ISMIR 2013 Call for Participation
14th International Society for Music Information Retrieval Conference
http://ismir2013.ismir.net/ismir2013
4th - 8th of November 2013
Curitiba, Brazil (organized by PUCPR)
The annual Conference of the International Society for Music
Information Retrieval (ISMIR) is the world's leading research forum on
processing, searching, organizing and accessing music-related data.The
revolution in music distribution and storage brought about by digital
technology has fueled tremendous research activities and interests in
academia as well as in industry. The ISMIR Conference reflects this
rapid development by providing a meeting place for the discussion of
MIR-related research, developments, methods, tools and experimental
results. Its main goal is to foster multidisciplinary exchange by
bringing together researchers and developers, educators and
librarians, as well as students and professional users.
ISMIR 2013 will feature:
* introductory and in-depth tutorials
* oral and poster presentations of research papers
* invited talks reflecting the true interdisciplinary nature
of MIR research
* a late-break/demo session
* a music programme.
-----PAPERS-----
ISMIR 2013 welcomes paper submissions for oral or poster presentation
in the (non-exclusive) areas of:
* content-based querying and retrieval
* database systems, indexing and query
* fingerprinting and digital rights management
* music transcription and annotation
* music signal processing
* sound source separation in music signals
* score following, audio alignment and music synchronization
* optical music recognition
* melody and motives
* rhythm, beat, tempo and form
* harmony, chords and tonality
* timbre, instrumentation and voice
* performance analysis
* modification and transformation of music data
* computational musicology
* music perception and cognition
* emotion and aesthetics
* applications of MIR to the performing arts and multimedia
* automatic classification
* genre, style and mood analysis
* similarity metrics
* music summarization
* user interfaces and user models
* music recommendation and playlist generation
* text and web mining
* knowledge representation, social tags and metadata
* libraries, archives and digital collections
* evaluation and annotation issues
* methodological and philosophical issues
* social, legal, ethical and business issues
* applications to traditional/folk/ethnic music
To ensure a high quality of the contributions, all papers will go
through a double-blind selection process with at least three reviewers
per submission. Paper submissions must be no more than 6 pages long
when formatted with the conference template, and in PDF. Accepted
papers will be designated by the Program Committee to be presented
either as posters or as lectures. All accepted papers have the same
status, assignment as poster or lecture is not indicative of the
relevance or potential impact but on the type of content and way to
better reach the intended audience.
More details on http://ismir2013.ismir.net/ismir2013/submissions.html
-----TUTORIALS-----
The first day of ISMIR 2013 will consist of parallel sessions of
tutorials, each lasting three hours and concentrating on a single
topic. The tutorials are intended to provide a stimulating coverage of
that topic appealing to a general audience.
More details on http://ismir2013.ismir.net/ismir2013/submissions.html
-----LATE-BREAK/DEMOS-----
As in previous years, ISMIR 2013 will also include a special track for
demos and late-breaking news, with a later deadline than the main
paper/poster track. Demos consist of live, hands-on presentations of
working software which incorporate MIR algorithms or are relevant to
MIR research. Late-breaking news is quite the opposite: unpolished,
not-quite-understood-yet puzzles and findings that may barely hold
together, but are guaranteed to foster debate and discussion. Both are
things better interacted with than lectured about. While recent years
have seen a majority of submissions in the demo category, we will
endeavor to reach a better balance of both types of submissions this
year. In particular, we envision to differentiate the presentation
format for demos and late-breaking news - the former, in the
walk-around exhibition style that has been successful at previous
ISMIRs; the latter, in a more participative, un-conference style.
Details will be posted at a later date.
Both types of submissions will consist of extended abstracts of 1-2
pages, which will be peer-reviewed in a double-blind manner by members
of the programme committee like the submissions for the main paper
track. In the case of demo submissions, abstracts should describe what
the typical user scenario will be as well as the technical
requirements for the presentation. In the case of late-breaking news,
abstracts should make the case of why the result is inspirational and
topical for the MIR community.
More details on http://ismir2013.ismir.net/ismir2013/submissions.html
-----COMMITTEE-----
Conference Chairs
Alessandro L. Koerich (PUCPR – Brazil)
George Tzanetakis (U Victoria – Canada)
Program Chairs
Alceu S. Britto Jr. (PUCPR – Brazil)
Fabien Gouyon (INESC TEC– Portugal)
Simon Dixon (QMUL – UK)
Music Chair
Jônatas Manzolli (UNICAMP – Brazil)
Financial and Local Arrangments Chair
Luiz S. Oliveira (UFPR – Brazil)
Tutorial Chair
Carlos N. Silla Jr. (UTFPR – Brazil)
-----CONFERENCE PROCEEDINGS-----
Printed proceedings will be provided, at an extra (reasonable) cost,
to participants who specifically ask for them. (Note the deadline for
printed proceedings request.)
-----IMPORTANT DATES-----
Tutorial Proposal Deadline: 8 April 2013
Tutorial Notification: 10 May 2013
Paper Submission Deadline: 10 May 2013
Notification of Acceptance for Papers: 5 July 2013
Early registration starts: 1 July 2013
Deadline for camera-ready papers: 25 July 2013
Author registration deadline: 13 September 2013
Printed proceedings request deadline: 20 September 2013
Participant registration deadline: 19 August 2013
Conference Dates: 4-8 November 2013
-----VENUE-----
Curitiba is the largest and one of the most important cities of
Southern Brazil, being a cultural, political and economic center. Its
population is approximately 1,8 million and its metropolitan area
comprises 26 municipalities with a total population of over 3,2
million. The city is on a plateau 932 m (3107 ft) above the sea level.
People from Curitiba are known as Curitibanos.
One theory about the name "Curitiba" comes from the Tupi words kurí
tyba, "much pine," due to the large number of Brazilian Pine Trees?
(Araucaria angustifolia), in the region prior to its foundation.
Today, Curitiba is considered one of the best examples of urban
planning world-wide.
The conference will take place in the Bourbon Curitiba Convention
Hotel. The hotel is located in the downtown area with easy access to
major sights and it is just 22km from the Afonso Pena airport. It is
the most traditional hotel in Curitiba. It has been awarded 14
consecutive times as the Top of Mind and has at its restaurant the
Best Feijoada of Curitiba according to some national magazines such as
Veja, and Gula.
-----STAY UP-TO-DATE-----
http://ismir2013.ismir.net/ismir2013/
Sunday, March 31, 2013
Tuesday, March 26, 2013
Music education panel Re: IOE Cultural Week 2013
Call for contributors to International Education and Culture week
(22-26 April) on the topic of Musical Practices and Policies
The IOE SU hosts IEC week every year as a way of celebrating the
talent and diversity of staff and students at the IOE. Through a
series of seminars, workshops, panel discussions and cultural
performances we explore and celebrate education in the broadest sense.
We are delighted to welcome students, staff, guest speakers and
performers to participate in this event.
