Hello all,
I think this is the first time I'm posting to this list, but I've been
following for a while. I'm not a music researcher, but I'm a science
communicator (former scientist) with an interest in how practicing
musicians or scientists combine both fields - or not, as the case may
be. It started out as observation that many scientists also play a
musical instrument, and many people in my orchestras were also
scientists.
There is very little actual data on the extent of the overlap, and I
want to emphasize to this group in particular that the current survey
is NOT generating any such data either. It's not scientific, and the
sampling is very biased: People who choose to take this survey are by
and large already interested in both science and music. I'm just
trying to get some vague idea of the extent and direction of the
overlap.
I'm interested in learning (and one day writing) more about the people
who fall in that area of overlap rather than academically analysing
it, so I hope you will forgive the unscientific nature of the survey,
and please let me know a bit about your own interest in both fields
here:
https://docs.google.com/forms/d/1EKqcuYTvOj5zdvRIwmMxDFq4XFYsyb-8UhN8746QsLY/viewform
Eva Amsen
--
Eva Amsen
http://easternblot @easternblot
Thursday, February 26, 2015
Tuesday, February 24, 2015
2nd International Conference of Dalcroze Studies
2nd International Conference of Dalcroze Studies
"The movement connection"(26 - 29 July 2015)
Copyright: Graham Harwood
Following the successful and widely praised inaugural conference at Coventry University in 2013, we are pleased to announce that the 2015 host is the University of Music and Performing Arts Vienna (mdw), Austria.
2015 is an important year for the field of Dalcroze Studies. It is the 150th anniversary of Jaques-Dalcroze’s birth in the city of Vienna. Other celebrations include the centenaries of the Institut Jaques-Dalcroze, Geneva and Dalcroze UK (formerly the Dalcroze Society UK).
______________________________________________________________________________________________________________________________
However, the aims of the conference look beyond these particular events and organisations:
- To present the best of current research and practice within Dalcroze Studies and related fields worldwide, especially – this year – research into music and movement relationships in music, dance, somatic practices, theatre and therapy
- To develop interdisciplinary research into Dalcroze Eurhythmics and related fields
- To develop Dalcroze practice, and that in related fields, through research
- To promote contact and understanding between different disciplines, including different traditions of Dalcroze practice and Dalcroze-related practice
__________________________________________________________________________________________________________________________________
Keynote speakers (confirmed):
- Dr Wayne Bowman, Professor Emeritus (to be conferred), Brandon University, Manitoba, Canada
- Professor Dr Eckart Altenmüller, Hochschule für Musik, Theater und Medien Hannover, Germany
- Dr Gunhild Oberzaucher-Schüller, dance historian
________________________________________________________________________________________________________________________________________
Copyright: Graham Harwood
We also proudly present:
- Professor Eleonore Witoszynskyj (University of Music and Performing Arts Vienna, Austria) in conversation with Dalcroze Diplômé Paul Hille
-
And Hilde Kappes as our guest artist
______________________________________________________________________________________________________________________________________________________________________________
Delegate fee: €190
Early-bird delegate fee: €160 (register before 31 March 2015 to get this discount)
(Fee includes refreshments, light lunch and conference materials)
+ €17 if you want to join the excursion to Laxenburg (click here for more Information)
the online Afghan Rubab Tutor (OART)
Kabul's art music, which forms part of Afghanistan's intangible
cultural heritage. The AKMICA tradition-bearers' education initiatives
resulting from Baily's research have successfully reversed this trend.
The programme has grown from its small beginnings in Kabul, and in
2006 a second school was opened in Herat city. At present the two
schools have 157 students. Their work is not simply a matter of
preserving tradition, but also of promoting creativity and development
within this tradition. These schools have also improved the low status
of hereditary musicians, who are now seen both as artists and music
educators.
