Fwd: CMMR 2025 'Sound, Music: Space, Place' - tutorials, demos and workshops tracks now live

Please do consider forwarding on this message to all those who you think might be interested within the computer and music technology, and music education fields.

 

In particular, I wanted to draw your attention to the tutorials track. These will be held on the first and last days of the symposium programme. Tutorials provide an excellent opportunity for researchers, practitioners, and educators to present teaching and learning content on topics relevant to the Computer Music Multidisciplinary Research community.

 

CMMR attracts a wide range of individuals from varied national and professional backgrounds. Represented disciplines include computer science and engineering; performance, composition and musicology; cognitive science and psychology; neuroscience and physiology; education; and design and interaction. Participants are drawn from various roles including established academics, post-doctoral and early career researchers; doctoral and graduate students; independent researchers and artists; industry practitioners and developers; and educators and accessibility advocates. 

 

So, if you would like to promote or popularise a particular tool or technology, then the Tutorial format could be the perfect vehicle!

 

More information can be found here:

https://cmmr2025.prism.cnrs.fr/call-for-tutorials/

 

Tutorial proposals should use the templates available here:

https://cmmr2025.prism.cnrs.fr/tutorial-submission-guidelines/

 

Many thanks!

Ross

 

 

Full information on CMMR 2025:

CMMR 2025 'Sound, Music: Space, Place' - tutorials, demos and workshops tracks now live

 

17th International Symposium on Computer Music Multidisciplinary Research (CMMR 2025) - this year's theme is 'Sound, Music: Space, Place' hosted by UCL in East London, 3 - 7 November 2025 

 

Conference website:

https://cmmr2025.prism.cnrs.fr/

CMT submission site:

https://cmt3.research.microsoft.com/CMMR2025  

 

CMMR 2025 welcomes contributions focusing on the multidisciplinary intersection of sound, music, and computing. 

Under this year's theme 'Sound, Music: Space, Place' we particularly encourage submissions that engage with the spatial and situated dimensions of sonic practice. 

The conference is hosted by UCL's internationally renowned departments of  UCL Anthropology (within the forward-thinking UCL School for the Creative and Cultural Industries) and the Bartlett School of Architecture, UCL.

 

The conference is co-organised with the CNRS-AMU PRISM laboratory (Perception, Representations, Image, Sound, Music). 

CMMR creates an open and inclusive space dedicated to sharing a wide range an in-person event; all presenters are required to attend and present onsite.  of insights and innovations that bridge sound, music, and computing. CMMR 2025 will feature a diverse range of activities across the following tracks: regular papers, demonstrations, sound & music works, tutorials, and workshops.

Important Dates (deadlines are set at midnight Pacific Time (PT) on the specified dates.) 

Demo Track deadline: 21st July 2025

Notification of acceptance: 15 August 2025 

Tutorial track deadline: 25 July 2025

Notification of acceptance: 15 August 2025 

Workshop Track deadline: 25 July 2025

Notification of acceptance: 15 August 2025 

Sound & Music Track deadline: 25 July 2025

Notification of acceptance: 15 August 2025 

Registration 

Early registration: 22 August - 6 October 2025 

Normal registration: 7 October - 26 October 2025 

Late registration: 27 October - 7 November 2025 

Conference dates: 3 - 7 November 2025 

CMMR 2025 is committed to fostering an inclusive and welcoming conference environment. We especially encourage submissions from individuals traditionally underrepresented in computer music,  including women, people from the Global Majority, LGBTQIA+ communities, disabled people, non-traditional scholars (such as those in industry or otherwise outside academia, or from interdisciplinary fields), and individuals from diverse socioeconomic, cultural, and educational backgrounds.  

Further information including submission requirements can be found online. Conference logistics will follow soon. 

For all enquiries, including accessibility needs, please contact us at: cmmr25@ucl.ac.uk 

We look forward to your submissions! 

 

The CMMR 2025 Organising Committee 

 

Fwd: SYNTHposium - Call for Participation

***Call for Participation***
The Synthesizer Research Network (SyReN)
***DEADLINE*** FOR PROPOSALS: 31 JULY 2025
SYNTHposium, Saturday 11 October 2025
School of MUSIC, University of LEEDS, UK.

The Synthesizer Research Network invites participation in a one-day symposium event.
Participation can be in the form of a paper presentation, or performance-demonstration.
https://synthresearch.org/symposium

***Rationale and context***
The synthesizer is an instrument with a long history that has played an important role in popular and experimental music from the late 1960s onwards. The Synthesizer Research Network (SyReN) will initiate dialogue and collaborations between musicians, academic researchers, non-academic scholars, software and hardware engineers, composers, and other expert groups. These different communities share a common interest in the history, design, or musical practice of synthesizers. SyReN aims to provide an organised route for exchange of knowledge between these groups to explore how we can expand our understanding of how synthesizers are used by musicians (both past and present) and potentially use that knowledge to inform the design of future instruments.

