Fwd: Research Software Developer: Making Sense of Sounds

Dear Music and Science people,

Please forward the following job information to anyone who may be interested. Apologies for cross-posting.

Research Software Developer: Making Sense of Sounds
http://jobs.surrey.ac.uk/087015

Deadline: 17 January 2016

Additional information below.

Many thanks,

Mark Plumbley

----

Research Software Developer on Making Sense of Sounds

University of Surrey, Department of Electrical & Electronic Engineering

Centre for Vision Speech and Signal Processing (CVSSP)

Salary:  GBP 30,738 to GBP 35,609

Closing Date:  17 January 2016 (midnight GMT)

Reference:  087015

Applications are invited for a Research Software Developer to work full-time on an EPSRC-funded project "Making Sense of Sounds" for 33 months starting February 2016. This project will investigate how to make sense from sound data, focussing on how to convert sound recordings into understandable and actionable information, and specifically how to allow people to search, browse and interact with sounds. The candidate will be responsible for the development of research software in connection with research into new signal processing methods to analyse sound and audiovisual files and new interaction methods to search and browse through sets of sound files.

The successful applicant is expected to have a Masters degree in Electronic Engineering, Computer Science or equivalent professional experience in a relevant discipline, at least 1 year's experience in software development relevant to audio or audio-visual signal processing, and experience in software development in topics such as: digital signal processing, machine learning, blind source separation, spatial audio, audio coding, speech processing, audio-visual signal processing, data visualisation, human computer interaction, and/or large scale data processing. Direct research experience in audio or audio-visual signal processing, or experience of software development with signal processing researchers is desirable, as is significant software development experience in Python, Matlab, and/or C/C++.

The project will be led by Prof Mark Plumbley in the Machine Audition Lab of the Centre for Vision Speech and Signal Processing (CVSSP) at the University of Surrey, in collaboration with the Digital World Research Centre (DWRC) at Surrey and the University of Salford. The postholder will be based in CVSSP and work under the direction of Prof Plumbley and Co-Investigators Dr Wenwu Wang and Dr Philip Jackson.

CVSSP  is one of the largest groups of its type in the UK, with over 120 active researchers working in the areas of vision, image processing, medical imaging, and audio, and a grant portfolio of over £12M. The Centre has state-of-the-art acoustic capture and analysis facilities enabling research into audio source separation, music transcription and spatial audio, and a Visual Media Lab with video and audio capture facilities supporting research in real-time video and audio processing and visualisation.

Informal enquires are welcome, to: Prof Mark Plumbley (m.plumbley@surrey.ac.uk), Dr Wenwu Wang (w.wang@surrey.ac.uk), or Dr Philip Jackson (p.jackson@surrey.ac.uk).

Expected start date: As soon as possible

Further Details: http://jobs.surrey.ac.uk/087015

--
Prof Mark D Plumbley
Professor of Signal Processing
Centre for Vision, Speech and Signal Processing (CVSSP)
University of Surrey
Guildford, Surrey, GU2 7XH, UK
Email: m.plumbley@surrey.ac.uk

Fwd: Music and Visual Imagery - Online Survey

[apologies for cross-posting]

Dear all,

We are currently conducting an online survey to collect information
about the role of visual imagery during music listening. Whether you
experience images before your mind's eye or not, we would very much
appreciate if you could participate in this survey.

You can access the survey at:
https://umfrage.hu-berlin.de/index.php/121493/lang-en

The whole survey should take no longer than 20 minutes to complete.

Please forward this email to any colleagues, friends, relatives or
other person who you think might be interested in participating. Thank
you very much for your time in advance.

All best wishes,

Mats


--
Dr Mats B. Küssner
Wissenschaftlicher Mitarbeiter (Post-Doc)
Institut für Musik- und Medienwissenschaft
Humboldt-Universität zu Berlin
Tel: +49 (0)30 2093-2623
Twitter: @matskussner
Web: http://tinyurl.com/mbkhu-berlin

ucl chamber music club Christmas concert

UCL CHAMBER MUSIC CLUB Honorary President:  Professor Sir Malcolm Grant

UCL CHAMBER MUSIC CLUB Honorary President:  Professor Sir Malcolm Grant

Tuesday 15^th December 2015

6pm-7pm

 

The North Cloister, Wilkins Building, Main Campus

 

CHRISTMAS CONCERT

 

*************************************************************

 

1.    Sir C Hubert H Parry (1848-1918)........... Welcome, Yule!

       Peter Warlock (1894-1930)...................... Benedicamus Domino

 

2.    Traditional Carol (everyone) .................. Once in Royal David's city

      

3.    George Frederick Handel (1685-1759). Concerto grosso op. 6 No 2 in F major.

            (i) Andante larghetto  (ii) Allegro   (iii) Largo   (iv) Allegro ma non troppo

Soloists: Rupert Bawden, Edna Murphy

 

4.    Traditional Carol (everyone) .................. God rest ye merry gentlemen

 

5.    Roger Beeson (b. 1945):.......................... Verbum caro factum est (2015)

 

6.    Traditional Carol (everyone)................... The first Noel

 

7.    Johann Sebastian Bach (1685-1750).... Lutheran Mass in G minor BWV 235.

       (i) Kyrie  (ii) Gloria  (iii) Gratias agimus tibi  (iv) Domine Fili  (v) Qui tollis  (vi) Cum sancto spiritu

Soloists: John Kelsey (Bass); Jill House (Alto); Amélie Saintonge (Soprano)

 

8.    Traditional Carol (everyone)................... Angels from the realms of glory

 

******************************************************************

There will be seasonal refreshments and a charity collection after the concert.

