Fwd: Ongoing thoughts while reading and listening to music: Participants needed

We're inviting you to participate in a novel online study aiming to
compare mental experiences between reading and listening to music. The
study is very easy and fun, and involves attending to two different
tasks: reading a short article (~2 min) and listening to a piece of
music (~6 min) of a genre of your personal choice. After each task,
you will be asked to answer some questions related to the thoughts you
experienced. The study takes max 20 min, is completely anonymous, and
will give you the opportunity to enter a prize draw to win an Amazon
voucher of 20£.

Many thanks in advance for your help!

Here is the link to the study:
https://durhammusic.eu.qualtrics.com/jfe/form/SV_1WSFBIEDaRBfkTI

All best wishes,
Liila Taruffi

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Dr. Liila Taruffi
Lecturer in Music Psychology
Department of Music
Durham University

Fwd: CfP 'Rethinking Participatory Processes Through Music' — 14-15 January 2022, online event

Call for Papers [deadline 31 October 2021]

'Rethinking Participatory Processes Through Music'
14-15 January 2022, online event
https://musicdemocracystudydays.wordpress.com

Convened by Igor Contreras Zubillaga (British Academy Postdoctoral
Fellow, University of Huddersfield) and Robert Adlington (University
of Huddersfield)

Keynote speakers: Hélène Landemore (Yale University), Anna Bull
(University of York), Raymond MacDonald (University of Edinburgh)


In recent times, the UK's Brexit vote, the 2016 US presidential
election, and other elections worldwide have made democratic processes
the subject of unprecedented public debate. This has led to widespread
questioning of the mechanisms for people's participation in the
democratic system and in political decision-making. One of the most
ground-breaking inquiries into what public participation ought to look
like within democracy has recently been carried out by political
scientist Hélène Landemore (Yale University). In her book Open
Democracy (2020), Landemore favours the ideal of 'representing and
being represented in turn' over direct-democracy approaches. Drawing
on recent experiments with citizens' assemblies, Landemore offers a
different concept of nonelectoral democratic representation.

Inspired by Landemore's work, this third and last study day on the
theme of music and democracy aims to explore the potential of music to
contribute to this rethinking of participatory processes. As Robert
Adlington and Esteban Buch (2020) argue, 'music is an arena for many
kinds of decision-making, and thus for the negotiation of power. It is
such parallels that have attracted the attention of many musicians,
who have seen in their practice the possibility of modelling new or
ideal kinds of democratic social arrangement'. Thus, we will address
questions such as: What might democratic participation look like in
music? What can music-making tell us about participatory processes in
general? What is achieved, politically, by rethinking the way in which
music is made? How might we pursue in musical life Landemore's
aspiration to 'reinvent popular rule for the twenty-first century'?

We invite proposals from scholars working in any discipline for papers
exploring participation, decision-making and power negotiation in
relation to any musical practice in any historical and geographical
context. Alongside Professor Landemore, who joins us as one of our
keynote speakers, we will have keynote presentations from Dr Anna Bull
(University of York), who has written stimulatingly and critically on
the idea of cultural democracy in relation to state funding and
pedagogy of music, and Professor Raymond MacDonald (University of
Edinburgh), who has explored new approaches to the distribution of
power in the domain of jazz and improvisation. Papers will be
20-minutes in length followed by 10 minutes of discussion time. Please
submit proposals (250-300 words) to I.ContrerasZubillaga@hud.ac.uk by
the deadline Sunday 31 October 2021. The programme will be announced
in early December.


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Dr Igor Contreras Zubillaga
British Academy Postdoctoral Fellow

University of Huddersfield
School of Arts and Humanities
Queensgate
Huddersfield, HD1 3DH

Fwd: Cambridge — Assistant Professor in Composition (electroacoustic or acousmatic music)

Assistant Professor in Composition (electroacoustic or acousmatic music)

Job Reference: GT28593

The Faculty of Music at the University of Cambridge wishes to appoint
a composer specialising in electroacoustic or acousmatic music to the
post of Assistant Professor (0.5 FTE), starting on 1 September 2022 or
as soon as possible thereafter.

