** This list is managed by Dr Evangelos Himonides (UCL), on behalf of
the Society for Education and Music Psychology Research (sempre), and
aims to serve as a discussion forum for researchers working at the
shared boundaries of science and music. This list was previously
managed by the Institute of Musical Research. **
MESSAGE FOLLOWS:
Dear all,
Birmingham City University (which includes Birmingham Conservatoire)
have a number of fully-funded doctoral scholarships for cross-faculty,
interdisciplinary projects, starting in February 2017. Full details
are available at:
http://www.bcu.ac.uk/research/research-students/opportunities/overview
Applications are particularly welcome in the fields of:
- Music education
- Music technology
And for the following specific projects:
- Music information retrieval for musical performance and creation
- New Materials and Innovative Design in Brasswind Instruments
Please note that the deadline for applications is 23.59 on Sunday 13th
November 2016.
Best wishes,
Carrie
Tuesday, November 8, 2016
Tuesday, November 1, 2016
Fwd: CFP: Aural Skills Pedagogy: What is to be done?
** This list is managed by Dr Evangelos Himonides (UCL), on behalf of the Society for Education and Music Psychology Research (sempre), and aims to serve as a discussion forum for researchers working at the shared boundaries of science and music. This list was previously managed by the Institute of Musical Research. **
MESSAGE FOLLOWS:
Please see the CFP below.
Aural Skills Pedagogy: What is to be done?
A one-day symposium at the Royal Academy of Music, London
7 April 2017
Aural skills pedagogy forms the backbone to much instrumental / vocal / compositional training across the Higher Education sector. Conservatoires and universities have included various forms of aural skills training in degree / diploma programmes, most often positioning it within core compulsory modules, and much store is set in how far the student develops their aural skills; no musician can claim seriously to have "good enough" ears.
But the nature of aural skills training and delivery varies widely across the sector, and there are conflicting views about the underlying purposes of such training: for example, whether it is to service the student's general listening ability (whatever that might be), whether it is to develop specific skills (e.g. dictation) of immediate relevance to live physical performance, and so on. And the relationship of aural skills training to instrumental training is often unspoken, even though much goes on in instrumental lessons that can be classed vicariously as being a matter of 'aural skills training'.
This symposium seeks to discuss some of these issues. The intention is to open up debate to a wide spectrum of views on the nature, purpose, and content of aural skills pedagogy. Polemics are welcome.
Presentations addressing questions such as the following are encouraged, though all proposals on the symposium topic will be considered:
What is the role of testing?
What is the relationship between teaching and learning?
What are the core skills?
What are the most productive modes of delivery of teaching? In cohorts or individually?
Why teach aural skills? What does teaching develop?
How does aural skills training relate to training in e.g. analytical skills?
What role is played by musical canons and key / set repertoire?
Should aural skills training be limited to tonal repertoire?
Is self-directed learning possible?
Does aural skills training develop employability skills?
Should aural skills be taught by discipline or by cohort?
Could the delivery of aural skills teaching include practical work on instruments?
Could aural skills teaching be delivered as distance / online learning?
What is the relation between dictation and musical performance?
Should aural skills training be dropped from specialist musical training?
Presentations may take the form of conventional papers (20 mins + 10 mins questions), or may take a more practical form, e.g. demonstrations. Abstracts should be submitted to chris.atkinson@ram.ac.uk by 31 December 2016. If a demonstration is proposed, then specific requirements must be included. Abstracts are welcome from across the HE sector, including research students. Abstracts should be c. 350 words long, and should not include the author's name or affiliation. The programme will be announced on 13 January 2017.
--
Dr Evangelos Himonides FBCS CITP
Reader in Technology, Education and Music
University College London
MESSAGE FOLLOWS:
Please see the CFP below.
Aural Skills Pedagogy: What is to be done?
A one-day symposium at the Royal Academy of Music, London
7 April 2017
Aural skills pedagogy forms the backbone to much instrumental / vocal / compositional training across the Higher Education sector. Conservatoires and universities have included various forms of aural skills training in degree / diploma programmes, most often positioning it within core compulsory modules, and much store is set in how far the student develops their aural skills; no musician can claim seriously to have "good enough" ears.
