Fwd: [DMRN-LIST] CfP: Circuits to Culture: Synthesizers as Instruments, Interfaces, and Ideas

Call for Participation

12-13 September 2026 | Townshend Studio | University of West London, UK 

SYNTHposium 26 will be an in-person only event this year.

We invite submissions for SYNTHposium '26, bringing together practitioners, researchers, engineers, musicians, and scholars – interested in synthesizers in all their forms – historical, technical, cultural, and creative. We welcome proposals for paper presentations, performance-demonstrations or other initiatives over a two-day event bringing together practitioners, researchers, engineers, musicians, and scholars. Presenters will also be invited to a distributed creativity event on the evening of 11 September for a unique chance to use the historic instruments in the collection.

Theme: From Circuits to Culture: Synthesizers as Instruments, Interfaces, and Ideas 

Proposal deadline: 5 May 2026 

Further details of themes, and how to submit to the call are available online here:

https://synthresearch.org/symposium/

Best regards,

Justin

Professor of Music Production

University of West London

SIMM seminars and publications

1. In 2026, we still plan the following 2 research seminars:

1.  For the 12th SIMM research seminar (7-9 September 2026) we will be invited in Luxemburg by the Institute of Musicology and Arts of the Department of Education and Social Work of the University of Luxemburg, to propose the 2nd edition of a 3-day research seminar which will again bring together socially engaged practice-researchers from diverse arts disciplines. Deadline for applications will be 15th April 2026. See info here.   

 

2.  For the 13th SIMM research seminar, (11-13 November 2026) we will be invited in Ghent by the Chair Jonet (University of Ghent). This SIMM research seminar will again – following the 1st such seminar in 2021 in Porto at CIPEM/INET-md (Centro de Investigação em Psicologia da Música e Educação Musical) – focus on research on music programmes in detention centres and prisons. Deadline for applications will be 15th April 2026. See info here.

2. In 2026 we will also co-edit 2 special issues of academic journals:

1. The Italian Journal Musica e Storia prepares together with SIMM a special issue on historical research on music as resistance and as oppression. I am guest editor together with Janie Cole (University of Connecticut). Deadline for contributions was December 31, 2025. See info here.  

2. The International Journal of Music Mediation (IJMM) prepares together with SIMM a special issue (nr 5) on participatory opera and music theatre. Deadline for contributions: May 31 2026. Find info here.  

Fwd: [MUSICOLOGY-ALL] CfP - EUROVISIONS International Conference - Science Slam

*EUROVISIONS INTERNATIONAL CONFERENCE – SCIENCE SLAM 2026 CALL FOR PAPERS*

Are you researching Eurovision—and ready to share your ideas with the world
in a fresh, engaging way?

The Eurovisions Science Slam 2026 invites scholars at all stages,
especially early-career researchers, to join a dynamic format where
academic insight meets creativity, storytelling, and public visibility. The
Science Slam is your chance to show how your work contributes to
understanding Eurovision's public value: its role in culture, media,
identity, fairness, participation, and community building. We are looking
for voices that communicate research clearly, boldly, and accessibly.



*Please submit*

• Short bio (max. 100 words)

• 1–2 photos

• Abstract of your talk (max. 300 words)

• After your proposal has been accepted: A 10-minute video introducing
yourself, your research, and your personal ESC story

Your video will be featured on our website, YouTube, and social
channels—helping you reach a broad international audience. Public voting
begins as soon as the videos go live.



*What happens on stage *

During the conference, you will:

• Give a 2-minute recap pitch of your research

• Join a 5-minute conversation with an established ESC scholar

• Take part in a lively Q&A with our audience, both on-site and online

No slides, no formal presentation - just you, your ideas, and a room full
of people excited to hear how your research connects to Eurovision and
public value.



*Why Participate?*

• Gain international visibility as an emerging voice in Eurovision studies

• Practice public-facing science communication in a supportive environment

• Engage with a community deeply invested in culture, media, and music
research

• Compete for the Eurovisions Special Prize for Outstanding Science
Communication

• Have fun, be creative, and inspire others



*How to Apply*

Send your materials by 31 March 2026 to wolther@phonos.de. And if you know
any other early career researchers and even students focusing on the
Eurovision Song Contest, do not hesitate to spread the word.

We are looking forward to your contributions.


Check our website: eurovisions.eu



Sofia Vieira Lopes
Doutorado | Investigador
PhD | Researcher

*INET-md | Instituto de Etnomusicologia – Centro de Estudos em Música e
Dança*
*Faculdade de Ciências Sociais e Humanas – NOVA FCSH*
Av. de Berna, 26 C | 1069-061 Lisboa | Portugal
*Tel.:* + 351 217 908 300 | Ext.: 1583
*E-mail: *sofialopes@fcsh.unl.pt <sofiavieiralopes@gmail.com>
*Web:*  www.inetmd.pt | www.fcsh.unl.pt
*https://www.inetmd.pt/equipa/sofia-vieira-lopes
<https://www.inetmd.pt/equipa/sofia-vieira-lopes>*


*Team Leader | EUROVISIONS International Conference*
https://eurovisions.eu  <https://eurovisions.eu/>
Facebook: @EurovisionsConference
<https://www.facebook.com/EurovisionsConference/>
Instagram: @eurovisionsconference
<https://www.instagram.com/eurovisionsconference/?hl=pt>
YouTube <https://www.youtube.com/channel/UCsR2dA5hhchcvfUebFfDPRg>

The Interdisciplinary Voice 2026

The Interdisciplinary Voice 2026
From Motor Control to Identity

https://sites.google.com/york.ac.uk/interdisciplinary-voice-2026/about

Attendees at the Interdisciplinary Voice Workshop 2025, Newnham College, Cambridge. Photo credit: Abbie Bradshaw.

