for the entire duration of the event).
  • Films, audio pieces, podcasts/digital audio, or other media presentations (20 or 50 minutes with 10 minutes for questions). Please contact the organising committee to discuss possible ideas.
Guidance for Submissions
All submissions must be made through the conference abstract Google Form: https://forms.gle/vxztFvxUCh5Xo3ZDA. If you have any questions not answered by this page, or have problems accessing the form, please email Javier Rivas (javier.rivas_rodriguez@kcl.ac.uk) and the conference committee (sempre2027conference@gmail.com).
Please do not include any presenter names in the titles or abstracts of submissions. All submissions will undergo anonymous review, and reviewers will not be made aware of the author identity or affiliation until final decisions have been made.
Individuals: Individuals proposing papers, posters, performance-based or audio-visual sessions (including films and audio pieces) must include an abstract (max. 250 words) and a biography (max. 100 words) with their submission. For films and other media pieces, where possible, please submit a link to the piece. 
Roundtables: The chair of the roundtable should submit an abstract for the session that gives some indication of each presenter’s contribution (max. 500 words), along with biographies of all speakers (max. 100 words per speaker).
Panels: The chair of the panel should submit an abstract for the session (max. 250 words), along with individual abstracts (max. 250 words per speaker) and biographies (max. 100 words per speaker) of all speakers. 
Performances and media presentations: Please contact the organising committee directly to discuss possible ideas.
Organising and Programme Committee:
Dr Javier Rivas 
Dr Esther Cavett
Dr Cayenna Ponchione-Bailey
Dr Alexander Douglas
Dr Elizabeth McGregor 
Prof Sally Marlow 
SEMPRE Conference Awards
The Sempre Conference Awards (https://sempre.org.uk/awards/award-categories/sempre-conference-awards/) are intended to enable full-time students or part-timers who are non-wage earners to attend one of the Society’s conferences or a conference in association with Sempre through meeting the fee and the costs of travel and subsistence. Typically, we encourage online participation whenever feasible.
Applicants should apply to present a paper or poster to the conference concerned in the usual way and, if successful in being selected to present at the event, should then complete an official Sempre Conference Awards application form. 
Aubrey Hickman Award (£500 biennially)
The Aubrey Hickman Award (https://sempre.org.uk/awards/award-categories/aubrey-hickman-award/) is offered biennially to a postgraduate researcher or early career researcher (defined as being within two years of having been awarded their doctorate) submitting the best paper to the Society’s Spring conference. The Award will be given in recognition of a paper that offers a significant and previously unpublished contribution to the knowledge and understanding of music education and/or music psychology.
Applicants should submit an extended abstract of 2000-3000 words to the SEMPRE Conference Secretary by 4 December 2026. Conditions of acceptance of the award are that the winner will present a paper at the Society’s Spring conference and that the full research paper (of 6000-8000 words) is offered first to one of the Society’s three journals–Psychology of Music, Music & Science, or Research Studies in Music Education–for consideration for publication.
DEADLINE FOR APPLICATIONS: 4 December 2026
SUBMISSION OF APPLICATIONS: Please submit to conferencesecretary@sempre.org.uk

Monday, October 5, 2026

Fwd: [DMRN-LIST] LIMRI Workshop #2: Interdisciplinary Conversations on Aesthetics – Mon 2 Nov, Senate House

Dear all

We are delighted to announce the second themed research event of the London Interdisciplinary Music Research Initiative (LIMRI):

LIMRI Workshop #2: Interdisciplinary Conversations on Aesthetics
*Monday 2 November 2026, 4–8 pm (doors open 3:30 pm)
*Senate House, central London
*Hosted in collaboration with the SAS Institute of Philosophy

We apologise for the short notice: securing a suitable venue and funding took longer than expected, but we're very pleased that it has all come together.

The workshop brings together scholars and practitioners from across disciplines to discuss how our notions of aesthetics and beauty are changing, and how the rise of generative music AI lends both urgency and fresh perspective to these debates.

