Open PhD position at the University of Graz

Call for Doctoral Student
The Centre for Systematic Musicology of The University of Graz, Austria, offers one fullyfunded
doctoral fellowship on the topic of Musical Creativity for a period of three years. The
successful applicant will enroll in the Doctorate of Philosophy program at the Faculty of
Humanities, University of Graz, will be supervised by Dr. Andrea Schiavio, and will contribute
to a collaborative project funded by the Austrian Science Fund (FWF) (link). The project, led
by Schiavio, combines theoretical and empirical research to explore links between creative
cognition, intersubjectivity, and action, in the contexts of musical performance, composition,
and learning. The candidate will contribute to this research by taking part in and facilitating
experiments, and generating original work on musical creativity (or a closely related area), for
his or her dissertation.
Details of the contract
• 100% employment contract funded by the Austrian Science Fund (FWF), Project:
P32460 - "Together in Music. Creative tools for music performance, education, and
composition"
• starting date: 01 October 2020.
Prerequisites
• Applicants are expected to hold (or about to obtain) an excellent Masters degree in
music, musicology, cognitive sciences, psychology, neuroscience, or relevant
discipline.
• Applicants are expected to have hands-on experience with empirical research and data
analysis.
• Excellent English proficiency is compulsory. Basic knowledge of German desirable.
Applications shall include
• CV
• 2-page motivation letter (explaining your suitability for the project)
• PhD proposal: max. 3000 words (written in English, including questions, objectives,
methods).
• Optional: Masters thesis, or draft of thesis, or thesis proposal, or draft journal
submission (preferably in English, but at least with English title and abstract)
Deadline for applications: 01.04.2020
To apply, please send via email all material, in one cumulative PDF file, to Dr. Andrea Schiavio
(andrea.schiavio@uni-graz.at). Please write "PhD Application Musical Creativity" as object.

Fwd: Valuing and Evaluating Music Performance

Valuing and Evaluating Music Performance

 

An international workshop for researchers and practitioners in music performance evaluation

 

17 - 19 April 2020

Conservatorio della Svizzera italiana, Lugano, Switzerland

 

The evaluation and assessment of musical performance is central to the career of any aspiring musician. Valuing and Evaluating Music Performance will bring together leaders in research, education, and performance to foster discussion and knowledge exchange between research and musical practice.

 

The workshop is organized in collaboration with the Centre for Performance Science, Royal College of Music London, and will offer plenary presentations, experiential learning activities, and roundtable discussions.

 

International speakers will present on a range of topics including the psychological and aesthetic underpinnings of music performance evaluation, the skills and tools of the expert evaluator, and the contexts in which evaluations take place. Speakers will include:

 

Michele Biasutti, University of Padua
Hubert Eiholzer, Conservatorio della Svizzera italiana Lugano

Solange Glasser, University of Melbourne

Noola Griffiths, Teesside University
Evangelos Himonides, University College London

Ivan Hewett, Royal College of Music

Gary McPherson, University of Melbourne  

Stephanie Pitts, University of Sheffield
Rafael Ramirez, Universitat Pompeu Fabra

George Waddell, Royal College of Music

 

Registration

Spaces are limited. To register, please click here.
Registration will close on 20 March 2020.

 

Workshop fees:

Participants: CHF 200

External students: CHF 100

 

The registration fees include lunches and attendance at workshop presentations and activities.

 

For more information, please visit the workshop website.

 

Hubert Eiholzer

Aaron Williamon

Anna Modesti

George Waddell

 

York Music Education Conference 2020: Learner voice

York Music Education Conference 2020: Learner voice

Music Department, University of York, 29-30 May 2020

Deadline for proposals: Friday 13 March 2020

In recent years there has been an increasing recognition of the importance of learner voice in music education. By placing this at the heart of music teaching and learning we seek to include and empower all learners regardless of music educational setting and the age, ability, or number of learners. A learner-centred approach encourages active participation and meaningful engagement with learning which can not only raise standards of achievement but potentially also lead to new pedagogical practices.

