*** CALL FOR CONTRIBUTIONS ***
DMRN+7: Digital Music Research Network 1-Day Workshop 2012
People's Palace Lecture Theatre One (PP1)
Queen Mary University of London
18 December 2012
http://www.elec.qmul.ac.uk/dmrn/events/dmrnp7/
* Keynote Speaker
Prof. George Tzanetakis (University of Victoria, Canada)
will talk on "Reinventing the vibraphone using non-invasive sensing".
Digital music is an important and fast-moving research area. Sophisticated
digital tools for the creation, generation and dissemination of music have
established clear synergies between music and leisure industries, the use of
technology within art, the creative industries and the creative economy.
Digital music research is emerging as a "transdiscipline" across the usual
academic boundaries of computer science, electronic engineering and music.
The Digital Music Researh Network (DMRN) aims to promote research in the
area of Digital Music, by bringing together researchers from UK universities
and industry in electronic engineering, computer science, and music.
DMRN will be holding its next 1-day workshop on
** Tuesday 18 December 2012 **
The workshop will include invited and contributed talks, and posters will be
on display during the day, including during the lunch and coffee breaks.
The workshop will be an ideal opportunity for networking with other people
working in the area. There will also be an opportunity to continue
discussions after the Workshop in a nearby Pub/Restaurant.
* Call for Contributions
You are invited to submit a proposal for a talk and/or a poster to be
presented at this event.
TALKS may range from the latest research, through research overviews or
surveys, to opinion pieces or position statements, particularly those likely
to be of interest to an interdisciplinary audience. Most talks will be 20 to
30 minutes, although there may be some flexibility to accommodate other
lengths depending on the number of submissions. Short announcements about
other items of interest (e.g. future events or other networks) are also
welcome.
POSTERS can be on any research topic of interest to the members of the
network. Posters (A0 portrait) will be on display through the day, including
lunch break and coffee breaks.
The abstracts of presentations will be collated into a digest and
distributed on the day, and authors will be encouraged to submit an
electronic versions of posters (e.g. in PDF format) to allow the posters to
be viewed after the event.
* Submission
Please submit your talk or poster proposal in the form of an abstract
(maximum 1 page of A4) in an email to dmrn@eecs.qmul.ac.uk giving the
following information about your presentation:
* Authors
* Title
* Abstract
* Preference for talk or poster (or "no preference").
Abstract submission deadline: Friday 16 November 2012.
* Deadlines
* 16 Nov 2011: Abstract submission deadline
* 30 Nov 2012: Notification of acceptance
* 7 Dec 2012: Early Bird Registration deadline
* 18 Dec 2012: DMRN+7 Workshop
For further information, visit:
http://www.elec.qmul.ac.uk/dmrn/events/dmrnp7/
For past events, visit:
http://www.elec.qmul.ac.uk/dmrn/events/dmrnp6/
http://www.elec.qmul.ac.uk/dmrn/events/dmrnp5/
http://www.elec.qmul.ac.uk/dmrn/events/dmrnp4/
http://www.elec.qmul.ac.uk/dmrn/events/dmrnp3/
http://www.elec.qmul.ac.uk/dmrn/events/dmrnp2/
Wednesday, October 24, 2012
Tuesday, October 16, 2012
Macbeth, Montage and Machinima -Thu 25 October 2012, 3-5pm- part of the Inside Out Festival
Blue Room, BFI Southbank, Belvedere Road, South Bank, London SE1 8XT
Free but booking required – through the link below:
http://www.insideoutfestival.org.uk/events/macbeth-montage-and-machinima/
This event will feature presentations by participants in two projects
from the DARE (Digital Arts Research Education) Collaborative at the
Institute of Education (IOE), working with partners in the British
Film Institute (BFI) and at London's Globe Theatre.
