Call for Papers: Popular Music Education in Wales

Call for Papers: Popular Music Education in Wales

 

As noted by the likes of Hobsbawm and Ranger (1992), Ellis (2000), Hill (2007) and Carr (2010), Wales has a unique landscape culturally, politically, linguistically and of course musically. Like other Small Nations, the country, which was devolved in 1998, has a distinct set of challenges in order to ensure it exploits the full potential of Creative Industries such as music. In terms of popular music education, this broader landscape is/has been informed via initiatives funded by Welsh Government (The Welsh Music Foundation), the Arts Council (Forté, the Music Industry Development Fund, Horizons 12, Community Music Wales), Wales Arts International (the International Development Fund) and local councils. Cardiff Council for example are working with Sound Diplomacy, who are developing a strategy to make Cardiff the UKs first 'Music City', while Rhonnda Cynon Taff co-fund the Forté project. All of these initiatives, some of which are co -funded by the likes of the PRS Foundation, The British Council and the BBC, are intended at least in part to 'educate' stakeholders within the Welsh Music Industry, from grass roots to international engagement. 

            In addition to these funded activities, a number of musicians such as Martyn Joseph, Meic Stevens, The Super Furry Animals, The Alarm, and Gwenno Saunders (whose recent album Le Kov, (2018) was sung in Cornish) can be regarded as indicative examples of musicians whose agendas are at least partially related to educating the general public, in subject matters ranging from the importance of minority languages, the Aberfan disaster and the impacts of Thatcherism on the demise of the mining industry.  

            In terms of education, all of these practices are positioned outside of 'mainstream' education, but can be regarded as existing in tandem with discussions such as the place of popular music in the school curriculum, which has been a minor but pervasive part of ongoing recent debates in the Senedd. Indeed, over the last few years, Wales has received a great deal of negative press concerning the lack of importance the Welsh Assembly places on music and although the 'decline of instrumental teaching' is by far the most pervasive subject, the place of popular music within this landscape is an interesting subject for popular music scholars to consider. With a recent report by the Culture, Welsh Language and Communications Committee mentioning a "distinct lack of infrastructure for rock, pop and folk", suggesting that a "separate line of enquiry" is implemented (Hitting the Right Note, p. 46), it begs the questions, what would this enquiry look like and why is popular music such a peripheral part of mainstream Welsh education nationally? Interestingly and perhaps alarmingly, the aforementioned recommendation by the Culture, Welsh Language and Communications Committee was rejected by Education Minister Kirsty Williams in her official response dated July 27^th 2018, although she does verify the intension to "continue working with the Minister for Culture, Tourism and Sport and the Welsh Local Government Association, to support "less traditional forms of music, including rock and pop ensembles". 

            These examples represent indicative examples of debates and initiatives related to popular music education in Wales, some of which are happening now. This collection of essays for the Journal of Popular Music Education hopes to examine this complex infrastructure. Potential essays may include, but are not limited to: 

 

·      Case Studies of good practice in Wales, in which popular music has been used as a means of education. This could include government/Arts Council/charity funded projects or those that are initiated by the community. Practices could range from popular music-based exhibitions, community plays, to funded projects such as Community Music Wales and Forté.

·      Considerations of the historical practices of Welsh Government interaction with popular music education. 

·      The impact of practitioners such as Martyn Joseph, American vocalist Paul Robeson, Meic Stevens and The Super Furry Animals on educating communities on historical and political events related to Wales' industrial past and present.

·      Analysis of the impacts (positive and negative) and infrastructures of popular music in school, further and higher education in Wales. 

·      Critical considerations of the ways in which the Welsh popular music industry has worked or could work with mainstream education systems. 

·      Factors considering The Welsh Language within Popular Music Education

·      The impacts of popular music education on careers in Wales

Please submit a 300-word abstract of your intended area of study to either professor Paul Carr (paul.carr@southwales.ac.uk) or professor Helena Gaunt by (Helena.gaunt@rwcmd.ac.uk) by March 1st 2019. Once authors have been confirmed, essays of circa 7000 words need to be complete for December 1st 2019, for publication in the November 2020 edition of The Journal of Popular Music Education.

