Fwd: Reminder: Musical care in dialogue 18th March 2025

[sent on behalf of Dr Neta Spiro]

Dear all

 

The next in the Musical care in dialogue series hosted by the Musical Care International Network will be on Hearing, disability, and musical care and is coming up this month.

 

Speakers:
Juanita Eslava (Orquesta Filarmónica de Medellin, Colombia)
Kjetil Falkenberg (KTH Royal Institute of Technology, Sweden)
Ailsa Lipscombe (University of Cincinnati, USA) 

 

Date:

Tuesday 18th March 2025 14:00 – 15:00 GMT

 

Medelline, Colombia – 09:00-10:00
Cincinnati, Ohio, US – 10:00-11:00
London, UK – 14:00-15:00
Stockholm, Sweden – 15:00-16:00

 

You can join the dialogue following the Zoom link here: 

https://imperial-ac-uk.zoom.us/j/99917385066?pwd=I3OwHISlEe4eh0iCRbGEpEnBoSNyzd.1 

Meeting ID: 999 1738 5066
Passcode: d7X@k4

  

Click here to find out more about and join the network: https://musicalcareresearch.com/musical-care-network/

Fwd: [DMRN-LIST] Jason Yust: "Musical Rhythm as Signal" @ KCL, March 26

 

Tl;dr:

Jason Yust is visiting KCL for a seminar exactly one month from today. All are welcome; registration is needed.

 

Jason Yust is renowned as one of the world's foremost experts in music theory, particularly the mathematical modelling thereof.

For more on Yust see his website:

www.sites.bu.edu/jyust

 

If you know Jason's work, you'll know how fascinating it is. If you don't  know his work, then come to the talk and find out! You might think of attendance as a step towards greater dialogue between the MIR, MCM, and music theory communities 😉

 

Details:

• Room:  STRAND BLDG S0.13 (Strand Campus)
• Date:  25-Mar-2025
• Start time: 15:00
• End time: 16:00
• Title: "Musical Rhythm as Signal"
• Event webpage: https://www.kcl.ac.uk/events/musical-rhythm-as-signal
• Form to register is here

 

Please do register: If you're coming from outside KCL I need to give your name to the desk so you can get in. The campus is a bit of a fortress!

 

Thanks and best wishes,

Mark

 

-- 

Mark Gotham

https://markgotham.github.io/

Fwd: [DMRN-LIST] Call for Contributions: First AES International Conference on AI and Machine Learning for Audio (AIMLA 2025) - extended deadline

[apologies for cross-posting, please circulate this call widely] - deadline extended 

First AES International Conference on Artificial Intelligence and Machine Learning for Audio (AIMLA 2025), London, Sept. 8-10, 2025, Call for contributions

The Audio Engineering Society invites audio researchers and practitioners, from academia and industry to participate in the first AES conference dedicated to artificial intelligence and machine learning, as it applies to audio. This 3 day event, aims to bring the community together, educate, demonstrate and advance the state of the art. It will feature keynote speakers, workshops, tutorials, challenges and cutting-edge peer-reviewed research.

The scope is wide - expecting attendance from all types of institutions, including academia, industry, and pure research, with diverse disciplinary perspectives - but tied together by a focus on artificial intelligence and machine learning for audio. 

Original contributions are encouraged in, but not limited to the following topics:

* Intelligent Music Production

-  Knowledge Engineering Systems

-  Automatic Mixing / Remixing / Demixing / Mastering

-  Differentiable Audio Effects

* Audio and Music Generation

-  Generative models for audio

-  Deep Neural Audio Codecs

-  Neural Audio Synthesis

-  Text-to-audio generation

-  Instrument models

-  Speech and Singing voice synthesis

-  AI for sound design

-  Differentiable Synthesisers using DDSP and other neural models

* Representation Learning

-  Fingerprinting using deep learning

-  Transfer Learning 

-  Domain Adaptation

-  Transfer of musical composition and performance characteristics including, timbre, style, production, mixing and playing technique

* Real-time AI For Audio

-  Model Compression (Quantization, Knowledge Distillation) 

