Thursday, March 25, 2021

ACCELERATE Innovation: Team Challenge

 

The Academic Careers Office & Translational Research Office are excited to announce our next ACCELERATE initiative; Team Challenge. This eight-week hands on training programme will see you apply knowledge and skills to develop a proposal to solve a real-life translational research challenge of your choosing in an interdisciplinary team. For example, this can be a commercial idea for a healthcare need (e.g., a new product or service) or a way of improving an existing service in a non-commercial setting (e.g., making a hospital process work more efficiently, healthcare data sharing etc.) - anything that proposes to improve healthcare.

 

At the end of the programme there will be a chance to bid for up £10,000 or non-financial support to take your team's proposal forward.

 

Target audience: This eight-week team challenge is aimed at all healthcare researchers across UCL and the three UCL BRCs, from any discipline and background, from first year post-doctoral fellows upwards. This includes those starting to develop their own research group. Applicants will apply as individuals and then teams will form in the first few weeks of the programme.

 

When and where: The programme will run online on a Tuesday afternoon, 12:30pm – 3:00pm from 25th May for eight consecutive weeks. In applying to be considered for this exciting new programme we would expect you to be able to make all the sessions. There will be minimal pre session work to complete in your own time to maximise the group engagement during the sessions.

 

Apply: To gain a place on this highly sought-after programme please complete the application form by 14 April 2021 (23:59 BST). Shortlisted applicants will be informed by 23 April 2021.For any questions please contact the ACCELERATE Manager, Kim Gurwitz k.gurwitz@ucl.ac.uk

Wednesday, March 24, 2021

Fwd: Cambridge Leonardo LASER Talks - CRASSH 25 March 18:00-20:00


Dear CMS friends,

We invite you to join us on Thursday March 25th at 18:00-20:00 for the second event of the Cambridge LASER Talks  (Leonardo Art Science Evening Rendevouz), called 'The Known World', curated by our own Chrysi Nanou!

http://www.crassh.cam.ac.uk/events/29706

Registration: https://www.leonardo.info/civicrm/event/info?id=619&reset=1

The Cambridge LASER talks (Leonardo Art Science Evening Rendez-vous) questions the separation and propagation of art and science as distinct categories of knowing and being. We ask, 'What is creativity in science and the arts? What is experimental practice in art, science, or philosophy? Where do scientific and artistic attitudes, inquiries, methods overlap? How do they differ and complement each other? Can such understanding help shape our technological, urban, economic, and environmental futures for an ecologically and socially sustainable life and wellbeing.

The Known World
Chaired by Satinder Gill, Chrysi Nanou and Prerona Prasad

In this Cambridge LASER, we bring together musicians, scientists, and data scientists to discuss the processes of creativity and discovery and analysis of environmental data. It is the first in a series that will address the concept of data: how we collect, perceive, analyse, construct, make sense of and translate data, in various thematic contexts.
This Cambridge LASER responds to a concert curated by musician and music psychologist Chryssie Nanou, entitled 'The Known World'. It features works for piano, celetto and mixed media created using environmental data sets and sounds.
Four composers bring their distinct voices to raise awareness to ongoing environmental changes through sound and music, in particular, of three distinct locations unfolding their ecosystem: underneath the Arctic ice on the Alaskan coast, Svalbard coastline, and San Francisco's Crissy Field. These pieces together create an instantly compelling palette, one that simultaneously combines current technologies with ideas, materials and traditions inspired by the natural world.
Electronic sounds mixed with water, ice crackling, animal cries, hand-made instruments and sonic objects along with a technologically reimagined piano and cello, create a kind of harmony with contrasting lyrical improvisations and the overhead whine, purr and rumble of the nearby urban environment.

Programme

Satinder P. Gill (https://cms.mus.cam.ac.uk/directory/satinder-gill) - Cambridge LASER Chair
Centre for Music and Science, University of Cambridge, and Managing Editor of AI & Society Journal ( https://www.springer.com/journal/146 ).
Welcome to the Cambridge LASER Series – Why the Art & Science of data?

Prerona Prasad (https://www.dow.cam.ac.uk/people/dr-prerona-prasad) – Cambridge LASER Co-Chair.
Curator of the Heong Gallery (https://www.dow.cam.ac.uk/cultural-life/heong-gallery), Downing College Cambridge
Introduction to the Heong Gallery.