We have many IOE students and staff from around the world representing
music education in a range of countries, and this call is for those
who would wish to contribute to a session on:
"Musical Practices and public policies across the world: the role of
music education"
The session is planned to run from 12-2pm on Friday 26 April, and the
format will be 10-15minute presentations on a relevant area of study
or research, followed by Q&A for a further 10-15 minutes.
We warmly encourage submissions from IOE students for this session,
and hope to include up to 6 students (there is a possibility of
extending the length of the session if more applications are
submitted).
Submission details
To be considered for a place at this session please send an informal
abstract on the topic you would like to speak about (suggested length
200 words) to Susan McGrath at
s.mcgrath@ioe.ac.uk<mailto:s.mcgrath@ioe.ac.uk> as soon as possible,
but by 5th April at the latest.
(22-26 April) on the topic of Musical Practices and Policies
The IOE SU hosts IEC week every year as a way of celebrating the
talent and diversity of staff and students at the IOE. Through a
series of seminars, workshops, panel discussions and cultural
performances we explore and celebrate education in the broadest sense.
We are delighted to welcome students, staff, guest speakers and
performers to participate in this event.
We have many IOE students and staff from around the world representing
music education in a range of countries, and this call is for those
who would wish to contribute to a session on:
"Musical Practices and public policies across the world: the role of
music education"
The session is planned to run from 12-2pm on Friday 26 April, and the
format will be 10-15minute presentations on a relevant area of study
or research, followed by Q&A for a further 10-15 minutes.
We warmly encourage submissions from IOE students for this session,
and hope to include up to 6 students (there is a possibility of
extending the length of the session if more applications are
submitted).
Submission details
To be considered for a place at this session please send an informal
abstract on the topic you would like to speak about (suggested length
200 words) to Susan McGrath at
s.mcgrath@ioe.ac.uk<mailto:s.mcgrath@ioe.ac.uk> as soon as possible,
but by 5th April at the latest.
Monday, March 25, 2013
FREE INSET COURSE: Succeeding through vision based leadership and group power
Succeeding through vision based leadership and group power. A free
course that presents the benefits of agile and lean thinking, systemic
work, and the group as a catalyst for getting things done!
Room 938 Institute of Education, University of London 20 Bedford Way
London WC1H 0AL
Thursday 4 April 2013 10.00am–16:30pm
For further details and to book a place contact: Dr Evangelos Himonides
email: e.himonides@ioe.ac.uk
ioe.ac.uk
Book Now! this course has limited availability; the maximum number of
participants is 12!
priority will be given to:
§. Doctoral Research Students;
§. Early Career Researchers;
§. Professional Members of Staff that are
involved in project management and project administration.
The session is going to be videotaped for research purposes. Booking
gives consent to being videotaped.
In the second part of the session (after lunch) you will have the
opportunity to interact with a prototype virtual social learning game.
Please bring your laptop with you (Windows 7 or 8 only) if you have
access to either the IoE Wireless network or Eduroam.
Clinicians: Dr Eija Makirintala & Dr Olli-Pekka Makirintala, Altonova
Ltd, Finland.
Friday, March 22, 2013
Music Encoding Conference: Call for late-breaking papers/posters
The Music Encoding Conference 2013
Concepts, Methods, Editions
22-24 May, 2013
The Program Committee is happy to announce that "late-breaking" paper
and poster submissions will be accepted until April 7th.
"Late-breaking" papers and posters usually describe projects or
research under development or present results that were not available
at the time of the original call for submissions.
"Late-breaking" submissions will be subject to the same review process
as before. Please visit
https://music-encoding.org/conference/submission for more details.
Please note that there is very limited space for additional oral
presentations and posters. Notification of acceptance will occur on or
before April 22nd.
If you have any questions, please contact conference2013@music-encoding.org.
Concepts, Methods, Editions
22-24 May, 2013
The Program Committee is happy to announce that "late-breaking" paper
and poster submissions will be accepted until April 7th.
"Late-breaking" papers and posters usually describe projects or
research under development or present results that were not available
at the time of the original call for submissions.
"Late-breaking" submissions will be subject to the same review process
as before. Please visit
https://music-encoding.org/conference/submission for more details.
Please note that there is very limited space for additional oral
presentations and posters. Notification of acceptance will occur on or
before April 22nd.
If you have any questions, please contact conference2013@music-encoding.org.
Wednesday, March 20, 2013
Music, the Self, and Education in the “Looking Glass”
Research Seminar Announcement
Music, the Self, and Education in the "Looking Glass": Making the
Case for a Social Theory of Music Education from the Ground Up
Dr Hildegard Froehlich, Professor emeritus, College of Music,
University of North Texas, Denton Texas, USA
Thursday 18th April, 2013
12.45-1.45
Room 944
Further details from Lucy Green, l.green2@ioe.ac.uk
All are welcome!
Internationally, nationally, and—certainly in the United States—
regionally, music education is a field of diverse occupational
practices, conventions, speciality areas, work settings, and
corresponding expectations for professional conduct and values. School
music is but one of those many conventions, informed in a variety of
ways by prevailing social, educational, musical, and cultural norms.
To provide music educators anywhere with a common bond and purpose
that spans across norms, work settings and geographic locales, a
rationale, a raison d'être, for the profession at large would serve
the purpose of articulating what in the medical profession is known as
the Hippocratic Oath. It is a commitment to "doing no harm" amidst the
myriad of medical decisions a physician has to make daily; whether as
a highly specialized surgeon, internist, researcher, or generalist. In
a diversity of practices, the oath remains the same for everyone.
My lecture-discussion proposes a similarly guiding principle for music
education derived from the theory of social interactionism. Central to
the theory is the metaphor of "looking glass self," a term coined by
the American sociologist Charles Horton Cooley more than 100 years
ago. The metaphor stands for the idea that self-image and identity are
constructed in an individual's interaction with the world as
represented by the groups of individuals with whom she comes into
contact. The interpretation of the world at large reflects the
experiences with those individual interactions.
Social interactionism explains and accounts for any divergent
aesthetic and social practices, conducts, and values among social and
reference groups, private and public special interest groups, and
communities of practice. It explains diversity but also finds
commonalities in differences, thereby providing the theoretical basis
for music educators anywhere to share and subscribe to one guiding
code: To affirm and make possible music learning as a right for all
human beings of all races and ages, at all levels and forms of
education. Consequences for political action and appropriate
pedagogies are outlined and discussed.
*
Hildegard Froehlich, Professor emeritus, College of Music, University
of North Texas, continues to be professionally active as author,
consultant, teacher, and speaker on issues concerning the application
of sociological constructs to the learning and teaching of music at
the collegiate level. Her latest books are Sociology for Music
Teachers. Perspectives for Practice (Pearson Prentice-Hall 2007) and
(with C. Frierson-Campbell) Inquiry in Music Education. Concepts and
Methods for the Beginning Researcher (Routledge 2013). She has been
the keynote speaker at international and national conferences in music
education and has served as president of the Research Alliance of
Institutions for Music Education, an international organization whose
members join by invitation. She continues to be active musically in
her community by singing with the Denton Bach Chorus of the Denton
Bach Society (an organization she co-founded in 1976). She also loves
to dance (be it Ballroom, Swing, or Country & Western).
