CONDUCTING 21C - Musical Leadership for a New Century

Stockholm, Sweden (19-24 August, 2016) Apply by April 1, 2016 CONDUCTING 21C - Musical Leadership for a New Century The C21C aims to provide conductors with professional development by combining artistic excellence and social justice. Emerging and experienced conductors alike will develop powerfully creative, profoundly artistic, and compassionate approaches for musical leadership through master classes and workshops. Workshop Leaders: André de Quadros Lone Larsen Choirs in Residence: Manado State University Choir, Indonesia Swedish ensemble (to be decided) www.conducting21C.com This is a project in collaboration with the American Choral Directors Association (ACDA) and the International Federation for Choral Music (IFCM).

Fwd: Funded PhD studentships(s) - Open University (UK)

The Computing and Communications department of the Open University is
expecting to have funded PhD studentships(s) available soon.

If interested, please contact me (Dr Robin Laney: robin.laney @
open.ac.uk) for an informal discussion and advice on constructing a
proposal early, as a polished proposal will be needed.

Applications from part-time candidates also welcome.

I am interested in hearing from candidates in music computing,
particularly for combinations of the following topics, but students
are free to choose an area.

Musical Contrast (and Similarity)
Music and Emotion
Music and Narrative
Computational Creativity
Computational Musicology
Musical Pattern Discovery
Statistical Music Generation
Music for Computer Games
Collaborative Music Environments
Musical Tabletops
MIR in Creative Settings

A separate topic that might be of interest, and draw on some of the
same themes and technologies, is the use of ubiquitous technology in
group conflict resolution.

The Open University is incorporated by Royal Charter (RC 000391), an
exempt charity in England & Wales and a charity registered in Scotland
(SC 038302).

Fwd: Research Seminar Announcement - Music Education Special Interest Group - Monday 7th March 2016

Music Education Special Interest Group

 

Research Seminar Announcement

 

"The effect of the medium of communication on remote instrumental music lessons"

 

Dr Sam Duffy, Cognitive Science Research Group, Music Cognition Lab, Queen Mary, University of London

 

Monday 7th March 2016

16:30-17:30

Room: 944

 

Further details from Lucy Green, l.green@ioe.ac.uk

 

All are welcome

 

A common way to learn to play a musical instrument is through regular one-to-one lessons with an experienced musician. However musicians travel frequently to perform and temporary separation of a tutor-student pair can occur at critical times, such as prior to an important audition or exam. Some students in geographically isolated locations find it difficult to access the level of expertise they need for their instrument, making it difficult to fulfil their potential. A solution to these problems is to conduct remote lessons through videoconference, however the medium changes the nature of communication in ways which impact directly on lesson interaction.

 

Sam will provide an overview of her doctoral studies in this area, using video-ethnography to compare student-tutor interaction during 'same room' or co-present one-to-one instrumental lessons to remote lessons mediated by videoconference. A key finding from this work is that the small fragments of music which are characteristic of this type of teaching interaction are managed conversationally, and themselves take on characteristics of conversation turns. Hence a significant effect of changing the medium of communication to video for a remote lesson is the impact on lesson dialogue, including the musical contributions. Changes in spatiality and non-verbal interaction are also considered, for example rather than the 'face-to-face' configuration enforced by videoconference, alternative technology to support remote music tuition could instead be based around the joint focus of the co-present lesson interaction, the shared music score.

 

Sam's research interests include examining the interaction between musicians in different contexts such as performance, education and social music making; the impact that can be achieved through music in a community; and how technology can be used to transform these interactions. Her thesis "Shaping Musical Performance Through Conversation" examined the effect of remote teaching technology on student-tutor interaction during one-to-one instrumental music lessons. Sam was 
Creativeworks London Researcher in Residence at the London Symphony Orchestra in 2015, using qualitative methods to examine the practice of impact evaluation by Project Managers working at the London Symphony Orchestra's education and community programme, LSO Discovery.  Based in the Cognitive Science Research Group and the Music Cognition Lab at Queen Mary University of London, Sam is currently working on an interdisciplinary project with the London Sinfonietta to investigate new ways of bringing participatory music education to children, using a game based iPhone app based on the piece Clapping Music, by the minimalist composer Steve Reich.

