Fwd: SOUND AND MUSICAL INSTRUMENTS CONFERENCE 2016 Portugal | CfP

CONGRESSO DE ORGANOLOGIA | 2016 | ORGANOLOGICAL CONGRESS

5^th International Scientific Meeting for Sound and Musical Instrument Studies

28.29.30.31 / Outubro|October 

TOMAR region – PORTUGAL

[ In Tomar: an extraordinary Unesco World Heritage site, the Templar's Castle, absolutely a must see (video link) ]

CALL FOR PAPERS

THEME 2016 'Times and Challenges'

As in previous years, all proposals on Organological matters (sound and musical insruments) are welcome to our congress, the main theme working as a trampoline for specific ideas that engender bounding threads along the various days of debates and exchange. Our themes are usually broad, naturally following the commitment to cover the various areas related to Organology and to provoke sparkles of inventiveness and constructive thoughts in an interdisciplinary way.

This year's theme promotes thoughts about what time brings, the novelty or the oblivion, about changes or the conservation of tradition. An example, which is particularly important in nowadays instrument construction and performance, is the issue of 'originals' and the differences brought by the 'copies'. So to say, what was done "then in the past" related to what is being done "now in the present", by using various different materials and methodologies, or by trying the utmost closest replica with the same building techniques, although historical objects are many times impossible to remake. The 'know how', which we understand from observing the preserved objects, is many times lost with the passing of the years and the missing link with a direct transmission from the Master crafters – even though we try hard to reach it with all the means now available. One question that can be addressed in most cases, by and large in all inventions: what happens that causes so many improvements in specific sound objects to be "ignored" and completely forgotten? Our congress addresses also the challenges in education (especially the problems derived from lack of awareness and due care…); tools and training; the fast-continuous-hard and software-upgrading which brings electronic apparatus obsolete after uttering the word "new" (as in a permanent running against time); the analysis of the past century of information generated with multimedia, versus other registration/archive forms; copyright issues, arguments and strategies; adaptation or novelty in performance brought by 'new' or changed instruments (in all types of music); the future of Organology...

Besides interesting discussions regarding organological issues from various areas of expertise, we are very happy to inform that there is a special focus on "Historical Flutes" this year, an iniciative under the direction of ANIMUSIC'S member Professor Michael Lynn (Oberlin Conservatory, USA). Top collectors and makers from America and Europe shall meet in Portugal and show their work, and excellent music on rare instruments will be performed.

PROPOSALS

We welcome proposals for papers (15+5mn for questions and handover), panels (one hour), and posters, as well as demonstrations, lecture-recitals (30 to 40 minutes) and full concerts (between one hour and one and a half hour). In addition, participants, namely inventors, makers and collectors, have the possibility to show a selection of their musical instruments or designs at the Exhibition. The ENCONTROIM is a special showcase offered by ANIMUSIC and the hosts, with no charge (participation is free, and it is open to the general public). There is also a specific display area for books, scores, and other items, available during the conference days.

The common language for presentations is English. Papers may be read in Portuguese, Spanish, French or Italian, provided the PowerPoint projection is in English. We also provide direct translation if necessary and possible - please contact us if you need help.

SUBMISSION

We look forward to abstracts that describe original and technically excellent research from various perspectives. The title, abstract (in English or bilingual, of up to 300 words), and a biographical note (up to 100 words) should be received by email on or before the 30th of June of 2016. The results shall be communicated individually by middle July after being peer-reviewed by the Scientific Committee. Papers presented at the Organological Congresses may be submitted for publication in the conference proceedings (collection 'Liranimus').

Please send proposals to congressorg2016.animusic@gmail.com

For further and updated information please check the Organological Congress 2016' website at this link, also www.animusic-portugal.org , or contact us at the email above.

If you don't receive an answer regarding your proposal or inquiry, please send again with Cc to: animusic.portugal@gmail.com .Thank You!

