*** CALL FOR PARTICIPATION ***
DMRN+9: Digital Music Research Network 1-Day Workshop 2014
Arts One Lecture Theatre
Queen Mary University of London
Tue 16 December 2014
http://c4dm.eecs.qmul.ac.uk/dmrn/events/dmrnp9/
News
Early bird registration deadline: Fri 5 December 2014.
Register on-line here or
http://eshop.qmul.ac.uk/browse/extra_info.asp?compid=1&modid=2&deptid=34&catid=1&prodid=493
Join DMRN Group on Linkedin here or
http://www.linkedin.com/groups?home=&gid=2506315
Digital music is an important and fast-moving research area.
Sophisticated digital tools for the creation,
generation and dissemination of music have established clear synergies
between music and leisure
industries, the use of technology within art, the creative industries
and the creative economy. Digital
music research is emerging as a "transdiscipline" across the usual
academic boundaries of computer
science, electronic engineering and music.
The Digital Music Research Network (DMRN) aims to promote research in
the area of Digital Music,
by bringing together researchers from universities and industry in
electronic engineering, computer science,
and music.
DMRN will be holding its next 1-day workshop on
** Tuesday 16 December 2014 **
The workshop will include invited and contributed talks, and posters
will be on display during the day,
including during the lunch and coffee breaks. The workshop will also
be an ideal opportunity for
networking with other people working in the area. There will be an
opportunity to continue discussions
after the Workshop in a nearby Pub/Restaurant.
Keynote Speaker
Prof. Mark Plumbley (Director, Centre for Digital Music, Queen Mary
University of London)
will talk on "Hear the Future: Machine Listening for Music and
non-Music Sounds".
Important Dates
Fri 5 Dec 2014: Early Bird Registration Deadline
Tue 16 Dec 2014: ** Workshop **
Registration
A registration fee is payable, to cover room hire & refreshments.
Registration fees:
£40 - Early Bird Registrations - until Fri 5 December 2013.
£60 - Regular - after the above date.
Please register on-line here or
http://eshop.qmul.ac.uk/browse/extra_info.asp?compid=1&modid=2&deptid=34&catid=1&prodid=493
I look forward to seeing you in London in December!
Best wishes,
Panos
---
Panos Kudumakis, PhD
qMedia, Queen Mary University of London
Mile End Road, E1 4NS, UK
Email: p.kudumakis@qmul.ac.uk
http://www.linkedin.com/in/kudumakis
Thursday, November 27, 2014
Fwd: CFPs - Study Day on Computer Simulation of Musical Creativity
The University of Huddersfield is happy to announce the first "Study Day on Computer Simulation of Musical Creativity", which will be held at the University of Huddersfield, on Saturday 27 June 2015.
University of Huddersfield inspiring tomorrow's professionals.
Keynote Speaker: Eduardo Miranda
Study Day website: http://simulationofmusicalcreativity.wordpress.com/
CONFERENCE OBJECTIVES
The main goal of this one-day conference is to bring together scholars from different backgrounds, interested in virtual emulation of musical creativity, providing an interdisciplinary platform to promote, present and discuss their work.
TOPICS
Submissions can cover both theoretical and/or practical aspects of computer simulation of musical creativity. Interdisciplinary proposals at the intersection of music, computer science, psychology and philosophy are warmly invited. Topics of interest may include, but are not limited to:
Computer simulation
- systems capable of creating musical pieces and sounds;
- systems capable of performing music;
- systems capable of online improvisation;
- simulation of music societies;
- robot-based systems;
- systems that enhance the creativity of human users;
- computational aesthetics, emotional response, novelty/originalty;
Theory
- surveys of the state-of-the-art techniques in the area;
- validation methodologies;
- philosophical foundations of music creative systems;
- evolutionary-based models for music creative systems;
- cognitive-based models for music creative systems;
- studies on applicability of techniques to other areas such as story generation and visual art generation;
- new models for improving music creative systems.
TYPES OF SUBMISSIONS
We accept proposals for papers, posters and workshops. Papers have a maximum duration of 20 minutes, with 10 minutes of Q&A. Posters should be used to present research projects in an initial phase. Workshops are 45 minutes long sessions, focused on practical demonstrations and tutorials of new systems and technologies related to musical creativity.
ABSTRACT SUBMISSION
We welcome abstracts of no more than 300 words for papers and posters, and 500 words for workshops. Abstracts should include type of submission, AV requirements and any other special requests. The review process is managed through EasyChair. To submit an abstract, please go to the submission page (http://goo.gl/FqACkr) and follow the instructions provided by EasyChair.
TOPICS
Submissions can cover both theoretical and/or practical aspects of computer simulation of musical creativity. Interdisciplinary proposals at the intersection of music, computer science, psychology and philosophy are warmly invited. Topics of interest may include, but are not limited to:
Computer simulation
- systems capable of creating musical pieces and sounds;
- systems capable of performing music;
- systems capable of online improvisation;
- simulation of music societies;
- robot-based systems;
- systems that enhance the creativity of human users;
- computational aesthetics, emotional response, novelty/originalty;
Theory
- surveys of the state-of-the-art techniques in the area;
- validation methodologies;
- philosophical foundations of music creative systems;
- evolutionary-based models for music creative systems;
- cognitive-based models for music creative systems;
- studies on applicability of techniques to other areas such as story generation and visual art generation;
- new models for improving music creative systems.
TYPES OF SUBMISSIONS
We accept proposals for papers, posters and workshops. Papers have a maximum duration of 20 minutes, with 10 minutes of Q&A. Posters should be used to present research projects in an initial phase. Workshops are 45 minutes long sessions, focused on practical demonstrations and tutorials of new systems and technologies related to musical creativity.
ABSTRACT SUBMISSION
We welcome abstracts of no more than 300 words for papers and posters, and 500 words for workshops. Abstracts should include type of submission, AV requirements and any other special requests. The review process is managed through EasyChair. To submit an abstract, please go to the submission page (http://goo.gl/FqACkr) and follow the instructions provided by EasyChair.
IMPORTANT DATES
Abstract Submission Deadline: Monday 20 April 2015
Online Registration Closes: Saturday 14 June 2015
Conference Date: Saturday 27 June 2015
ADDITIONAL INFORMATION
Presenters will be advised as to the outcome of their submission by May. For more details about the Study Day, please visit the conference website (http://goo.gl/IyxP17). If you have any enquiries, contact Valerio Velardo (u1370329@hud.ac.uk).