 

Gareth Dylan Smith, PhD

Visiting Research Professor of Music

Department of Music and Performing Arts Professions

NYU Steinhardt

Little Kids Rock

academia.edu

garethdylansmith.com

FINDING A VOICE CONFERENCE 23 NOVEMBER : postponed

'Finding a Voice' Conference, Tuesday 9 July 2019: call for contributions  

  

We are delighted to announce a one-day conference at the Guildhall School of Music & Drama, in connection with the AHRC-funded 'Finding a Voice' project, on the topic of adult non-singers learning to sing. The project aims to provide an understanding of the journeys adult non-singers take in learning to sing and the ways in which they can be supported, by combining psychological, educational and artistic research. 

 

A large proportion of the adult population consider themselves non-singers, and self-exclude from singing in all but the most private and informal circumstances. Thus they are potentially unable to access the many personal and social benefits that evidence shows singing can bring. Non-singers may hold negative views of their own singing, believe themselves 'tone deaf' or unable to sing, or simply have lacked opportunity. At the same time, vocal and musical skill levels can vary widely in this group, exposing how complicated it is to co-ordinate perception and action in singing. How do adults learn to sing, and how can they best be supported? What do adults' singing journeys look like (e.g. in developmental, pedagogical, identity and other terms) and how are they experienced? What are the implications for vocal work with non-singing adults in a range of settings (community, adult education, amateur music, vocal teaching, health, therapy etc.)?  The aim of this conference is to bring a range of different perspectives to bear on these complex issues, combining discussion of Finding a Voice research findings with external contributions. 

 

We seek contributions that are relevant to the conference topic, from any practical or academic perspective (including, but not limited to, arts education, research, therapy, or administration; research psychology or clinical practice; performing arts). We encourage a variety of types of contribution, including original research, practical demonstrations, and theoretical or policy discussions/provocations.   Contributions should take into consideration a mixed audience of professional and amateur practitioners, researchers, arts managers and policy makers.  

The whole day will be run as plenary in order to facilitate discussion and exchange. Therefore, in order to ensure adequate opportunity for a range of contributors we have set fairly short time limits.   

We invite  

•abstracts of up to 250 words for 15 minute spoken presentations (plus 5 minutes questions)  

•proposals of up to 250 words for practice-based demonstrations or workshop activities (15 minutes or 30 minutes). Please state your preference for a 15 or 30 minute slot - but note that the number of 30 minute slots is very limited.  

Deadline for abstracts/proposals: 15 March 2019

  

Date: Tuesday 9 July 2019, 0930-1700  

 

Venue: Rehearsal Room 3, Guildhall School of Music & Drama, Milton Court, Silk Street, London, EC2Y 8DT  

 

Organisers:  

Dr Karen Wise: Guildhall School of Music & Drama  

Prof Andrea Halpern, Co-investigator, Bucknell University USA.   

Beth Martin: Guildhall School of Music & Drama 

 

Enquiries: karen.wise@gsmd.ac.uk; beth.martin@gsmd.ac.uk;

 findingavoice@gsmd.ac.uk

 

www.gsmd.ac.uk/findingavoice 

 

To submit proposals please complete this form: https://goo.gl/forms/61CBmWfpiX9E1tcn2  

Part time job vacancy in London

Posted by Ross Purves for Christine Kinsella - Tuesday, 8 January 2019, 1:05 PM

 

Dear all

The charity that I run, the London Music Fund (formerly the Mayor of London's Fund for Young Musicians) is looking for a part time programmes assistant to offer admin support c.1 day a week. We are paying £10.55 per hour and are very flexibe on days/times. The role is based at City Hall (near Tower Bridge), and is very much focused on music education. Forthcoming events include workshops sponsosred by ABRSM with the violinist Nicky Benedetti and clarinettist Julian Bliss, and a fundraising event later in the year with Sadiq Khan, Mayor of London.

 

More information here, https://www.londonmusicfund.org/public/images/London%20Music%20Fund%20Programmes%20Assistant%20January%202019.pdf

 

Please do share with any friends or colleagues who may be interested.

Thanks!

 

Chrissy

Fwd: Developing Countries - Resources online --- IFORS --- ### with some new contributions ###

Dear Colleagues, 

The aim of the IFORS Developing Countries On-Line Resources page is to
offer the OR worker all publicly-available materials on the topic of OR
for Development. It also aims to provide a venue for people who are
working in the area to share their completed or in-process work, learn
from others, and stimulate comments and discussions on the
work.Regarding IFORS Developing Countries OR resources website, its
regular updates - and your possible submission of "free" (not copyright
protected) material, you might occasionally visit
http://ifors.org/developing_countries/index.php?title=Main_Page.