Music, the Self, and Education in the "Looking Glass": Making the
Case for a Social Theory of Music Education from the Ground Up
Dr Hildegard Froehlich, Professor emeritus, College of Music,
University of North Texas, Denton Texas, USA
Thursday 18th April, 2013
12.45-1.45
Room 944
Further details from Lucy Green, l.green2@ioe.ac.uk
All are welcome!
Internationally, nationally, and—certainly in the United States—
regionally, music education is a field of diverse occupational
practices, conventions, speciality areas, work settings, and
corresponding expectations for professional conduct and values. School
music is but one of those many conventions, informed in a variety of
ways by prevailing social, educational, musical, and cultural norms.
To provide music educators anywhere with a common bond and purpose
that spans across norms, work settings and geographic locales, a
rationale, a raison d'être, for the profession at large would serve
the purpose of articulating what in the medical profession is known as
the Hippocratic Oath. It is a commitment to "doing no harm" amidst the
myriad of medical decisions a physician has to make daily; whether as
a highly specialized surgeon, internist, researcher, or generalist. In
a diversity of practices, the oath remains the same for everyone.
My lecture-discussion proposes a similarly guiding principle for music
education derived from the theory of social interactionism. Central to
the theory is the metaphor of "looking glass self," a term coined by
the American sociologist Charles Horton Cooley more than 100 years
ago. The metaphor stands for the idea that self-image and identity are
constructed in an individual's interaction with the world as
represented by the groups of individuals with whom she comes into
contact. The interpretation of the world at large reflects the
experiences with those individual interactions.
Social interactionism explains and accounts for any divergent
aesthetic and social practices, conducts, and values among social and
reference groups, private and public special interest groups, and
communities of practice. It explains diversity but also finds
commonalities in differences, thereby providing the theoretical basis
for music educators anywhere to share and subscribe to one guiding
code: To affirm and make possible music learning as a right for all
human beings of all races and ages, at all levels and forms of
education. Consequences for political action and appropriate
pedagogies are outlined and discussed.
*
Hildegard Froehlich, Professor emeritus, College of Music, University
of North Texas, continues to be professionally active as author,
consultant, teacher, and speaker on issues concerning the application
of sociological constructs to the learning and teaching of music at
the collegiate level. Her latest books are Sociology for Music
Teachers. Perspectives for Practice (Pearson Prentice-Hall 2007) and
(with C. Frierson-Campbell) Inquiry in Music Education. Concepts and
Methods for the Beginning Researcher (Routledge 2013). She has been
the keynote speaker at international and national conferences in music
education and has served as president of the Research Alliance of
Institutions for Music Education, an international organization whose
members join by invitation. She continues to be active musically in
her community by singing with the Denton Bach Chorus of the Denton
Bach Society (an organization she co-founded in 1976). She also loves
to dance (be it Ballroom, Swing, or Country & Western).
Tuesday, March 19, 2013
sonustech sent you a video: "Historia de la Música (Lecciones Ilustradas)"
| ||||||||||||||||||||||||||||||||||||
Launch of The UK Association for Music Education Music Mark
This morning we held the official launch event for the new
organisation at the Royal Society of the Arts. Invited guests from
across music education and the music industry attended and heard about
the aims, purpose and activities of the new organisation and were
asked to consider how they could link in with us in strategic
partnerships to help achieve a better musical future for all our
children.
The Carrodus Quartet, Oxfordshire Music Service, provided two
performances and Jo Mundell-Perkins, from the group, was the first
speaker and talked about what her music education and the
opportunities she has access to, mean to her. Darren Henley OBE, said
in his speech that: " The government has made it clear that it wants
to engage with a single voice for music education. There are lots of
reasons for not joining together, but also lots of reasons to do so.
We must have an infrastructure to support music teachers and show them
that they are valued." Chair, Nigel Taylor referred in his speech to
rapid changes in government policy and commented: "We've got schools
who are bewildered about where music should sit in their
consciousness." He went on to say that Music Mark would argue
powerfully for a coherent vision for music in schools.
Nigel was delighted to announce that Charles Hazlewood is our new Patron:
"I was thrilled to be invited to be the first Patron of The UK
Association for Music Education - Music Mark and which I accept with
delight. It is a privilege to be a part of this new organisation which
builds upon the illustrious pasts of the Federation of Music Services
and the National Association of Music Educators and looks forward with
vision, ambition and a huge range of talent and skill amongst its
membership
A great music education, up-close and personal, is not a luxury for
the few, it's a birth-right for all! Whether its an opportunity to
play a musical instrument or sing or compose or improvise or play in a
band or an orchestra (or hopefully all of those and more) music is
sovereign amongst all subjects in being able to spark young people's
imagination, unleash their creativity, stimulate their social
conscience and galvanise their sense of community and belonging"
Finally - I am extremely pleased to announce that our brand new
website will go live tomorrow morning (19th March). The second phase
of development will include the password protected Membership area of
the website and is expected to be ready in early May. Please visit the
website on www.musicmark.org.uk<http://www.musicmark.org.uk> from
Tuesday morning.
With all best wishes,
Yours Virginia
Virginia Haworth-Galt
Chief Executive
The UK Association for Music Education - Music Mark Suite 23, Tulip House,
70 Borough High Street
London, SE 1 1XF
0207 864 9985
www.musicmark.org.uk<http://www.musicmark.org.uk/>
Supported by ABRSM and Yamaha Music Europe GmBh (UK) The UK
Association for Music Education is a Charitable Company Limited by
Guarantee. Registered in England and Wales. Charity Nº 1118542.
Company Nº 6134823 Legal Disclaimer This e-mail is intended only for
the person to whom it is addressed. If an addressing or transmission
error has misdirected this e-mail, please notify the author by
replying to this e-mail. If you are not the intended recipient you
must not use, disclose, print or rely on this e-mail. The information
contained in this email, including any attachments, is solely for the
attention of the addressee(s) and may be confidential. Any review,
distribution or copying of this email, or any attachment, is
prohibited.
Thinking and Singing - registration open
Thinking and Singing - registration open
Registration is now open for the Thinking and Singing conference at
Senate House, University of London on Saturday 20 April. The booking
form and draft programme are available on the IMR website at
http://music.sas.ac.uk/events/conferences
Keynote speaker: Prof. Peter Wiegold (Brunel)
The aim of this conference is to find common conceptual ground amongst
professionals engaged in singing teaching and performance and to
identify some of the philosophical issues. The brief will be wide,
taking in different styles of singing, and some technical innovations.
As well as the scheduled papers, we invite students and practitioners
of singing and other performers to make short contributions to the
plenary sessions in order to create a comprehensive picture of what
those in the field think, and what informs their approach.