The first project was jointly organised by the BFI and the
Cinematheque Francaise in Paris and explored the intervention of the
"real" in fiction. This project also produced two "machinima" films
made by year 7 students in Cambridge. These are 3D animations made
using the software Moviestorm, and are fantasy sci fi and horror
stories.
In the second project a partnership was formed between Shakespeare's
Globe and Immersive Education, who produced the game-authoring
software, Missionmaker. Students created games which drew on a key
scene from Macbeth, involving them in a rich digital and cultural
experience.
Students from the schools will present the work, alongside their
teachers, and they will be happy to discuss the work with the
audience.
From London, students from the London Nautical School will attend with
their teacher Chris Waugh and researcher/evaluator, Michelle Cannon.
From Cambridge there will be students from Parkside Federation with
their teacher, James Durran. The event will be hosted by Mark Reid
from BFI Education, and, from the IOE, Andrew Burn and John Potter.
Free but booking required – through the link below:
http://www.insideoutfestival.org.uk/events/macbeth-montage-and-machinima/
Free but booking required – through the link below:
http://www.insideoutfestival.org.uk/events/macbeth-montage-and-machinima/
This event will feature presentations by participants in two projects
from the DARE (Digital Arts Research Education) Collaborative at the
Institute of Education (IOE), working with partners in the British
Film Institute (BFI) and at London's Globe Theatre.
The first project was jointly organised by the BFI and the
Cinematheque Francaise in Paris and explored the intervention of the
"real" in fiction. This project also produced two "machinima" films
made by year 7 students in Cambridge. These are 3D animations made
using the software Moviestorm, and are fantasy sci fi and horror
stories.
In the second project a partnership was formed between Shakespeare's
Globe and Immersive Education, who produced the game-authoring
software, Missionmaker. Students created games which drew on a key
scene from Macbeth, involving them in a rich digital and cultural
experience.
Students from the schools will present the work, alongside their
teachers, and they will be happy to discuss the work with the
audience.
From London, students from the London Nautical School will attend with
their teacher Chris Waugh and researcher/evaluator, Michelle Cannon.
From Cambridge there will be students from Parkside Federation with
their teacher, James Durran. The event will be hosted by Mark Reid
from BFI Education, and, from the IOE, Andrew Burn and John Potter.
Free but booking required – through the link below:
http://www.insideoutfestival.org.uk/events/macbeth-montage-and-machinima/
The First International Conference of Dalcroze Studies
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| Our conference 2013 sees the centenary of the London School of Dalcroze Eurhythmics (LSDE), founded to promote the teaching method of Emile Jaques-Dalcroze (1865-1950) in the UK. This is the first international conference of Dalcroze Studies and is part of the celebrations to mark the centenary of the LSDE.
Confirmed keynote speakers | |||
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We also welcome related presentations on music, movement and the body from a range of disciplines and perspectives including: aesthetics, dance, ethnomusicology, evolutionary biology, gender politics, improvisation, music analysis, music pedagogy, music therapy, musicology, neuroscience, performance studies, phenomenology, psychology, somatic practices and spirituality. Performances of Jaques-Dalcroze's music or related repertoire are welcome as well as presentations of plastique animée, theatrical or dance work. Poster presentations may be invited, depending on the amount of submissions received. | |||
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| Deadline for abstract submission: 7 January 2013 | |||
| | |||
Society for Music Education in Ireland Conference, Limerick 9-11 Nov
The 2nd Annual Conference of the Society for Music Education in Ireland takes place at Mary Immaculate College, University of Limerick 9-11th November. The conference programme includes a variety of papers, poster, workshops and performances on current national and international music education research and practice. The Keynote speaker is Prof Margaret Barrett (President of the International Society for Music Education). The conference fee for students (including membership) is just €35 and the conference venue is only 30 minutes from Shannon Airport. Further details of travel, registration and accommodation can be found at www.smei.ie. For all other enquiries, email smei2012committee@gmail.com
Venezuela's Youth Orchestra Program El Sistema: Myths, Metaphors and Realities
Venezuela's Youth Orchestra Program El Sistema: Myths, Metaphors and Realities
Music Education Special Interest Group
Research Seminar Announcement
Venezuela's Youth Orchestra Program El Sistema: Myths, Metaphors and Realities
Dr Geoff Baker, Royal Holloway, University of London
Tuesday 13th November
12.45-1.45
Room 944: TO BE CONFIRMED
Further details from Lucy Green, l.green2@ioe.ac.uk
All are welcome!