DATES

30/06/2016 | 30th June

Call for Papers deadline | Data limite para propostas

15/07/2016 | 15th July

Communication of acceptance by the Scientific Committee must have been received by this date, otherwise please contact the organization (email below). | Caso a resposta do Conselho Científico não tenha sido recebida, por favor contactar-nos para o endereço electrónico abaixo:

email: congressorg2016.animusic@gmail.com // animusic.portugal@gmail.com

31/08/2016 | 31st August

Early-bird registration deadline | Data limite para inscrição prévia com desconto

28, 29, 30/10/2016

Sessions, recitals and concerts in Tomar and Abrantes, with a special 'Flute Focus' program | Sessões, recitais e concertos em Tomar e Abrantes, com um programa especial dedicado às flautas

Exhibitions/ENCONTROIM: Tomar & Abrantes

31/10/2016

Cultural tour and recitals: Castelo de Bode lake and region landscape; Constância; Torres Novas Castle and Museum (with Cristofori action rare pianoforte); Casa dos Vargos (recital at the chapel, cocktail and the closing of the Congress).  Includes visiting the largest travelling carrillon in the world, the  'Carrilhão Lvsitanvs', with a concert by the 'International Center for the Carrillon and the Organ' in Constância, the fosterers of such a great project. | Visita a locais de interesse com recitais e concerto com o 'Carrilhão Lvsitanvs' pelo 'Centro Internacional do Carrilhão e do Órgão', em Constância, a Associação que criou este importantíssimo projecto (ligação ao CICO) .

4-8/11/2016 | from 4th to 8th of November

POST-CONGRESS PROGRAM IN ITALY | PROGRAMA POST-CONGRESSO EM ITÁLIA

Please check the program page for updated information (link).

All CIMCIM/ICOM, AMIS, Galpin Society, HBS, Acoustics, or related societies' members are welcome to join us, being offered a special discount (ANIMUSIC's activities are based on volunteer work, registration fee is kept  at a minimum while providing high quality service).

We invite you to have a look at the Congress website: link.

Welcome to Portugal...

www.animusic-portugal.org

1st Conference on Computer Simulation of Musical Creativity

Dear All,

Registration for the 1st Conference on Computer Simulation of Musical Creativity (17-19 June, University of Huddersfield, UK) is now open. The registration fee is £40 for students and £60 for non students. To register please go to https://csmc2016.wordpress.com/registration/

Keynote speakers: Graeme Bailey (Cornell University), Geraint Wiggins (Queen Mary University of London).

For more information about the conference, please visit https://csmc2016.wordpress.com/

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

CONFERENCE PROGRAMME

FRIDAY 17 JUNE

9.00 – 10.00 Registration

10.00 – 10.30 Coffee

10.30 – 11.00 Welcome

11.00 – 12.30 Paper Session 1: Machine-Learning Generative Systems

• Algorithmic Composition of Melodies with Deep Recurrent Neural Networks – Florian Colombo, Samuel P. Muscinelli, Alex Seeholzer, Johanni Brea, Wulfram Gerstner
• Text-based LSTM Networks for Automatic Music Composition – Keunwoo Choi, George Fazekas, Mark Sandler
• Music Transcription Modelling and Composition Using Deep Learning – Bob Sturm, João Felipe Santos, Oded Ben-Tal, Iryna Iryna Korshunova

12.30 – 14.00 Lunch

14.00 – 15.00 Panel Session 1: Evaluation of Creative Music Systems

15.00 – 16.00 Paper Session 2: Computers as Creative Tools

• A Model of Emergent Creativity in Sample Corpora – Christopher White
• Comparing Sounds of the Singing Voice – Christel Elisabeth Bonin

16.00 – 16.30 Coffee

16.30 – 17.30 Workshop Session 1: Hands-On Computer Simulation of Music Evolution – Marcelo Gimenes

18.30 – 19.30 Concert

---

SATURDAY 18 JUNE

9.00 – 9.30 Registration

9.30 – 11.00 Paper Session 3: Theoretical Perspectives on Creative Music Systems

• Creativity in the Generation of Machine Rhythms – Scott Barton
• Generative Music Evaluation: Why do We Limit to 'Human'? – Roisin Loughran, Michael O'Neill
• Creative Music Systems and the Individuation of Musical Works – Nemesio García-Carril Puy