Themes or questions for critical discussion:
Synthesizer practice: performance, composition, sound design
* How has synthesizer performance practice evolved over time, within specific genres?
* To what extent is the full potential of specific instruments exploited by musicians?
* Do specific categories of synthesizer have archetypal sounds and styles of performance practice that can be defined?
* What gaps currently exist in our knowledge of synthesizer practice?
Industrial design and musical practice
* Do variations in synthesizer design have an impact upon musical practice?
* Why are certain parameters or functions used more than others by musicians?
* What are the musical impacts of changes to synthesizer specifications?
* What gaps exist in our knowledge of synthesizer design?
Exploring the history and music of the synthesizer
* Has the perception of the synthesizer changed over time within different academic, professional, industrial, and enthusiast communities?
* How may our view of the synthesizer be augmented by broader cultural studies, including (but not limited to): race, disability, gender, sexuality and social class?
* What gaps currently exist in synthesizer scholarship and musicology?

Additionally, the over-arching question for all SyReN activities will be:
How can the network enhance synthesizer research and facilitate new discoveries that will be valuable to musicians, academics, engineers, and non-academic experts?

The deadline for submissions will be: 31 July 2025.
Please apply using the form available to download from our website: https://synthresearch.org/symposium
Forms and enquiries about the event should be emailed to Ewan Stefani - e.j.stefani@leeds.ac.uk with "SYREN 2025" in the subject line before the deadline.

Fwd: Participate in groovy music research study (US-based only)

Hi ya'll,

We are looking for volunteers for a scientific music research study. This study is an exploration of groove—how and why we feel a beat the way we do. Your participation would help us advance our scientific and musical understanding of groove. We'd love it if you would be willing to help us out!

The study will only take 15–20 minutes of your time to complete. All you will do is listen to some rhythmic patterns and tap buttons on your keyboard. Unfortunately, there would be no compensation to you, other than the good feeling of helping science.

Only adults (18 years or older) who are currently inside the USA may participate. If you are interested in participating, please use a computer (i.e., a device with a keyboard) to navigate to https://ccml.gtcmt.gatech.edu/Exploring_Groove.

If you have any questions, feel free to contact me. And feel free to forward this email to others!

Nat Condit-Schultz

Director of Graduate Studies

Georgia Tech School of Music

Principal Investigator, Computational and Cognitive Musicology Lab

Fwd: [DMRN-LIST] CMMR 2005 - paper deadline extension + all further tracks live

  [apologies for cross-posting]

CMMR 2025 'Sound, Music: Space, Place' - Extended deadline (regular papers) + all further tracks now live (tutorials, demos, workshops)

By popular request, the submission deadline for regular papers has been extended. The new deadline is 1 July at 12:00 AM Pacific Time, which is 2 July at 8:00 AM UK time.

17th International Symposium on Computer Music Multidisciplinary Research (CMMR 2025) - this year's theme is 'Sound, Music: Space, Place' hosted by UCL in East London, 3 - 7 November 2025

Conference website: https://cmmr2025.prism.cnrs.fr/
CMT submission site: https://cmt3.research.microsoft.com/CMMR2025 

CMMR 2025 welcomes contributions focusing on the multidisciplinary intersection of sound, music, and computing.

Under this year's theme 'Sound, Music: Space, Place' we particularly encourage submissions that engage with the spatial and situated dimensions of sonic practice.

The conference is hosted by UCL's internationally renowned departments of UCL Anthropology (within the forward-thinking UCL School for the Creative and Cultural Industries) and the The Bartlett School of Architecture, UCL. The conference is co-organised with the CNRS-AMU PRISM laboratory (Perception, Representations, Image, Sound, Music).

CMMR creates an open and inclusive space dedicated to sharing a wide range of insights and innovations that bridge sound, music, and computing. CMMR 2025 will feature a diverse range of activities across the following tracks: regular papers, demonstrations, sound & music works, tutorials, and workshops. CMMR 2025 is planned to be an in-person event; all presenters are required to attend and present onsite.


Important Dates (deadlines are set at midnight Pacific Time (PT) on the specified dates.)

Regular paper deadline (extended): 1 July 2025 
Notification of acceptance: 15 August 2025
Camera-ready version deadline: 12 September 2025
Author registration deadline : 21 September 2025

Demo Track deadline: 14 July 2025 
Notification of acceptance: 15 August 2025

Tutorial track deadline: 15 July 2025 
Notification of acceptance: 15 August 2025

Workshop Track deadline: 15 July 2025 
Notification of acceptance: 15 August 2025

Sound & Music Track deadline: 25 July 2025 
Notification of acceptance: 15 August 2025

Registration
Early registration: 22 August - 6 October 2025
Normal registration: 7 October - 26 October 2025
Late registration: 27 October - 7 November 2025


Conference dates: 3 - 7 November 2025

CMMR 2025 is committed to fostering an inclusive and welcoming conference environment. We especially encourage submissions from individuals traditionally underrepresented in computer music,  including women, people from the Global Majority, LGBTQIA+ communities, disabled people, non-traditional scholars (such as those in indurty or otherwise outside academia, or from interdisciplinary fields), and individuals from diverse socioeconomic, cultural, and educational backgrounds. 

Further information including submission requirements can be found online. Conference logistics will follow soon.

For all enquiries, including accessibility needs, please contact us at: cmmr25@ucl.ac.uk

We look forward to your submissions!