 

Fwd: FW: SIG NOTICE: CFP - Researching Music: Interviewing, Ethnography, and Oral History (IASPM/IMR/BFE)

Researching Music: Interviewing, Ethnography, and Oral History

Monday 6 June
Senate House, University of London

The Institute of Musical Research, the British Forum for Ethnomusicology, and the UK & Ireland branch of the International Association for the Study of Popular Music invite proposals from researchers interested in participating in a full-day seminar at Senate House, University of London, on Monday 6 June. The seminar will explore recent thinking about methods for researching music, from a variety of disciplinary perspectives, with a particular focus on interviewing, ethnography, oral history, and the relationship between them. Speakers will include Ruth Finnegan, Sara Cohen, Rachel Beckles Willson, Lucy Durán, Simone Krueger, Sue Onslow, and Jaime Jones.

Proposals or expressions of interest are particularly welcome from late-stage doctoral students and early career scholars, who are invited to share their recent experiences and insights with those near the beginning of their research. More senior scholars are also warmly invited to participate and exchange ideas with the next generation of researchers.

The seminar will include a mixture of practical sessions and critical discussion of methods. The organisers are not seeking full-length papers but rather shorter presentations or provocations (c. 10 minutes) - whether primarily theoretical or anecdotal - for inclusion on panels. The tenor of the event is intended to be informal and collegial, more workshop than conference; ideas in progress, methodological dilemmas, and confessions of mistakes are therefore welcome. Methodological expertise is less important than a willingness to discuss problems and explore solutions.

The primary aim of the seminar is to encourage the exchange of ideas concerning research methodologies between scholars working on music or sound within different disciplines (music, media, geography, sociology, anthropology, etc.) and sub-disciplines (ethnomusicology, popular music studies, musicology). The seminar is envisaged as a unique opportunity to promote the sharing of questions, experiences, good practice, and advice among scholars whose objects of study may be similar or even the same but whose methodological approaches may vary. It is also designed to assist researchers of music who seek to cross methodological boundaries between different disciplines and sub-disciplines - in particular those who are already engaging, or plan to engage in the near future, with research methods in which they may not have formal training or experience. In sum, the seminar is intended to strengthen the methodological foundation for the increasing interdisciplinarity of the study of music.

Proposals (max. 250 words) and enquiries should be sent to geoff.baker@rhul.ac.uk.

Registration for attendees will be opened closer to the date. Information will be circulated via this list and the IMR website (www.the-imr.uk).

CFP & CFR: Journal of Popular Music Education

CFP: Call For Papers

 

The Journal of Popular Music Education seeks to define, delimit, debunk, disseminate, and disrupt practice and discourse in and around popular music education. Popular music education takes place at the intersections of identity realization, learning, teaching, enculturation, entrepreneurship, creativity, a global multimedia industry, and innumerable instances of music making as leisure. Through drawing together diverse, rigorous scholarship concerning learning in, through and about popular music worldwide, JPME seeks to identify, probe and problematize key issues in this vibrant, evolving field. Scholarship from and across all relevant research methods and disciplines is welcome.

 

Areas for consideration could include but should not be limited to: performance, recording, production, songwriting, composition, technology, listening, movement, socializing, identity, travel, social classification and stratification, marketing, politics, religion, nationalism, fashion, multi-arts and cross-cultural perspectives.

 

Please email manuscripts of between 6,000 and 8,000 words (double-spaced, Times New Roman, font size 12) for the attention of editors Gareth Dylan Smith and Bryan Powell to jpmejournal@gmail.com.

