> Dear all,
>
> A funded PhD place in the fields of machine listening / music informatics is available at the Centre for Digital Music, Queen Mary University of London.
> Full details below, or at http://www.jobs.ac.uk/job/AMT233/ .
>
> Best,
> Emmanouil Benetos
>
>
>
> Funded PhD studentship in Machine Listening / Music Informatics at the Centre for Digital Music, Queen Mary University of London
>
>
> Applications are invited from all nationalities for a funded PhD Studentship starting Autumn 2016 within the Centre for Digital Music (C4DM) in the fields of machine listening / music informatics.
>
> RESEARCH PROJECT: PhD applications are invited that address one of the following topics:
> - Recognition and Separation of Musical Instruments in Polyphonic Audio: The goal of this project is to develop computational techniques for automatic identification/separation of multiple instruments in music signals, as well as instrument assignment – i.e. assigning detected notes to a specific instrument.
> - Sound Event Detection in Multisource Environments: This project will focus on detecting sound events from everyday acoustic scenes. The successful candidate will research and develop computational methods suitable for detecting overlapping acoustic events in noisy and complex environments.
> - Music Language Models for Audio Analysis: The goal of this project is to develop language models for polyphonic music and integrate them to systems for analysing music signals (e.g. automatic music transcription, chord estimation), in a similar way that spoken language models are combined with acoustic models for automatic speech recognition.
>
> SKILLS: Candidates must have a first-class honours degree or equivalent, and/or a good MSc Degree in Computer Science, Electronic Engineering, Music/Audio Technology, or a related discipline. Knowledge of digital signal processing and/or machine learning is desirable, as well as programming experience in, e.g. MATLAB, Python, Java, C++ or similar. Experience in research and a track record of publications is advantageous. Formal music training is also desirable for the 3rd topic. There is scope to tailor the research to the interests and skills of the successful candidate.
>
> SUPERVISION: The candidate will be supervised by Dr Emmanouil Benetos (http://www.eecs.qmul.ac.uk/~emmanouilb/). The project will be based in the School of EECS, and the student will join a group of around 60 full-time PhD students, post-doctoral researchers and academics in the Centre for Digital Music (http://c4dm.eecs.qmul.ac.uk/), a world-leading multidisciplinary research group in the field of Music & Audio Technology.
>
> FUNDING: The studentship is for 3 years, and covers student fees as well as a tax-free stipend of 16,057 GBP per annum.
>
> To apply, please follow the on-line process at (http://www.qmul.ac.uk/postgraduate/applyresearchdegrees/); click on the list of Research Degree Subjects, select 'Electronic Engineering' in the 'A-Z list of research opportunities', and follow the instructions on the right-hand side of the web page.
>
> Please note that instead of the 'Research Proposal' we request a 'Statement of Research Interests'. Your statement should answer two questions: (i) Why are you interested in the topic described above? (ii) What relevant experience do you have? Your statement should be brief: no more than 500 words or one side of A4 paper. In addition we would also like you to send a sample of your written work (e.g. excerpt of final year dissertation or published academic paper). More details can be found at: http://www.eecs.qmul.ac.uk/phd/how-to-apply . Informal enquiries about the studentship can be made by email to Dr Benetos (emmanouil.benetos@qmul.ac.uk).
>
> The closing date for the applications is 29 February 2016; interviews are expected to take place during March 2016.
>
> --
> Dr Emmanouil Benetos
> RAEng Research Fellow, Lecturer
> Centre for Digital Music
> School of Electronic Engineering and Computer Science
> Queen Mary University of London
> Tel: +44 (0)20 7882 7986
> http://www.eecs.qmul.ac.uk/~emmanouilb/
Tuesday, January 12, 2016
Fwd: Funded PhD in Machine Listening / Music Informatics at Queen Mary University of London
Fwd: ICMPC14 Abstracts due soon
Don't forget! ICMPC14 abstracts are due soon: January 22, 2016.
Fwd: NIME 2016 – 3rd Call for Participation
NIME (New Interfaces for Musical Expression) is the premier conference in designing human-machine interfaces and interactions for musical performance. NIME gathers researchers and practitioners together for lectures, installations, concerts, and workshops.
