This information is sent on behalf of Profs. Wolfgang Auhagen, Claudia
Bullerjahn, and Christoph Louven
Dear colleagues, authors, and readers,
The German Society for Music Psychology (Deutsche Gesellschaft für
Musikpsychologie, DGM) and the editorial board are very pleased to
launch the newly designed 'Yearbook of Music Psychology' (Jahrbuch
Musikpsychologie, JBDGM). From now on, you will find the new online
content of the Yearbook at https://jbdgm.psychopen.eu as part of
PsychOpen GOLD, the open access platform of the Leibniz Center for
Psychological Information and Documentation (ZPID). The online JBDGM
complements the print version that has been published annually since
1984.
JBDGM publishes empirical and theoretical contributions in German and
English from all areas of music psychology, including related fields
such as music sociology, music education, and acoustics. Original
contributions will be published immediately after successful review
and will then be available free of charge worldwide according to the
OpenAccess principle.
With the official launch of JBDGM, first contributions of the volume
28 (2018) on the topic of "Music and Motion" have already been
published. However, the volume is not yet completed, and will be
supplemented by other contributions successively, as soon as they are
ready for publication. Any submission of further contributions for
this volume is possible now.
In addition of being free of charge for readers, authors will also not
face any costs for publication: JBDGM does not charge any processing
or assessment fees. Selected contributions also appear once a year,
supplemented by exclusive reviews and conference reports, in a
subsequent edition of a printed book published by Waxmann-Verlag
(Münster/Germany). The print version will be delivered as before to
all members of the DGM free of charge as an annual complimentary copy.
In summary, publishing music psychology research in JBDGM provides:
High quality standards: Submitted research contributions are subject
to an anonymous peer review process according to international
standards. In addition to peer review, contributions pass through
procedures for plagiarism testing and plausibility checks of
statistical results.
Internationality: The Yearbook of Music Psychology accepts submissions
in German and English. In addition, each article contains both a
German and English abstract.
Fast publishing: Positively reviewed contributions are promptly
published at PsychOpen. Authors do not have to wait for the completion
and printing of a complete book. From submission to worldwide
publication, only a few weeks pass at the most.
Visibility: All contributions are included in the relevant musicology
and psychology databases (e.g. RILM, PSYNDEX) and can be searched for
and used immediately worldwide.
Multimedia capabilities: In addition to the actual texts, JBDGM also
publishes media such as sound samples or videos as well as research
data.
Transparency and traceability: JBDGM strongly recommends the
publication of the research data of an empirical contribution as well
as further material (e.g. analysis syntax, questionnaires etc.), which
are necessary for the traceability of the data collection and
analysis. JBDGM thus follows the guidelines of the German Research
Foundation (DFG) and the German Society for Psychology (DGPs). The
PsychArchives Repository of the ZPID is available for the publication
of research data and material.
Free of charge: We are committed to open access of scientific research
and its free dissemination. Therefore, in Yearbook Music Psychology,
both the use of our content for readers as well as the submission,
review, and publication of contributions for authors are free of
charge.
We would be very pleased if you liked the new concept of the 'Yearbook
Music Psychology', and we invite you to register at
jbdgm.psychopen.eu. You are then automatically recognised as a reader
and will be informed immediately when new posts appear. We would be
even more pleased if you considered JBDGM as a publication outlet for
your own research.
Submissions, also for volume 28 (Music and Movement), are possible now.
The Editors of JBDGM
Wolfgang Auhagen, Claudia Bullerjahn, Christoph Louven
Wednesday, August 29, 2018
Fwd: 2 PhD research positions available in EU-funded project at Hamburg University
For researchers with a background in music or dance psychology, music
or movement science, psychology or a related field
We invite applications for two PhD positions within the EU-funded
research project "Slow Motion: Transformations of Musical Time in
Perception and Performance" (SloMo). The research team investigates
musicians, dancers, and audiences of performances in a series of
empirical studies using a range of interdisciplinary methods including
motion capture, eye tracking and physiological measures.
· Closing Date: 23 September 2018
· Starting date of position: 1 February 2019 for a duration of 3 years
· Salary range: 29,800-34,600 Euro/year pre-tax, depending on experience
The PhD students will carry out a number of experimental studies in
accordance with the goals of the SloMo project. They will record and
analyze experimental data, and contribute significantly to
presentations and publications. An excellent Master's degree in music
or dance psychology, movement science, psychology or a related area is
required. Very good skills in quantitative empirical research and
statistics as well as proficient English language skills are
necessary. Programming experience (e.g. Matlab) and/or experiences in
motion capture or neuroscience are beneficial. Knowledge of German is
not required for the work within the SloMo team.