Programme
3:30 pm - Doors open
4:00 pm – Short talks by our invited speakers:
  • Jennifer Walshe (University of Oxford)
  • Amnon Wolman (Jerusalem Academy of Music and Dance)
  • Berker Banar (Ellison Institute of Technology Oxford)
  • Emilie Capulet (Trinity Laban Conservatoire of Music and Dance)
5:00 pm – Concert: a joint improvisation between pianist David Dolan (Guildhall School of Music & Drama) and an AI system by Oded Ben-Tal (Kingston University London)
6:00 pm – Panel discussion
7:00 pm – Reception and networking

Attendees will also have the chance to take part in a pilot study on the aesthetic evaluation of music co-created with AI.



Registration is free but places are limited, so please only book if you plan to attend. If demand exceeds capacity, priority will be given to London-affiliated colleagues and students.

Stay in touch
LIMRI now has a JISCMail mailing list for announcements of future events and opportunities. Please join and share with anyone who might be interested: https://www.jiscmail.ac.uk/LIMRI 

The workshop is coordinated by Oded Ben-Tal; for questions or suggestions, please contact o.ben-tal@kingston.ac.uk. We are grateful to Barry Smith, Director of the SAS Institute of Philosophy, for the collaboration and local support.

We hope to see many of you there, and please feel free to forward this to colleagues and students.

Best wishes,
Charalampos Saitis, Diana Omigie, Mark Gotham, and Oded Ben-Tal

-- 
Centre for Digital Music
Queen Mary University of London

--
We are always hearing, but are we listening? — Joel Chadabe

Friday, October 2, 2026

Fwd: Opportunity: 5-year postdoc in Music and AI at the University of Cambridge


Dear colleagues,

 

We are now advertising an exciting 5-year postdoctoral research position in Music and AI here at the University of Cambridge. The position gives considerable scope to develop a research agenda related to the broad mission of advancing music AI for the benefit of humanity. Possible topics include (but are not limited to): developing AI tools to support performers, composers, and arrangers; developing new multidisciplinary approaches to computational creativity; developing music AI tools for health and wellbeing.

 

The University of Cambridge is a great place to work (this year the Financial Times named it the UK's top employer): there's all kinds of exciting research going on, lots of music-making, the city is beautiful and historic, and you're just a short train ride from London. You'd join a vibrant and friendly community of music cognition and AI researchers in the Centre for Music and Science (within the Faculty of Music) with computing resources, research seminars, and many collaboration opportunities.

 

Here is a link to the official advertisement (application deadline: 21 October). It lists our Faculty Chair as the official contact, but please feel welcome to contact me directly if you would like to know more about the Centre for Music and Science and our research network.

 

Please do share this with anyone you think might be interested!

 

Best wishes

Peter


-- 
Peter Harrison
Associate Professor and Director of Undergraduate Studies, Faculty of Music 
Fellow and Director of Studies in Music, Churchill College  

Wednesday, September 30, 2026

Fwd: Opportunity: 5-year postdoc in Music and AI at the University of Cambridge

Dear colleagues,

 

We are now advertising an exciting 5-year postdoctoral research position in Music and AI here at the University of Cambridge. The position gives considerable scope to develop a research agenda related to the broad mission of advancing music AI for the benefit of humanity. Possible topics include (but are not limited to): developing AI tools to support performers, composers, and arrangers; developing new multidisciplinary approaches to computational creativity; developing music AI tools for health and wellbeing.

 

The University of Cambridge is a great place to work (this year the Financial Times named it the UK's top employer): there's all kinds of exciting research going on, lots of music-making, the city is beautiful and historic, and you're just a short train ride from London. You'd join a vibrant and friendly community of music cognition and AI researchers in the Centre for Music and Science (within the Faculty of Music) with computing resources, research seminars, and many collaboration opportunities.

 

Here is a link to the official advertisement (application deadline: 21 October). It lists our Faculty Chair as the official contact, but please feel welcome to contact me directly if you would like to know more about the Centre for Music and Science and our research network.

 

Please do share this with anyone you think might be interested!

