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.

--








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.


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.

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.



-----------------------------------------------------------------------------------------------------



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.

One week to go until the 2015 SEMPRE Conference on Music and Health

One week to go until the 2015 SEMPRE Conference on Music and Health, and 3rd Meeting of the Scottish Music and Health Network, October 21st – 23rd, hosted by GCU.

 

View the programme and register at the conference website:

 

www.gcu.ac.uk/musicandhealth2015

 

Registration fee:

SEMPRE members, students, unwaged fee: GBP 45 (proof required upon registration)

Standard rate fee: GBP 90

 

A separate programme for the Scottish Music and Health Network Meeting on Friday 23rd Oct is available via the SMHN website:

www.smhn.hss.ed.ac.uk

New study shows that singing improves the perceptive skills of hearing impaired children

UCL collaboration

Thursday 8 October

- October 08 at 7:30 AM

A new UCL Institute of Education (IOE) and UCL Ear Institute study, in collaboration with the multi-arts charity Creative Futures, shows that hearing impaired children benefit from a sustained programme of singing activities. Researchers worked with a group of hearing impaired and normally hearing children who were given regular weekly singing lessons over two school terms. All the children showed improved auditory perceptions that have been shown to positively influence speech and language development and young children's reading skills.

The singing exercises were devised to build the children's awareness of voice mechanisms (for instance how the diaphragm works), to increase their singing range and their perception of the pitch and noise of the voice.

It is recognised that early shared music activities in the home from the age of two or three have a demonstrable impact on a child's vocabulary, numerical ability, attention, emotional and social skills at ages four and five. Hearing impaired children are likely to have significantly fewer words at the age of two years-old and have restricted infant-focused communication compared to normally hearing children.

The evaluation methodology involved assessing the children's coordinated responses to stimulus appropriate to their age range. Assessments were made at the start and end of the 20 week classroom-based singing programme and against a control group of children of a similar age and background who were not undertaking the programme.

As well as showing an improvement in their singing, all the children showed a significant improvement in their pitch perception. Research has shown that poor musical and speech pitch perception impacts on a child's reading ability. From a first session score of zero, hearing impaired children with cochlea implants showed an improvement in their pitch perception over the duration of the programme.

Professor Graham Welch who led the study with Dr Debi Vickers, said, "These findings support the argument that hearing impaired children's attention and auditory perception, as well as vocal behaviour, can be increased through musical skills and vocal competency. A sustained singing experience has the potential to bring about even greater changes, especially if introduced sufficiently early in a child's life when there are possibilities of transfer effects due to the brain's underlying plasticity.

"Our research provides evidence to suggest that all children, and particularly those with hearing impairments, should have an extended and rich musical experience in home, pre-school and school settings."

The children, aged between five and seven years-old, came from a London primary school where approximately a fifth have a hearing impairment. The hearing impaired children consisted of those with hearing aids and those with cochlea implants. Researchers worked with the children on building a repertoire of simple songs with actions such as 'Twinkle, Twinkle, Little Star' and 'Happy Birthday'; a range of tongue twisters, for example 'Swedish wristwatch', 'red lorry, yellow lorry'; and images used for sound such as a dog panting and blowing a trumpet.

source: http://tinyurl.com/qapqgq8

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.

Fwd: "In Modern Dress" - Classical Music with Contemporary Technology: King's Place, London Oct 7th

Apologies for cross-posting - please find details of this impact event for our current AHRC Research Project

Please share with any colleagues or students who might be interested

Evocative spatial mixes of Debussy, Franck and Ravel, Dub versions of Chopin, a sample based remix of Haydn and a dark, heavy metal meets electronica version of Shostakovich:

Musicians and researchers from London College of Music, UWL will be creating an extraordinary immersive sonic and visual world of classical music re-imagined for the 21^st century at King's Place, London on October 7^th. Pieces by Chopin, Debussy, Franck, Haydn, Ravel and Shostakovich will be performed on digital keyboards and an electric string quartet and mixed and processed live into a surround sound audio system. This Arts and Humanities Research Council funded project is experimenting with fresh interpretations of music from the classical repertoire by taking a leaf out of the book of modern Shakespearian theatre and staging Classical Music "In Modern Dress".

Listen to some examples on our Vimeo Channel:

Extracts from the Haydn: https://vimeo.com/140241973

An extract from Debussy's La Cathedrale Egloutie: https://vimeo.com/140367462 

An extract from the Shostakovich: https://vimeo.com/140297485 

Tickets from £9.50 (Saver) or £14.50 - £29.50:  

We're using our interpretations of these familiar pieces to devise dub mixes, multimedia surround-sound projections and expressive audio visual processing that we think sheds new light on old favourites. We're performing Shostakovich's dramatic 8^th string quartet through a battery of guitar effects pedals. We're drawing on Haydn's playful wit and imaginative variation in his Piano Sonata in C to vary the sounds as well as the pitches and rhythms – getting inside the piano and scratching, scraping and hitting it. And we're expanding on the impressionistic aspects of the Ravel and Debussy pieces to create sensuous and evocative surround sound environments that conjure up the various magical, whimsical and wistful narratives of the music.