The Venezuelan youth orchestra program El Sistema has garnered much
attention and praise in recent years. It has been enthusiastically
endorsed by major musical figures - Simon Rattle described it as "the
most important thing happening in music anywhere in the world" - and
by prestigious international institutions such as UNESCO and the
Inter-American Development Bank.
Yet there is very little in the way of research on El Sistema.
External monitoring and evaluation have been largely absent, so most
writing on the topic is based on spectacular concerts, red-carpet
tours, official interviews, and information from El Sistema's PR
department. This paper represents a first attempt to examine
critically some of the claims made by and for El Sistema on the basis
of extensive research in Venezuela.
Touching on the little-known history of the program's founder, Jose
Antonio Abreu, and of the gestation of the project itself, I analyze
the notion that El Sistema is a "revolutionary social program." It is
widely reported that the program is extremely successful: on what
basis are such claims made, and to what extent are they verifiable?
After considering the relationship between orchestral metaphors and
realities, I scrutinize the musical and social education that
participants receive through orchestral training, and thus the core
idea of "music as social action." Addressing issues such as social
inclusion, discipline, democracy, and teamwork, I ask: does an
orchestra represent an ideal, harmonious society, as the program
claims? If El Sistema is a "school of social life," what sort of
society does it model?
The implications of this analysis may be significant, given that the
program has captured the imagination of music educators and policy
makers around the globe and is being enthusiastically copied in dozens
of countries, including the UK.
Geoff Baker is a Reader in the music department at Royal Holloway,
University of London. He is the author of Imposing Harmony: Music and
Society in Colonial Cuzco (Duke University Press, 2008), which won the
American Musicological Society's Robert Stevenson Award in 2010, and
Buena Vista in the Club: Rap, Reggaetón, and Revolution in Havana
(Duke University Press, 2011). His recent research encompasses
childhood musical learning and music education in Cuba and Venezuela.
He was co-investigator on the AHRC-funded project "Growing into
music," and is making a series of documentaries and short films about
young musicians in Cuba and Venezuela. He also held a British Academy
Research Development Award in 2010-11 and undertook fieldwork in
Venezuela on the country's orchestral music education program, El
Sistema. He is in the later stages of writing a book on this topic. He
is currently attached to Oxford University, working on a project
entitled "Music, Digitization, Mediation: Towards Interdisciplinary
Music Studies."
Music Education Special Interest Group
Research Seminar Announcement
Venezuela's Youth Orchestra Program El Sistema: Myths, Metaphors and Realities
Dr Geoff Baker, Royal Holloway, University of London
Tuesday 13th November
12.45-1.45
Room 944: TO BE CONFIRMED
Further details from Lucy Green, l.green2@ioe.ac.uk
All are welcome!
The Venezuelan youth orchestra program El Sistema has garnered much
attention and praise in recent years. It has been enthusiastically
endorsed by major musical figures - Simon Rattle described it as "the
most important thing happening in music anywhere in the world" - and
by prestigious international institutions such as UNESCO and the
Inter-American Development Bank.
Yet there is very little in the way of research on El Sistema.
External monitoring and evaluation have been largely absent, so most
writing on the topic is based on spectacular concerts, red-carpet
tours, official interviews, and information from El Sistema's PR
department. This paper represents a first attempt to examine
critically some of the claims made by and for El Sistema on the basis
of extensive research in Venezuela.