This conference will bring together researchers, teachers, practitioners, and students to stimulate critical discussion and sharing of learner voice approaches in a wide range of music education contexts and to facilitate reflection on effective practice. Cross-disciplinary perspectives from music psychology, healthcare, and music technology are welcome.

SUBMISSIONS

Proposals are invited from researchers, teachers, learners, and practitioners; submissions from postgraduate research students and early-career academics are encouraged. Proposals should show how the topic relates to the conference theme and are welcome for presentations in various formats:

- Spoken papers (20 minutes + 10 minutes for Q&A)

- Interactive poster presentations

- Workshops (45 minutes)

- Panels (45 minutes)

- Short provocations (max. 5 minutes followed by discussion)

Please send abstracts (max. 250 words) and biographies for all presenters (max. 150 words) by email to Dr Caroline Waddington-Jones (caroline.waddington-jones@york.ac.uk) by Friday 13 March 2020.

Fwd: PhD position in Sound and Music Computing, KTH, Stockholm, Sweden

Doctoral student in Sound and Music Computing
KTH Royal Institute of Technology
Stockholm, Sweden

Project description
Third-cycle subject: Media Technology
The project you will work in is funded by the Swedish agency
Vetenskapsrådet, and is titled "Historically informed design of sound
synthesis". Based on a forgotten treasure, the Elektronmusikstudion
(EMS) collection of historical analog synthesizers from the 60ies and
70ies, we aim to create a series of digital electronic music instruments
enabling different expressions and instrumental forms. Your task will be
to explore the collection, to implement digital emulations of some of
the instruments, and to develop user interfaces for them. You will then
collaborate with artists at the royal college of music (KMH) to use
these instruments within new compositions, and conduct user tests with
online communities.Your work will take place at the Division of Media
Technology and Interaction design (MID), in the Sound and Music
Computing (SMC) team. You will collaborate with the Royal College of
Music and with the organization hosting the synthesizer collection
(Musikverket). In addition, you will be able to apply for short term
scientific missions to visit partners in the Nordic SMC network during
your studies.

Supervision: The doctoral student will be supervised by: Andre Holzapfel
(main supervisor), Sandra Pauletto (co-supervisor, KTH), Henrik Frisk,
(co-supervisor, KMH), Dan Lundberg (co-supervisor, Musikverket).

Application info (Deadline 20 March 2020):
https://www.kth.se/en/om/work-at-kth/lediga-jobb/what:job/jobID:315148/type:job/where:4/apply:1

--
Andre Holzapfel
Assistant Professor
KTH Royal Institute of Technology
School of Computer Science and Communication
Media Technology and Interaction Design
https://www.kth.se/profile/holzap

Fwd: postdoc opportunity (KTH, Stockholm)

From: Bob Sturm <bobs@kth.se>

I'm happy to announce the first postdoc position (Music Cultures and AI) of my new ERC Consolidator Grant: https://www.kth.se/en/om/work-at-kth/lediga-jobb/what:job/jobID:317558 

I'm looking for the best and brightest candidates, with a strong background from at least one of these areas, or related fields:     

• (ethno)musicology      

• anthropology     

• science and technology studies 

The candidate must have experience in performing ethnographies, as well as quantitative and qualitative research methods. Well-developed analytical and problem-solving skills are a requirement. Musicianship is not essential, but desired. The successful applicant should have an outstanding research and publication record. The successful applicant must have an awareness of diversity and equal treatment issues with a particular focus on gender equality. Very good command of English orally and in writing is required to present and publish research results. Great emphasis will be placed on personal competence and suitability.

Please forward this announcement to anyone you feel would be a great candidate. I'm happy to answer any questions.