NIME 2016 will be held in Brisbane, Australia, from 11-15 July 2016.
Web site: http://nime2016.org
Call for Participation
Submission of new work for presentation at the conference is invited in the following categories:
• Papers and Posters
• Performances, Installations and Exhibitions
• Demonstrations
• Workshops and Unconference day activities
Important Dates
• Submission: January 25, 2016.
• Review notification: March 28, 2016
• Camera-ready paper/program note deadline: April 18, 2016
Theme and Process
The thematic focus of this year's conference is Musician & Machine. Submissions that extend, stretch, or challenge the NIME topics and themes, are also welcome. Submissions should be made at the dedicated submission site.
This year all submissions (including papers) are encouraged to include a short video, that assists in demonstrating the research claims, performance aesthetic, quality of demonstration, etc. Papers, video or program notes from all accepted submissions will be published in the conference proceedings, under an ISSN/ISBN reference, and will be archived online after the conference to be tracked by citation tools.
All submissions will be subject to a peer review process by an international expert committee. Given the new focus on accompanying video documentation, the review process will be single-blind for all categories (this means the author's identities will be known to the reviewers, but the reviewers will remain anonymous).
Topics
In addition to submissions that address the specific theme (Musician & Machine) of this year's edition of the conference, original contributions are encouraged in, but not limited to, the following topics:
• Novel controllers, interfaces or instruments for musical expression
• Augmented/hyper instruments
• Novel technologies for collaborative performance
• Theoretical or philosophical discussions about performing with new interfaces
• Sensor, actuator technologies, haptic and force feedback devices
• Explorations of the relationship between motion, gesture and music
• Interfaces for musical expression for people with special needs
• Musical applications of robotics
• New performance paradigms for mobile music technologies
• Musical mapping strategies
• Embedded musical instruments and embedded sound art installations
• Interactive sound art and installations
• Musical human-computer interaction
• Interface protocols and data formats
• Performance rendering and generative algorithms
• Machine learning in musical performance
• Artistic, cultural, and social impact of NIME technology
• User studies and evaluations of new interfaces for musical expression
More information
Visit the NIME 2016 web site (http://nime2016.org) for further details about the conference and submission requirements.
We hope to see you at NIME 2016.
Monday, January 11, 2016
Fwd: Second Call for Participation: Workshop on Auditory Neuroscience, Cognition and Modelling
On February 17th, 2016, a workshop on Auditory Neuroscience, Cognition
and Modelling will be held at Queen Mary University of London. We aim
to bring together cognitive scientists, neuroscientists and computer
scientists working on sound and music processing, as well as
researchers from related fields. In particular, we are interested in
fostering interdisciplinary collaborations between psychologists and
neuroscientists studying auditory perception and computer scientists
and engineers engaged in auditory modelling and signal processing. New
insights on the computational, cognitive and neural underpinnings of
speech, music and sound processing will be presented, with a focus on
EEG and MEG data analysis. The workshop will provide an opportunity
for researchers to gain a deeper understanding of current research
methods and to foster multidisciplinary collaborations.
Further information is available on the website:
http://c4dm.eecs.qmul.ac.uk/wancm2016/
Registration is free but mandatory and can be done here:
https://www.eventbrite.co.uk/e/workshop-on-auditory-neuroscience-cognition-and-modelling-2016-tickets-19222962398
== Call for Abstracts ==
We invite you to submit an abstract for poster presentation. A subset
of the submissions will be selected for oral presentation. We welcome
all submissions addressing the processing of sound and music from a
cognitive/neuroscientific or computational perspective. Please send your
submission in a text file (.txt, .rtf or .doc) to
wancm2016@qmul.ac.uk, containing the following information:
1) Title
2) Author names
3) Author affiliations
4) Corresponding author's email address
5) Abstract (max. 400 words)
The deadline for submissions is January 17th, 2016.
We look forward to receiving your registrations and paper submissions.