Presenters will be advised as to the outcome of their submission by May. For more details about the Study Day, please visit the conference website (http://goo.gl/IyxP17). If you have any enquiries, contact Valerio Velardo (u1370329@hud.ac.uk).
Monday, November 24, 2014
Lecturer in Music Technology and Popular Music at The University of Queensland, Australia
Lecturer in Music Technology and Popular Music at The University of Queensland, Australia
An exciting opportunity exists at The University of Queensland for a lecturer in music technology and popular music who will help strengthen and further develop the School's music programs.
The successful appointee will engage in undergraduate and postgraduate teaching, postgraduate supervision, and further development of the School's Music Technology and Popular Music programs. The successful appointee will also undertake research, administrative and other activities associated with the School and its research unit, the Creative Collaboratorium.
For more information, including how to apply, go to http://jobs.uq.edu.au/caw/en/#/job/496650/lecturer-in-music-technology-and-popular-music
Saturday, November 22, 2014
Fwd: Call for Papers reminder, 138th Audio Engineering Society Convention
Call for Papers, 138th Audio Engineering Society Convention
Warsaw, Poland, May 7-10, 2015
http://www.aes.org/events/138/authors/138thCallForPapers.pdf
----------------
SCHEDULE
Proposal (Cat. 1 and 2) deadline: 2014 December 9
Acceptance (précis proposals, Cat. 2) emailed: 2015 January 6
Acceptance (full papers, Cat. 1) emailed: 2015 January 23
Final manuscript (Cat 1 and 2) deadline: 2015 February 12
Engineering brief (Cat. 3) deadline: 2015 February 12
Engineering brief (Cat. 3) 1-5 page PDF deadline: 2015 March 20
--------------
PROPOSED TOPICS
Perception
Spatial audio
Audio signal processing
Semantic audio
Transducers
Game audio
Recording and production
Applications in audio
Education
Room acoustics
Forensic audio
Sonification
Audio computing
Network audio
Cinema sound
------------------
Authors may submit proposals in three categories:
1. Complete-manuscript peer-reviewed convention papers (submit at www.aes.org/138th_authors) 2. Abstract-precis-reviewed convention papers (submit at www.aes.org/138th_authors) 3. Synopsis-reviewed engineering briefs (submit at www.aes.org/138th_ebriefs) Category 1 and 2 proposals are to be submitted electronically to the AES 138th proposal submission site at www.aes.org/138th_authors by 2014 December 9.
For the complete-manuscript peer-reviewed convention papers (category 1), authors are asked to submit papers of 4-10 pages to the submission site. Papers exceeding 10 pages run the risk of rejection without review. These complete-manuscript papers will undergo full peer review, and authors will be notified of acceptance by 2015 January 23. Final manuscript with revisions requested by the reviewers have to be submitted before 2015 February 12. If rejected as a convention paper (Cat. 1), the proposal may still be accepted for categories 2 or 3.
For abstract-precis-reviewed proposals (Cat. 2), a title, 60-to 120-word abstract, and 500- to 750-word précis of the proposed paper must be submitted by 2014 December 9. Authors will be notified of acceptance by 2015 January 6, and the authors must submit their final manuscripts (4 to 10 pages) before 2015 February 12. If rejected from this category, the proposal may be still be accepted as an engineering brief (Cat. 3).
Both complete-manuscript peer-reviewed papers (Cat. 1) and abstract-precis-reviewed papers (Cat. 2) will be available at the convention in a full set of PDFs of convention papers, and they will be added later to the AES E-Library (www.aes.org/e-lib). If a paper is longer than 10 pages, the author will be charged a fee of $25 for every page over 10.
For engineering briefs (Cat. 3), authors must supply a short synopsis to 138th_ebriefs@aes.org by 2015 February 12 to indicate their desire to present an engineering brief, followed later by an electronic manuscript. These manuscripts will be freely available in the AES E-Library to AES members, and there will be no paper copies. Topics for the engineering briefs can be very wide-ranging. Relaxed reviewing of submissions will consider mainly whether they are of interest to AES convention attendees and are not overly commercial.
PDF manuscripts of 1-5 pages following the prescribed template must be emailed (address will be sent to authors) by 2015 March 20.
Presenting authors (one per paper for all 3 categories) will be required to pay the full convention registration fee (member and student member rates are lower than nonmember rates), and only then will the presenting author receive a free copy of the complete set of PDFs of the convention papers. Presenting authors who are student members and whose convention papers (Cat. 1 or 2) are accepted will be eligible for the Student Paper Award at the 138th; peer-reviewed Cat. 1 papers are given preference by the award judges. During the online submission process you will be asked to specify whether you prefer to present your paper in a lecture or poster session. Highly detailed papers are better suited to poster sessions, which permit greater interaction between author and audience. The convention committee reserves the right to reassign papers to any session, lecture or poster. The submission sites, www.aes.org/138th_authors (Cat. 1 and 2) and www.aes.org/138th_ebriefs (Cat. 3), will be available by early November.
Open Access Authors can pay an additional fee to make papers Open Access.
--------------------------
Submit title/abstract/précis or full papers at www.aes.org/138th_authors Submit eBriefs at www.aes.org/138th_ebriefs
-------------------------
PAPERS COCHAIRS
Questions? Contact:
Ville Pulkki and Josh Reiss
Thursday, November 20, 2014
Fwd: 2nd Call for CMMR 2015 - Plymouth, UK. Music, Mind and Embodiment. Keynote speakers announced, Call for papers and music open.
Dear all,
(apologies for cross-posting)
We are very pleased to announce that the 11th International Symposium on Computer Music Multidisciplinary Research (CMMR) Music, Mind, and Embodiment will take place in Plymouth, UK on 16-19 June 2015.
Important dates:
Paper submission deadline February 27th 2015
Music submission deadline February 27th 2015
Notification of acceptance March 27th 2015
Revisions and camera ready copy deadline May 1st 2015
Plymouth is a vibrant ocean city with a global history which stretches back hundreds of years. The symposium will include a series of concerts, a satellite workshop on Music Neurotechnology, and an unforgettable boat cruise and banquet trip around the iconic Plymouth Hoe from the Barbican Harbour, site of the Mayflower Steps (portrayed in the logo above), from which the Pilgrim Fathers left England to settle in North America in 1620.