Sincerely,

Bob L. T. Sturm, Associate Professor
Tal, Musik och Hörsel (Speech, Music and Hearing)
Lindstedtsvägen 24
School of Electronic Engineering and Computer Science
Royal Institute of Technology KTH, SE-100 44 Stockholm, Sweden
https://highnoongmt.wordpress.com

Fwd: [DMRN-LIST] Innovation in Music 2020: Call for papers

Innovation in Music 2020 in Stockholm 03-05 December 2020

Music Production: International Perspectives

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

***Apologies for Cross Posting***
Please forward to interested parties within your institution and beyond.

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

Call For Papers

​Innovation in Music 2020 will be held at the Royal College of Music, Stockholm, Sweden on 03 - 05 December 2020. A Routledge conference proceedings book will be published in 2021. 

The titled theme is "Music Production: International Perspectives" and whilst contributions aligning to this are encouraged, it is not exclusive; the conference scope remains multi-disciplinary as below.

Innovation in Music welcomes academics, creatives, producers, artists, industry professionals, technology developers and equipment manufacturers to come together and submit abstracts for consideration on a wide range of topics including:

·       ​Innovative music creation and performance

·       Music production: past, present and future

·       Music technology innovation

·       Innovation in music business

·       Innovation in music in the Nordic countries

o   and the relationship to International innovation. 

·       Cross-disciplinary topics around music and innovation 

Abstracts of 300-500 words will be reviewed for inclusion in the conference programme. After the conference, presenting authors will be expected to submit a full paper for peer review and inclusion in the book of conference proceedings, published by Routledge.

Abstracts should be submitted by 01 July 2020 to the following email address:

​info@musicinnovation.co.uk

Innovation in Music are also welcoming proposals for innovative, interactive demonstrations and performances appropriate to the conference scope. If you are interested in being involved in any way please contact us at the following email addresses:

info@musicinnovation.co.uk

 

Dates and Deadlines

·       01 July 2020 - abstracts deadline

·       01 August 2020 - acceptance of abstracts sent to authors

·       01 October 2020 - early bird registration discount ends

·       03 December 2020 - conference opens

·       06 January 2021 - full chapters submitted for conference proceedings book with Routledge

See www.musicinnovation.co.uk for more information

 

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

Organisation

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

Conference Chair

Professor Jan-Olof Gullö – Royal College of Music (KMH), Stockholm

 

Conference Committee Sweden

Conference Coordinator Elina Edblom – KMH

Head of Academy Per-Henrik Holgersson, Academy of Music Education – KMH

Head of Academy Anna Maria Koziomtzis, Academy of Classical Music, Composition, Conducting and Music Theory – KMH

Head of Academy Bo Westman, Academy of Folk Music, Jazz and Music and Media Production – KMH

 

Conference Committee UK

Professor Justin Paterson – University of West London

Russ Hepworth-Sawyer – MOTTOsound & York St John University

Professor Rob Toulson – RT60 Ltd

 

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

Further Information

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

 

We will subsequently be confirming full conference details.

You can also follow @InMusicConf on Twitter for communications and updates, as well as visit our Facebook page at:

https://www.facebook.com/InnovationInMusic

To unsubscribe or for any other enquiries please email:

info@musicinnovation.co.uk

 

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

Welcome to Stockholm & the Royal College of Music in December! 

 

Jan-Olof Gullö

Fwd: CfP: SEMPRE Autumn 2020 Conference, 10-11 Sep, University of Leeds

SEMPRE Autumn 2020 Conference

10–11 September, 2020
School of Music, University of Leeds

Guest speaker: Prof. David Hargreaves (Roehampton University)

The role of music psychology research in a complex world: Implications, applications and debates

The study of the musical mind its associated behaviours has become increasingly socially conscious, with more emphasis on applications and values, and calls to reflect on music(king)'s capacity to afford (inter)subjectivity and empathy; to engage with music's global diversity, and to encourage interdisciplinarity communality. Recent years have seen rapid societal and cultural change, which has impacted on priorities for the environment, education, community, wellbeing, politics, and social justice, as well as mounting concern about the rise of intolerance in an increasingly polarised society.