 

The UCL Chamber Music Club Choir and Orchestra

Directed by Bryan Solomon
Assistant director - Amélie Saintonge

Singers: Amélie Saintonge, Mona Hess, Patty Kostkova, Helene Albrecht, Gillian Hogg, Jill House, Marzia Scelsi, Elizabeth Mooney, Marilyn Monk, Jenny Shouler, Daniel Heanes, Senthuran Bhuvanendra, John Kelsey, Philippe Duffour, Ben Lund-Conlon

Instrumentalists: Edna Murphy, Rupert Bawden, Lizzy Martin, Pratik Bikkannavar, Will Kerrison (violins), Natalie Pound (oboe), Wei Bokun (flute), Mark Gavartin, Robin Blackwell (violas), Tabitha Tuckett, Andrew Watson, Patrick Guthrie (cellos), Jamie Parkinson (double bass), Roger Beeson (organ)

Entry is free and open to the general public as well as those working and studying at UCL & associated institutions.

For full details of the Chamber Music Club's activities and to apply for membership please visit: www.ucl.ac.uk/chamber-music.

 

The first concert of 2016 will take place on Tuesday 19^th Jan at 5:30 in the Haldane Room

Fwd: UCL Chamber Music Club - string players needed

Dear All,



I'm seeking to put together an orchestra for this year's Chamber Music
Club Christmas Concert, which will be held in the North Cloisters on
Tuesday 15 December at 6pm (until 7). There will likely be a dress
rehearsal before the concert (from 5pm).



The works include Bach's G minor Mass (one of the four Lutheran
Masses), which has some lovely moments and is scored for strings and
oboes (Oboes could be played by flutes, without too much difficulty).
There will likely be a string concerto as well (one of Handel's
concerti grossi). Could you please let me know if you are available,
and I'll set up a google poll to identify the most suitable rehearsal
dates/times.



We had a great concert last year and it would be great to see as many
of you as can make it.



Best wishes

Bryan Solomon
b.solomon@ucl.ac.uk

Fwd: Two Research Fellows in Machine Listening / Semantic Audio-Visual Processing and Interaction

Dear Music-and-Science people,

Please forward the following postdoc opportunities to anyone who may be interested, esp anyone who may want to apply music sound processing background to everyday sounds. Apologies for cross-posting.

Post 1: Research Fellow in Machine Listening
http://jobs.surrey.ac.uk/079715

Post 2: Research Fellow in Semantic Audio-Visual Processing and Interaction
http://jobs.surrey.ac.uk/079415

Deadline: 13 December 2015

Additional information below.

Many thanks,

Mark Plumbley

----

University of Surrey, Faculty of Engineering and Physical Sciences

Centre for Vision Speech and Signal Processing (CVSSP)

Salary:  GBP 30,738 to GBP 35,609

Closing Date:  Sunday 13 December 2015

Reference (Post 1):  079715; Reference (Post 2): 079415

Applications are invited for two Research Fellows to work full-time on an EPSRC-funded project "Making Sense of Sounds" for 33 months starting January 2016. This project will investigate how to make sense from sound data, focussing on how to convert sound recordings into understandable and actionable information, and specifically how to allow people to search, browse and interact with sounds.

For Post 1 (Research Fellow in Machine Listening), the candidate will be responsible for investigating and developing machine learning methods for separation and analysis of everyday sounds, leading to new representations to support search, retrieval and interaction with sound.

The successful applicant for Post 1 is expected to have a PhD in electronic engineering, computer science or a related subject, and is expected to have significant research experience in audio signal processing. Research experience in one or more of: machine learning; blind source separation, blind de-reverberation, sparse and/or non-negative representations, deep learning, object-based audio representations, audio feature extraction, and/or large scale data processing is desirable.

For Post 2 (Research Fellow in Semantic Audio-Visual Processing and Interaction), the candidate will be responsible for investigating how complementary and heterogeneous data modalities and interfaces will help analysis and interaction with sound-focussed data, including how visual information and context can assist exploration, identification and interpretation of audio events.

The successful applicant for Post 2 is expected to have a PhD in electronic engineering, computer science or a related subject, and is expected to have significant research experience in machine learning, machine translation, semantic audio and/or audio-visual perception. Research experience in one or more of: audio retrieval and labelling, audio tagging, sound summarization, active learning, audio-visual signal processing, human computer interaction, and/or spatial audio visualisation is desirable.