-  Efficient Model Design and Benchmarking

-  Real-time inference frameworks in software and hardware

* Applications of AI in Acoustics and Environmental Audio

-  Machine learning and AI models for acoustic sensing

-  Deep learning for acoustic scene analysis

-  Deep learning for localisation in noisy and reverberant environments

-  Binaural processing with AI or ML

-  Source and scene classification

-  Source separation, source identification and acoustic signal enhancement

-  AI-driven distributed acoustic sensor networks

-  Control and estimation problems in physical modelling

-  AI-based perception models inspired by human hearing

-  Application of AI to wave propagation in air, fluids and solids

* AI Ethics for Audio and Music

-  AI-Generated Music and Creativity

-  Intellectual Property in AI-Composed Music

-  AI in Environmental Sound Monitoring

-  Cultural Appropriation in AI Music

-  Environmental Impact of Audio Data Processing

Call for Papers

The conference accepts full papers of 4-10 pages (including references). Papers must be submitted as PDF files using EasyChair. All papers will be peer-reviewed by at least two experts in the field, and accepted papers will be presented in the conference programme and proceedings published in the AES Library in open access (OA) format at no additional cost to the author. Final manuscripts of accepted papers must implement all revisions requested by the review panel and will be presented in an oral or poster session.

Important dates:

Paper submission deadline: 15 March 2025 midnight AOE (extended deadline from 28 Feb. 2025)

Notification of acceptance: 16 June 2025

Camera-ready submission deadline: 14 July 2025

Conference: 8-10 Sept. 2025

Submission information: 

https://aes2.org/contributions/2025-1st-aes-international-conference-on-artificial-intelligence-and-machine-learning-for-audio-call-for-contributions/

Submission is via EasyChair. Paper templates are provided on the AES website in LaTex and Word format:

https://aes2.org/wp-content/uploads/2024/10/AES_2025_AIMLA_blind_review_template_peerReviewed.zip

https://aes2.org/wp-content/uploads/2024/10/AES-AIMLA-Cat-1Template-Blind-Template.docx

Call for Special Sessions

As a part of this conference, we invite submissions for panel discussions (still open), tutorials, and challenges (closed). 

Call for Panel Discussions

We are seeking experts and professionals in the field to propose a 60-minute Panel discussion with at least 4 panellists on the proposed topics. The proposal should include a title, an abstract (60-120 words), a list of topics for discussion, and a description (up to 500 words). Additionally, the submission should include the number, names, and qualifications of presenters, and technical requirements (sound requirements during the presentation, such as stereo, multichannel, etc.).

Important dates:

Deadline for panel discussion proposals: 15 March 2025 (extended deadline from 28 Feb. 2025)

Accepted panels notified by: 10 June 2025

Organizing Committee

General Chair: Prof. Joshua Reiss (QMUL) (chair-aimla@qmul.ac.uk)

Papers Co-Chairs: Brecht De Man (PXL-Music) and George Fazekas (QMUL) (papers-aimla@qmul.ac.uk)

Special Sessions Co-Chairs: Soumya Vanka (QMUL) and Franco Caspe (QMUL) (special-sessions-aimla@qmul.ac.uk)

Sponsorships Co-Chairs: Farida Yusuf (QMUL) and Gary Bromham (QMUL)

Best wishes,

George

— 

Dr. George Fazekas, 

Senior Lecturer (Assoc. Prof.) in Digital Media 

Programme Director, Sound and Music Computing (SMC, QMUL)

Programme Director, Digital Media Technology (DMT, QMSH)

Taught Programme Lead and Co-I, AI and Music (AIM) PhD programme

Centre for Digital Music (C4DM)

School of Electronic Engineering and Computer Science

Queen Mary University of London, UK

FHEA, M. IEEE, ACM, AES

web: c4dm.eecs.qmul.ac.uk | semanticaudio.net | bit.ly/smc-qmul | aim.qmul.ac.uk

Fwd: HearMus Seminar Series

HearMus Seminar – February 20^th 14:00-16:00 GMT (15:00-17:00 CET)

 

Making music more accessible for cochlear implant users

Professor Waldo Nogueira, Hannover Medical School, Germany

 

Music is vital in our lives, connecting people emotionally and culturally. However, cochlear implants, designed to restore speech, often fail to help users enjoy music. This presentation reports on outcomes of the Music4u project which aims to change this by developing technology to improve music perception for cochlear implant users. This involves creating new signal processing algorithms to enhance music enjoyment and personalizing it based on individual hearing performance and brain signals. The goal is to improve users' quality of life by making music more accessible.