This SEMPRE conference aims to bring together researchers to (re)consider music psychology (in the broadest sense of the term) in light of current social, cultural, and environmental challenges, and seeks to foster discussion and debate about the role that music psychology might play in addressing them.

Call for Proposals
Encouraging a broad and inclusive approach, we invite submissions for individual 20-minute papers or posters that address a wide variety of topics, methodologies, and questions, including (but not limited to):

• (How) can music psychology understand and address current societal challenges?
• What should a socially engaged music psychology look like today?
• What are the urgent/difficult questions?
• What new approaches to socially applicable research are there?
• What key assumptions remain in the field and how might they be challenged?
• Any paper/poster that explicitly applies music psychological knowledge to address socially urgent research questions. 

Submissions are encouraged from scholars and postgraduate researchers at all stages of their careers. Proposals of 250–300 words should be sent as a .doc attachment to sempreconf2020@leeds.ac.uk, and must include the following: title, author(s), affiliation(s) (if any), email address, and technical requirements.

Postgraduate researchers whose abstracts are accepted for inclusion may be eligible for a SEMPRE Conference Award to help cover travel and registration costs. Please indicate on your application if you would like to be considered for an award.

The deadline for proposals is Monday 30 March 2020 at midday (GMT). Decisions on proposals will be communicated by early May.

Registration will open in May 2020. Information about the conference—accommodation, travel information, draft programme and so on—will be available soon on the conference website: https://ahc.leeds.ac.uk/events/event/1801/autumn_2020_sempre_conference.

It is hoped that some papers from the conference will contribute to a Music & Science Special Collection, 'Music Psychology Research in a Complex World', guest-edited by Karen Burland and Emily Payne. More information can be found here: https://journals.sagepub.com/page/mns/special-collections/The-role-of-music-psychology-research-in-a-complex-world.

Conference committee: Karen Burland, David Ireland, Melissa Kirby, Emily Payne


Dr Emily Payne
Lecturer in Music
Assistant Editor, Music & Science

School of Music, University of Leeds, Leeds LS2 9JT, UK

Fwd: CFP York Music Education Conference 2020: Learner voice

Music Department, University of York, 29-30 May 2020

Deadline for proposals: Friday 13 March 2020

In recent years there has been an increasing recognition of the importance of learner voice in music education. By placing this at the heart of music teaching and learning we seek to include and empower all learners regardless of music educational setting and the age, ability, or number of learners. A learner-centred approach encourages active participation and meaningful engagement with learning which can not only raise standards of achievement but potentially also lead to new pedagogical practices.

This conference will bring together researchers, teachers, practitioners, and students to stimulate critical discussion and sharing of learner voice approaches in a wide range of music education contexts and to facilitate reflection on effective practice. Cross-disciplinary perspectives from music psychology, healthcare, and music technology are welcome.

SUBMISSIONS

Proposals are invited from researchers, teachers, learners, and practitioners; submissions from postgraduate research students and early-career academics are encouraged. Proposals should show how the topic relates to the conference theme and are welcome for presentations in various formats:

- Spoken papers (20 minutes + 10 minutes for Q&A)

- Interactive poster presentations

- Workshops (45 minutes)

- Panels (45 minutes)

- Short provocations (max. 5 minutes followed by discussion)

Please send abstracts (max. 250 words) and biographies for all presenters (max. 150 words) by email to Dr Caroline Waddington-Jones (caroline.waddington-jones@york.ac.uk) by Friday 13 March 2020.

