Dear list,
we are currently recruiting an hourly paid lecturer for an
undergraduate module to be taught in the Summer Term of 2018-19 within
the York Music Psychology Group, University of York. Please find
details of the course to be taught below. Could you please forward
this email to interested colleagues and graduates?
We would require from our candidate a completed PhD in Music
Psychology or a related discipline (or to be close to PhD completion)
and some previous teaching experience. Interested candidates should
send an email to hauke.egermann@york.ac.uk and attach a short CV and
any possible references for teaching (or give names of possible
referees). We will start considering applicants from 24 July 2018
onwards. Payments will be made according to the comprehensive lecturer
rates and there will be an opportunity to continue teaching in our
department for several subsequent years at undergraduate level.
Module title:
Introduction to the Psychology of Music
Module content:
Music Psychology aims to explain and understand musical behaviour and
experience, including the processes through which music is created,
perceived, responded to, and incorporated into everyday life (Tan,
Pfordrescher, Harré, 2010). Accordingly, this module will introduce
students to the basic mechanisms underlying these human capacities. We
will start with engaging in the functionality of the auditory system
and from there, elaborate on the perception and cognition of musical
elements, such as melody, rhythm, harmony, timbre or higher level
structures like compositional form or expressiveness. Subsequently, we
focus on basic principles underlying listener experience (aesthetics,
emotion, and preferences). Finally, the module will provide a
introduction to the mechanisms that underlie musical performance
skills, like sensorimotor learning, training, and musical talent.
During the course of this module, students will be also introduced to
basic principles of social science research methods including the
design of experimental studies, statistics, and data analyses.
Further details on the module can be found here:
https://www.york.ac.uk/students/studying/manage/programmes/module-catalogue/module/MUS00112H/2018-19
Dates of the summer term in York are 15 April 2019 till 21 June 2019,
but it is not expected that applicants are present in York during the
whole term.
Kind regards,
Hauke
Dr Hauke Egermann
Assistant Professor in Music Psychology
York Music Psychology Group (YMPG) (Director)
Music Science and Technology Research Cluster
Department of Music
University of York
Heslington, York
YO10 5DD, UK
Phone: +44 - 1904 - 324303
hauke.egermann@york.ac.uk
Room: MRC / 003
- my office hours are Monday to Friday 9am to 5pm -
www.ympg.uk
www.egermann.net
facebook.com/ympgsite
****please have a look at my TEDx talk: http://youtu.be/kzFgoaZ9-VQ *****
Dr Hauke Egermann
Assistant Professor in Music Psychology
York Music Psychology Group (Director)
Music Science and Technology Research Cluster
Department of Music
University of York
Heslington, York
YO10 5DD, UK
Phone: +44 - 1904 - 324303
hauke.egermann@york.ac.uk
Room: MRC / 003
- my office hours are Monday to Friday 9am to 5pm -
www.ympg.uk
www.egermann.net
facebook.com/ympgsite
****please have a look at my TEDx talk: http://youtu.be/kzFgoaZ9-VQ *****
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Thursday, July 12, 2018
Tuesday, July 3, 2018
Fwd: composition competition
folk-rnn composition competition
The aim of this competition is to explore an application of machine learning to music --- in particular the online tool at folkrnn.org.
This model is an example of artificial intelligence trained on traditional tunes mainly Irish and English. The web interface allows users to generate new melodies using a few parameters (There's a video on the website that explains how it works). We are seeking works that make creative use of this tool to compose new pieces, which do not need to adhere to the idiom of the training material.
Submissions will be judged on their musical quality and their utilisation of outputs from folkrnn.org
The winning piece will be performed by a professional ensemble at a public concert in London, UK, in early October 2018.
We welcome submissions from any composer without restriction of age or nationality. Attendance at the concert is not mandatory. There is no cost for submitting a work.
Rules for submitted works:
1. scored for any combination of the following instruments: flute, clarinet, violin, cello, and piano (only 1 each); no use of amplification or electronic instruments is allowed;
2. no longer than 10 minutes in duration;
3. must be derived in some way from material generated by the application at folkrnn.org
4. must be accompanied by a written explanation of how the work comes about from the use artificial intelligence throughthe folkrnn.org
website. Composers can also accompany the text with illustrations (e.g. staff notation).
5. no restrictions on style, or the way the outputs from folkrnn.org
are used;
Important dates:
- August 31 2018: Submission of PDF score and required accompanying material by email to competition@folkrnn.org
- September 15 2018: Notification
- September 25 2018: Performance materials due
- October 9 2018: Concert (London UK)
For more information about the technology, see the following:
http://theconversation.com/mac
https://www.inverse.com/articl
If you have questions or comments, contact Dr. Oded Ben-Tal: o.ben-tal@kingston.ac
Fwd: ICVPB Proceedings Extension, Accommodation, other logistics
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The 5th MERYC-England conference will be hosted by Bristol Plays Music at Colston Hall, Colston Street, Bristol, BS1 5AR.
This 5th conference follows the first meeting in 2012 at University of Roehampton, the second in 2014 at University of Cambridge, the third in 2015 with Berkshire Maestros, the fourth in 2016 at Edge Hill University. It is led by the MERYC-England, a charitable incorporated organisation, affiliated to EuNet MERYC that hosts a European conference biennially. MERYC-England hosts its meetings on the alternate biennial years.
This two-day conference aims to explore new directions in early childhood music education whilst valuing our traditions and heritages. You will have the opportunity to reflect on how research can influence five key questions:
1. What are the new directions emerging in ECME in England?
2. How do traditional music education approaches and methods relate to new directions?
3. How do we ensure creative environments for musical play with both adults and children?
4. How do we reflect professionally on the values and traditions of early childhood music education?
5. What key messages do we want to communicate to the wider early childhood education and music education communities?
We encourage interactive participation through discussion, practical activities, dissemination of research and innovative practice relating to the field of music in early childhood (0-8 years), in education (both inside and outside school), informal learning contexts and everyday life.
We are indebted to our partners in this conference: Take Art and Bristol Plays Music, for their generous financial sponsorship, organisational and administrative support.
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