A two-day meeting exploring the voice at the Guildhall, University of York
2-3 July 2026
We warmly invite you to the third Interdisciplinary Voice Workshop! Following on from the inspiring meetings in 2024 and 2025, the meeting moves to York for the first time.

Voice studies is an emerging area of research with numerous opportunities for cross- and interdisciplinary collaboration. Its areas of focus range from basic questions in auditory perception and motor control, to disability and identity, to the aesthetics and politics of vocality, and to advances in technological applications, such as automatic speech recognition. As we learn more about the lives and ecological contexts of non-human animals, it becomes increasingly clear that rich, complex, and varied vocal communication behaviours are far from limited to human speech.

Given the breadth and diversity of research taking place in this rapidly developing field, there is an exciting opportunity to form a cohesive community with shared interest in the voice and vocality, within and across species.

To encourage participation across career levels and background, we have established a tiered registration fee system.

We look forward to welcoming you to York,

Dr Amelia Gully, Dr Sophie Meekings and Dr Vincent Hughes (co-organisers), in collaboration with Dr Abbie Bradshaw and Dr Alexis Deighton MacIntyre

Fwd: [MUSICOLOGY-ALL] SOAS Public Music Research Seminar, Wednesday 4 March, 5–7pm

*With apologies for cross-posting*

SOAS Public Music Research Seminar
Semester 2


Wednesday 4 March, 5–7pm
SOAS Main Building, Room G52
Zoom (ID: 987 3135 9111 Password: MgmE808yH5)


Andrew J. Green (King's College, London)
Hearing Travel: Sonic Pathways through the Bosque del Agua, Mexico


Abstract
Many popular songs describe journeys to and through the Bosque del Agua, a forested mountainous region just south of Mexico City. The clean air and water produced by this region's forests are so vital to life in Mexico's capital that it is colloquially described as the city's 'lungs'. Songs about the Bosque del Agua sentimentally extol the region's colours and natural abundance, and describe journeys through this region. Indeed, their connection to place is so close that songs are frequently described as 'maps' or 'guides'. Yet these songs-as-maps are not merely representational: in a fast-changing region, they also produce the pathways that they describe. In this presentation, I explore songs-as-maps as palimpsestic, over-layered compositions of matter, meaning and sonority on the pathways traversed through this zone.

Speaker
Andrew J. Green is an anthropologist of music and sound, and Lecturer in the Anthropology of Music at King's College London. His work explores acoustic engagements with activism and the natural environment in Mexico City and southern Mexico. He has published work in peer-reviewed journals including Cultural Anthropology, Ethnomusicology, Cultural Sociology, Cultural Studies, Twentieth-Century Music, Media, Culture and Society, and Ethnomusicology Forum, and is the author of Making Mexican Rock: Censorship, Journalism, and Popular Music After Avándaro (Vanderbilt University Press, 2024).
—
Dr Tom Peterson (he/him)
Postdoctoral Researcher
MANTRAMS, University of Tübingen

Honorary Postdoctoral Research Associate
Department of Music
SOAS, University of London
https://www.soas.ac.uk/about/tom-peterson

Fwd: [MUSICOLOGY-ALL] Call for Submissions – Journal of Black Opera and Music Theatre (Issue 2, 2026

Dear all,

The Black Opera Research Network is pleased to announce that the call for submissions for the second issue of our Open Access Journal of Black Opera and Music Theatre (JBOM) is now open. Authors wishing to be considered for the 2026 issue should submit their work by 15 March 2026.
We welcome submissions on opera and other forms of music theatre that centre Blackness—as a subject, methodology, site of identity formation, or critical lens. JBOM seeks to represent the voices of scholars and practitioners at all career stages and accepts contributions across three sections:

  *
Peer-reviewed articles (8,000–12,000 words)
  *
Artist interviews (5,000–10,000 words)
  *
Topical statements

Submission guidelines and details are available here: https://bop.unibe.ch/J-Bom/about/submissions
All the best,
Lena van der Hoven and the JBOM Editorial Team
--

Ass.-Prof. Dr. Lena van der Hoven (she/her)
Musikwissenschaft / Musiktheater

Universität Bern

Institut für Musikwissenschaft
Mittelstrasse 43
CH-3012 Bern

Fwd: [MUSICOLOGY-ALL] CFP - WOMEN IN MUSIC International Conference

CALL FOR PAPERS
WOMEN IN MUSIC
International Conference
23-25 September 2026
Department of Music Studies, National and Kapodistrian University of Athens
In collaboration with the Royal Musical Association
'Music of Eastern Europe and Eurasia' Study Group
Venue: Ioannis Drakopoulos Amphitheatre

The Department of Music Studies of the National and Kapodistrian University of Athens, in collaboration with the Royal Musical Association 'Music of Eastern Europe and Eurasia' Study Group are organising a conference on the theme of 'Women in Music.

The role played by women in various aspects of musical life has gained increasing attention since the emergence of feminist approaches to musicology in the 1980s, thanks to the application of feminist theories in various humanistic disciplines slightly earlier, as well a broader revisionist turn in Music Studies at the time, usually referred to as New Musicology. In the course of the past four decades significant efforts have been made to bring to the fore and explore, on the one hand significant aspects of the hitherto undervalued presence and contribution of women in (among others) musical creation, performance, music consumption, music scholarship, music education, and, on the other hand, to address the necessity for revisionist approaches to musicological scholarship. Nevertheless, the field of musicology is still a long way from achieving balanced accounts of gender participation in music making. At the same time, recent scholarship has increasingly foregrounded gender as a relational, historically contingent, and culturally situated category, inviting critical reflection on the very terms through which 'women in music' have been conceptualised and studied.