11.00 – 11.30 Coffee

11.30 – 12.30 Workshop Session 2: A Composer and a Philosopher on a Mini­Roundabout: CityBuilder and Cybernetics – Stephen Overy, Kelcey Swain

12.30 – 14:00 Lunch

14.00 – 15:30 Paper Session 4: Systems for Enhancing Human Composition and Performance

• A Commensal Architecture for Evolving Living Instruments – Jonas Abernot, Guillaume Beslon, Simon Hickinbotham, Sergio Peignier, Christophe Rigotti
• Towards an Embodiment of Compositional Practice: the Ongoing Evolution of CloudCube – Simon Cummings
• The Undulatory Analysis: a Tool for Music Composition – Oswaldo Gonzalez-Lizausaba

15:30 – 16:00 Coffee

16:00 – 17:00 Keynote Lecture 1: Creative Expectations  - Graeme Bailey

17:00 – 18:00 Panel Session 2: Creative Music Systems: Bridging the Divide Between Academia and Industry?

19:30 Conference Dinner

---

SUNDAY 19 JUNE

9.00 – 9.30 Registration

9.30 – 11.00 Paper Session 5: Computers as Composers

• Evaluating a Swarm Algorithm as an Improvising Accompanist: an Experiment in Using Transformed Analysis of George E. Lewis's 'Voyager' – Rene Mogensen
• Exploring the Rules in Species Counterpoint – Iris Yuping Ren
• A Knowledge Engineering Approach to Computational Creativity in Sound Design – Eugene Cherny, Johan Lilius, Johannes Brusila, Dmitry Mouromtsev

11.00 – 11.30 Coffee

11.30 – 12.30 Round Table: Creative Music Systems: Current Capacities and Future Prospects

12.30 – 14:00 Lunch

14:00 – 15:00 Keynote Lecture 2  – Geraint Wiggins

15:00 – 16:00 Workshop Session 3: Towards Incorporating Computer-Aided Techniques to Interactive Aural Analysis –  Michael Clarke, Frédéric Dufeu, Peter Manning

16:00 – 16:30 Coffee and farewell

University of Huddersfield inspiring tomorrow's professionals.

Fully funded PhD studentships - Open University

The Computing and Communications department of the Open University has fully funded PhD studentships(s) available ( £14,296 per year).  Deadline is Tues 31st May.

 If interested, please contact me (Dr Robin Laney: robin.laney @ open.ac.uk) for an informal discussion and advice on constructing a proposal early, as a polished proposal will be needed.

 Applications from part-time candidates also welcome.

 I am interested in hearing from candidates in music computing, particularly for combinations of the following topics, but students are free to choose an area.

 Musical Contrast (and Similarity)
 Music and Emotion
 Music and Narrative
 Computational Creativity
 Computational Musicology
 Musical Pattern Discovery
 Statistical Music Generation
 Music for Computer Games
 Collaborative Music Environments
 Musical Tabletops
 MIR in Creative Settings

 A separate topic that might be of interest, and draw on some of the same themes and technologies, is the use of ubiquitous technology in group conflict resolution.

unded Research Studentships in Computer Science and Engineering

City University London is offering 6 fully funded Research Studentships in
Computer Science and Engineering to start in October 2016. The Music
Informatics Research Group in the Research Centre for Machine Learning at
City University London would particularly like to encourage PhD
applications in the area of music informatics.

Research interests in the Music Informatics Research Group include:
- machine learning models of music
- computational musicology
- audio signal analysis
- large-scale music and audio data analysis and applications
- semantic music applications
- joint audio-symbolic music modelling and analysis
- music generation systems
- user interfaces for music applications

Here are links with more information about the
- Music Informatics Research Group: http://mirg.city.ac.uk
<http://mirg.city.ac.uk/>
- Research Centre for Machine Learning:
http://www.city.ac.uk/machine-learning
- City University London: http://mirg.city.ac.uk <http://mirg.city.ac.uk/>
- Research studentship application:
http://www.city.ac.uk/city-graduate-school/fees-and-funding/university-doct
oral-studentships

The closing date for applications is the 26th May 2016. If you are
interested in applying please get in touch soon with
myself ( Tillman Weyde, t.e.weyde@city.ac.uk ) to discuss further details.