"Operational Research" (OR) is the discipline of applying advanced
analytical methods to help make better decisions. By using techniques
such as problem structuring methods and mathematical modelling to
analyze complex situations, Operational Research gives executives the
power to make more effective decisions and build more productive systems.

The International Federation of Operational Research Societies (IFORS;
http://ifors.org/) is an almost 60-year old organization which is
currently composed of 51 national societies.Regional Groups of IFORS
are:ALIO (The Latin American Ibero Association on Operations Research),
APORS (The Association of Asian-Pacific Operational Research Societies),
EURO (The Association of European Operational Research Societies), NORAM
(The Association of North American Operations Research Societies).IFORS
conferences are taking place every three years; IFORS 2017 has been
successfully celebrated in Quebec City, Canada.

Thank you very much for your attention.

With kind regards,
best wishes,
Luciana Buriol, Sue Merchant, Gerhard-Wilhelm Weber

PS: Feedback is welcome via buriol@inf.ufrgs.br,
suemerchant@hotmail.com, gerhard.weber@put.poznan.pl.

Consultation on the future of music education - Results of the Incorporated Society of Musicians’ (ISM) surveys conducted over summer 2018

This has just been published by the ISM.

https://www.ism.org/images/images/Future-of-Music-Education-ISM-report-December-2018.pdf

 

Fwd: Call for Papers: Special Issue on Music and Academic Internationalization

Call for Papers: Special Issue on Music and Academic Internationalization

Since the 1990's, with the process of globalization, international
issues have been gaining strength in higher education. The theme is
complex when associated with economic potential, the responsibility of
the State and the process of expansion of both research and teaching.
For this special issue, we would like to welcome papers that reflect
on international exchanges in the field of music, such as:
intercultural music, internationalized curricula, research on
theories, methodologies and practices conceived in other countries,
academic mobility, cultural and public educational policies for the
music area. To all interested in this subject, our invitation to
submit articles to the ORFEU Journal.

Deadline for submissions: March 25, 2019.

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 Journal. Please also make sure that you address any comments
made by the peer reviewers in the review process.

*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

http://revistas.udesc.br/index.php/orfeu/user/register

Link for author guidelines:

http://revistas.udesc.br/index.php/orfeu/about/submissions

Should you have questions about any of the above points, feel free to
write to revistaorfeu@gmail.com

Kind regards,

Prof. Dr. Guilherme Sauerbronn de Barros

Prof. Dr. Teresa Mateiro

Editors

Fwd: SIG NOTICE: Some More PhD Scholarships at UWL

 

Please note the deadline of 9 December.

 

---

From: IASPM UK and Ireland <IASPMUK-AND-I@JISCMAIL.AC.UK> on behalf of Simon Zagorski-Thomas <Simon.Zagorski-Thomas@UWL.AC.UK>
Sent: 28 November 2018 17:51
To: IASPMUK-AND-I@JISCMAIL.AC.UK
Subject: Some More PhD Scholarships at UWL

 

The University of West London (London College of Music) is now offering PhD scholarships for highly motivated individuals. These are open to all UK/EU students who qualify and include:

• PhD fee waiver at the Home/EU rate
• tax-free stipend of £15,000 per annum

The principal subject areas are outlined below:

Other ideas will also be considered – contact to discuss.

Closing date for applications: 9 December 2018, 23:59.

Interviews will take place shortly afterwards. Please note that the university expects shortlisted applicants to attend face-to-face interviews. The scholarships will commence in January 2018.

Further details can be viewed at: 

https://www.jobs.ac.uk/job/BOF465/the-vice-chancellors-phd-scholarships

Preliminary enquiries can be directed to simon.zagorski-thomas@uwl.ac.uk , who will be delighted to discuss the interests of potential applicants, and help to shape the proposed theme of any application.

 

Performance in the Studio: communication and interaction between musicians and technicians in the recording environment

 

The study of communication and interaction in the recording studio is an ongoing theme in the musicology of record production and this project would focus on a relevant aspect of LCM's world-leading research in this area. The prospective student should choose a specific focus such as contemporary song writing techniques, recording improvisations, performing for sound-to-picture work etc. Working with a theoretical framework drawn from embodied

/ grounded cognition and network- or system-based creativity, this project would utilise filmed recording sessions, interviews and stimulated recall to explore the ways that musicians and technicians work together in the studio environment.