Chrysi Nanou (https://chrysinanou.wordpress.com) – Cambridge LASER Co-Chair.
Centre for Music and Science, University of Cambridge, and Centre for Music Research in Music and Acoustics (CCRMA) Stanford University.  Nanou is a Performer, curator, lecturer and teacher of piano performance. Her work gives special emphasis to performance practices for today's acoustic and electro-acoustic contemporary music.
Introducing The New World project and performing Iceprints, composed by Matthew Burtner.

Matthew Burtner (http://matthewburtner.com) - Eleanor Shea Prof. of Music in Composition and Computer Technologies, University of Virginia. Co-director of Coastal Futures Conservatory, Director of the Alaska-based EcoSono non-profit organization.
Composing Iceprints

The Metered Tide by Chris Chafe for celetto and tidal data

Chris Chafe, (https://chrischafe.net) – Director of Centre for Music Research in Music and Acoustics (CCRMA), Duca Family Professor of Humanities and Science, University of Stanford.
Chafe's works include gallery and museum music installations which are now into their second decade with "musifications" resulting from collaborations with artists, scientists and MD's. Recent work includes the Earth Symphony, the Brain Stethoscope project (Gnosisong), PolarTide for the 2013 Venice Biennale, Tomato Quintet for the transLife:media Festival at the National Art Museum of China.
The Metered Tide https://ccrma.stanford.edu/~cc/dataGG.mp4


frostbYte – music by Daniel Blinkhorn (https://danielblinkhorn.com)


Aaron O'Connor (http://thearcticcircle.org/2018/01/12/artists-in-the-arctic/ ) - Director of the Arctic Circle Foundation  (established in 2009), an artist and scientist led annual expeditionary residency program.
The Arctic Circle Foundation


Victoria Vesna (https://www.victoriavesna.com/index.php?p=biography) – Artist and Professor in Design Media Arts, UCLA, Director of the Art|Sci Centre in the School of Arts and California NanoSystems Institute. Vesna's work involves long-term collaborations with composers, nano-scientists, neuroscientists, and evolutionary biologists. With her installations she investigates how communication technologies affect collective behavior and perceptions of identity shift in relation to scientific innovation.
Noise Aquarium http://noiseaquarium.com


Richard Wolfson (https://www.middlebury.edu/institute/people/richard-wolfson) -  Benjamin F. Wissler Emeritus Professor of Physics, Middlebury College, where he also taught in the Environmental Studies Program and at the Middlebury Institute in Monterey. Wolfson's research involves the Sun, climate change, and solar energy. Author of numerous books and textbooks including Energy, Environment, and Climate.


A Conversation - Jonathan Impett and Chrysi Nanou reflect on the processes of composing and performing to data.
Jonathan Impett (https://orpheusinstituut.be/en/orpheus-research-centre/researchers/jonathan-impett)- Director of Research, Orpheus Institute, Gent, and Associate Professor at Middlesex University, London. Impett's professional and research activities cover many aspects of contemporary musical practice, as trumpet player, composer and theorist.


https://www.youtube.com/playlist?list=PLtMctW9Wk-HG0MD9VGDrfGhbnBJgJq-YK




Monday, March 22, 2021

Fwd: Final CfP: Digital Libraries for Musicology (DLfM) 2021, July 28-30th


CFP: 8th International Conference on Digital Libraries for Musicology (In Association with IAML 2021), July 28-30, 2021


The Digital Libraries for Musicology (DLfM) conference presents a venue for those engaging with Digital Library systems and content in the domain of music and musicology. It provides a forum for musicians, musicologists, librarians, and technologists to share findings and expertise.


CALL FOR PAPERS

The 8th DLfM conference (https://dlfm.web.ox.ac.uk), to be held online, welcomes contributions related to any aspect of digital libraries and musicology, including topics related to musical archiving and retrieval, cataloguing and classification, musical databases, special collections, music encodings and representations, computational musicology, or music information retrieval (MIR). This year's conference will be held in association with the online IAML Congress (https://www.iaml.info/congresses/2021-online), and will feature a joint paper session as well as a joint poster session. In bringing these two conferences together we aim to encourage new collaborations and foster larger group discussions surrounding prominent issues in the digital humanities.

This year's theme of "bridging the gap" is designed to bring together scholars working across the niche subfields of digital libraries and humanities, computational musicology, and MIR with the aim of broadening the understanding of the needs, obstacles, and optimal outcomes within each of these subfields in the DLfM community, and how outcomes in one area can best be applied to (or served by) another.