The project will be led by Prof Mark Plumbley in the Machine Audition Lab of the Centre for Vision Speech and Signal Processing (CVSSP) at the University of Surrey, in collaboration with the Digital World Research Centre (DWRC) at Surrey and the University of Salford. The postholders will be based in CVSSP and work under the direction of Prof Plumbley and Co-Investigators Dr Wenwu Wang and Dr Philip Jackson.

CVSSP  is one of the largest groups of its type in the UK, with over 120 active researchers working in the areas of vision, image processing, medical imaging, and audio, and a grant portfolio of over £12M. The Centre has state-of-the-art acoustic capture and analysis facilities enabling research into audio source separation, music transcription and spatial audio, and a Visual Media Lab with video and audio capture facilities supporting research in real-time video and audio processing and visualisation.

Informal enquires are welcome, to: Prof Mark Plumbley (m.plumbley@surrey.ac.uk), Dr Wenwu Wang (w.wang@surrey.ac.uk), or Dr Philip Jackson (p.jackson@surrey.ac.uk).

Expected start date: As soon as possible

Further Details:

 * Post 1: Research Fellow in Machine Listening - http://jobs.surrey.ac.uk/079715

 * Post 2: Research Fellow in Semantic Audio-Visual Processing and Interaction -  http://jobs.surrey.ac.uk/079415

--
Prof Mark D Plumbley
Professor of Signal Processing
Centre for Vision, Speech and Signal Processing (CVSSP)
University of Surrey
Guildford, Surrey, GU2 7XH, UK
Email: m.plumbley@surrey.ac.uk

UCL Chamber Choir

UCL Chamber Music Club choir is currently rehearsing for the Christmas concert on 15th December.  There are still vacancies in the choir, particularly for tenors and basses.  Rehearsals are on Thursdays at 5.30 pm in the basement lecture theatre in Wolfson House, Stephenson Way (near Euston station).  The main work being prepared is Bach's Lutheran Mass in G minor - a quite complex but very rewarding piece. 

Recruits to the choir need to be competent readers, and some choral experience would be useful though not essential. 

For further information, please contact Roger Beeson (rabeemus@gmail.com) or the conductor Bryan Solomon (b.solomon@ucl.ac.uk), or simply come along to the next rehearsal.

Fwd: AHRC-funded PhD studentships at the RNCM

Dear all,

 

 

Please do forward this to students who may be interested in PhDs at the RNCM in Composition, Musicology, Music Psychology and Performance Research.

 

 

http://www.jobs.ac.uk/job/AMJ957/phd-studentships-in-music/

 

The Royal Northern College of Music invites high-quality applications for three-year PhD studentships, fully funded by the Arts and Humanities Research Council (AHRC). The RNCM is one of the seven members of the North West Consortium Doctoral Training Partnership. These prestigious and highly competitive studentships cover the full cost of fees and an additional stipend for living costs (UK applicants only) of £14,057 per annum.

Expert supervision is available at RNCM for PhD study in composition, musicology (sources and editions, cultural history, analysis and aesthetics), music psychology and cognate disciplines, and music performance (both performance practice and practice-based research). For further information about staff research expertise see www.rncm.ac.uk/research/staff.

 

Postgraduate research students benefit from the vibrant specialised musical environment at the RNCM and participate in the broader research community within the North West Consortium Doctoral Training Partnership. There are opportunities for interdisciplinary and cross-institutional projects as well placements with our non-HEI partners. Research degrees at RNCM are validated and awarded by Manchester Metropolitan University, so students draw on training and expertise at both institutions.

Applications must be received by 5pm on 7 January 2016. Outstanding applicants who are offered places at RNCM will be put forward for the AHRC competition (application deadline 12 February 2016).

For information about PhD research at RNCM please see www.rncm.ac.uk/research/programme/postgraduate, read the Guidelines for Applicants atwww.rncm.ac.uk/research/programme/apply and contact the appropriate member of staff.

 

For information about the AHRC-funded studentships, please see www.nwcdtp.ac.uk/howtoapply.

Applicants for studentships will usually hold a first-class or good upper-second undergraduate degree and have achieved merit or distinction level in a Master's degree.

Contact details. RNCM Research Department research@rncm.ac.uk; tel: 0161 907 5228

===============================

 

Best wishes,

 

Chrissy

 

Christina Brand

Research and Knowledge Exchange Manager

Royal Northern College of Music
124 Oxford Road
Manchester
M13 9RD
T 0161 907 5386
E Christina.Brand@rncm.ac.uk
www.rncm.ac.uk 

Twitter: @rncmresearch 

 

Fwd: SIG Notice: Bridging curriculum and children’s musicking: recruiting South African children’s multimodal musical games as resources for musical education - UCL Institute of Education - 23rd November 2015

Music Education Special Interest Group

Research Seminar Announcement

 

Bridging curriculum and children's musicking: recruiting South African children's multimodal musical games as resources for musical education