Holding a PhD in Composition (or with equivalent experience) and with
a record of, or clear potential for, outstanding research, you will be
a composer with specialist expertise in studio composition or live
electronics, potentially also encompassing laptop composition and/or
digital signal processing. You will also have expertise in acoustic
composition and be willing to support and contribute to its teaching
within the Faculty. Your work will accordingly intersect with and
complement the Faculty's current research in acoustic Composition as
part of a Creative Practice cluster. Applicants whose approach shows
interdisciplinary potential (e.g. possible synergies with the
Faculty's Centre for Music and Science or other University faculties
and departments) will be especially welcome. The specialist remit of
this particular post does not extend to algorithmic or commercial
composition, film music or sound design.

You will be ready to teach at all undergraduate and postgraduate
levels and have the capacity to attract PhD students. You will also
contribute to the Faculty's administration, outreach and impact
activity. The Faculty teaches Composition through lectures, seminars,
workshops including feedback on student work, and one-to-one
supervision.

At the heart of a vast network of musical study, research and
practice, the Faculty of Music is made up of 14 permanent academic
staff, 5 postdoctoral researchers, 20 affiliated lecturers and 18
professional services staff who work with around 200 undergraduates
and 65 graduate students. As a world-leading centre of research the
Faculty includes specialists in medieval and renaissance music, early
modern music, nineteenth-century music, opera, popular music,
ethnomusicology, performance studies, composition, and scientific
approaches to music. The Faculty facilities include a fully
professional concert hall and music library as well as an impressive
collection of historical instruments and a Javanese gamelan. Integral
to the Faculty is the Centre for Music and Science, a purpose-built
facility housing a fully equipped recording studio, computer room and
research room.

We support and encourage under-represented groups and we value
diversity. We welcome applications from individuals with disabilities.
Our recruitment and selection procedures follow best practice. The
University has an Equal Opportunities Policy, along with a range of
diversity networks for women, black and minority ethnic and lesbian,
gay, bisexual and transgender staff. More details are available at
http://www.equality.admin.cam.ac.uk/.

The successful candidate will be expected to take up appointment on 1
September 2022, or as soon as possible thereafter.

Full details of the post and details of how to apply can be found at
https://www.jobs.cam.ac.uk/job/31895/

Application Deadline: 28 November 2021

ISME Research Commission Pre Conference Seminar

The ISME Research Commission's pre conference seminar will be held in
11-15 July 2022 at the University of Queensland, Brisbane, Australia.
Submissions are now open. Full information can be found here:
https://ismeworldconference.org/research-commission/

Pre-conference seminars are smaller, specialised events focussed on an
area of practice or field of work.

Special Issue: Music in the lives of young children published in ECDC Inbox

We are very pleased to announce the publication of the special issue "Music in the lives of young children" in Early Child Development and Care. There is a growing body of literature pointing to the significance of engaging with music, and to its potential for bringing about positive change in areas such as cognitive development, academic performance, educational motivation and learning, socio-emotional development and behaviour, and mental health – across the life course from infants through to seniors. The special issue 'Music In The Lives Of Young Children' targets music and its significance in young children's lives with a focus on music education and the musical experience of pre-school children. The special issue is comprised of 11 articles that have been written by 32 authors (several teams of co-authors) from 10 countries (Canada, Germany, India, Israel, New Zealand, South Africa, Spain, Sweden, the United Kingdom, and the United States of America). These research studies were carried out in nine countries (Australia, Canada, Germany, India, Israel, New Zealand, South Africa, the United Kingdom, and the United States of America).

 

The special issue may be accessed here:  Early Child Development and Care: Vol 191, No 12 (tandfonline.com)

 

With kind regards,

 

Warren Brodsky & Ioulia Papageorgi (co-editors)

Fwd: Conference on Interdisciplinary Musicology, CIM22. FINAL CALL FOR PROPOSALS

FINAL CALL FOR PROPOSALS

The next Conference on Interdisciplinary Musicology, CIM22: 'Participation' will take place on 8-10 June 2022, convened by the Reid School of Music, The University of Edinburgh and the Department of Music, University of Hong Kong.

Guided by the aims of the Society for Interdisciplinary Musicology (SIM), CIM22 offers a meeting point for music researchers at the crossroads of humanities and sciences.

Keynote speakers:

Kyra Gaunt (Music & Theatre, University at Albany State University of New York, NY)
Ruth Herbert (School of Arts, University of Kent, UK)
Frederick Lau (Department of Music, The Chinese University of Hong Kong, HK)

Our theme of Participation invites cross-disciplinary reflection and dialogue across a range of current topics in music research which will benefit from the joint attention of both science and humanities expertise, to report new research from scholars and practitioners at all career stages.