The CMMR 2025 Organising Committee

Fwd: Special Collection in Music & Science on "Explaining music with AI" published

Dear list members,

 

We are delighted to announce the publication of a special collection in the journal, Music & Science, on the topic of 'Explaining music with AI: Advancing the scientific understanding of music through computation'. The collection has been guest edited by David Meredith, Anja Volk and Tom Collins.

 

The special collection has been published open access and is available online at

https://journals.sagepub.com/topic/collections-mns/mns-1-explaining_music_with_ai/mns

 

The collection includes an editorial overview and seven articles as follows:

 

Perception of Chord Sequences Modeled with Prediction by Partial Matching, Voice-Leading Distance, and Spectral Pitch-Class Similarity: A New Approach for Testing Individual Differences in Harmony Perception, by Matthew Eitel, Nicolas Ruth, Peter Harrison, Klaus Frieler, and Daniel Müllensiefen.

https://doi.org/10.1177/20592043241257654

 

The Interconnections of Music Structure, Harmony, Melody, Rhythm, and Predictivity, by Shuqi Dai, Huan Zhang, and Roger B. Dannenberg. 

https://doi.org/10.1177/20592043241234758

 

End-to-End Bayesian Segmentation and Similarity Assessment of Performed Music Tempo and Dynamics without Score Information, by Corentin Guichaoua, Paul Lascabettes and Elaine Chew. 

https://doi.org/10.1177/20592043241233411

 

Revealing Footprints of Ancient Sources in Recent Eurasian and American Folk Music Cultures Using PCA of the Culture-Dependent Moment Vectors of Shared Melody Types, by Zoltán Juhász. 

https://doi.org/10.1177/20592043241228982

 

Melodic Differences Between Styles: Modeling Music With Step Inertia, by Matt Chiu and David Temperley. 

https://doi.org/10.1177/20592043231225731

 

Mel2Word: A Text-Based Melody Representation for Symbolic Music Analysis, by Saebyul Park, Eunjin Choi, Jeounghoon Kim and Juhan Nam. 

https://doi.org/10.1177/20592043231216254

 

Understanding Feature Importance in Musical Works: Unpacking Predictive Contributions to Cluster Analyses, by Cameron J. Anderson and Michael Schutz.

https://doi.org/10.1177/20592043231216257

 

We hope that collection will provide a useful resource for researchers interested in using computational methods to advance our understanding of music.

 

Kind regards,

David Meredith

 

Fwd: Book Launch for Sonic Pasts - acoustical heritage and historical soundscapes

**This list is managed by Professor Evangelos Himonides, University College London (UCL). Before 2015, this list was managed by the Institute of Musical Research (IMR).** MESSAGE FOLLOWS:

Hi everyone!

Next Monday 9th June we are hosting the book launch for my book 'Sonic Pasts: acoustical heritage and historical soundscapes' It's a hybrid event with options to attend in person in York or to join online. You can book a free ticket here.

Best wishes,

Mariana 

--
Professor Mariana López
Professor in Sound Production and Post Production

Principal Investigator 'Enhancing Audio Description II'

School of Arts and Creative Technologies, University of York

Deputy Director, Humanities Research Centre, University of York

Pronouns: She/Her

Web: https://www.york.ac.uk/arts-creative-technologies/; https://marianajlopez.com/

My new book is now out: 'Sonic Pasts: acoustical heritage and historical soundscapes'. 

Fwd: [DMRN-LIST] AURORA³ announcement and Research Engineer job opportunity (deadline 18 June 2025)

---------- Forwarded message ---------
From: Enzo De Sena <00007eea1c298d8e-dmarc-request@jiscmail.ac.uk>
Date: Fri, 30 May 2025 at 15:57
Subject: [DMRN-LIST] AURORA³ announcement and Research Engineer job opportunity (deadline 18 June 2025)
To: <DMRN-LIST@jiscmail.ac.uk>

Dear Digital Music Research Network, (Apologies for cross-posting!)

I am writing to share two pieces of news.

First, we secured funding from EPSRC (Engineering and Physical Sciences Research Council) to build new acoustic research infrastructure. AURORA³ (Anechoic and Universal Research Observation Rooms for Audio, Acoustics, and AI) will incorporate a state-of-the-art anechoic chamber equipped with a spherical loudspeaker array and a variable acoustics room combining adjustable wall panels and a moving wall system, enabling both room volume and reverberation times to be controlled.

The aim is to provide precisely controlled acoustic conditions for fast, accurate and reproducible physical and perceptual data collection. This is valuable, for instance, in machine/deep learning research, where large, high-quality, and diverse datasets captured under realistic conditions are important to build effective models.

AURORA³ is UK National Strategic Infrastructure, but it will be accessible to researchers worldwide, from both industry and academia. In addition to welcoming on-site visits, we also plan to support remote collaborations by conducting certain experiments on behalf of external researchers. If this sounds relevant to you, please follow our LinkedIn page:
https://www.linkedin.com/company/aurora3-uk

Second, we are looking for a Research Engineer to help us bring AURORA³ to life. The position is initially for two years. The job advertisement is included below. If you know a graduating PhD student or a promising MSc graduate who might be interested, please feel free to share. Thank you!