But the nature of aural skills training and delivery varies widely across the sector, and there are conflicting views about the underlying purposes of such training: for example, whether it is to service the student's general listening ability (whatever that might be), whether it is to develop specific skills (e.g. dictation) of immediate relevance to live physical performance, and so on. And the relationship of aural skills training to instrumental training is often unspoken, even though much goes on in instrumental lessons that can be classed vicariously as being a matter of 'aural skills training'.
This symposium seeks to discuss some of these issues. The intention is to open up debate to a wide spectrum of views on the nature, purpose, and content of aural skills pedagogy. Polemics are welcome.
Presentations addressing questions such as the following are encouraged, though all proposals on the symposium topic will be considered:
What is the role of testing?
What is the relationship between teaching and learning?
What are the core skills?
What are the most productive modes of delivery of teaching? In cohorts or individually?
Why teach aural skills? What does teaching develop?
How does aural skills training relate to training in e.g. analytical skills?
What role is played by musical canons and key / set repertoire?
Should aural skills training be limited to tonal repertoire?
Is self-directed learning possible?
Does aural skills training develop employability skills?
Should aural skills be taught by discipline or by cohort?
Could the delivery of aural skills teaching include practical work on instruments?
Could aural skills teaching be delivered as distance / online learning?
What is the relation between dictation and musical performance?
Should aural skills training be dropped from specialist musical training?
Presentations may take the form of conventional papers (20 mins + 10 mins questions), or may take a more practical form, e.g. demonstrations. Abstracts should be submitted to chris.atkinson@ram.ac.uk by 31 December 2016. If a demonstration is proposed, then specific requirements must be included. Abstracts are welcome from across the HE sector, including research students. Abstracts should be c. 350 words long, and should not include the author's name or affiliation. The programme will be announced on 13 January 2017.
--
Dr Evangelos Himonides FBCS CITP
Reader in Technology, Education and Music
University College London
Monday, October 31, 2016
Fwd: EPSRC CASE PhD in Semantic Audio and Music Informatics at Queen Mary Centre for Digital Music
[Please forward as appropriate]
This PhD is fully funded for 3.5 years and is in collaboration with
Roli (https://roli.com) one of the music tech sector's most exciting
and dynamic companies. The stipend is for in excess of £22,000 p.a.
(and fees are covered too).
The focus of the research will be on novel, low level signal
processing to extract musical features from audio. The novelty here
will be to focus on finer time resolution than is normally possible.
For further details, download an information sheet from:
http://tinyurl.com/hy2hjr8
Eligibility: for this position, the funders have strict eligibility
criteria. The grant can only be offered to those who have UK
residence. Details on how to check this are on the information sheet.
thank you
mark
--
professor mark sandler, FREng
BSc (Hons), PhD, CEng, FIEEE, FAES, FIET
royal society wolfson research merit award holder
director of the centre for digital music (c4dm)and qMedia
school of electronic engineering and computer science
queen mary university of london
mark.sandler@qmul.ac.uk
+44 (0)20 7882 7680
+44 (0)7775 016715
twitter: @markbsandler,
follow the FAST-IMPACt Programme Grant @semanticaudio
This PhD is fully funded for 3.5 years and is in collaboration with
Roli (https://roli.com) one of the music tech sector's most exciting
and dynamic companies. The stipend is for in excess of £22,000 p.a.
(and fees are covered too).
The focus of the research will be on novel, low level signal
processing to extract musical features from audio. The novelty here
will be to focus on finer time resolution than is normally possible.
For further details, download an information sheet from:
http://tinyurl.com/hy2hjr8
Eligibility: for this position, the funders have strict eligibility
criteria. The grant can only be offered to those who have UK
residence. Details on how to check this are on the information sheet.
thank you
mark
--
professor mark sandler, FREng
BSc (Hons), PhD, CEng, FIEEE, FAES, FIET
royal society wolfson research merit award holder
director of the centre for digital music (c4dm)and qMedia
school of electronic engineering and computer science
queen mary university of london
mark.sandler@qmul.ac.uk
+44 (0)20 7882 7680
+44 (0)7775 016715
twitter: @markbsandler,
follow the FAST-IMPACt Programme Grant @semanticaudio
deadline extended to 27 Nov 2016: 3rd International Conference of Dalcroze Studies (ICDS3)
CALL FOR PROPOSALS
3rd International Conference of Dalcroze Studies (ICDS3)
'The living moment: Exploring improvisational practice'
30 July – 03 August 2017, Université Laval, Quebec City, Canada
www.dalcroze-studies.com
The conference
The aim of ICDS3 is to present the best of current research and
practice within Dalcroze Studies and related fields. ICDS is a global,
transdisciplinary forum, open to viewpoints from education, the arts
and humanities, and the social, health and life sciences. We welcome
practitioners and scholars alike. This year our theme is improvisation
in music, dance, somatic practices, theatre and therapy, with a
special focus on the relationships between music/sound and movement.
