Dear all,
On Wednesday, April 2nd at 2:00pm, Kurt Jacobson of The Echo Nest will
present a seminar in CS 4.14 (the Computer Science building) at Queen
Mary University of London, Mile End Road, London E1 4NS. Details of
the talk will be announced later, but a biography of the speaker
follows.
Information on how to access the school can be found at
http://www.eecs.qmul.ac.uk/about/campus-map.php. If you are coming
from outside Queen Mary, please let me know, so that I can provide
detailed directions and make sure no-one is stuck outside the doors.
If you wish to be added to / removed from our mailing list as an
individual recipient, please send me an email and I'll be happy to do
so.
Speaker:
Kurt Jacobson
Bio:
Kurt Jacobson is a senior engineer at The Echo Nest where he works on
developing the worlds most advanced music informatics system. During
his tenure at the Echo Nest Kurt has worked on database architectures,
data collection, natural language processing, machine learning,
personalization and prediction. Kurt completed his PhD at Queen
Mary's Centre for Digital Music in 2010 where he focused on studying
music-related network structures found on the Web and Semantic Web
technologies as they relate to describing music. He went on to serve
as the primary developer for the Linkedbrainz project before accepting
his current position at the Echo Nest."
Future C4DM Seminars:
Johanne Devaney and Michael Mandel (Ohio State University), Friday 2
May 2014, 2:00pm
Matt McVicar (AIST Japan), Monday 12 May 2014, 3:30pm
Paul Weir (Aardvark Swift Recruitment, Audio director of Soho
Productions), Wednesday 21 May 2014, 3:00pm
Friday, March 28, 2014
Tuesday, March 25, 2014
for Papers: International Conference of Students of Systematic Musicology (SysMus14)
Dear all,
The Music, Mind and Brain group at Goldsmiths, University of London is
pleased to host the Seventh International Conference of Students of
Systematic Musicology (SysMus14) from September 18th-20th, 2014.
SysMus is an annual conference organized by students for students. It
provides postgraduate students opportunities to present their research
as oral papers or posters and to meet and discuss their own research,
while also enjoying keynote speeches by internationally renowned
researchers.
SysMus14 will provide early career researchers a meeting place to
communicate their research and exchange ideas and concerns, while also
acting as a hub for fruitful discussions. It will serve as an
intersection point for many different kinds of research and approaches
related to the empirical study of music.
Systematic musicology is an umbrella term for a wide range of research
on themes including, but not limited to, music perception and
cognition, musical structure, music education, music therapy, music
and emotion, music and language, acoustics and psychoacoustics, and
computer music. Systematic musicology combines a mix of methodologies
from the sciences and humanities, including empirical psychology,
sociology, cognitive sciences and computing to neurosciences,
acoustics and physiology.
PhD and Masters level students are invited to submit an abstract (max
350 words) by May 1st, 2014 following the guidelines provided on the
SysMus14 website at http://www.musicmindbrain.com/#!sysmus-2014/cfmp.
Abstracts will be subject to a double-blind peer-review by a
Scientific Committee consisting of doctoral students and post-doctoral
researchers representing different fields related to the study of
systematic musicology. Decisions will be announced by June 20th. Talks
will be 20 minutes long, followed by a 10-minute discussion; posters
will be displayed throughout the conference and presented during a
designated poster session.
Further information about the abstract format, important dates,
registration, the venue, accommodation and travel is available online
on the SysMus14 website. Any specific questions may be directed to the
Organising Committee at sysmus14@gmail.com
We are looking forward to welcoming you to London in September!
Kelly Jakubowski, director
The SysMus14 Organising Committee
The Music, Mind and Brain group at Goldsmiths, University of London is
pleased to host the Seventh International Conference of Students of
Systematic Musicology (SysMus14) from September 18th-20th, 2014.
SysMus is an annual conference organized by students for students. It
provides postgraduate students opportunities to present their research
as oral papers or posters and to meet and discuss their own research,
while also enjoying keynote speeches by internationally renowned
researchers.