Evaluation brief: understanding the impact of Youth Music’s Fund C grants portfolio, June 2016 - June 2018

Evaluation brief: understanding the impact of Youth Music's Fund C grants portfolio,
June 2016 - June 2018

 

We are seeking a project team to lead on the evaluation of Youth Music's Fund C grants portfolio, which comprises 13 organisations located across the country.

 

About Youth Music

 

We're a national charity investing in music-making projects for children and young people facing challenging circumstances.

 

We believe everyone should have the chance to make music.

 

We currently fund over 350 projects across England. That's around 75,000 children and young people regularly making music each year.

 

Measuring our impact

 

We are an outcomes-based funder with a strong culture of impact measurement. Our outcomes approach underpins everything we do as a charity and grant-maker, with five areas: musical, personal and social outcomes for young people, plus outcomes for organisations and the workforce. Applicants for Youth Music funding have the flexibility to define their own outcomes, indicators and activities, helping us to respond to local need and of-the-minute issues.

 

All organisations supported by Youth Music are required to produce reports which contain quantitative monitoring data (on numbers of participants, sessions, etc.) and qualitative evaluation data (on outcomes and learning). We use this information to understand best practice, demonstrate our impact to supporters and donors, and to drive change.

About our Fund C projects

 

Our grants portfolio is divided into three funds - A, B and C - supporting projects of differing scale, scope and time.

 

We support 13 strategic partner organisations nationwide through our Fund C grants. 

 

Fund C awards are larger grants for projects with a dual role of delivery and strategic work. The fund's aim is for grantholders to work collaboratively with other organisations and individuals to promote high-quality musically inclusive practice within music education, ensuring that children and young people in challenging circumstances can participate in, influence and progress through their musical learning.

 

Fund C projects play a significant part in helping us achieve our goal of a musically inclusive England. The projects will help to achieve the following aims in Youth Music's 2016-2020 Business Plan:

 

• To increase impact for children and young people in challenging circumstances.
• To increase quality and reach of musically inclusive practice.

 

By 'musical inclusion' we mean an approach to music learning that includes everyone and all types of music. This means that we want to see a true diversity of styles, genres, and approaches to learning available to children and young people from all backgrounds. We believe in supporting young musicians beyond first access, progressing on their individual journeys within environments that are equipped to meet their needs. Being musically inclusive means challenging our ideas of what music is for, who music is for, and what role it can have in all our lives.

We believe that true musical inclusion can only happen if there are opportunities for all children and young people to be supported as musicians across all genres and styles, by practitioners who understand their needs and worldviews and who are equipped to help them on their individual learning journeys.

 

What we want you to do

 

There are two different parts to the evaluation:

 

1)    Understanding our impact (external)

 

We want you to produce a 5,000 word final evaluation report answering the following question:

 

·       To what extent and in what ways have Fund C organisations made Music Education Hubs more musically inclusive?

 

We will share this report widely with those working in the music, arts, education, local authority and youth sectors. We would also like you to write at least two blogs for our Youth Music Network exploring the findings.

 

 

2)    Supporting strategic learning (internal)

 

The Fund C grants were awarded in January 2015 and last for three years. Throughout the lifetime of the programme, we want to understand how it's going, identify successes and challenges, including what makes some approaches more successful than others.  This will support Youth Music and our strategic partners to learn from each other.

 

We want you to produce summaries of your findings for an internal audience of Youth Music and the Fund C projects. These should be no longer than 3,000 words each.

 

The summary reports will address ways in which Fund C projects are helping Youth Music to achieve its aims of increasing impact for children and young people in challenging circumstances, and increasing quality and reach of musically inclusive practice.