The Interdisciplinary Centre for Computer Music Research (ICCMR) is hosting the symposium on campus in the center of Plymouth, in their newly completed multi-million pound headquarters, "The House", which includes a multichannel diffusion suite and full scale auditorium for concert performances.
Music, Mind, and Embodiment
This year, we encourage the submission of contributions on the theme of Music, Mind, and Embodiment. The notion of mind and embodiment is important in any field related to sound and music and is therefore well adapted to this interdisciplinary conference, since it can be studied from different standpoints spanning from physics to perceptual and cognitive considerations, and from scientific to artistic approaches.
Some central questions of interest in this context are (but not necessarily restricted to) :
How to identify perceptually relevant signal properties linked to music (for example, neurophysiologically or biologically influenced music creation, performance, or analysis?)
How to define new timbre descriptors that characterise perceptual or emotional characteristics?
What is the link between mind and embodiment in musical performance, interpretation, and improvisation?
How can gesture and embodiment be used as a control signal for music generation, sonification, and performance?
How can multiple modalities be characterised in interdisciplinary musical contexts (vision, audition, kinesthetic, bio- and neuro- informed approaches)?
Contributions on other topics as described in the call for contributions are also welcome. Submission deadline is February 27th 2015.
Keynote speakers:
Hugues Vinet (IRCAM)
David Rosenboom (CalArts)
Eduardo Miranda (ICCMR)
For further details please visit:
http://cmr.soc.plymouth.ac.uk/cmmr2015/
Please send any enquiries to:
cmmr2015-chairs@plymouth.ac.uk
We look forward to seeing you next year,
Prof Eduardo R Miranda (conference chair)
Joel Eaton (programme committee)
Dr Duncan Williams (music committee)
________________________________
[http://www.plymouth.ac.uk/images/email_footer.gif]<http://www.plymouth.ac.uk/worldclass>
This email and any files with it are confidential and intended solely for the use of the recipient to whom it is addressed. If you are not the intended recipient then copying, distribution or other use of the information contained is strictly prohibited and you should not rely on it. If you have received this email in error please let the sender know immediately and delete it from your system(s). Internet emails are not necessarily secure. While we take every care, Plymouth University accepts no responsibility for viruses and it is your responsibility to scan emails and their attachments. Plymouth University does not accept responsibility for any changes made after it was sent. Nothing in this email or its attachments constitutes an order for goods or services unless accompanied by an official order form.
(apologies for cross-posting)
We are very pleased to announce that the 11th International Symposium on Computer Music Multidisciplinary Research (CMMR) Music, Mind, and Embodiment will take place in Plymouth, UK on 16-19 June 2015.
Important dates:
Paper submission deadline February 27th 2015
Music submission deadline February 27th 2015
Notification of acceptance March 27th 2015
Revisions and camera ready copy deadline May 1st 2015
Plymouth is a vibrant ocean city with a global history which stretches back hundreds of years. The symposium will include a series of concerts, a satellite workshop on Music Neurotechnology, and an unforgettable boat cruise and banquet trip around the iconic Plymouth Hoe from the Barbican Harbour, site of the Mayflower Steps (portrayed in the logo above), from which the Pilgrim Fathers left England to settle in North America in 1620.
The Interdisciplinary Centre for Computer Music Research (ICCMR) is hosting the symposium on campus in the center of Plymouth, in their newly completed multi-million pound headquarters, "The House", which includes a multichannel diffusion suite and full scale auditorium for concert performances.
Music, Mind, and Embodiment
This year, we encourage the submission of contributions on the theme of Music, Mind, and Embodiment. The notion of mind and embodiment is important in any field related to sound and music and is therefore well adapted to this interdisciplinary conference, since it can be studied from different standpoints spanning from physics to perceptual and cognitive considerations, and from scientific to artistic approaches.
Some central questions of interest in this context are (but not necessarily restricted to) :
How to identify perceptually relevant signal properties linked to music (for example, neurophysiologically or biologically influenced music creation, performance, or analysis?)
How to define new timbre descriptors that characterise perceptual or emotional characteristics?
What is the link between mind and embodiment in musical performance, interpretation, and improvisation?
How can gesture and embodiment be used as a control signal for music generation, sonification, and performance?
How can multiple modalities be characterised in interdisciplinary musical contexts (vision, audition, kinesthetic, bio- and neuro- informed approaches)?
Contributions on other topics as described in the call for contributions are also welcome. Submission deadline is February 27th 2015.
Keynote speakers:
Hugues Vinet (IRCAM)
David Rosenboom (CalArts)
Eduardo Miranda (ICCMR)
For further details please visit:
http://cmr.soc.plymouth.ac.uk/cmmr2015/
Please send any enquiries to:
cmmr2015-chairs@plymouth.ac.uk
We look forward to seeing you next year,
Prof Eduardo R Miranda (conference chair)
Joel Eaton (programme committee)
Dr Duncan Williams (music committee)
________________________________
[http://www.plymouth.ac.uk/images/email_footer.gif]<http://www.plymouth.ac.uk/worldclass>
This email and any files with it are confidential and intended solely for the use of the recipient to whom it is addressed. If you are not the intended recipient then copying, distribution or other use of the information contained is strictly prohibited and you should not rely on it. If you have received this email in error please let the sender know immediately and delete it from your system(s). Internet emails are not necessarily secure. While we take every care, Plymouth University accepts no responsibility for viruses and it is your responsibility to scan emails and their attachments. Plymouth University does not accept responsibility for any changes made after it was sent. Nothing in this email or its attachments constitutes an order for goods or services unless accompanied by an official order form.
Fwd: Funded PhD: Machine learning applied to sound synthesis and content creation
Dear all,
A funded PhD place is available to work within the Centre for Digital Music on the subject of machine learning applied to sound synthesis and content creation. Description below, and full details (including how to apply) at
http://www.eecs.qmul.ac.uk/phd/research-topics/funded
Please feel free to distribute this to anyone who might be interested.
Thanks.
Dr. Josh Reiss
Reader in Audio Engineering
Centre for Digital Music
Queen Mary University of London
Fully-funded PhD studentship: Machine learning applied to sound synthesis and media content creation
Applications are invited from all nationalities for a funded PhD Studentship starting January 2015 within the Centre for Digital Music (C4DM) at Queen Mary University of London, to perform cutting-edge research in machine learning applied to sound synthesis and content creation.