Informal enquires are welcome: SloMo.gwiss@uni-hamburg.de.
Applications (a single PDF of cover letter specifying the motivation,
curriculum vitae, and copies of degree certificate, and contact
details of two referees) should be sent to SloMo.gwiss@uni-hamburg.de.
Interviews are scheduled for October 2018.
For further information, see https://www.slomo.uni-hamburg.de and
https://www.uni-hamburg.de/uhh/stellenangebote/wissenschaftliches-personal/fakultaet-geisteswissenschaften/23-09-18-334en.pdf.
--
Prof. Dr. Clemens Wöllner
Universität Hamburg
Institute for Systematic Musicology
ERC Project SloMo
Alsterterrasse 1, Rm 114
20354 Hamburg
Germany
https://www.slomo.uni-hamburg.de
clemens.woellner@uni-hamburg.de
or movement science, psychology or a related field
We invite applications for two PhD positions within the EU-funded
research project "Slow Motion: Transformations of Musical Time in
Perception and Performance" (SloMo). The research team investigates
musicians, dancers, and audiences of performances in a series of
empirical studies using a range of interdisciplinary methods including
motion capture, eye tracking and physiological measures.
· Closing Date: 23 September 2018
· Starting date of position: 1 February 2019 for a duration of 3 years
· Salary range: 29,800-34,600 Euro/year pre-tax, depending on experience
The PhD students will carry out a number of experimental studies in
accordance with the goals of the SloMo project. They will record and
analyze experimental data, and contribute significantly to
presentations and publications. An excellent Master's degree in music
or dance psychology, movement science, psychology or a related area is
required. Very good skills in quantitative empirical research and
statistics as well as proficient English language skills are
necessary. Programming experience (e.g. Matlab) and/or experiences in
motion capture or neuroscience are beneficial. Knowledge of German is
not required for the work within the SloMo team.
Informal enquires are welcome: SloMo.gwiss@uni-hamburg.de.
Applications (a single PDF of cover letter specifying the motivation,
curriculum vitae, and copies of degree certificate, and contact
details of two referees) should be sent to SloMo.gwiss@uni-hamburg.de.
Interviews are scheduled for October 2018.
For further information, see https://www.slomo.uni-hamburg.de and
https://www.uni-hamburg.de/uhh/stellenangebote/wissenschaftliches-personal/fakultaet-geisteswissenschaften/23-09-18-334en.pdf.
--
Prof. Dr. Clemens Wöllner
Universität Hamburg
Institute for Systematic Musicology
ERC Project SloMo
Alsterterrasse 1, Rm 114
20354 Hamburg
Germany
https://www.slomo.uni-hamburg.de
clemens.woellner@uni-hamburg.de
Thursday, August 9, 2018
Fwd: Panel session - "The Role of Cognition in Creative Music Systems at CSMC2018"
=================================
CALL FOR PARTICIPATION
Panel session - "The Role of Cognition in Creative Music Systems at CSMC2018"
https://csmc2018.wordpress.com/
=================================
Dear all,
We are looking for panelists to lead a discussion on "The Role of
Cognition in Creative Music Systems" at the 3rd Conference on Computer
Simulation of Musical Creativity at University College Dublin from
20th to 22nd August.
Various systems exist that can generate music, with varying degrees of
success, addressing a range of objectives. The evaluation of such
systems varies in approach and in degree of rigour. Furthermore, these
systems vary in the way they model music, and the degree to which that
modelling reflects human cognition.
The role of cognition is either absent or indirectly addressed in much
work. Its importance is addressed as a key theme in two articles.
Wiggins et al. (2010) argue that music cannot be considered at just
the surface level, as cognition involves extra information. Widmer
(2016) argues that in the field of Music Information Retrieval,
musical interaction with computers would be qualitatively improved if
computers had a deeper understanding of music than at present.
The panel session will discuss the following questions:
1. What are the features of music that make it meaningful to people?
2. To what extent do current creative music systems address these?
3. What needs to be addressed?
References
Widmer, G. (2016). Getting closer to the essence of music: the con
espressione manifesto. ACM Transactions on Intelligent Systems and
Technology, Special Issue on Intelligent Music Systems and
Applications, 8(2), 13 pp.