--

Dr Caroline Waddington-Jones

Lecturer in Music Education

Department of Music

University of York, UK

T: +441904 323018

E: caroline.waddington-jones@york.ac.uk

Fwd: Elaine Chew lecture, King's College London, 13 Feb

Emergent Mathematical Structures in Musical Creativity and Cardiac Arrhythmias

 

Speaker: Prof Elaine Chew, IRCAM, Paris, France

Time: 2-3pm, Thursday 13 February 2020

Place: King's College London, Strand, WC2R 2LS: Room SWB21 (Music Department)

If you would like to meet with the speaker, please contact Zoran Cvetkovic (zoran.cvetkovic@kcl.ac.uk)

 

Abstract

 

Treating performance as a problem-solving task, an important aspect of the work of musical interpretation is to discover or make plausible units of coherence at multiple time scales, and to communicate this analysis to the listener. In so doing, the performer influences and shapes the reception and understanding of the music. Over a series of studies, I shall show how computer analysis of performed music can reveal the shape and form of musical structures that emerge in expressive performance. Superimposing these performed structures on score-based information not only shows how these structures are made but also why, thereby enabling more nuanced understanding of the decisions that make for good, and perhaps great, performances.

 

Music expressivity is one kind of creativity; another involves the generation of note material in the form of composition or improvisation. I shall describe several projects touching upon machine creativity, from human-machine improvisation to music generation with long-term structures based on repeated patterns and tension profiles. The most recent experiments in machine creativity uses physiological rhythm templates learned from electrocardiographic traces of cardiac arrhythmias to create collage pieces from performances of existing works.

 

Similarities between music and the human heartbeat has long been noted, but mainly in reference to normal heart rhythms. I shall show that abnormal heart rhythms exhibit behaviors akin to the variations introduced in performance and composition, thereby opening the door to applying a host of analytical techniques hitherto reserved for music to cardiac arrhythmias. This novel musical view and description of abnormal heart signals translates to technologies that can facilitate personalized treatment and diagnoses.

 

Finally, in a study with heart patients with biventricular pacemakers, a collaboration with the Barts Heart Centre, we demonstrate that brain responses to structurally salient events in live music performance can have direct impact on cardiac electrophysiology, with implications for improving the way music is used in therapeutics.

 

Biosketch

 

Elaine Chew is Principal Investigator of a European Research Council (ERC) Advanced Grant Project COSMOS: Computational Shaping and Modeling of Musical Structures hosted by the Centre National de la Recherche Scientifique (CNRS) at the Sciences et Technologies de la Musique et du Son (STMS) laboratory located at the Insitut de Recherche Coordination Acoustique/Musique (IRCAM) in Paris, France. She is also past recipient of the Presidential Early Career Award in Science and Engineering (PECASE) and an NSF Faculty Early Career Development Award (CAREER), and fellowships at Harvard's Radcliffe Institute for Advanced Study. She is an alum (Fellow) of the NAS Kavli Frontiers of Science Symposia and NAE Frontiers of Engineering Symposia for outstanding young scientists and engineers.

 

Her research centers on the mathematical modeling and computational analysis of music structures, with recent applications to cardiac signal analysis. She is author of numerous research papers and a recent monograph on Mathematical and Computational Modeling of Tonality, the first volume on music in the Springer International ORMS Series. Her research has been supported by the ERC, EPSRC, AHRC, and NSF, and featured on BBC World Service/Radio 3, Smithsonian Magazine, Philadelphia Inquirer, Wired Blog, MIT Technology Review, The Telegraph, etc. She is centre of one of 9 publication clusters having ≥ 5 women in the international music information retrieval community (2016 ISMIR infometric study).

 

She received PhD and SM degrees from the MIT Operations Research Center, a BAS in Mathematical and Computational Sciences (honors) and Music Performance (distinction) from Stanford, and FTCL and LTCL diplomas in piano performance from Trinity College, London. She has served as Professor of Digital Media in Queen Mary University of London's School of Electronic Engineering and Computer Science and tenured Associate Professor at the University of Southern California where she held the inaugural Viterbi Early Career Chair and joint appointments in the Viterbi School of Engineering and Thornton School of Music (courtesy). She has been Visiting Faculty at Harvard and Lehigh, Affiliated Artist at MIT, and served on the Visiting/Scientific Committees of IRCAM, Georgia Tech's School of Music, and MIT's Music and Theatre Arts.