In this PhD project, the concept of an Intelligent Assistant is investigated as a means of short form media content creation. A small high-tech company are in the process of creating a collaborative cloud platform for the creation of short form media, such as advertisements, promotional videos, local information etc. The Intelligent Assistant would identify and organise the content, add effects and synthesised sounds where necessary and present the produced content as a coherent story. It will be used as a tool by content creators to assist in quick and intuitive content creation. The goal of this project is to create and assess such tools, focusing on the challenges of varied, user-generated content with limited metadata, and the need for an enhanced user experience.
Research questions to be investigated include;
- How best can sounds be synthesised in order to provide additional audio content to enhance the production?
- Can multimedia (especially audio) content be intelligently combined to effectively tell a story?
- How can this be assessed and evaluated? What are the key factors, features and metrics for intelligent storyboard systems?
This project is expected to generate high impact results, especially in the growing research fields of signal processing, sound synthesis, music informatics and semantic tools for content creation and production.
There is scope to tailor the project to the interests and skills of the successful candidate.
Informal enquiries can be made by email to Dr. Josh Reiss: joshua.reiss@qmul.ac.uk
More details, including how to apply, can be found at: http://www.eecs.qmul.ac.uk/phd/research-topics/funded
Closing date is Dec. 16, 2014, and interviews are expected to take place during the week of 5th January 2015.
A funded PhD place is available to work within the Centre for Digital Music on the subject of machine learning applied to sound synthesis and content creation. Description below, and full details (including how to apply) at
http://www.eecs.qmul.ac.uk/phd/research-topics/funded
Please feel free to distribute this to anyone who might be interested.
Thanks.
Dr. Josh Reiss
Reader in Audio Engineering
Centre for Digital Music
Queen Mary University of London
Fully-funded PhD studentship: Machine learning applied to sound synthesis and media content creation
Applications are invited from all nationalities for a funded PhD Studentship starting January 2015 within the Centre for Digital Music (C4DM) at Queen Mary University of London, to perform cutting-edge research in machine learning applied to sound synthesis and content creation.
In this PhD project, the concept of an Intelligent Assistant is investigated as a means of short form media content creation. A small high-tech company are in the process of creating a collaborative cloud platform for the creation of short form media, such as advertisements, promotional videos, local information etc. The Intelligent Assistant would identify and organise the content, add effects and synthesised sounds where necessary and present the produced content as a coherent story. It will be used as a tool by content creators to assist in quick and intuitive content creation. The goal of this project is to create and assess such tools, focusing on the challenges of varied, user-generated content with limited metadata, and the need for an enhanced user experience.
Research questions to be investigated include;
- How best can sounds be synthesised in order to provide additional audio content to enhance the production?
- Can multimedia (especially audio) content be intelligently combined to effectively tell a story?
- How can this be assessed and evaluated? What are the key factors, features and metrics for intelligent storyboard systems?
This project is expected to generate high impact results, especially in the growing research fields of signal processing, sound synthesis, music informatics and semantic tools for content creation and production.
There is scope to tailor the project to the interests and skills of the successful candidate.
Informal enquiries can be made by email to Dr. Josh Reiss: joshua.reiss@qmul.ac.uk
More details, including how to apply, can be found at: http://www.eecs.qmul.ac.uk/phd/research-topics/funded
Closing date is Dec. 16, 2014, and interviews are expected to take place during the week of 5th January 2015.
Wednesday, November 19, 2014
Musicians show advantages in long-term memory
Musicians show advantages in long-term memory
November 18th, 2014 in Neuroscience /
Heekyeong Park is an assistant professor of psychology at the University of Texas at Arlington. Credit: UT Arlington
A peek inside the brains of professional musicians has given University of Texas at Arlington psychology researchers what may be the first links between music expertise and advantages in long-term memory.
Heekyeong Park, assistant professor of psychology, and graduate student James Schaeffer used electroencephalography (EEG) technology to measure electrical activity of neurons in the brains of 14 musicians and 15 non-musicians and noted processing differences in the frontal and parietal lobe responses. The team will present initial results of their new research Tuesday at Neuroscience 2014, the international meeting of the Society for Neuroscience, in Washington, D.C.
"Musically trained people are known to process linguistic materials a split second faster than those without training, and previous research also has shown musicians have advantages in working memory," said Park. "What we wanted to know is whether there are differences between pictorial and verbal tasks and whether any advantages extend to long-term memory. If proven, those advantages could represent an intervention option to explore for people with cognitive challenges."
Park's laboratory in the UT Arlington College of Science uses high tech imaging tools - including EEG, functional magnetic resonance imaging (fMRI), and functional near-infrared spectroscopy (fNIRS) - to research human cognitive neuroscience. To test working memory, the study participants were asked to select pictorial or verbal items that they'd just been given among similar lures. For long-term memory, participants judged whether each test item was studied or new after the entire study session was complete.
The musicians, all of whom had been playing classical music for more than 15 years, outperformed non-musicians in EEG-measured neural responses on the working memory tasks. But, when long-term memory was tested, the enhanced sensitivity was only found in memory for pictures.
The study has not explored why the advantages might develop. Park said it's possible professional musicians become more adept at taking in and processing a host of pictorial cues as they navigate musical scores.
Park's abstract for the conference reports that musicians' neural responses in the mid-frontal part of the brain were 300 to 500 milliseconds faster than non musicians and responses in the parietal lobe were 400 to 800 milliseconds faster than non musicians. The parietal lobe is directly behind the frontal lobe of the brain and is important for perceptual processing, attention and memory.
"Dr. Park's research uses the latest scientific instrumentation to reveal knowledge about human cognition that was previously unreachable," said James Grover, interim dean of the UT Arlington College of Science. "It provides usable information about far-reaching advantages arts training can bring."
Researchers hope to test more musicians soon to strengthen the findings.
Whatever the mechanism involved, Park said the new research is important because music is helpful for long-term memory for non-verbal events and "we are all surrounded by non verbal events."
"Our work is adding evidence that music training is a good way to improve cognitive abilities," she said.
Provided by University of Texas at Arlington
"Musicians show advantages in long-term memory." November 18th, 2014. http://medicalxpress.com/news/2014-11-musicians-advantages-long-term-memory.html
Monday, November 17, 2014
Fwd: EAS 2015 Conference, Rostock Germany 25 -28 March 2015: Call for Papers
Dear all
I'm not sure if all of you are aware of the existence of the European Association for Music in Schools (EAS) (http://www.eas-music.org/).
Its next conference takes place in Rostock, Germany, 25-28 March 2015:
Open Ears – Open Minds. Listening and Understanding Music
There's still time to send in a paper proposal: the deadline is 30th November.
