Fwd: Post-doc position on Music Ensemble Research

(Apologies for cross-posting. Please forward.)

Dear list,

we are happy to announce the opening of a post-doctoral position at the
Department of Music Acoustics – Wiener Klangstil (IWK) at the mdw –
University for Music and Performing Arts Vienna on empirical research on
togetherness in music ensembles.

More information:
https://www.mdw.ac.at/iwk/togetherness/

Best,
Werner

PS: A 3-year PhD position on the same project will be announced soon.

--
Dr. Werner Goebl
Associate Professor
Department of Music Acoustics – Wiener Klangstil
University of Music and Performing Arts Vienna
Anton-von-Webern-Platz 1
1030 Vienna, Austria
http://iwk.mdw.ac.at/goebl

Fwd: CfP Empirical Musicology Review: Special Issue on Open Science in Musicology

Dear colleagues,

We would like to draw your attention to two calls for the journal Empirical Musicology Review.

Empirical Musicology Review: Special Issue on Open Science in Musicology

Empirical musicology relies crucially on the creation, analysis, publication, and distribution of datasets. Despite the progress made over the past decades in this vibrating field, numerous issues regarding the sharing of data, the reproducibility of research findings, and the general role of transparency remain challenging. In many disciplines, these issues are addressed under the umbrella of the Open Science movement and the adherence to FAIR principles for scientific data management (findable, accessible, interoperable, reusable; https://www.go-fair.org/fair-principles). To advance the state-of-the-art in data-based music research, Empirical Musicology Review is devoting a special issue to a wide discussion of questions related to Open Science and Open Data, and introduces a new section on data reports that will remain a permanent part of the journal in all subsequent issues.

CfP: Research Articles and Think Pieces

We invite papers that address general aspects of Open Science / Open Data, discuss challenges in the application of the FAIR principles to music research, or reflect upon methodological and meta questions. Papers may also describe the generation of particular datasets and explore their characteristics in the context of the overall topic of this special issue. 

We envisage to include contributions from a wide variety of domains, such as music theory, music psychology, music information retrieval, historical musicology etc. The data must be accessible in an open repository or database. Papers should be 3000–6000 words in length.

CfP: Data Reports

Starting with this special issue, EMR is introducing a new section on Data Reports. In order to promote Open Science and to facilitate reproducibility, empirical studies of music are increasingly relying on openly available corpora and datasets. Since the scientific value of creating, cleaning, curating, enabling access, and maintaining data is of the utmost importance, EMR invites researchers to share their datasets and to apply the FAIR principles.

Data Reports may describe a variety of datasets such as musical metadata, annotations of musical corpora in symbolic or audio formats, automatically extracted musical features, data from psychological experiments etc. Data Reports should not exceed a word limit of 2000 words.

Please register on http://emusicology.org/ and submit your contribution by 31 March, 2020.

If you have any further questions, please get in touch with the guest editors:

Fabian C. Moss (fabian.moss@epfl.ch) and Markus Neuwirth (markus.neuwirth@epfl.ch)

Fwd: Music cognition/Music Therapy survey

Dear Colleagues,

You are warmly invited to participate in a brief survey study aimed at exploring the attitudes of those in the fields of music psychology and music therapy regarding interdisciplinary collaboration. The purpose of this research is to identify potential interest in these closely-related fields in the development of opportunities for interdisciplinary collaboration, as well as to explore current perceptions regarding the potential challenges and benefits of such collaborative work. The survey additionally includes demographic questions and several short personality assessments, to provide greater understanding of how interdisciplinary attitudes within our fields may vary in relation to such individual differences.

The survey takes approximately 20 minutes to complete. It can be accessed via this link:  https://www.surveygizmo.eu/s3/90184088/MPMT

Please do not hesitate to get in contact with any questions. Thank you for your time and your support for this project, and we look forward to sharing the results with you in the near future.

Kind Regards,

Emily Carlson, PhD
Centre for Interdisciplinary Music Research
University of Jyväskylä
emily.j.carlson@jyu.fi

Fwd: [DMRN-LIST] PhD studentships in Artificial Intelligence and Music (AIM) at Queen Mary University of London

UKRI Centre for Doctoral Training in Artificial Intelligence and Music (AIM), Queen Mary University of London
https://www.aim.qmul.ac.uk/

Up to 12 fully-funded PhD studentships to start September 2020
Covers fees and a stipend for four years
Application deadline: 31 January 2020

Why apply to the AIM Programme?