Keynotes (confirmed)
Ruth Alperson, Dean, Hoff-Barthelson Music School, USA
Ruth Gianadda, Professor, Institute Jaques-Dalcroze, Geneva, Switzerland
Karin Greenhead, Director of Studies, Dalcroze UK
Reto W. Kressig, Professor and Chair of Geriatrics, University Center
for Medicine of Aging Basel (UAB), Felix-Platter Hospital, University
of Basel, Switzerland
Raymond MacDonald, Professor of Music Psychology and Improvisation,
University of Edinburgh, Scotland
Max van Manen, Professor Emeritus, University of Alberta, Canada
Lisa Parker, Director, Longy Dalcroze Institute, Longy School of Music
of Bard College, USA
Call for proposals
We welcome presentations on improvisation, as it relates to Dalcroze
Eurhythmics and music, movement and the mindful body more broadly. We
embrace a wide range of disciplines and areas, and invite
practitioners and researchers to share their knowledge, experience and
scholarship on this theme. Conference topics include, but are not
limited to:
Music-movement improvisation
Descriptions and theories of improvisation
Improvisation and embodiment
Improvisation in culture and improvisation as culture
Improvisation as social relationship or dialogue
Improvisation as process, as product, as means
Interdisciplinary and intermedial approaches to improvisation
Teaching improvisation
The role of improvisation in pedagogy, performance, therapy and research
Teaching as an improvisational practice
Assessing and evaluating improvisation
Developing curricula and educational material on improvisation
Improvisation and the professional development of teachers
The interaction of technology and improvisation
Improvisation and wellbeing
Personal and social development through improvisation
Improvisation and ethics (empowerment, social justice)
Improvisation and community
The historical development and transmission of improvisational
practice in Dalcroze Eurhythmics and related fields
Types of presentation
Paper, workshop, symposium, roundtable, informal daytime performance,
evening performance, poster, presentation to host ICDS5 in 2021
Deadline
Submit your proposal at www.dalcroze-studies.com by Sunday 27 November
2016 23:59 (BST)
3rd International Conference of Dalcroze Studies (ICDS3)
'The living moment: Exploring improvisational practice'
30 July – 03 August 2017, Université Laval, Quebec City, Canada
www.dalcroze-studies.com
The conference
The aim of ICDS3 is to present the best of current research and
practice within Dalcroze Studies and related fields. ICDS is a global,
transdisciplinary forum, open to viewpoints from education, the arts
and humanities, and the social, health and life sciences. We welcome
practitioners and scholars alike. This year our theme is improvisation
in music, dance, somatic practices, theatre and therapy, with a
special focus on the relationships between music/sound and movement.