Submissions to be sent to http://www.eas-music.org/activities/eas-conferences/2015-rostock-de/call-for-papers/
Warm wishes
Dr Marina Gall
Course Leader: PGCE Music
CREATE Cultivating Research and Teaching Excellence CPD scheme
National Co-ordinator for the European Association for Music in Schools
Graduate School of Education
Faculty of Social Sciences and Law
University of Bristol
35 Berkeley Square
Bristol BS8 1JA
UK
Friday, November 14, 2014
ISPS 2015 | Kyoto | 02-05 September 2015
CALL FOR PAPER
-------------------------------------------------------
ISPS 2015
Performance Education
02 | 05 September 2015
Kyoto | Japan
-------------------------------------------------------
The next International Symposium on Performance Science will be hosted by Ryukoku University, Kyoto, on 2-5 September 2015.
The ISPS 2015 theme, Performance Education, is intended to provide a platform for new research and discussion on processes of learning, training and review that enable effective performance. Specific research topics, fields of study, and methodological approaches have been left open intentionally to encourage interdisciplinary exchange.
Submissions detailing original research are invited from across all performance disciplines.
The official language of the conference is English.
KEYNOTE SPEAKERS
Janet Karin
Australian Ballet School and Australian Catholic University
Hiroshi Kinoshita
Osaka University
Gary McPherson
University of Melbourne
Markus Raab
Sport University Cologne
IMPORTANT DATES
15 January 2015: Paper/poster proposal deadline
15 February 2015: Notification of submission decision
1 March 2015: Registration opens for ISPS 2015
15 April 2015: End of early registration discount
1 May 2015: Frontiers Research Topic opens for submissions
2 September 2015: Start of ISPS 2015
SUBMISSIONS
Abstract submissions of 500 words (maximum) are invited for
- Spoken papers
- Poster presentations
- Symposia and workshops
Detailed instructions for submissions are available via the conference website: www.performancescience.org. Submissions should be made electronically to cps@rcm.ac.uk by 15 January 2015.
GRADUATE AWARD
The Scientific Committee is keen to encourage the attendance of students, as well as established researchers and practitioners. Therefore, the ISPS 2015 Graduate Award will be offered to one graduate student to present a keynote paper at the conference.
Detailed instructions for submissions are available via the conference website: www.performancescience.org. Submissions should be made electronically to cps@rcm.ac.uk by 15 January 2015.
REVIEW PROCESS
Each submission will be reviewed anonymously by the Scientific Committee according to its originality, importance, clarity, and interdisciplinarity. Corresponding authors will be notified by email of the Committee’s decision by 15 February 2015.
CONFERENCE PUBLICATION
Building on the success of the ISPS 2013 Research Topic (RT) in Frontiers in Psychology, the journal is now creating a new specialty section Performance Science. The journal welcomes submissions of the highest quality of the following types:
Book Review
Evaluation
General Commentary
Hypothesis & Theory
Methods
Mini Review
Opinion
Original Research
Perspective
Review
Technology Report
For further information on Frontiers in Performance Science, see www.frontiersin.org/Performance_Science, and to read papers published as part of the ISPS 2013 RT, visit http://journal.frontiersin.org/ResearchTopic/1927.
For ISPS 2015, a new RT will be specially created to which ISPS registered presenters can submit papers for independent peer-review. These papers will be published immediately once accepted in the journal and will additionally be compiled into an E-book after the RT submission period closes on 31 December 2015. They will also qualify for a significant reduction in the publishing fee (e.g. from 1600 to 960 Euros for Original Research articles). For further details of the Frontiers open access policy and publishing fees, see www.frontiersin.org/Performance_Science/fees.
To qualify for the ISPS 2015 RT, the first (or corresponding) author must be a registered presenter at ISPS 2015, and the manuscript should be submitted between 1 May and 31 December 2015.
Note:
Spoken papers and posters accepted for the ISPS 2015 programme will not automatically qualify for publication in Frontiers. Rather, each full submission will be reviewed rigorously through an independent process.
The ISPS 2015 RT in Frontiers (and the related E-book) will replace the Proceedings of the International Symposium on Performance Science. A proceedings volume will not be produced for ISPS 2015; however, published articles from all previous ISPS are freely available at www.performancescience.org.
REGISTRATION
Full and one-day registration options are available. Online registration will open on 1 March 2015.
For further information about the venue, submissions, graduate award, and registration, visit the conference website: www.performancescience.org.
-------------------------------------------------------
Aaron Williamon
Royal College of Music, London
Masanobu Miura
Ryukoku University, Kyoto
Thursday, November 13, 2014
Fwd: New London Orchestra newsletter - 10 years of Nonclassical
|
--
Dr Evangelos Himonides FBCS CITP
Reader in Technology, Education and Music
Institute of Education
University of London
Sergeant, D. C., & Himonides, E. (2014). Gender and the performance of music.
Cognitive Science, 5, 276. doi:10.3389/fpsyg.2014.00276
http://journal.frontiersin.org/Journal/10.3389/fpsyg.2014.00276/abstract
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Friday, November 7, 2014
Fwd: Research positions in Musical Audio Repurposing using Source Separation, University of Surrey, UK
Dear Music and Science People,
Please feel free to forward the following job information to anyone who may be interested:
Post 1: Research Fellow in Source Separation for Musical Audio Repurposing (http://jobs.surrey.ac.uk/071314)
Post 2: Research Software Developer in Musical Audio Repurposing using Source Separation (http://jobs.surrey.ac.uk/071214)
Additional information below.
Many thanks,
Mark Plumbley
---
To December 2014: Director, Centre for Digital Music, Queen Mary University of London, UK
From January 2015: Professor of Signal Processing, Centre for Vision, Speech and Signal Processing (CVSSP), University of Surrey, UK
---
Post 1: Research Fellow in Source Separation for Musical Audio Repurposing
http://jobs.surrey.ac.uk/071314
University of Surrey, Department of Electronic Engineering
Salary: GBP 30,434 to GBP 37,394
Closing Date: Thursday 27 November 2014
Reference: 071314
Applications are invited for a Research Fellow to work full-time on an EPSRC funded project "Musical Audio Repurposing using Source Separation" from 5 January 2015 to 30th June 2017 (30 Months). This project will develop a new approach to the challenge of high quality musical audio repurposing, focussing on soloing, desoloing, remixing and upmixing. To tackle this, the project will investigate new methods for musical audio source separation, in parallel with investigating new perceptual evaluation measures for audio source separation.