Touching on the little-known history of the program's founder, Jose
Antonio Abreu, and of the gestation of the project itself, I analyze
the notion that El Sistema is a "revolutionary social program." It is
widely reported that the program is extremely successful: on what
basis are such claims made, and to what extent are they verifiable?
After considering the relationship between orchestral metaphors and
realities, I scrutinize the musical and social education that
participants receive through orchestral training, and thus the core
idea of "music as social action." Addressing issues such as social
inclusion, discipline, democracy, and teamwork, I ask: does an
orchestra represent an ideal, harmonious society, as the program
claims? If El Sistema is a "school of social life," what sort of
society does it model?
The implications of this analysis may be significant, given that the
program has captured the imagination of music educators and policy
makers around the globe and is being enthusiastically copied in dozens
of countries, including the UK.
Geoff Baker is a Reader in the music department at Royal Holloway,
University of London. He is the author of Imposing Harmony: Music and
Society in Colonial Cuzco (Duke University Press, 2008), which won the
American Musicological Society's Robert Stevenson Award in 2010, and
Buena Vista in the Club: Rap, Reggaetón, and Revolution in Havana
(Duke University Press, 2011). His recent research encompasses
childhood musical learning and music education in Cuba and Venezuela.
He was co-investigator on the AHRC-funded project "Growing into
music," and is making a series of documentaries and short films about
young musicians in Cuba and Venezuela. He also held a British Academy
Research Development Award in 2010-11 and undertook fieldwork in
Venezuela on the country's orchestral music education program, El
Sistema. He is in the later stages of writing a book on this topic. He
is currently attached to Oxford University, working on a project
entitled "Music, Digitization, Mediation: Towards Interdisciplinary
Music Studies."
Saturday, October 13, 2012
About OpenSoundS
What is OpenSoundS?
OpenSoundS is a collaborative online environment, where students from across Europe can
- showcase their works on Music & Sound
- collaborate with their peers
- exchange knowledge and know-how
- learn about the latest tools in Music Technology and I.T.
- engage in constructive online dialogue
- learn about intellectual property, copyright and sharing
- learn how to manage and participate effectively in collaborative projects,
- and, also, have fun engaging in these activities.
The OpenSoundS platform ensures that this online experience is achieved within a secure, intuitive and accessible environment.
Who is behind OpenSoundS?
OpenSoundS is a collaborative European project, funded by the EC's Education and Culture Lifelong Learning Programme.
Partners of the OpenSoundS project are:
- Istituto tecnico Attilio Deffenu [visit]
- EarMaster [visit]
- DEI - Università di Padova [visit]
- MidiWare [visit]
- Nuvole [visit]
- Brightonart [visit]
- International Music Education Research Centre (iMERC) [visit]
Access and Registration
How do I access the online collaborative system?
The OpenSoundS collaborative platform is accessible at: live.opensounds.eu
How do I start?
Although you don't need an account in order to browse projects and listen to the available tracks, you can only have the full OpenSoundS experience if you have an online account. Please see below, depending on whether you are a teacher or student.
I am a teacher, how do I get involved?
During this testing phase, accounts can only be activated by a project partner. If you would like to be involved, please contact an OpenSoundS project partner (information about the OpenSoundS partners can be found here: http://www.opensounds.eu/partners). You can apply for an OpenSoundS account by visiting the OpenSoundS collaborative platform here: live.opensounds.eu, and selecting the create a new account linkat the very top right hand side. You will receive the necessary information from the OpenSounds system once your account has been activated.
I am a student, how do I get involved?
Make sure that your teachers know about OpenSoundS! Ask them to join (see above). Once they have joined, they will be able to create an account for you. You can apply for an OpenSoundS account by visiting the OpenSoundS collaborative platform here: live.opensounds.eu, and selecting the create a new account linkat the very top right hand side. You will receive the necessary information from the OpenSounds system once your account has been activated. The person that will be responsible for your account is likely to be your Head of Music, or Music Technology, but things could be different in your school. A member of the OpenSoundS team will let you know if there is a problem.
