======================
CALL FOR SUBMISSIONS
======================
((( MUME 2018 )))
The 6th International Workshop on Musical Metacreation
http://musicalmetacreation.org
June 25-26, 2018, Salamanca, Spain.
MUME 2018 is to be held at the University of Salamanca in conjunction
with the Ninth International Conference on Computational Creativity,
ICCC 2018.
=== Important Dates ===
Workshop submission deadline: March 2nd, 2018
Notification date: April 30th, 2018
Camera-ready version: May 25th, 2018
Workshop dates: June 25-26, 2018
======================
Metacreation applies tools and techniques from artificial
intelligence, artificial life, and machine learning, themselves often
inspired by cognitive and natural science, for creative tasks. Musical
Metacreation studies the design and use of these generative tools and
theories for music making: discovery and exploration of novel musical
styles and content, collaboration between human performers and
creative software "partners", and design of systems in gaming and
entertainment that dynamically generate or modify music.
MUME intents to bring together artists, practitioners, and researchers
interested in developing systems that autonomously (or interactively)
recognize, learn, represent, compose, generate, complete, accompany,
or interpret music. As such, we welcome contributions to the theory or
practice of generative music systems and their applications in new
media, digital art, and entertainment at large.
Topics
===========================
We encourage paper and demo submissions on MUME-related topics,
including the following:
-- Models, Representation and Algorithms for MUME
---- Novel representations of musical information
---- Advances or applications of AI, machine learning, and statistical
techniques for generative music
---- Advances of A-Life, evolutionary computing or agent and
multi-agent based systems for generative music
---- Computational models of human musical creativity
-- Systems and Applications of MUME
---- Systems for autonomous or interactive music composition
---- Systems for automatic generation of expressive musical interpretation
---- Systems for learning or modeling music style and structure
---- Systems for intelligently remixing or recombining musical material
---- Online musical systems (i.e. systems with a real-time element)
---- Adaptive and generative music in video games
---- Generative systems in sound synthesis, or automatic synthesizer design
---- Techniques and systems for supporting human musical creativity
---- Emerging musical styles and approaches to music production and
performance involving the use of AI systems
---- Applications of musical metacreation for digital entertainment:
sound design, soundtracks, interactive art, etc.
-- Evaluation of MUME
---- Methodologies for qualitative or quantitative evaluation of MUME systems
---- Studies reporting on the evaluation of MUME
---- Socio-economical Impact of MUME
---- Philosophical implication of MUME
---- Authorship and legal implications of MUME
Submission Format and Requirements
=================================
Please make submissions via the EasyChair system at:
https://easychair.org/conferences/?conf=mume2018
The workshop is a day and a half event that includes:
-Presentations of FULL TECHNICAL PAPERS (8 pages maximum)
-Presentations of POSITION PAPERS and WORK-IN-PROGRESS PAPERS (5 pages maximum)
-Presentations of DEMONSTRATIONS (3 pages maximum) which present
outputs of systems (working live or offline).
All papers should be submitted as complete works. Demo systems should
be tested and working by the time of submission, rather than be
speculative. We encourage audio and video material to accompany and
illustrate the papers (especially for demos). We ask that authors
arrange for their web hosting of audio and video files, and give URL
links to all such files within the text of the submitted paper.
Submissions do not have to be anonymized, as we use single-blind
reviewing. Each submission will be reviewed by at least three program
committee members.
Workshop papers will be published as MUME 2018 Proceedings and will be
archived with an ISBN number. Please use the updated MuMe paper
template to format your paper. Also please feel free to edit the
licence entry (at the bottom left of the first page of the new
template). We created a new MUME 2018 template based on AAAI template.
The MUME 2018 latex and Word template is available at:
http://musicalmetacreation.org/buddydrive/file/mume2018_templates
Submission should be uploaded using MUME 2018 EasyChair portal:
https://easychair.org/conferences/?conf=mume2018
For complete details on attendance, submissions and formatting, please
visit the workshop website: http://musicalmetacreation.org
Presentation and Multimedia Equipment:
==========================================
We will provide a video projection system as well as a stereo audio
system for use by presenters at the venue. Additional equipment
required for presentations and demonstrations should be supplied by
the presenters. Contact the Workshop Chair to discuss any special
equipment and setup needs/concerns.