Best regards,
   Enzo

—
RESEARCH ENGINEER IN AUDIO, ACOUSTICS & AI

Institute of Sound Recording, University of Surrey
Location: Guildford (35 minutes by fast train from London)
Salary: £37,174 p.a. - £45,413 p.a.
Post Type: Full Time
Closing Date: 23.59 hours BST on 18 June 2025
Interview Date: 27 June 2025 (online)

An exciting opportunity to join the AURORA³ team to pioneer next-generation infrastructure for audio, acoustics, and AI.

AURORA³ is a new strategic facility at the University of Surrey supporting cutting-edge research in audio, acoustics, and artificial intelligence (AI). It will incorporate a state-of-the-art acoustic anechoic chamber equipped with a spherical loudspeaker array and a world-first variable acoustics room enabling reverberation times as well as room volume to be precisely controlled. Our vision for AURORA³ is to bring the A³ (audio, acoustics and AI) community together, produce high-quality data resources that enable substantial advances in the development of technologies and science relating to sound and hearing, and foster a mindset that encompasses inclusion, rigorous inquiry and pathways for realising societal and economic benefit.

AURORA³ will establish National Strategic Infrastructure, accessible to researchers in industry and academia alike. It is supported by a £2.2 million investment from the Engineering and Physical Sciences Research Council (EPSRC), in addition to significant contributions from the University of Surrey and the 18 AURORA³ partners.

We are seeking to appoint a Research Engineer to help design, implement, and operate AURORA³. The successful candidate will be appointed at Level 4, with salary depending on experience. The post is full time and initially offered for a fixed term of 2 years (end date currently capped at 30/June/2027). The preferred start date is as soon as possible, with the earliest possible start on 1/July.

YOUR PROFILE

You will have a strong background in acoustics and audio engineering, software development, and technical writing/documentation. Ability to collaborate with colleagues and stakeholders will be essential. We particularly welcome candidates with experience in psychoacoustic listening tests and machine/deep learning. A PhD in a relevant area is desirable. Depending on experience, the role may additionally involve shaping strategic direction, including co-writing of grant proposals and mentoring PhD students.

WHAT WE CAN OFFER

The University of Surrey is a global university with a world-class research profile and an enterprising spirit, located in one of the safest counties in England, within 35 minutes of London by train and minutes away from the Surrey Hills, an Area of Outstanding Natural Beauty.

The successful candidate will be hosted by the Institute of Sound Recording (IoSR), an internationally-recognised centre for acoustic engineering research. The IoSR is also home to the renowned Tonmeister degree in Music and Sound Recording, which has produced a stream of highly successful graduates who have collectively received numerous accolades, including three Oscars, twelve Grammys, six Emmys, and twelve BAFTAs. AURORA³ is delivered in collaboration with the Centre for Vision, Speech and Signal Processing (CVSSP), globally recognised for pioneering 3D computer vision and spatial audio, founder of Surrey Institute for People-Centred AI (PAI), and host of the new £8 million CoSTAR AI compute facility. This network of expertise will provide the post holder access to a thriving, world-class research environment, state-of-the-art facilities, and opportunities to engage with both academic and industry stakeholders.

We offer a competitive remuneration package, including relocation assistance where applicable,  market-leading pension scheme, and staff development opportunities.

HOW TO APPLY

Informal enquiries by email are welcomed to Professor Enzo De Sena (e.desena@surrey.ac.uk).

Please apply using the link below with your CV and cover letter outlining why you are interested in the position also answering the criteria questions. Applications received via email will not be considered. Interviews will be held on 27/June.

https://jobs.surrey.ac.uk/Vacancy.aspx?id=14845



--
Enzo De Sena
Professor (Full Professor)
Director, Institute of Sound Recording
Department of Music & Media
University of Surrey
Stag Hill, University Campus, Guildford GU2 7XH, UK

Office: 08aBC03
Email: e.desena@surrey.ac.uk
URL: desena.org
LinkedIn: https://www.linkedin.com/in/enzodesena

Fwd: [DMRN-LIST] Survey on the landscape of computational musicology

Dear Colleagues,

As part of the Laudare ERC project, we are conducting a research
focused on computational musicology. Our specific aim is to identify
current gaps and understand the needs within the existing suite of
tools available for researchers.

We kindly invite you to contribute your valuable expertise by
participating in a brief survey. It is designed to take approximately
10-15 minutes of your time and can be conveniently completed from your
smartphone or computer.

Access the survey here: https://forms.gle/tvy3S6raKK76qkgN7

Please feel free to reach out if you have any questions.

Best regards,



--
Federico Simonetta
Post-doc Researcher @ Laudare ERC project
Visiting Researcher @ LIM - Music Informatics Laboratory
GSSI - Gran Sasso Science Institute
https://federicosimonetta.eu.org | https://gssi.it | https://laudare.eu
| https://lim.di.unimi.it

Fwd: Survey on the landscape of computational musicology

Dear Colleagues,

As part of the Laudare ERC project, we are conducting a research
focused on computational musicology. Our specific aim is to identify
current gaps and understand the needs within the existing suite of
tools available for researchers.

We kindly invite you to contribute your valuable expertise by
participating in a brief survey. It is designed to take approximately
10-15 minutes of your time and can be conveniently completed from your
smartphone or computer.

Access the survey here: https://forms.gle/tvy3S6raKK76qkgN7

Please feel free to reach out if you have any questions.