Dr Susan Harrop-Allin, University of Witwatersrand, Johannesburg, South Africa

 

Monday 23rd November 2015

16.30 – 17.30

Room: 944

 

Further details from Lucy Green, l.green@ioe.ac.uk

 

All are welcome

 

Musical play is recognised internationally as a universal feature of childhood. Like children in playgrounds all over the world, many South African children are actively engaged in a range of artistic practices, particularly musical play, outside the classroom. These are self-created, transmitted and adapted according to children's musical identities and interests. However, these multimodal musical practices are seldom recognised as embodying children's prior musical capacities and skills, nor are they recognised as music.  This is especially the case in South African music education, where musical epistemologies are problematically articulated in the Creative and Performing Arts curriculum. The result is a dislocation between curriculum and 'local' musical practices, classroom and playground, and between prescribed curriculum knowledge and music in everyday life. State school teachers are bound by a curriculum that conceptualises music as a written literacy and decontextualizes musical elements, facts and skills from their practices, which can result in little active music-making taking place. The paper illustrates some ways in which, by recognising children's musical games as musicking, and "recruiting" them for pedagogy, teachers may begin to overcome the many challenges of music education curriculum implementation in South Africa. I will show some typical musical games documented in Soweto primary schools, demonstrating how their hybridity, multimodal and intertextual features are located within South African urban musical cultures and how the games reveal children's sound design capacities. The paper finally suggests that musical play be considered as valuable resources and sources of prior musical knowledge for all children; that they be recruited as resources (rather than simply reiterated) for music education for transformative learning.

 

Dr. Susan Harrop-Allin is a lecturer, pianist and teacher-educator who has worked in music development and teaching in South Africa for twenty five years. In recognition of her community music development work, she was one of three arts and culture finalists for the national Shoprite/Checkers Woman of the Year award in 2004. Susan holds a Performer's Licentiate (ABRSM) and PhD in music education and ethnomusicology from the University of the Witwatersrand in Johannesburg, where she lectures in the Schools of Arts and Education. She is developing Community Music as a new area of higher education teaching and research in South Africa, piloting student service-learning projects and supporting community music initiatives in HaMakuya, northern Limpopo. Susan also trains Arts and Culture teachers for arts NGOs and performs as an accompanist and chamber musician with Il Trio Rosso and as a member of The Chanticleer Singers. She publishes and researches in the area of community music, ethnomusicology and music education, presents papers at international conferences and has published several book chapters and journal articles in international and local publications. She is on the editorial board of the International Journal of Community Music and a director of the Johannesburg Youth Orchestra Company and Rena Le Lona Arts Centre for Children in Soweto.

Fwd: DEADLINE EXTENDED (15 November): Virtuosity – An interdisciplinary symposium, Budapest, 3–6 March 2016

Virtuosity – An interdisciplinary symposium
The Liszt Academy of Music, Budapest
3–6 March 2016

CALL FOR PAPERS

We are pleased to announce the joint symposium of the Kodály Institute of the Liszt Academy and ESCOM (European Society for the Cognitive Sciences of Music), an interdisciplinary event to be held in Budapest, in the beautifully restored Art Nouveau palace of the Liszt Academy between 3 and 6 March 2016.

We invite proposals for individual papers (20 minutes, followed by 10 minutes of discussion) and posters. The language of the symposium is English.

Theme and topics
We invite submissions for a symposium on virtuosity in music performance that address questions such as the following:
·               What is virtuosity?
·               How virtuosity is perceived in different ways by musicians and their audiences in different cultures?
·               How might virtuosity be studied empirically?
·               What are the cognitive, neuropsychological and motor mechanisms underpinning virtuosity?
·               What is the relationship between virtuosity and creativity?
·               What is the relationship between virtuosity and enchantment (or 'magic')? To what extent can virtuosity be considered the making of magic? Or can be magic be made in the absence of virtuosity?
·               How might virtuosity be taught?

Keynotes

Daniel Leech-Wilkinson (King's College London)

Tania Lisboa (Royal College of Music, London)

Fredrik Ullén (Karolinska Institutet, Stockholm)

 

Proposals
All submissions must address the symposium theme. Please send us an abstract of approximately 250 words as an e-mail attachment in Word format to virtuosity@lisztacademy.hu, specifying whether the proposal is for a theoretical paper, an empirical paper, or a poster. All proposals will be peer-reviewed by the members of an international review committee. In order to ensure anonymity, please do not include personal details in the abstract. The name(s) of the author(s), institutional affiliation and a short biography of approx. 100 words should be sent in a separate Word document. Please indicate in your cover letter your AV requirements and whether the presentation will involve live performance, and if so what instruments are envisaged.

Deadlines
Submission of abstracts (EXTENDED): 15 November 2015
Notification for acceptances: 30 November 2015

Programme and registration
The programme of the symposium will be announced in January 2016. Online registration will open in January 2016. For additional information please contact Dr László Stachó (stacho.laszlo@lisztacademy.hu) or Ms Éva Gyöngy Máté (mate.eva.gyongy@lisztacademy.hu).