Wiggins, G.A., Müllensiefen, D., Pearce, M.T. (2010). On the
non-existence of music: Why music theory is a figment of the
imagination. Musicae Scientiae vol. Discussion Volume 5, 231-255.
Interested participants should submit a brief description of the
participant's perspective on the topic (100 words max) to
Robin.Laney@open.ac.uk by Wednesday 15th August.
Best Wishes,
Robin Laney,
Open University
CALL FOR PARTICIPATION
Panel session - "The Role of Cognition in Creative Music Systems at CSMC2018"
https://csmc2018.wordpress.com/
=================================
Dear all,
We are looking for panelists to lead a discussion on "The Role of
Cognition in Creative Music Systems" at the 3rd Conference on Computer
Simulation of Musical Creativity at University College Dublin from
20th to 22nd August.
Various systems exist that can generate music, with varying degrees of
success, addressing a range of objectives. The evaluation of such
systems varies in approach and in degree of rigour. Furthermore, these
systems vary in the way they model music, and the degree to which that
modelling reflects human cognition.
The role of cognition is either absent or indirectly addressed in much
work. Its importance is addressed as a key theme in two articles.
Wiggins et al. (2010) argue that music cannot be considered at just
the surface level, as cognition involves extra information. Widmer
(2016) argues that in the field of Music Information Retrieval,
musical interaction with computers would be qualitatively improved if
computers had a deeper understanding of music than at present.
The panel session will discuss the following questions:
1. What are the features of music that make it meaningful to people?
2. To what extent do current creative music systems address these?
3. What needs to be addressed?
References
Widmer, G. (2016). Getting closer to the essence of music: the con
espressione manifesto. ACM Transactions on Intelligent Systems and
Technology, Special Issue on Intelligent Music Systems and
Applications, 8(2), 13 pp.
Wiggins, G.A., Müllensiefen, D., Pearce, M.T. (2010). On the
non-existence of music: Why music theory is a figment of the
imagination. Musicae Scientiae vol. Discussion Volume 5, 231-255.
Interested participants should submit a brief description of the
participant's perspective on the topic (100 words max) to
Robin.Laney@open.ac.uk by Wednesday 15th August.
Best Wishes,
Robin Laney,
Open University
Sunday, August 5, 2018
Fwd: CFP for the 14th (2019) Art of Record Production Conference
The Art of Record Production Conference 2019
In C: Creation, Connectivity, Collaboration, and Controllers
• Hosted by Berklee College of Music, Boston, May 17–19, 2019
• DEADLINE for abstracts: September 28, 2018, 12:00 a.m., EDT
• Notification by October 29, 2018
Our title for the 14th Art of Record Production Conference is inspired
by Terry Riley's seminal, minimalist work "In C" (1964). When asked
how he would describe the relationship between his drive to push
technology to its limits in the 1960s and the musical possibilities
that resulted, Riley replied that it was all driven by "the 'What if?'
principles." This conference seeks to bring together scholars,
artists, and innovators applying "What if?" principles to practice and
research. Our "C" themes—creation, connectivity, collaboration, and
controllers—all represent areas of movement in contemporary record
production, and we invite participants to interpret them creatively as
they relate to active research projects and creative work. Consider
the following questions about each thematic component.
Creation
How do we define creativity in record production? What is the object
that we create, and who contributes to it? How has music technology
affected what it means to be a creative producer? Who are the creators
that have influenced our field and how can we understand and interpret
their contributions?
Connectivity
Nielsen's Law states that users' internet bandwidth grows by 50
percent per year. How has this phenomenon affected the art of record
production? What musical and sonic innovations are afforded by
ever-increasing connectivity? How has the rise of the project/DIY
studio afforded connections between creators? What creative or
academic projects are ARP participants working on that investigate
music and connectivity?
Collaboration
Record production began as a collaborative art, and for many
producers, collaboration remains a vital part of the creative toolbox.
Technologies have changed over time, but creative collaboration in
music production is fundamentally a human negotiation—a synthesis of
ideas and processes to arrive at a single outcome. We invite papers
from colleagues who are engaged in musical or academic collaboration.