Best regards,


--
Federico Simonetta
Post-doc Researcher @ Laudare ERC project
Visiting Researcher @ LIM - Music Informatics Laboratory
GSSI - Gran Sasso Science Institute
https://federicosimonetta.eu.org | https://gssi.it | https://laudare.eu
| https://lim.di.unimi.it

Fwd: [DMRN-LIST] Mon,12 May 2025, 4PM, KCL Strand S1.12: Ville Pulkki (Aalto University) career contributions in acoustics and sound

Please see below for an upcoming MARC seminar at King's College London.  If you do not have access to the Strand Building at King's, please sign up here so we know to send someone to meet you in the Strand Building lobby 10 minutes before the event.  Professor Ville Pulkki is hosted by Professor Zoran Cvetkovic and Dr Julie Meyer.

__

KCL Music and Acoustics Research Centre Seminar

Ville Pulkki from Aalto University to give presentation on career contributions in acoustics and sound

https://marc.kcl.ac.uk/2025/05/ville-pulkki-from-aalto-university-will-give-a-presentation-on-his-career-contributions/

Monday, 12 May 2025, Strand Campus, King's College London... Professor Ville Pulkki will visit King's and give a talk on his career contributions. Ville's main contributions include Vector Base Amplitude Planning (VBAP), Directional Audio Coding (DirAC), and Cross-Pattern Coherrence (CroPaC). In addition, Ville contributed to research outputs on lasers, psychoacoustics, simplified room acoustics rendering, studies on yelling against wind, rendering of thought voice in VR, and aurora borealis sounds.

Ville's talk is an in-person event. The event will take place in room S1.12 at the Strand building (Strand Campus, Strand, London, WC2R 2LS) between 16:00pm – 17:00pm on Monday, 12 May 2025.

__

Elaine Chew | eniale.kcl.ac.uk

Professor of Engineering | King's College London

NMES: Engineering | FoLSM : BMEIS : Cardiovascular Imaging

Becket House, BH5.16 | 1 Lambeth Palace Rd, London, SE1 7EU, UK

Fwd: PhD Scholarships at the University of Leeds (Deadline: 2 June)

Dear all,

 

The School of Music in the University of Leeds invites applications for two PhD scholarships from prospective postgraduate researchers who wish to commence study for a PhD in the academic year 2025/26.  

 

School of Music Opportunity Research Scholarship

This scholarship is open to prospective postgraduate researchers from Black, Asian and other minoritised ethnic groups who are eligible for the Home/UK rate of tuition fees.

Further information can be found here: https://phd.leeds.ac.uk/funding/385-school-of-music-opportunity-research-scholarship-2025-26

 

Stanley Burton Research Scholarship

This scholarship is open to prospective postgraduate researchers who are eligible for the Home/UK rate of tuition fees.

Further information can be found here: https://phd.leeds.ac.uk/funding/23-stanley-burton-research-scholarship-2025

 

The awards provide full academic fees and a maintenance grant (£19,237 in Session 2024/25) for full-time study (with pro-rata awards available for part-time study).

 

The School of Music at the University of Leeds has an international reputation for research, and we bring together a community of scholars, composers and performers. We particularly welcome applications that connect to the School of Music's core research areas:

- Music as Culture (musicology exploring the role of music within historical, theoretical, literary, aesthetic, technological, popular, and interdisciplinary contexts)

 

- Music, Science and Technology (including music psychology, music and wellbeing, music technology, musical instrument studies, sound studies, and scientific perspectives on music)

 

- Making Music (composition, performance, and practice-based research methodologies)

 

- Pedagogic Research in Music (research regarding teaching and learning processes, experiences, and contexts in music)

How to apply

Full information, including details of the application process can be found through the links above. Applicants must submit both PhD study and scholarship applications no later than 5pm (UK time) Monday 2 June 2025.

 

All best,

 

Emily Payne

 

Dr Emily Payne (she/her) (hear my name)

Associate Professor of Music

Director of Postgraduate Research Studies, School of Music

 

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

https://ahc.leeds.ac.uk/music/staff/396/dr-emily-payne

 

Payne, E. (2022). Instrumental Interaction and Subversion in John Cage's Concert for Piano and Orchestra. Contemporary Music Review.

Schuiling, F. & Payne, E. (Eds.) (2022). Material Cultures of Music Notation: New Perspectives on Musical Inscription (Routledge).

Doffman, M., Payne, E., & Young, T. (Eds.) (2021). The Oxford Handbook of Time in Music (OUP).

Fwd: [cfp] Interdisciplinary and intercultural perspectives on musical care

[sent on behalf of the Musical Care International Network]

We are delighted to report that a call for papers for the Special Collection "Interdisciplinary and intercultural perspectives on musical care" is up on the Music & Science journal website:

https://journals.sagepub.com/topic/collections-mns/mns-1-special_collection_interdisciplinary?journalCode=mns

 The final deadline for submissions is 8 September 2025, but papers are welcome at any time before that date.

How did we get here?

 

The idea for this collection came from the Network's Research and Funding group meeting in January 2024 where the need for routes to submission were discussed and the idea of a special issue raised. Since then, the three of us applied to the journal Music & Science to guest edit a special collection on the topic. This journal seemed an appropriate home for this collection as the Network and the Journal share much in their respective goals, including our emphasis on interdisciplinary work and of communication among researchers from a range of disciplinary backgrounds in order to understand music and the roles it can play in our lives. The application was immediately successful, so we formulated a call for papers about which we consulted with the Network's Research and Funding group.