Organising Committee
László Stachó (Liszt Academy of Music, Budapest), chair of the Organising Committee
László Norbert Nemes (Liszt Academy of Music, Budapest), co-chair of the Organising Committee
Jane Ginsborg (Royal Northern College of Music)
Peter Keller (The MARCS Institute, University of Western Sydney)
Jukka Louhivuori (University of Jyväskylä)
Richard Parncutt (University of Graz)

 

Fwd: CfP - 1st Conferene on Computer Simulation of Musical Creativity. Huddersfield, UK

Dear all,

We are happy to announce the first Conference on Computer Simulation of Musical Creativity. The event will be held at the University of Huddersfield (UK) from 17 to 19 June 2016.

 

Conference Website: https://csmc2016.wordpress.com/

Keynote speakers

• Professor Graeme Bailey, Cornell University
• Professor Geraint Wiggins, Queen Mary University London

Key Dates

• Deadline for paper submission: 15 March 2016
• Notification of acceptance: 15 April 2016
• Deadline for revisions and camera-ready copy: 30 April 2016

Submissions can cover both theoretical and/or practical aspects of the computer simulation of musical creativity. Interdisciplinary proposals at the intersection of music, computer science, psychology and philosophy are welcome. Topics of interest may include, but are not limited to:

Computer Systems

• systems capable of generating music;
• systems capable of performing music;
• systems capable of (online) improvisation;
• systems capable of analysing music;
• music-robotic systems;
• systems implementing societies of virtual musicians;
• systems that foster and enhance the musical creativity of human users;
• music recommendation systems;
• systems implementing computational aesthetics, emotional responses, novelty and originality;

Theory

• surveys of state-of-the-art techniques in the area;
• validation methodologies;
• philosophical foundations of creative music systems;
• mathematical foundations of creative music systems;
• evolutionary models for creative music systems;
• cognitive models for creative music systems;
• studies on the applicability of music-creative techniques to other research areas;
• new models for improving creative music systems.

Peer-Review Process and Proceedings

All papers are double-blind peer reviewed by at least two specialists. Proceedings will be published online. Extended versions of selected papers will be published in a special issue of the Journal of Creative Music Systems (http://jcms.org.uk/).

Paper Submission

Details of submission procedure and formatting can be found at https://csmc2016.wordpress.com/instructions-for-authors/.

For enquiries, please contact Valerio Velardo at valerio.velardo@hud.ac.uk.

Best wishes,

Valerio Velardo

Choral practice, performance and pedagogy: real world applications of choral research

CALL FOR PAPERS

Choral practice, performance and pedagogy: real world applications of choral research

Department of Music, The University of Sheffield, in partnership with the Institute of Musical Research.

Friday 8^th April 2016

This one-day, interactive choral conference is being convened in the Department of Music at the University of Sheffield, with funding from The Institute of Musical Research. The aim of the event is to provide a forum for Early Career Researchers to present their work on choral practice, performance and pedagogy, and to demonstrate the impact of current research in a way which emphasizes practical applications alongside pedagogical approaches to choral rehearsal and performance.

Early Career Researchers are invited to submit proposals for sessions with a strong participative element. Sessions may take the form of practical demonstrations, masterclasses, performances or workshops (45 minutes maximum), which are related to the presenter's original research, or which interrogate choral concepts and philosophies derived from the researcher's review of the literature. Subjects may include choral training, choral leadership, group dynamics in the choral context, performance practices, rehearsal strategies, choral repertoire, choral inclusion and diversity, and topics related to community singing or choral learning processes.

Shorter spoken papers (20 minutes, including 5 minutes for questions) are also invited, preferably including a practical, participative or performance element. Subjects for roundtable discussions or panels (30 minutes maximum) may also be suggested, with the aim of sharing knowledge, experience, research findings and potential applications amongst participants. Presentations, demonstrations and workshops may be related to research on group singing in any context, and to any type or size of choral ensemble. A repertoire exchange will be included in the programme, so delegates will be encouraged to bring a song or vocal warm up to share.

The format and content of this conference is designed to attract a wide range of delegates, including Early Career Researchers, graduate students, senior scholars and practitioners (such as conductors, singers and singing teachers) who work in the related fields of choral singing and community music. It will provide a rare opportunity to bring together a diverse range of delegates, presenters and performers, in order to make connections between choral research and choral practice and performance in the community. The format of the event is intended to ensure a high level of audience engagement, and to provide opportunities for networking and knowledge exchange, which will be focused upon practical, participative and pedagogical applications of choral research.

Bursaries for Early Career Researchers: There will be a limited number of travel bursaries, funded by the Institute of Musical Research, to assist ECRs to present their work at this conference. Applications for bursaries are encouraged from ECRs who are within three years of completing their PhD, and who do not hold an academic post which provides access to conference funding.