Keynotes (confirmed)
Ruth Alperson, Dean, Hoff-Barthelson Music School, USA
Ruth Gianadda, Professor, Institute Jaques-Dalcroze, Geneva, Switzerland
Karin Greenhead, Director of Studies, Dalcroze UK
Reto W. Kressig, Professor and Chair of Geriatrics, University Center
for Medicine of Aging Basel (UAB), Felix-Platter Hospital, University
of Basel, Switzerland
Raymond MacDonald, Professor of Music Psychology and Improvisation,
University of Edinburgh, Scotland
Max van Manen, Professor Emeritus, University of Alberta, Canada
Lisa Parker, Director, Longy Dalcroze Institute, Longy School of Music
of Bard College, USA
Call for proposals
We welcome presentations on improvisation, as it relates to Dalcroze
Eurhythmics and music, movement and the mindful body more broadly. We
embrace a wide range of disciplines and areas, and invite
practitioners and researchers to share their knowledge, experience and
scholarship on this theme. Conference topics include, but are not
limited to:
Music-movement improvisation
Descriptions and theories of improvisation
Improvisation and embodiment
Improvisation in culture and improvisation as culture
Improvisation as social relationship or dialogue
Improvisation as process, as product, as means
Interdisciplinary and intermedial approaches to improvisation
Teaching improvisation
The role of improvisation in pedagogy, performance, therapy and research
Teaching as an improvisational practice
Assessing and evaluating improvisation
Developing curricula and educational material on improvisation
Improvisation and the professional development of teachers
The interaction of technology and improvisation
Improvisation and wellbeing
Personal and social development through improvisation
Improvisation and ethics (empowerment, social justice)
Improvisation and community
The historical development and transmission of improvisational
practice in Dalcroze Eurhythmics and related fields
Types of presentation
Paper, workshop, symposium, roundtable, informal daytime performance,
evening performance, poster, presentation to host ICDS5 in 2021
Deadline
Submit your proposal at www.dalcroze-studies.com by Sunday 27 November
2016 23:59 (BST)
Thursday, October 27, 2016
Job opportunity: University of Hull, Research Assistant (Music)
The School of Arts at the University of Hull is advertising for a
Research Assistant in the Music subject area as part of an externally
funded research project during the Hull City of Culture year in 2017.
The school has recently benefited from a multi-million pound
investment into facilities that include a refreshed concert hall,
practice rooms, and new industry standard music studios, all in
preparation for City of Culture. This role has been created to
evaluate the New Music Biennial and supporting residencies and school
workshops and is funded by the Paul Hamlyn Foundation, via The
Performing Rights Society Foundation in association with Sound and
Music.
The post is for a Research Assistant at band 6 for 14 months and is
part-time (0.5 of full time). The successful applicant will either
have completed or be near to completing a PhD in either Music
Education or Music Psychology; full details can be found on the job
description.
To discuss this role informally, please contact Dr Andrew King, Tel:
01482 465370, a.king@hull.ac.uk
More details can be found here:
https://jobs.hull.ac.uk/Vacancy.aspx?ref=FA0201
Research Assistant in the Music subject area as part of an externally
funded research project during the Hull City of Culture year in 2017.
The school has recently benefited from a multi-million pound
investment into facilities that include a refreshed concert hall,
practice rooms, and new industry standard music studios, all in
preparation for City of Culture. This role has been created to
evaluate the New Music Biennial and supporting residencies and school
workshops and is funded by the Paul Hamlyn Foundation, via The
Performing Rights Society Foundation in association with Sound and
Music.
The post is for a Research Assistant at band 6 for 14 months and is
part-time (0.5 of full time). The successful applicant will either
have completed or be near to completing a PhD in either Music
Education or Music Psychology; full details can be found on the job
description.
To discuss this role informally, please contact Dr Andrew King, Tel:
01482 465370, a.king@hull.ac.uk
More details can be found here:
https://jobs.hull.ac.uk/Vacancy.aspx?ref=FA0201
Monday, October 24, 2016
SIMMposium2 2017
SIMM-POSIUM: 2nd Research Symposium on Social Impact of Making Music (SIMM) 2017
Guildhall School of Music & Drama, London, 8-9 July, 2017
Closing date for proposals and expressions of interest: 15 February, 2017
This symposium will bring together researchers, practitioners
interested in research, and policymakers concerned with social
welfare, to build and strengthen a network of professionals wishing to
deepen rigorous and evidence-based understanding of how active
participatory music making may be used to bring measurable social
benefits to groups of individuals in diverse situations.
This network is one strand of activity of the newly formed
International Centre for Social Impact of Making Music, directed from
the University of Ghent, Belgium, but intended to involve
institutional partners in various countries, which will support a
programme of collaborative research training and development under the
guidance of international experts in the field.
In order to preserve a lively and fully participatory dialogue, the
number of participants will be restricted to 60, based on written
expressions of interest. There will be provision in the programme for
up to 30 brief (10-15 minute) presentations of research or
research-related work in progress (or critical reflections on
research), which will be curated into thematic panels of four to five
presentations followed by a plenary discussion.
Presentations on any aspect of making music's social impact will be
welcome, but we hope to include sessions on the following topics:
- Making music in the complex social ecology of the metropolis:
opportunities and challenges for London and other mega-cities
- Experiences from the global south: impact of context and culture
- The role of conservatoires and other higher education institutions
in delivering social impact of making music
A keynote address will be given by Samuel Araujo, Ethnomusicology
Laboratory, Federal University of Rio De Janeiro.