 

Best wishes

Peter


-- 
Peter Harrison
Associate Professor and Director of Undergraduate Studies, Faculty of Music 
Fellow and Director of Studies in Music, Churchill College  

Tuesday, September 29, 2026

Fwd: inaugural hybrid Musical Care International Conference


[sent on behalf of Professor Neta Spiro, RCM]

Dear all

We're delighted to invite submissions to the inaugural hybrid Musical Care International Conference, hosted by Queen Margaret University in Edinburgh from 9–11 June 2027. 
The conference explores musical care, the role of music, both listening and music-making, in supporting people's developmental and health needs. It brings together practitioners, researchers, people with lived experience, and policymakers across fields including music therapy, music psychology, ethnomusicology, community music, and music education, spanning diverse disciplinary and cultural perspectives.
Rather than traditional paper presentations, sessions take a dialogue format: short spoken or musical contributions grouped by theme, followed by a facilitated discussion. You can attend either in person in Edinburgh or online.
A few key details:
  • Call for contributions is open:10-minute talks, 5-minute talks, or electronic posters. The submission deadline is 23 October 2026, and accepted abstracts will be published in advance in Approaches: An Interdisciplinary Journal of Music Therapy.
  • Early bird registration closes 30 January 2027. Fees start at £115 (standard, in-person) and £55 (online), with reduced rates for students, unemployed/underemployed attendees, and those from low- and middle-income countries. Some travel support will be available.
  • On-campus accommodation can be booked for the conference nights.
Full details, the provisional programme, and booking are on the conference page:
https://www.qmu.ac.uk/news-and-events/events-listing/musical-care-international-conference
Please do feel free to send this information around to other who you think might like to submit. 
Hope to see you there,
Neta


Professor Neta Spiro
Professor of Music Psychology
 
CENTRE FOR
PERFORMANCE SCIENCE 
 
The CPS is a partnership of
Royal College of Music | Imperial College London
 
www.PerformanceScience.ac.uk


Fwd: IDyOM v1.8



---------- Forwarded message ---------
From: Marcus Pearce <0001ca105d8b2838-dmarc-request@jiscmail.ac.uk>
Date: Mon, 28 Sept 2026 at 20:50
Subject: IDyOM v1.8
To: <MUSIC-AND-SCIENCE@jiscmail.ac.uk>


**This list is managed by Professor Evangelos Himonides, University College London (UCL). Before 2015, this list was managed by the Institute of Musical Research (IMR).** MESSAGE FOLLOWS:
Dear all,

I'm pleased to announce v1.8 of IDyOM (Information Dynamics of Music). Documentation and downloads are available at:

https://mtpearce.github.io/idyom/

This release contains updates to harmony modelling alongside general bug fixes. There is also improved documentation for modelling harmony and similarity as well as tools for music generation and key finding. See the README for full details of new features in this release.

IDyOM is a computational framework for constructing multiple-viewpoint, variable-order Markov models for predictive modelling of probabilistic structure in symbolic, sequential auditory domains such as music. IDyOM acquires information about a domain through statistical learning and generates conditional probability distributions representing the estimated likelihood of each event in a sequence, plus associated information-theoretic measures, given the preceding context and prior short- and long-term training of the model. IDyOM has been used to simulate musical expectations, perceptual similarity, auditory memory, complexity perception and experience of pleasure.

Marcus
-- 
Dr Marcus Pearce
School of Electronic Engineering and Computer Science 
Queen Mary University of London
https://www.marcus-pearce.com

New book: Learning to Listen, Listening to Learn
https://academic.oup.com/book/60588


Saturday, September 12, 2026

Fwd: Extended deadline: CfP: Performance Studies Network International Conference, July 15–18 2027, University of Leeds, UK



---------- Forwarded message ---------
From: Emily Payne <0000ec4133ee26ad-dmarc-request@jiscmail.ac.uk>
Date: Fri, 11 Sept 2026 at 20:53
Subject: Extended deadline: CfP: Performance Studies Network International Conference, July 15–18 2027, University of Leeds, UK
To: <MUSIC-AND-SCIENCE@jiscmail.ac.uk>


**This list is managed by Professor Evangelos Himonides, University College London (UCL). Before 2015, this list was managed by the Institute of Musical Research (IMR).** MESSAGE FOLLOWS:

The Eighth Performance Studies International Conference will be hosted by the School of Music, University of Leeds, UK, on 15–18 July 2027 (both in person and online).  