The conference 'Women in Music' aims to help remedy this gender imbalance in Music Studies by shedding additional light on women's involvement in various aspects of musical life since the early 20th century. Specifically, it aims to focus on a wide variety of historical and cultural contexts, with an emphasis on the geographical areas of Eastern Europe and Eurasia, while at the same time covering a wide spectrum of sub-disciplinary areas in the field of Music Studies.
Papers could address, but do not need to be limited to, some of the following aspects:

  *
women as performers
  *
the role of women in musical creation both in and beyond art musical traditions (i.e. in various cultural contexts)
  *
the role of women in music education
  *
women as cultural consumers/listeners
  *
women as scholars, researchers and music critics
  *
the role of women in leadership positions, promoting music making either as agents in cultural institutions or on account of their particular position in various cultural contexts


The conference encourages the representation of as many areas of music making and musical cultures as possible, aiming at a comparative perspective that will make a new contribution to the state of the art. Consequently, we encourage submissions associated with (among others) the sub-disciplines of Historical Musicology, Aesthetics, Music Analysis, Ethnomusicology, Popular Music Studies, Music Pedagogy.
The conference places particular emphasis on women's musical activities in Eastern Europe and Eurasia, with a primary focus on the period from 1900 onwards. Submissions engaging with these geographical and temporal frameworks will be prioritised.

The conference official language is English.
Paper proposals of no more than 250 words and short biographical notes of approximately 100 words should be submitted by 20 April 2026 to the following email address: womeninmusicconference@gmail.com.

Organising Committee
Eleni Kallimopoulou, Magdalini Kalopana, Katerina Levidou, Nick Poulakis, Angeliki Triantafyllaki, Markos Tsetsos

Scientific Committee
Pauline Fairclough, Eleni Kallimopoulou, Magdalini Kalopana, Elaine Kelly, Katerina Levidou, Ivana Medić, Nick Poulakis, Angeliki Triantafyllaki, Markos Tsetsos


https://www.music.uoa.gr/anthropino_dynamiko/meli_dep/aikaterini_lebidoy/
https://uoa.academia.edu/KaterinaLevidou

Fwd: [DMRN-LIST] PhD Position at KCL (Oct 2026 entry)

Dear all,

We have a funded PhD position at KCL as follows:

• "RAIDIAL": supporting Responsible AI through rich Data, Intricately Annotated and Linked
• King's College London
• King's Prize Doctoral Programme in Safe, Trusted and Responsible Artificial Intelligence
• Academic supervisors: Dr Mark Gotham, Dr Albert Meroño-Peñuela
• See also the industry note below
• Deadline to apply: Monday, March 02, 2026
• Start date: October 2026
• Competition Funded PhD Project (UK Students Only)

More details here:

https://www.findaphd.com/phds/project/raidial-supporting-responsible-ai-through-rich-data-intricately-annotated-and-linked/?p193643

What the advert doesn't say is that … 

we are in discussion with a major music label to make this is a joint academia-industry project.

So much the better!

Prospective applicants are welcome to write to me with any further questions.

Thanks again and best wishes,
Mark

 

-- 

Mark Gotham

https://markgotham.github.io/

 

Fwd: [MUSICOLOGY-ALL] job

Dear all,

The Purcell School is seeking to appoint a new Teacher of Academic Music
and Musicianship (commercial and jazz specialism). The successful candidate
will contribute to the delivery of music history, analysis, composition and
general musicianship programmes, largely in relation to this specialism.
Please visit this link for more information:
https://www.purcell-school.org/about-us/vacancies/ . If you have any
inquiries about the position, please contact the Head of Academic Music,
Andrew Williams: a.williams@purcell-school.org.
Unfortunately, this position is open only to candidates with the right to
work in the UK.

Best regards,

*Dr Alberto Martín Entrialgo *
Teacher of Academic Music & Musicianship
The Purcell School, Aldenham Road, Bushey, Herts. WD23 2TS
RCMJD Musicianship Teacher
Royal College of Music

Fwd: [MUSICOLOGY-ALL] REGISTRATION OPEN: Sounds of Climate Justice Study Day

REGISTRATION OPEN (FINAL PROGRAMME BELOW)
REGISTER HERE<https://forms.cloud.microsoft/e/L8GDFi96bX> by Friday 20 February to confirm in-person attendance (MS Form direct link: Sounds of Climate Justice Study Day Registration Form – Fill out form<https://forms.cloud.microsoft/e/L8GDFi96bX>)

The Southampton Centre for Music Education and Social Justice<https://www.southampton.ac.uk/research/institutes-centres/centre-for-music-education-social-justice> (CMESJ) is pleased to announce our Study Day on 'Sounds of Climate Justice' on Tuesday 24 February 2026. We have invited submissions for provocations of c.10 minutes relating to any intersectional reflections about / musical responses to the challenges of the climate crisis, and interventions that music studies can make in the pursuit of climate justice. This will be an in-person study day, although virtual or pre-recorded presentations will be accommodated.

The Keynote will be a performance of an interactive piece composed by Jenny Guilford and Ellan A. Lincoln-Hyde. Climate of the Bells is an outdoor, site-responsive keynote composition that traces a 'year of birdsong' from Southampton, performed through artefacts drawn from university, public, and private collections, including hand bells and repurposed industrial materials. As the piece unfolds, audiences move through the space, encountering seasonal songs and maritime resonances in a multispecies soundscape. The work foregrounds ecological rhythms, collective care, and interspecies attunement, transforming listening into an immersive, participatory experience.  Composers: Jenny Guilford and Ellan A. Lincoln-Hyde, jointly The (In)Equal Temperament Project<https://inequaltemperament.wordpress.com/>.