My parents are concerned about having accounts online. How safe is it to use OpenSoundS?
Open SoundS is a platform created and actively maintained by Professionals, Researchers and Academics with great experience, internationally, in virtual learning and online collaboration. Your work and activities are safeguarded at numerous levels. Student users are protected by 4 levels of scrutiny:
- their peers
- their teachers
- the project partners
- the OpenSoundS server administrators
OpenSoundS is a closed family (although a BIG family!!!). All family members are welcome to enjoy their online activities and sharing using a safe online platform and free of bullying, negativity, and non constructive criticism. It is essential that all OpenSoundS registered users treat their colleagues in a respectful and courteous manner. We operate a zero tolerance policy about abusive behaviour.
Project Area
I have an account, now what?
Congratulations! You are now able to post ideas, create projects, collaborate, discuss and communicate with all OpenSoundS users.
How do I log onto OpenSoundS?
- go to live.opensounds.eu
- click on Log in (top right)
- type in your username
- type in your password
- click on the Log in button at the bottom
How can I see the latest projects posted on OpenSoundS?
- click on the Latest Projects link, available on the left-hand side navigation panel
- a list of latest projects appears in the main window
- There, you can have a quick overview of
- the project title,
- the owner,
- a brief description,
- and information about the project activity...
- you can, of course, listen to the main project mp3 file!
- you can also use the fast OpenSoundS search engine and search by project title, tags and owner.
How can I browse all projects available on OpenSoundS?
- simply follow the link named Browse Projects under the Projects sub-menu on the left-hand side
- this will take you to the Projects page where the complete body of available projects can be found
- Don't forget to use the dynamic search boxes on the top if you are looking for something specific, you can search for project Title, project specific Tags and project Owner
An additional way to navigate through the numerous projects posted on OpenSoundS is to use the Projects List available under the Projects sub-menu.
Collaborative Area
What should I start with? An idea, or a project?
Normally, you should start with an idea on the OpenSoundS collaborative platform. The Ideas section is where you can describe your aspirations, find interesting musicians around Europe to collaborate with, discuss the different technologies that are likely to be needed once the idea develops into a fruitful project, discuss the level of experience/expertise, and describe your needs/requirements and thoughts about how you could have a successful project.
It is common for us musicians to want to go straight into playing our instrument and making music, but years of research and evidence from extremely successful past research projects demonstrate that the more careful your planning is, and the more detailed the information that you provide during the framing of your idea, the greater the success of your final project is going to be. Help other musicians work with you meaningfully and enjoyably. You will be rewarded!
What are OpenSoundS ideas?
An idea in OpenSoundS is what you can post when you are not yet ready to post your project. This is where you can:
- invite other's to a discussion about a future project
- invite expression of interest from other OpenSoundS users that might be willing to contribute to a future project
- request help from other instrument players (e.g. you are a guitarist that looks for a bass or drums player)
- discuss the possibility of a collaboration with other musicians and producers
- let the OpenSoundS community know about something that you are working on
How do I post an idea?
- First, you need to log onto your OpenSoundS account. Only logged on users can post on OpenSoundS (see above: How do I log onto OpenSoundS?)
- Under the Collaborate section of the left-hand side menu, select Create Idea
- The Create Idea page appears, where you can give your idea a title and
- Provide a summary (see above: what are OpenSoundS ideas)
- Describe the level of musical expertise that you expect from the project team, by choosing the drop-down list (basic, intermediate, advanced). If your particular idea is open for musicians and collaborators with various expertise, please choose the 'Not specified' option.
- Describe the level of software expertise that you expect from the project team by choosing the drop-down list (basic, intermediate, advanced). If your particular idea is open for musicians and collaborators with various software/technology expertise, please choose the 'Not specified' option.