Valerie James
Consortium Administrative Manager, IGRS, IMR and IP
Institute of Musical Research
School of Advanced Study
University of London
Senate House
Malet Street
London WC1E 7HU
www.music.sas.ac.uk
Tel: 020 7664 4865
Fax: 020 7664 4867
The IMR's Offices are based in Room 277.
The University of London is an exempt charity in England and Wales and
a charity registered in Scotland (reg. no. SC041194)
Registration is now open for the Thinking and Singing conference at
Senate House, University of London on Saturday 20 April. The booking
form and draft programme are available on the IMR website at
http://music.sas.ac.uk/events/conferences
Keynote speaker: Prof. Peter Wiegold (Brunel)
The aim of this conference is to find common conceptual ground amongst
professionals engaged in singing teaching and performance and to
identify some of the philosophical issues. The brief will be wide,
taking in different styles of singing, and some technical innovations.
As well as the scheduled papers, we invite students and practitioners
of singing and other performers to make short contributions to the
plenary sessions in order to create a comprehensive picture of what
those in the field think, and what informs their approach.
Valerie James
Consortium Administrative Manager, IGRS, IMR and IP
Institute of Musical Research
School of Advanced Study
University of London
Senate House
Malet Street
London WC1E 7HU
www.music.sas.ac.uk
Tel: 020 7664 4865
Fax: 020 7664 4867
The IMR's Offices are based in Room 277.
The University of London is an exempt charity in England and Wales and
a charity registered in Scotland (reg. no. SC041194)
Monday, March 18, 2013
Help shape the content of the MCS age 14 survey
Help shape the content of the MCS age 14 survey
Consultative conference: 27th March 2013
The IOE's Centre for Longitudinal Studies is seeking advice on what
should be covered in the age 14 survey of the Millennium Cohort Study
(MCS), scheduled for 2015. Age 14 marks a major transition in the
cohort members' lives and has the potential to be a particularly
important and illuminating stage of the study. Your expertise will
help us produce a high quality survey.
We are inviting academics, policy makers and other stakeholders to
join us at the MCS6 consultative conference next week, on Wednesday
27th March 2013, to debate proposed content and questions for the
survey.
We have organised the survey content into eight key themes, with a
theme leader responsible for reviewing and prioritising the proposals
received under each theme, and presenting a summary for debate at the
conference. Further information on the themes can be found below.
Thank you to everyone who submitted proposals for content in the
latest stage of the consultation.
Register for the conference
Date: Wednesday 27th March 2013
Time: 9.30am – 4.30pm
Location: Institute of Education, University of London
Book your place via our website: www.cls.ioe.ac.uk/mcs6consultativeconference
The conference is free of charge.
Content themes
1. Parents: Parental health, behaviours and beliefs
This theme covers main carer and partner health, disability, mental
health, parenting, parental relationships and friendships,
neighbourhood context and parents' beliefs and values.
2. Family resources
This theme covers family income, parents' employment and economic
activity, housing and assets.
3. Teenage health and wellbeing
This theme covers the teenager's physical measurements, physical
maturity and development (puberty), mental and physical health,
disability, wellbeing and life satisfaction.
4. Education and school
This theme covers the teenager's experience of school, engagement and
alienation, attitudes to education, educational and occupational
aspirations, school type and characteristics. This theme does not
include cognitive assessments.
5. Cognitive function and personality
This theme covers cognitive and neuropsychological assessments,
personality traits, and values.
6. Risk, relationships and independence
This theme covers the teenager's engagement in risky behaviours,
anti-social behaviour, peer, family and romantic relationships,
independence and autonomy.
7. Identity and activity
This theme covers teenager's ethnicity, identity, financial literacy,
consumption, media engagement sporting and cultural participation.
8. Measures of daily activity and time use
This theme covers time diary record of how the teenager spends his or
her time and with whom.
Please forward this email on to others you think would be interested
in attending. If you have any questions please email Claire Battye at
c.battye@ioe.ac.uk.
Thank you in advance for your help.
The MCS Team
Consultative conference: 27th March 2013
The IOE's Centre for Longitudinal Studies is seeking advice on what
should be covered in the age 14 survey of the Millennium Cohort Study
(MCS), scheduled for 2015. Age 14 marks a major transition in the
cohort members' lives and has the potential to be a particularly
important and illuminating stage of the study. Your expertise will
help us produce a high quality survey.
We are inviting academics, policy makers and other stakeholders to
join us at the MCS6 consultative conference next week, on Wednesday
27th March 2013, to debate proposed content and questions for the
survey.
We have organised the survey content into eight key themes, with a
theme leader responsible for reviewing and prioritising the proposals
received under each theme, and presenting a summary for debate at the
conference. Further information on the themes can be found below.
Thank you to everyone who submitted proposals for content in the
latest stage of the consultation.
Register for the conference
Date: Wednesday 27th March 2013
Time: 9.30am – 4.30pm
Location: Institute of Education, University of London
Book your place via our website: www.cls.ioe.ac.uk/mcs6consultativeconference
The conference is free of charge.
Content themes
1. Parents: Parental health, behaviours and beliefs
This theme covers main carer and partner health, disability, mental
health, parenting, parental relationships and friendships,
neighbourhood context and parents' beliefs and values.
2. Family resources
This theme covers family income, parents' employment and economic
activity, housing and assets.
3. Teenage health and wellbeing
This theme covers the teenager's physical measurements, physical
maturity and development (puberty), mental and physical health,
disability, wellbeing and life satisfaction.
4. Education and school
This theme covers the teenager's experience of school, engagement and
alienation, attitudes to education, educational and occupational
aspirations, school type and characteristics. This theme does not
include cognitive assessments.
5. Cognitive function and personality
This theme covers cognitive and neuropsychological assessments,
personality traits, and values.
6. Risk, relationships and independence
This theme covers the teenager's engagement in risky behaviours,
anti-social behaviour, peer, family and romantic relationships,
independence and autonomy.
7. Identity and activity
This theme covers teenager's ethnicity, identity, financial literacy,
consumption, media engagement sporting and cultural participation.
8. Measures of daily activity and time use
This theme covers time diary record of how the teenager spends his or
her time and with whom.
Please forward this email on to others you think would be interested
in attending. If you have any questions please email Claire Battye at
c.battye@ioe.ac.uk.
Thank you in advance for your help.
The MCS Team
Music organisations get £4.5M Youth Music funding
PRESS RELEASE
Youth Music gives £4.5m to help 108 organisations provide new music-making opportunities
Youth Music today announced plans to fund new music-making opportunities for children and young people with the release of over £4.5m in funding to 108 music organisations. This brings the total amount of grants given this year to £10.8m.
Youth Music is the leading UK charity supporting life-changing musical experiences and learning for children and young people. The £4.5m will be spent by music organisations helping young people with least opportunity to access music provision. These include young people at risk of exclusion, looked-after children, those coping with disability and young people living in urban deprivation or rural isolation.
Over the last year, Youth Music supported over 380 projects benefiting more than 110,000 young people and children – the highest number ever. This brings the total number helped by Youth Music to 2.5 million. Grants support music provision across all musical genres.
