Monday, July 13, 2026

Department for Culture, Media & Sport Policy paper Turn It Up: Our plan for music Published 13 July 2026

https://www.gov.uk/government/publications/turn-it-up-our-plan-for-music/turn-it-up-our-plan-for-music


Music is the shared language that connects us. It crosses boundaries, bridges divides and helps us understand one another. In a time when it feels too many of us have lost the ability to understand one another, music matters more than ever.

It is woven into the fabric of our national life. In the UK, a live gig or concert takes place every 137 seconds. It accompanies our celebrations and our sorrows, marks our milestones and brings people together.

We are rightly proud that the UK is one of the world’s three largest exporters of music, producing artists who light up the world. Music is not simply one of our greatest success stories, it matters deeply to who we are as a nation.

But music’s value cannot be measured only by chart success or export figures. It is a civic space - as important as any high street or town hall - where communities come together, where young people discover confidence and creativity, and where new ideas flourish. When someone is excluded from a life animated by music, we all lose. Our culture is poorer, our communities are weaker, and we miss the talent that might otherwise have enriched so many lives.

That is why this plan is rooted in one simple principle: music belongs to everyone. It is broad and inclusive. It should never be the preserve of those whose parents can afford lessons or instruments. Every child deserves the chance to experience the richer, larger life that music can bring.

Nowhere is that more important than for children in care. We are their corporate parents and we should be as ambitious for them as every parent is for their child. Like sport, art, dance and drama, music can be the lifeline that sustains them at the most difficult moments of their lives. We owe it to them to ensure those opportunities are not the exception but the expectation.

We celebrate the artists who represent Britain on the world stage. Ed Sheeran, Adele, Harry Styles, Stormzy, Dua Lipa and so many others. But great artists do not emerge by accident. No man - or woman - is an island. The success of every great artist rests on the support of someone who believed in them - a teacher, a parent, another artist or a friend - great venues, communities who back them, audiences who care.

Every headline act started somewhere, often in the grassroots music venues where they learned their craft. Yet those foundations have come under increasing pressure. In the last decade, creativity has too often been pushed out of classrooms and communities. The number of young people taking arts subjects at GCSE has fallen dramatically. Grassroots venues have struggled to survive, leaving too many towns and cities without the places where musicians develop their skills and audiences discover something new.

As Paul Simon once sang, “Every generation throws a hero up the pop charts.” But pop is getting posher, and that must change. We are not short of talent. But while talent is everywhere, opportunity is not. So after a decade when culture and creativity was erased from the classroom and the community, we have wasted no time putting music back at the heart of the curriculum, investing in creative careers and rebuilding opportunities for young people in every part of the country.

Through this government’s new programme, Every Child Can, we will stop at nothing to ensure that every child can find their spark, through new initiatives such as turning our incredible network of libraries into music lending libraries and a creative mentoring programme for children in care. We are strengthening the ecosystem that supports talent from schools to grassroots venues and from rehearsal rooms to recording studios because success depends on every part of that journey.

Thriving music depends on thriving places. These places and spaces are for us, an integral part of our civic inheritance that should be protected, nurtured and defended. In my town, Wigan, that gave us brass bands, Northern Soul and The Verve, almost all the venues that bands cut their teeth in have disappeared. This cannot be right. We were the first government to back a voluntary grassroots levy to support our venues, but we will do more, whether it’s defending our venues against noise complaints or reforming the system so more money flows to the grassroots.

To everyone who makes music happen - this government is on your side. And to the fans who make the UK music scene the best in the world, this plan is for you. We will stamp out ticket touts who are causing misery in the industry and we will always have your back.

Because when everyone has the chance to make, perform and enjoy music, we do more than create great artists. We build stronger communities, broaden opportunity, strengthen our national story and ensure that Britain’s music continues to light up the world for generations to come.