SysMus14 will provide early career researchers a meeting place to
communicate their research and exchange ideas and concerns, while also
acting as a hub for fruitful discussions. It will serve as an
intersection point for many different kinds of research and approaches
related to the empirical study of music.
Systematic musicology is an umbrella term for a wide range of research
on themes including, but not limited to, music perception and
cognition, musical structure, music education, music therapy, music
and emotion, music and language, acoustics and psychoacoustics, and
computer music. Systematic musicology combines a mix of methodologies
from the sciences and humanities, including empirical psychology,
sociology, cognitive sciences and computing to neurosciences,
acoustics and physiology.
PhD and Masters level students are invited to submit an abstract (max
350 words) by May 1st, 2014 following the guidelines provided on the
SysMus14 website at http://www.musicmindbrain.com/#!sysmus-2014/cfmp.
Abstracts will be subject to a double-blind peer-review by a
Scientific Committee consisting of doctoral students and post-doctoral
researchers representing different fields related to the study of
systematic musicology. Decisions will be announced by June 20th. Talks
will be 20 minutes long, followed by a 10-minute discussion; posters
will be displayed throughout the conference and presented during a
designated poster session.
Further information about the abstract format, important dates,
registration, the venue, accommodation and travel is available online
on the SysMus14 website. Any specific questions may be directed to the
Organising Committee at sysmus14@gmail.com
We are looking forward to welcoming you to London in September!
Kelly Jakubowski, director
The SysMus14 Organising Committee
Thursday, March 20, 2014
Fwd: Music in hospitals gets funding boost
Press Release
20th March 2014
NATIONAL YOUTH MUSIC CHARITY ANNOUNCES GRANTS OF OVER £3.5M
MUSIC PROJECTS IN HOSPITAL SETTINGS AMONG THE 69 PROJECTS BENEFITING
The National Foundation for Youth Music today announced grants totalling £3.5m to 69 music organisations around the country. This brings the total amount released this year to £9.2m.
Youth Music supports music projects working with young people in challenging circumstances, from music-making for children in hospital settings, choirs featuring children in care, music mentoring in special schools and lullaby composition projects for young children with development delay. The charity currently supports over 400 projects across England, reaching out to more than 90,000 children and young people every year.
NEW MUSIC PROJECTS
The latest grants will kick-start a range of new music projects including ones for young carers, children living in rural isolation and female victims of trafficking.
Music in hospital settings
London-based charity Key Changes has been awarded a grant of £46,500 to run music workshops on adolescent psychiatric intensive care wards with a national provider of adolescent in-patient psychiatric services. Specially trained professional musicians and producers will support patients aged 13 - 18 with song writing and music production as part of the hospitals' structured therapeutic timetables. The activities are designed to contribute to the young peoples' wellbeing and recovery through developing creative, communication, social and technical skills, improving confidence and self-esteem, and opening new pathways to musical opportunities in the community after discharge from hospital.
Peter Leigh says: "We are thrilled that Youth Music is supporting this project which will provide positive activities for young people detained in hospital at a pivotal time in their lives. The work will build on a pilot service delivered on boys' and girls' wards in Woking which has already seen improvements in patients' engagement with therapeutic activities and brightened the mood of the wards. Expanding the geographic scope of the project will establish a unique perspective on the impact of music in adolescent in-patient care, and develop a valuable evidence base that can be shared with the health and social care sector."
The 'Musicians in Children's Hospitals' project run by OPUS Music Community Interest Company (CIC), has been awarded a grant of £97,800 to bring weekly music-making to the bedsides of children and young people at Derbyshire, Nottingham and Leicester Children's Hospitals as well as children's wards at Kings Mill Hospital, Mansfield. Previous work by OPUS has demonstrated wide-ranging benefits for the patients, their visitors and staff. Young patients who would otherwise miss out will now gain opportunities for self-expression, autonomy and musical education through regular music-making activity alongside OPUS Musicians.
Nick Cutts, Director of OPUS Music CIC, says: "We are delighted that Youth Music is supporting OPUS' development of our Music in Healthcare practice. We have witnessed the wonderful impacts of music-making in children's hospitals over the past few years, a practice developed through European training partnerships led by the world renowned Musique & Santé in Paris. We are looking forward to the continued exploration of hospitals as collaborative music-making venues, helping children and young people and their families to discover music as a relief from illness and as a long-term activity both during and beyond their hospitalisation."