 

What do I need to know now?

 

As a first step, do take a look at the call

https://journals.sagepub.com/topic/collections-mns/mns-1-special_collection_interdisciplinary?journalCode=mns

 

As with any submission to a peer-reviewed journal, if you'd like to submit, please familiarise yourself with the journal's submission guidelines: https://uk.sagepub.com/en-gb/eur/music-science/journal202491#submission-guidelines.

 Submissions will need to fit with the quality and scope criteria of the journal. Some papers may not fit – if that's the case, that may indicate we need another special collection/issue in another journal but in the meantime, we can suggest alternative journals to submit to.

 

The journal charges an article processing charge (APC) of 854 USD. If you work at a university, you can check whether the university has an arrangement with the publisher with respect to the APC. If you don't work at a university or if your institution does not have such an arrangement, a fee waiver might be an option (https://uk.sagepub.com/en-gb/eur/gold-open-access-article-processing-charge-waivers). 

Finally, all members of SEMPRE get a 50% discount (https://sempre.org.uk/membership).

 

How can I be involved?

 

We have designed the call to reflect the Network's values and scope and we do hope you will consider submitting your research. The collection will be guest edited by us and (conflicts of interest permitting) we hope to draw on your expertise during the review process. Moreover, if you would be open to mentoring someone in the Network as they work up their paper, please let us know.

 

The call is not exclusive to Network members, do pass the link along to anyone who might be interested. It would be particularly helpful if you have links to organisations who can share the link with their members.

 

Whether you end up being an author, reviewer, mentor, and/or reader of the final papers, we hope you find this initiative helpful.

 

Warm regards,

Musical Care International Network

Fwd: AHRC PhD studentship: Soundscapes of domesticity: music and lived experiences in non-elite English homes, 1780–1870

Dear all,

 

Matt Ingleby and I have secured a fully-funded, 4-year PhD studentship with the Museum of the Home on music and lived experiences in non-elite English homes, 1780-1870.

 

Please do share with anyone you think might be interested:

 

Alastair (and Matt)

--

 

AHRC Collaborative Doctoral Partnership (CDP) studentship

Soundscapes of domesticity: music and lived experiences in non-elite English homes, 1780–1870

 

Queen Mary University of London with the Museum of the Home

 

The deadline for applications is: 1700 BST, Friday 23 May 2025

Interviews will be held during the week commencing: Monday 2 June 2025

 

Queen Mary University of London and the Museum of the Home are pleased to announce the availability of a fully-funded Collaborative Doctoral Studentship from October 2025 under the AHRC's Collaborative Doctoral Partnership (CDP) scheme. The studentship is funded for four years full-time, or up to eight years part-time.

 

Project overview and key aims

This project will explore the significance of music to lived experiences in non-elite English homes from the late-eighteenth to the mid-nineteenth century. Focusing on examples of different types of home from working-class cottages to petit-bourgeois households, lodging houses and institutional homes, it aims to provide understanding of the role played by music in relation to three key areas of domestic experience: (i) how music was entwined with embodied domestic practices and how it shaped expressive responses, emotional capacities and movement within the home; (ii) how music enabled and sustained familial relationships and other domestic social interactions; and (iii) how music connected homes to the places around them, and the commercial, social, cultural and political networks of the wider world.

 

Alongside a PhD thesis presenting original new research on a neglected area of historical and musicological investigation, the findings of the project will contribute to the Museum of the Home's redisplay of its eighteenth and earlier nineteenth-century period rooms. The production of musical soundtracks for museum visitors and the organisation of a 'Festival-Symposium' on 'Music in the Home', with contributions from researchers, curators and musicians, will be additional outputs.

 

This project will be jointly supervised by Alastair Owens (Professor of Historical Geography), and Matthew Ingleby (Lecturer in Victorian Literature) at Queen Mary; and, at the Museum of the Home, by Louis Platman (Curator and Research Manager) and Gaynor Tutani (Creative Programming Officer).

 

Click here for further details and the application process.

 

For enquiries, or an informal discussion, please contact Alastair Owens (a.j.owens@qmul.ac.uk)

 

–

Professor Alastair Owens

Professor of Historical Geography and Director of Education

Chair of Trustees, The Geographical Association

 

School of Geography | Queen Mary University of London | Mile End Road | London | E1 4NS | UK

How to contact me:

Telephone: 0776 560 1782 | Email: a.j.owens@qmul.ac.uk | Using Microsoft Teams? Click here to chat with me |X: @AlastairHackney |Bluesky: @alastairhackney.bsky.social

 

Recent work:

Artists, other creative practitioners and COVID-19: personal experiences and policy reflections (Report, 2022)

At home in London during COVID-19: policy recommendations and key findings (Report, 2022)

Anglicanism, race and the inner city: parochial domesticity and anti-racism in the long 1980s (History Workshop Journal 94, 2022)

Working better together: geographers and collaboration (Teaching Geography 48, 2023)

 

Fwd: Research Fellow in Advanced Audio Systems (deadline 29 April 2025)

Please see a 3-year Research Fellow opportunity below. Please feel free to forward to anyone who may be interested. Thank you!