 

 

Activity timeline

 

 

Activity	Due Date	Audience	Max word count
Attendance at Fund C national summer meeting With opportunity to engage with Fund C partners	June 2016 (likely to be w/c 27 June)	Fund C partnership	N/A
Year 1 Summary Report Synthesised from grantholder self-evaluation reports	31 July 2016	Fund C partnership	3,000 words
Year 2 Progress Report	31 December 2016	Youth Music	3,000 words
Year 2 Summary Report	31 July 2017	Fund C partnership	3,000 words
Year 3 Progress Report	31 December 2017	Youth Music	3,000 words
Final Evaluation	30 June 2018	Music education sector	5,000 words
Youth Music Network blog x 2	To be proposed by evaluation partner	Music education sector	1,000 words each

 

 

 

 

 

Data collection

 

All Fund C organisations gather data and evidence for their individual self-evaluation plans. Appendix 2 (available on request – see 'How to apply') gives a summary of the type of information they are currently collecting.

 

We expect that you will need to collect some additional data from the Fund C projects: however we don't want to create too much extra work for them or to add onerous requirements onto their existing data collection plans.  Please take this into account when planning your evaluation methodology.

 

We will expect you to collect data directly from a representative sample of Music Education Hubs – and any other relevant stakeholders - in order to assess how far musically inclusive practice has been improved, introduced or embedded. 

 

We will commit at least one day per week of Youth Music staff time to support you with data collection throughout the project.

 

 

Your team

 

We want this evaluation to benefit from the collective expertise of a project team. We're looking for an evaluation team skilled in both careful, evidence-based research and clear, concise writing. We don't mind if you're currently all working for the same organisation or if you'd like to team up and apply collaboratively.

 

We won't accept applications from individuals, or anyone working for an organisation holding a Youth Music Fund C grant.

 

 

Our team

Nick, Learning and Evaluation Manager. Nick will project manage the evaluation from our side.

 

Katy, Research and Evaluation Assistant. Katy will be on hand to assist with data collection and analysis.

 

Sophie, Communications Manager. Sophie will work closely with you on the final evaluation report, helping you to shape your findings into a public-facing document that will be clear, informative and useful.

 

 

How to apply

 

Firstly, register your intent to apply and request copies of the appendices (1. Fund C overview; 2. Fund C self-evaluation evaluation summary; 3. Youth Music Grants and Learning Cycle) by emailing Katharine.robinson@youthmusic.org.uk  

 

 

One you have registered your interest and received the appendices, please submit your application by email to nick.wilsdon@youthmusic.org.uk. Your application should be a fully-costed proposal of no more than 1,500 words (not including appendices) covering all of the points below.

 

 

• Budget

Include a detailed budget that does not exceed £20,000 (i.e. £16,666.67 excluding VAT)

 

• Organisation profile and project team

Outline your professional profile and any experience relevant to this project. List the project team, time allocation for each team member and their respective roles. CVs and an example of one previous piece of relevant work from the lead author should be included as appendices. Please include plans for the involvement of Youth Music staff as part of your proposal, including training/briefing.

 

• Evaluation framework and methodology

Let us know your proposed framework, identifying the sub-questions which will help you answer the broad research question outlined above. Set out a thorough description of proposed data collection (sources, collection methods, sample questions and storage) and describe how this data will be analysed. Explain any proposed consultation with Youth Music grantholders that will inform how you approach and structure your work.

 

• Ethical considerations

Explain what professional ethical standards or principles will be applied to the conduct of your research.

 

 

• Timetable

Set out an indicative timetable for the work (including milestones), assuming a start date in June 2016. It is likely that additional data collection with Fund C projects and stakeholder organisations won't start until September 2016.

 

Application timeline

 

Deadline:                               5pm on Thursday 19 May

Invitation to interview:       Monday 30 May

Interviews:                           Wednesday 8 June

Inception meeting:             Tuesday 14 June

 

References

 

The following documents may be useful in planning your proposal:

 

Fund C applicant guidance notes: http://network.youthmusic.org.uk/sites/all/migrated_content/files_from_html/Fund_C_applicant_guidance_notes.pdf

 

Fund C Year 1 evaluation report template: http://network.youthmusic.org.uk/sites/default/files/users/Fund_C_Year_One_Evaluation_Report_Template.docx

 

Youth Music's quality framework: http://network.youthmusic.org.uk/resources/do-review-improve-quality-framework-music-education

 