The grants announced today are for music projects varying from a community opera initiative by Garsington Opera to a project by Soft Touch Arts in deprived areas of Leicestershire reaching out to 11-19 year olds through hip-hop, grime and dance.
Over 125 children and young people from Oxfordshire and Buckinghamshire are set to benefit from a £50,000 grant to Garsington Opera for their community opera project Road Rage that aims to support youth development and community cohesion through musical performance. Over six months, the project will bring together young participants from many walks of life to sing, train and perform alongside adults from their own communities, professional opera singers and a professional orchestra. The lasting impact that this project will have on participants, teachers and local schools will be profound, significantly improving the quality and standards of music delivery for children and young people in the region.
Karen Gillingham, Creative Director of Garsington Opera Education and the opera's Director says: "Garsington Opera is delighted that Youth Music has supported our community opera, 'Road Rage', putting work with young people and the community centre-stage. The opera will reach a huge number of children and young people, giving vocal and dramatic training, as well as an experience that will stay with them for a lifetime. Opera is a wonderfully engaging genre of music and I am thrilled that we can use it to inspire a new generation of young musicians."
At the other end of the musical spectrum, Soft Touch Arts aims to engage young people in deprived areas of Leicestershire using hip-hop, grime and dance music. The 160 young people between the ages of 11 to 19 benefiting will include some who have a background of offending, young people not in education or employment and looked-after children. Music leaders in the area say feedback from local police suggests that anti-social behaviour was less prevalent during the period previous Youth Music funded projects were underway.
Joe Cotton, Co-Director of Soft Touch Arts said: "Soft Touch Arts are very excited to start this strand of youth music work. It gives us the opportunity to begin working with some groups of young people that do not usually get the chance to participate in potentially life-changing opportunities like this. The funding will give us the chance to run a series of taster sessions in rural and city locations all over Leicestershire and in Leicester itself, targeting young people from a range of different back grounds. We will then run a regular weekly session at the Soft Touch Studios giving them opportunities to create music and perform at local showcase events and festivals."
Youth Music found there was significant interest in funding applications for its newly introduced "Excellence through Group Singing" module and gave grants totalling £595,965 to 13 organisations providing opportunities for young people to explore music through singing in group settings.
Matt Griffiths, Executive Director, Youth Music says: "At a time when money for music education is being really squeezed, it's great to see so many local charitable organisations still determined to provide high-quality music learning for local children and young people. We have aimed to ensure that money is directed to where it is most needed, particularly to those young people with least opportunity or facing significant challenges in the current climate."
A list of all the organisations awarded funding may be found at http://bit.ly/grants2013YM . Subscribers to Youth Music's online network, where more than 3,400 professionals share ideas, innovation and best practice in music education, can find the list on the network at http://bit.ly/YMgrants2013 .
ENDS
18th March, 2013
| For further press information please contact David O'Keeffe at Youth Music david.o'keeffe@youthmusic.org.uk or call (020) 7902 1096 or 07977 067576. For information regarding Garsington Opera or Soft Touch Arts see contact details below |
Notes to Editors
1. Youth Music is the leading UK charity using music to provide life-changing musical experiences and learning for children and young people, especially those with least opportunity. These include young people at risk of exclusion, children in care, those coping with disability and young people living in urban deprivation or rural isolation. We support and develop music provision at every stage of a young person's development, whether it's the first time a mother and baby make music together, a young person not in employment or training attending a DJing course or a talented teen's debut at the Royal Albert Hall.
2, Youth Music has transformed the landscape of musical opportunity in the UK. Since 1999, we've reached over 2.5 million children and young people across all musical genres; both in and out of school. Music has the power to build confidence, broaden horizons and raise aspirations. Our music programmes allow vulnerable young people to find their way, take charge of their lives and unlock their hidden potential.
3. Youth Music is supported by Arts Council England with lottery funding. In addition, the organisation raises funds through donations and gifts. More information on how to donate can be found at http://www.youthmusic.org.uk/Donate.html
4. For further information on the organisations mentioned, the contacts are as follows:
Garsington Opera:
Clare Adams, Press & PR:
Tel: 01295 690344 / 07793 556103.
Soft Touch Arts Ltd:
Joe Cotton, Co-Director
Tel: 0116 270 2706
.................................................................
David O'Keeffe
Media and PR Consultant
.................................................................
Youth Music
T 020 7902 1096
M 079 7706 7576
Youth Music is the leading UK charity using music to transform
the lives of disadvantaged children and young people. Donate here
.......................................................................................................................
Suites 3-5, Swan Court, 9 Tanner Street, London, SE1 3LE
Registered charity 1075032
.......................................................................................................................
Nexus Series at St George's Church Bloomsbury April 4
Thursday 4th April 6.30pm
Nexus - One World Music
New experimental concerts on the first Thursday of each month at St
George's Bloomsbury, featuring established musicians from diverse
backgrounds fusing improvised modern jazz and the classical
avantgarde.
This first concert features Errollyn Wallen (voice & piano), Paul
Gladstone Reid (piano), Cleveland Watkiss (vocals) and Orphy Robinson
(marimba), in a response to and celebration of the legacy of Dr.
Martin Luther King Jnr on the 45th anniversary of his assassination.
Presented by Bonnie Greer OBE.
Tickets: £10 at the door, £8 advance reservations, £6 concession.
Email concerts@stgb.org.uk for reservations or phone 020 7242 1979
Errollyn Wallen MBE, 'renaissance woman of contemporary British
music', is as respected as a singer-songwriter of pop influenced songs
as she is a composer of contemporary new music. Communication is at
the centre of both worlds: engaging the audience, speaking directly to
hearts and minds. Born in Belize, Errollyn Wallen gave up her training
at the Dance Theater of Harlem, New York to study composition at
universities of London and Cambridge. She founded her own Ensemble X
and its' motto, we don't break down barriers in music, we don't see
any, reflects her genuine, free-spirited approach and eclectic
musicianship. She has been commissioned by outstanding music
institutions from the BBC to the Royal Opera House and has performed
her songs internationally. Errollyn's first
drama series score has just won Best Music Award for a TV Series at
FIPA festival 2013, awarded for ONE NIGHT, the BBC drama series.
Paul Gladstone Reid MBE is a creative musician, producer and
performer, driven by ideas and events that impact culture and society.
As an accomplished pianist and award-winning composer, his work
reflects musical languages and historical reflections of knowledge
that forges new directions in contemporary culture. His classical
compositions have been performed by orchestras such as The London
Philharmonic Orchestra, Deutsche Kammerphilharmonie, Royal
Philharmonic Concert Orchestra and The London Sinfonietta. In addition
to his Art
Music, he regularly collaborates with artists from the worlds of Hip
Hop, African Music, World Music, Pop, Rock and Electronic and has
received wide-ranging critical acclaim for creating cross-cultural
works of art.