 

 

CFR: Call For Reviews

Journal of Popular Music Education seeks scholarly reviews of the latest books, films, media, exhibitions, musical groups and performers, and popular music education events. If you would like to suggest something for review, please contact our reviews editor at jpmejournalreviews@gmail.com. 

Fwd: Job advertisement in arts and health

 

Tenovus Cancer Choirs Project Officer/Research Assistant

Job Reference Number: 501-16

 

£31,856 - 35,369 per annum, pro rata

 

Part-time (0.8FTE) fixed-term for 24 months

 

The Royal College of Music is one of Britain's leading conservatoires.  It provides specialised musical education and professional training at the highest international level for performers and composers.

 

This part-time fixed term post (24 months) sits within the Centre for Performance Science (CPS), an internationally distinctive centre for research, teaching, and knowledge exchange in performance science. The post-holder will be responsible for coordinating the running of the 'Tenovus Cancer Choirs' research project, which will investigate the impact of singing on psychological and biological responses of cancer patients, carers and staff involved in weekly choirs. Key tasks will include recruiting cancer patients, staff and carers to be involved in the research study including publicising the study, consenting patients, collecting psychological and biological data, maintaining the study database and supporting the research.

 

You should have a track record in social science research or evaluation, experience consenting patients to research, communications and marketing skills and be a highly organised independent, accurate worker with excellent interpersonal skills.

 

The successful applicant should be available to start no later than 18 April 2016, and would preferably be available from the start of April 2016.

 

For further details and an application form, please visit the 'Jobs and Opportunities' section of our website at www.rcm.ac.uk.

 

Completed application forms should be returned to Olivia Towers, HR Assistant, at recruitment@rcm.ac.uk or Royal College of Music, Prince Consort Road, London, SW7 2BS. CVs without an application form will not be accepted.

 

Closing date for receipt of applications is 12 noon on Thursday 25^th February 2016.

 

Interviews will be held on Wednesday 2^nd March 2015.

 

With some roles at the Royal College of Music, second interviews may take place.

 

The Royal College of Music is an equal opportunities employer.

 

Kind regards,

Daisy

 

Daisy Fancourt
Research Associate in Performance Science
 
CENTRE FOR
PERFORMANCE SCIENCE
 
Royal College of Music | Prince Consort Road | London SW7 2BS | United Kingdom 
T: 07958 065 563 | E: daisy.fancourt@rcm.ac.uk | W: www.rcm.ac.uk/cps

The Tsar wants his photograph taken

------

THIS WEEK: Thursday and Friday, 4 & 5 February, at the Bloomsbury
(Theatre) Studio


The Tsar wants his photograph taken



A night at the opera—a blend of the (not quite) brothers Marx

Karl and Groucho—(actually) Kurt Weill and Georg Kaiser on the run
from the Nazis


https://www.thebloomsbury.com/event/run/15084



Call me Max Bialystok (in my dreams).



Join us for a funny, moving, and spectacularly creative presentation
of the Kurt Weill/Georg Kaiser opera buffa (a 'comic' opera in a
single act), The Tsar wants his photograph taken.



An extremely popular show in late Weimar Germany, the Nazis came to
power and immediately shut it down.



The Tsar wants his photograph taken is only rarely staged, in part due
to the complexity of the music. But another reason why it did not
take on much of an afterlife, after the end of the Second World War,
is because the story was not well understood or appreciated.



In the same way that successful plays and musicals, such as the recent
hits The Book of Mormon and The Curious Incident of the Dog in
Night-Time originate from specific historical moments, The Tsar wants
his photograph taken was conceived when the Soviet Union seemed
stable, and it was possible to take a somewhat nostalgic look back at
the Russian Empire. The Tsar was, after all, a human being. Was it
not possible that he would like for his picture to be taken, as befits
a proper bourgeois gentleman? Why not seek the services of Angele,
the leading photographer of Paris, renowned as an alluring genius with
the camera?