The candidate will be responsible for investigating and developing new and enhanced methods for high quality musical audio source separation. These may include methods based on score-informed musical source separation, sparse representations, time-frequency methods, non-negative matrix factorisation (NMF) & high-resolution NMF, and interactive methods employing user feedback. The candidate will be working as part of a team, with two other researchers focussing on perceptual evaluation methods and software development of open-source research tools.
The successful applicant is expected to have a PhD in electronic engineering, computer science or a related subject, and is expected to have significant experience in audio signal processing research. Research experience in one or more of: audio source separation, audio upmixing, spatial audio coding, multichannel audio processing, musical audio analysis, automatic music transcription, sparse representations and/or machine learning is desirable.
The project will be led by Prof Mark Plumbley in the Machine Audition Lab of CVSSP, and in collaboration with the Institute of Sound Recording (IoSR). CVSSP is one of the major research centres of Surrey's Department of Electronic Engineering (EE), the top ranked UK EE department in both the RAE 2008 and in the national league tables. CVSSP is one of the largest research centres in the UK focusing on signal processing, vision, graphics and machine learning, with 120+ members comprising academic and support staff, research fellows and PhD students. The IoSR is a leading centre for research in psychoacoustic engineering, as well as being home to the Tonmeister undergraduate degree programme. It has a focused team of 12 researchers, plus several industrial collaborators, and a range of professional facilities of the highest standards, including three recording studios and an ITU-R BS 1116 standard critical listening room.
Informal enquires are welcome, to: Prof Mark Plumbley (m.plumbley@surrey.ac.uk).
For further details and to apply online visit http://jobs.surrey.ac.uk/071314
We acknowledge, understand and embrace diversity.
------
Post 2: Research Software Developer in Musical Audio Repurposing using Source Separation
http://jobs.surrey.ac.uk/071214
University of Surrey, Department of Electronic Engineering
Salary: GBP 30,434 to GBP 37,394
Closing Date: Thursday 27 November 2014
Reference: 071214
Applications are invited for a Research Fellow / Research Software Developer to work full-time on an EPSRC funded project "Musical Audio Repurposing using Source Separation" from 5 January 2015 to 30th June 2017 (30 Months). This project will develop a new approach to the challenge of high quality musical audio repurposing, focussing on soloing, desoloing, remixing and upmixing. To tackle this, the project will investigate new methods for musical audio source separation, in parallel with investigating new perceptual evaluation measures for audio source separation, and developing new open-source research software tools.
The candidate will be responsible for developing an extensible open-source research software framework, in conjunction with other researchers in the project. The framework will include audio separation and repurposing algorithms, objective assessment tools and example datasets. They will also develop user software and demonstrators for audio repurposing, such as upmixers for MPEG Surround (SAC) and MPEG Spatial Audio Object Coding (SAOC), and will work with a specialist app developer to create a demonstrator remixing app. The candidate will be working as part of a team, with two other researchers focussing on audio source separation and perceptual evaluation methods.
The successful applicant is expected to have excellent mathematical and programming skills, as well as either a Masters degree in electronic engineering, computer science or related subject, or equivalent professional experience. They will have at least 1 year's experience in software development relevant to audio and music signal processing, in topics such as digital signal processing, acoustics, binaural audio, multichannel audio, audio coding, speech processing, and/or music information retrieval. Significant experience of development in both Python and Matlab as well as C/C++ is desirable. Research experience in audio signal processing or experience of working closely with audio signal processing researchers is also desirable.
The project will be led by Prof Mark Plumbley in the Machine Audition Lab of CVSSP, and in collaboration with the Institute of Sound Recording (IoSR). CVSSP is one of the major research centres of Surrey's Department of Electronic Engineering (EE), the top ranked UK EE department in both the RAE 2008 and in the national league tables. CVSSP is one of the largest research centres in the UK focusing on signal processing, vision, graphics and machine learning, with 120+ members comprising academic and support staff, research fellows and PhD students. The IoSR is a leading centre for research in psychoacoustic engineering, as well as being home to the Tonmeister undergraduate degree programme. It has a focused team of 12 researchers, plus several industrial collaborators, and a range of professional facilities of the highest standards, including three recording studios and an ITU-R BS 1116 standard critical listening room.
Informal enquires are welcome, to: Prof Mark Plumbley (m.plumbley@surrey.ac.uk).
For more information and to apply online, visit http://jobs.surrey.ac.uk/071214
We acknowledge, understand and embrace diversity.
-------
--
Prof Mark D Plumbley
Director, Centre for Digital Music
School of Electronic Engineering & Computer Science
Queen Mary University of London
Mile End Road, London E1 4NS, UK
Tel: +44 (0)20 7882 7518
Email: mark.plumbley@qmul.ac.uk
Twitter: @markplumbley @c4dm
http://www.eecs.qmul.ac.uk/~markp/
From January 2015:
Professor of Signal Processing
Centre for Vision, Speech and Signal Processing (CVSSP)
University of Surrey
Guildford, Surrey, GU2 7XH, UK
Please feel free to forward the following job information to anyone who may be interested:
Post 1: Research Fellow in Source Separation for Musical Audio Repurposing (http://jobs.surrey.ac.uk/071314)
Post 2: Research Software Developer in Musical Audio Repurposing using Source Separation (http://jobs.surrey.ac.uk/071214)
Additional information below.
Many thanks,
Mark Plumbley
---
To December 2014: Director, Centre for Digital Music, Queen Mary University of London, UK
From January 2015: Professor of Signal Processing, Centre for Vision, Speech and Signal Processing (CVSSP), University of Surrey, UK
---
Post 1: Research Fellow in Source Separation for Musical Audio Repurposing
http://jobs.surrey.ac.uk/071314
University of Surrey, Department of Electronic Engineering
Salary: GBP 30,434 to GBP 37,394
Closing Date: Thursday 27 November 2014
Reference: 071314
Applications are invited for a Research Fellow to work full-time on an EPSRC funded project "Musical Audio Repurposing using Source Separation" from 5 January 2015 to 30th June 2017 (30 Months). This project will develop a new approach to the challenge of high quality musical audio repurposing, focussing on soloing, desoloing, remixing and upmixing. To tackle this, the project will investigate new methods for musical audio source separation, in parallel with investigating new perceptual evaluation measures for audio source separation.