The conference strongly encourages papers and posters that address this year's theme, however, we welcome all papers addressing all traditional topics that fall under the scope of DLfM. Specific examples of topics traditionally covered at DLfM can be found at https://dlfm.web.ox.ac.uk. We are pleased to announce our proceedings will again be published in ACM ICPS this year.

In light of the challenges surrounding conference planning and travel during a pandemic, this year's DLfM conference will be entirely virtual.  The conference organizers are striving to make an engaging and interactive conference while we patiently and eagerly anticipate a return to in-person conferences in 2022.


IMPORTANT DATES (AoE)

Abstract submission deadline: March 29, 2021 

Paper submission deadline: April 5, 2021 

Notification of Acceptance: May 3, 2021

Camera-ready submission deadline: June 13, 2021

Conference: July 28-30



SUBMISSIONS


Proceedings Track Submissions

We invite full papers (up to 8 pages excluding references) or short papers (up to 4 pages excluding references). An abstract of the proposed paper must be submitted to DLfM via EasyChair by March 29, 2021. The full papers are expected to be submitted to DLfM on EasyChair and following the ACM template by April 5, 2021.  Authors will need to follow carefully the instructions for formatting. It is the authors' responsibility to ensure that their submissions adhere strictly to the required format. Submissions that do not comply with the above requirements may be rejected without review. For paper templates, please refer to the DLfM 2021 website(https://dlfm.web.ox.ac.uk). Page limits for submitted papers apply to all text, but exclude the bibliography (i.e. references can be included on pages over the specified limits). 


Authors of accepted paper submissions are expected to submit corrected, camera-ready copies, which must be received by June 13, 2021. Papers for each track will be peer reviewed by 2-3 members of the programme committee. For accepted paper submissions, at least one author must register for the conference (as a presenter) by June 13th.


All submitted papers must:

  • be written in English;

  • contain author names, affiliations, and e-mail addresses;

  • be formatted according to the appropriate ACM template 

  • be in PDF format, and formatted for A4 size


An additional call for (unpublished) poster presentations will follow. 


For more detailed submission procedures and information, please visit https://dlfm.web.ox.ac.uk.


Submission link: https://easychair.org/conferences/?conf=dlfm2021


Contact email: dlfm2021@easychair.org


 

CONFERENCE ORGANISATION


Programme Chair

Claire Arthur, Center for Music Technology, Georgia Tech


General Chair

David Lewis, Goldsmiths University of London


Proceedings and Publicity Chair

Néstor Nápoles López, McGill University


Claire Arthur

Assistant Professor, School of Music

College of Design

Georgia Institute of Technology

Friday, March 19, 2021

[CFP] Teaching Fine Arts Online

CALL FOR PAPERS
Theme: Teaching Fine Arts Online

COVID-19 has brought an abrupt change to how we do learning across all education sectors.
Those teaching in the area of Fine Arts (e.g., music, theatre, painting, sculpture) have faced
immense challenges as they shift a predominantly face-to-face experiential and apprenticeship
model of teaching into online delivery. Many Fine Arts teachers from K to 18 have encountered
new ways that technology enables their students to explore their art in a new way as well as
through new online teaching approaches.
For an upcoming issue in IJOIE, we are seeking articles that explore ways in which the Fine Arts
have shifted into online delivery. Topics for this theme include:
• Successful models for engaging Fine Arts students online;
• Specific software and/or apps that help facilitate Fine Arts learning online;
• Exploration of how online learning for the Fine Arts can impact change in other
disciplines
• How to develop an online studio for Fine Arts instructors/teachers
• Effective modes of communication with Fine Arts students
• Addressing the challenge of assessment in the Fine Arts
• Other relevant areas to support innovations in online Fine Arts education
About IJOIE
Publications in IJIOE focus on the "big blue sky" questions in online education: What are those
innovative practices happening in our online classes? and What new software tools assist our
students in supporting their learning online? These are just a couple of big questions that are
necessary as society continues to use online education, especially in our COVID environment.
We have 12 discipline streams represented in our journal is published four times a year: STEM;
Artificial Intelligence; Online Innovation in the Secondary Space; Immersive Online Education;
Course Design and Development; Computer Systems and Software Development; Visual and
Performing Arts; Adaptive and Personalized Learning; Scholarship of online Teaching and
Learning (SOTL); Economics, Business and Workplace Training; Allied Health; and Online
Assessments. The journal publishes critical and timely articles on innovation in online education
that are 5,000 to 6,000 words in length.