Baily's research on the global circulation of Afghan music and the
scarcity of teaching materials has led to the development on an online
tutor for the national instrument, the rubab (a short-necked lute), in
collaboration with Dr Evangelos Himonides (UCL Institute of
Education), who s responsible for the design and development of the
resource. The Online Afghan Rubab Tutor (OART) promises to become a
major multimedia pedagogical resource for Afghanistan, with a large
collection of notated compositions as well as audio and video
recordings, with a role going far beyond teaching people to play the
instrument.
the OART can be accessed here: http://oart.eu
Fwd: REMINDER - "Study Day on Computer Simulation of Musical Creativity"
Dear all,
submissions for the first "Study Day on Computer Simulation of Musical Creativity" are currently open. The event will be held at the University of Huddersfield (UK), on Saturday 27 June 2015.
Keynote Speaker: Professor Eduardo Miranda
IMPORTANT DATES
Abstract Submission Deadline: Monday 20 April 2015
Online Registration Closes: Saturday 14 June 2015
Conference Date: Saturday 27 June 2015
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 for 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 for 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.
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 (valerio.velardo@hud.ac.uk).
Best Wishes
Valerio Velardo
This transmission is confidential and may be legally privileged. If you receive it in error, please notify us immediately by e-mail and remove it from your system. If the content of this e-mail does not relate to the business of the University of Huddersfield, then we do not endorse it and will accept no liability.
This transmission is confidential and may be legally privileged. If you receive it in error, please notify us immediately by e-mail and remove it from your system. If the content of this e-mail does not relate to the business of the University of Huddersfield, then we do not endorse it and will accept no liability.
Thursday, February 19, 2015
Fwd: Call for Papers: RMA Music and Philosophy Study Group Conference, London, July 2015
5th Annual Conference of the Royal Musical Association Music and Philosophy Study Group, in collaboration with the Music and Philosophy Study Group of the American Musicological Society and De Musica – Laboratório de Estética e Filosofia da Música (Brasil).
(Optional) Theme: Music and the Senses
Co-hosted by the Departments of Music and Philosophy at King’s College London and the Institute of Musical Research, University of London
17-18 July 2015
Keynote speakers include:
Professor Christopher Peacocke (Columbia University)
Professor Kay Kaufman Shelemay (Harvard University)
Plenary panellists:
Professor Mark Evan Bonds (University of North Carolina at Chapel Hill)
Professor Simon Frith (University of Edinburgh)
Professor Hannah Ginsborg (University of California at Berkeley)
The RMA Music and Philosophy Study Group warmly invites paper submissions for this two-day international conference. The event, the fifth of an annual series of conferences run by the Study Group, will offer an opportunity for philosophers, music scholars, and others interested in philosophically-oriented research about music to discuss and debate their work in a collaborative setting. The conference presumes inclusive definitions of both music and philosophy. We take music to include all forms and genres of music, art music and popular, secular and sacred, raucous and refined, from any and all historical and geographical locales. We take philosophy to include analytic, continental, classical, and non-Western thought, as well as critical theory. Regardless of disciplinary affiliation, the committee seeks conceptually rigorous and clearly articulated research that presents a novel argument and advances understanding of its topic.
The optional theme of this year’s conference is “Music and the Senses,” however submissions on all topics relating to music and philosophy are welcome.
Topics of interest might include (but are not limited to):
• Music, emotion, and affect; emotion vs. perception
• The partition and integration of the senses Philosophical approaches to auditory perception
• Non-aural aspects of musical experience (visual, tactile, gustatory, olfactory)
• Sound in the history and anthropology of the senses
• Music’s relationship to technology, technique, and distributed cognition
• Music, sex, pleasure, intimacy, and the erotic
• Individual vs. collective musical experience
• Attention, inattention, and altered states
• New approaches to music and phenomenology
• Atmosphere, immersion, Stimmung, mood, and vibe
• Formalisms: regressive, normative, and revolutionary
• Philosophical approaches to entertainment and distraction
• Music, capitalism, ideology, and the senses
• Music, movement, and dance
• Ontologies of sounds, tones, and music
Proposals are invited for:
Individual papers (20 minutes) – up to 350 words
Collaborative papers (30 minutes) – up to 500 words
Lecture recitals (30 minutes) – up to 350 words
Themed paper sessions of three or four individual (20 minute) papers – 350 words per paper plus 350 words outlining the rationale for the session
Ninety-minute sessions in innovative formats – up to 1000 words outlining the format and content of the session
Please submit proposals by email in a word document attachment:
conference2015@musicandphilosophy.ac.uk
The deadline for proposals is 7 March 2015; outcomes will be communicated to authors by 21 March 2015.