Lisa Nandy

Secretary of State for Culture, Media and Sport

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Wednesday, July 8, 2026

[research report] The Benefits of Enhanced Music and Sport Provision

The Benefits of Enhanced Music and Sport Provision 

Research and report by Hazel Baxter, Lecturer in Primary Education, UCL Institute of Education
Professor Graham F Welch, Chair of Music Education, UCL Institute of Education
Commissioned by the Neville Abraham Foundation

a comprehensive review and analysis of 133 empirical studies across 35 countries 1995-2025 on children’s development during their Primary and Secondary school years

📖 Read the Executive Summary here: Click here to read the report 

Full Report: Click here to read the full report 

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Fwd: Postdoctoral Research Fellowship announcement - University of Oslo

Dear all,

I am pleased to announce a postdoctoral position, available at RITMO, University of Oslo:
Postdoctoral research fellowship in gesture-vocalization relations in song performance

This position is connected to the project, SongGesture, led by Lara Pearson, which aims to advance knowledge on how expert vocalists use gesture in support of their performance goals. The successful candidate for this position will investigate multimodal correspondence between gesture, vocalization and vocal production movements through computational analysis, and will explore the implications of the results for sense-making.

Deadline: 17 August 2026
https://www.jobbnorge.no/en/available-jobs/job/301742/postdoctoral-research-fellowship-in-gesture-vocalization-relations-in-song-performance    

Feel free to get in touch with any questions: larapear@imv.uio.no  

All the best,
Lara
---
Prof. Dr. Lara Pearson (she/her)
Institute of Musicology
University of Cologne
Albertus-Magnus-Platz
D-50923 Köln
Germany

Research Professor at RITMO, University of Oslo
https://www.uio.no/ritmo/english/people/tenured/larapear/index.html

Tuesday, July 7, 2026

Fwd: Call for Submissions to Organised Sound Vol 32(2) - Sonic Art and the Future of Education: Cross-disciplinary perspectives - deadline 15 September 2026



ORGANISED SOUND

Call for Submissions – Volume 32, Number 2
Thematic Issue Title: Sonic Art and the Future of Education: Cross-disciplinary perspectives
Date of Publication: August 2027
Publisher: Cambridge University Press
Issue co-ordinators: David Holland (d.w.holland@ucl.ac.uk) and Ross Purves (r.purves@ucl.ac.uk)


>>>>Deadline for submission: 15 September 2026 <<<<


https://www.cambridge.org/core/journals/organised-sound/announcements/call-for-papers/sonic-art-and-the-future-of-education-cross-disciplinary-perspectives

Sonic Art and the Future of Education: Cross-disciplinary perspectives

Since the 1960s there has been an ongoing relationship between the sonic arts and education. This is evident in the work of educators and composers such as R. Murray Schafer in Canada and Trevor Wishart in the UK, who were influential as community artists working on community-based music initiatives in and outside schools. More recently in the UK, there has been important research at De Montfort University around introducing sound-based music into schools. As also evidenced by a recent issue on radical education in electronic music (issue 29/2), such projects often involve innovative technology and approaches to teaching that influence practice in formal educational contexts while also highlighting social, economic and cultural issues related to inclusion (or lack thereof) in conventional music education.

This thematic issue seeks to explore how partnerships and relationships between sonic artists and educators (in both formal and informal contexts) are currently developing and asks: what contribution could sonic arts practices make, or what role could they play, in education in the future?  As lines between disciplines become more blurred, what could sonic arts practices offer and contribute to a variety of future curricula? The skills that are needed for being a sonic artist can be applied across multiple disciplines, for example as a foley artist or as a sound designer for computer games; these creative areas do not necessarily fit or align with the music curriculum currently, but could these sonic skills cross curriculum boundaries and broaden the sense of what it means to be a 21st century musician or sonic artist and the subject’s potential societal impact?

This issue seeks to explore how skills, innovation and creativity in the field of sonic arts can influence or enhance the future of education, not just in music but across a broad horizon of subject areas. Furthermore, in a field that has traditionally been dominated by white, male, middle class composers, can sonic arts education offer a more inclusive and democratic alternative to traditional approaches to music education? One of the areas that is likely to become more important and more contested in education as AI develops will be creativity. Many of the past projects run by sonic artists in education have emphasised creativity, but in the future will the creative skills that are central to composing sonic art become redundant or will they flourish? Additionally, with a resurgence in interest in analogue tools, could this sort of approach offer a welcome relief from the increasingly dominant and homogenous world of digital music making? Or what could a synthesis of digital and analogue approaches offer across a curriculum that emphasises STEM? Could this help the curriculum develop more towards a STEAM approach? Despite subject divisions that are reinforced by current political support for a knowledge-based curriculum, there is much discussion around the blurring of these divisions through cross-disciplinary partnerships. This reflects the future need for an education that fosters creativity and making across the curriculum. This could be a curriculum that understands the need for creative scientists, as well as for artists who understand the possibilities and the opportunities afforded by new technologies.