Read the call for proposals in full here (https://blogs.ed.ac.uk/cim22-participation/call-for-proposals)

We particularly welcome co-authored proposals to present original interdisciplinary work in the form of regular papers, roundtable discussions, or video flash-talks. Submission deadline extended to 26 November 2021.

For more information and online proposal submission, visit the CIM22 conference website here (https://blogs.ed.ac.uk/cim22-participation/)

Contact email: ParticipationCIM22@gmail.com

Conference co-Chairs: Dr Nikki Moran, University of Edinburgh, UK | Vice-President SIM (Society for Interdisciplinary Musicology) & Dr Youn Kim, Hong Kong University

Committee includes

·       Dr Juan Loaiza - Conference assistance (Edinburgh)
·       Dr Andrea Schiavio, Karl-Franzens-Universität Graz, Austria (SIM)
·       Theresa Schallmoser, Karl-Franzens-Universität Graz, Austria (SIM)
·       Prof. Richard Parncutt, Karl-Franzens-Universität Graz, Austria (Founder, SIM)
·       Dr Maiko Kawabata, Royal College of Music, London, UK
·       Dr James Cook, University of Edinburgh, UK
·       Dr Morag Grant, University of Edinburgh, UK
·       Prof. Raymond MacDonald, University of Edinburgh, UK
·       Dr Katie Overy, University of Edinburgh, UK

Out today... Sarangi Style in Hindustani Music

Dear colleagues and friends,

On behalf of the International Music Education Research Centre (iMerc) Press, I am delighted to announce the publication of Sarangi Style in Hindustani Music by Dr Nicolas Magriel.

This is an absolutely monumental (614 pp.) volume dedicated to the Sarangi, the main bowed instrument of Hindustani music.

The Sarangi has three gut melody strings that are stopped by the left-hand cuticles or the skin above the nails. Around 36 sympathetic strings give a haunting echo. Traditionally the sarangi's public role has been to provide melodic accompaniment for vocal music, but its players have always practised and performed solo sarangi in their homes and at musicians' gatherings. The constraints posed by the sarangi's unusual construction and technique have given birth to a unique instrumental manifestation of vocal music.

This beautifully illustrated book attempts to answer these questions: What is sarangi music? In what ways does it reflect or differ from the vocal music on which it is based? In what ways do the unique features of the sarangi and its technique affect its capacity to emulate vocal music? The approach is empirical, supported by extensive sargam transcription and analysis of video-recorded music and informed by the author's fifty years of experience as a student, performer and teacher of the sarangi and Hindustani vocal music. The discussion is supplemented by around 170 online video files and 555 audio examples. Most of these materials are supplied in both normal-speed and half-speed versions.

Due to the difficulty of its technique and to the lingering stigma of its historical association with courtesan culture, the sarangi declined in popularity throughout the twentieth century. Many sarangi players became vocalists; several of the most influential Hindustani vocalists of the twentieth century came from the sarangi tradition. Hence there is a wider relevance in enquiring into the nature of vocal music as taught and performed by sarangi players.

There is much here to engage those interested in musical style and musical enculturation. And there is much that will be of practical value to students of Hindustani music, especially sarangi players, including information about the sarangi's history, construction and maintenance. Organological appendices include images and discussion of 321 sarangis. This book also gives a rare glimpse into the home life and cloistered musicianship of hereditary sarangi players.

Please feel free to circulate this information amongst your ethnomusicological circles, colleagues and friends and also use the following links on the various Amazon stores, globally.

Amazon USA: https://www.amazon.com/dp/1905351399

Amazon UK: https://www.amazon.co.uk/dp/1905351399

Amazon Germany: https://www.amazon.de/dp/1905351399

With best wishes,

Evangelos

Dr Evangelos Himonides, FRSA, FBCS CITP

Professor of Technology, Education, and Music

University College London

Fwd: ICDS5: Feelings before the conference!

Dear Colleagues,

We are very excited to announce that in 11 days the 5th International Conference of Dalcroze Studies: Dalcroze practice in diverse cultures, communities and contexts will begin!

For this occasion, our wonderful keynotes - Nicholas Rowe, Liesl van der Merwe and Kathryn Kay - shared their reflections on the upcoming conference. Please visit our website to read more about how they feel before the first online ICDS5 ever!