Attendance
=======================================
It is expected that at least one author of each accepted submission
will attend the workshop to present their contribution. We also
welcome those who would like to attend the workshop without
presenting. Workshop registration will be available through the ICCC
2018 conference system.
History
=======================================
MUME 2018 builds on the enthusiastic response and participation we
received for the past occurrences of MUME series:
MUME 2012 (held in conjunction with AIIDE 2012 at Stanford):
http://musicalmetacreation.org/mume-2012/
MUME 2013 (held in conjunction with AIIDE 2013 at NorthEastern):
http://musicalmetacreation.org/mume-2013/
MUME 2014 (held in conjunction with AIIDE 2014 at North Carolina):
http://musicalmetacreation.org/mume-2014/
MUME 2016 (held in conjunction with ICCC 2016 at Université Pierre et
Marie Curie):
http://musicalmetacreation.org/mume-2016/
MUME 2017 (held in conjunction with ICCC 2017 at Georgia Institute of
Technology):
http://musicalmetacreation.org/mume-2017/
Questions & Requests
======================================
Please direct any inquiries/suggestions/special requests to the
Workshop Chair, Philippe Pasquier (pasquier@sfu.ca).
Workshop Organizers
===================
Pr. Philippe Pasquier (Workshop Chair)
School of Interactive Arts and Technology (SIAT)
Simon Fraser University, Canada
http://metacreation.net/
https://www.kadenze.com/programs/generative-art-and-computational-creativity
Pr. Arne Eigenfeldt
School for the Contemporary Arts
Simon Fraser University, Canada
Dr. Oliver Bown
Design Lab, Faculty of Architecture, Design and Planning
The University of Sydney, Australia
Kıvanç Tatar (MUME Administration and Publicity Assistant)
PhD Candidate
School of Interactive Arts and Technology,
Simon Fraser University, Vancouver, Canada.
----------------------
http://musicalmetacreation.org
======================
MUME Steering Committee
Andrew Brown
Griffith University, Australia
Anna Jordanous
University of Kent, UK
Bob Keller
Harvey Mudd College, US
Róisín Loughran
University College Dublin, Ireland
Michael Casey
Dartmouth College, US
Benjamin Smith
Purdue University Indianapolis, US
--
Kıvanç Tatar
----------------------------------
PhD Candidate
Interactive Arts and Technology
Simon Fraser University, Vancouver, Canada
Email: kivanctatar@gmail.com
Website: https://kivanctatar.wordpress.com/
Friday, December 8, 2017
Sunday, December 3, 2017
Fwd: CALL FOR PAPERS - THE ORFEU JOURNAL SPECIAL ISSUE ON THE PSYCHOLOGY OF MUSIC
The ORFEU Journal, from PPGMUS / UDESC (BRAZIL), announces a Call for Papers for a Special Issue on the Psychology of Music, to be released in July 2018. The ORFEU Journal is a publication of the Postgraduate Programme in Music (PPGMUS) of the Centre for the Arts (CEART) of Santa Catarina State University (UDESC). ORFEU welcomes academic work which has national and/or international scope.
The Special Issue on the Psychology of Music will be coordinated by the invited editors Professor Graham Welch (UCL Institute of Education) and Dr. Luciana Hamond (UDESC). The aim of this Special Issue is to disseminate knowledge of research studies in the interface between psychology of music and music education. This Special Issue also encourages the dissemination of research in psychology of music which reports research methodologies with practical implications for music education. Articles in English, Spanish and Portuguese are welcome, as well as translations (or commentated versions) of original articles. Suggested topics for this Special Issue are:
- Cognition and music education
- Creativity and music education
- Feedback and music education
- Music and the brain
- Music and well-being
- Musical behaviour and development (childhood; adolescence; adults and older adults; and special needs)
- Musical learning and teaching (individual and in groups)
- Musical performance
- Technology and music education
Papers should be between 6,000 and 12,000 words (excluding title, abstract, keywords and references). Submissions can be in English, Spanish or Portuguese, and should address at least one of the topics listed above. Researchers should avoid referring to their own names within the submitted papers. Acceptance of paper submissions will be determined by anonymous peer review. Researchers should pay close attention to proofreading and formatting in order to ensure that the submitted paper is sufficiently well-presented for publishing in the ORFEU's Special Issue in Psychology of Music. Please also make sure that you address any comments made by the peer reviewers in the review process.