Contact: Erin Johnson-Williams at e.johnson-williams@soton.ac.uk<mailto:e.johnson-williams@soton.ac.uk>

Organising Commitee
Erin Johnson-Williams (University of Southampton)
Chi Ying Lam (University of Southampton)
Ellan A. Lincoln-Hyde (SOAS University of London)
Lawrence Davies (University of Huddersfield)
Amy Williamson (University of Southampton)



Study Day SCHEDULE

9:00: Coffee and welcome

9:30–11:30 Session A (Chair: Lawrence Davies)

Simon Waite, 'Beloveds'

Angela Rawlings / Snæfellsjökul fyrir forseta (Glacier for President), 'Glacial Withness: Listening at the Edge of Planetary Boundaries'

Andrew Lansley, 'Party in the Polycrisis! How Music Can (Actually) Save the World'

Ross Purves, 'Rethinking 21st century musicianship – a provocation'

Bridget Whyte, 'This is Not a Rehearsal: Embedding Sustainability into Music Organisations'

11:30 – 12:00 BREAK

12:00 – 12:45 – KEYNOTE

13:15 – 14:15 – LUNCH

14:15 – 16:15 – SESSION B (Chair: Benjamin Oliver)

                  Dikshant Uprety, 'What Does it Mean to Compose Music for Climate Change?'

                  Heather Mease, 'Melodic Landscapes and Erasure'

Dr L. Gre, 'Witness'

16:15 – 16:45 – BREAK

 16:45 – 17:30 – Closing plenary / manifesto brainstorm (Chair: Erin Johnson-Williams)

17:30 – Close



REGISTER HERE<https://forms.cloud.microsoft/e/L8GDFi96bX> by Friday 20 February to confirm in-person attendance (MS Form direct link: Sounds of Climate Justice Study Day Registration Form – Fill out form<https://forms.cloud.microsoft/e/L8GDFi96bX>)

Fwd: [MUSICOLOGY-ALL] New Digital Resource: Diccionario de la Zarzuela

Dear colleagues,

We are pleased to share the release of the digital edition of the Diccionario de la Zarzuela: https://diccionariodelazarzuela.es/dz

This new platform offers a rigorously curated reference tool that preserves, organises and makes accessible a unique cultural heritage, which is now available to researchers, performing arts professionals and anyone interested in the history of Hispanic musical culture.

Led by the Instituto Complutense de Ciencias Musicales, the project is the result of decades of scholarship and four years of dedicated digital editorial work. It was carried out with the support of the Instituto Nacional de las Artes Escénicas y de la Música (INAEM) and was funded through the European Union's NextGeneration programme.

The Instituto Complutense de Ciencias Musicales (https://iccmu.es) is a center devoted to scholarly research, and the recovery of Hispanic musical heritage.

Laura Planagumà.
Editorial team.
Instituto Complutense de Ciencias Musicales

Fwd: [MUSICOLOGY-ALL] The Guitar in Popular Music Conference (8th – 10th July 2026)

The Guitar in Popular Music Conference (8th – 10th July 2026)

The Guitar in Popular Music conference will be co-hosted by Canterbury Christ Church University and the Academy of Contemporary Music, in collaboration with the International Guitar Research Centre (University of Surrey). Proposals are invited for presentations as follows:

- Individual papers – 25 minutes plus 10 minutes for questions
- Individual papers which include live performance elements – 25 minutes plus 10 minutes for questions
- Lecture recital – 35 minutes plus 10 minutes for questions

Papers and presentations can focus on any aspect relevant to the conference's overarching theme: the guitar's role and use in popular music (including jazz). Any type of guitar (e.g. acoustic, electric, bass, hybrid etc.) may be considered, as can any (or any combination of) the following perspectives: historical, contextual, analytical, pedagogical, technological, compositional or performance-based. In recognition of the fact that 2026 marks 60 years since Jimi Hendrix's first performance in the UK we especially welcome papers that discuss Hendrix's legacy and contribution as a guitarist, or lecture recitals that focus on reinterpretations and arrangements of Hendrix's work.   

We are particularly interested in papers which relate to the following themes:

- Guitar Creativity and Technique
- Guitar Soloing and Tonal Improvisation
- Guitar as Rhythm and Texture
- Guitar Design and Technology
- Guitar Culture
- Case Studies of the Guitar Technique of Established Players in Popular Music

Please send proposals to guitarconference@canterbury.ac.uk in the following format:

- Individual Papers: abstract up to 300 words and biography up to 100 words. Please also provide a website link about you and your work if you have one.
- Individual papers which include live performance elements and Lecture Recitals: abstract up to 300 words, biography up to 100 words, and sample recording or video (e.g. via YouTube/SoundCloud link etc.). Please also provide a website link about you and your work if you have one.

The deadline for submissions is 15th March 2026. A draft conference programme will be published in April 2026.   

Registration details and conference bookings will open mid-April following the selection of papers.

We are delighted that Professor Milton Mermikides (Professor of Music at the University of Surrey and Gresham Professor or Music) will be presenting the keynote lecture at Canterbury Christ Church University, entitled I Just Want to Talk to You: The Musical Language of Jimi Hendrix.

This keynote paper illuminates the psychological, neurological, linguistic and zygonic mechanisms that help shape Jimi Hendrix's extraordinary musical language. These 'axes of expression' include vocal imitation, fretboard navigation, time-feel and groove, harmony and modality, and technological transformation. It argues that Hendrix's music persistently challenges the conventional separation and discrete categorisation of pitch, rhythm, and timbre. And that musical expression – as well as effective musical analysis – emerges from the dynamic, liminal interplay between these domains.