But that's not all. The anarchists have been listening in and
interfering. They seek to replace Angele, at the appointed time, with
one of their own--and put a gun in the back of the camera—to murder
tsar.



Along with the jarring music, catchy story-line, and dramatic action
(which includes slapstick), there were unstated subtexts. Audiences
in Germany knew well that Kurt Weill was a Jew, and that while not
overtly Jewish, the play involved characters who could be assumed to
be Jewish—villains and heroes.



And it would have been taken for granted, at the time, that the
photographer her- or himself, might have been a Jew. Photography was
a heavily Jewish trade. The Tsar was comfortable and familiar, as
were the other crowned heads of Europe, with Jews as photographers.



Beyond the historical interest, the opera represents a distinctive
enterprise in several respects. Staged at UCL's Bloomsbury (Theatre)
Studio, it is a cooperative effort between recent graduates and
current students from Oxford, Kings College London, Guildhall,
Columbia University, the Royal Academy of Music, and UCL. The
director, conductor, pianist, and performers have graced stages from
China and Singapore to the United States—as well as throughout Europe
and the UK. The background of the participants further reflect a vast
diversity of training and expertise in the arts and sciences.



And the singing alone is well worth a visit. Catch the incredible
Kate Smith, Charlotte Nohavicka, and Betty Makharinsky before they hit
Covent Garden. See the dashing Tim Frith, Christopher Holman, Angus
McPhee, and Gareth Davies, and rising stats Amy McPherson and Azura
Farid.



You can say you saw a show of Leo Doulton, director, and Johann von
Stuckenbruck, a few years before they became as famous as Chris Martin
and Ricky Gervais.

Fwd: Postdoc at Durham: Interpersonal Entrainment in Music Performance

We are currently inviting applications for a two year postdoctoral position at Durham University to work on musical entrainment. Please see details below: to apply, go to www.dur.ac.uk/jobs

Martin Clayton and Tuomas Eerola

Durham University

 

 

 

Post: Post-Doctoral Research Associate

Department:

Department of Music

Contract Type:

1.0 FTE Fixed Term for 2 years

Grade:

Grade 7 £31,656 – £33,574

A Postdoctoral Research Associate position is available to pursue research in the field of entrainment within Durham University's Music Department. The position is associated with the project 'Interpersonal Entrainment in Music Performance', which is funded by the Arts and Humanities Research Council (AHRC) and designed to explore the dynamics of interpersonal coordination in music performance, its perception, and its cross-cultural variability. The project includes two workshops at Durham and a final conference at Sydney, and also involves a number of visiting researchers staying for periods in Durham, sharing materials and discussing research methods. The successful applicant will work directly with Professors Martin Clayton and Tuomas Eerola, and will be expected to take an active role in the operation and development of the research and in the research team's collaboration. The role will also involve working with our project partners, Prof. Antonio Camurri (Casa Paganini – InfoMus, Genoa) and Prof. Peter Keller (MARCS Institute, University of Western Sydney), including the opportunity to spend time as a visiting researcher at these institutions, and to work with a number of visiting researchers. The post-holder will be expected to contribute to the dissemination of the research through contributions to publications and through attendance at global conferences, and will have opportunities to gain experience in teaching and supervision. The post is fixed term for a duration of 24 months, with an expected start date of 1

st April 2016.

More details about the project:

https://www.dur.ac.uk/music/iemp/

Contact for informal enquiries: Professor Martin Clayton, martin.clayton@durham.ac.uk

Responsibilities

The successful candidate will take a prominent role in two aspects of the research, working closely with Professors Martin Clayton and Tuomas Eerola as well as with our partners and visiting researchers, technician and administrator.

(1) Working on the analysis of interpersonal entrainment in music performance, employing appropriate methods to investigate audiovisual recordings of performances.

(2) Developing cross-cultural analyses that take into account these entrainment analyses as well as the ethnographic context of the musical genres under consideration.

