Thursday, April 10, 2025
Fwd: [cfp] Interdisciplinary and intercultural perspectives on musical care
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)
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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 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:
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)
Tuesday, April 8, 2025
Fwd: Research Fellow in Advanced Audio Systems (deadline 29 April 2025)
Best regards,
Enzo
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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
#
Tuesday, April 1, 2025
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
Thursday, March 27, 2025
Fwd: [DMRN-LIST] UWL Townshend Studio PhD Scholarship
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
Fwd: [DMRN-LIST] King's College London announces 20 new AI+ fellowships leading to open-ended academic posts
King's AI+ Initiative. King's College London is engaged in a major strategic investment in "AI+", focused on AI innovation and application applied to any/all areas of research – including health, humanities, biosciences, social sciences, arts, business and law, and physical/mathematical sciences. |
Tuesday, March 25, 2025
Fwd: [DMRN-LIST] AIMC’25 - 10-12 Sep 2025 - Brussels, Belgium - Keynote Announcement - CfP Deadline: 04 April 2025
Sorry for the cross-posting, please circulate widely!
https://aimusiccreativity.org/2025
+ ----------------- AIMC '25 ---------------- +
| | . . . . . The Artist in The Loop . . . . . | |
| | . . . . . . . . . . . . . . . . . . . . . . . . . . . . | |
| | . . . . . 10-12 September 2025 . . . . | |
| | . . . . . . Brussels, Belgium . . . . . . . | |
| | . . . . . . . . . . . . . . . . . . . . . . . . . . . . | |
| | . . . . . . PAPERS | MUSIC . . . . . . . | |
| | . . WORKSHOPS / TUTORIALS . . | |
| | . . . . . . . . . . . . . . . . . . . . . . . . . . . . | |
| | . . Abstract Submission Deadline: . | |
| | . . . . . . . . 04 April 2025 . . . . . . . . . | |
+ ----------------------------------------------- +
Keynote Announcement
In line with the AIMC 2025 theme — The Artist in the Loop, which explores feedback loops between human creators and AI systems across all stages of creative practice — the conference will feature an outstanding panel of keynote speakers offering deep insights into AI-driven creativity, human-AI collaboration, and the future of generative music.
- Marc Leman: Professor of Musicology at Ghent University, known for pioneering work in computational and embodied musicology. Founder of the Art & Science Lab at De Krook and author of over 450 publications. His current work focuses on high-dimensional music data and immersive environments.
- Katerina Kosta: Head of AI at Hook, previously at TikTok and Jukedeck. Expert in music AI, computational musicology, and expressive performance modeling. Holds a PhD from Queen Mary University of London, and combines deep technical knowledge with performance experience in classical piano.
Meanwhile, the call for AIMC 2025 is still open!
We invite submissions of papers, music, and workshop/tutorial proposals exploring the intersections of AI and music creativitym specially those that involve The Artist in the Loop.
Deadlines:
04 April 2025 – Abstract deadline
11 April 2025 – Full submission deadline
30 May 2025 - Decisions and notifications to authors
10–12 September 2025 – Conference in Brussels
Details on keynotes and submission info:
https://aimusiccreativity.org/2025
AIMC 2025 Organising Committee
Monday, March 24, 2025
Fwd: ISPS 2025 | Oct 29-01 Nov 2025 | Shanghai
Wednesday, March 19, 2025
UCL iMerc newsletter #15
UCL iMerc Newsletter — Vol. 15, March 2025 | |
Since the Covid-19 pandemic in 2020, we have been meeting regularly to share new research and insights related to diverse topics in music education, broadly conceived. We are a group of res… | |
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Fwd: 1st Call for Papers: CMMR 2025 “Sound, Music: Space, Place” (UCL East, London, UK)
1st Call for Papers: 17th International Symposium on Computer Music Multidisciplinary Research (CMMR 2025), London, 3 – 7 November 2025
CMMR 2025 "Sound, Music: Space, Place" UCL East, London, UK 3 - 7 November 2025
The 17th International Symposium on Computer Music Multidisciplinary Research (CMMR) will be held at University College London (UCL) in East London (United Kingdom), 3 - 7 November 2025.
CMMR 2025 invites contributions related to all aspects of multidisciplinary fields and approaches, regarding sound, music and computers. In particular, we welcome submissions matching this year's topic "Sound, Music: Space, Place".
The conference will be hosted by the world-leading departments of Anthropology (within the forward-thinking School for the Creative & Cultural Industries) and the Bartlett School of Architecture. As such, contributions centring on practices of culture (those of human as well as other living beings, including 'musical', acoustic and behavioural aspects of animals) and spatial practices, including architecture, are very welcome.
CMMR is an open-minded symposium that provides an opportunity to exchange ideas, opinions, and findings for everyone engaged in sound, music, and computers. We warmly welcome submissions from researchers and practitioners from academia and the industry, and others with an interest in related topics. CMMR is an in-person conference. All presenters are required to participate in the conference and present their works on site.
CMMR 2025 will feature a diverse range of activities across the following tracks: papers, demos, music and installations, tutorials, and workshops.
Call for Papers
The conference accepts short papers of 8 pages to present work-in-progress and long papers of 12 pages to present a more substantial contribution to the field (Springer LNCS single-column format).