Research indicates significant benefits
Research has shown that music interventions in hospital settings can have significant benefits. The results of a study by Indiana University School of Nursing published in January 2014 indicated positive outcomes for young cancer patients aged 11-24 who spent three weeks producing a music video. They found that patients were able to cope better with the difficulties presented by their medical condition and improved relationships with family and friends were also indicated.
Youth Music has also awarded grants to support Gloucester Music Makers research into how young children with cochlear implants experience sound and music. Artsdepot, London has received a grant to support their work with Noah’s Hospice, which has highlighted a lack of music provision for life-limited or life-threatened young people
REGIONAL FORMULA ENSURES FAIR DISTRIBUTION OF FUNDS
There has been much public debate recently about regional funding allocations for the arts.
Youth Music grants are made available following an application process and are assessed on merit. The charity places a strong emphasis on its role as an intelligent funder, ensuring a fair distribution of funding throughout the regions of England. Over 45% of funded projects take place in the top 20% most deprived local authority areas.
Youth Music applies a regional allocation formula to its grant-making process which aims to provide an equitable balance of funding across the regions. The funding does not merely relate to population densities but takes account of regional deprivation, ensuring that matters such as rural isolation and other geographical issues are taken into account.
Youth Music has also provided additional funding for its strategic ‘Musical Inclusion’ grant-holders, who are charged with identifying areas where there is little activity taking place (‘cold spots’), developing sustainable provision and working with emerging practitioners who are nurtured to deliver future activity.
Matt Griffiths, Youth Music’s Executive Director says: “We continue to do our best to target our funding where it is most needed. Part of this process is to ensure that we regularly update our information on where music provision is lacking geographically and to identify categories of young people in challenging circumstances who might otherwise miss out. In this round we have announced grants to help female survivors of child trafficking and others who suffer from severe psychiatric illness, along with young people living in rural isolation. We wish all these projects well in delivering high-quality music making programmes that will have a very positive impact on these young people’s lives.”
ENDS
PICS ATTACHED: (relevant permissions received)
Caption: Opus Musician Richard Kensington with young hospital patient
Caption: A patient taking part in a Key Changes music workshop
ABOUT MUSIC IN HOSPITALS
· Youth Music funds a variety of work in hospital settings, including work in neo natal wards in Gloucestershire (http://network.youthmusic.org.uk/learning/blogs/mark-harmer/working-premature-babies-and-their-parents-gloucester-hospital) and in Derbyshire hospitals (provided by OPUS) (http://network.youthmusic.org.uk/learning/blogs/cuttsn/sunshine-my-heart-–-film-documenting-impacts-opus’-music-children’s-hospitals-)
· More information on the research relating to the benefits of music on young cancer patients can be found at: http://onlinelibrary.wiley.com/doi/10.1002/cncr.28355/abstract
· A BBC News report on this research can be found at: http://www.bbc.co.uk/news/health-25878958
ABOUT YOUTH MUSIC
· Youth Music believes that music-making is life-changing and the charity wants the opportunity for music-making to be available to all children. Every year, Youth Music provides more than 90,000 young people with the chance to take part in a local music project.
· Many of these children and young people face challenges in their lives including coping with disability, homelessness or living in care. Others simply need help to develop their full musical talent and potential.
· In addition to developing musical skills, Youth Music projects help young people to develop their creative and social skills, make positive contributions to their community and live happy, successful lives. Youth Music projects work across all music genres.
· Youth Music currently supports over 400 music projects around the country
· The charity knows that many more young people still need its help and continues to fundraise to realise its mission to ensure that all children and young people have access to life-changing music-making opportunities.
· Find out more about the work of Youth Music by visiting www.youthmusic.org.uk
For enquiries about Youth Music please contact:
David O’Keeffe,
Media and PR Consultant,
Youth Music
E: david.okeeffe@youthmusic.org.uk
T: 0207 902 1096
M: 07977 067576.