Controllers
The MIDI protocol was developed in 1983 and almost immediately spawned
a plethora of hardware controllers. Since that time, controllers and
control surfaces have evolved in design, precision, and
responsiveness, allowing for production environment where almost
anything can be a controller. In 2009, Thor Magnusson described all
musical instruments as "cognitive extensions"—and digital instruments
as carriers of "symbolic instructions written for the meta-machine,
the computer." In a sense, perhaps all musical tools—instruments,
hardware, and software—are controllers. We invite papers relating to
the broad theme of control in music production.
Conference Fees
• Full registration fee: $350
• Full-time student registration fee: $150
Registration Information
• Conference booking opens in September 2018 via this website.
• An early-bird discount of $50 applies to all registrations
received by December 31, 2018.
• Registration closes on March 31, 2019.
• All presenters must be members of the Association for the
Study of the Art of Record Production (ASARP) (renew/how to join:
http://artofrecordproduction.com).
Organizing Committee
• Joe Bennett: Chair of the 14th Art of Record Production Conference
• Tracy Gibb: Assistant Director for Conference Services and
Special Events at Berklee
• Katia Isakoff: Chair of the 14th Art of Record Production Conference
• Shara Rambarran: Chair of the 14th Art of Record Production Conference
________________________________________
Submit your abstract at: www.berklee.edu/ARP19/call-papers
• Deadline: September 28, 2018
• Notification of acceptance by October 29, 2018
• All papers are 30 minutes total (typically, 20-minute paper;
five-minute Q&A; five-minute changeover).
• Abstracts should be 300 words, maximum.
• Only one abstract submission per individual is permitted.
• For enquiries and more information please visit:
https://www.berklee.edu/ARP19
________________________________________
---
Dr. Shara Rambarran BA (Hons) PGCE FHEA
Musicologist | Educator | Music Consultant | Author
e: shara@shararambarran.com
w: http://shararambarran.com
t: @Sharadai
i: shara_rambarran
In C: Creation, Connectivity, Collaboration, and Controllers
• Hosted by Berklee College of Music, Boston, May 17–19, 2019
• DEADLINE for abstracts: September 28, 2018, 12:00 a.m., EDT
• Notification by October 29, 2018
Our title for the 14th Art of Record Production Conference is inspired
by Terry Riley's seminal, minimalist work "In C" (1964). When asked
how he would describe the relationship between his drive to push
technology to its limits in the 1960s and the musical possibilities
that resulted, Riley replied that it was all driven by "the 'What if?'
principles." This conference seeks to bring together scholars,
artists, and innovators applying "What if?" principles to practice and
research. Our "C" themes—creation, connectivity, collaboration, and
controllers—all represent areas of movement in contemporary record
production, and we invite participants to interpret them creatively as
they relate to active research projects and creative work. Consider
the following questions about each thematic component.
Creation
How do we define creativity in record production? What is the object
that we create, and who contributes to it? How has music technology
affected what it means to be a creative producer? Who are the creators
that have influenced our field and how can we understand and interpret
their contributions?
Connectivity
Nielsen's Law states that users' internet bandwidth grows by 50
percent per year. How has this phenomenon affected the art of record
production? What musical and sonic innovations are afforded by
ever-increasing connectivity? How has the rise of the project/DIY
studio afforded connections between creators? What creative or
academic projects are ARP participants working on that investigate
music and connectivity?
Collaboration
Record production began as a collaborative art, and for many
producers, collaboration remains a vital part of the creative toolbox.
Technologies have changed over time, but creative collaboration in
music production is fundamentally a human negotiation—a synthesis of
ideas and processes to arrive at a single outcome. We invite papers
from colleagues who are engaged in musical or academic collaboration.
Controllers
The MIDI protocol was developed in 1983 and almost immediately spawned
a plethora of hardware controllers. Since that time, controllers and
control surfaces have evolved in design, precision, and
responsiveness, allowing for production environment where almost
anything can be a controller. In 2009, Thor Magnusson described all
musical instruments as "cognitive extensions"—and digital instruments
as carriers of "symbolic instructions written for the meta-machine,
the computer." In a sense, perhaps all musical tools—instruments,
hardware, and software—are controllers. We invite papers relating to
the broad theme of control in music production.
Conference Fees
• Full registration fee: $350
• Full-time student registration fee: $150
Registration Information
• Conference booking opens in September 2018 via this website.
• An early-bird discount of $50 applies to all registrations
received by December 31, 2018.
• Registration closes on March 31, 2019.
• All presenters must be members of the Association for the
Study of the Art of Record Production (ASARP) (renew/how to join:
http://artofrecordproduction.com).