 

1st Cadenza Machine Learning Challenge for Music and Hearing Loss: Listener Evaluation Data

Dr Scott Bannister, University of Leeds, UK

 

The Cadenza Project (https://cadenzachallenge.org/) aims to improve music listening experiences for people with a hearing loss, through machine learning challenges and perceptual studies. The 1st Cadenza Challenge (CAD1) tasked entrants with improving music audio quality for people with hearing loss, listening to music unaided and over headphones. Entrant systems were assessed via an objective metric, and subjectively evaluated by a Listener Panel of hearing aid users. This talk aims to summarise recent sensory evaluation work to understand attributes of music audio quality from the perspectives of hearing loss, and to present Listener Panel evaluation data for CAD1. Findings will be discussed in relation to music listening difficulties experienced through hearing loss, and next steps in the Cadenza Project will be outlined.

 

Alinka Greasley is inviting you to a scheduled Zoom meeting.

Topic: HearMus Seminar 5 (20.02.25)

Time: Feb 20, 2025 14:00-16:00 GMT (15:00-17:00 CET)

Join Zoom Meeting

https://universityofleeds.zoom.us/j/87092558319

Meeting ID: 870 9255 8319

 

************************************************************

HearMus Seminar 6 (March 25.03.25) 14:00-16:00 GMT (15:00-17:00 CET)

Dr Alan Sanderson, Brighton and Sussex Medical School, UK

Dr Chi Lo, Toronto Metropolitan University, Canada

 

The HearMus seminar series provides a monthly forum for the discussion of a broad array of topics around music and hearing health. The series aims to yield a state of the art of research on music perception and hearing impairment, hearing aids and music, and individual differences in music perception and production. Besides presentations from experts in academia and industry, the seminar series seeks to foster lively discussions and exchange of ideas, with the joint goal of sustaining and enhancing access to music for people with diverse hearing needs. You can access recordings of the previous seminars here: https://musicandhearingaids.org/hearmus-seminars/

 

Seminar leaders: Prof. Alinka Greasley, Prof. Kai Siedenburg

 

Prof. Alinka Greasley

Professor of Music Psychology

Director of Research and Innovation

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

Email: a.e.greasley@leeds.ac.uk | Phone: + 44 113 343 4560

 

 

Fwd: ISPS 2025 | Oct 29-01 Nov 2025 | Shanghai

:

CALL FOR PAPERS 
 
ISPS 2025 
Performance Science in Practice 
 
October 29 | 01 November 2025 
Shanghai | China 
 

https://performancescience.org

 

 

The next International Symposium on Performance Science, ISPS 2025, will be hosted by the Shanghai Conservatory of Music on October 29–01 November 2025. 

 
The ISPS 2025 theme, Performance Science in Practice, is intended to encourage discussion and debate on connections between performance, education, science, 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-site 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 
 
01 April 2025: Paper/poster abstract submission deadline 
15 May 2025: Notification of submission decision 
01 June 2025: Article submissions open for ISPS 2025 Research Topic in Frontiers
01 September 2025: End of early registration 
29 October 2025: Start of ISPS 2025 
31 January 2026: Article submission deadline for ISPS 2025 Research Topic in Frontiers
 
SUBMISSIONS 
 
Submissions are invited for 
 
- Spoken papers 
- Poster presentations 
- Symposia 

Detailed instructions for submissions are available via the conference website: https://performancescience.org. 

 

Submissions should be made electronically by 01 April 2025. 

 
GRADUATE AWARDS 
 
The Scientific Committee is keen to encourage the attendance of students, as well as established researchers and practitioners. 
 
The ISPS 2025 Graduate Paper Award will be offered to one graduate student to present a keynote paper at the conference. 

In addition, at 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 2025 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 15 May 2025. 
 
CONFERENCE PUBLICATION 
 
Building on the publication of articles from ISPS 2013, ISPS 2015, ISPS 2017, ISPS 2019, ISPS 2021, and ISPS 2023 in Frontiers in Psychology, the journal is hosting a Research Topic in the specialty section Performance Science for ISPS 2025 presenters. To qualify, the first (or corresponding) author must be a registered presenter at ISPS 2025, and the manuscript should be submitted to the journal for independent peer-review between 01 June 2025 and 31 January 2026. 
 