Bursary applications should include:

•          A note of the applicant's PhD completion date

•          Confirmation that the applicant does not currently have access to funding for conference attendance

•          An accurate indication of the travel costs that will be involved in attending this conference

•          A short biography (c. 200 words)

Submissions: Please send abstracts (c. 300 words) along with applications for travel bursaries to Dr Michael Bonshor: m.bonshor@sheffield.ac.uk.

The closing date for submissions and bursary applications is January 15th 2016. All proposals should include the name and email address of the presenter, and details of any AV requirements for the session.

Fwd: Maternal wellbeing study

Dear all,

I'm delighted to introduce a new study from the Centre for Performance Science at the Royal College of Music. We're looking to explore the mental wellbeing of pregnant women and new mothers, and specifically whether creative activities such as the arts can make a difference.

Phase 1 of the study is being conducted via an online questionnaire. The study is open to pregnant women and new mothers in England and there are prize Mothercare vouchers to be won. Please find below the links direct to the survey as well as an e-flyer at the bottom of this email and attached. I'd be grateful if you could forward this to anybody who might be able to help us spread the word. If you would like any paper fliers posted to you, just let me know. 

If you are 6-9 months pregnant, visit: www.surveymonkey.com/r/mothertobe

If you are 0-9 months post-birth, visit: www.surveymonkey.com/r/newmother 

For more information visit http://www.rcm.ac.uk/cps/musicandmotherhood/ 

Kind regards,

Daisy 

Daisy Fancourt
Research Associate

CENTRE FOR 
PERFORMANCE SCIENCE 
 
Royal College of Music | Prince Consort Road | London SW7 2BS | United Kingdom  
T: +44 7958 065 563 | E: daisy.fancourt@rcm.ac.uk | W: www.rcm.ac.uk/cps 

Fwd: ICMPC14: Abstract submission opening soon

 
As a reminder, abstract submission will open in November for the 14th biennial International Conference on Music Perception and Cognition, to be held in San Francisco July 5-9, 2016. Abstract submissions are invited for spoken papers, poster presentations, and symposia and will be due January 22, 2016.

For more details, visit:
http://www.icmpc.org/icmpc14/index.html

Or follow us on Facebook: http://www.facebook.com/icmpc14

Or Twitter: @icmpc14

For questions & comments, contact the organizing committee:

icmpc14@icmpc.org

We look forward to seeing you at ICMPC14!

Sincerely,

The Organizing Committee

ICMPC14

Virtuosity – An interdisciplinary symposium

Virtuosity – An interdisciplinary symposium
The Liszt Academy of Music, Budapest
3–6 March 2016

CALL FOR PAPERS

We are pleased to announce the joint symposium of the Kodály Institute of the Liszt Academy and ESCOM (European Society for the Cognitive Sciences of Music), an interdisciplinary event to be held in Budapest, in the beautifully restored Art Nouveau palace of the Liszt Academy between 3 and 6 March 2016.

We invite proposals for individual papers (20 minutes, followed by 10 minutes of discussion) and posters. The language of the symposium is English.

Theme and topics
We invite submissions for a symposium on virtuosity in music performance that address questions such as the following:
·               What is virtuosity?
·               How virtuosity is perceived in different ways by musicians and their audiences in different cultures?
·               How might virtuosity be studied empirically?
·               What are the cognitive, neuropsychological and motor mechanisms underpinning virtuosity?
·               What is the relationship between virtuosity and creativity?
·               What is the relationship between virtuosity and enchantment (or 'magic')? To what extent can virtuosity be considered the making of magic? Or can be magic be made in the absence of virtuosity?
·               How might virtuosity be taught?

Proposals
All submissions must address the symposium theme. Please send us an abstract of approximately 250 words as an e-mail attachment in Word format to virtuosity@lisztacademy.hu, specifying whether the proposal is for a theoretical paper, an empirical paper, or a poster. All proposals will be peer-reviewed by the members of an international review committee. In order to ensure anonymity, please do not include personal details in the abstract. The name(s) of the author(s), institutional affiliation and a short biography of approx. 100 words should be sent in a separate Word document. Please indicate in your cover letter your AV requirements and whether the presentation will involve live performance, and if so what instruments are envisaged.

Deadlines
Submission of abstracts: 31 October 2015
Notification for acceptances: 30 November 2015

Programme and registration
The programme of the symposium will be announced in January 2016. Online registration will open in January 2016. For additional information please contact Dr László Stachó (stacho.laszlo@lisztacademy.hu) or Ms Éva Gyöngy Máté (mate.eva.gyongy@lisztacademy.hu).

Organising Committee
László Stachó (Liszt Academy of Music, Budapest), chair of the Organising Committee
László Norbert Nemes (Liszt Academy of Music, Budapest), co-chair of the Organising Committee
Jane Ginsborg (Royal Northern College of Music)
Peter Keller (The MARCS Institute, University of Western Sydney)
Jukka Louhivuori (University of Jyväskylä)
Richard Parncutt (University of Graz)

Fwd: SIG Notice: Bridging curriculum and children’s musicking: recruiting South African children’s multimodal musical games as resources for musical educations - UCL Institute of Education - 23 November 2015

Bridging curriculum and children's musicking: recruiting South African children's multimodal musical games as resources for musical education

Dr Susan Harrop-Allin, University of Witwatersrand, Johannesburg, South Africa

Monday 23^rd November 2016

4.30 – 5.30 pm

Room: 944

Further information from Lucy Green, l.green@ioe.ac.uk

All are welcome!