KEY CHANGES
For further enquiries about Key Changes, please contact
Peter Leigh
General Manager
Key Changes
T: 020 7549 8172
M: 07985 249 398
OPUS Music Community Interest Company
For further enquiries about Opus Music, please contact
Nick Cutts
Director
OPUS Music Community Interest Company
T: 01773 861630
M: 07786 157515
Wednesday, March 19, 2014
Fwd: FW: Call for artists | Jeunesses International VIOLIN Competition "Dinu Lipatti" 2015
22nd Jeunesses International VIOLIN Competition "Dinu Lipatti" 2015
Date: 16 - 23 May 2015
Place: Bucharest
Age categories: 3 age categories - up to 14, 14-18, 18-30 years old
Registration dead-line: 1st March 2015 – date of postmark at sender
Prizes: In a total amount of 10,000 Euro, consisting in money, instruments or scholarships
In case more informative materials are needed, please offer the promo page with all the necessary information for multiplication, to all those interested, or send it in a digital format.
For further details please visit http://www.jmEvents.ro or contact us !
Respectfully yours,
Prof. Luigi Gageos
Competition Director
-----------------------
jmEvents
p. o. box 13 – 63, bucharest 13, romania
phone: +40 740 759 566
luigi.gageos@jmEvents.ro | www.jmEvents.ro
EUROPAfest is on Facebook | MySpace | YouTube | Twitter
Monday, March 17, 2014
Call for papers: Creativities, Musicalities, Entrepreneurships
Dr Evangelos Himonides
Institute of Education
University of London
---------- Forwarded message ----------
From: Trijntje Ytsma <T.Ytsma@ioe.ac.uk>
Date: 17 March 2014 15:56
Subject: FW: SIG Notice: Call for papers: Creativities, Musicalities, Entrepreneurships
To: Trijntje Ytsma <T.Ytsma@ioe.ac.uk>
Best wishes
Trijntje
-----Original Message-----
From: Lucy Green
Sent: 07 March 2014 12:20
To: Trijntje Ytsma
Subject: SIG Notice: Call for papers: Creativities, Musicalities, Entrepreneurships
Call for papers: Creativities, Musicalities, Entrepreneurships
The Institute of Contemporary Music Performance is hosting its third biennial international conference, in partnership with the Art of Management and Organization. The event will take place at the Institute's London campus from 4th to 6th September 2014.
The discourse of artists as entrepreneurs has become commonplace in recent years, perhaps especially in higher education, but there is less discussion of entrepreneurs as artists. Notions of what it is to be musical are increasingly challenged by narrow notions of success and the rise of celebrity (Smith 2013). Writers such as Peter Cook in The Music of Business (2012), Richard Sennett (2012), Peter Gloor (2006) and Cartwright, Gillett & Smith (2014) have begun to expand the discourse between these intimately interconnected domains. The time is right to explore creativities, musicalities and entrepreneurships in a vibrant, collaborative environment.
The Institute's Research Committee invites proposals for spoken papers, performances, workshops, posters, and symposia from across business and the arts, on themes including, but not be limited to:
* Notions of "creativities", "musicalities" and "entrepreneurships"
* Careers in, around, and including the arts
* Interdisciplinarity, intersectionality, diversity, and collaboration
* Innovation, and digital media engagement.
* Entrepreneurship and education
* Conceptions and constructions of the creative in education
Scholars, graduate students, performance groups, artists, private-sector and social entrepreneurs are invited to submit proposals by the deadline of 8th April 2014. Presenters will be notified of acceptance by 1st May 2014.
Keynote presenters include Pamela Burnard, Reader in Education and Bye Fellow of Homerton College, University of Cambridge. Other Keynote presenters, TBC, will speak on areas of entrepreneurship, music and creativity.
Following the conference, participants will be invited to submit full-length papers to be considered for inclusion in a special issue of peer-reviewed multi-media online journal Organizational Aesthetics, edited by Gareth Dylan Smith, the conference Chair.