• 4-year fully-funded PhD studentships available
• Extensive choice of projects, drawing on a supervisory team of over 30 academics
• Access to cutting-edge facilities and expertise in artificial intelligence (AI) and music/audio technology
• Comprehensive technical training at the intersection of AI and music through a personalized programme
• Partnerships with over 20 companies and cultural institutions in the music, audio and creative sectors
  

More information on the AIM Programme can be found at: https://www.aim.qmul.ac.uk/

Programme structure
Our Centre for Doctoral Training (CDT) offers a four year training programme where students will carry out a research project in the intersection of AI and music, supported by taught specialist modules, industrial placements, and skills training. Find out more about the programme structure at: http://www.aim.qmul.ac.uk/about/

Who can apply?
We are on the lookout for the best and brightest students interested in the intersection of music/audio technology and AI. Successful applicants will have the following profile:

• Hold or be completing a Masters degree at distinction or first class level, or equivalent, in Computer Science, Electronic Engineering, Music/Audio Technology, Physics, Mathematics, or Psychology. In exceptional circumstances we accept applicants with a first class Bachelors degree who do not hold a Masters degree, provided that applicants can provide evidence of equivalent research experience, industry experience, or specialist training.
• Programming skills are strongly desirable; however we do not consider this to be an essential criterion if candidates have complementary strengths.
• Formal music training is desirable, but not a prerequisite.
  

For this round of applications we are offering a number of scholarships to applicants who are ordinarily resident in the UK (i.e. have lived and studied/worked in the UK at least the last three years - this includes EU nationals) and a smaller number of scholarships to international students.

Funding
We have a large number of 4-year PhD studentships available for students starting in September 2020 which will cover the cost of tuition fees and will provide an annual tax-free stipend  (£17,009 in 2019/20). The CDT will also provide funding for conference travel, equipment, and for attending other CDT-related events.

The AIM programme also welcomes applications from students who have sponsorship for PhD study from numerous international funding agencies and also accepts self-funded students. For more information on external PhD studentships and self-funded please visit http://www.aim.qmul.ac.uk/apply .

Apply Now
Information on applications and PhD topics can be found at: http://www.aim.qmul.ac.uk/apply
Application deadline: 31 January 2020
Application deadline for China Scholarship Council applicants only: 12 January 2020
For further information on eligibility, funding and the application process please visit our website. Please email any questions to aim-enquiries@qmul.ac.uk

--   Simon Dixon  Centre for Digital Music  School of Electronic Engineering and Computer Science  Queen Mary University of London  Mile End Road, London, E1 4NS, UK  http://www.eecs.qmul.ac.uk/~simond

Fwd: [DMRN-LIST] Job Announcement - Research Assistant at C4DM (Queen Mary Univ of London) - Cover Song Detection

The Centre for Digital Music (C4DM) at Queen Mary University of London
(QMUL) has a vacancy for a Postdoctoral Research Assistant (PDRA) in
music information retrieval, as part of the Innovate UK funded project
"Development of next generation music recognition algorithm for content
monitoring", in collaboration with Breathe Music Ltd.  The position is
available to start immediately and runs until 31 March 2021.

The responsibilities of the role are to investigate, develop and
evaluate machine learning and music information retrieval technologies
for automatically recognising alternative versions of a song
irrespective of the style in which it is being played – a problem also
known as musical work recognition or cover song detection. The work will
include evaluating existing methods for musical work recognition from
audio, proposing new methods, and developing software tools for the same
task.

See full details and how to apply here:
https://eur01.safelinks.protection.outlook.com/?url=https%3A%2F%2Fwebapps2.is.qmul.ac.uk%2Fjobs%2Fjob.action%3FjobID%3D4874&data=02%7C01%7C%7Ccb8eb65598ef498afb9708d774d80a84%7C1faf88fea9984c5b93c9210a11d9a5c2%7C0%7C0%7C637106343541719088&sdata=jPBO6QW5E1elGQLQEcQqQbfkgyFbY5x5rqjs0zN%2BdDQ%3D&reserved=0

Applicants must be able to demonstrate the right to work in the UK.

Cheers

Simon

--
Simon Dixon
Centre for Digital Music
School of Electronic Engineering and Computer Science
Queen Mary University of London
Mile End Road, London, E1 4NS, UK
https://eur01.safelinks.protection.outlook.com/?url=http:%2F%2Fwww.eecs.qmul.ac.uk%2F~simond&data=02%7C01%7C%7Ccb8eb65598ef498afb9708d774d80a84%7C1faf88fea9984c5b93c9210a11d9a5c2%7C0%7C0%7C637106343541719088&sdata=u7a%2F76kV7VagOX1txSlb9dANSqgcrdiAdG0EJsGpUts%3D&reserved=0

Fwd: FW: Human Resources Advertisement - Post Doctoral Researcher in Participatory/Arts-Based Migrant Health Research (0.5 FTE)