Principal Supervisor

Simon Zagorski-Thomas is Professor of Music at the London College of Music: For informal queries about this PhD project, please contact Professor Zagorski-Thomas at simon.zagorski- thomas@uwl.ac.uk

  

An Embodied / Ecological Approach to Audio Mixing 

Building on LCM's world-leading research into the notion of sonic cartoons this project would explore the connections between the complexities of 'real-world' sonic phenomena and the use of audio production and processing tools to create schematic representations that afford related metaphorical interpretations. This project will explore these metaphorical connections through analyses of the 'real-world' phenomena and the construction of instrumental timbres, audio panoramas and musical narratives that utilise schematic features from the analyses. The analysis techniques will combine spectrographs, musicological description and audience / expert surveys to triangulate these forms of evidence.

 

Principal Supervisor

Simon Zagorski-Thomas is Professor of Music at the London College of Music: For informal queries about this PhD project, please contact Professor Zagorski-Thomas at simon.zagorski- thomas@uwl.ac.uk

Part Learning in Popular Music Performance: tacit learning of tacit knowledge in a popular music ensemble context

Much of the process of part writing and arranging in popular music ensembles is unspoken and often even unconscious. Using a process of filmed rehearsals, interviews and stimulated recall, this study will seek to explain the ways in which popular musicians acquire this form of tacit knowledge and synchronise their actions into a 'head arrangement'. The study will use theories of situated learning, embodied / grounded cognition and network- or system- based creativity. This approach to learning will then inform a series of proposals for incorporation into ensemble-based performance pedagogy. Ideally the candidate will propose ways in which the impact of this research can be exploited in conjunction with LCM Exams and their international network.

 

Principal Supervisor

Elizabeth Pipe is Senior Lecturer at the London College of Music: For informal queries about this PhD project, please contact Dr Pipe at elizabeth.pipe@uwl.ac.uk

 

A creative practice-as-research approach to exploring issues of gender, music and technology

Staff at LCM established the international 21st Century Music Practice research network and are at the forefront of  practice-as-research  in  music. This project will continue the process of refining rigorous methodologies in practice-as-research while also furthering UWL's

research excellence in the field of gender studies. In addition to creative practical work the candidate will use the exegesis of the PhD to illustrate and explain the development of new technical and/or metaphorical musical language, concepts and structures that illuminate aspects of the gender studies agenda. Ideally the project will propose ways in which the creative output can contribute to LCM's research impact agenda.

 

Principal Supervisor

Sara McGuinness is Associate Professor at the London College of Music: For informal queries about this PhD project, please contact Dr McGuinness at sara.mcguinness@uwl.ac.uk

 

The Feldenkrais Method: Beyond Improved strategies for musical practice

Since its inception the somatic learning technique founded by Mosche Feldenkrais has been associated with performing arts-training. Feldenkrais worked with the guitarist Narciso Yepes, the violinist Yehudi Menuhin and the conductor Igor Markevitch. Scholarship on Feldenkrais and musicians has focused primarily on mechanical technique rather than developing new thinking and practices of listening and learning from the history, aesthetics, and the underlying strategies and philosophy of embodiment intrinsic to the Method. The proposed PhD would develop new pathways to practice (multi-modal approaches to problems for example) from these contexts and trial them with London College of Music students to connect theory and practice.

 

Principal supervisor

Robert Sholl is Professor of Music in London College of Music. For informal queries about this PhD project, please contact Professor Sholl at robert.sholl@uwl.ac.uk

 

Fwd: SEMPRE Graduate Conference - Monday 25 March 2019

SEMPRE Graduate Conference - Monday 25 March 2019

This one- day SEMPRE conference is for graduate students to present and discuss their own original research in music psychology, music education, and in the wider field of music and science. Graduate students from any institution are welcome to apply to participate  The conference will take place at the Faculty of Music of the University of Cambridge (UK) on March 25, 2019

Professor Martin Rohrmeier, director of the Digital and Cognitive Musicology Lab at the École Polytechnique Fédéral de Lausanne, will be joining us as the keynote speaker.  Registration cost for attendees and presenters is £25 and includes lunch, coffee, and refreshments. The deadline for registration for attendees and presenters is 18 March 2019, subject to places being available.