The deadline for proposals has been extended to 21 September 2026 (Midnight GMT). 


The conference will address a wide range of musics, methodologies, questions, and practices relating to Performance Studies.  

 

We invite contributions that reflect this diversity, including (but not limited to) early music, contemporary and experimental music, global musics, acoustic, popular, electronic and multimedia performance. We encourage a broad range of approaches including musical instrument studies, performance practices including historically informed approaches and analytical approaches to performance and recordings, contemporary and ‘extended’ instruments and techniques, psychological approaches to performance and audience research, and pedagogic research in music performance. However, any topic in the field of music performance studies will be considered.  

 

The conference programme will include: 


Discussion session: ‘Equality and Diversity in Performance Studies’ led by Dr Amy Bliers-Carruthers (GSMD) with contributions from Dr Sam Murray (University of Leeds), Dr Diljeet Bhachu (Equality, Diversity & Inclusion Officer, MU), and Grace Goodwin (University of Liverpool / Gender Equity in Music across Europe). 

 

Interactive workshop: ‘Music&Me: Exploring a Musical Identities Toolkit to support musicians to navigate their futures’ led by Prof. Karen Burland (University of Leeds) and Dr Michelle Phillips (RNCM). 

 

Discussion session: ‘Developing practice-research methods and values as pedagogies for performance and beyond’, led by Dr Scott McLaughlin (University of Leeds) with contributions from Dr Mira Benjamin (City St George's, University of London), and Dr Lauren Redhead (Goldsmiths, University of London).  

 

Synthesizer ensemble performance-practice workshop led by Dr Ewan Stefani (University of Leeds), part of the Synthesizer Research Network (SyReN). 

 

Musical performances hosted by the University of Leeds International Concert Series. 

 

We welcome proposals from scholars, postgraduate researchers, and practitioners at all stages of their careers.  

 

Proposals are invited for: 

- Individual papers/presentations (20 mins + 10 mins discussion; delivered in person or remotely via video conference)  

- Lecture-recitals/performance-lectures/demonstrations of practice (30 mins + 10 mins discussion; in-person only) 

- Special themed sessions (1 hr + 15 mins discussion; delivered in person or remotely via video conference) 

 

Proposals can be submitted to https://forms.office.com/e/ViXxFnPeUB 

- Format of proposal: 

- Name(s) of presenter(s) 

- Contact email address 

- Title and type of presentation (as specified above) 

- Abstract (250 words) 

- Biography of presenter(s) (100 words) 

- Technical requirements (beyond normal AV presentation facilities) 

  

Key dates: 

 - Proposal deadline (extended): 21 September 2026 (Midnight GMT) 

- Notification of acceptance: January 2027 

- Provisional conference programme announced; registration opens: February 2027 

 

The conference is being held in association with SEMPRE who have kindly offered support in the form of bursaries for student or unwaged presenters (to cover registration fees, accommodation, and travel costs). The application process for bursaries will happen after papers are accepted and presenters have been notified. 

 

Further information can be found on the conference website: www.psn2027.co.uk 

 

Please send any questions to psn2027@leeds.ac.uk 

 

Dr Emily Payne and Dr Scott McLaughlin, Conference co-organisers 

 

School of Music, University of Leeds, UK  


Dr Emily Payne (she/her) (hear my name)
Associate Professor of Music
Director of Postgraduate Research Studies, School of Music
Programme Co-Lead, MMus Performance
School of Music, University of Leeds, Leeds LS2 9JT, UK

Thursday, August 20, 2026

Fwd: [DMRN-LIST] 📢 Research Assistant Opportunities — Multimodal AI, Audio/Music & OMR

To whom it may concern:


My name is Yinghao Ma. I am a PhD candidate at AI Music CDT, Centre for Digital Music, Queen Mary University of London, supervised by Dr. Emmanouil Benetos. I am writing to share some Research Assistant(s) positions supported by Google PhD fellowship research grant to work on several research projects at the intersection of multimodal foundation models, audio/music AI, world models, and optical music recognition (OMR).