Please submit abstracts via: https://instituteofcontemporarymusicperformance.submittable.com/submit
All submissions will be reviewed by two members of the review panel, comprising:
Dr Gareth Dylan Smith (Institute of Contemporary Music Performance) Prof Helena Gaunt (Guildhall School of Music and Drama) Dr Jenna Ward (DeMontfort University) Dr Kimberly Campanello (Institute of Contemporary Music Performance) Mark Hunter (Institute of Contemporary Music Performance) Tom Parkinson (Institute of Contemporary Music Performance)
For a flavour of the Institute's 2012 conference - "Rock and Roles: Sociology and Philosophy of Popular Music Education" - please follow this link to a short documentary video: http://www.youtube.com/watch?v=7BWQBwwHUMc.
Registration fee and early-bird date TBA Follow us on Twitter at @CMEconference
www.icmp.co.uk
www.artofmanagement.org
From: Trijntje Ytsma <T.Ytsma@ioe.ac.uk>
Date: 17 March 2014 15:56
Subject: FW: SIG Notice: Call for papers: Creativities, Musicalities, Entrepreneurships
To: Trijntje Ytsma <T.Ytsma@ioe.ac.uk>
Best wishes
Trijntje
-----Original Message-----
From: Lucy Green
Sent: 07 March 2014 12:20
To: Trijntje Ytsma
Subject: SIG Notice: Call for papers: Creativities, Musicalities, Entrepreneurships
Call for papers: Creativities, Musicalities, Entrepreneurships
The Institute of Contemporary Music Performance is hosting its third biennial international conference, in partnership with the Art of Management and Organization. The event will take place at the Institute's London campus from 4th to 6th September 2014.
The discourse of artists as entrepreneurs has become commonplace in recent years, perhaps especially in higher education, but there is less discussion of entrepreneurs as artists. Notions of what it is to be musical are increasingly challenged by narrow notions of success and the rise of celebrity (Smith 2013). Writers such as Peter Cook in The Music of Business (2012), Richard Sennett (2012), Peter Gloor (2006) and Cartwright, Gillett & Smith (2014) have begun to expand the discourse between these intimately interconnected domains. The time is right to explore creativities, musicalities and entrepreneurships in a vibrant, collaborative environment.
The Institute's Research Committee invites proposals for spoken papers, performances, workshops, posters, and symposia from across business and the arts, on themes including, but not be limited to:
* Notions of "creativities", "musicalities" and "entrepreneurships"
* Careers in, around, and including the arts
* Interdisciplinarity, intersectionality, diversity, and collaboration
* Innovation, and digital media engagement.
* Entrepreneurship and education
* Conceptions and constructions of the creative in education
Scholars, graduate students, performance groups, artists, private-sector and social entrepreneurs are invited to submit proposals by the deadline of 8th April 2014. Presenters will be notified of acceptance by 1st May 2014.
Keynote presenters include Pamela Burnard, Reader in Education and Bye Fellow of Homerton College, University of Cambridge. Other Keynote presenters, TBC, will speak on areas of entrepreneurship, music and creativity.
Following the conference, participants will be invited to submit full-length papers to be considered for inclusion in a special issue of peer-reviewed multi-media online journal Organizational Aesthetics, edited by Gareth Dylan Smith, the conference Chair.
Please submit abstracts via: https://instituteofcontemporarymusicperformance.submittable.com/submit
All submissions will be reviewed by two members of the review panel, comprising:
Dr Gareth Dylan Smith (Institute of Contemporary Music Performance) Prof Helena Gaunt (Guildhall School of Music and Drama) Dr Jenna Ward (DeMontfort University) Dr Kimberly Campanello (Institute of Contemporary Music Performance) Mark Hunter (Institute of Contemporary Music Performance) Tom Parkinson (Institute of Contemporary Music Performance)
For a flavour of the Institute's 2012 conference - "Rock and Roles: Sociology and Philosophy of Popular Music Education" - please follow this link to a short documentary video: http://www.youtube.com/watch?v=7BWQBwwHUMc.