Evaluation of Musical Inclusion programme:

http://network.youthmusic.org.uk/sites/default/files/uploads/research/The_power_of_equality_2_final_evaluation_of_Youth_Musics_Musical_Inclusion_programme_2012_2015.pdf

Music Education and Music Psychology Student Conference

Music Education and Music Psychology Student Conference

Wednesday 22 and Thursday 23 June 2016, Music Department, University of York UK

The conference will feature a keynote presentation given by Professor Graham Welch, internationally renowned expert in Music Education from University College London, as well as student papers and posters on topics relating to instrumental and vocal teaching, class music teaching, music psychology and approaches to studying these subjects. Registration is now open, and details of the programme are available on the conference website:  

https://musiceducationandpyschologyyork.wordpress.com/

Conference organisers: Dr Liz Haddon, Dr Hauke Egermann and MA Music Education students, University of York, UK

For further information please contact Dr Liz Haddon (Leader, MA in Music Education: Instrumental and Vocal Teaching), Music Department, University of York, Heslington, York YO10 5DD, email liz.haddon@york.ac.uk Tel: +44 (0)1904 324564

Fwd: Voice Foundation 2016

Dear Colleague,

If you are headed to Philadelphia for the Care of the Professional Voice meeting next month, I thought you might appreciate a quick preview of the wonderful and growing list of books on display at our booth. Plus, I have listed a couple of forthcoming titles that I know will be of interest. And if you cannot make it this year, please feel free to view details on our website.

We also hope to display a number of other books of interest from other publishing colleagues and, space permitting, are happy to incorporate your own books if you are published.

Hope to see you there! 

Otolaryngology-H&NS

Jaime Eaglin Moore, Robert T Sataloff, Mary J Hawkshaw (Eds) -                Vocal Fold Scar: Current Concepts and Management

Robert T Sataloff - Medical Musings

Sharat Mohan et al. - A Practical Guide to Laryngeal Framework Surgery (November 2016)

Tom Harris et al. - Voice Clinic Handbook 2ed (November 2016)

 

Speech & Language Pathology

Sue M. Jones - Laryngeal Endoscopy and Voice Therapy (March 2016)

Anne E. Vertigan & Peter Gibson - Speech Pathology Management of Chronic 

Refractory Cough and Related Disorders (June 2016)

Paul Carding - Evaluating the Effectiveness of Voice Therapy: Functional, Organic and Neurogenic Voice Disorders 2ed (November 2016)

Jan Baker - Psychosocial Perspectives on the Management of Voice Disorders (November 2016)

Singing, Voice, and the Performing Arts

Adam Rubin - The Vocal Pitstop (2014)

Robert T Sataloff et al. - 50 Ways to Abuse your Voice (2014)

Jenevora Williams - Teaching Singing to Children and Young Adults (2014)

Jennie Morton - The Authentic Performer: Wearing a Mask and the Effect on Health (2015)

Nicola Harrison  - The Wordsmith's Guide to English Song: Poetry, Music and Imagination - The Songs of Ivor Gurney (June 2016)

Nicola Harrison - The Wordsmith's Guide to English Song: Poetry, Music and Imagination - The Songs of Roger Quilter (June 2016)

Filipa La - The Female Singing Voice (November 2016)

Ron Morris & Linda Hutchison - IF IN DOUBT, BREATHE OUT! Breathing and Support Based on the Accent Method (July 2016)

Jean Callaghan - Singing and Science: Body, Brain and Voice 2ed (2014)

Michelle Nova and Patricia Collins - Singing Bel Canto: Art and Science (2014)

Martin Ashley - Contemporary Choral Work with Boys (2015)

Noel McPherson
Compton Publishing Ltd
Web: comptonpublishing.co.uk
Email: noelmcpherson@comptonpublishing.com
Skype: noelmcpherson
Land: +44 (0)1271 812410

Cell: +44 (0)7966 142824

Fwd: Call for Registration - 1st Conference on Computer Simulation of Musical Creativity, 17-19 June, Uni Of Huddersfield, UK

Dear All,

Registration for the 1st Conference on Computer Simulation of Musical Creativity (17-19 June, University of Huddersfield, UK) is now open. The registration fee is £40 for students and £60 for non students. To register, please go to https://csmc2016.wordpress.com/registration/

Keynote speakers: Graeme Bailey (Cornell University), Geraint Wiggins (Queen Mary University of London).