The organising committee:
Marcus Pearce
Emmanouil Benetos
Yvonne Blokland
--
Music Cognition Lab, Queen Mary University of London
http://music-cognition.eecs.qmul.ac.uk/
Fwd: CfP - Inaugural Issue of the Journal of Creative Music Systems
- systems capable of generating music;
- systems capable of performing music;
- systems capable of (online) improvisation;
- systems capable of analysing music;
- robotic systems;
- systems implementing societies of virtual musicians;
- systems that enhance the musical creativity of human users;
- music recommendation systems;
- systems implementing computational aesthetics, emotional response, novelty/originality;
- surveys of state-of-the-art techniques in the area;
- validation methodologies;
- philosophical/mathematical foundations of creative music systems;
- evolutionary models for music creative systems;
- cognitive models for music creative systems;
- studies on the applicability of music-creative techniques to other research areas;
- new models for improving music creative systems.
- Submission of papers: 31st January 2016
- Reports from referees sent to authors: 31st March 2016
- Submission of revised papers: 15th April 2016
- Expected publication date: May 2016
This transmission is confidential and may be legally privileged. If you receive it in error, please notify us immediately by e-mail and remove it from your system. If the content of this e-mail does not relate to the business of the University of Huddersfield, then we do not endorse it and will accept no liability.
Learning to Compose and Improvise in an Oral Tradition: Cognitive Aspects of Indian Music
Learning to Compose and Improvise in an Oral Tradition: Cognitive Aspects of Indian Music
Principle Supervisor: Professor Richard Widdess (SOAS)
Co-Supervisor: Professor Susan Hallam (IOE)
While there has been considerable psychological research on the ways that musicians learn to play and perform, almost all of this research has been conducted in a Western musical context. Meanwhile ethnomusicological research has not extensively benefited from or contributed to the insights of music psychology. This means that we do not have a comparative, culture-sensitive understanding of how musical structure and creativity are learned in different cultures and musical systems.
The high dependence on writing in Western classical music makes it an untypical case. In North Indian classical music, most teachers avoid or strictly limit the use of writing and verbal explanation, instead requiring the pupil to memorise extensive materials, and to compose and/or improvise new material that is grammatically and stylistically acceptable. The cognitive processes involved in learning to perform and create music should be particularly apparent in this context.
The successful candidate will work with teachers and students of North Indian classical music, in India and/or the UK, focussing on vocal music, and on the development of musical schemas and improvisation skills in students at different stages of learning. Applicants should have a background in ethnomusicology, music cognition or music education.
Candidate Requirements
Candidates should have or expect to have a Master's degree in ethnomusicology, music psychology or music education. Research training will be tailored to the candidate's needs and background, drawing on the expertise available in SOAS and the Institute of Education. Language training is available in SOAS.
Due to funding restrictions, this position is only open to candidates classified as 'Home/EU' student for fee purposes.
We aim to interview shortlisted candidates in the week beginning Monday 4th April 2016. If possible, candidates will be given one week's notice for interview. Online interviews can be arranged.
Key References
Durán, L., Magriel, N., and Baker, G., (2011), Growing into music: Musical enculturation in oral traditions. http://www.growingintomusic.co.uk/
Hallam, S. Cross, I & Thaut, M. (2009) 'Where now?' In Hallam, S. Cross, I & Thaut, M. (eds) The Oxford Handbook of Music Psychology (pp561-568) Oxford: Oxford University Press.
Snyder, Bob (2000), Music and memory (Cambridge, Mass.: MIT Press).
Widdess, Richard (2011), 'Dynamics of melodic discourse in Indian music: Budhaditya Mukherjee's ālāp in rāg Pūriyā-Kalyān', in Michael Tenzer and John Roeder (eds.), Analytical and cross-cultural studies in world music (2; New York: Oxford University Press), 187–224.
Widdess, R. (2013), 'Schemas and improvisation in Indian music', in M. Orwin, Howes, C. and Kempson, R, (ed.), Language, music and interaction (London: College Publications).