Conference Panel: 
Dr James Dean (Chair, Canterbury Christ Church University)
Professor Rich Perks (Deputy Chair, Academy of Contemporary Music)
Professor Milton Mermikides (University of Surrey/Gresham College)
Professor Murray Smith (University of Kent)
Dr Kate Lewis (Brunel University London) 

Acceptance of proposals will be at the discretion of the conference panel.

Please provide your abstracts as a WORD doc, preceded by information under the following headings:

Name
Institution (as appropriate)
Postal address
Phone
Email Address
Presentation type (paper or paper including live performance demonstrations)
Title

The conference will be held at Canterbury Christ Church University on 8th and 9th July and at the Academy of Contemporary Music (London campus) on 10th July. All papers will be presented in person. 

Enquiries: guitarconference@canterbury.ac.uk
Webpage: www.canterbury.ac.uk/events/2026/the-guitar-in-popular-music

Fwd: [MUSICOLOGY-ALL] Research Training: Online Presentation Skills for Researchers, 12th February 2pm

School of Advanced Study • University of London

Online Presentation Skills for Researchers
Research Training
Thursday 12th February 2026, 14:00 - 15:00 GMT (UK Time)
Online live via Zoom
Register here: https://www.sas.ac.uk/news-events/events/online-presentation-skills-researchers

Session Leader: Rosie Baber (University of London Careers Service)

The session focuses on:

  *   Understanding the key principles of effective online presentations
  *   Tailoring content and delivery for academic and research audiences
  *   Using visuals and interactive tools to enhance engagement
  *   Managing nerves and building confidence when presenting remotely

Relevant to all stages of postgraduate study.

––––
Kremena Velinova
Head of Research Training
School of Advanced Study<http://www.sas.ac.uk/> | University of London
Room 212 | Senate House | Malet Street | London WC1E 7HU
kremena.velinova@sas.ac.uk

Fwd: [MUSICOLOGY-ALL] CfP RMA Postgraduate Voice & Singing Study Day: Oxford, 14 May 2026

Call for Papers: RMA Postgraduate Study Day

Singing Education: Discourse and Terminology

Date: Thursday, 14 May 2026
Venue: Faculty of Music, Schwarzman Centre for the Humanities, University of Oxford
Submit proposals by: 2 March 2026
Submit proposals via this online form<https://forms.office.com/Pages/ResponsePage.aspx?id=G96VzPWXk0-0uv5ouFLPkcj1tN8Jm99DvFFtmSMq-S9UNFJUWVdEUEQ2UDdVVEJBWDU4VDU2UE05TS4u>

Invited Keynote Speaker:
Professor Nina Eidsheim (UCLA, Astor Visiting Lectureship at University of Oxford 2026)

This study day, supported by the Royal Musical Association and the University of Oxford Faculty of Music, examines the words we use in our singing cultures and pedagogies, exploring the vocal archetypes they create. We will dive into the varied terminologies used in the world of singing training and the discourse around it. The starting point for the day is that specialist language is designed to aid communication and make voice use more effective. Our focus is on the times in life that people experience their greatest development in singing, in terms of physical, cultural and musical growth and multiplicity of opportunities for vocal expression. We will discuss experiences of talking about voice, vocal development and singing: particularly how initial experiences influence vocal identity long-term.

The purpose of the study day is to bring stakeholders such as voice pedagogues, singers and musicologists together to converse, to understand the power of our specialist languages and to facilitate a discussion about archetypes in singing.

Areas of discussion may include, but are not limited to, vocal terminology and —

  *   identity formation in singing
  *   style/genre training
  *   physical perception of acoustic/physiological phenomena
  *   vocal timbre analysis
  *   accessibility
  *   historical pedagogies/literature
  *   methodologies of description
  *   vocal terminology amongst peers, in rehearsal and performance.

We invite proposals for 20-minute papers on any topic related to the discourse and terminology in singing education, independent of academic discipline. We also invite proposals for contributions to a themed panel or alternative presentation types such as a lecture-recital or pedagogical demonstration.

For a 20-minute paper, please include an abstract, 300 words maximum. For contributions to a themed panel, proposals should include a 150-word abstract and the proposed theme. Include a short biography of up to 150 words.

Submit your proposal via this online form<https://forms.office.com/Pages/ResponsePage.aspx?id=G96VzPWXk0-0uv5ouFLPkcj1tN8Jm99DvFFtmSMq-S9UNFJUWVdEUEQ2UDdVVEJBWDU4VDU2UE05TS4u> by midnight (AoE) on Monday, 2 March 2026.

If you don't intend to present but would like to attend the Study Day, please register your interest on the form<https://forms.office.com/Pages/ResponsePage.aspx?id=G96VzPWXk0-0uv5ouFLPkcj1tN8Jm99DvFFtmSMq-S9UNFJUWVdEUEQ2UDdVVEJBWDU4VDU2UE05TS4u>; you may also add topics you wish to be discussed. Further information regarding the registration and the programme will be circulated to those who have submitted this form and will be available via the RMA and Oxford Music Faculty website.

All proposals will receive a decision by Monday, 23 March 2026.

For any enquiries, please contact the Study Day organisers:
Jessica Edgar, University of Oxford (jessica.edgar@music.ox.ac.uk<mailto:jessica.edgar@music.ox.ac.uk>)
Richard Strivens, University of Bristol (richard.strivens@bristol.ac.uk<mailto:richard.strivens@bristol.ac.uk>)

Fwd: [DMRN-LIST] Open PhD position at KCL in robotic piano expressions for personalised music-heart interventions

Dear all,  Please share this with interested individuals with suitable music and computing skills. The research will involve computing with music and cardiovascular signals in clinical contexts.