Professor Simon Zagorski-Thomas will be joined in the performance by Dr. Andrew Bourbon, Dr. Emilie Capulet and Nataša Šarčević of London College of Music, postgraduate students Trinh Lu, Sulhee Kim and the Konvalia Electric String Quartet.

The performance is part of a larger project that explores the potential of bringing the classical repertoire of the past four hundred years into the 21^st Century. We're not trying to replace traditional forms of performance and recording in classical music, simply to add to it. Just as Justin Kurzel's new film interpretation of Macbeth uses the visual language of CGI from fantasy and sci-fi films to put Shakespeare into a contemporary context, we're doing a similar thing with Palestrina, Haydn, Mozart, Ravel and Shostakovich. The Haydn piano sonata, for example, was a piece he wrote to explore the creative possibilities of new piano technology with a wider range and stronger tone. We're taking that idea and running with it – using contemporary keyboard technology, digital sampling and electronic processing to take that exploration even further.

We expect it will be controversial for some audiences because classical music has been very resistant to change, but there is a lot of exciting work going on - from opera in pubs to live transmissions from concert halls to cinemas around the world. This isn't about dumbing down. It's about exploring and experimenting with the artistic possibilities of staging these works in new ways. In recent years, those experiments have mostly been about making the audience environment less elitist and off-putting, but we're looking at changing the actual sonic experience as well.

http://www.kingsplace.co.uk/whats-on-book-tickets/music/in-modern-dress-classical-music-with-contemporary-technology#.VgPUfc6R2p0

http://www.uwl.ac.uk/classical-music-hyper-production

Fwd: "In Modern Dress" - Classical Music with Contemporary Technology: King's Place, London Oct 7th

Apologies for cross-posting - please find details of this impact event for our current AHRC Research Project

Please share with any colleagues or students who might be interested

Evocative spatial mixes of Debussy, Franck and Ravel, Dub versions of Chopin, a sample based remix of Haydn and a dark, heavy metal meets electronica version of Shostakovich:

Musicians and researchers from London College of Music, UWL will be creating an extraordinary immersive sonic and visual world of classical music re-imagined for the 21^st century at King's Place, London on October 7^th. Pieces by Chopin, Debussy, Franck, Haydn, Ravel and Shostakovich will be performed on digital keyboards and an electric string quartet and mixed and processed live into a surround sound audio system. This Arts and Humanities Research Council funded project is experimenting with fresh interpretations of music from the classical repertoire by taking a leaf out of the book of modern Shakespearian theatre and staging Classical Music "In Modern Dress".

Listen to some examples on our Vimeo Channel:

Extracts from the Haydn: https://vimeo.com/140241973

An extract from Debussy's La Cathedrale Egloutie: https://vimeo.com/140367462 

An extract from the Shostakovich: https://vimeo.com/140297485 

Tickets from £9.50 (Saver) or £14.50 - £29.50:  

We're using our interpretations of these familiar pieces to devise dub mixes, multimedia surround-sound projections and expressive audio visual processing that we think sheds new light on old favourites. We're performing Shostakovich's dramatic 8^th string quartet through a battery of guitar effects pedals. We're drawing on Haydn's playful wit and imaginative variation in his Piano Sonata in C to vary the sounds as well as the pitches and rhythms – getting inside the piano and scratching, scraping and hitting it. And we're expanding on the impressionistic aspects of the Ravel and Debussy pieces to create sensuous and evocative surround sound environments that conjure up the various magical, whimsical and wistful narratives of the music.

Professor Simon Zagorski-Thomas will be joined in the performance by Dr. Andrew Bourbon, Dr. Emilie Capulet and Nataša Šarčević of London College of Music, postgraduate students Trinh Lu, Sulhee Kim and the Konvalia Electric String Quartet.

The performance is part of a larger project that explores the potential of bringing the classical repertoire of the past four hundred years into the 21^st Century. We're not trying to replace traditional forms of performance and recording in classical music, simply to add to it. Just as Justin Kurzel's new film interpretation of Macbeth uses the visual language of CGI from fantasy and sci-fi films to put Shakespeare into a contemporary context, we're doing a similar thing with Palestrina, Haydn, Mozart, Ravel and Shostakovich. The Haydn piano sonata, for example, was a piece he wrote to explore the creative possibilities of new piano technology with a wider range and stronger tone. We're taking that idea and running with it – using contemporary keyboard technology, digital sampling and electronic processing to take that exploration even further.