The candidate will be responsible for investigating and developing new and enhanced methods for high quality musical audio source separation. These may include methods based on score-informed musical source separation, sparse representations, time-frequency methods, non-negative matrix factorisation (NMF) & high-resolution NMF, and interactive methods employing user feedback. The candidate will be working as part of a team, with two other researchers focussing on perceptual evaluation methods and software development of open-source research tools.
The successful applicant is expected to have a PhD in electronic engineering, computer science or a related subject, and is expected to have significant experience in audio signal processing research. Research experience in one or more of: audio source separation, audio upmixing, spatial audio coding, multichannel audio processing, musical audio analysis, automatic music transcription, sparse representations and/or machine learning is desirable.
The project will be led by Prof Mark Plumbley in the Machine Audition Lab of CVSSP, and in collaboration with the Institute of Sound Recording (IoSR). CVSSP is one of the major research centres of Surrey's Department of Electronic Engineering (EE), the top ranked UK EE department in both the RAE 2008 and in the national league tables. CVSSP is one of the largest research centres in the UK focusing on signal processing, vision, graphics and machine learning, with 120+ members comprising academic and support staff, research fellows and PhD students. The IoSR is a leading centre for research in psychoacoustic engineering, as well as being home to the Tonmeister undergraduate degree programme. It has a focused team of 12 researchers, plus several industrial collaborators, and a range of professional facilities of the highest standards, including three recording studios and an ITU-R BS 1116 standard critical listening room.
Informal enquires are welcome, to: Prof Mark Plumbley (m.plumbley@surrey.ac.uk).
For further details and to apply online visit http://jobs.surrey.ac.uk/071314
We acknowledge, understand and embrace diversity.
------
Post 2: Research Software Developer in Musical Audio Repurposing using Source Separation
http://jobs.surrey.ac.uk/071214
University of Surrey, Department of Electronic Engineering
Salary: GBP 30,434 to GBP 37,394
Closing Date: Thursday 27 November 2014
Reference: 071214
Applications are invited for a Research Fellow / Research Software Developer to work full-time on an EPSRC funded project "Musical Audio Repurposing using Source Separation" from 5 January 2015 to 30th June 2017 (30 Months). This project will develop a new approach to the challenge of high quality musical audio repurposing, focussing on soloing, desoloing, remixing and upmixing. To tackle this, the project will investigate new methods for musical audio source separation, in parallel with investigating new perceptual evaluation measures for audio source separation, and developing new open-source research software tools.
The candidate will be responsible for developing an extensible open-source research software framework, in conjunction with other researchers in the project. The framework will include audio separation and repurposing algorithms, objective assessment tools and example datasets. They will also develop user software and demonstrators for audio repurposing, such as upmixers for MPEG Surround (SAC) and MPEG Spatial Audio Object Coding (SAOC), and will work with a specialist app developer to create a demonstrator remixing app. The candidate will be working as part of a team, with two other researchers focussing on audio source separation and perceptual evaluation methods.
The successful applicant is expected to have excellent mathematical and programming skills, as well as either a Masters degree in electronic engineering, computer science or related subject, or equivalent professional experience. They will have at least 1 year's experience in software development relevant to audio and music signal processing, in topics such as digital signal processing, acoustics, binaural audio, multichannel audio, audio coding, speech processing, and/or music information retrieval. Significant experience of development in both Python and Matlab as well as C/C++ is desirable. Research experience in audio signal processing or experience of working closely with audio signal processing researchers is also desirable.
The project will be led by Prof Mark Plumbley in the Machine Audition Lab of CVSSP, and in collaboration with the Institute of Sound Recording (IoSR). CVSSP is one of the major research centres of Surrey's Department of Electronic Engineering (EE), the top ranked UK EE department in both the RAE 2008 and in the national league tables. CVSSP is one of the largest research centres in the UK focusing on signal processing, vision, graphics and machine learning, with 120+ members comprising academic and support staff, research fellows and PhD students. The IoSR is a leading centre for research in psychoacoustic engineering, as well as being home to the Tonmeister undergraduate degree programme. It has a focused team of 12 researchers, plus several industrial collaborators, and a range of professional facilities of the highest standards, including three recording studios and an ITU-R BS 1116 standard critical listening room.
Informal enquires are welcome, to: Prof Mark Plumbley (m.plumbley@surrey.ac.uk).
For more information and to apply online, visit http://jobs.surrey.ac.uk/071214
We acknowledge, understand and embrace diversity.
-------
--
Prof Mark D Plumbley
Director, Centre for Digital Music
School of Electronic Engineering & Computer Science
Queen Mary University of London
Mile End Road, London E1 4NS, UK
Tel: +44 (0)20 7882 7518
Email: mark.plumbley@qmul.ac.uk
Twitter: @markplumbley @c4dm
http://www.eecs.qmul.ac.uk/~markp/
From January 2015:
Professor of Signal Processing
Centre for Vision, Speech and Signal Processing (CVSSP)
University of Surrey
Guildford, Surrey, GU2 7XH, UK
Wednesday, November 5, 2014
Fwd: British Science Week 2015 - Grant funding deadline extension!
Hi
I work for the British Science Association and we are currently promoting the British Science Week grants.
I would be grateful if you could share the information below with the Museums and Science list.
Many thanks
Beth
Your community group or organisation could be eligible for a grant of £500. Plus you can receive free support, resources and activity ideas to help celebrate British Science Week 2015 (BSW), 13 – 22 March 2015. British Science Week is a celebration of the best of British science, technology, engineering and maths featuring fascinating, entertaining and engaging events across the UK.
The British Science Association has teamed up with the Department for Business, Innovation and Skills to provide funding of £500 to community groups and organisations. The grant is aimed to engage audiences who are traditionally hard to reach with science, technology, engineering and maths (STEM) activity. As such, we hope this grant will inspire groups and organisations who do not traditionally run STEM events to try something new for British Science Week.
We will help you plan and organise your activity! The British Science Association offers a fantastic range of free resources and support to help you run straight-forward activities, including:
- Pre-planned activity packs full of science investigations
- How-to guides for planning, promoting and running science events
- Case studies of previous years’ events
- Free BSW marketing materials to help create a buzz around your event
- You can also sign up to our monthly e-newsletter via our website www.britishscienceweek.org
Applying is easy! Visit our website for full guidelines and to access our simple online application form: www.britishscienceweek.org/communitygrant
The closing date for applications is 9am on 9 December 2014.