PhD position open for "𝘿𝙚𝙭𝙩𝙧𝙤𝙪𝙨 𝙢𝙖𝙣𝙞𝙥𝙪𝙡𝙖𝙩𝙞𝙤𝙣 𝙤𝙛 𝙧𝙤𝙗𝙤𝙩𝙞𝙘 𝙥𝙞𝙖𝙣𝙤 𝙚𝙭𝙥𝙧𝙚𝙨𝙨𝙞𝙤𝙣𝙨 𝙛𝙤𝙧 𝙥𝙚𝙧𝙨𝙤𝙣𝙖𝙡𝙞𝙨𝙚𝙙 𝙢𝙪𝙨𝙞𝙘-𝙝𝙚𝙖𝙧𝙩 𝙞𝙣𝙩𝙚𝙧𝙫𝙚𝙣𝙩𝙞𝙤𝙣𝙨" supervised by myself with Gary Cook and Ildar Farkhatdinov in the EPSRC Centre for Doctoral Training in Advanced Engineering for Personalised Surgery & Intervention (AE-PSI) at King's College London's School of Biomedical Engineering & Imaging Sciences. This PhD starts in October 2026; the funding includes stipend, fees, and RTSG for 4 years. UKRI allows up to 30% of the cohort to be international. The position is available until filled. The first of three interview rounds begins in March. To apply, see https://www.surgerycdt.com/.

Short description:

This project is centred on creating tailored, goal-oriented, person-specific music-based cardiovascular interventions through the building of autonomous, steerable, dextrous manipulation of robot piano expressions.

       Music has profound effects on human physiology, with great potential for use as adjunctive medicine. Music affects the body through the autonomic nervous system, with direct impact on the heart. However, music's effect on the heart is understudied and underutilised in cardiovascular medicine.

       Humans are wired to react to prosodic features in acoustic stimuli, and trained musicians hone their dexterity to manipulate musical prosody to elicit desired reactions. However, clinical studies involving music in medicine rarely consider the expressive components of music.

       The goal in this project will be to building tools and interfaces to learn and shape nuanced prosodic expressions through a reproducing (robotic) piano. The steering of musical expression will be based on individuals' physiological feedback and designed to achieve target cardiovascular states.

       A clinical application will be with the TOTEM Study using Total Body Positron Emission Tomography at St Thomas' Hospital.

Thank you,

Elaine

__

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

Founder/Director, Digital Music Theranostics Lab | cosmos.isd.kcl.ac.uk 

Member of the Music & Acoustics Research Centre | marc.kcl.ac.uk

Music Hubs evaluation: interim report Research report February 2026

https://assets.publishing.service.gov.uk/media/69833572f13d4f72241ca9c0/Music_hubs_evaluation_-_interim_report.pdf

Authors: 

Sehaj Bhatti, Kate Wadsworth, Svetlana Speight, Jane Kerr, Matilda North, Lana MacNaboe, Ciaran Cummins and Alina Haque, National Centre for Social Research

Sustainability skills swapshop: Learn to mend and prolong your clothes' lifecycle!

Sustainability skills swapshop: Learn to mend and prolong your clothes' lifecycle!

 

We would like to invite you to a workshop on visible mending and repair. We will also explore cotton waxing.

The Department of Culture, Communications and Media at the IOE have been organizing "Sustainability Skills Swapshops". These are open sessions led by staff or students on a voluntary basis that involve a demonstration of and/or hands-on participation in a sustainability skill.

This session will be on visible mending, repair, and cotton waxing. It will be run by members of the Crafting Sustainabilities Collective.

• Where: room 938, 20 Bedford WayLondon, England
• When: Thursday, Feb 19 from 1 pm to 5 pm GMT. The session is scheduled for four hours, but you don't have to stay for the whole time. 
• To attend you must reserve a spot through Eventbrite: https://www.eventbrite.com/e/learn-to-mend-and-prolong-your-clothes-lifecycle-tickets-1981092692573?aff=oddtdtcreator

In the session we can support you to learn how to repair:

• Socks: Bring a sock that is thinning or has a manageable hole, and is thus worth saving. We will learn how to repair it together drawing from inspirational examples including our own!
• Holes, e.g., elbow, jeans, children's trainers: There are different patching techniques we can explore together. We will also use a sewing machine, if more suitable.
• Wool sweaters: Using Swiss darning we can bolster thinning material or repair a hole.
• Waxing cotton cloth: There will also be an opportunity to learn about waxing cotton cloth, a traditional and sustainable method of waterproofing, windproofing and toughening outdoor clothing. Demonstrations for waxing will happen at the hour so make sure you are on time if you want to learn this technique e.g. 1pm, 2pm etc.

 

Explore our video collection to explore the techniques we know and can support you with.

 

If you don't have something to mend you are still welcome to attend. There will be opportunities to practice different techniques.

 

What To Bring

• We will supply darning needles and mending wool. At the end of the session, you will be welcome to buy these, if you wish, at their market price.
• If you want to make a patch, we will supply some material, but you are welcome to bring your own.
• For wool repairs, you are welcome to send us an email at craftingsustainabilities@ucl.ac.uk with a picture of your sweater so we can match the wool weight/colour. Alternatively, bring your own wool (ideally this should match the weight of the original material)

Watch this video if you want to explore why repair matters!

https://www.youtube.com/watch?v=3iKHr-JnWYA

Fwd: [MUSICOLOGY-ALL] BL PhD Placement ‘Elgar’s letters and digital tools’, deadline 27th February

PhD Placement opportunity in British Library Music Collections: 'Elgar's letters and digital tools', deadline 27th February

The British Library is offering a 3-month Placement (or part-time equivalent) for a PhD student interested in music and the digital humanities to work on making the digitised letters of Edward Elgar more accessible to online audiences. The placement will involve working with HTR (handwriting text recognition) tools and datasets of existing human-typed transcriptions. Elgar was a prolific and idiosyncratic correspondent with messy handwriting and a fondness for ciphers, doodles, and picture postcards — it's an enormous, fantastic corpus with which to experiment with digital tools.