- Describe the various software and/or technologies that you envisage using once your idea leads to a project. Try to be as specific as possible as this will help other people around the world to understand your needs and assess whether they could become part of the team.
- Select the type of Creative Commons License that the resulting work will become available under. This is a very important part of the idea (and the project that the idea will lead to). Understanding copyright and intellectual property is a key objective within the OpenSoundS collaborative system. You can find a very helpful tutorial about Creative Commons right onto the OpenSoundS portal. Please feel free to read it.
- Finally, you can upload any supporting material that you wish onto the platform, so that other people can form a better understanding about your idea, and asses how they could become part of your team. This could be anything that is related to you idea, like lyrics, chords, recordings, scribbles, diagrams, etc.
- Once you finished providing the above information, simply click on Save
- That's it! Your idea is now live and visible to your future team members!
How can I access Ideas on OpenSoundS?
Simply click on List of New Ideas under the Collaborate sub-menu on the left-hand side. There you will see all ideas that have been posted onto the OpenSoundS system, appearing in chronological order. Remember, you need to be logged onto OpenSoundS in order to post a response!I am ready to create my own project. What should I do?
- First, you need to log onto your OpenSoundS account. Only logged on users can post on OpenSoundS (see above: How do I log onto OpenSoundS?)
- Upon successful login, click on the Create Project link, under the Collaborate sub-menu on the left-hand side
- the Create Project page appears
- first, give your project a title. This should be representative of your whole project (e.g. think of the title of a music album)
- second, add an mp3 file as you main media file. This has to be an mp3 file so that everybody can play it on whatever technology or system they are using (computer, telephone, tablet device, etc)
- third, select you team members! this is why it is always better to start with an idea (see above)! Here is where you invite other members of OpenSoundS to be part of your project!
- fourth, add a description of your project: this is a very important part of your project. Explain what your ideas are about, what your aspirations are, what your needs are, what tools you have or planning to use, as well as any other information that will help the OpenSoundS community understand more about your project. The more information you provide, the greater the chances that people will want to collaborate with you!!!
- fifth, if you have any additional composition elements that you want to post (e.g. individual tracks, sounds, effects, samples, loops, patches) you can post them into the composition elements section. Or, if you are using other people's work that is available in OpenSoundS, you can select them from the OpenSoundS file library. OpenSoundS supports a wide variety of file formats like wav, mp3, aif, aiff, ogg, wma, aac, flac, m4a, ape and others.
- sixth, upload any other files that are not main composition elements. These can be instrument patches, notes, schemas, scores, or any other file that will help the team make music and/or create new composition elements and tracks.
- seventh, provide keywords for your project and separate them with a comma (e.g. classical, violin, romantic). This is a very important part of your project. OpenSoundS hosts hundreds of projects and one of the easiest ways to navigate through those is to use appropriate keywords.
- eighth, select the licence under creative commons that you want to release your project (see more information below). Attribution: acknowledge the author; non-commercial: cannot be used for commercial purposes; share-alike: apply the same license to derived works.
- last, if your project has a constant beat, provide the Beats per Minute value (BPM). Classical tempi can be specified as TAGS eg. andante, presto, moderato, etc. Do not try to add these in the BPM box.
- All done... click on Save and your project is now ready and online!
What are OpenSoundS tags?
OpenSoundS tags are meaningful keywords/labels that describe what the different projects are all about! This is an integral part of Web 2.0 and the semantic presentation of information. Tags help you- search for related work
- make others understand what your work and ideas are about
- identify projects that you might want to be involved with
- locate samples and files that you could use in your own project
- find people in the OpenSoundS community that you might want to collaborate with in the future
- help other users find your project quickly using the OpenSoundS dynamic search engine
How can I browse the OpenSoundS projects' tags?