Registration fee and early-bird date TBA Follow us on Twitter at @CMEconference
www.icmp.co.uk
www.artofmanagement.org
Improvisation: Educational Perspectives
Improvisation: Educational Perspectives
22nd of April
St Cecilia's Hall
University of Edinburgh
(Admission free but booking essential)
http://bit.ly/improveducation
Improvisation is taught and formally assessed in higher education institutions (HEIs) throughout the world, yet there are a number of intrinsic difficulties in teaching and assessing improvisation that may impact on the pedagogical process. This event is a one-day workshop that will give academics and practitioners working in this area the opportunity to share ideas, practices and methods specifically related to the teaching, learning and assessment of improvisation in higher education.
The sorts of questions and topics we expect to cover include:
• What is improvisation?
• Can improvisation be taught and, if so, how?
• What scope and range can/should HEI curricula include?
• Should improvisation be assessed? If so, how do we do this effectively?
• Is assessor subjectivity an important concern? If so, is this more or less problematic than in traditional 'recital' assessment?
• Idiomatic versus 'generic' issues in improvisation pedagogy.
• Assessing the process of improvisation rather than the outputs.
(NB Lunch and repfreshments will be provided so please be sure to inform us of any special requirements when you book)
Speakers:
Prof Raymond MacDonald (University of Edinburgh)
Improvisation and all that Jazz
Recent years have seen a significant increase in improvisation research and practice across many areas of academia. This presentation will discuss a number of issues such as: what is improvisation; can it be taught; how can it be assessed?
Dr Michael Duch
(Title TBC)
Dr Paul Kleiman (Higher Education Academy)
Taking a Note for a Walk: Improvising assessment and assessing improvisation
Of all arts-based forms, improvisation provides a particular challenge to assessment regimes based on normative pedagogic discourses and practices. This contribution explores some of those challenges and offers some creative approaches to assessing on the edge of chaos.
Dr Zack Moir (University of Edinburgh)
'Just like Clarence' or 'Just like Jimi': Issues surrounding creativity, originality and pedagogy in pop and rock improvisation.
This presentation will begin by considering the nature of improvisation in pop and rock music with particular focus on creativity and originality. The pedagogical implications of such issues will then be discussed by way of understanding the teaching, learning and assessment of improvisation in this idiom.
Dr Philippa Derrington (Queen Margaret University)
Making connections through improvisation in music therapy.
What is the purpose of improvisation in music therapy? How do music therapists improvise? This presentation will look at ways that improvisation is used to engage clients in interactive live music-making and how therapists are trained.
22nd of April
St Cecilia's Hall
University of Edinburgh
(Admission free but booking essential)
http://bit.ly/improveducation
Improvisation is taught and formally assessed in higher education institutions (HEIs) throughout the world, yet there are a number of intrinsic difficulties in teaching and assessing improvisation that may impact on the pedagogical process. This event is a one-day workshop that will give academics and practitioners working in this area the opportunity to share ideas, practices and methods specifically related to the teaching, learning and assessment of improvisation in higher education.
The sorts of questions and topics we expect to cover include:
• What is improvisation?
• Can improvisation be taught and, if so, how?
• What scope and range can/should HEI curricula include?
• Should improvisation be assessed? If so, how do we do this effectively?
• Is assessor subjectivity an important concern? If so, is this more or less problematic than in traditional 'recital' assessment?
• Idiomatic versus 'generic' issues in improvisation pedagogy.
• Assessing the process of improvisation rather than the outputs.
(NB Lunch and repfreshments will be provided so please be sure to inform us of any special requirements when you book)
Speakers:
Prof Raymond MacDonald (University of Edinburgh)
Improvisation and all that Jazz
Recent years have seen a significant increase in improvisation research and practice across many areas of academia. This presentation will discuss a number of issues such as: what is improvisation; can it be taught; how can it be assessed?
Dr Michael Duch
(Title TBC)
Dr Paul Kleiman (Higher Education Academy)
Taking a Note for a Walk: Improvising assessment and assessing improvisation
Of all arts-based forms, improvisation provides a particular challenge to assessment regimes based on normative pedagogic discourses and practices. This contribution explores some of those challenges and offers some creative approaches to assessing on the edge of chaos.
Dr Zack Moir (University of Edinburgh)
'Just like Clarence' or 'Just like Jimi': Issues surrounding creativity, originality and pedagogy in pop and rock improvisation.