For more information about the conference, please visit https://csmc2016.wordpress.com/

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

CONFERENCE PROGRAMME

FRIDAY 17 JUNE

9.00 – 10.00 Registration

10.00 – 10.30 Coffee

10.30 – 11.00 Welcome

11.00 – 12.30 Paper Session 1: Machine-Learning Generative Systems

• Algorithmic Composition of Melodies with Deep Recurrent Neural Networks – Florian Colombo, Samuel P. Muscinelli, Alex Seeholzer, Johanni Brea, Wulfram Gerstner
• Text-based LSTM Networks for Automatic Music Composition – Keunwoo Choi, George Fazekas, Mark Sandler
• Music Transcription Modelling and Composition Using Deep Learning – Bob Sturm, João Felipe Santos, Oded Ben-Tal, Iryna Iryna Korshunova

12.30 – 14.00 Lunch

14.00 – 15.00 Panel Session 1: Evaluation of Creative Music Systems

15.00 – 16.00 Paper Session 2: Computers as Creative Tools

• A Model of Emergent Creativity in Sample Corpora – Christopher White
• Comparing Sounds of the Singing Voice – Christel Elisabeth Bonin

16.00 – 16.30 Coffee

16.30 – 17.30 Workshop Session 1: Hands-On Computer Simulation of Music Evolution – Marcelo Gimenes

18.30 – 19.30 Concert

---

SATURDAY 18 JUNE

9.00 – 9.30 Registration

9.30 – 11.00 Paper Session 3: Theoretical Perspectives on Creative Music Systems

• Creativity in the Generation of Machine Rhythms – Scott Barton
• Generative Music Evaluation: Why do We Limit to 'Human'? – Roisin Loughran, Michael O'Neill
• Creative Music Systems and the Individuation of Musical Works – Nemesio García-Carril Puy

11.00 – 11.30 Coffee

11.30 – 12.30 Workshop Session 2: A Composer and a Philosopher on a Mini­Roundabout: CityBuilder and Cybernetics – Stephen Overy, Kelcey Swain

12.30 – 14:00 Lunch

14.00 – 15:30 Paper Session 4: Systems for Enhancing Human Composition and Performance

• A Commensal Architecture for Evolving Living Instruments – Jonas Abernot, Guillaume Beslon, Simon Hickinbotham, Sergio Peignier, Christophe Rigotti
• Towards an Embodiment of Compositional Practice: the Ongoing Evolution of CloudCube – Simon Cummings
• The Undulatory Analysis: a Tool for Music Composition – Oswaldo Gonzalez-Lizausaba

15:30 – 16:00 Coffee

16:00 – 17:00 Keynote Lecture 1 – Graeme Bailey

17:00 – 18:00 Panel Session 2: Creative Music Systems: Bridging the Divide Between Academia and Industry?

19:30 Conference Dinner

---

SUNDAY 19 JUNE

9.00 – 9.30 Registration

9.30 – 11.00 Paper Session 5: Computers as Composers

• Evaluating a Swarm Algorithm as an Improvising Accompanist: an Experiment in Using Transformed Analysis of George E. Lewis's 'Voyager' – Rene Mogensen
• Exploring the Rules in Species Counterpoint – Iris Yuping Ren
• A Knowledge Engineering Approach to Computational Creativity in Sound Design – Eugene Cherny, Johan Lilius, Johannes Brusila, Dmitry Mouromtsev

11.00 – 11.30 Coffee

11.30 – 12.30 Round Table: Creative Music Systems: Current Capacities and Future Prospects

12.30 – 14:00 Lunch

14:00 – 15:00 Keynote Lecture 2  – Geraint Wiggins

15:00 – 16:00 Workshop Session 3: Towards Incorporating Computer-Aided Techniques to Interactive Aural Analysis –  Michael Clarke, Frédéric Dufeu, Peter Manning

16:00 – 16:30 Coffee and farewell