All paper submissions will be considered by the programme committee:
Bill Brewer (Department of Philosophy, King’s College London)
Michael Gallope (Department of Cultural Studies and Comparative Literature, University of Minnesota)
Andrew Huddleston (Department of Philosophy, Birkbeck, University of London)
Tomas McAuley (Department of Musicology, Indiana University)
Nanette Nielsen (Department of Musicology, University of Oslo)
Hannah Templeton (Department of Music, King’s College London)
Mario Videira (Department of Music, University of São Paulo)
Nick Zangwill (Department of Philosophy, University of Hull)
Reasonably priced university accommodation will be available.
The event is generously supported by King’s College London, the Institute of Musical Research, Trinity Laban Conservatoire, the University of Hull, the British Society of Aesthetics, the Mind Association, and the Royal Musical Association.
All best wishes,
Jeremy Coleman
Administrator, RMA Music and Philosophy Study Group
jeremy.coleman@kcl.ac.uk
(Optional) Theme: Music and the Senses
Co-hosted by the Departments of Music and Philosophy at King’s College London and the Institute of Musical Research, University of London
17-18 July 2015
Keynote speakers include:
Professor Christopher Peacocke (Columbia University)
Professor Kay Kaufman Shelemay (Harvard University)
Plenary panellists:
Professor Mark Evan Bonds (University of North Carolina at Chapel Hill)
Professor Simon Frith (University of Edinburgh)
Professor Hannah Ginsborg (University of California at Berkeley)
The RMA Music and Philosophy Study Group warmly invites paper submissions for this two-day international conference. The event, the fifth of an annual series of conferences run by the Study Group, will offer an opportunity for philosophers, music scholars, and others interested in philosophically-oriented research about music to discuss and debate their work in a collaborative setting. The conference presumes inclusive definitions of both music and philosophy. We take music to include all forms and genres of music, art music and popular, secular and sacred, raucous and refined, from any and all historical and geographical locales. We take philosophy to include analytic, continental, classical, and non-Western thought, as well as critical theory. Regardless of disciplinary affiliation, the committee seeks conceptually rigorous and clearly articulated research that presents a novel argument and advances understanding of its topic.
The optional theme of this year’s conference is “Music and the Senses,” however submissions on all topics relating to music and philosophy are welcome.
Topics of interest might include (but are not limited to):
• Music, emotion, and affect; emotion vs. perception
• The partition and integration of the senses Philosophical approaches to auditory perception
• Non-aural aspects of musical experience (visual, tactile, gustatory, olfactory)
• Sound in the history and anthropology of the senses
• Music’s relationship to technology, technique, and distributed cognition
• Music, sex, pleasure, intimacy, and the erotic
• Individual vs. collective musical experience
• Attention, inattention, and altered states
• New approaches to music and phenomenology
• Atmosphere, immersion, Stimmung, mood, and vibe
• Formalisms: regressive, normative, and revolutionary
• Philosophical approaches to entertainment and distraction
• Music, capitalism, ideology, and the senses
• Music, movement, and dance
• Ontologies of sounds, tones, and music
Proposals are invited for:
Individual papers (20 minutes) – up to 350 words
Collaborative papers (30 minutes) – up to 500 words
Lecture recitals (30 minutes) – up to 350 words
Themed paper sessions of three or four individual (20 minute) papers – 350 words per paper plus 350 words outlining the rationale for the session
Ninety-minute sessions in innovative formats – up to 1000 words outlining the format and content of the session
Please submit proposals by email in a word document attachment:
conference2015@musicandphilosophy.ac.uk
The deadline for proposals is 7 March 2015; outcomes will be communicated to authors by 21 March 2015.