Potential topics:
Submissions may engage with, but are not limited to, the following topics in relation to sonic arts and education:

•       Collaboration
•       Community-based initiatives involving the sonic arts that point to future directions in music education
•       Innovative approaches to pedagogy using sonic art
•       Sonic creativity and its role in education
•       Acoustic ecology and the future of education
•       Cross-disciplinary partnerships involving sonic arts in educational contexts
•       Sonic arts and the STEAM curriculum
•       Teacher education involving sonic arts projects
•       Gender in sound and/or music education
•       Democracy and inclusion in sound and/or music education
•       The evolution of assessment in sound and/or music education
•       Ownership and authenticity in sound and/or music education
•       Extended reality (VR/AR/MR) in sound and/or music education

Furthermore, as always, submissions unrelated to the theme but relevant to the journal’s focus areas are always welcome.

Please note that Organised Sound seeks issue-driven submissions relevant to the journal’s readership. It does not seek artists’ statements or work/project descriptions without an underlying central question and broad contextualisation.

---

SUBMISSION DEADLINE: 15 September 2026

SUBMISSION FORMAT:

Notes for Contributors including how to submit on Scholar One and further details can be obtained from the inside back cover of published issues of Organised Sound or at the following url: https://www.cambridge.org/core/journals/organised-sound/information/author-instructions/preparing-your-materials.

General queries should be sent to: os@dmu.ac.uk, not to the guest editor.

Accepted articles will be published online via FirstView after copy editing prior to the full issue’s publication.

Editor: Leigh Landy; Associate Editor: James Andean
Founding Editors: Ross Kirk, Tony Myatt and Richard Orton†
Regional Editors: Liu Yen-Ling (Annie), Dugal McKinnon, Raúl Minsburg, Jøran Rudi, Margaret Schedel, Barry Truax
International Editorial Board: Miriam Akkermann, Marc Battier, Manuella Blackburn, Brian Bridges, Alessandro Cipriani, Ricardo Dal Farra, Simon Emmerson, Kenneth Fields, Rajmil Fischman, Kerry Hagan, Eduardo Miranda, Garth Paine, Mary Simoni, Martin Supper, Daniel Teruggi, Ian Whalley, David Worrall, Lonce Wyse

Friday, July 3, 2026

Fwd: [DMRN-LIST] Two Research Fellow positions (application deadline: 5th July 2026) at the University of Surrey, UK.



Applications are invited for two Research Fellow positions (application deadline: 5th July 2026) at the Centre for Vision Speech and Signal Processing & Surrey Institute of People Centred AI, University of Surrey, UK.
Research Fellow on Machine Learning for Perceptual Quality Prediction of Spatial Music
https://jobs.surrey.ac.uk/vacancy.aspx?ref=026926
Research Fellow on Perceptual Evaluations and Data Curation for Spatial Music
https://jobs.surrey.ac.uk/vacancy.aspx?ref=026826

CVSSP is an International Centre of Excellence for research in Audio-Visual Machine Perception and AI, with over 180 researchers. The Centre has state-of-the-art audio and video capture and analysis facilities supporting research in real-time video and audio processing and visualisation. CVSSP has a compute facility with 300 GPUs and >2PB of high-speed secure storage. The post-holder will also have access to the compute resources from Surrey Institute of People Centred AI, including 200+ state-of-the-art GPUs.
The post-holders will be based in CVSSP, and work under the direction of the Principal Investigator Prof Wenwu Wang, and in collaboration with the industrial partner.

Research Fellow on Machine Learning for Perceptual Quality Prediction of Spatial Music
The role
The focus of this post will be to develop machine learning and AI models and signal processing algorithms for perceptual quality prediction and rating of songs reproduced using 3D rendering algorithms.
About you
The post-holder is expected to have a PhD degree (or equivalent) in machine learning, spatial audio, audio signal processing, audio perception, audio quality assessment, or a related area in electronic engineering, computer science, applied mathematics, or statistics. Preference will be given to those who have experience on machine learning/AI, spatial audio, but candidates who have experience in audio perception and signal processing are welcome to apply. The post-holder is expected to have strong analytical and programming skills in Python, Matlab or C/C++.
https://jobs.surrey.ac.uk/vacancy.aspx?ref=026926
 