Born in the East End of London, virtuoso vocalist, actor and composer
Cleveland Watkiss studied the voice at the London School of Singing
with opera coach Arnold Rose and at the Guildhall School of Music and
Drama.His amazing vocal experiences have seen him perform with many
diverse artists from around the world such as the Royal Philharmonic
Orchestra, the Dusseldorf Symphony Orchestra, Wynton Marsalis, Bob
Dylan, Jackie Mittoo, Keith Richards, Nigel Kennedy, George Martin,
the London Chamber Orchestra, Kassa Mady, the BBC Orchestra,Talvin
Singh, Bjork, Pete Townshend and many many more. Cleveland has also
been a multi Award winner,achieving success at the Wire/Guardian Jazz
Awards and has been voted best vocalist for three consecutive years.
Orphy Robinson has had the distinction to have been one of the few
select musicians outside America to have been signed to the legendary
record label 'Blue Note records'. His work as a composer has led to
commissions for contemporary dance companies, he represented Great
Britain at the Atlanta Olympic Games, has written for Ensemble Bash
and had music performed at The Proms in the Royal Albert Hall and for
the Romanian violin virtuoso Alexander Balanescu. Since late 2009
Robinson has been a featured soloist on marimba/vibraphone with
violinist Nigel Kennedy, performing and recording an extensive
repertoire from Johann Sebastian Bach, Vivaldi and Duke Ellington,
which has resulted in favourable press reviews throughout with
Kennedy's newly created "Orchestra of Life".
Nexus - One World Music
New experimental concerts on the first Thursday of each month at St
George's Bloomsbury, featuring established musicians from diverse
backgrounds fusing improvised modern jazz and the classical
avantgarde.
This first concert features Errollyn Wallen (voice & piano), Paul
Gladstone Reid (piano), Cleveland Watkiss (vocals) and Orphy Robinson
(marimba), in a response to and celebration of the legacy of Dr.
Martin Luther King Jnr on the 45th anniversary of his assassination.
Presented by Bonnie Greer OBE.
Tickets: £10 at the door, £8 advance reservations, £6 concession.
Email concerts@stgb.org.uk for reservations or phone 020 7242 1979
Errollyn Wallen MBE, 'renaissance woman of contemporary British
music', is as respected as a singer-songwriter of pop influenced songs
as she is a composer of contemporary new music. Communication is at
the centre of both worlds: engaging the audience, speaking directly to
hearts and minds. Born in Belize, Errollyn Wallen gave up her training
at the Dance Theater of Harlem, New York to study composition at
universities of London and Cambridge. She founded her own Ensemble X
and its' motto, we don't break down barriers in music, we don't see
any, reflects her genuine, free-spirited approach and eclectic
musicianship. She has been commissioned by outstanding music
institutions from the BBC to the Royal Opera House and has performed
her songs internationally. Errollyn's first
drama series score has just won Best Music Award for a TV Series at
FIPA festival 2013, awarded for ONE NIGHT, the BBC drama series.
Paul Gladstone Reid MBE is a creative musician, producer and
performer, driven by ideas and events that impact culture and society.
As an accomplished pianist and award-winning composer, his work
reflects musical languages and historical reflections of knowledge
that forges new directions in contemporary culture. His classical
compositions have been performed by orchestras such as The London
Philharmonic Orchestra, Deutsche Kammerphilharmonie, Royal
Philharmonic Concert Orchestra and The London Sinfonietta. In addition
to his Art
Music, he regularly collaborates with artists from the worlds of Hip
Hop, African Music, World Music, Pop, Rock and Electronic and has
received wide-ranging critical acclaim for creating cross-cultural
works of art.
Born in the East End of London, virtuoso vocalist, actor and composer
Cleveland Watkiss studied the voice at the London School of Singing
with opera coach Arnold Rose and at the Guildhall School of Music and
Drama.His amazing vocal experiences have seen him perform with many
diverse artists from around the world such as the Royal Philharmonic
Orchestra, the Dusseldorf Symphony Orchestra, Wynton Marsalis, Bob
Dylan, Jackie Mittoo, Keith Richards, Nigel Kennedy, George Martin,
the London Chamber Orchestra, Kassa Mady, the BBC Orchestra,Talvin
Singh, Bjork, Pete Townshend and many many more. Cleveland has also
been a multi Award winner,achieving success at the Wire/Guardian Jazz
Awards and has been voted best vocalist for three consecutive years.
Orphy Robinson has had the distinction to have been one of the few
select musicians outside America to have been signed to the legendary
record label 'Blue Note records'. His work as a composer has led to
commissions for contemporary dance companies, he represented Great
Britain at the Atlanta Olympic Games, has written for Ensemble Bash
and had music performed at The Proms in the Royal Albert Hall and for
the Romanian violin virtuoso Alexander Balanescu. Since late 2009
Robinson has been a featured soloist on marimba/vibraphone with
violinist Nigel Kennedy, performing and recording an extensive
repertoire from Johann Sebastian Bach, Vivaldi and Duke Ellington,
which has resulted in favourable press reviews throughout with
Kennedy's newly created "Orchestra of Life".
Saturday, March 16, 2013
Music Encoding Conference 2013 - Registration Open
> ===============================================================
> REGISTRATION NOW OPEN!
> The Music Encoding Conference 2013: Concepts, Methods, Editions
> 22-24 May, 2013
> ===============================================================
>
> The Conference Organizers are pleased to announce that registration for the
> Music Encoding Conference 2013 - Concepts, Methods, Editions, to be held
> 22-24 May, 2013, at the Mainz Academy for Literature and Sciences in Mainz,
> Germany is now open.
>
> CONFERENCE SCHEDULE
> The conference schedule is available at
> http://music-encoding.org/conference/program.
>
> REGISTRATION
> To register, visit https://music-encoding.org/conftool before April 30. There
> will be *no on-site registration*. If you happen to miss the registration
> deadline, please contact conference2013@music-encoding.org.
>
> The regular price for the conference is 80€, but there is a discounted rate
> of 60€ for students. Eligibility for the student rate needs to be proved
> on-site by showing a student ID card or similar document. We offer a one-day
> tutorial on MEI at no additional charge, but please select the tutorial option
> during registration.
>
> The conference dinner, planned for Thursday evening, costs an additional 30€.
> There is no reduced fee for the dinner. Additional guests may register for
> the dinner only.
>
> SERVICES
> Your registration fee includes several things. First, the venue is somewhat
> out of the center of Mainz, with very few options for meals nearby. Therefore,
> we provide lunch on Thursday and Friday. We also provide catering for coffee
> breaks every morning and afternoon. The fee also includes a three-day ticket
> (Wednesday, Thursday, Friday) for local transit within Mainz.
>
> PAYMENT DETAILS
> Payment options are available within ConfTool. We accept payment by bank
> transfer and PayPal. Select PayPal if you wish to pay by credit card. Payment
> is made through the Edirom Service GbR, which will appear on your receipts.
> This small company supports the conference by taking care of all financial
> details without charge. Otherwise, payment by major credit cards wouldn't be
> possible.