👥 Team
Mentor: Yinghao Ma
Line manager: Dr. Emmanouil Benetos
Opportunities to collaborate with researchers from QMUL, CMU, HKUST, etc.

🗓️ Position
Start date: 1 October 2026
Initial duration: 3–6 months
Extendable to up to 11 months
10–20 hours/week
About £21/hour

🔬 Potential research topics
1. Audio / Omni World Model Evaluating
Develop a benchmark for evaluating the audio capabilities of emerging world models (e.g. Wbench), and potentially training an audio-aware reward model.
2. Music Reward Models
Develop more reliable models for evaluating music generation, unbias across factors such as pitch, vocal vs. instrumental, distortion, genre, and lyric language. Possible directions include data collection, fine-tuning or pre-training lightweight music foundation/reward models, etc.
3. Optical Music Recognition
Explore how modern vision-language models and rule-based/agentic systems can improve OMR, such as Learning Beyond Gradients. Possible work includes benchmarking across diverse music-score datasets and OMR systems, developing new VLM-or agent methods, and exploring human–computer interaction and accessibility applications for blind and visually impaired musicians.
4. Other topics related to multimodal foundation models (e.g. LLMs) for music understanding and ethical music generation or human-centred  creativity

🎓 Eligibility
Applicants should already hold a UK immigration status that permits the proposed employment, e.g. a Student visa, PSW, Skilled Worker visa, or Global Talent visa.
If you hold a Student or work visa, please briefly explain whether the proposed project can align with your PhD research or current work. For PhD students, a supervisor approval letter will be required before the contract is signed and salary payments begin. Working hours must also comply with the conditions of your visa.

📄 Application materials
Please send:
CV — max. 2 pages
Cover letter — 1 paragraph, explaining your relevant experience and preferred topic(s)
Preferred working hours / duration.
Research proposal (only required if plan to work more than 6 months), can include but is not limited to: literature review, relevant project experience, proposed datasets/metrics/baselines, computational-resource budget, expected research outputs, and optionally a small prototype or vibe-coding demo.

📩 Interested? Please send me the documents to yinghao.ma@qmul.ac.uk by 7th Sept. Informal chat is welcomed.


Respectfully
Yinghao Ma

Tuesday, August 18, 2026

Fwd: PhD & post-doc positions for 2027-2029 available in Jyväskylä, Finland!

The Centre of Excellence in Music, Mind, Body & Brain (CoE MMBB) is
recruiting 5-9 post-doctoral researchers and 2-6 doctoral researchers
(PhD students) to work in Jyväskylä, Finland, for 3-year positions
starting on 4.1.2027.

Recruited post-docs and PhD students will work in projects addressing
music and emotion, movement and entrainment, social interaction and
development, everyday health and wellbeing, as well as music therapy,
special education and mood disorders. Methodological approaches focus on
experimental research, computational modelling, psychometrics, and
statistical analysis.

Postdoctoral researcher positions: https://ats.talentadore.com/apply/5-9-postdoctoral-researchers-coe-in-music-mind-body-and-brain/ZvnvX3

Doctoral researcher positions: https://ats.talentadore.com/apply/2-6-doctoral-researchers-coe-in-music-mind-body-and-brain/ZqJ4Xx

Best,
Martin

--
Martin Hartmann
Associate Professor (tenure track)

Centre of Excellence in Music, Mind, Body and Brain
Department of Music, Art and Culture Studies
PO Box 35(M)
40014 University of Jyväskylä
Finland
martin.hartmann@jyu.fi
users.jyu.fi/~maarhart
www.jyu.fi/mmbb