Research Fellow on Perceptual Evaluations and Data Curation for Spatial Music
The role
The focus of this post will be to organise and perform listening tests to evaluate the perceptual quality of spatialised music audio, record the listening scores from each subject, perform statistical analysis of the listening test data, and organise the data files.
About you
The post-holder is expected to have a PhD degree (or equivalent) in electronic engineering, computer science, psychology of hearing, or a related field. Preference will be given to those who have experience on listening test, data curation, audio perception, psychoacoustics, but candidates who have experience in spatial audio and music audio are welcome to apply.
https://jobs.surrey.ac.uk/vacancy.aspx?ref=026826

Please feel free to forward to those who might be interested. Many thanks. 

Apologies for cross-posting. 

Best wishes,
 
Wenwu
 
 
--
Wenwu Wang

Professor of Signal Processing and Machine Learning,
Centre for Vision Speech and Signal Processing (CVSSP)

Associate Head of External Engagement, 
School of Computer Science and Electronic Engineering

AI Fellow,
Surrey Institute for People Centred AI

University of Surrey
Guildford, GU2 7XH
United Kingdom
Phone: +44 (0) 1483 686039
Fax: +44 (0) 1483 686031
Email: w.wang@surrey.ac.uk

Wednesday, July 1, 2026

Fwd: Royal Musical Association Composer-Performer Study Day and Concert


Royal Musical Association Composer-Performer Study Group: Study Day
Are you a musical practitioner and/or researcher with interests in collaboration? Join us at Royal Birmingham Conservatoire on 10 July for the second Study Day of the Royal Musical Association’s Composer-Performer Collaboration Study Group. The day includes a keynote with composer and vocalist Dr Laura Bowler, as well as conference papers, lecture-recitals, and some time for networking and conversation.
The study day concludes with a concert of new works for guitar and electronics, performed by Katalin Koltai with computer music designers from IRCAM.
Tickets for the study day include entry to the concert in The Lab at 5pm.

Separate free tickets for the concert alone can be booked here: https://www.bcu.ac.uk/conservatoire/events-calendar/guitar-augmentations-10-07-2026




Dr Edmund Hunt

Lecturer and researcher, Royal Birmingham Conservatoire

Assistant Editor, The Computer Music Journal

Research Catalogue Administrator, Birmingham City University Portal

Module Leader: Music Technology in Context (MUS7176)
Lecturer: MMus Orchestration (MUS7153), Music Technology in Performance (MUS7177), BMus2 Professional Portfolio 2: Pedagogy and Practice (MUS5065), Contextual Studies: Performance Traditions in Music Tech / Composition 2 (MUS5064), BMus1 Music Technologists' Studies: Composing.

Researcher and Composer in Residence at Integra Lab, Royal Birmingham Conservatoire

edmund.hunt@bcu.ac.uk

www.edmundhunt.com

Monday, June 15, 2026

Fwd: Invitation to Music, Mental Health, and Human Flourishing symposium

Dear colleagues,

With apologies for cross-posting, we are delighted to invite you to attend Music, Mental Health, and Human Flourishing, a joint symposium hosted by the University of York's Centre for Music Education and Human Flourishing (CeMEHF) and the Institute for Mental Health Research in York (IMRY)

The symposium will take place on Friday 26 June 2026 (11:00–15:00 BST) at the Ron Cooke Hub, University of York, and will be available in a hybrid format (in-person and online). The event brings together three internationally recognised scholars:

The symposium is free to attend. It will explore how music can support mental health, wellbeing, and social connection across diverse contexts and stages of life. 

Programme

  • 10:30–11:00 – In-person arrivals and refreshments

  • 11:00–11:45 – Talk: Professor Kira Vibe Jespersen

  • 11:45–12:30 – Talk: Professor Liesl van der Merwe

  • 12:30–13:15 – Lunch (provided for in-person attendees)

  • 13:15–14:00 – Talk: Professor Kelly Jakubowski

  • 14:00–15:00 – Roundtable discussion with all guest speakers and audience contributions

The event is open to researchers, practitioners, students, and anyone with an interest in music, mental health, wellbeing, and human flourishing.

Registration (free): https://tftv.ticketsolve.com/ticketbooth/shows/873687739

We would be very grateful if you could share this invitation with colleagues, students, and relevant networks!