The Placement will be based in the Library's Music Collections with co-supervision from Heritage Made Digital and Digital Research. It is an excellent opportunity for a student to gain valuable, hands-on experience working with digital humanities tools and with music-related special collections.

A link to the advert, together with eligibility criteria and information about applications and funding, can be found here: https://www.bl.uk/services/research-collaboration/phd-placement-scheme. The deadline is 27th February. Informal queries are welcome: please contact frankie.perry@bl.uk.

Fwd: [MUSICOLOGY-ALL] Extended Deadline: IASPM-Norden Early Career Scholar Award

This is a reminder that the deadline for the IASPM-Norden Early Career Scholar Award is approaching.

To give people more time to nominate and/or prepare excerpted material from larger work, we have extended the deadline to February 20, 2026.

The award will be given to a piece of outstanding work that evidences originality of research and scholarly promise. This may concern theoretical, methodological or analytical rigour, originality, and innovation in the study of popular music.

The award celebrates scholarly promise and excellence relative to career stage.

Eligibility: Any manuscript published or (for theses/dissertations) defended in 2024 or 2025.

Self-nominations are welcome, and advisors/supervisors are encouraged to nominate their students.

For more on eligibility and submission guidelines, see the full award description see: https://iaspmnorden.wordpress.com/activities/early-career-scholar-award/2026-2/

Any question can be directed to the award committee secretary, me, at nihu[ at ]cc.au.dk"

Fwd: [MUSICOLOGY-ALL] MMus Scholarships at Royal Holloway University of London

The Department of Music at Royal Holloway, University of London is delighted to announce three scholarships for its MMus programme for the coming academic year, 2026-27. Pathways are available in Performance; Film, TV, and Game Music; Collaborative Piano; Composition; Ethnomusicology and Musicology.
https://www.royalholloway.ac.uk/research-and-education/departments-and-schools/music/studying-here/postgraduate-taught/

Two Headley Trust scholarships, amounting to £12,000 (that is, the full sum of a year's home student tuition fees) will be available this year. Successful applicants will live and have been educated in the United Kingdom, have an offer to study the MMus in Music, and have achieved or be expected to achieve either a first-class honours degree or first-class levels of excellence in their area of specialism. The latter would include those returning to study, who may demonstrate their talent through submission of a portfolio of professional work.
https://www.royalholloway.ac.uk/studying-here/fees-and-funding/scholarships/headley-trust-scholarship/

We shall also offer one Corky McGuinness award in Musicology. This will provide a tuition fee reduction of £4,000 to a new full-time student with Home fee or International fee status studying for a MMus in Music with a specialism in musicology or ethnomusicology. The successful applicant will have an offer to study the MMus in Music, and have achieved or be expected to achieve a first-class honours degree or equivalent.
https://www.royalholloway.ac.uk/studying-here/fees-and-funding/scholarships/corky-mcguinness-award-in-musicology/

We offer, full-time, part-time and Continuing Professional Development modes of study for all pathways. We welcome applications from all students for these scholarships and more generally for our MMus programme.

We advise all students intending to apply for these awards to submit their application for an MMus place by 15 May 2026 at the latest, to allow time for their application for a place on our programme to be processed. Once they have a conditional or unconditional offer of a place, they may then apply for scholarships via a separate form on our online application system (with a deadline of 15 June 2026 for the scholarship application). Candidates should read and consider application guidelines thoroughly so that the correct materials are included and processing is not delayed.

Further enquiries should be sent to the Director of the MMus programme, Prof. Mark Berry, at mark.berry@rhul.ac.uk.

This email, its contents and any attachments are intended solely for the addressee and may contain confidential information. In certain circumstances, it may also be subject to legal privilege. Any unauthorised use, disclosure, or copying is not permitted. If you have received this email in error, please notify us and immediately and permanently delete it. Any views or opinions expressed in personal emails are solely those of the author and do not necessarily represent those of Royal Holloway, University of London. It is your responsibility to ensure that this email and any attachments are virus free.

Fwd: [MUSICOLOGY-ALL] Introducing The Nordic Pop Forum

IASPM Norden is excited to launch the Nordic Pop Forum, a new research seminar series dedicated to showcasing recent work in popular music studies across the Nordic countries. Each session will feature a presentation, followed by an open conversation.

The first Nordic Pop Forum will take place on February 25th at 4pm CET, where Arnar Eggert Thoroddsen, adjunct lecturer at the University of Iceland, will present his new book, Icelandic Pop. Then, Today, Tomorrow, Next Week (2025). This session will be chaired by John David Vandevert, PhD student in musicology at Uppsala University.

Our aim with the Nordic Pop Forum is to foster a space of open and engaging conversation, and to build an ongoing scholarly dialogue that brings together researchers and perspectives from across the Nordic popular music community.

We encourage anyone interested in presenting their work or suggesting a colleague whose work has inspired you to get in touch.

The session will be hosted on Zoom, you can sign-up with the following link: https://aarhusuniversity.zoom.us/j/62992071975

Find the main announcement at https://iaspmnorden.wordpress.com/activities/the-nordic-pop-forum/
_____________________

John Vandevert
(Secretary-Treasurer, IASPM Norden, 2025-2026)

IOE Public Engagement Masterclass

https://www.ucl.ac.uk/ioe/events/2026/feb/ioe-public-engagement-masterclass-professor-evangelos-himonides-and-dr-thomas-moors

IOE Public Engagement Masterclass: Professor Evangelos Himonides and Dr Thomas Moors

Learn how sustained, large-scale public engagement can influence policy and practice, drawing on globally impactful programmes of research.