All paper submissions will be considered by the programme committee:
Bill Brewer (Department of Philosophy, King’s College London)
Michael Gallope (Department of Cultural Studies and Comparative Literature, University of Minnesota)
Andrew Huddleston (Department of Philosophy, Birkbeck, University of London)
Tomas McAuley (Department of Musicology, Indiana University)
Nanette Nielsen (Department of Musicology, University of Oslo)
Hannah Templeton (Department of Music, King’s College London)
Mario Videira (Department of Music, University of São Paulo)
Nick Zangwill (Department of Philosophy, University of Hull)
Reasonably priced university accommodation will be available.
The event is generously supported by King’s College London, the Institute of Musical Research, Trinity Laban Conservatoire, the University of Hull, the British Society of Aesthetics, the Mind Association, and the Royal Musical Association.
All best wishes,
Jeremy Coleman
Administrator, RMA Music and Philosophy Study Group
jeremy.coleman@kcl.ac.uk
Wednesday, February 11, 2015
Book now! Reflective Conservatoire Conference starts February 2015
| Book now! Reflective Conservatoire Conference starts February 2015 |
Dear Colleague
Book now to secure your place at the 4th international Reflective Conservatoire Conference (RCC) ’Creativity and Changing Cultures', Guildhall School of Music & Drama, London, from Thursday 26 February-Sunday 1 March. The world’s only conservatoire-sector conference in music and drama, the 2015 programme is its biggest and most ambitious yet.
Full Conference Tickets still available, as well as a limited number of individual Day Tickets.
Buy tickets for the conference here
Exchange ideas and build connections with Keynote speakers and delegates from Higher Education centres of excellence in the UK, Australia, Austria, Belgium, Brazil, Canada, Denmark, Estonia, Finland, Ghana, Greece, Hungary, Ireland, Italy, Japan, Netherlands, New Zealand, Norway, Portugal, Spain, Sweden, Switzerland and the USA in discussing 2015’s Conference themes of Creativity, playfulness and improvisation; Interdisciplinary connections; The world in 2020 and beyond and Viewpoints on the developing artist.
See the full programme of performances, practical workshops, research presentations, keynote speeches, curated sessions, seminars and round-table discussions will explore the key issues in Higher Education within music and drama here complete Conference programme
Check out our website including blogs www.reflectiveconservatoire.org.uk – and do please follow @rconservatoire on Twitter.
Keynote Sessions:
- Opening Keynote panel discussion ‘The Artist as Maker (current issues and future prospects)’ chaired by Guildhall Schools Director of Drama Christian Burgess, with Daniel Evans, actor and Sheffield Theatres' Artistic Director; Lucy Kerbel, theatre director and Director of Tonic Theatre; Southbank Centre Head of Classical Music Gillian Moore; composer Edmund Finnis and Barbican/Guildhall Director of Creative Learning Sean Gregory
- Liz Lerman (choreographer, dancer, educator, writer, and creator of the Critical Response Process, a rigorous feedback system for developing work in progress) on ‘Feedback, judgement, and criticism: creating frameworks for change’
- Ricardo Castro, pianist, conductor and founder of Brazil’s NEOJIBA youth music training programme on ‘To teach is to Learn’
Don’t miss the triennial Reflective Conservatoire Conference! We look forward to seeing you there.