Deadline for submissions: 18/02/2018
*If you are not registered on the ORFEU Journal system, please register yourself as an author before submitting your paper.
Link for registration on the ORFEU Journal system
Link for author guidelines:
Should you have questions about any of the above points, feel free to write to revistaorfeu@gmail.com, by writing on the subject area: "Psychology of Music".
Kind regards,
Dr. Luciana Hamond (Invited Editor, UDESC, Brazil)
Professor Graham Welch (Invited Editor, UCL-Institute of Education, UK)
Thursday, November 30, 2017
Fwd: PhD studentships in Music at the University of Huddersfield
Five fully-funded Music PhD studentships for 2018 University of Huddersfield inspiring tomorrow's professionals.
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.
The University of Huddersfield announces five new, fully-funded Music PhD studentships, for study in the fields of musicology, ethnomusicology and analysis, to commence in October 2018. The studentships are attached to three programmes of research:
- ERC-funded project 'Interactive Research in Music as Sound': three 4-year studentships http://www.jobs.
- ERC-funded project 'Fluid Corpus Manipulation': one 3.5-year studentship http://www.jobs.
- University of Huddersfield Studentship in Contemporary Music Studies: one 3-year studentship http://www.jobs.ac.uk/job/
Each studentship offers a full fee-waiver and stipend at UK Research Council level. The studentships are open to UK, EU and international applicants. Successful applicants will join one of the UK's largest and liveliest postgraduate research communities in Music.
Deadline for applications is 15 January 2018. For further details and contact names, please follow the links above.
Prof Robert Adlington
Queen's Anniversary Prize Chair in Contemporary Music, University of Huddersfield
r.c.adlington -at- hud.ac.uk
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.
Wednesday, November 29, 2017
Fwd: FW: Voice Geek Conference
Voice Geek Conference
CALL FOR PAPERS
Voice Workshop Ltd is organising a conference aimed at linking theory to practice and we have invited Ken Bozeman over as a key note speaker. We are currently calling for papers and the ethos of the conference is to to encourage new researchers to present alongside established pedagogues.
Papers are solicited in all aspects of singing pedagogy but we especially welcome papers that bridge the gap between theory and practice. The conference link is https://www.voiceworkshop.co.
As a member of the IOE we are offering a 20% discount, conference rate £76.
This offer is not available online please book via email to deestallan@voiceworkshop.co.uk
I trust this is okay?
Kind Regards
Dee Stallan P.A.
Voice Workshop Ltd
Office 21
North Colbea Business Centre
Office : (01206) 848421
Tuesday, November 28, 2017
Fwd: Deadline Extended: Cognitive Futures in the Arts and Humanities at University of Kent, 1-4 July 2018
CFP DEADLINE EXTENDED TO JANUARY 5 2018
Cognitive Futures in the Arts and Humanities 2018
University of Kent, 1-4 July
Keynote Speakers
Maaike Bleeker, Utrecht University
Margrethe Bruun Vaage, University of Kent
Eric Clarke, Oxford University
Amy Cook, Stony Brook University
Organisers: Melissa Trimingham and Nicola Shaughnessy, in association with the Centre for Cognition, Kinaesthetics and Performance.
Call for Papers
Building on the conferences associated with the network Cognitive Futures in the Humanities in Bangor (2013), Durham (2014) and Oxford (2015), Helsinki (2016) and Stony Brook (2017) the 2018 conference aims once again to bring together a wide array of papers from the cognitive sciences, philosophy, literary studies, linguistics, cultural studies, critical theory, film, performance, theatre and dance studies, the visual and sonic arts, musicology and beyond. In accordance with the original purpose of the network, the aims of the conference are:
-to evolve new knowledge and practices for the analysis of culture and cultural objects, through engagement with the cognitive sciences;
-to assess how concepts from the cognitive sciences can in turn be approached using the analytical tools of humanities enquiry (historical, theoretical, contextual);
-to contest the nature/culture opposition whose legacy can be identified with the traditional and ongoing segregation of scientific and aesthetic knowledge.