Rosalind Ridout joins the ICDS Team!

We are happy to announce that Rosalind Ridout has become the first ever Student Member of the Scientific Committee. Rosalind will hold this position for the next 2 years starting from 22 October 2022. She is a performer, flautist, educator and researcher whose interest in ecology runs through her work. A music graduate of the University of Cambridge, Rosalind previously spent a year studying flute at the Guildhall School of Music, and went on to complete her Masters' at the Royal Northern College of Music as an ABRSM scholar, graduating with distinction. She is now a doctoral candidate at the Royal Northern College of Music, where she is researching her cultivation of an eco-literate artistic and teaching practice within the context of Dalcroze Eurhythmics. 

Rosalind shared her reflections after being nominated to this position: I am delighted to be appointed Student Member of the Scientific Committee and to be part of facilitating future Dalcroze-related events. I am looking forward to engaging with and learning further from the expertise of the committee, and to expanding and developing my involvement within the research community.

2022 National Conference "Together"

On behalf of the Dalcroze Society of America we would like to invite you to participate in 2022 National Conference "Together", which takes place on January 14 - 16 at Baldwin Wallace University in Barea, Ohio (USA). Registration for this event is open by January 14, 2022.

More information available on: www.dalcrozeusa.org/events/conference/

Registration for the ICDS5 is closed

The registration for the ICDS5 is closed. We would like to thank all of you who have registered to the conference. If you don't want to miss the next conferences, please subscribe to our website and follow Dalcroze Studies on Facebook, Twitter and LinkedIn.

With warm regards

The ICDS Team

International Conference of Dalcroze Studies (ICDS)

Researching into music and movement, in education, the arts and humanities, and the social, health and life sciences.

www.dalcroze-studies.com 

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International Conference of Dalcroze Studies (ICDS)

Researching into music and movement, in education, the arts and humanities, and the social, health and life sciences.

www.dalcroze-studies.com 

Fwd: [DMRN-LIST] CFP: EURASIP JASMP - Special Issue on Recent Advances in Computational Sound Scene Analysis

EURASIP Journal on Audio, Speech and Music Processing

Special issue on
Recent advances in computational sound scene analysis
Submission Deadline: 1st April 2022
https://asmp-eurasipjournals.springeropen.com/ssoundscene


Topics of interest include but are not limited to:

• Methodology: signal processing, machine learning, auditory perception, taxonomies, and ontologies related to sound scenes and events
• Tasks and applications: acoustic scene classification, sound event detection and localization, sound source separation, audio tagging, audio captioning, detection of rare sound events, anomaly audio event detection, computational bioacoustic scene analysis, urban soundscape analysis, and cross-modal analysis (e.g. audio recognition/analysis with information from video, texts, image, language, etc.)
• Machine learning methodologies for sound scene analysis: self-supervised learning, few-shot learning, meta-learning, generative models, explainable machine learning, continual learning, curriculum learning, active learning, multi-task learning, and attention mechanisms
• Human-centered sound scene analysis: human-computer interaction and interfaces, user-centered evaluation, visualization of audio events and scenes, and user annotation
• Evaluation, datasets, software tools, and reproducibility in computational sound scene and event analysis
• Ethics and policy: legal and societal aspects of computational sound scene analysis; ethical and privacy issues related to designing, implementing and deploying sound scene analysis systems; privacy-preserving sound scene analysis; federated learning for sound scene analysis
• Performance metrics: studies for developing effective evaluation metrics and tools for related tasks in audio scene analysis, event detection, and audio tagging
  

The EURASIP Journal on Audio, Speech, and Music Processing recognizes novel contributions of the following types within its area:

• Empirical Research: Data-driven research, new experimental results, and new data sets
• Methodology: New theory and methods for the processing of speech, audio, and music signals
• Software: New software implementations and toolboxes for speech, audio, and music processing
• Review: Timely and comprehensive overview and tutorial material covering recent developments within the field
  

Submission instructions:
https://asmp-eurasipjournals.springeropen.com/submission-guidelines


Guest Editors:
Jakob Abeßer, Fraunhofer IDMT, Germany
Emmanouil Benetos, Queen Mary University of London, UK
Annamaria Mesaros, Tampere University, Finland
Wenwu Wang, University of Surrey, UK