With best wishes,
Andrea, Caroline, and Pete


--

Dr Andrea Schiavio (he/him/his) 

Senior Lecturer 
Co-Director of the Centre for Music Education and Human Flourishing - CeMEHF
Principal Investigator of ERC Synergy Project 101167101 - REM@KE
Past President of the European Society for the Cognitive Sciences of Music - ESCOM
School of Arts and Creative Technologies - Office: RCH 224
University of York, UK

Saturday, June 13, 2026

Fwd: Teaching Fellow in Music Psychology at Durham University


We have a part-time, 1-year post for a Teaching Fellow in Music Psychology available at Durham University, UK (to start in mid-September 2026). 


I'd be happy to speak to any prospective applicants who have questions about the teaching content and/or Music Psychology research at Durham (kelly.jakubowski@durham.ac.uk). 

All the best,
Kelly Jakubowski

---
Professor Kelly Jakubowski (she/her)
Co-Leader of Music Psychology Lab
Department of Music 
Durham University

Monday, June 8, 2026

Fwd: Share Request


Sonic Illuminations

Event Type: Music and Immersive Projection

 

Sonic Illuminations is a project by violinist Hannah Perowne and live visual artist Marian Saunders creating immersive, unique and site specific performances which captivate and inspire audiences.

 

For this bespoke performance, the musical centrepiece is the monumental Partita no.2 by J.S.Bach with its mighty ‘Chaconne’.

Bach’s music moves like a cell at work – intricate, self-contained, and quietly alive. Tiny motifs repeat and reshape themselves into ever richer patterns. Each melodic line threads through the others with purpose, distinct yet inseparable. What begins as something small and simple grows into a complete, breathing form – an architecture of sound where order feels organic, and complexity blooms from the smallest seeds.

 

Marian adopts an improvised, experimental approach to creating abstract visual interactions that respond directly to Hannah’s music. Her hand-crafted imagery draws inspiration from cellular structures, patterns, rhythms, and organic forms. Echoing the metamorphosis of a living environment, the visuals continuously transform and evolve over time.

 

Recommended for 14+

 

When: 12th June, 6.00pm or 7.30pm

Where: Centre of the Cell, Blizard Institute, 4 Newark Street, Whitechapel, London, E1 2AT

Cost: £4/£5

More information:  June - Sonic Illuminations - Centre of the Cell

 

 

 

Richard

 

Richard Davies (he/him)

Operations Manager

 

Centre of the Cell

Queen Mary University of London

Blizard Institute, Newark Street, London, E1 2AT

Tel: +44(0)20 7882 2562

Email: rdavies@qmul.ac.uk 

www.centreofthecell.org

 

A blue circle with white x in it

Description automatically generatedUploaded Image

  Centre_of_the_Cell_Queen Mary University London - RGB Uploaded Image      Uploaded Image   

 

Blizard Institute EDI Professional Services Representative

 

Thursday, May 21, 2026

Building a Sustainable Future for Music, Making and Coding in Schools

On 14 May 2026, the UCL Centre for Climate Change and Sustainability Education (CCCSE) and the Science Education Special Interest Group hosted a joint seminar showcasing eight years of interdisciplinary research at the intersection of music, engineering, and sustainability. Dr Alison Kitson, CCCSE Programme Director, opened the session by introducing the Centre's Teaching for Sustainable Futures CPD modules, including "Where to Start in Primary Music" (developed with Hazel Baxter), which explores soundwalks, music inspired by nature, and instruments made from natural and upcycled materials. A secondary music module follows in September. The main presentation, "Let's Play! Music, Making, Engineering and Sustainability in Schools," was delivered by the core research team: Dr Nicolas Gold (UCL Computer Science), Dr Ross Purves and Prof Evangelos Himonides (both UCL IOE, Department of Culture, Communication and Media). Drawing on constructionism, "hard fun" and computational thinking, the trio traced their project from a 2018 LEGO guitar prototype through school workshops with pupils aged 11–14, where children built acoustic and digital instruments programmed in Python. Responding to increasingly pressing environmental and cost factors, the team has now developed a more sustainable platform: a recycled cardboard block construction system, paired with open-hardware BBC Micro:bits and Raspberry Pi. Recent primary-school field testing proved the platform to be robust and engaging, with further secondary-school trials planned for July 2026. Supported by a HEIF grant, the team is now exploring social-enterprise routes to make the platform accessible to educators and the wider public.