Professor Helena Gaunt
Conference Director Vice Principal and Director of Academic Affairs
Guildhall School of Music & Drama
Barbican
Silk Street
London
EC2Y 8DT
Joint author of Preparing for Success: A practical guide for young musicians Susan Hallam and Helena Gaunt National Teaching Fellow (2009)
Tuesday, February 10, 2015
Fwd: Fully-funded music/computing/psych PhD position for EU applicants
Fully-funded music/computing/psych PhD position for EU applicants
Apologies for cross-posting. I would be very grateful if you could
please forward to bright students with a Master's degree or good first
degree (First, 2:1 or equivalent) that you think may be interested. We
particularly welcome enquiries/applications from students belonging to
groups currently under-represented in academia. The ideal candidate
will have excellent writing skills, a strong background in one of
music, computing, or psychology, and be prepared to learn more about
the other two areas. Some experience with programming is preferable
but not necessary. The candidate will not be limited to researching
the topic described below.
Computational methods for identifying high-level music-theoretic concepts
Music Technology and Innovation Research Centre
Leicester Media School, Faculty of Technology
De Montfort University, Leicester
COMMENCING OCTOBER 2015
CLOSING DATE FOR APPLICATIONS: Wednesday 4th March, 2015. Interviews
will take place in the weeks of 16th and 23rd March.
A PhD research scholarship including stipend and tuition fee costs is
offered within the Music, Technology and Innovation Research Centre in
the Leicester Media School. It is available to UK or EU students who
are suitably qualified and have outstanding potential as a researcher.
Examples of high-level music-theoretic concepts include functional
harmony, cadence, texture, repetition, and schemata. Schemata are
'stock musical phrases used in conventional sequences' (Gjerdingen,
2007), and the aim of the PhD project will be to identify them
automatically, in given symbolic or audio representations of music,
from proto-classical and subsequent corpora. This is a challenging
problem partly because two instances of the same concept may possess
very different low-level features. The successful candidate will (1)
create data representations of pieces of music that are appropriate
for investigating the open problem of automatic schema identification,
(2) locate and digitise expert annotations of schemata as they occur
across the encoded music corpora, and (3) develop and evaluate
algorithms for automatically identifying schemata.
For a more detailed description of the scholarship and the subject
area at DMU please visit
http://www.dmu.ac.uk/research/graduate-school/phd-scholarships.aspx or
contact Tom Collins on +44 (0)116 250 6192 or email
tom.collins@dmu.ac.uk. The supervisory team will consist of Drs. Tom
Collins and Bret Battey (DMU) and Dr. Jonathan Berger (Stanford
University).
In offering this scholarship the University aims to further develop
its research strengths in Music Information Retrieval and Music
Theory. It is an excellent opportunity for a candidate of exceptional
promise to contribute to a stimulating, world-class research
environment. The ideal candidate will have excellent writing skills, a
strong background in one of music, computing, or psychology, and be
prepared to learn more about the other two areas. Some experience with
programming is preferable but not necessary. The candidate will not be
limited to researching the topic described above.
Applications are invited from UK or EU students with a Master's degree
or good first degree (First, 2:1 or equivalent) in a relevant subject.
Doctoral scholarships are available for up to three years full-time
study starting October 2015 and provide a bursary of ca. £14,057 pa in
addition to University tuition fees.
To receive an application pack, please contact Morgan Erdlenbruch via
email at Morgan.Erdlenbruch@dmu.ac.uk. Completed applications should
be returned together with two supporting references.
Please quote ref: DMU Research Scholarships 2015: TECH FB2
Tom Collins, PhD
www.tomcollinsresearch.net
Early Career Research Fellow
Faculty of Technology
De Montfort University
Leicester, UK
Apologies for cross-posting. I would be very grateful if you could
please forward to bright students with a Master's degree or good first
degree (First, 2:1 or equivalent) that you think may be interested. We
particularly welcome enquiries/applications from students belonging to
groups currently under-represented in academia. The ideal candidate
will have excellent writing skills, a strong background in one of
music, computing, or psychology, and be prepared to learn more about
the other two areas. Some experience with programming is preferable
but not necessary. The candidate will not be limited to researching
the topic described below.