Topics relevant to the conference include (but are not limited to):
Cognitive neuroscience and the arts Interdisciplinary methodologies
Cognitive poetics Theory of mind
Conceptual blending Cognition and narrative
Spectatorship and participation Empirical aesthetics
The 4 Es The science of creativity
The social mind Material culture
Submission details
Please send 250-word proposals to cogfutures@kent.ac.uk by 5 January 2018. As well as 20-minute papers, we welcome contributions in a variety of formats, for example workshops, performance presentations, and posters. Abstracts should be included as Word file attachments. Please indicate clearly in your email whether your abstract is to be considered for a paper or as part of a panel, including the name of presenter(s), institutional affiliation(s) and email address(es). Proposers can expect to hear if their abstract has been accepted by 1 February 2018, and registration will open soon afterward.
Organising committee
Shaun May, Nicola Shaughnessy, Melissa Trimingham, Freya Vass-Rhee
Cognitive Futures in the Arts and Humanities Steering Group
Amy Cook (Stony Brook University)
Karin Kukkonen (University of Oslo)
Peter Garratt (Durham University)
John Lutterbie (Stony Brook University)
Ben Morgan (University of Oxford)
Sowon Park (University of California, Santa Barbara)
Merja Polvinen (University of Helsinki)
Nicola Shaughnessy (University of Kent)
Cognitive Futures in the Arts and Humanities 2018
University of Kent, 1-4 July
Keynote Speakers
Maaike Bleeker, Utrecht University
Margrethe Bruun Vaage, University of Kent
Eric Clarke, Oxford University
Amy Cook, Stony Brook University
Organisers: Melissa Trimingham and Nicola Shaughnessy, in association with the Centre for Cognition, Kinaesthetics and Performance.
Call for Papers
Building on the conferences associated with the network Cognitive Futures in the Humanities in Bangor (2013), Durham (2014) and Oxford (2015), Helsinki (2016) and Stony Brook (2017) the 2018 conference aims once again to bring together a wide array of papers from the cognitive sciences, philosophy, literary studies, linguistics, cultural studies, critical theory, film, performance, theatre and dance studies, the visual and sonic arts, musicology and beyond. In accordance with the original purpose of the network, the aims of the conference are:
-to evolve new knowledge and practices for the analysis of culture and cultural objects, through engagement with the cognitive sciences;
-to assess how concepts from the cognitive sciences can in turn be approached using the analytical tools of humanities enquiry (historical, theoretical, contextual);
-to contest the nature/culture opposition whose legacy can be identified with the traditional and ongoing segregation of scientific and aesthetic knowledge.
Topics relevant to the conference include (but are not limited to):
Cognitive neuroscience and the arts Interdisciplinary methodologies
Cognitive poetics Theory of mind
Conceptual blending Cognition and narrative
Spectatorship and participation Empirical aesthetics
The 4 Es The science of creativity
The social mind Material culture
Submission details
Please send 250-word proposals to cogfutures@kent.ac.uk by 5 January 2018. As well as 20-minute papers, we welcome contributions in a variety of formats, for example workshops, performance presentations, and posters. Abstracts should be included as Word file attachments. Please indicate clearly in your email whether your abstract is to be considered for a paper or as part of a panel, including the name of presenter(s), institutional affiliation(s) and email address(es). Proposers can expect to hear if their abstract has been accepted by 1 February 2018, and registration will open soon afterward.