The programme will be overseen by a scientific committee whose members are:
Geoffrey Baker Royal Holloway / Institute of Musical Research
Susan Hallam UCL Institute of Education
Jennie Henley Royal College of Music
Francois Matarasso Writer and Researcher
Lukas Pairon SIMM Centre, University of Gent
John Sloboda Guildhall School of Music & Drama
For further details about submission and registration, please go to
http://www.gsmd.ac.uk/about_the_school/research/whats_on/simm_posium_2017/
Guildhall School of Music & Drama, London, 8-9 July, 2017
Closing date for proposals and expressions of interest: 15 February, 2017
This symposium will bring together researchers, practitioners
interested in research, and policymakers concerned with social
welfare, to build and strengthen a network of professionals wishing to
deepen rigorous and evidence-based understanding of how active
participatory music making may be used to bring measurable social
benefits to groups of individuals in diverse situations.
This network is one strand of activity of the newly formed
International Centre for Social Impact of Making Music, directed from
the University of Ghent, Belgium, but intended to involve
institutional partners in various countries, which will support a
programme of collaborative research training and development under the
guidance of international experts in the field.
In order to preserve a lively and fully participatory dialogue, the
number of participants will be restricted to 60, based on written
expressions of interest. There will be provision in the programme for
up to 30 brief (10-15 minute) presentations of research or
research-related work in progress (or critical reflections on
research), which will be curated into thematic panels of four to five
presentations followed by a plenary discussion.
Presentations on any aspect of making music's social impact will be
welcome, but we hope to include sessions on the following topics:
- Making music in the complex social ecology of the metropolis:
opportunities and challenges for London and other mega-cities
- Experiences from the global south: impact of context and culture
- The role of conservatoires and other higher education institutions
in delivering social impact of making music
A keynote address will be given by Samuel Araujo, Ethnomusicology
Laboratory, Federal University of Rio De Janeiro.
The programme will be overseen by a scientific committee whose members are:
Geoffrey Baker Royal Holloway / Institute of Musical Research
Susan Hallam UCL Institute of Education
Jennie Henley Royal College of Music
Francois Matarasso Writer and Researcher
Lukas Pairon SIMM Centre, University of Gent
John Sloboda Guildhall School of Music & Drama
For further details about submission and registration, please go to
http://www.gsmd.ac.uk/about_the_school/research/whats_on/simm_posium_2017/
Thursday, October 20, 2016
Fwd: [FREE London talk] The Sound of {Music} Computing at QMUL
FREE event aimed at secondary school students (but all welcome!)
Dear colleagues
The IET and QMUL are jointly hosting "The Sound of {Music} Computing"
a Christmas lecture for schools and families to be given by Andrew
McPherson on Thursday 1 December 2016, at the People's Palace, Mile
End. Nearest tube is Stepney Green with 25/205 buses stopping next to
the venue (Mile End station is not far away).
Homepage | Eventbrite tickets (free) | Event flyer (PDF)
Mathematics and computer science are behind today's technological wizardry…
Let Andrew McPherson, both scientist and musician be your guide into
the world where computing and traditional musical instruments collide.
This is a free talk about augmented musical instruments, which use
digital technology to extend the creative possibilities of familiar
musical instruments. Augmented instruments build on centuries-old
designs like the piano and violin, but they also use electronic
sensors, actuators and computers to transform and enhance the sound of
the instrument as it is played. For example, we could build a piano
which can sustain forever and play vibratos and pitch bends like a
violin, or we could make an electronic violin that always stays in
tune no matter where you place your fingers.
This special one-off Christmas event – co-hosted by the School of
Electronic Engineering and Computer Science at Queen Mary, and The
Institution of Engineering and Technology (IET) – will be a fun-filled
evening full of surprises.
The evening is aimed at secondary school aged students, but with
surprises to be unveiled for both adults and young people alike. All
are welcome so if you have a curious mind, book your (free) tickets
below quickly as places are vanishing fast!