>
> ADDITIONAL INFORMATION
> Additional details will be announced on the conference webpage at
> http://music-encoding.org/conference/2013. If you have any questions, please
> contact conference2013@music-encoding.org.
>
> ABOUT THE CONFERENCE
> Music encoding is now a prominent feature of various areas in musicology
> and music librarianship. The encoding of symbolic music data provides a
> foundation for a wide range of scholarship, and over the last several
> years, has garnered a great deal of attention in the digital humanities.
>
> This conference intends to provide an overview of the current state of
> data modeling, generation, and use, and aims to introduce new
> perspectives on topics in the fields of traditional and computational
> musicology, music librarianship, and scholarly editing, as well as in the
> broader area of digital humanities.
>
> With its dual focus on music encoding and editing in the context of the
> digital humanities, the Program Committee is happy to announce keynote
> lectures by Frans Wiering (Universiteit Utrecht), and Daniel Pitti
> (University of Virginia), both distinguished scholars in their respective
> fields of musicology and markup technologies in the digital humanities.
>
> ------
> Program Committee:
> Ichiro Fujinaga, McGill University, Montreal
> Niels Krabbe, Det Kongelige Bibliotek, København,
> Elena Pierazzo, King's College, London
> Eleanor Selfridge-Field, CCARH, Stanford
> Joachim Veit, Universität Paderborn, Detmold
>
> (Local) Organizers:
> Johannes Kepper, Universität Paderborn
> Daniel Röwenstrunk, Universität Paderborn
> Perry Roland, University of Virginia
>
> ----------------------
> Raffaele Viglianti
> Research Programmer, MITH, University of Maryland
> PhD Candidate, DDH, King's College London
> REGISTRATION NOW OPEN!
> The Music Encoding Conference 2013: Concepts, Methods, Editions
> 22-24 May, 2013
> ===============================================================
>
> The Conference Organizers are pleased to announce that registration for the
> Music Encoding Conference 2013 - Concepts, Methods, Editions, to be held
> 22-24 May, 2013, at the Mainz Academy for Literature and Sciences in Mainz,
> Germany is now open.
>
> CONFERENCE SCHEDULE
> The conference schedule is available at
> http://music-encoding.org/conference/program.
>
> REGISTRATION
> To register, visit https://music-encoding.org/conftool before April 30. There
> will be *no on-site registration*. If you happen to miss the registration
> deadline, please contact conference2013@music-encoding.org.
>
> The regular price for the conference is 80€, but there is a discounted rate
> of 60€ for students. Eligibility for the student rate needs to be proved
> on-site by showing a student ID card or similar document. We offer a one-day
> tutorial on MEI at no additional charge, but please select the tutorial option
> during registration.
>
> The conference dinner, planned for Thursday evening, costs an additional 30€.
> There is no reduced fee for the dinner. Additional guests may register for
> the dinner only.
>
> SERVICES
> Your registration fee includes several things. First, the venue is somewhat
> out of the center of Mainz, with very few options for meals nearby. Therefore,
> we provide lunch on Thursday and Friday. We also provide catering for coffee
> breaks every morning and afternoon. The fee also includes a three-day ticket
> (Wednesday, Thursday, Friday) for local transit within Mainz.
>
> PAYMENT DETAILS
> Payment options are available within ConfTool. We accept payment by bank
> transfer and PayPal. Select PayPal if you wish to pay by credit card. Payment
> is made through the Edirom Service GbR, which will appear on your receipts.
> This small company supports the conference by taking care of all financial
> details without charge. Otherwise, payment by major credit cards wouldn't be
> possible.
>
> ADDITIONAL INFORMATION
> Additional details will be announced on the conference webpage at
> http://music-encoding.org/conference/2013. If you have any questions, please
> contact conference2013@music-encoding.org.
>
> ABOUT THE CONFERENCE
> Music encoding is now a prominent feature of various areas in musicology
> and music librarianship. The encoding of symbolic music data provides a
> foundation for a wide range of scholarship, and over the last several
> years, has garnered a great deal of attention in the digital humanities.
>
> This conference intends to provide an overview of the current state of
> data modeling, generation, and use, and aims to introduce new
> perspectives on topics in the fields of traditional and computational
> musicology, music librarianship, and scholarly editing, as well as in the
> broader area of digital humanities.
>
> With its dual focus on music encoding and editing in the context of the
> digital humanities, the Program Committee is happy to announce keynote
> lectures by Frans Wiering (Universiteit Utrecht), and Daniel Pitti
> (University of Virginia), both distinguished scholars in their respective
> fields of musicology and markup technologies in the digital humanities.
>
> ------
> Program Committee:
> Ichiro Fujinaga, McGill University, Montreal
> Niels Krabbe, Det Kongelige Bibliotek, København,
> Elena Pierazzo, King's College, London
> Eleanor Selfridge-Field, CCARH, Stanford
> Joachim Veit, Universität Paderborn, Detmold
>
> (Local) Organizers:
> Johannes Kepper, Universität Paderborn
> Daniel Röwenstrunk, Universität Paderborn
> Perry Roland, University of Virginia
>
> ----------------------
> Raffaele Viglianti
> Research Programmer, MITH, University of Maryland
> PhD Candidate, DDH, King's College London
Friday, March 15, 2013
Ensuring the National Plan for Music Education succeeds+++
Schools, music services and community music organisations must start 'singing from the same sheet' if the National Plan for Music Education is to succeed
"It's essential that schools, music services, and community music organisations understand each other's perspectives and ways of working if the National Plan for Music Education is to be truly inclusive." Dr Douglas Lonie of Youth Music said today, when he presented a paper on the place of non-formal pedagogy in English music education at the first international 'Community Music and Music Pedagogy" conference at Ludwig Maximilian University in Munich.
Youth Music is the leading national charity using music to help transform the lives of children and young people, especially those with least opportunity. Since 1999, the charity has helped over 2.5m children access unique music learning experiences. In the last year alone, Youth Music has supported more than 380 music projects reaching over 110,000 children and young people, its highest number ever.
In his address, Dr Lonie drew on the "Communities of Music Education" research study commissioned by Youth Music and conducted by Dr Jo Saunders and Prof Graham Welch of the Institute of Education. The study examined the issues faced by schools and non-formal music organisations working together as well as differences in teaching and learning approaches in those settings. The research also explored how the approaches and effects of non-formal music education are understood by practitioners and young people.
Dr Lonie said: "Community music settings have a lot to offer young people across a range of styles, genres, instruments and methods not currently supported in the curriculum. This presents a number of opportunities to schools in working with others."
Dr Lonie outlined some of the distinctive features of non-formal music teaching and learning approaches as identified in the research. One aspect highlighted was limited 'teacher talk' and where this was included in sessions, it took the form of feedback regarding technique or performance, introductions to a wider number of musical genres or introductions to the concept of being a musician.
Another principal feature of non-formal music sessions was greater scaffolding and modelling and alternative approaches to instruction. This included modelling the techniques of playing, modelling the ways of being a musician (communicating musically), establishing 'horizontal learning' (i.e. peer -led learning and less hierarchical relationships) with more able learners and establishing more of a mentoring relationship with less musically confident learners.