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Wednesday, May 6, 2026

Fwd: Singing in balance convention - call for contributions until 11 May

Singing in Balance Convention: 

A two day exchange on increasing the accessibility and inclusivity of group singing practices


9th-10th September 2026

The Priory Street Centre, 15 Priory Street, York YO1 6ET

Call for contributions open until 11th May.


About the Convention


The Singing in Balance Convention (SiBCon) will bring together group singing practitioners and researchers to change the face of accessible and inclusive singing by sharing research and practice. It is an opportunity to spark conversations, learn from each other and develop connections through our shared interest in accessible singing practice and research. 


The two-day convention will consist of workshops, flash talks, themed sessions, demonstrations and discussions with opportunities for networking throughout. The convention will include leaders in the field representing practice and research. 


Call for Contributions


We’re welcoming contributions from practitioners and researchers showcasing and analysing accessibility and inclusivity in group singing. We are keen to hear from representatives of choirs and singing groups, conservatoires, universities and associated organisations in other environments such as healthcare. Contributions are invited which relate to the broad theme of accessibility and inclusion of group singing practices. We are keen to amplify the voices of specific groups, such as those with mental and physical health challenges, diverse cultural and singing backgrounds, LGBTQ+ singers, and a range of lived experiences. 


Online presentation and contributions will be supported where possible, although this may not suit all aspects of the convention. We will be actively seeking to initiate collaboration between contributors for session delivery and will be designing the convention programme to reflect this. See the website of the convention for further details. 


The convention is organised by members of the Singing in Balance WRoCAH PhD network

PhD researchers: Dana Greaves, Bruna Martins, Emily Cooper 

Academic staff: Helena Daffern, Freya Bailes & Renee Timmers 

Practitioners: Kate Wareham, Emma Baylin, Mir Jansen




Thursday, April 30, 2026

Fwd: [DMRN-LIST] [Call for Papers] TISMIR Special Collection on Language-Centric Music Information Retrieval

Dear colleagues,

[Sorry for cross-list notification.]
We are pleased to announce a Call for Papers for a new Special Collection in the Transactions of the International Society for Music Information Retrieval (TISMIR) titled: "Language-Centric Music Information Retrieval".

This special collection focuses on Music Information Retrieval (MIR) research informed by language-centered modeling. We invite contributions that explore how concepts and methods from Natural Language Processing (NLP) and large-scale language models can support the analysis, representation, retrieval, and generation of music.

Topics of interest include (but are not limited to):
- Tokenization and representations for symbolic music and audio
- NLP for music-related text (lyrics, metadata, reviews, etc.)
- Language-informed tagging, classification, and semantic understanding
- Retrieval and recommendation, including query-by-description and conversational search
- Music generation and co-creation, including text-conditioned generation and iterative editing workflows
- Language-guided audio and music production, such as mixing, mastering, and sound design
- Knowledge resources for MIR, including ontologies, knowledge graphs, and entity linking
- Evaluation and human factors, including quality assessment, human feedback, creativity, bias, and cultural representation
- Trust, ethics, and transparency, including synthetic content detection and copyright-related considerations
- Long-context modeling of musical structure and form
- Multimodal methods involving text, symbolic music, and audio (as relevant to the collection’s focus)

Guest Editors:
- Anna Kruspe (Lead Editor), Munich University of Applied Sciences
- SeungHeon Doh, KAIST
- Elena Epure, Idiap Research Institute
- Yinghao Ma, Queen Mary University of London
- Arthur Flexer, Johannes Kepler Universität Linz
- Li Su, Institute of Information Science
- Ruibin Yuan, Hong Kong University of Science and Technology

Submission Guidelines:
- Note: Please specify in your cover letter that the submission is for the Special Collection "Language-Centric Music Information Retrieval".
- Word Limit: Maximum 8,000 words.
- Pre-notification: If you plan to submit, please let us know via email at anna.kruspe@hm.edu to assist our planning.

For detailed formatting guidelines and information regarding extensions of previously published workshop research, please refer to the TISMIR website. We look forward to receiving your innovative contributions!