To learn more about the specialty section Performance Science, see https://www.frontiersin.org/journals/psychology/sections/performance-science. 

 

Note. The ISPS 2025 Research Topic replaces the Proceedings of the International Symposium on Performance Science. A proceedings volume will not be produced for ISPS 2025; however, published articles from all previous ISPS are freely available at https://performancescience.org. 

 
REGISTRATION 
 
Full and one-day registration options will be available, which also include student discounts and online-only options. 
 
Online registration will open on 15 May 2025. 
 
For further information about the venue, submissions, graduate award, and registration, visit the conference website: https://performancescience.org. 

 
The official language of the conference is English. There is also a special section for English/Chinese bilingual submissions as part of the Third International Forum on Musical Performance Studies (IFMPS 2025) that will be held together with ISPS 2025.
 
Aaron Williamon, London 
Yang Jian, Shanghai

Fwd: [DMRN-LIST] Startup opportunity - MuseCool

Hi all

 

Please below a startup opportunity that might be of interest to masters or PhD students.

 

Best wishes

Charis 

 

 

***

 

Opportunity 

Instrumental music education is still being taught largely the same way it was during Mozart's time. We're looking to innovate in this space. 

 

MuseCool has just raised pre-seed investment to build a tool that listens to children's live music lessons, understands them, and creates practice games based on them, for the children to do at home between sessions. The primary goal is to make practice at home actually fun and easy to follow - while keeping it very relevant to what is taught by real tutors each week. Secondary goals include really understanding how lessons are being taught and how children practice, for insights, benchmarking, and further future innovation in this space. 

 

Role: working to transcribe raw audio into annotated text & symbolic notation, initially focusing on piano lesson only, then expanding to all other instruments; you'll be working as part of a project team of 3 people, including yourself. 

Type: preferably full time, but part time also possible. 

When: starting asap. 

Where: remote. We also have an office near Liverpool Street, but that's optional. 

Pay: £30k/year + 1% of the firm, which is currently valued at £3M. We are looking to increase the valuation to at least £10M by this time next year and raise investor funds again, at which point the salary will also be renegotiated significantly upward. 

 

Join us and help redefine & improve the way music is taught to children around the world!

 

***

 

If interested, please contact Petru Cotarcea: petru@musecool.com – very nice and enthusiastic guy!

 

https://www.linkedin.com/in/petru-cotarcea/?originalSubdomain=uk

 

https://www.forbes.com/profile/petru-cotarcea/

 

https://musecool.com/uk/

 

 

-- 

Communication Acoustics Lab 

Centre for Digital Music
Queen Mary University of London

http://comma.eecs.qmul.ac.uk/

c.saitis@qmul.ac.uk

--

We are always hearing, but are we listening? — Joel Chadabe

Fwd: Collaborative Studentship between LSE and Music Mark

[shared on behalf of Dr Sarah K. Whitfield]

Dear Colleagues,

The following Collaborative Studentship between LSE and Music Mark is now open for applications, please do share with those who might be interested in applying,

All best,

Sarah Whitfield – sarah.whitfield@musicmark.org.uk

 

LSE Collaborative Studentship with Music Mark

The LSE ESRC Doctoral Training Partnership is pleased to offer the following Collaborative Studentship, commencing in September 2025: 

Project Title: Understanding the data ecosystem of music education provision in England: analysing Music Education Hubs' annual reporting data

Collaborative Partner: Music Mark

LSE Department: Department of Methodology

Supervisory team: Dr Sally Stares (s.r.stares@lse.ac.uk) (LSE), Professor Jouni Kuha (LSE), Dr Sarah K. Whitfield (Music Mark)

Project Description: 

The focus for this project is mandatory reporting data from Music Education Hubs (MEHs) within England. MEHs were set up in 2012 in England to augment and support music education in response to 'The Importance of Music', the first National Plan for Music Education (NPME). MEHs are partnerships that cover particular geographical areas, overseeing music provision by providing delivery and/or working with organisations including schools, local authorities, community organisations, voluntary organisations, industry, etc. At the start of 2024, there were 115 MEHs, which have now been reorganised into 43 hub lead organisations, which cover all areas of England.