Organising committee
Shaun May, Nicola Shaughnessy, Melissa Trimingham, Freya Vass-Rhee
Cognitive Futures in the Arts and Humanities Steering Group
Amy Cook (Stony Brook University)
Karin Kukkonen (University of Oslo)
Peter Garratt (Durham University)
John Lutterbie (Stony Brook University)
Ben Morgan (University of Oxford)
Sowon Park (University of California, Santa Barbara)
Merja Polvinen (University of Helsinki)
Nicola Shaughnessy (University of Kent)
Friday, November 24, 2017
Fwd: SIG Music: New issue LONDON REVIEW OF EDUCATION 15(3), Nov 2017 - Music education in context, Assessment + Book reviews
NEW ISSUE * NEW ISSUE * NEW ISSUE
THE UCL INSTITUTE OF EDUCATION'S FLAGSHIP PEER-REVIEWED JOURNAL Volume 15, Number 3 (November 2017)
General articles with a shared interest in assessment
- The relationship between stream placement and teachers' judgements of pupils: Evidence from the Millennium Cohort Study - Tammy CAMPBELL, London School of Economics, UK
- Exploring the relationship between validity and comparability in assessment - Victoria CRISP, Cambridge Assessment, UK
- Internal versus external assessment in vocational qualifications: A commentary on the government's reforms in England - Sylvia VITELLO and Joanna WILLIAMSON, Cambridge Assessment, UK
Special feature
MUSIC EDUCATION IN CONTEXT Edited by Hilary McQUEEN (UCL Institute of Education, UK) and Maria VARVARIGOU (Canterbury Christ Church University, UK)
The power of music to enrich and enhance people's lives is well documented. There are so many examples of the positive impact of music education. The contexts in which people of all ages learn about music vary widely, yet each can provide an opportunity for engagement with music that can have both individual and more extensive benefits. At a time of financial constraints and global unrest, it is vital that the contribution of education in the arts, such as music, is kept to the fore. This feature draws on research and practice that illustrates the effect of music education in specific contexts. The result is a range of articles that demonstrates the extent to which music can provide a catalyst for individual, group and wider social benefits. The articles also provide an opportunity to think about teaching and learning more generally.
- On being and becoming a jazz musician: Perceptions of young Scottish musicians - Pauline BLACK, University of Aberdeen, UK
- Design-based research as an informal learning model for choral conductors - Naomi COOPER, Western Sydney University, Australia
- Addressing new challenges for a community music project in the context of higher music education: A conceptual framework - Andrea GANDE and Silke KRUSE-WEBER, Graz University of Music and Performing Arts, Austria
- The impact of making music on aural perception and language skills: A research synthesis - Susan HALLAM, UCL Institute of Education, UK
- Towards an effective freeware resource for music composition in the primary classroom - Adam HART, University of Salford, UK (This paper is accompanied by eight videos on the LRE YouTube channel)
- The impact of participation in music on learning mathematics - Sylwia HOLMES and Susan HALLAM, UCL Institute of Education, UK
- Teaching music online: Shifting of pedagogical approach when transitioning to the online environment - Carol JOHNSON, University of Melbourne, Australia
- Mapping trends and framing issues in higher music education: Changing minds/changing practices - Helen Julia MINORS, Kingston University, UK; Pamela BURNARD, University of Cambridge, UK; Charles WIFFEN, Bath Spa University, UK; Zaina SHIHABI, Liverpool Hope University, UK; J. Simon VAN DER WALT, Royal Conservatoire of Scotland, UK
- Community music as a vehicle for tackling mental health-related stigma - Debra RODGERS, Canterbury Christ Church University, UK
- Can student interdependence be experienced negatively in collective music education programmes? A contextual approach - Marc SARAZIN, University of Oxford, UK
Book reviews
- Local Citizenship in the Global Arena: Education for community participation and change by Sally Findlow - reviewed by Iman AZZI, UCL Institute of Education, UK
- The Charged Classroom: Predicaments and Possibilities for Democratic Teaching by Judith L. Pace - reviewed by Lee JEROME, Middlesex University, UK
- Global Migration, Diversity, and Civic Education: Improving Policy and Practice edited by James A. Banks, Marcelo M. Suarez-Orozco, and Miriam Ben-Peretz - reviewed by Richard RACE, Roehampton University, UK
- Children's Rights, Educational Research and the UNCRC: Past, present and future edited by Jenna Gillett-Swan and Vicki Coppock - Students on the MA Sociology of Childhood and Children's Rights, UCL Institute of Education, UK
For more information contact Sally Sigmund at UCL IOE Press s.sigmund@ucl.ac.uk
Thursday, November 23, 2017
Fwd: PhD Scholarships available in the York Music Psychology Group (YMPG)
The York Music Psychology Group (YMPG) at the Music Science and Technology Research Cluster invites applications for PhD in Music Psychology and related areas.