Computational methods for identifying high-level music-theoretic concepts
Music Technology and Innovation Research Centre
Leicester Media School, Faculty of Technology
De Montfort University, Leicester
COMMENCING OCTOBER 2015
CLOSING DATE FOR APPLICATIONS: Wednesday 4th March, 2015. Interviews
will take place in the weeks of 16th and 23rd March.
A PhD research scholarship including stipend and tuition fee costs is
offered within the Music, Technology and Innovation Research Centre in
the Leicester Media School. It is available to UK or EU students who
are suitably qualified and have outstanding potential as a researcher.
Examples of high-level music-theoretic concepts include functional
harmony, cadence, texture, repetition, and schemata. Schemata are
'stock musical phrases used in conventional sequences' (Gjerdingen,
2007), and the aim of the PhD project will be to identify them
automatically, in given symbolic or audio representations of music,
from proto-classical and subsequent corpora. This is a challenging
problem partly because two instances of the same concept may possess
very different low-level features. The successful candidate will (1)
create data representations of pieces of music that are appropriate
for investigating the open problem of automatic schema identification,
(2) locate and digitise expert annotations of schemata as they occur
across the encoded music corpora, and (3) develop and evaluate
algorithms for automatically identifying schemata.
For a more detailed description of the scholarship and the subject
area at DMU please visit
http://www.dmu.ac.uk/research/graduate-school/phd-scholarships.aspx or
contact Tom Collins on +44 (0)116 250 6192 or email
tom.collins@dmu.ac.uk. The supervisory team will consist of Drs. Tom
Collins and Bret Battey (DMU) and Dr. Jonathan Berger (Stanford
University).
In offering this scholarship the University aims to further develop
its research strengths in Music Information Retrieval and Music
Theory. It is an excellent opportunity for a candidate of exceptional
promise to contribute to a stimulating, world-class research
environment. The ideal candidate will have excellent writing skills, a
strong background in one of music, computing, or psychology, and be
prepared to learn more about the other two areas. Some experience with
programming is preferable but not necessary. The candidate will not be
limited to researching the topic described above.
Applications are invited from UK or EU students with a Master's degree
or good first degree (First, 2:1 or equivalent) in a relevant subject.
Doctoral scholarships are available for up to three years full-time
study starting October 2015 and provide a bursary of ca. £14,057 pa in
addition to University tuition fees.
To receive an application pack, please contact Morgan Erdlenbruch via
email at Morgan.Erdlenbruch@dmu.ac.uk. Completed applications should
be returned together with two supporting references.
Please quote ref: DMU Research Scholarships 2015: TECH FB2
Tom Collins, PhD
www.tomcollinsresearch.net
Early Career Research Fellow
Faculty of Technology
De Montfort University
Leicester, UK
Fwd: CMMR2015 - DEADLINE APPROACHING: 27 Feb (papers/music)
Dear all,
(With apologies for cross posting)
This is a reminder that the call for participation is currently open
for CMMR 2015. Registration is also now open.
*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
*Keynote speakers*
Hugues Vinet (IRCAM)
David Rosenboom (CalArts)
Eduardo Miranda (ICCMR)
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.
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.
For further details please visit:
http://cmr.soc.plymouth.ac.uk/cmmr2015/
*Satellite workshops*
1st International Workshop in Brain-Computer Music Interfacing -
http://cmr.soc.plymouth.ac.uk/bcmi2015/
Motion and Music Workshop - http://cmr.soc.plymouth.ac.uk/mocap2015/
Please send any enquiries to:
cmmr2015-chairs@plymouth.ac.uk<mailto:cmmr2015-chairs@plymouth.ac.uk>
We look forward to seeing you,
Prof Eduardo R Miranda (conference chair)
Joel Eaton (programme committee)
Dr Duncan Williams (music committee)
--
the website<http://joeleaton.co.uk>
________________________________
[http://www.plymouth.ac.uk/images/email_footer.gif]<http://www.plymouth.ac.uk/worldclass>
(With apologies for cross posting)
This is a reminder that the call for participation is currently open
for CMMR 2015. Registration is also now open.