Your school could also be eligible for a Kick Start Grant of £300 - £700. These grants are designed to help schools in challenging circumstances. To find out if you are eligible and for further details visit: www.britishscienceweek.org/kickstartfund
Please do get in touch if you have any questions.
Yours sincerely,
Christina Fuentes Tibbitt
Engagement Manager – Regional
P – 020 7019 4937
The British Science Association believes that science should be a part of – rather than set apart from – society and culture, and is owned by the wider community. Our programmes encourage people of all ages and backgrounds to engage with science, become ambassadors for science, and ultimately to be empowered to challenge and influence British science - whether they work in science or not.
______________________________________________________________________
This email has been scanned by the MessageLabs Email Security System on behalf of
the British Science Association (http://www.britishscienceassociation.org)
______________________________________________________________________
Monday, November 3, 2014
Fwd: DMRN+9: LAST CALL FOR CONTRIBUTIONS
Dear Music & Science people,
Digital Music Research Network (DMRN+9) will take place in London on 16 December 2014.
Please pass on to colleagues and other researchers who may be interested.
Any abstracts by 14 Nov 2014 please!
Best wishes,
Panos.
------------------------------------------------------------------------
*** CALL FOR CONTRIBUTIONS ***
DMRN+9: Digital Music Research Network 1-Day Workshop 2014
Arts One Lecture Theatre
Queen Mary University of London
16 December 2014
http://c4dm.eecs.qmul.ac.uk/dmrn/events/dmrnp9/
* Keynote Speaker
Prof. Mark Plumbley (Director, Centre for Digital Music, Queen Mary University of London)
will talk on "Hear the Future: Machine Listening for Music and non-Music Sounds".
Digital music is an important and fast-moving research area. Sophisticated
digital tools for the creation, generation and dissemination of music have
established clear synergies between music and leisure industries, the use of
technology within art, the creative industries and the creative economy.
Digital music research is emerging as a "transdiscipline" across the usual
academic boundaries of computer science, electronic engineering and music.
The Digital Music Researh Network (DMRN) aims to promote research in the
area of Digital Music, by bringing together researchers from UK universities
and industry in electronic engineering, computer science, and music.
DMRN will be holding its next 1-day workshop on
** Tuesday 16 December 2014 **
The workshop will include invited and contributed talks, and posters will be
on display during the day, including during the lunch and coffee breaks.
The workshop will be an ideal opportunity for networking with other people
working in the area. There will also be an opportunity to continue
discussions after the Workshop in a nearby Pub/Restaurant.
* Call for Contributions
You are invited to submit a proposal for a talk and/or a poster to be
presented at this event.
TALKS may range from the latest research, through research overviews or
surveys, to opinion pieces or position statements, particularly those likely
to be of interest to an interdisciplinary audience. Most talks will be 20 to
30 minutes, although there may be some flexibility to accommodate other
lengths depending on the number of submissions. Short announcements about
other items of interest (e.g. future events or other networks) are also
welcome.
POSTERS can be on any research topic of interest to the members of the
network. Posters (A0 portrait) will be on display through the day, including
lunch break and coffee breaks.
The abstracts of presentations will be collated into a digest and
distributed on the day, and authors will be encouraged to submit an
electronic versions of posters (e.g. in PDF format) to allow the posters to
be viewed after the event.
* Submission
Please submit your talk or poster proposal in the form of an abstract
(maximum 1 page of A4) in an email to dmrn@eecs.qmul.ac.uk giving the
following information about your presentation:
* Authors
* Title
* Abstract
* Preference for talk or poster (or "no preference").
Abstract submission deadline: Friday 14 November 2014.
* Deadlines
* 14 Nov 2014: Abstract submission deadline
* 28 Nov 2014: Notification of acceptance
* 5 Dec 2014: Early Bird Registration deadline
* 16 Dec 2014: DMRN+9 Workshop
For further information, visit:
http://c4dm.eecs.qmul.ac.uk/dmrn/events/dmrnp9/
For past events, visit:
DMRN+8, DMRN+7, DMRN+6, DMRN+5, DMRN+4, DMRN+3, DMRN+2, DMRN+1
I look forward to seeing you in London in December!
Best wishes,
Panos
---
Panos Kudumakis, PhD
qMedia, Queen Mary University of London
Mile End Road, E1 4NS, UK
Email: p.kudumakis@qmul.ac.uk
http://www.linkedin.com/in/kudumakis
Doreen Rao to offer Choral Conducting workshop, Thursday 6 November 2014
Where the Music Comes From:
Repertoire as Rehearsal Pedagogy
Doreen Rao, PhD
Elmer Iseler Chair in Conducting Emeritus
University of Toronto
Director, CME Institute for Choral Teacher Education
Everyone knows that quality repertoire is key to the development of musicianship in the choir. Diverse and distinguished choral music permeates the publishing industry’s inventory making it almost effortless for conductors and music educators to make culturally sensitive and socially responsible curriculum choices. But how do choral teachers today move from an understanding of the repertoire itself to deeply meaningful and transformative musical experiences?
Lee Hoiby’s poem Where the Music Comes From frames this presentation as it moves from the question of repertoire choices toward the examination of teaching practices we call rehearsal pedagogy. How does the repertoire itself reveal systematic clues to an effective pedagogy and meaningful singing experience? Simply stated, how does the music tell us what to do?
Doreen Rao’s presentation “Repertoire as Rehearsal Pedagogy” will examine the relationship between the performance goals of choral artistry and music education with the cultural and social values of diversity, inclusion and social responsibility. She will introduce the notion of “socially engaged musicianship” as a way of moving beyond the traditional objectives of beautiful vocal tone and musical “literacy” toward music making as an innately personal way of being in the world.
Citing Benjamin Britten and Leonard Bernstein, the discussion will show how the lives and works of socially conscious and politically minded composers from separate continents suggest a new kind of choral pedagogy.
In contrast to the traditional curriculum based on the “concepts of music,” or repertoire composed or arranged to teach a particular set of musical skills, the presentation looks to artistically and educationally appropriate choral repertoire as a cultural, historic and social environment in which students learn to explore, affirm and celebrate their relationship with the music, themselves and the world around them.
Dr. Rao will illustrate the process of moving smoothly from score preparation to rehearsal pedagogy. Her discussion will underscore how repertoire based pedagogy supports the outcomes of practical intelligence, engaged musicianship and social sensitivity, 21st century values for music education.
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