A number of fully-funded studentships are available for outstanding candidates.
The mstrc provides with outstanding facilities, a seminar series, a supportive community of interdisciplinary researchers, and a thriving environment that benefits from the broader musical activities of the department.
https://www.mstrcyork.org/2017/11/ahrc-white-rose-wrocah-funding-for-doctoral-research-in-music-at-the-university-of-york/
For 2018 there are up to seven scholarships available. The scholarship covers the UK/EU tuition fees and, for British students, a maintenance grant (£14,296 per year in 2016/17).
Applicants for WRoCAH studentships must have made an application for PhD study before the WRoCAH funding deadline of Friday 24th January 2018 at 5pm (GMT). For more information about the studentships including eligibility and how to apply, please visit the WRoCAH application page:
Please get in touch with me, Hauke Egermann (Director of YMPG) if you are interested in applying.
Kind regards,
Hauke
Dr. Hauke Egermann
****please have a look at my TEDx talk: http://youtu.be/kzFgoaZ9-VQ *****
York Music Psychology Group (Director)
Music Science and Technology Research Cluster
Department of Music
University of York
Heslington, York
YO10 5DD, UK
Phone: +44 - 1904 - 324303
Room: MRC / 003
- my office hours are Monday to Friday 9am to 5pm -
hauke.egermann@york.ac.uk
www.ympg.uk
facebook.com/ympgsite
hauke@egermann.net
www.egermann.net
A number of fully-funded studentships are available for outstanding candidates.
The mstrc provides with outstanding facilities, a seminar series, a supportive community of interdisciplinary researchers, and a thriving environment that benefits from the broader musical activities of the department.
https://www.mstrcyork.org/
For 2018 there are up to seven scholarships available. The scholarship covers the UK/EU tuition fees and, for British students, a maintenance grant (£14,296 per year in 2016/17).
Applicants for WRoCAH studentships must have made an application for PhD study before the WRoCAH funding deadline of Friday 24th January 2018 at 5pm (GMT). For more information about the studentships including eligibility and how to apply, please visit the WRoCAH application page:
Please get in touch with me, Hauke Egermann (Director of YMPG) if you are interested in applying.
Kind regards,
Hauke
Dr. Hauke Egermann
****please have a look at my TEDx talk: http://youtu.be/
York Music Psychology Group (Director)
Music Science and Technology Research Cluster
Department of Music
University of York
Heslington, York
YO10 5DD, UK
Phone: +44 - 1904 - 324303
Room: MRC / 003
- my office hours are Monday to Friday 9am to 5pm -
hauke.egermann@york.ac.uk
www.ympg.uk
facebook.com/ympgsite
hauke@egermann.net
www.egermann.net
Monday, November 20, 2017
Fwd: DMRN+12: CALL FOR CONTRIBUTIONS - EXTENDED DEADLINE: FRI 24 NOV 2017
Dear MUSIC-AND-SCIENCE people,
Digital Music Research Network (DMRN+12) will take place in London on 19 December 2017.
Please pass on to colleagues and other researchers who may be interested.
Any 1-page papers using the template by Fri 24 November 2017 please!
Best wishes,
Panos
-----------------------------
*** CALL FOR CONTRIBUTIONS - EXTENDED DEADLINE: FRI 24 NOV 2017 ***
DMRN+12: Digital Music Research Network 1-Day Workshop 2017
Queen Mary University of London
http://www.qmul.ac.uk/dmrn/
Keynote Speaker
Prof Augusto Sarti (Politecnico di Milano)
will talk on "Capturing and Rendering Spatial Audio".
Digital music is an important and fast-moving research area. Sophisticated
digital tools for the creation, generation and dissemination of music have
established clear synergies between music and leisure industries, the use of
technology within art, the creative industries and the creative economy.
Digital music research is emerging as a "transdiscipline" across the usual
academic boundaries of computer science, electronic engineering and music.