Fwd: [MUSICOLOGY-ALL] C21MP Research Centre - new discussion forum on Discord

Hi All

As the first step in the launch of the new 21st Century Music Practice Research Centre, we are setting up a Discord Server. If you are interested in understanding the practices of 21st Century music making – any practice, any style, from anywhere in the world – then you should get involved. We're not-for-profit, independent, open-access and international and aim to provide a community, to support you with resources and to run collaborative research projects. We've just launched the Discord server and you can join with this link: https://discord.gg/ebZG2EMy

The server is a platform for discussing all aspects of 21st Century Music Practice – Performance, Composition & Song Writing, Music Production, Practical Music Pedagogy, Practice Research Methods and the Business of Music. We're kicking off with a few videos to get the ball rolling – an introduction to the Research Centre, Litha Efthymiou on documenting composition as practice research and Brendan Anthony on practical music education.

We'll be launching the new website at the beginning of February and the podcast at the end of the month.

If you're new to Discord, you'll have to download the App or register through your browser at https://discord.com/ before you can use the link.

We look forward to meeting you on the Discord server!

Simon Zagorski-Thomas

Let's play! A hybrid seminar exploring music, making, engineering and environmental sustainability in schools

Let's play! A hybrid seminar exploring music, making, engineering and environmental sustainability in schools

Wednesday 14 May (3.30-5.30pm)

 

Nicolas Gold, Ross Purves and Evangelos Himonides, University College London

 

A hybrid seminar jointly hosted by the UCL Science Education Special Interest Group and the UCL Centre for Climate Change and Sustainability Education:

In person attendees in Room 938, Institute of Education, 20 Bedford Way, WC1 0AL

Online attendees, please hold the date and look out for an EventBrite signup link to follow, or get in touch directly with Ross Purves (r.purves@ucl.ac.uk)

 

Session schedule:

3:30: informal play with construction system for in person attendees

4:00: formal presentations for all attendees

4:45: online demo for online audience in one room; in person demo for those onsite in the other room.

5:30: close

 

This hybrid in-person and online session will introduce a new environmentally sustainable construction platform designed to support creative, interdisciplinary learning at the intersection of music, making, and software engineering. Building on eight years of classroom‑based research using LEGO®, robotics sensors, and Raspberry Pi computers to design and program hybrid acoustic–digital musical instruments, our team has recently developed a fully recyclable, low‑cost alternative made from recycled cardboard, eco‑friendly adhesives, and open‑source electronics. Tested thoroughly via a recent five‑week primary school project, the system enables pupils to design robust structures, integrate sensors, and trigger synthesised sound through programmable workflows—while modelling principles of circular design and sustainable fabrication.

 

Participants attending in person will have generous time to enjoy experimenting with the new platform, explore its construction possibilities, interact with the electronic components, and consider opportunities for embedding sustainability, engineering design, and creative STEM/STEAM practice across primary and secondary curricula. Online attendees will have a dedicated, interactive demo of the system on camera – with the opportunity to discuss and ask questions.

All attendees are warmly invited to share expert feedback to help refine the system's educational, scientific, and sustainability applications; an optional anonymous questionnaire will be available for those wishing to contribute.

 

There will also be an opportunity to hear about the UCL Centre for Climate Change and Sustainability Education's recently launched music professional development modules for primary and secondary school teachers, which share similarly interdisciplinary approaches to creative engagement with environmental sustainability.

[additional resources] Instrumental Music Education Developing Pedagogies as Instrumental Teachers

The details of the book:

https://www.bloomsbury.com/uk/instrumental-music-education-9781350408890/

Open access version: 

https://www.bloomsburycollections.com/monograph?docid=b-9781350408937

A list of some of the material we used when we were thinking about collaborative writing (clearly there will be more recent publications, but these were very useful starting points): 

Links to literature/blogs on shared writing

APA: Tips for determining authorship credit

Kara, H. (2021). LSE: A simple guide to ethical co-authorship 

Lee Brien, D. & Fredericks, B. (2015) Collaborative writing to enhance cross-cultural understanding within the Academy. Writing in Practice: The Journal of Creative Writing Research.

Thomson, P. (2016) Co-writing strategies -  or - what could possibly go wrong? Blog post

Thomson, P. (2016). Choose your writing partner carefully. Blog post

Thomson, P. (2017). Co-writing - a continuing story. Blog post

Articles:

Devine, E. Drake, T, Gilbert, A. Robinson, M. & White, I. (2017). Co-authorship in the Humanities and Social Sciences: A global view. A white paper. Taylor & Francis. https://authorservices.taylorandfrancis.com/wp-content/uploads/2017/09/Coauthorship-white-paper.pdf 

Elbow, P. (1999). Using the Collage for Collaborative Writing. Composition Studies, 27(1), 7-14. https://www.jstor.org/stable/43501417

Frassl, M.A., Hamilton, D.P., Denfeld, B.A., de Eyto, E., Hampton, S.E., Keller, P.S., et al. (2018). Ten simple rules for collaboratively writing a multi-authored paper. PLoS Comput Biol 14(11): e1006508. https://doi.org/10.1371/journal 

Yeo, M. & Lewis, M. (2019). Co-Authoring in Action: Practice, Problems and Possibilities. Iranian Journal of Language Teaching Research 7(3), 109-123. https://files.eric.ed.gov/fulltext/EJ1230314.pdf