 

Musical play is recognised internationally as a universal feature of childhood. Like children in playgrounds all over the world, many South African children are actively engaged in a range of artistic practices, particularly musical play, outside the classroom. These are self-created, transmitted and adapted according to children's musical identities and interests. However, these multimodal musical practices are seldom recognised as embodying children's prior musical capacities and skills, nor are they recognised as music.  This is especially the case in South African music education, where musical epistemologies are problematically articulated in the Creative and Performing Arts curriculum. The result is a dislocation between curriculum and 'local' musical practices, classroom and playground, and between prescribed curriculum knowledge and music in everyday life. State school teachers are bound by a curriculum that conceptualises music as a written literacy and decontextualizes musical elements, facts and skills from their practices, which can result in little active music-making taking place. The paper illustrates some ways in which, by recognising children's musical games as musicking, and "recruiting" them for pedagogy, teachers may begin to overcome the many challenges of music education curriculum implementation in South Africa. I will show some typical musical games documented in Soweto primary schools, demonstrating how their hybridity, multimodal and intertextual features are located within South African urban musical cultures and how the games reveal children's sound design capacities. The paper finally suggests that musical play be considered as valuable resources and sources of prior musical knowledge for all children; that they be recruited as resources (rather than simply reiterated) for music education for transformative learning.

 

Dr. Susan Harrop-Allin is a lecturer, pianist and teacher-educator who has worked in music development and teaching in South Africa for twenty five years. In recognition of her community music development work, she was one of three arts and culture finalists for the national Shoprite/Checkers Woman of the Year award in 2004. Susan holds a Performer's Licentiate (ABRSM) and PhD in music education and ethnomusicology from the University of the Witwatersrand in Johannesburg, where she lectures in the Schools of Arts and Education. She is developing Community Music as a new area of higher education teaching and research in South Africa, piloting student service-learning projects and supporting community music initiatives in HaMakuya, northern Limpopo. Susan also trains Arts and Culture teachers for arts NGOs and performs as an accompanist and chamber musician with Il Trio Rosso and as a member of The Chanticleer Singers. She publishes and researches in the area of community music, ethnomusicology and music education, presents papers at international conferences and has published several book chapters and journal articles in international and local publications. She is on the editorial board of the International Journal of Community Music and a director of the Johannesburg Youth Orchestra Company and Rena Le Lona Arts Centre for Children in Soweto.

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Dr Evangelos Himonides FBCS CITP
Reader in Technology, Education and Music
University College London

Fwd: REMINDER - CfP Journal of Creative Music Systems

Dear all,

please see the CfP for the inaugural issue of the Journal of Creative Music Systems below.

Deadline for submission of papers: 31st January 2016

Call for Papers - Inaugural Issue                                                              

Journal of Creative Music Systems (http://jcms.org.uk/)

The Journal of Creative Music Systems (JCMS) is a new open-access journal publishing peer-reviewed articles on computational creative systems in the domain of music. JCMS is intended to serve as a forum for scholarly dialogue regarding the most important emerging issues in the field.

JCMS is intended to focus on computer systems which generate, perform or analyse music, and which either demonstrate a distinct degree of creativity or which shed light on the nature of creativity. Both empirical articles, which focus on the design and implementation of new techniques; as well as theoretical papers, which investigate the scientific and philosophical foundations of music-creative systems, are encouraged. In recognition of the inherent interdisciplinarity of the field,  JCMS  encourages  submission of articles at the intersection of different disciplines, such as music (theory, analysis, history), artificial intelligence, music information retrieval (MIR), cognitive science, evolutionary theory, mathematics and philosophy.

Topics

For the journal's inaugural issue, topics of submissions may include, but are not limited to:

Computer Systems

• systems capable of generating music;
• systems capable of performing music;
• systems capable of (online) improvisation;
• systems capable of analysing music;
• robotic systems;
• systems implementing societies of virtual musicians;
• systems that enhance the musical creativity of human users;
• music recommendation systems;
• systems implementing computational aesthetics, emotional response, novelty/originality;

Theory

• surveys of state-of-the-art techniques in the area;
• validation methodologies;
• philosophical/mathematical foundations of creative music systems;
• evolutionary models for music creative systems;
• cognitive models for music creative systems;
• studies on the applicability of music-creative techniques to other research areas;
• new models for improving music creative systems.

Types of Submissions

JCMS accepts articles, research reports, reviews and tutorials. Articles should make a major theoretical or empirical contribution to knowledge. Research reports should describe research which is in a preliminary phase. Reviews provide critical commentary on scholarly books, articles and events such as conferences relevant to the field. Tutorials are intended to illustrate new technologies relevant to CSMC.