This presentation will begin by considering the nature of improvisation in pop and rock music with particular focus on creativity and originality. The pedagogical implications of such issues will then be discussed by way of understanding the teaching, learning and assessment of improvisation in this idiom.
Dr Philippa Derrington (Queen Margaret University)
Making connections through improvisation in music therapy.
What is the purpose of improvisation in music therapy? How do music therapists improvise? This presentation will look at ways that improvisation is used to engage clients in interactive live music-making and how therapists are trained.
Music SIG 27 March, 12.15-1.15pm
Music Education Special Interest Group
Research Seminar Announcement
Music Technology Education in the United States
Dr Scott L. Phillips, Assistant Professor of Music Technology, University of Alabama at Birmingham
Date: Thursday 27th March
Time: 12.15 - 1.15pm
Room: Committee Room 3
Further details from Lucy Green, l.green2@ioe.ac.uk
All are welcome
Over the past 25 years, as technology has become a ubiquitous part of the educational landscape, music educators have increasingly relied on it to be more effective and efficient in their teaching and performing. The development of music technology education in the United States has evolved through a complex and somewhat convoluted process. Educational leaders, select university programs, national music and education standards, accreditation regulations, and various financial forces have had a significant impact on curricular design and execution. In this presentation Dr. Phillips will show how these and other factors have shaped the educational landscape to create the current climate for music technology education in America. He will discuss his research of over 200 university and college programs in music technology, and suggest possible futures for this nascent academic field.
Scott L. Phillips, Ph.D. is a prominent music technology educator and researcher. He frequently makes scholarly presentations, leads panels, and reads academic papers at top music, education, and technology conferences. Phillips is an Oxford University Press author and his book, Beyond Sound: The College and Career Guide in Music Technology (2013) is the definitive work on music technology college programs in the United States, containing the most comprehensive listing and analysis of college and university music technology programs currently available. He also serves on the advisory boards of several professional music organizations including the College Music Society, the Association for Technology in Music Instruction, and the Technology Institute for Music Educators. He is co-director of the Music Technology Program at the University of Alabama at Birmingham, where he teaches music technology courses, coordinates internships, and directs the highly regarded UAB Computer Music Ensemble. As a highly sought-after trainer, clinician, and consultant, he has represented major music technology companies and has worked with hundreds of audio professionals and educators throughout the United States.
Wednesday, March 12, 2014
University of York: 6-month research post on the health of choral singers
Department of Electronics, University of York
6-month research post on the health of choral singers
Based at Audio Lab, Genesis 6, Heslington West Campus
A full-time fixed term (6 month) Research Assistant post is available in the Audio Laboratory of the Department of Electronics at the University of York to investigate the voices of choral singers in terms of whether they are using their voices in a healthy manner or not. The post is part of a European consortium with 11 EU members (http://www.thevoiceproject.eu/). The successful candidate will have skills/experience in choral singing and a practical and/or scientific understanding of voice production, preferably in the context of choral singing. In addition, s/he will be able to demonstrate good oral and written communication skills as well as creative thinking to contribute to the research process. The role will involve working with choirs and taking acoustic and other measurements, carrying out data analysis and interpretation and writing up results.
Informal enquiries should be made in the first instance to Professor David M Howard
(email: david.howard@york.ac.uk).
Sunday, March 9, 2014
Call for papers: Creativities, Musicalities, Entrepreneurships
Dr Evangelos Himonides
Institute of Education
University of London
---------- Forwarded message ----------
From: Gareth Smith <garethdylansmith@me.com>
Date: 7 March 2014 09:49
Subject: CFP for a London conference
To: Evangelos Himonides <E.Himonides@ioe.ac.uk>
From: Gareth Smith <garethdylansmith@me.com>
Date: 7 March 2014 09:49
Subject: CFP for a London conference
To: Evangelos Himonides <E.Himonides@ioe.ac.uk>
Hi Evangelos,
Hoping all is well with you.
I have attached and pasted below the CFP for a conference being hosted by my institution in late summer. If you think it relevant, I would be really grateful if you could please share this via your networks.