Submission Deadline: April 20, 2021
• Full manuscripts should be 5,00 to 6,000 words in length. Longer articles are considered
on a case-by-case basis.
• Submission Guidelines: https://onlineinnovationsjournal.com/for_authors/
For more information, contact: https://onlineinnovationsjournal.com/editors/

Thursday, March 18, 2021

Fwd: [DMRN-LIST] vacancy: Research Fellow in Machine Learning for Audio Captioning at University of Surrey, UK (deadline: 8th April 2021)


Dear all, 


Apologies for cross-posting. Please feel free to circulate the following vacancy to those who might be interested. Many thanks


Research Fellow in Machine Learning for Audio Captioning 

 

Applications are invited for a Research Fellow (RF) position for 22 months within the Centre for Vision Speech and Signal Processing (CVSSP), University of Surrey, UK, to work on a project titled "Automated Captioning of Image and Audio for Visually and Hearing Impaired", which is a collaborative project between the University of Surrey and the Izmir Katip Celebi University (IKCU), Turkey, with project partners from charities and industrial sectors working with the hearing and visually impaired. This project aims to address fundamental challenges in audio and image captioning, develop new algorithms to improve performance of audio and image captioning algorithms, and application tools that could be used by the hearing and visually impaired to access audio and image content.  

 

The work at Surrey will focus on new methods and algorithms of automated audio captioning and natural language description of audio. This work is built on the significant contributions of CVSSP in the area of acoustic scene analysis, audio event detection, environmental sound recognition, and audio tagging, together with preliminary results on audio captioning. This new project offers an opportunity to take this work to the next stages, and demonstrate the benefit of such technologies for the hearing and visually impaired. A smartphone based prototype will be developed for audio and visual captioning jointly by Surrey and IKCU. New data will also be gathered, including audio-visual data for captioning, and user feedback for the prototype system.  

 

The postholder will be responsible for investigating and developing audio signal processing, machine learning algorithms for natural language description of sound, and implementing software for prototyping the concept and algorithms. The postholder should have a doctoral level (or equivalent) research and development experience in electronic engineering, applied mathematics, computer science, artificial intelligence, machine learning, natural language processing, or related subjects. The postholder should ideally have experience in one of the following areas: audio captioning, machine description of audio, audio classification, audio tagging, image captioning, video captioning, translations between audio/image and texts, and/or translation between audio and video. 

 

The post-holder will be based in CVSSP, and work under the direction of the Principal Investigator Prof Wenwu Wang, with co-supervision by Prof Sabine Braun, Director of the Centre for Translation Studies, at University of Surrey, and in collaboration with Dr Volkan Kilic, from the IKCU, Turkey. 

 
CVSSP is an International Centre of Excellence for research in Audio-Visual Machine Perception, with over 150 researchers, a grant portfolio of £24M (£17.5M EPSRC) from EPSRC, EU, InnovateUK, charity and industry, and a turnover of £7M/annum. The Centre has state-of-the-art acoustic capture and analysis facilities and a Visual Media Lab with video and audio capture facilities supporting research in real-time video and audio processing and visualisation. CVSSP has a compute facility with 120 GPUs and >1PB of high-speed secure storage. 

 

For informal inquiries, please contact Prof Wenwu Wang (Email: w.wang@surrey.ac.uk; Web: http://personal.ee.surrey.ac.uk/Personal/W.Wang/). 

 

Please apply online using the following link:  


https://jobs.surrey.ac.uk/vacancy.aspx?ref=015821 



Best wishes,
 
Wenwu
 

Tuesday, March 16, 2021

Fwd: Final Call: Early Career opportunities with UK Acoustics Network Plus (UKAN+) [Ddln: 19 Mar 2021]



The opportunities below may be of interest to UK Early Career audio and acoustics people:

        ** Early Career opportunities with UK Acoustics Network Plus (UKAN+) **

        ** Deadline: 19 March 2021 **

The UK Acoustics Network Plus (UKAN+) is seeking applications for four Early Career Grand Challenge Champions and fourteen Early Career Special Interest Group (SIG) Coordinators, plus two Early Career Public Engagement Champions.

The successful applicants will benefit from training and funding opportunities, exciting social events, and networking with potential employers and people at the highest levels of Acoustics in academia and industry. The nominees should consider themselves to be early in their career. However, there are no restrictions on age. The nominee could expect to contribute one to two hours of their time in an average week. These are appointments for a one year term, with the possibility of an extension.