Deadlines for Inaugural Issue

• Submission of papers: 31st January 2016
• Reports from referees sent to authors: 31st March 2016
• Submission of revised papers: 15th April 2016
• Expected publication date: May 2016

Submission Instructions

Please visit the JCMS website (http://jcms.org.uk/) for a description of the journal, instructions to authors and submission guidelines.

Further Information

For any enquiries, please contact Valerio Velardo, Associate Editor, at associate-editor@jcms.org.uk. 

Best wishes,

Valerio Velardo

University of Huddersfield inspiring tomorrow's professionals.


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Fwd: FW: SIG Notice: The Charity 'Music Fund' which provides instruments for children in poor areas - Benefit Concert

BENEFIT CONCERT FOR THE WORK OF MUSIC FUND - THURSDAY 26TH NOVEMBER 7.30 PM


A message from Professor John Sloboda

Music Fund is a charity that receives and repairs decent but unwanted
musical instruments from donors in Europe, and sends them to young
musicians in countries in conflict and need. It also trains and
equips local instrument repairers to maintain the instruments in good
condition. It currently has projects in the Democratic Republic of
Congo, Haiti, Morocco, Mozambique, and Palestine. It has so far
repaired and relocated over 5000 instruments.

On behalf of the London Friends of Music Fund I cordially invite you
and your friends and family to come to a benefit concert on Thursday
26th November at the Gresham Centre, Gresham Street. Guildhall School
professor and pianist David Dolan has brought internationally renowned
singer Claron McFadden together with Thomas Carroll (cello) and
Abigail Dolan (flute) for an evening of music and song with an
improvisatory twist. Music Fund's founder, Lukas Pairon, will also be
at the concert to say a few words about the recent work of Music Fund.
The full programme is below. Please do join us for an outstanding
evening of music, with an opportunity to meet over a glass of wine in
the interval, all proceeds of which will go to Music Fund.

Tickets are now for sale online at
www.wegottickets/events/friendsofmusicfund, or on the door.

Please also pass details onto others. Full details are also available
on our website at www.MusicFundLondon.webs.com.



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Programme:
Haydn: Trio No. 29 in G major, Hob. XV:15 for flute, cello & piano;
Schumann: 3 fantasy pieces Op. 73. for cello & piano with improvised
prelude, interludes and repeats;
J.S. Bach: Aria - Aus liebe will mein Heiland sterben from St.
Matthew Passion with extemporised prelude;
Mozart & Schubert: a cycle of lieder for soprano and piano
McFadden & Dolan: a cycle of improvised lieder on themes & ideas
provided by the audience.
Schubert: The Shepherd on the Rock for Soprano, flute and piano

Fwd: SIG Notice: The Qualities of Musical Rhythm: From Theory to Educational Tools - UCL Institute of Education - 26th October 2015

Music Education Special Interest Group

Research Seminar Announcement

 

The Qualities of Musical Rhythm: From Theory to Educational Tools

Dr. Eduardo Lopes, University of Évora, Portugal

 

Monday 26th October

16.30 – 17.30

Room: Elvin Hall

 

Further details from Lucy Green, l.green@ioe.ac.uk

 

All are welcome

 

Rhythm is usually considered one of the most, if not the most, important parameters of music - deeply rooted in our physiology and cognitive system. Research has shown that from an early age children perceptually relate to rhythmic structures, attempting to imitate them. This bond between rhythm and humans may be the result of psychological qualities that listeners infer once exposed to rhythmic structures. Therefore, it comes as no surprise that rhythm (whether musical or in its most basic shapes of synchronicity and out-of-synchronicity) is in many ways present in our everyday life, and carries wide educational potential. From being used in games and exercises that foster issues of group inclusion and interaction, the rhythmic qualities of 'salience' (perceptually accented pulses) and 'kinesis' (sense of motion) have been recently integrated in some Artificial Intelligence (AI) educational computer programs. This talk will address research issues in music theory, the psychology of music, and music education which were involved in the development of software that triggers automatic 'rhythmic sounds' as a soundtrack in a computer game for children concerning interactive story telling.

 

Eduardo Lopes studied drum kit and classical percussion at the Rotterdam Conservatorium (Netherlands). He holds a Bachelor of Music Degree (Summa Cum Laude) from the Berklee College of Music (USA), and a PhD in Music Theory from the University of Southampton (UK). As a drummer he has performed in several countries including Portugal, Spain, UK, France, Holland, Brazil, Japan, and the USA. He performs regularly with some the most well-known Portuguese jazz musicians, and has performed with international artists such as Mike Mainieri, Myra Melford, Phil Wilson, Kevin Robb, Dave Samuels and Bruce Saunders. His research interests are in rhythm and meter theory, performance practice, jazz studies, and music education. He currently lectures at the Music Department of the University of Évora, Portugal, where he is also Head of Department.