Organizing Committee
• Joe Bennett: Chair of the 14th Art of Record Production Conference
• Tracy Gibb: Assistant Director for Conference Services and
Special Events at Berklee
• Katia Isakoff: Chair of the 14th Art of Record Production Conference
• Shara Rambarran: Chair of the 14th Art of Record Production Conference
________________________________________
Submit your abstract at: www.berklee.edu/ARP19/call-papers
• Deadline: September 28, 2018
• Notification of acceptance by October 29, 2018
• All papers are 30 minutes total (typically, 20-minute paper;
five-minute Q&A; five-minute changeover).
• Abstracts should be 300 words, maximum.
• Only one abstract submission per individual is permitted.
• For enquiries and more information please visit:
https://www.berklee.edu/ARP19
________________________________________
---
Dr. Shara Rambarran BA (Hons) PGCE FHEA
Musicologist | Educator | Music Consultant | Author
e: shara@shararambarran.com
w: http://shararambarran.com
t: @Sharadai
i: shara_rambarran
Wednesday, August 1, 2018
[CfP] RIME2019 :: The 11th International Conference for Research in Music Education
The 11th International Conference for Research in Music Education
April 23-26 2019
Bath Spa University
Call for Papers – Deadline 31 October 2018
The aim of the conference is to gather together researchers, teachers and practitioners to share and discuss research that is concerned with all aspects of teaching and learning in music: musical development, perception and understanding, creativity, learning theory, pedagogy, curriculum design, informal settings, music for special needs, technologies, instrumental teaching, teacher education, gender and culture. Music education is also viewed in the context of arts education, the whole curriculum and its sociocultural contexts.
KEYNOTE SPEAKERS TO INCLUDE
Professor Amanda Bayley, Bath Spa University
Professor Petter Dyndahl, Inland Norway University of Applied Sciences
Professor John Kratus, Michigan State University
Professor Mari Shiobara, Kunitachi College of Music, Tokyo (retired)
Submissions
- Abstracts of no more than 300 words should be submitted with an indication of the mode of presentation: e.g. paper, poster, symposium etc.
- Abstracts should be sent as Word compatible documents. Please DO NOT send pdf documents.
- Authors who intend to submit their work to the journal should indicate this on the abstract (i.e. 'this article will also be submitted to the journal for review')
- Paper presentations should be 20 minutes in length, to be followed by up to 10 minutes chaired discussion time.
- Practical workshops linking research to practice are especially welcome.
- If you are interested in organising a symposium please contact the conference director before submitting an abstract.
- Criteria for acceptance: original, well conducted and reported research, relevant to an international audience in the field of music education, demonstrating sufficient command of English.
- A short curriculum vitae (resumé) of no more than one side of A4 must be attached.
Submit to <rime@bathspa.ac.uk>
All abstracts are anonymously reviewed. Papers to be considered for publication in the journal 'Music Education Research' should be submitted electronically directly to the journal (http://mc. Manuscriptcentral.com/cmue). Papers for the journal should be between 5000 and 8000 words and conform to requirements of the journal (see style guidelines at www.informaworld.com/cmue).
Conference Director: Mary Stakelum
Further details and booking information will be available from July 2018 at
Thursday, July 12, 2018
Fwd: Hourly-paid lecturing opportunity Music Psychology at YMPG
Dear list,
we are currently recruiting an hourly paid lecturer for an
undergraduate module to be taught in the Summer Term of 2018-19 within
the York Music Psychology Group, University of York. Please find
details of the course to be taught below. Could you please forward
this email to interested colleagues and graduates?
We would require from our candidate a completed PhD in Music
Psychology or a related discipline (or to be close to PhD completion)
and some previous teaching experience. Interested candidates should
send an email to hauke.egermann@york.ac.uk and attach a short CV and
any possible references for teaching (or give names of possible
referees). We will start considering applicants from 24 July 2018
onwards. Payments will be made according to the comprehensive lecturer
rates and there will be an opportunity to continue teaching in our
department for several subsequent years at undergraduate level.
Module title:
Introduction to the Psychology of Music
Module content:
Music Psychology aims to explain and understand musical behaviour and
experience, including the processes through which music is created,
perceived, responded to, and incorporated into everyday life (Tan,
Pfordrescher, Harré, 2010). Accordingly, this module will introduce
students to the basic mechanisms underlying these human capacities. We
will start with engaging in the functionality of the auditory system
and from there, elaborate on the perception and cognition of musical
elements, such as melody, rhythm, harmony, timbre or higher level
structures like compositional form or expressiveness. Subsequently, we
focus on basic principles underlying listener experience (aesthetics,
emotion, and preferences). Finally, the module will provide a
introduction to the mechanisms that underlie musical performance
skills, like sensorimotor learning, training, and musical talent.