Best regards,
On behalf of the Guest Editors

Tuesday, April 28, 2026

Fwd: [DMRN-LIST] Music and the Extended Mind: A Conference on Musical Intelligence in the 21st Century - Call for Papers

Music and the Extended Mind: A Conference on Musical Intelligence in the 21st Century

Call for Papers

Submission Deadline: July 7, 2026

For submissions and inquiries, email: Music-21CMP@fsu.edu

Hosted by Florida State University – May 5-6, 2027

Florida State University’s College of Music and the 21st Century Music Practice network (C21MP) invites submissions that explore the radical developments in musical thinking and activity emerging in our contemporary landscape. Under the overarching theme of Musical Intelligence, we examine what music can reveal about intelligence itself, and conversely, how understanding music as intelligent activity rather than mere artifact transforms our engagement with musical practice.

Conference Format: Pre-Recorded Papers with Live Panel Discussion

This conference uses a “flipped” presentation model designed to maximize discussion time. Accepted presenters will pre-record 20-minute presentations, uploaded to our website prior to the conference. Papers are organized into themed panels of three, with a moderator facilitating discussion. During live sessions, each presenter gets 2 minutes to introduce their work before engaging in extended panel discussion, followed by audience Q&A. All panelists are expected to have viewed the pre-recorded presentations and come prepared with questions.

See example from our previous conference: CLICK HERE

Conference Themes

We are seeking submissions that explore any of the following themes:

New Approaches to Music Research

How do performance, composition, and production qualify as research?  Contributors are encouraged to explore the intersection of artistic creativity and scholarly inquiry, particularly addressing knowledge communication and transferability.

Instruments and Technology as Extended Mind

Musical technologies simultaneously focus attention and open creative possibilities—a tension often unspoken in design decisions. How do new technologies act as extensions of the musical mind, embodying cultural rules while enabling transcendence of traditional boundaries?  Participants will explore how this dual nature of constraint and liberation shapes contemporary musical practice.

New Modes of Music Making and Creative Practice

How are contemporary technologies enabling new forms of musical expression?  Contributors will address innovative performance practices, creative abuse of technology, computer-assisted composition, algorithmic processes, and “digital serendipity” in generative systems.

Technologies of Sound Past and Future: Recurring Patterns in Musical Thought

Musical tools have always extended the mind outward, reshaping composition, performance, listening, and memory. Participants will consider historical and cross-cultural perspectives on how musical traditions have responded to technological shifts, examining patterns that might inform contemporary ethical and artistic questions.

Generative Technology and Musical Agency

Given that machine learning systems learn from existing material, how does this relate to creativity and authorship? Participants will examine the philosophical and practical dimensions of human and generative collaboration in musical contexts.

Redefining Ownership: Music Business and Entrepreneurship in the Digital Age

AI-generated content challenges traditional authorship while new distribution models concentrate profits among platform intermediaries. Are we witnessing music-making’s transformation into a hobby for all but the highest achievers, or are emerging business models creating sustainable pathways for professional creativity? Submitters are encouraged to focus on tensions between technological innovation and creative sustainability.

Pedagogy and Technology: AI as Educational Partner

How can artificial intelligence serve as a meaningful tool in music education? Participants will explore AI-driven composition software, intelligent theory tutors, real-time performance feedback systems, and automated analysis, emphasizing practical applications and the evolving relationship between technology and musicianship.

Technology and New Audiences

How are musicians using technology to reach and engage new audiences?  Contributors are encouraged to present case studies and theoretical frameworks that examine how technological mediation transforms listener engagement and democratizes access to diverse musical practices.

Submission Guidelines

We welcome diverse approaches and encourage traditional academic research

,

 practice-based investigations

, and live performances

. The conference committee will organize accepted submissions into thematically coherent panels designed to maximize productive exchange between complementary perspectives.

Submission Types:

  • Traditional research papers
  • Practice-based research presentations
  • Research challenge proposals: Proposals for collaborative research sessions where participants work together to explore specific musical problems or tasks related to the conference themes. These sessions create new knowledge through collective investigation and reflection.
  • Performance proposals: Submit up to 5 minutes of audio or video of representative recordings of the performer (this need not be the proposed performance—it’s to gauge the performer’s ability), as well as a description of the piece being performed at the conference. Pieces should be no longer than 10 minutes.

Abstract Requirements:

  • 300 to 500 words
  • Clear articulation of your contribution to one or more conference themes
  • Brief methodology or approach statement
  • Technical requirements (if applicable for practice-based work)
  • For research challenge proposals: outline of the specific problem or task, expected outcomes, and facilitation approach

Submission Deadline: July 7, 2026

See also: https://music.fsu.edu/c21mp/