Best regards,
   Enzo

—
RESEARCH FELLOW IN ADVANCED AUDIO SYSTEMS
University of Surrey (UK)
Post Type: in-person, full time
Location: Guildford (35 minutes by fast train from London)
Salary: £37,174 to £45,413 per annum, Fixed Term (- May 2028)
Closing Date: 23.59 hours BST on Tuesday 29 April 2025
Supervisors: Prof Philip Jackson and Prof Enzo De Sena


An exciting opportunity to join the CoSTAR National Lab's audio team to pioneer future tools, interaction, immersive technologies and AI for the creative industries.

THE ROLE

The Surrey Institute for People-Centred AI (PAI) is a core partner leading AI research and development for the new CoSTAR National Lab for R&D in Creative Technology. The CoSTAR National Lab, led by Royal Holloway, University of London, is a £51m investment by the UK Government in applied research to ensure that the UK's screen and performance industries have the research infrastructure and innovation skills to compete globally.

The aim of CoSTAR is to put the UK at the forefront of applied research in advanced technologies for the creative sector. PAI will lead the CoSTAR Creative AI research and development to realise the next generation of AI-enabled storytelling experiences and technologies. This builds on Surrey's track-record of over 35 years of fundamental advances in AI research in computer vision and spatial audio leading to ground-breaking technologies for the creative industries. 

The post will advance knowledge in the use of audio systems for virtual production and contribute to both research publication and novel demonstration of creative technology as part of the CoSTAR National Lab.  The post will initially be offered for a fixed-term of 3 years, which may be extended for the duration of the partnership.

This position is based at the Centre for Vision, Speech and Signal Processing (CVSSP) at the University of Surrey, which forms the core foundational AI expertise of PAI. CVSSP is ranked first in the UK for computer vision and recognised worldwide for pioneering new technologies in audio and vision. The centre leads ground-breaking research in audio-visual AI and machine perception for the benefit of people and society through technological innovations in healthcare, security, entertainment, robotics and communications. Over the past three decades, CVSSP has pioneered advances in 3D and 4D computer vision and spatial audio which have enabled award-winning technologies for content production in TV, film, games and immersive entertainment.

ABOUT YOU

We are seeking to appoint an experienced Research Fellow to seed collaborations and lead R&D activities at the forefront of audio technology for virtual production. The role gives equal emphasis to research outputs and creative industry impact. The successful applicant should be qualified to PhD level in a technical research area, and have relevant experience in more than one of the following:

- Audio production workflows (e.g., DAWs and plugins for audio effects)
- Immersive audio formats (e.g., ambisonics, binaural and object-based audio)
- Programming (e.g., real-time audio, games engine, machine learning toolboxes, git)
- Physical acoustics (e.g., sound properties, room modes and reverberation)
- Participatory research methods (e.g., formal listening tests, statistics and ethics)
- Practical experience (e.g., acoustical measurements, listening tests, practical demonstrations, performance capture, musical training)


Applicants should have excellent software engineering and technical writing skills, alongside motivation to work with others to develop and deploy tools for the creative industries.  Professional communication and collaboration skills are essential.

WHAT WE CAN OFFER

The University of Surrey is a global community of ideas and people, dedicated to life-changing education and research. We are ambitious and have a bold vision of what we want to achieve - shaping ourselves into one of the best universities in the world, which we are achieving through the talents and endeavour of every employee. Our culture empowers people to collaboratively achieve this aim and to make a real difference. The University has a world-class research profile and an enterprising spirit, located in one of the safest counties in England, nestled within the Surrey Hills, an Area of Outstanding Natural Beauty, and yet only 35 minutes from central London by train.

We can offer a generous renumeration package, which includes relocation assistance where appropriate, an attractive research environment, well-equipped laboratories, the latest computing facilities and access to a variety of staff development opportunities.

HOW TO APPLY

Informal enquiries by email are welcomed either to Professor Philip Jackson (p.jackson@surrey.ac.uk) or Professor Enzo De Sena (e.desena@surrey.ac.uk).

To apply please apply via our website: https://jobs.surrey.ac.uk/vacancy.aspx?ref=018925 . Applications submitted via email will not be considered.

Interviews are expected to be held w/c 5th May.

The University of Surrey is committed to providing an inclusive environment that offers equal opportunities for all.  We place great value on diversity and are seeking to increase the diversity within our community.  Therefore we particularly encourage applications from under-represented groups, such as people from Black, Asian and minority ethnic groups and people with disabilities.


--
Enzo De Sena
Professor (Full Professor)
Director, Institute of Sound Recording
Department of Music & Media
University of Surrey
Stag Hill, University Campus, Guildford GU2 7XH, UK

Office: 08aBC03
Email: e.desena@surrey.ac.uk
URL: desena.org
LinkedIn: https://www.linkedin.com/in/enzodesena

#

Fwd: Music & Science special issue on music and hearing loss - Call for submissions

Dear all,

 

The interdisciplinary, open access online journal Music & Science has just released a special issue on music and hearing loss.