Graduate students interested in presenting in one of the three formats (5 min flash talk, 25 min long talk, or poster presentation) should submit a 300 word abstract, stating preferred presentation format. Proposals should be submitted in PDF format to Gabriele Cecchetti at gc573@cam.ac.uk by 11 January 2019. Please use "SEMPRE Graduate Conference 2019, Abstract" as your subject line, and state your student status, your institution and your nationality. If your abstract is accepted for inclusion you may be eligible for a SEMPRE Conference Award to help cover travel and registration costs.

Fwd: Developing Countries - Resources online --- IFORS

Dear Colleagues, 

The aim of the IFORS Developing Countries On-Line Resources page is to
offer the OR worker all publicly-available materials on the topic of OR
for Development. It also aims to provide a venue for people who are
working in the area to share their completed or in-process work, learn
from others, and stimulate comments and discussions on the
work.Regarding IFORS Developing Countries OR resources website, its
regular updates - and your possible submission of "free" (not copyright
protected) material, you might occasionally visit
http://ifors.org/developing_countries/index.php?title=Main_Page.

"Operational Research" (OR) is the discipline of applying advanced
analytical methods to help make better decisions. By using techniques
such as problem structuring methods and mathematical modelling to
analyze complex situations, Operational Research gives executives the
power to make more effective decisions and build more productive systems.

The International Federation of Operational Research Societies (IFORS;
http://ifors.org/) is an almost 60-year old organization which is
currently composed of 51 national societies.Regional Groups of IFORS
are:ALIO (The Latin American Ibero Association on Operations Research),
APORS (The Association of Asian-Pacific Operational Research Societies),
EURO (The Association of European Operational Research Societies), NORAM
(The Association of North American Operations Research Societies).IFORS
conferences are taking place every three years; IFORS 2017 has been
successfully celebrated in Quebec City, Canada.

Thank you very much for your attention.

With kind regards,
best wishes,
Luciana Buriol, Sue Merchant, Gerhard-Wilhelm Weber

PS: Feedback is welcome via buriol@inf.ufrgs.br,
suemerchant@hotmail.com, gerhard.weber@put.poznan.pl.

[IMR event] Brian Ferneyhough in conversation with Julian Anderson

Forthcoming events

AUTUMN 2018

Brian Ferneyhough 

in conversation with Julian Anderson

Talk: Thursday 29 November 2018, 18:00

Chancellor's Hall, Senate House,  Malet Street, London WC1E 7HU

Admission free. 

Promoted by Institute of Musical Research with the support of the Hepner Foundation.

The Institute of Musical Research celebrates Brian Ferneyhough's seventy-fifth birthday with a talk with the composer Julian Anderson. Brian Ferneyhough (b.1943) is widely recognized as one of today's foremost living composers. Since the mid-1970s, when he first gained widespread international recognition, his music has earned him an enviable reputation as one of the most influential creative personalities and significant musical thinkers on the contemporary scene.

His works include the opera Shadowtime, the orchestral works Plötzlichkeit, La Terre est un homme and Transit, six numbered string quartets and several smaller works for the ensemble, concertos for solo instrument and chamber ensemble including La chûte d'Icare, Incipits and Terrain, and many virtuosic solo works. His recent cycle of works, Umbrations, was premiered in Frankfurt: one of these works, Christus Resurgens, will receive its London première at Wigmore Hall on Monday 26 November.

Julian Anderson (b.1967) is one the leading composers of his generation, with commissions and performances throughout the UK, Europe, Asia and the United States.  His opera Thebans was premiered at ENO in 2014, and he has recently composed string quartets for the Arditti and JACK.  The BBC featured a 'Total Immersion' day of his music in 2017, and he holds the post of Professor of Composition and Composer in Residence at the Guildhall School of Music and Drama.

A series of talks by leading international composers, linked to performances of their work in the UK. Organised by Dr Paul Archbold, in collaboration with Contemporary Music Research Unit Goldsmiths, Guildhall School, Kings College London, Institute of Modern Languages Research School of Advanced Study University of London, and Royal Holloway University of London, in association with BBC Symphony Orchestra, London Sinfonietta,  Huddersfield Contemporary Music Festival and Wigmore Hall.