During the course of this module, students will be also introduced to
basic principles of social science research methods including the
design of experimental studies, statistics, and data analyses.
Further details on the module can be found here:
https://www.york.ac.uk/students/studying/manage/programmes/module-catalogue/module/MUS00112H/2018-19
Dates of the summer term in York are 15 April 2019 till 21 June 2019,
but it is not expected that applicants are present in York during the
whole term.
Kind regards,
Hauke
Dr Hauke Egermann
Assistant Professor in Music Psychology
York Music Psychology Group (YMPG) (Director)
Music Science and Technology Research Cluster
Department of Music
University of York
Heslington, York
YO10 5DD, UK
Phone: +44 - 1904 - 324303
hauke.egermann@york.ac.uk
Room: MRC / 003
- my office hours are Monday to Friday 9am to 5pm -
www.ympg.uk
www.egermann.net
facebook.com/ympgsite
****please have a look at my TEDx talk: http://youtu.be/kzFgoaZ9-VQ *****
Dr Hauke Egermann
Assistant Professor in Music Psychology
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
hauke.egermann@york.ac.uk
Room: MRC / 003
- my office hours are Monday to Friday 9am to 5pm -
www.ympg.uk
www.egermann.net
facebook.com/ympgsite
****please have a look at my TEDx talk: http://youtu.be/kzFgoaZ9-VQ *****
________________________________
To unsubscribe from the MUSIC-AND-SCIENCE list, click the following link:
https://www.jiscmail.ac.uk/cgi-bin/webadmin?SUBED1=MUSIC-AND-SCIENCE&A=1
we are currently recruiting an hourly paid lecturer for an
undergraduate module to be taught in the Summer Term of 2018-19 within
the York Music Psychology Group, University of York. Please find
details of the course to be taught below. Could you please forward
this email to interested colleagues and graduates?
We would require from our candidate a completed PhD in Music
Psychology or a related discipline (or to be close to PhD completion)
and some previous teaching experience. Interested candidates should
send an email to hauke.egermann@york.ac.uk and attach a short CV and
any possible references for teaching (or give names of possible
referees). We will start considering applicants from 24 July 2018
onwards. Payments will be made according to the comprehensive lecturer
rates and there will be an opportunity to continue teaching in our
department for several subsequent years at undergraduate level.
Module title:
Introduction to the Psychology of Music
Module content:
Music Psychology aims to explain and understand musical behaviour and
experience, including the processes through which music is created,
perceived, responded to, and incorporated into everyday life (Tan,
Pfordrescher, Harré, 2010). Accordingly, this module will introduce
students to the basic mechanisms underlying these human capacities. We
will start with engaging in the functionality of the auditory system
and from there, elaborate on the perception and cognition of musical
elements, such as melody, rhythm, harmony, timbre or higher level
structures like compositional form or expressiveness. Subsequently, we
focus on basic principles underlying listener experience (aesthetics,
emotion, and preferences). Finally, the module will provide a
introduction to the mechanisms that underlie musical performance
skills, like sensorimotor learning, training, and musical talent.
During the course of this module, students will be also introduced to
basic principles of social science research methods including the
design of experimental studies, statistics, and data analyses.
Further details on the module can be found here:
https://www.york.ac.uk/students/studying/manage/programmes/module-catalogue/module/MUS00112H/2018-19
Dates of the summer term in York are 15 April 2019 till 21 June 2019,
but it is not expected that applicants are present in York during the
whole term.