All best,
Gareth.
Call for papers: Creativities, Musicalities, Entrepreneurships
The Institute of Contemporary Music Performance is hosting its third biennial international conference, in partnership with the Art of Management and Organization. The event will take place at the Institute’s London campus from 4th to 6th September 2014.
The discourse of artists as entrepreneurs has become commonplace in recent years, perhaps especially in higher education, but there is less discussion of entrepreneurs as artists. Notions of what it is to be musical are increasingly challenged by narrow notions of success and the rise of celebrity (Smith 2013). Writers such as Peter Cook in The Music of Business (2012), Richard Sennett (2012), Peter Gloor (2006) and Cartwright, Gillett & Smith (2014) have begun to expand the discourse between these intimately interconnected domains. The time is right to explore creativities, musicalities and entrepreneurships in a vibrant, collaborative environment.
The Institute’s Research Committee invites proposals for spoken papers, performances, workshops, posters, and symposia from across business and the arts, on themes including, but not be limited to:
· Notions of “creativities”, “musicalities” and “entrepreneurships”
· Careers in, around, and including the arts
· Interdisciplinarity, intersectionality, diversity, and collaboration
· Innovation, and digital media engagement.
· Entrepreneurship and education
· Conceptions and constructions of the creative in education
Scholars, graduate students, performance groups, artists, private-sector and social entrepreneurs are invited to submit proposals by the deadline of 8th April 2014. Presenters will be notified of acceptance by 1st May 2014.
Keynote presenters include Pamela Burnard, Reader in Education and Bye Fellow of Homerton College, University of Cambridge. Other Keynote presenters, TBC, will speak on areas of entrepreneurship, music and creativity.
Following the conference, participants will be invited to submit full-length papers to be considered for inclusion in a special issue of peer-reviewed multi-media online journal Organizational Aesthetics, edited by Gareth Dylan Smith, the conference Chair.
Please submit abstracts via: https://instituteofcontemporarymusicperformance.submittable.com/submit
All submissions will be reviewed by two members of the review panel, comprising:
Dr Gareth Dylan Smith (Institute of Contemporary Music Performance)
Prof Helena Gaunt (Guildhall School of Music and Drama)
Dr Jenna Ward (DeMontfort University)
Dr Kimberly Campanello (Institute of Contemporary Music Performance)
Mark Hunter (Institute of Contemporary Music Performance)
Tom Parkinson (Institute of Contemporary Music Performance)
For a flavour of the Institute’s 2012 conference – “Rock and Roles: Sociology and Philosophy of Popular Music Education” – please follow this link to a short documentary video: http://www.youtube.com/watch?v=7BWQBwwHUMc.
Registration fee and early-bird date TBA
Follow us on Twitter at @CMEconference
Tuesday, March 4, 2014
This week's Grove Forum at the RCM
You are warmly invited to this week's Grove Forum, part of the Spring
Series 'Music and Science':
Thursday 6th March, 5.15pm (Museum)
From Scientific Instruments to Musical Instruments: The Tuning Fork,
the Metronome, and the Siren
Myles Jackson, New York University
Chair: Aleks Kolkowski
This talk analyses the way in which nineteenth-century acoustical
instruments used to standardise musical performance and measure pitch
and beat were a century later put to use as musical instruments
themselves.
Part of the mini-series Oscillations: Between Music, Science and Acoustics
Tickets are free and available in advance and on the day via the RCM
Box Office. Visit www.rcm.ac.uk/groveforum
We look forward to seeing you there!
Series 'Music and Science':
Thursday 6th March, 5.15pm (Museum)
From Scientific Instruments to Musical Instruments: The Tuning Fork,
the Metronome, and the Siren
Myles Jackson, New York University
Chair: Aleks Kolkowski
This talk analyses the way in which nineteenth-century acoustical
instruments used to standardise musical performance and measure pitch
and beat were a century later put to use as musical instruments
themselves.
Part of the mini-series Oscillations: Between Music, Science and Acoustics
Tickets are free and available in advance and on the day via the RCM
Box Office. Visit www.rcm.ac.uk/groveforum
We look forward to seeing you there!
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