*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
*Keynote speakers*
Hugues Vinet (IRCAM)
David Rosenboom (CalArts)
Eduardo Miranda (ICCMR)
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.
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.
For further details please visit:
http://cmr.soc.plymouth.ac.uk/cmmr2015/
*Satellite workshops*
1st International Workshop in Brain-Computer Music Interfacing -
http://cmr.soc.plymouth.ac.uk/bcmi2015/
Motion and Music Workshop - http://cmr.soc.plymouth.ac.uk/mocap2015/
Please send any enquiries to:
cmmr2015-chairs@plymouth.ac.uk<mailto:cmmr2015-chairs@plymouth.ac.uk>
We look forward to seeing you,
Prof Eduardo R Miranda (conference chair)
Joel Eaton (programme committee)
Dr Duncan Williams (music committee)
--
the website<http://joeleaton.co.uk>
________________________________
[http://www.plymouth.ac.uk/images/email_footer.gif]<http://www.plymouth.ac.uk/worldclass>
Tuesday, February 3, 2015
Fwd: ICMC 2015 - Call for Works and Papers deadline approaching
This is just a reminder that the ICMC2015 deadline for music and paper
submissions is fast approaching.
Deadline for submissions: February 8th, 2015
The Center for Experimental Music and Intermedia (CEMI) at the
University of North Texas will host the 41st International Computer
Music Conference (ICMC) 2015 in Denton from September 25 to October 1,
2015.
Important Dates
Open for Submissions: January 11th, 2015
Deadline for music and paper submissions: February 8th, 2015 (UTC -7)
Acceptance notification: April 19th, 2015
Final deadlines for all performance material and 'Camera-Ready' paper:
May 10th, 2015
Registration deadline: June 14th, 2015
Submissions can be made through the conference management system:
http://icmc2015.unt.edu/call-for-music/
http://icmc2015.unt.edu/call-for-papers/
We welcome short or long paper submissions for oral, poster or demo
presentation as well as studio reports in the (non-exclusive) list of
topics:
3D Printing
Acoustics of Music
Aesthetics, Theory, and Philosophy
Algorithmic Composition
Analysis of Electroacoustic Music
Analysis/Synthesis
Artificial Intelligence and Music
Big Data
Composition Systems and Techniques
Computational Musicology
Computer Systems in Music Education
Digital Audio Signal Processing and Audio Effects
Digital Communities
Futurism
History of Electroacoustic Music
Interaction and Improvisation
Intermedia
Languages for Computer Music
Live Coding
Mathematical Music Theory
Mobile Music Computing
Music Information Retrieval
New Interfaces for Musical Expression
New Media
Perception and Cognition of Sound and Music
Physical Modeling and Instrumental Acoustics
Representation and Models for Computer Music
Robotics
Software and Hardware Systems
Spatialisation Techniques
Studio Reports
Telematic Music
Virtual Reality
We welcome music submissions for fixed media, live performance, or
installations in the following (non-exclusive) categories:
solo instrument + electronics
ensemble (2-10 musicians) + electronics
laptop improvisation and live coding
video and music
acousmatic music
new interfaces for musical expression
inter-media performance
piece + paper (including computer-aided acoustic composition)
networked performance
installation
club electro (jazz/pop/dj/idm influenced electronic music)
large ensembles + electronics (special category)
- Chamber Choir 16-voice SATB + electronics
- Trombone Choir + electronics
- Jazz Ensemble + electronics
- String Orchestra (4/4/3/2/1) + electronics
- Wind Ensemble + electronics
miscellaneous
For more information, please visit our website:
http://icmc2015.unt.edu/
You can also join the conference's Facebook Group for announcements and updates:
https://www.facebook.com/icmc2015
Looking forward to your contributions!