Further details about the project may be obtained from:
Principle Supervisor: Professor Richard Widdess (rw4@soas.ac.uk)
Webpage: https://www.soas.ac.uk/staff/staff31997.php
Co-Supervisor: Professor Susan Hallam (s.hallam@ioe.ac.uk)
Webpage: http://www.ioe.ac.uk/staff/CPEN/FFPS_17.html
Further information about PhDs at SOAS is available from:
http://www.soas.ac.uk/music/research/
http://www.soas.ac.uk/research/
Application forms and details about how to apply are available from:
Applicants should follow two steps
STEP 1: Apply for the MPhil/PhD Music (http://www.soas.ac.uk/music/programmes/phd/)
Applicants must submit a COMPLETE on-line application for admission to the MPhil/PhD Music as soon as possible but no later than the scholarship deadline (17:00 UK time, Friday 4th March 2016).
A complete application for admission includes transcripts, an explanation of the grading system for any degrees obtained outside of the UK, two references, CV, research proposal and a personal statement.
Please state in the application for admission that you wish to be considered for the Bloomsbury Colleges scholarship on 'Learning to compose and improvise in an oral tradition: cognitive aspects of Indian music'. Your research proposal should take account of the project title and outline above, and indicate how you would aim to carry out the research. In your personal statement, please indicate why this project interests you, and in what ways you are qualified to undertake it.
The panel will be considering your scholarship application TOGETHER with your online application for admission.
For any queries regarding the programme application procedure, please seehttps://www.soas.ac.uk/admissions/pg/research/ or email dsadmissions@soas.ac.uk
STEP 2: Apply for the scholarship
You must apply for this scholarship via the on-line scholarship application form
For any queries regarding the studentship application procedure, please email scholarships@soas.ac.uk
For any queries regarding the project, please email the Research Tutor, Department of Music: Prof. R. Widdess,rw4@soas.ac.uk
Closing date for application is:
Friday 4th March 2016, at 5pm
Thursday, January 7, 2016
MET2016: Music Education Technology CONFERENCE LONDON MARCH 2016
due to an overwhelming last minute response, we have decided to extend the deadline for submissions to MET2016 until *11 January 2016*.
Please spread the word widely. This 3rd conference on Music-Education-Technology is promising to be a very exciting follow up to the extremely successful conferences held in the past.
dates: 14–15 March 2016
venue: Senate House, University of London
url: http://www.tinyurl.com/met2016
hashtag: https://twitter.com/hashtag/met2016
*We are delighted to report that Paul White and Hugh Robjohns from Sound on Sound magazine will offer a Q&A session during which conference participants will be able to discuss various issues related to Music Technology, the industry, equipment, installation, production, as well as education. More details will follow closer to the event.*
You are particularly encouraged to forward this message to postgraduate students and researchers, as Sempre conferences aim to offer a supportive environment for developing researchers and teachers to present their work, network, and learn.
We are looking forward to seeing you in London in March.
On behalf of the conference organisers,
Dr Evangelos Himonides
Reader in Technology, Education & Music
University College London
Fwd: Announcing An Interdisciplinary Seminar - Performance, Subjectivity and Experimentation in Artistic Research (24-25 February, Ghent, BE)
- How is subjectivity is instantiated and embodied in performance?
- How does the activity of performance reflect and shape our understanding of felt experience?
- How do the dynamic relationships between performer, materials, and context constitute the production of subjectivity?
- How do these issues relate to understandings of creativity and identity?
Monday, January 4, 2016
Fwd: SIG Seminar - 11th January 2016
Music Education Special Interest Group
Research Seminar Announcement
Informal Learning in a Music Teacher Education Course in Brazil: the construction of a dialogical model to understand music teaching practices
Dr Flavia Narita, Universidade de Brasília (UnB), Brazil
Monday 11th January 2016
16.30 – 17.30
Room 944
Further details from Lucy Green, l.green@ioe.ac.uk
All are welcome
This presentation focuses on the construction of a theoretical model that emerged from a two-part study integrating Lucy Green's (2008) informal learning pedagogy with a mixed-mode Distance Education teacher preparation programme in Brazil. The adoption of Green's model made me rethink my praxis as a music teacher-educator due to its music-making practices and to the roles teacher and taught are invited to play. Analysis of my actions and of student teachers' lessons implementing Green's model led me to revisit some of Paulo Freire's concepts related to the teacher's role, dialogical interactions, and conscientization (critical awareness). This resulted in a theoretical model involving the mobilization of three domains: teachers' authority and theoretical knowledge, teachers' practical musicianship, and teachers' relationship with learners' musical worlds. This model was one of the findings from the first part of this research and was employed by participants of the second part of the study to analyse their own teaching. The study suggests that the use of the model might help the development of a more informed choice of teaching actions once we are aware of the domains we are mobilizing, helping us 'tune' our actions according to our educational values.