Programme:
17:00 Registration
17:15 Seating
17:30 Start of lecture
18:30 Drinks and mince pies
19:00 Close
Best wishes,
Jo
Dear colleagues
The IET and QMUL are jointly hosting "The Sound of {Music} Computing"
a Christmas lecture for schools and families to be given by Andrew
McPherson on Thursday 1 December 2016, at the People's Palace, Mile
End. Nearest tube is Stepney Green with 25/205 buses stopping next to
the venue (Mile End station is not far away).
Homepage | Eventbrite tickets (free) | Event flyer (PDF)
Mathematics and computer science are behind today's technological wizardry…
Let Andrew McPherson, both scientist and musician be your guide into
the world where computing and traditional musical instruments collide.
This is a free talk about augmented musical instruments, which use
digital technology to extend the creative possibilities of familiar
musical instruments. Augmented instruments build on centuries-old
designs like the piano and violin, but they also use electronic
sensors, actuators and computers to transform and enhance the sound of
the instrument as it is played. For example, we could build a piano
which can sustain forever and play vibratos and pitch bends like a
violin, or we could make an electronic violin that always stays in
tune no matter where you place your fingers.
This special one-off Christmas event – co-hosted by the School of
Electronic Engineering and Computer Science at Queen Mary, and The
Institution of Engineering and Technology (IET) – will be a fun-filled
evening full of surprises.
The evening is aimed at secondary school aged students, but with
surprises to be unveiled for both adults and young people alike. All
are welcome so if you have a curious mind, book your (free) tickets
below quickly as places are vanishing fast!
Programme:
17:00 Registration
17:15 Seating
17:30 Start of lecture
18:30 Drinks and mince pies
19:00 Close
Best wishes,
Jo
Wednesday, October 19, 2016
Fwd: Call for Papers: ISPS 2017, Reykjavík (August 30 | 02 September 2017)
CALL FOR PAPERS
ISPS 2017
Performance, Processes, and Products
August 30 | 02 September 2017
Reykjavík | Iceland
www.performancescience.org
The next International Symposium on Performance Science will be hosted
by the Iceland Academy of the Arts and convened at Harpa, Reykjavík's
world-renowned concert hall, on August 30 – 02 September 2017.
The ISPS 2017 theme, Performance, Processes and Products, is intended
to encourage discussion and debate on how performances are conceived,
developed, delivered and received. Specific research topics, fields of
study, and methodological approaches have been left open intentionally
to encourage interdisciplinary exchange.
Submissions detailing original research are invited from all
performance disciplines, offering new perspectives from across the
arts and sciences.
KEYNOTE SPEAKERS
Hilmar Bragi Janusson
Dean of the School of Engineering and Natural Science
University of Iceland (Iceland)
Reinhard Kopiez
Professor of Music Psychology
Hanover University of Music, Drama, and Media (Germany)
Alison McGregor
Professor of Musculoskeletal Biodynamics
Imperial College London (UK)
Steven Schlozman
Associate Director of The Clay Center for Young Healthy Minds
Harvard University (USA)
IMPORTANT DATES
15 January 2017: Paper/poster abstract submission deadline
15 March 2017: Notification of submission decision
01 April 2017: Article submissions open for ISPS 2017 Research Topic
in Frontiers
15 April 2017: End of early registration
30 August 2017: Start of ISPS 2017
31 December 2017: Article submission deadline for ISPS 2017 Research
Topic in Frontiers
SUBMISSIONS
Submissions are invited for
- Spoken papers
- Poster presentations
- Symposia and workshops
Detailed instructions for submissions will be available via the
conference website: www.performancescience.org. Submissions should be
made electronically to cps@rcm.ac.uk by 15 January 2017.
GRADUATE AWARD
The Scientific Committee is keen to encourage the attendance of
students, as well as established researchers and practitioners.
Therefore, the ISPS 2017 Graduate Award will be offered to one
graduate student to present a keynote paper at the conference.
REVIEW PROCESS
Each submission will be reviewed anonymously by the Scientific
Committee according to its originality, importance, clarity, and
interdisciplinarity. Corresponding authors will be notified by email
of the Committee's decision by 15 March 2017.
CONFERENCE PUBLICATION
Building on the publication of articles from ISPS 2013 and ISPS 2015
in Frontiers in Psychology, the journal is will host a Research Topic
in the specialty section Performance Science for ISPS 2017 presenters.
To qualify, the first (or corresponding) author must be a registered
presenter at ISPS 2017, and the manuscript should be submitted to the
journal for independent peer-review between 01 April and 31 December
2017.