Conference Chair: Panayiotis Kokoras (University of North Texas)
Music Chair: Jon Nelson (University of North Texas)
Paper Chair: Richard Dudas (Hanyang University, Seoul, Korea)
Technical Director: Andrew May (University of North Texas)
–––––––––––––––––––––––––––
Panayiotis Kokoras, Ph.D.
Assistant Professor
Division of Composition Studies
University of North Texas College of Music
1155 Union Circle #311367, Denton, TX 76203-5017
(940) 565-4651
http://www.music.unt.edu/comp/faculty/
http://www.panayiotiskokoras.com
submissions is fast approaching.
Deadline for submissions: February 8th, 2015
The Center for Experimental Music and Intermedia (CEMI) at the
University of North Texas will host the 41st International Computer
Music Conference (ICMC) 2015 in Denton from September 25 to October 1,
2015.
Important Dates
Open for Submissions: January 11th, 2015
Deadline for music and paper submissions: February 8th, 2015 (UTC -7)
Acceptance notification: April 19th, 2015
Final deadlines for all performance material and 'Camera-Ready' paper:
May 10th, 2015
Registration deadline: June 14th, 2015
Submissions can be made through the conference management system:
http://icmc2015.unt.edu/call-for-music/
http://icmc2015.unt.edu/call-for-papers/
We welcome short or long paper submissions for oral, poster or demo
presentation as well as studio reports in the (non-exclusive) list of
topics:
3D Printing
Acoustics of Music
Aesthetics, Theory, and Philosophy
Algorithmic Composition
Analysis of Electroacoustic Music
Analysis/Synthesis
Artificial Intelligence and Music
Big Data
Composition Systems and Techniques
Computational Musicology
Computer Systems in Music Education
Digital Audio Signal Processing and Audio Effects
Digital Communities
Futurism
History of Electroacoustic Music
Interaction and Improvisation
Intermedia
Languages for Computer Music
Live Coding
Mathematical Music Theory
Mobile Music Computing
Music Information Retrieval
New Interfaces for Musical Expression
New Media
Perception and Cognition of Sound and Music
Physical Modeling and Instrumental Acoustics
Representation and Models for Computer Music
Robotics
Software and Hardware Systems
Spatialisation Techniques
Studio Reports
Telematic Music
Virtual Reality
We welcome music submissions for fixed media, live performance, or
installations in the following (non-exclusive) categories:
solo instrument + electronics
ensemble (2-10 musicians) + electronics
laptop improvisation and live coding
video and music
acousmatic music
new interfaces for musical expression
inter-media performance
piece + paper (including computer-aided acoustic composition)
networked performance
installation
club electro (jazz/pop/dj/idm influenced electronic music)
large ensembles + electronics (special category)
- Chamber Choir 16-voice SATB + electronics
- Trombone Choir + electronics
- Jazz Ensemble + electronics
- String Orchestra (4/4/3/2/1) + electronics
- Wind Ensemble + electronics
miscellaneous
For more information, please visit our website:
http://icmc2015.unt.edu/
You can also join the conference's Facebook Group for announcements and updates:
https://www.facebook.com/icmc2015
Looking forward to your contributions!
Conference Chair: Panayiotis Kokoras (University of North Texas)
Music Chair: Jon Nelson (University of North Texas)
Paper Chair: Richard Dudas (Hanyang University, Seoul, Korea)
Technical Director: Andrew May (University of North Texas)
–––––––––––––––––––––––––––
Panayiotis Kokoras, Ph.D.
Assistant Professor
Division of Composition Studies
University of North Texas College of Music
1155 Union Circle #311367, Denton, TX 76203-5017
(940) 565-4651
http://www.music.unt.edu/comp/faculty/
http://www.panayiotiskokoras.com
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