MEHs are required to report, via annual surveys, information on music education activities, student engagement numbers and characteristics in their area, and MEH staffing, income and expenditure. Schools are requested to report their music activities to their local MEH, even if the MEH or its members are not directly involved in them. This makes for a data set that in principle is a census of music provision in state educational settings. The survey questions were designed by the Department for Education (DfE) and Arts Council England (ACE), and data have been collected annually since 2012-13. Music Mark works within its role as an Investment Principles Support Organisation (IPSO) to support the sector in collating the data, in developing data literacy, and in advocating with both ACE and DfE.

The broad goals of this project are to analyse the data to learn more about music education provision across England, and to further our understanding of the broader context of how the data are reported and used. The precise research questions for the project will be developed by the student in collaboration with the supervisory team. 

 

For full details of the PhD and for how to apply, please visit: https://www.lse.ac.uk/study-at-lse/Graduate/fees-and-funding/LSE-Collaborative-Studentship-with-Music-Mark

 

Deadline for applications:  

The deadline for consideration for this Collaborative Studentship is 25 March 2025.

Fwd: PhD Studentships for 2025 at Kingston University London

 

PhD Studentships for 2025 at Kingston University London

The Department of Performing Arts at Kingston University London is delighted to invite expressions of interest from strong Music researchers to join our PhD Programme from October 2025. 

 

Several fully-funded and part-funded studentships are available on a competitive basis to undertake doctoral study (including practice-based) in a range of areas.

 

We encourage applications from Global Majority students: as well as ringfencing a number of studentships, we are also offering a programme of support and mentoring during the application process.

 

At least one of the fully-funded PhD studentships will be awarded to a Kingston Alumni who has completed an undergraduate and/or masters level degree course at Kingston University or its predecessor institutions. 

 

Deadline for applications: 5 March 2025

 

Research in Music at Kingston University is both theoretical and practice-based and often the two are integrated. Engaging with a range of methodologies and theoretical perspectives, music staff have particular strength in:

• Music technology
• Musicology
• Music education
• Music composition

Music technology research include studio-based creative practices, immersive audio environments, interactive performances, and music AI. Musicology topics range from historical and philosophical aspects to popular musicology and music in other media (moving image, dance). Music education research is inclusive of a broad range of teaching and learning settings and related music in health and wellbeing contexts. Music compositions encompass instrumental works, interactive pieces and multimedia collaborations.

Specific areas of expertise include: 

• studio-based creative practice-research
• pop musicology and ludomusicology
• sound spatialisation techniques and systems
• site-specific installation art
• music memory and perception
• electroacoustic music analysis
• preservation issues of electronic music
• electronic music performance practices
• music and generative AI

 

Further information on the studentships and guidelines for application can be found here:

https://www.kingston.ac.uk/research/research-degrees/funding/phd-studentships-2025/

 

For information of the research environment of Kingston School of Art, please follow this link: https://www.kingston.ac.uk/faculties/kingston-school-of-art/research-and-innovation/research-degrees/

 

Questions about the PhD programme can be directed to Dr Daniela Perazzo, Postgraduate Research Coordinator: https://www.kingston.ac.uk/staff/profile/dr-daniela-perazzo-179/. Prospective applicants are encouraged to discuss their research proposal in advance of submitting an application.

Fwd: [DMRN-LIST] workshop in London March 30-31

A meeting of musical minds – workshop on performance, creativity, and AI will take place March 30-31 at Guildhall School of Music and Drama in person (sorry but we will not be streaming the event). The workshop features distinguished speakers and will include presentations, discussions, and a concert. You can access more detailed information on the event here. The workshop is free but we ask people to register . 

The concert - Sunday evening - is part of the workshop but is also open to the public. If you register to the workshop you do not need to also register for the concert. (registration for the concert only available here )

Oded Ben-Tal, DMA, MA, BA, BSc FHEA

Associate Professor, Music

Kingston School of Art | Kingston University London

Department of Performing Arts website

Fwd: HearMus Seminar 4

The next seminar in the new HearMus series is taking place next Wednesday 22nd January 2pm GMT (3pm CET) with Johanna Boyer (MED-EL) and Bastien Sannac Cunningham (Meludia).