The Digital Music Research Network (DMRN) aims to promote research in the
area of Digital Music, by bringing together researchers from universities
and industry in electronic engineering, computer science, and music.
DMRN will be holding its next 1-day workshop on
** Tuesday 19 December 2017 **
The workshop will include invited and contributed talks, and posters will be
on display during the day, including during the lunch and coffee breaks.
The workshop will be an ideal opportunity for networking with other people
working in the area. There will also be an opportunity to continue
discussions after the Workshop in a nearby Pub/Restaurant.
Call for Contributions
You are invited to submit a proposal for a talk and/or a poster to be
presented at this event.
TALKS may range from the latest research, through research overviews or
surveys, to opinion pieces or position statements, particularly those likely
to be of interest to an interdisciplinary audience. Talks will be 20 minutes
including questions. Short announcements about other items of interest
(e.g., future events or other networks) are also welcome.
POSTERS can be on any research topic of interest to the members of the
network. Posters (A0 portrait) will be on display through the day, including
lunch break and coffee breaks.
Submission
Please submit your talk or poster proposal in the form of an 1-page paper using the
template in an email to dmrn@lists.eecs.qmul.ac.uk giving the
following information about your presentation:
* Authors
* Title
* Abstract
* Preference for talk or poster (or "no preference").
EXTENDED 1-page paper submission deadline: Friday 24 November 2017.
For past proceedings, visit: DMRN+11 Proceedings
Deadlines
* 24 Nov 2017: EXTENDED 1-page paper submission deadline
* 1 Dec 2017: Notification of acceptance
* 8 Dec 2017: Early Bird Registration deadline
* 19 Dec 2017: DMRN+12 Workshop
For further information, visit:
http://www.qmul.ac.uk/dmrn/
I look forward to seeing you in London in December!
Best wishes,
Panos
---
Panos Kudumakis, PhD
qMedia, Queen Mary University of London
Mile End Road, E1 4NS, UK
Email: p.kudumakis@qmul.ac.uk
http://www.linkedin.com/in/
Fwd: Like to host CSMC 2018?
The Steering Group for the Conference on Computer Simulation of Musical Creativity (CSMC) invites colleagues interested in the area to submit a proposal for organising the next conference, CSMC2018. Please contact Steven Jan (s.b.jan@hud.ac.uk) or Robin Laney (robin.laney@open.ac.uk) for informal discussion and/or to make a proposal. The conference is associated with the Journal of Creative Music Systems (http://jcms.org.uk/).
CSMC2017 was hosted by the Open University, Milton Keynes (https://csmc2017.wordpress.
Robin Laney (on behalf of Steering Group)
Monday, November 13, 2017
Fwd: CFP: songwriting special issue of JPME
the Journal of Popular Music Education invite papers for a special issue on songwriting, guest edited by Andrew West.
Gareth Dylan Smith, PhD
Songwriting has received increasing scholarly attention in recent years, commensurate with growth of programmes at undergraduate and postgraduate levels, and expansion of songwriting provision in schools. Songwriting practices have evolved to encompass domains formerly the preserve of producers, engineers, composers, and arrangers. Songwriting can be found at the heart of work in music therapy, community projects, and big business. The realm of the genius, the muse, the pop culture icon, and the person on the street, songwriting to many people is at the core of what it means to be human.
We invite submissions reporting on empirical research and diverse disciplinary perspectives on topics including but not limited to songwriting issues in contexts of curriculum design, teaching and learning, assessment, history, music theory, collaboration and entrepreneurship, ideology, diversity, creativities, therapy, gender, improvisation, combined arts, disability, STEM, performance and performativity, spirituality, copyright, leisure perspectives, polemic, and politics.
In this songwriting special issue of the Journal of Popular Music Education, the editors continue to seek to define, delimit, debunk, disseminate, and disrupt practice and discourse in and around popular music education.
Please refer to JPME submission guidelines and Intellect style guide when preparing an submissions.
Articles should be emailed to jpmesongwritingspecialissue
Gareth Dylan Smith, PhD
Manager of Program Effectiveness
Visit our JAM ZONE for free lessons and resources for music makers of all ages!
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