We expect it will be controversial for some audiences because classical music has been very resistant to change, but there is a lot of exciting work going on - from opera in pubs to live transmissions from concert halls to cinemas around the world. This isn't about dumbing down. It's about exploring and experimenting with the artistic possibilities of staging these works in new ways. In recent years, those experiments have mostly been about making the audience environment less elitist and off-putting, but we're looking at changing the actual sonic experience as well.

http://www.kingsplace.co.uk/whats-on-book-tickets/music/in-modern-dress-classical-music-with-contemporary-technology#.VgPUfc6R2p0

http://www.uwl.ac.uk/classical-music-hyper-production

Fwd: FW: Early Years @ Music Conference

 

Weds 7^th October, Tri-borough Music Education Conference

The Tri-borough Music Hub is delivering a Music Education Conference on Weds 7th October in partnership with Music Mark, ABRSM and Lyric Hammersmith (where they are based).

 

The day is aimed at all schools, instrumental tutors, partner cultural organisations, and music professionals. The full programme is here http://bit.ly/1JK7cDW and also attached; and booking is being handled by Music Mark here https://musicmark.wufoo.eu/forms/triborough-music-education-conference/.

 

Tickets are £50 per person; students £20.

 

We would like to encourage EYFS colleagues to attend as we are focusing on quality Music Education within the EYFS and this is an area which the Music Hub is looking focus on in the coming year. We have a host of outstanding speakers and highly practical sessions – see full programme for details.

 

At the end of the day there is also an invitation for delegates to attend a drinks reception hosted by Youth Music Theatre:

One of our partners, Youth Music Theatre UK, invites delegates to a special Drinks Reception after the Tri-borough Music Education Conference on Wednesday 7 October, 4.30pm – 6.00pm at the Lyric Hammersmith to meet with our Outreach Programme Director, Pete Gallagher. YMT's Outreach projects form part of our Explore Programme, which offers London schools low-cost performing arts workshops delivered by expert practitioners and tailored to your needs. Join us at the Peyton & Byrne Bar at the Lyric Hammersmith to find out more.

 

If there are any questions about the day please contact me at stuart.whatmore@triboroughmusichub.org or call 020 3745 6024.

 

With thanks and best wishes,

 

 

Stuart Whatmore

Manager

Tri-borough Music Hub

 

Tel: 0203 745 6026 | Mob: 07976 060148

Lyric Square, King Street, London, W6 0QL

www.triboroughmusichub.org | www.twitter.com/tbmhmusic

 

 

Weds 7^th October, Tri-borough Music Education Conference http://bit.ly/1JK7cDW.

Battle of the Bands,http://triboroughmusichub.org/battle-bands

CPD and Training http://triboroughmusichub.org/tri-borough-music-hub-2015-16-academic-year-cpd-programme-and-events-programme

Out of School Music Tuition, Orchestras and Choirs Brochure  http://triboroughmusichub.org/out-school-music-brochure-2015-16

 

 

Our Values:Productive;Ambitious; Collaborative; Enterprising

 

There are over 80 free or low-cost activities and events for residents aged 65+ running from Monday 28 September to Friday 9 October as part of our Silver Sunday celebrations. For more details go to http://www.rbkc.gov.uk/silversunday Celebration of Science: Free talks and events to celebrate science from Saturday 3 October until Sunday 18 October at Kensington Town Hall.

Fwd: Music and technology event

Please find details of a music and technology event I am organising next month.

The 'Humanising Music Technology' event will feature workshops, performances and presentations about how technology aids human creativity. We would like to invite you to this event which will take place on Monday 16th November at JW3, West Hampstead.

Further details and registration (free) here.

1:30pm – Musical Hacking with Andrew McPherson and Alan Chamberlain

4:00pm – Opening

4:10pm – TaCEM Project with Michael Clark, Frédéric Dufeu and Peter Manning

5:00pm – short presentations

5:40pm -  Dinner break

7:00pm – Concert with Torbjorn Hultmark and Matt Wright

This event is part of the Being Human Festival of the Humanities

Singing, Science & Adventure - event for all ages (9 yrs +)

Singing, Science & Adventure - event for all ages (9 yrs +)

The Landmark Arts Centre, Teddington

CLICK HERE to download a flyer.

Discover how singing can improve your health and wellbeing with The Musical Brain. Join in and explore with scientists and musicians how Neanderthals used their voices to navigate caves, how the voice evolved, what happens in your brain when you sing and how group singing can make you and others happy.

We're delighted to have three experts leading the event, alongside people from the local community:

Prof Steven Mithen, author of The Singing Neanderthals, deputy vice chancellor and Dean of the Faculty of Science of Reading University, on the evolution of the human voice and singing;

Dr Evangelos Himonides, reader in Technology, Education and Music at UCL Institute of Education on the vocal instrument, how it works, its functions and uniqueness;

and Vivien Ellis, singer and researcher (Sidney de Haan Research Centre for Arts and Health) who will use singing, movement and body percussion in her presentation on singing and health, with the audience/children all taking part.

This event is part of the national Fun Palaces weekend – a free celebration of culture, arts and science at the heart of our communities. (www.funpalaces.co.uk)

Friday 2 October – 10.30-12.00 and 1.30-3.00 (school groups)
Saturday 3 October – 11.00-12.30 (for everybody)
The Landmark Arts Centre, Teddington, TW11 9NN

Call 0208 977 7558 to register your FREE place for the Saturday event.