 

*************************************************

HearMus Seminar 4

Time: Jan 22 2025 14:00-16:00 GMT (15:00-17:00 CET)

 

Benefits of Online Music Training for Cochlear Implant Recipients

Johanna Boyer, MED-EL

 

Music enjoyment is of importance for many cochlear implant users and the interest in music training is high, but many cochlear implant users report that it is a challenge to find suitable training resources and stall because they don't know how to practice. Meludia is an online music training program that provides structured and guided music training for musically experienced and inexperienced children and adults, which is designed to enable them to be successful. The program has great potential because it is offered in 23 different languages and therefore can be used globally; it is easily accessible and convenient to use because it allows for an individual schedule; and because it is such a comprehensive music training tool, it gives users the chance to work on individual goals regardless of their present abilities. In this presentation I will share recent research findings demonstrating benefits for music, speech and quality of life.

 

New generations of auditory training & testing for hearing impaired users

Bastien Sannac Cunningham, Meludia

 

This talk will explore novel methods of auditory training and assessment for hearing impaired listeners.

 

 

Alinka Greasley is inviting you to a scheduled Zoom meeting.

Topic: HearMus Seminar 4 (22.01.25)

Time: Jan 22, 2025 14:00-16:00 GMT (15:00-17:00 CET)

Join Zoom Meeting

https://universityofleeds.zoom.us/j/86082985384

Meeting ID: 860 8298 5384

 

We look forward to seeing some of you there! Please pass on to anyone you feel would be interested.

 

The HearMus seminar series provides a monthly forum for the discussion of a broad array of topics around music and hearing health. The series aims to yield a state of the art of research on music perception and hearing impairment, hearing aids and music, and individual differences in music perception and production. Besides presentations from experts in academia and industry, the seminar series seeks to foster lively discussions and exchange of ideas, with the joint goal of sustaining and enhancing access to music for people with diverse hearing needs.

 

You can find out more details and watch previous seminars here: https://musicandhearingaids.org/hearmus-seminars/

 

 

Prof. Alinka Greasley

Professor of Music Psychology

Director of Research and Innovation

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

Email: a.e.greasley@leeds.ac.uk | Phone: + 44 113 343 4560

Fwd: Centre for Performance Science: New Podcast Launch

Dear Colleagues,

We are pleased to share that Performance Science, the new Centre for Performance Science podcast, launches today! See below for further details and information on how you can listen.

 

Centre for Performance Science: New Podcast Launch

Hosted by Professor Aaron Williamon, Head of the Centre for Performance Science, Performance Science is a podcast exploring the science of performing and the role of performance in society. It encourages us to think differently about the ways in which performing is part of our lives. 

 

Bringing together expert guests from across the creative industries, this first four-part series focuses on the health and wellbeing of the creative workforce, including conversations with guests from Equity, the British Association for Performing Arts Medicine, the Royal Society of Musicians, the Creative Industries Policy and Evidence Centre, and Centre for Performance Science researchers. Throughout this series we examine a range of crucial topics, including performer resilience, financial autonomy for freelance creatives, empowering professional artistic communities, and improving wellbeing support systems. 

                                                                                                                                                            

How to Listen to Performance Science

New episodes will be released on Wednesday over the coming weeks. You can use the links below to listen directly through our website or via your preferred podcast platform:

 

Website: https://performancescience.ac.uk/podcast/

Apple: https://podcasts.apple.com/gb/podcast/performance-science/id1784290301

Spotify: https://open.spotify.com/show/2abjCOK6DAAXXKQd2PWRDs?si=c3488496b2c840bd

YouTube: https://youtube.com/playlist?list=PLLuznx6bv3URfauwxFK11w8qlAClxWRjz&feature=shared

Deezer: https://www.deezer.com/us/show/1001465391

Acast: https://shows.acast.com/674ede92830c3b302c519c8a

 

We very much hope that you will enjoy listening to the first season of Performance Science! Please subscribe, rate, and share with your networks – we would love to see these important conversations reach as wide an audience as possible.

 

Best wishes,

Michael

 

Michael Durrant

HEartS Project Coordinator

CENTRE FOR 
PERFORMANCE SCIENCE  
 
The CPS is a partnership of 

Royal College of Music | Imperial College London 

www.PerformanceScience.ac.uk