Early Career SIG Coordinators will work with SIG Leaders to coordinate SIG activities, facilitate exploratory research, and promote Acoustics in the UK and Europe. In our Early Career SIG coordinator appointments, we are seeking individuals with experience and interest in the area of the SIG, whether in academia or industry, an interest in promoting acoustics to the wider population, and an interest in working with the Institute of Acoustics (IoA) to achieve this goal.

Early Career Grand Challenge Champions will help UKAN+ to develop a new roadmap for acoustics research in the UK related to the Grand Challenges (Future of Mobility; Healthy Ageing; Clean Growth; AI and Data), and using the results from UKAN+ exploratory projects to develop full-scale, high-quality applications to UK Research and Innovation (UKRI) and other funders. In our Early Career Grand Challenge Champions, we are seeking individuals who have experience in research relating to the challenge themes: clean growth, healthy ageing, future of mobility, or AI and data.

Early Career Public Engagement Champions will help UKAN+ develop a new strategic vision for public engagement (PE). The successful applicants will benefit from training in best practice in PE and be at the forefront of developing a more strategic and impactful approach to PE for Acoustics.

For more information (including on what is meant by "Early Career") and to apply, see https://acoustics.ac.uk/early-careers-group/ukanplus-early-career-sig-appointments/

Best wishes,

Mark Plumbley

--
Prof Mark D Plumbley
Head of School of Computer Science and Electronic Engineering
Email: Head-of-School-CSEE@surrey.ac.uk

Professor of Signal Processing
University of Surrey, Guildford, Surrey, GU2 7XH, UK
Email: m.plumbley@surrey.ac.uk

PA: Kelly Green
Email: k.d.green@surrey.ac.uk

Fwd: PhD position in Media Technology at KTH

Dear all,

in the project "AI and the Artistic Imaginary: Socio-cultural
consequences and challenges of creative-Ai technology" we are looking
for a PhD student.

Detailed information about the position and the application process can
be found here:

https://intra.kth.se/en/anstallning/lediga-jobb-internt/what:job/jobID:385447/where:4/


Kind regards
Andre Holzapfel

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

Friday, March 5, 2021

Fwd: Call for Papers | International Symposium on Performance Science (ISPS 2021) | 27-30 October 2021



INTERNATIONAL SYMPOSIUM ON PERFORMANCE SCIENCE 
CALL FOR PAPERS 
 

ISPS 2021 
Performance Wellbeing 
 
27 | 30 October 2021 
Montreal | Canada 
 
www.performancescience.org 
 
The next International Symposium on Performance Science will be hosted by the Schulich School of Music at McGill University, Montreal, on 27–30 October 2021. 
 
The ISPS 2021 theme, Performance Health and Wellbeing, is intended to encourage discussion and debate on connections between performance, wellbeing and society. Specific research topics, fields of study, and methodological approaches have been left open intentionally to encourage interdisciplinary exchange. 
 
Submissions detailing original research are invited from all performance disciplines, offering new perspectives from across the arts and sciences. 

We intend to offer both on-sight and electronic presentation options, although the former will depend on possible restrictions on public meetings and international travel in place at the time of the event. 
 
IMPORTANT DATES 
 
30 March 2021: Online submission portal open 
30 April 2021: Paper/poster abstract submission deadline 
15 May 2021: Online registration portal open 
30 May 2021: Notification of submission decision 
15 June 2021: Article submissions open for ISPS 2021 Research Topic in Frontiers 
30 June 2021: End of early registration 
27 October 2021: Start of ISPS 2021 
31 December 2021: Article submission deadline for ISPS 2021 Research Topic in Frontiers
 
SUBMISSIONS 
 
On-sight and electronic submissions are invited for: 
 
- Spoken papers 
- Poster presentations 
- Symposia and workshops 

Detailed instructions for submissions will be available via the conference website: www.performancescience.org. Submissions should be made electronically by 30 April 2021. 

GRADUATE AWARDS 
 
The Scientific Committee is keen to encourage the attendance of students, as well as established researchers and practitioners. Therefore, the ISPS 2021 Graduate Paper Award will be offered to one graduate student to present a keynote paper at the conference. 

In addition, during the symposium, delegates will be able to vote for the highest quality poster presentation delivered by a graduate student. The student(s) with the highest vote tally will be given the ISPS 2021 Graduate Poster Award. 