The philosophy of Frontiers is that research is the product of an
investment by society, and therefore, its fruits should be returned to
all people without borders or discrimination, serving society
universally and in a transparent fashion. This is why Frontiers
provides online free and open access to all of its research
publications.
The new Frontiers specialty section Performance Science welcomes
submissions of the highest quality of the following types: Book
Review, Editorial, General Commentary, Hypothesis & Theory, Methods,
Mini Review, Opinion, Original Research, Perspective, Review,
Specialty Grand Challenge and Technology Report. Like most other
serious open-access publishers, Frontiers maintains a high quality of
service through an 'author-pay' model. As such, manuscripts that are
accepted for publication following peer review may incur a publishing
fee (reduced for Research Topic submissions), depending on the article
type. For more information on the Frontiers open access policy and
publishing fees, see www.frontiersin.org/Performance_Science/fees.
To learn more about the specialty section Performance Science, see
www.frontiersin.org/Performance_Science or write to chief editor Aaron
Williamon at aaron.williamon@rcm.ac.uk.
Note. The ISPS 2017 Research Topic replaces the Proceedings of the
International Symposium on Performance Science. As with ISPS 2015, a
proceedings volume will not be produced for ISPS 2017; however,
published articles from all previous ISPS are freely available at
www.performancescience.org.
REGISTRATION
Full and one-day registration options are available. Online
registration will open on 15 March 2017.
For further information about the venue, submissions, graduate award,
and registration, visit the conference website:
www.performancescience.org.
The official language of the conference is English.
ISPS 2017 Co-Chairs
Aaron Williamon, Royal College of Music
Pétur Jonasson, Iceland Academy of the Arts
www.performancescience.org
ISPS 2017
Performance, Processes, and Products
August 30 | 02 September 2017
Reykjavík | Iceland
www.performancescience.org
The next International Symposium on Performance Science will be hosted
by the Iceland Academy of the Arts and convened at Harpa, Reykjavík's
world-renowned concert hall, on August 30 – 02 September 2017.
The ISPS 2017 theme, Performance, Processes and Products, is intended
to encourage discussion and debate on how performances are conceived,
developed, delivered and received. Specific research topics, fields of
study, and methodological approaches have been left open intentionally
to encourage interdisciplinary exchange.
Submissions detailing original research are invited from all
performance disciplines, offering new perspectives from across the
arts and sciences.
KEYNOTE SPEAKERS
Hilmar Bragi Janusson
Dean of the School of Engineering and Natural Science
University of Iceland (Iceland)
Reinhard Kopiez
Professor of Music Psychology
Hanover University of Music, Drama, and Media (Germany)
Alison McGregor
Professor of Musculoskeletal Biodynamics
Imperial College London (UK)
Steven Schlozman
Associate Director of The Clay Center for Young Healthy Minds
Harvard University (USA)
IMPORTANT DATES
15 January 2017: Paper/poster abstract submission deadline
15 March 2017: Notification of submission decision
01 April 2017: Article submissions open for ISPS 2017 Research Topic
in Frontiers
15 April 2017: End of early registration
30 August 2017: Start of ISPS 2017
31 December 2017: Article submission deadline for ISPS 2017 Research
Topic in Frontiers
SUBMISSIONS
Submissions are invited for
- Spoken papers
- Poster presentations
- Symposia and workshops
Detailed instructions for submissions will be available via the
conference website: www.performancescience.org. Submissions should be
made electronically to cps@rcm.ac.uk by 15 January 2017.
GRADUATE AWARD
The Scientific Committee is keen to encourage the attendance of
students, as well as established researchers and practitioners.
Therefore, the ISPS 2017 Graduate Award will be offered to one
graduate student to present a keynote paper at the conference.
REVIEW PROCESS
Each submission will be reviewed anonymously by the Scientific
Committee according to its originality, importance, clarity, and
interdisciplinarity. Corresponding authors will be notified by email
of the Committee's decision by 15 March 2017.
CONFERENCE PUBLICATION
Building on the publication of articles from ISPS 2013 and ISPS 2015
in Frontiers in Psychology, the journal is will host a Research Topic
in the specialty section Performance Science for ISPS 2017 presenters.