Kind regards,
Hauke
Dr Hauke Egermann
Assistant Professor in Music Psychology
York Music Psychology Group (YMPG) (Director)
Music Science and Technology Research Cluster
Department of Music
University of York
Heslington, York
YO10 5DD, UK
Phone: +44 - 1904 - 324303
hauke.egermann@york.ac.uk
Room: MRC / 003
- my office hours are Monday to Friday 9am to 5pm -
www.ympg.uk
www.egermann.net
facebook.com/ympgsite
****please have a look at my TEDx talk: http://youtu.be/kzFgoaZ9-VQ *****
Dr Hauke Egermann
Assistant Professor in Music Psychology
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
hauke.egermann@york.ac.uk
Room: MRC / 003
- my office hours are Monday to Friday 9am to 5pm -
www.ympg.uk
www.egermann.net
facebook.com/ympgsite
****please have a look at my TEDx talk: http://youtu.be/kzFgoaZ9-VQ *****
________________________________
To unsubscribe from the MUSIC-AND-SCIENCE list, click the following link:
https://www.jiscmail.ac.uk/cgi-bin/webadmin?SUBED1=MUSIC-AND-SCIENCE&A=1
Tuesday, July 3, 2018
Fwd: composition competition
folk-rnn composition competition
The aim of this competition is to explore an application of machine learning to music --- in particular the online tool at folkrnn.org.
This model is an example of artificial intelligence trained on traditional tunes mainly Irish and English. The web interface allows users to generate new melodies using a few parameters (There's a video on the website that explains how it works). We are seeking works that make creative use of this tool to compose new pieces, which do not need to adhere to the idiom of the training material.
Submissions will be judged on their musical quality and their utilisation of outputs from folkrnn.org
The winning piece will be performed by a professional ensemble at a public concert in London, UK, in early October 2018.
We welcome submissions from any composer without restriction of age or nationality. Attendance at the concert is not mandatory. There is no cost for submitting a work.
Rules for submitted works:
1. scored for any combination of the following instruments: flute, clarinet, violin, cello, and piano (only 1 each); no use of amplification or electronic instruments is allowed;
2. no longer than 10 minutes in duration;
3. must be derived in some way from material generated by the application at folkrnn.org
4. must be accompanied by a written explanation of how the work comes about from the use artificial intelligence throughthe folkrnn.org
website. Composers can also accompany the text with illustrations (e.g. staff notation).
5. no restrictions on style, or the way the outputs from folkrnn.org
are used;
Important dates:
- August 31 2018: Submission of PDF score and required accompanying material by email to competition@folkrnn.org
- September 15 2018: Notification
- September 25 2018: Performance materials due
- October 9 2018: Concert (London UK)
For more information about the technology, see the following:
http://theconversation.com/mac
https://www.inverse.com/articl
If you have questions or comments, contact Dr. Oded Ben-Tal: o.ben-tal@kingston.ac
Fwd: ICVPB Proceedings Extension, Accommodation, other logistics
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The 5th MERYC-England conference will be hosted by Bristol Plays Music at Colston Hall, Colston Street, Bristol, BS1 5AR.
This 5th conference follows the first meeting in 2012 at University of Roehampton, the second in 2014 at University of Cambridge, the third in 2015 with Berkshire Maestros, the fourth in 2016 at Edge Hill University. It is led by the MERYC-England, a charitable incorporated organisation, affiliated to EuNet MERYC that hosts a European conference biennially. MERYC-England hosts its meetings on the alternate biennial years.
This two-day conference aims to explore new directions in early childhood music education whilst valuing our traditions and heritages. You will have the opportunity to reflect on how research can influence five key questions:
1. What are the new directions emerging in ECME in England?
2. How do traditional music education approaches and methods relate to new directions?
3. How do we ensure creative environments for musical play with both adults and children?
4. How do we reflect professionally on the values and traditions of early childhood music education?
5. What key messages do we want to communicate to the wider early childhood education and music education communities?
We encourage interactive participation through discussion, practical activities, dissemination of research and innovative practice relating to the field of music in early childhood (0-8 years), in education (both inside and outside school), informal learning contexts and everyday life.
We are indebted to our partners in this conference: Take Art and Bristol Plays Music, for their generous financial sponsorship, organisational and administrative support.
Monday, June 25, 2018
2018 Symposium on Research in Choral Singing
2018 Symposium on Research in Choral Singing
Keynote Speaker Announcement: Graham Welch
ACDA is pleased to provide updated information about the 2018 Symposium on Research in Choral Singing. The Symposium will be held Friday and Saturday, September 14 and 15, 2018 on the campus of Northwestern University in Evanston, Illinois. The keynote speaker will be Graham Welch (University College of London). Dr. Welch's research on singing development spans more than three decades. He is currently coeditor of the Oxford Handbook of Singing being released by Oxford University Press. The Symposium will combine diverse presentational formats with opportunities for in-depth conversation, inquiry, and consideration of future research directions. Find the call for proposals at www.acda.org; follow the "conferences" and "special events" tabs.
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