REVIEW PROCESS 
 
Each submission will be reviewed anonymously by the Scientific Committee according to its originality, importance, clarity, and interdisciplinarity. Corresponding authors will be notified by email of the Committee's decision by 30 May 2021. 
 
CONFERENCE PUBLICATION 
 
Building on the publication of articles from ISPS 2013, ISPS 2015, ISPS 2017, and ISPS 2019 in Frontiers in Psychology, the journal will host a Research Topic in the specialty section Performance Science for ISPS 2021 presenters. To qualify, the first (or corresponding) author must be a registered presenter at ISPS 2021, and the manuscript should be submitted to the journal for independent peer-review between 15 June and 31 December 2021. 
 
The philosophy of Frontiers is that research is the product of an investment by society, and therefore, its fruits should be returned to all people without borders or discrimination, serving society universally and in a transparent fashion. This is why Frontiers provides online free and open access to all of its research publications. 
 
The Frontiers specialty section Performance Science welcomes submissions of the highest quality of the following types: Book Review, Editorial, General Commentary, Hypothesis & Theory, Methods, Mini Review, Opinion, Original Research, Perspective, Review, Specialty Grand Challenge and Technology Report. Like most other serious open-access publishers, Frontiers maintains a high quality of service through an 'author-pay' model. As such, manuscripts that are accepted for publication following peer review may incur a publishing fee (reduced for Research Topic submissions), depending on the article type. For more information on the Frontiers open access policy and publishing fees, see www.frontiersin.org/Performance_Science/fees

To learn more about the specialty section Performance Science, see www.frontiersin.org/Performance_Science or write to chief editor Aaron Williamon at aaron.williamon@rcm.ac.uk
 
Note. The ISPS 2021 Research Topic replaces the Proceedings of the International Symposium on Performance Science. A proceedings volume will not be produced for ISPS 2021; however, published articles from all previous ISPS are freely available at www.performancescience.org
 
REGISTRATION 
 
Full and one-day registration options will be available. Online registration will open on 15 May 2021. 
 
For further information about the venue, submissions, graduate award, and registration, visit the conference website: www.performancescience.org
 
The official language of the conference is English. 

ISPS 2021 chairs 
 
Aaron Williamon 
Royal College of Music (UK) 

Isabelle Cossette
 
McGill University (Canada)

Fwd: Performing Music Research - Announcing a new research methods textbook (OUP, 2021)


 
Dear colleagues, 
 
We're delighted to announce the publication of a new research methods textbook:  
 
Performing Music Research 
Methods in Music Education, Psychology, and Performance Science 
 
by 
Aaron Williamon 
Jane Ginsborg 
Rosie Perkins 
George Waddell 
 
Oxford University Press (2021) 
ISBN 9780198714545 
 
Performing Music Research is a resource for those who seek to understand musical performance and musicians wishing to carry out their own research. Drawing on perspectives from music education, psychology, and performance science, this book explores the motivations and methods underlying research in these fields, allowing readers to gain the knowledge and skills needed to review and critique existing studies and to design and carry out their own investigations. 
 
The book aims to help researchers bring precision to the questions they pose, select methods that are appropriate for addressing their questions, and apply those methods in a systematic and rigorous fashion. We recognize that music researchers typically place the importance of their research questions over that of any particular method of inquiry. Therefore, we have structured the book so as to guide readers as they plan, conduct, analyze, and communicate research: 
 
PART 1: Planning research 
1 Research questions 
2 Methodological approaches 
3 Research ethics 
 
PART 2: Conducting research 
4 Observations 
5 Documentation 
6 Interviews 
7 Surveys 
8 Experiments 
 
PART 3: Analyzing research 
9 Qualitative analysis 
10 Descriptive statistics 
11 Inferential statistics: Foundations 
12 Inferential statistics: Differences 
13 Inferential statistics: Relationships 
 
PART 4: Communicating research 
14 Communication and dissemination 
 
The book is accompanied by a companion website, www.PerformingMusicResearch.com, that includes practice datasets, interactive quizzes, and video summaries of example research. 
 
A public virtual launch will be held on Friday, 12 March, at 5pm (GMT). For more information, visit the Royal College of Music's Facebook page. 
 
A second public launch will be hosted by the Royal Northern College of Music on Thursday, 25 March, at 12 noon (GMT). For more information, visit the RNCM website or Facebook page. 
 
Aaron Williamon 
Jane Ginsborg 
Rosie Perkins 
George Waddell