To qualify, the first (or corresponding) author must be a registered
presenter at ISPS 2017, and the manuscript should be submitted to the
journal for independent peer-review between 01 April and 31 December
2017.
The philosophy of Frontiers is that research is the product of an
investment by society, and therefore, its fruits should be returned to
all people without borders or discrimination, serving society
universally and in a transparent fashion. This is why Frontiers
provides online free and open access to all of its research
publications.
The new Frontiers specialty section Performance Science welcomes
submissions of the highest quality of the following types: Book
Review, Editorial, General Commentary, Hypothesis & Theory, Methods,
Mini Review, Opinion, Original Research, Perspective, Review,
Specialty Grand Challenge and Technology Report. Like most other
serious open-access publishers, Frontiers maintains a high quality of
service through an 'author-pay' model. As such, manuscripts that are
accepted for publication following peer review may incur a publishing
fee (reduced for Research Topic submissions), depending on the article
type. For more information on the Frontiers open access policy and
publishing fees, see www.frontiersin.org/Performance_Science/fees.
To learn more about the specialty section Performance Science, see
www.frontiersin.org/Performance_Science or write to chief editor Aaron
Williamon at aaron.williamon@rcm.ac.uk.
Note. The ISPS 2017 Research Topic replaces the Proceedings of the
International Symposium on Performance Science. As with ISPS 2015, a
proceedings volume will not be produced for ISPS 2017; however,
published articles from all previous ISPS are freely available at
www.performancescience.org.
REGISTRATION
Full and one-day registration options are available. Online
registration will open on 15 March 2017.
For further information about the venue, submissions, graduate award,
and registration, visit the conference website:
www.performancescience.org.
The official language of the conference is English.
ISPS 2017 Co-Chairs
Aaron Williamon, Royal College of Music
Pétur Jonasson, Iceland Academy of the Arts
www.performancescience.org
Monday, October 17, 2016
Fwd: Fully Funded PhD studentship - Open University
The School of Computing and Communications at the Open University (UK) invites applications for a full-time PhD studentship starting either in February or October 2017. Studentships are for three years full time study, and cover tuition fees and a stipend of £14,296 pa.
The following topics are suitable, but you are welcome to propose a project in any area of music computing.
Musical Contrast (and Similarity)
Music and Emotion
Music and Narrative
Computational Creativity
Computational Musicology
Deep Learning for Music
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.
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.
The Open University is incorporated by Royal Charter (RC 000391), an exempt charity in England & Wales and a charity registered in Scotland (SC 038302).
For further details of how to apply, please visit:
http://www9.open.ac.uk/mct-cc/study/research-degrees
Closing date: 31st October 2016.
Interviews will be held in November 2016
The following topics are suitable, but you are welcome to propose a project in any area of music computing.
Musical Contrast (and Similarity)
Music and Emotion
Music and Narrative
Computational Creativity
Computational Musicology
Deep Learning for Music
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.
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.
The Open University is incorporated by Royal Charter (RC 000391), an exempt charity in England & Wales and a charity registered in Scotland (SC 038302).
For further details of how to apply, please visit:
http://www9.open.ac.uk/mct-cc/
Closing date: 31st October 2016.
Interviews will be held in November 2016
Thursday, October 13, 2016
New Government figures show a fall in arts GCSEs
New Government figures show a fall in arts GCSEs
The percentage of pupils entering at least one arts subject has fallen to by 1.7 percentage points to just 47.9% of pupils in state-funded schools in 2016.
The new figures were published today by the Department for Education.
This is on top of an overall decline of 8% in the uptake of arts subjects at GCSE and shows that the DfE's English Baccalaureate (EBacc) proposals are continuing to have a negative impact on the uptake of creative, artistic and technical subjects in schools.
Here is how you can help change this:
- Spread the word: Tell your friends, family and colleagues about the Bacc for the Future campaign and ask them to sign up to the petition at www.BaccfortheFuture.com
- Write to your MP: Keep writing to your local MP, asking them to support the revision of this policy (and if you do receive a reply, please email a copy to baccforthefuture@ism.org)
If you can do just these two things, you will be helping change minds about creative, artistic and technical subjects.
Best wishes,
The Bacc for the Future campaign team
PS don't forget that once you have emailed your MP's reply to baccforthefuture@ism.org you can respond to any issues they have raised by using the key facts on the Bacc for the Future website.
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