A particularly interesting aspect of the study compared Ofsted guidance indicating the 'outstanding characteristics' of a school music lesson with the characteristics of observed sessions in the non-formal sector. The findings indicate that there are commonalities in high quality musical learning across these different contexts.
Whilst the research highlighted the lack of mutual understanding between potential partners in formal and non-formal musical settings about their ways of working and different terminologies, the study also suggested there were strengths in the different methods of delivery and ways of working employed by the formal and non-formal sectors and providers had a 'huge amount to learn from each other'.
"We are all interested in providing the highest quality music education to as many young people as possible. This research should help providers talk about what quality looks and sounds like across different learning contexts. These conversations will be crucial to the success of Music Education Hubs and a National Plan that is relevant to all young people" says Dr Lonie.
The Communities of Music Education report has been published by Youth Music and the Institute of Education (International Music Education Research Centre) and is available at http://network.youthmusic.org.uk/resources/research/communities-music-education
In addition to supporting music projects around the country, Youth Music undertakes research across a range of music education topics as part of its aim to provide thought leadership to the music education sector. Over 3,200 music education professionals subscribe to the online Youth Music Network to share ideas, innovation and best practice www.youthmusic.org.uk/network
Saturday, March 9, 2013
Webex session- Facilitating learning in small groups: interpersonal dynamics and task dimensions-Wed 13 March at 5.00 pm.
Facilitating Learning in Small Groups:
Interpersonal dynamics and task processes
Dr Andrea Creech
Wednesday 13th March 5.00 pm
Room 938, Institute of Education, University of London
part of:
FIFTH SERIES OF WEBINARS FOR PROFESSIONAL DEVELOPMENT IN THE ARTS
The Series of Webinars for Professional Development in the Arts aims
to provide
opportunities for college students, professors, practitioners
and researchers to participate
in The Fifth Series will be now simultaneously transmitted at
the Institute of Education
(London), Veracruzana, Universidad Autónoma de Baja California,
Musics R.E.D. Group, CENIDIM-
INBA, Gettysburg College, Universidad Panamericana, Conservatorio
de Música de
Chihuahua, and Lake Forest College.
Facilitating Learning in Small Groups: Interpersonal dynamics and task processes
Small groups can be a powerful context for learning. With
the right tasks and effective
facilitation, students can learn to collaborate, explore new
ideas and build new
understandings together. This session will explore some general
principles and practices
of facilitating small groups. We will discuss issues
relating to the interpersonal and the
task dimensions of group processes. Participants in the
session will be encouraged to
consider examples from their own practice through these
theoretical lenses. Illustrative
case study examples from musical contexts will be presented.
Most musical genres
involve communication and collaboration in groups, yet there
has been little emphasis in
instrumental music pedagogy on how facilitators may most
effectively support learning in
small arts disciplines and will explore how facilitators, generally,
might maximise the potential for
creative, collaborative and effective learning in groups.
Tuesday, March 5, 2013
Western Classical Music Pedagogy: Music Theory, Analysis and Techniques of Composition
Western Classical Music Pedagogy: Music Theory, Analysis and
Techniques of Composition
27 March 2013
Chancellor's Hall, Senate House
Convenor: Robert Sholl
Keynote speakers: Michael Spitzer (Liverpool), Nicholas Baragwanath (Nottingham)
Promoted by the IMR in association with the Royal Academy of Music
Part of the Higher Education Academy Discipline Workshop and Seminar
Series
This event is free of charge. Booking is open via the HEA at
http://www.heacademy.ac.uk/events/detail/2013/Seminars/Disciplines_AH/GEN292_RAM
Programme:
9.30: Coffee and Registration
10.00 Welcome Dr Paul Archbold (IMR)
Chair: Dr Anthony Gritten (Royal Academy of Music)
10.10: Denis Collins (University of Queensland): Incorporating
Taneyev's Moveable Counterpoint in the Western Classroom
10.40: Cecile Bardoux (University of Uppsala, University of Stockholm
and Sorbonne, Paris IV): Exploring Linearities and Melodic
Elaborations: an Efficient Analytical Method based on the Theories of
Schenker and Meyer
11.10 Coffee
11.40: Keynote 1: Dr Nicholas Baragwanath: Existential Angst, the
Supremacist's Toolbox, and Current Approaches to Music Theory and
Analysis
12.40 Lunch break
Chair: Dr Robert Sholl (Royal Academy of Music)
2.10 Arild Stenberg (University of Cambridge): Guidance through the
learning curve: can scores be made easier to read by incorporating
analytical elements?
2.40: Hannah French (Royal Academy of Music, London): Aural analysis
3.10: Jane Piper Clendinning (Florida State University): It's all
about the Music: Effective Selection and Employment of Music
Literature in Teaching Undergraduates Music Theory and Analytical
Techniques
3.40 Coffee
Chair: Dr Timothy Jones (Royal Academy fo Music)
4.00: Keynote: Prof. Michael Spitzer (University of Liverpool):
Reflections of a Mid-Atlantic Analyst
Techniques of Composition
27 March 2013
Chancellor's Hall, Senate House
Convenor: Robert Sholl
Keynote speakers: Michael Spitzer (Liverpool), Nicholas Baragwanath (Nottingham)
Promoted by the IMR in association with the Royal Academy of Music
Part of the Higher Education Academy Discipline Workshop and Seminar
Series
This event is free of charge. Booking is open via the HEA at
http://www.heacademy.ac.uk/events/detail/2013/Seminars/Disciplines_AH/GEN292_RAM
Programme:
9.30: Coffee and Registration
10.00 Welcome Dr Paul Archbold (IMR)
Chair: Dr Anthony Gritten (Royal Academy of Music)
10.10: Denis Collins (University of Queensland): Incorporating
Taneyev's Moveable Counterpoint in the Western Classroom
10.40: Cecile Bardoux (University of Uppsala, University of Stockholm
and Sorbonne, Paris IV): Exploring Linearities and Melodic
Elaborations: an Efficient Analytical Method based on the Theories of
Schenker and Meyer
11.10 Coffee
11.40: Keynote 1: Dr Nicholas Baragwanath: Existential Angst, the
Supremacist's Toolbox, and Current Approaches to Music Theory and
Analysis
12.40 Lunch break
Chair: Dr Robert Sholl (Royal Academy of Music)
2.10 Arild Stenberg (University of Cambridge): Guidance through the
learning curve: can scores be made easier to read by incorporating
analytical elements?
2.40: Hannah French (Royal Academy of Music, London): Aural analysis
3.10: Jane Piper Clendinning (Florida State University): It's all
about the Music: Effective Selection and Employment of Music
Literature in Teaching Undergraduates Music Theory and Analytical
Techniques
3.40 Coffee
Chair: Dr Timothy Jones (Royal Academy fo Music)
4.00: Keynote: Prof. Michael Spitzer (University of Liverpool):
Reflections of a Mid-Atlantic Analyst
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