Papers must be submitted as PDF files using EasyChair. All papers will be peer-reviewed by at least two experts in the field to ensure quality and suitability. Accepted papers will be presented in the conference programme and proceedings in open access (OA) format.
The Scientific Program Committee will determine the presentation format (oral / poster) of each accepted paper based on the reviewers' recommendations. The camera-ready version of accepted papers must implement revisions requested by the reviewers.
The conference will feature special paper sessions, the topics of which will be made available in due course.
As in the previous CMMRs, post-symposium proceedings consisting of selected peer-reviewed papers are planned to be published in the Lecture Notes in Computer Science Series of Springer Verlag.
Original contributions are encouraged in, but not limited to the following topics:
- Affective computing
- Architectural acoustics
- Artificial intelligence applied to sound and music
- Audio signal processing
- Auditory perception and cognition
- Augmented and smart musical instruments
- Aural diversities
- Bioacoustics
- Computational musicology
- Cooperative music networks
- Digital audio effects
- Digital communities
- Digital music libraries
- Embodied musical interaction
- Evaluation of creative music systems
- Extended reality (VR/AR/MR) and music
- Human-computer interaction applied to music
- Intelligent music tutoring systems
- Live coding
- Motion and gesture
- Multimodal perception
- Music and emotions
- Music education
- Music ethnography
- Music games and interactive learning
- Music information retrieval
- Music production and composition tools
- Music representation and visualization
- Music structure analysis
- Music transcription
- Musical interface design
- Optical music recognition
- Oral histories & storytelling
- Semantic web
- Sonification and musification
- Sound and music in visual media
- Sound source separation
- Sound studies & sonic anthropology
- Sound synthesis
- Soundscape and acoustic ecology
- Spatial audio
- User studies (e.g., ethnography, UI/UX)
Important Dates:
Paper submission deadline: 30 May 2025
Paper notification of acceptance: 28 July 2025
Conference dates: 3 – 7 November 2025
Conference Committee
General Chair: Angela McArthur (UCL)
General Co-Chair: Emma-Kate Matthews (UCL)
Further information pertaining to the various conference tracks, including submission requirements and conference logistics, will be disseminated in due course.
Tuesday, March 11, 2025
Fwd: HearMus Seminar 6
HearMus Seminar 6 (March 25.03.25) 14:00-16:00 GMT (15:00-17:00 CET)
Music and hearing loss across the lifespan: transfer effects to support speech-in-noise perception
Dr Chi Lo, Postdoctoral Fellow, Macquarie University and Australian Institute of Health Innovation
Speech perception in noisy environments remains a critical challenge for individuals with hearing loss. Recent evidence suggests that music processing skills and training can facilitate improvements in auditory perception. In this presentation, the findings from two music intervention studies (paediatric and geriatric) will be discussed and consolidated.
In the first study, 39 older adult hearing aid users (aged 57–90) were assigned to a 14-week, three-arm intervention (choir singing, music appreciation, and do-nothing control). Results revealed that participants assigned to the music groups had enhanced speech-in-noise perception as well as frequency following responses after the intervention.
The second study involved 14 children (aged 6–9) with prelingual sensorineural hearing loss that used cochlear implants, and/or hearing aids. Participation involved a 12‐week intervention incorporating weekly group‐based music therapy, supplemented with a take-home music app. Compared with an age‐matched typical hearing cohort, the children with hearing loss showed a significant improvement for SIN perception which was mechanistically linked to better timbre and spectral resolution perception.
Collectively, these findings highlight the potential of music‐based interventions as a complementary rehabilitation strategy. They suggest that structured music training may play critical roles in enhancing auditory outcomes across the lifespan.
Balancing auditory stimulation and noise exposure: Lessons from private and NHS audiology
Dr Alan Sanderson, Brighton and Sussex Medical School, UK
Dr Sanderson is a Clinical Lecturer in Audiology. In parallel to his research on tinnitus and hearing devices, Alan works in NHS and private clinical audiology. At the HearMus seminar, Alan will share how he and Conor O'Kane, an audiologist and classically trained pianist, set up an audiology service to optimise and protect hearing for patients that love music. The talk will use clinical case examples to draw out patterns that we can use to improve and standardise clinical protocols for people that play and/or listen to music.
Alinka Greasley is inviting you to a scheduled Zoom meeting.
Topic: HearMus Seminar 6 (25.03.25)
Time: Mar 25, 2025 14:00-16:00 GMT (15:00-17:00 CET)
Join Zoom Meeting
https://universityofleeds.zoom.us/j/81935189643
Meeting ID: 819 3518 9643
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
Wednesday, March 5, 2025
Fwd: Reminder: Musical care in dialogue 18th March 2025
Juanita Eslava (Orquesta Filarmónica de Medellin, Colombia)
Kjetil Falkenberg (KTH Royal Institute of Technology, Sweden)
Ailsa Lipscombe (University of Cincinnati, USA)
Cincinnati, Ohio, US – 10:00-11:00
London, UK – 14:00-15:00
Stockholm, Sweden – 15:00-16:00
Meeting ID: 999 1738 5066
Passcode: d7X@k4
Wednesday, February 26, 2025
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:
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