 

Music and hearing loss

 

Description

It is estimated that by 2050, 2.5 billion people will be living with hearing loss* (WHO, 2024). Hearing loss is a major barrier for accessing music, which can impact negatively on music perception and appreciation and lead to a reduction in musical activities and associated reduction in quality of life. This special collection is focused on scientific research which seeks to understand how hearing loss affects music experiences (perception, listening, performance) and how these can be improved for people with all levels of hearing. This might include approaches to hearing conservation, technical improvements to hearing devices such as hearing aids and cochlear implants, and audiological practice. It might also include alternative approaches to traditional rehabilitation such as vibrotactile perception and other promising augmentation strategies.

 

We invite submissions from a wide range of disciplinary areas such as music and creative practice, psychology, audiology, acoustics, psychoacoustics, engineering, computer science. 

 

Topics may include (but not be limited to):

·         Hearing conservation and hearing protection devices 

·         Hearing aids for music: user experiences, technological innovation, application design 

·         Cochlear implants for music: user experiences, technological innovation, sound coding strategies

·         Deep learning and signal processing for hearing devices for music

·         Music augmentation strategies (e.g. vibrotactile, personalised listening) 

·         Audiological/hearing therapy practice 

·         Music-based aural rehabilitation strategies 

·         Music perception and hearing loss 

·         Creative practice for those with hearing loss

 

The Special Collection welcomes the full range of paper types (including empirical research articles, theoretical papers, position papers, discussions, and reviews).

 

*Please note: We are using 'hearing loss' as the term most commonly used in scientific research papers which address the impact of different levels of hearing on music experience. We appreciate the complexity and diversity of terminology and philosophical perspectives on this matter, and that different terms are preferred and commonly used. Given variations in terminology use (e.g. 'hearing impairment', 'deaf', 'hard of hearing', 'hearing difference'), we ask that authors use their preferred terms, along with any relevant critique of terminology.

 

You can find out more, including the submission guidelines here: https://journals.sagepub.com/topic/collections-mns/mns-1-music_and_hearing_loss/mns

 

Deadline for submissions: 31 December 2025

 

Editorial team:

Alinka Greasley, Scott Bannister, Kai Siedenburg, Kate Gfeller, Gerardo Roa Dabike

 

Please contact me or one of the editorial team if you have any questions.

 

Best wishes,

Alinka

 

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 

Fwd: [DMRN-LIST] UWL Townshend Studio PhD Scholarship

The University of West London is offering a full-fees scholarship plus a bursary for a student undertaking a PhD focused on the Townshend Studio. The studio is the home of Pete Townshend's extraordinary collection of electronic musical instruments, on long-term loan to the university. Our scholarships are open for September 2025 to full-time and part-time international and home/settled students and comprise:

Full-time

• Stipend of £22,000 per year (tax free)
• Tuition fees waived
• Duration: Three years

Part-time

• Stipend of £11,000 per year (tax free)
• Tuition
• Duration: Six years

Find more details about PhDs at UWL at: https://www.uwl.ac.uk/course/research/music?start=1560&option=33

We are looking for someone to propose a doctoral research project based around this amazing and unique collection of electronic musical instruments starting in Sep 2025. The proposal can be for anything to do with the collection, but it needs to support the agenda that underpins the Townshend Studio project: a place for learning, collaboration, experimentation and play which is inspired by and built upon the musical and artistic legacy of Ealing, with a goal of promoting and encouraging creative practice for all. In particular, we are looking for proposals which create shareable new content, activities and/or knowledge which promote this agenda. Practice-based approaches are encouraged.

Possible areas for applications might be:

• Exploring ways in which contemporary digital technologies can be used in conjunction with these machines. The university has a range of audio, MIDI and control voltage interfaces.
• Placing the Townshend Studio and its collection of instruments in a historical context. Projects might range from histories of synthesis and sampling to the Ealing / West London music scene.
• Understanding how communities of practice and individuals engage with and use the collection. This might be a study that works in collaboration with the funded Artist-in-Residence scheme that started in 2025.
• An ethnographic study about the technology and its maintenance. Many of the older items in the collection have very few people qualified to maintain them and very few experienced expert users. How can we capture that knowledge and make it available? 
• Using the collection to explore and understand Roy Ascott's cybernetic approach to creativity and practice as embodied in the Groundcourse which Pete Townshend attended at a pre-cursor to UWL in the early 1960s.

·         Study ways of embedding diverse and inclusive practices into the configuration and use of the technology and the space it is in. This might be from a perspective of culture, gender, disability, neurodiversity or any other protected characteristic.

·         Develop an extendable taxonomy to catalogue and analyse the sonic and functional properties of the synthesisers (and others) and develop a digital open-access archive that includes high-quality recordings and detailed analysis of each synthesiser's capabilities. 

PhD scholars will be expected to carry out teaching or research duties for a maximum of six hours per week (full-time) or 3 hours (part-time).

Application deadline

Home/settled students: 15 June 2025 at 11:59pm. International students: 30 April 2025 at 11:59pm

If you are interested, please contact Simon Zagorski-Thomas or Justin Paterson in the first instance with a short outline of your idea and we will help to develop a formal application from that.

 

Use this link to find details about some of the amazing instruments in the collection: https://www.uwl.ac.uk/study/study-facilities/the-townshend-studio/synthesisers