- click on the Browse Tags link under the Collaborate sub-menu on the left-hand side
- the Browse Tags page appears
- all available tags appear in a cloud-view (also known as tag cloud, word cloud, or weighted list)
- this means that the bigger and bolder a tag, the more popular it is
- the list of tags is 'clever', you can click on any tag and you will automatically be shown all relevant projects on OpenSoundS
Can I find all of my projects and posts in one place?
Yes you can! First, simply log onto your OpenSoundS account (see above: How do I log onto OpenSoundS?). Upon successful login, go to My Page under the Collaborate sub-menu on the left-hand side.How can I update my profile information?
- First, simply log onto your OpenSoundS account (see above: How do I log onto OpenSoundS?).
- Upon successful login, go to the top-right of the screen (where your username appears) and click on your username
- a drop-down list appears
- select the first option which is My account
- press the Edit button at the top right of your profile page
- update your information
- click on Save at the bottom of the page
- your new details are now online...
How do I post a comment?
- First, you need to log onto your OpenSoundS account. Only logged on users can post on OpenSoundS (see above: How do I log onto OpenSoundS?)
- Go to the project that you want to post a comment about (as mentioned above, there are numerous ways of doing that, either by using the search tool, or by browsing all projects, or by using the project tags, or the list of all projects... to name a few!)
- Once you are inside the project page, navigate to the bottom of the page
- Click on the Add new comment link
- simply type your comment in the available box (you can also add a title if you want to - but this is not compulsory)
- click on Save
- All done, your comment has been posted online!
- Remember: the OpenSoundS comments system is clever... it allows you to add media comments as well (for example, you can post a comment that includes a sound file -- like in YouTube where you can post a Video Response)
How do I share information about a project with other social media (e.g. Twitter or Facebook)?
- simply go to the project that you are interested in using any of the above presented ways (browsing, search, recent projects, tags, project owners)
- inside the project page and under the attributions information on the right you will see a share toolbar
- if you hover your mouse pointer over the share toolbar, you will see a list appearing, with a large number of available social media (over 300, if you click on more!!!)
- let say that we want to post the project information on Twitter
- click on More... at the bottom-left of the sharing pop-up window
- find Twitter (all social media appear in alphabetical order)
- the tweet posting window appears, the message containing information about the project has been added automatically for you
- simply use your login information (username/email and password)
- click on the sign in and tweet button
- all done!
Tuesday, October 9, 2012
VACANCY - RESEARCH OFFICER
INSTITUTE OF EDUCATION
University of London
Research Officer
MODE (Multimodal methodologies for Digital Environments) Research
Project: Methods and challenges for digital technologies and
embodiment
Department of Culture, Communication and Media
Faculty of Children and Learning
The starting salary will be in the range of £30,124 and £35,940 plus
£2,323 London Allowance per annum. The appointment will be at 1.0 FTE
and available from 07January 2013 for 16 months.
You will be required to participate in and contribute to all elements
of the project, collaborating closely with the project directors and
also liaise and communicate effectively with the Node team to ensure
the findings of the research project contribute to the development of
the Node themes and inform the training and capacity building
activities.
You will need a higher degree, preferably a doctorate, or comparable
research experience in cognitive science, education, sociology,
psychology, anthropology, or another relevant social science field and
significant experience of undertaking research within the field of
emergent technologies, such as tangible, mobile, ubiquitous
technologies and education. You will have experience of conducting
sustained qualitative fieldwork, notably the use of video as a
research tool and observation of technology-mediated interactions, and
computer generated/logged data.
In view of the nature of the work involved, any offer of appointment
will be conditional on a satisfactory Criminal Records Bureau Enhanced
Disclosure.
Reference: 7AC-CLCCM-5080-A
Closing date: 09 November 2012
To apply online please visit
http://jobs.ioe.ac.uk<http://jobs.ioe.ac.uk/> or tel 020 7612 6159
We positively encourage applicants from all sections of
under-represented communities
University of London
Research Officer
MODE (Multimodal methodologies for Digital Environments) Research
Project: Methods and challenges for digital technologies and
embodiment
Department of Culture, Communication and Media
Faculty of Children and Learning
The starting salary will be in the range of £30,124 and £35,940 plus
£2,323 London Allowance per annum. The appointment will be at 1.0 FTE
and available from 07January 2013 for 16 months.