In addition, the post holder will be expected to:

 Use initiative and creativity to identify areas for research, develop new research methods and extend the scope of the research project.

 Work effectively, both independently and as part of a research team, in dealing with problems that may affect the timely achievement of research objectives.

 Disseminate methods and findings both within the project team and externally, for instance through conference presentations and publications.

 Take an active interest in the management of the project, contributing to project meetings and workshops and engaging with colleagues (including in the context of visits to partner institutions).

 Liaise with research colleagues and make internal and external contacts to develop knowledge and understanding and to form relationships for future research collaboration.

 Contribute to undergraduate teaching and postgraduate supervision in appropriate areas, to an extent consistent with both their career development needs and the successful pursuit of the research project.

Person Specification

Essential

1. A PhD in music, ethnomusicology, music psychology, or another relevant field (awarded by the date of appointment)

2. Experience in analysis of audiovisual recordings

3. Experience in computational feature extraction and time-series analysis techniques

4. Demonstrable interest in cross-cultural music research

5. Experience in presenting research results at conferences

6. Ability to work successfully within a team environment

Desirable

1. Experience of carrying out empirical studies of interpersonal entrainment

2. Experience in preparing research papers for publication in peer-reviewed global journals

3. Knowledge of appropriate computing environments and of statistics

4. Awareness of methodological and ethical issues in ethnomusicology

Additional Information

Applications are particularly welcome from women and black and minority ethnic candidates, who are under-represented in academic posts in the University.

Please note that interviews will be held on Monday 7

th March 2016.

Fwd: ICMPC14 abstract submissions extended: due Monday Feb. 1

 
Thank you everyone for the 550+ abstracts that have been submitted on time! Unfortunately, the submission portal closed slightly earlier than anticipated and to rectify this situation (and for those who would still like to participate), ICMPC14 abstracts may be submitted through next Monday: February 1, 2016.

Submit your abstract here:

http://www.icmpc.org/icmpc14/abstracts.html

Also, don't forget to friend us on Facebook: http://www.facebook.com/icmpc14

Or follow us on Twitter: @icmpc14

For questions & comments, contact the organizing committee:

icmpc14@icmpc.org

We look forward to seeing you at ICMPC14!

Sincerely,

The Organizing Committee

ICMPC14

War, Exile and the Music of Afghanistan: The Ethnographer’s Tale

REVIEWER MEETS REVIEWED

SEMINAR SERIES AT THE BRITISH MUSEUM'S ANTHROPOLOGY LIBRARY AND RESEARCH CENTRE

War, Exile and the Music of Afghanistan: The Ethnographer's Tale

Thursday 21 January at 10.00 am (tea & coffee served from 9.30 am)

Anthropology Library and Research Centre, British Museum

THIS IS A FREE EVENT

The British Museum's Anthropology Library and Research Centre, in conjunction with the Royal Anthropological Institute, is pleased to present 'Reviewer meets Reviewed', a discussion between Prof John Bailey author of War, Exile and the Music of Afghanistan: The Ethnographer's Tale, and Dr Nichola Khan, who will review the book for the Journal of the Royal Anthropological Institute.

Arranged chronologically, the book traces the sequence of political events – from 1978, through the Soviet invasion, to the coming of the Taliban and, finally, the aftermath of the US-led invasion in 2001. Baily examines the effects of the ever-changing situation on the lives and works of Afghan musicians, following individual musicians in detail. At the heart of his analysis are vignettes of ten musical personalities – some of friends, and some newly discovered. The result is a personal memoir by an ethnomusicologist known for his deep commitment to Afghanistan, Afghan musicians and Afghan musical culture.

Bookings/enquiries: Ted Goodliffe ( TGoodliffe@britishmuseum.org)

Location : Anthropology Library, British Museum
Great Russell Street
London
WC1B 3DG
United Kingdom