Flávia M. Narita has been a lecturer at the Universidade de Brasília (UnB), Brazil, since 2006. She did her first degree in Music Teacher Education at the Universidade de São Paulo (USP), Brazil. She carried out her M.A. and Ph.D studies at the UCL Institute of Education, where she studied under the supervision of Professor Lucy Green.
Friday, December 18, 2015
Fwd: Research Software Developer: Making Sense of Sounds
Dear Music and Science people,
Please forward the following job information to anyone who may be interested. Apologies for cross-posting.
Research Software Developer: Making Sense of Sounds
http://jobs.surrey.ac.uk/087015
Deadline: 17 January 2016
Additional information below.
Many thanks,
Mark Plumbley
----
Research Software Developer on Making Sense of Sounds
University of Surrey, Department of Electrical & Electronic Engineering
Centre for Vision Speech and Signal Processing (CVSSP)
Salary: GBP 30,738 to GBP 35,609
Closing Date: 17 January 2016 (midnight GMT)
Reference: 087015
Applications are invited for a Research Software Developer to work full-time on an EPSRC-funded project "Making Sense of Sounds" for 33 months starting February 2016. This project will investigate how to make sense from sound data, focussing on how to convert sound recordings into understandable and actionable information, and specifically how to allow people to search, browse and interact with sounds. The candidate will be responsible for the development of research software in connection with research into new signal processing methods to analyse sound and audiovisual files and new interaction methods to search and browse through sets of sound files.
The successful applicant is expected to have a Masters degree in Electronic Engineering, Computer Science or equivalent professional experience in a relevant discipline, at least 1 year's experience in software development relevant to audio or audio-visual signal processing, and experience in software development in topics such as: digital signal processing, machine learning, blind source separation, spatial audio, audio coding, speech processing, audio-visual signal processing, data visualisation, human computer interaction, and/or large scale data processing. Direct research experience in audio or audio-visual signal processing, or experience of software development with signal processing researchers is desirable, as is significant software development experience in Python, Matlab, and/or C/C++.
The project will be led by Prof Mark Plumbley in the Machine Audition Lab of the Centre for Vision Speech and Signal Processing (CVSSP) at the University of Surrey, in collaboration with the Digital World Research Centre (DWRC) at Surrey and the University of Salford. The postholder will be based in CVSSP and work under the direction of Prof Plumbley and Co-Investigators Dr Wenwu Wang and Dr Philip Jackson.
CVSSP is one of the largest groups of its type in the UK, with over 120 active researchers working in the areas of vision, image processing, medical imaging, and audio, and a grant portfolio of over £12M. The Centre has state-of-the-art acoustic capture and analysis facilities enabling research into audio source separation, music transcription and spatial audio, and a Visual Media Lab with video and audio capture facilities supporting research in real-time video and audio processing and visualisation.
Informal enquires are welcome, to: Prof Mark Plumbley (m.plumbley@surrey.ac.uk), Dr Wenwu Wang (w.wang@surrey.ac.uk), or Dr Philip Jackson (p.jackson@surrey.ac.uk).
Expected start date: As soon as possible
Further Details: http://jobs.surrey.ac.uk/087015
--
Prof Mark D Plumbley
Professor of Signal Processing
Centre for Vision, Speech and Signal Processing (CVSSP)
University of Surrey
Guildford, Surrey, GU2 7XH, UK
Email: m.plumbley@surrey.ac.uk