You will be required to participate in and contribute to all elements
of the project, collaborating closely with the project directors and
also liaise and communicate effectively with the Node team to ensure
the findings of the research project contribute to the development of
the Node themes and inform the training and capacity building
activities.
You will need a higher degree, preferably a doctorate, or comparable
research experience in cognitive science, education, sociology,
psychology, anthropology, or another relevant social science field and
significant experience of undertaking research within the field of
emergent technologies, such as tangible, mobile, ubiquitous
technologies and education. You will have experience of conducting
sustained qualitative fieldwork, notably the use of video as a
research tool and observation of technology-mediated interactions, and
computer generated/logged data.
In view of the nature of the work involved, any offer of appointment
will be conditional on a satisfactory Criminal Records Bureau Enhanced
Disclosure.
Reference: 7AC-CLCCM-5080-A
Closing date: 09 November 2012
To apply online please visit
http://jobs.ioe.ac.uk<http://jobs.ioe.ac.uk/> or tel 020 7612 6159
We positively encourage applicants from all sections of
under-represented communities
Monday, October 8, 2012
Call For Papers - Conference on Mechanical Musical Instruments in Historical Performance
Papers are invited for a 2-day conference to be held on Sunday 7th and
Monday 8th July 2013 at
the Guildhall School of Music and Drama, London. The event is a
collaboration between the
Guildhall School and the National Early Music Association (NEMA) and
will focus on all
aspects of how mechanical musical instruments might serve as sources
both for historical
repertoire and performance practice.
From water organs to player pianos. the production and reproduction of
music by mechanical
means has been a source fascination to many cultures. But what impact
can the study of these
machines have on live musicians studying the music, and the particular
ways of performing
music from past eras? What are the advantages, issues and problems
connected with this type of
research?
The conference will feature papers, a keynote address, a performance
by GSMD students on the
Historical Performance programme and also a visit (tbc) to the Colt
Clavier Collection – home
of the Barrel Organ featured on ERATO s recording of two Handel Organ
Concertos (among
other pieces) in the 1980s.
Abstracts of no more than 250 words for papers of 20mins or lecture
recitals of 30mins duration
should be submitted to and should include the following information:
-- Background
-- Research questions
-- Aims
-- Summary of content
-- Significance
Papers will be followed by a 5 -10 minute period for questions
Emily.Baines@stu.gsmd.ac.uk
to be received no later than Friday 1st February 2013
Monday 8th July 2013 at
the Guildhall School of Music and Drama, London. The event is a
collaboration between the
Guildhall School and the National Early Music Association (NEMA) and
will focus on all
aspects of how mechanical musical instruments might serve as sources
both for historical
repertoire and performance practice.
From water organs to player pianos. the production and reproduction of
music by mechanical
means has been a source fascination to many cultures. But what impact
can the study of these
machines have on live musicians studying the music, and the particular
ways of performing
music from past eras? What are the advantages, issues and problems
connected with this type of
research?
The conference will feature papers, a keynote address, a performance
by GSMD students on the
Historical Performance programme and also a visit (tbc) to the Colt
Clavier Collection – home
of the Barrel Organ featured on ERATO s recording of two Handel Organ
Concertos (among
other pieces) in the 1980s.
Abstracts of no more than 250 words for papers of 20mins or lecture
recitals of 30mins duration
should be submitted to and should include the following information:
-- Background
-- Research questions
-- Aims
-- Summary of content
-- Significance
Papers will be followed by a 5 -10 minute period for questions
Emily.Baines@stu.gsmd.ac.uk
to be received no later than Friday 1st February 2013
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