Subject: post Doctoral Researcher in Participatory/Arts-Based Migrant Health Research (0.5 FTE)

 

The University of Limerick (UL) with over 15,000 students and 1,400 staff is an energetic and enterprising institution with a proud record of innovation and excellence in education, research and scholarship. The dynamic, entrepreneurial and pioneering values which drive UL's mission and strategy ensures that we capitalise on local, national and international engagement and connectivity. We are renowned for providing an outstanding student experience and employability and conducting leading edge research. Our commitment is to make a difference by shaping the future through educating and empowering our undergraduate and postgraduate students. UL is situated on a superb riverside campus of over 130 hectares with the River Shannon as a unifying focal point. Outstanding recreational, cultural and sporting facilities further enhance this exceptional learning and research environment.

 

Applications are invited for the following position:

 

Faculty of Arts, Humanities & Social Sciences

 

Irish World Academy of Music & Dance

 

Post Doctoral Researcher in Participatory/Arts-Based Migrant Health Research (0.5 FTE) – Specific Purpose Contract

 

Salary Scale: €37,874- €49,048 p.a. pro rata (maximum starting salary €41,373 p.a. pro rata)

 

Further information for applicants and application material is available online from: http://www.ul.ie/hrvacancies/

 

The closing date for receipt of applications is Tuesday, 26^th November 2019.

 

Applications must be completed online before 12 noon, Irish Standard Time on the closing date.

 

This position is subject to Garda Vetting and Foreign Police Clearance. If you have resided outside Ireland for a cumulative period of 36 months or more over the age of 18 years you must furnish a Foreign Police Clearance (FPC) from the country or countries of residence. Please note; any costs incurred in this process will be borne by the candidate.

 

Please note your application must include:

 

A letter of introduction indicating how you meet the criteria outlined in the Job description.

A completed online Application Form (separate application forms must be submitted for each post applied for).

 

Please email erecruitment@ul.ie if you experience any difficulties

 

Applications are welcome from suitably qualified candidates.

The University of Limerick holds a Bronze Athena SWAN award in recognition of our commitment to advancing equality in higher education. The University is an equal opportunities employer and is committed to selection on merit welcoming applicants from all sections of the community. The University has a range of initiatives to support a family friendly working environment, including flexible working.

 

"The University of Limerick has implemented a "Smoke and Vape Free Campus Policy".  Smoking and vaping in all forms is prohibited."

 

         

 

                                          

 

Fwd: [DMRN-LIST] Funded Interdiscilnary PhDs in Musical Machines, Feedback Musicianship and Robot Opera - Jan 31st deadline

The University of Sussex invites applications for PhD studentship awards within its Leverhulme Doctoral Scholarship Programme entitled "From Sensation and Perception to Awareness", directed by Jamie Ward and Anil Seth.

The prestigious Sussex Leverhulme Trust Doctoral Scholarship Programme brings together doctoral researchers from different disciplines to advance our understanding of the interactions between sensing, perception, and awareness in humans, animals, and machines. The Programme will support an intake of up to NINE students starting in September 2020. PhD students will be registered within one of the participating schools (Life Sciences, Informatics, Psychology, Media Film & Music, and Brighton and Sussex Medical School). The closing date for applications is January 31st, 2020. For further details, including how to apply, see…

https://www.findaphd.com/phds/program/studentships-available-from-the-university-of-sussex-s-leverhulme-doctoral-scholarship-programme-from-sensation-and-perception-to-awareness/?i356p3783

 31st January for closing date and 24+25 Feb for interviews.

Investigating Feedback Musicianship

Supervisors: Dr Chris Kiefer, C.Kiefer@sussex.ac.uk  & Dr Alice Eldridge alicee@sussex.ac.uk

Apply to the School of Media, Film and Music

There is a growing interest in the creation of and performance with feedback instruments, musical instruments which are characterised by the recurrent circulation of signals, leading to non-linear and complex system dynamics (Eldridge and Keifer, 2017).  These dynamics create characteristic sonic outputs, and also mean that the more-or-less stable sensory-motor contingencies which underpin mastery of and performance with traditional instruments dissolve: there are dynamic, often unpredictable, rather than fixed relationships between physical gestures and sonic outcomes. These instruments possess 'a stimulation uncontrollability' (Ulfarsson 2019); compared to traditional performance practice, feedback musicianship is characterised by a more distributed agency between instrument and player.  Feedback instruments raise new questions around the nature of musician-machine interactivity, and provide a window into wider concerns of human engagement with real-world complex dynamical systems.  We welcome research proposals which investigate and advance our understanding of the experience of feedback musicianship; this could be approached through practice led research together with computational, psychological or physiological methods. Candidates should have an interest in and experience of the study of complex systems, a grounding in cognitive science and have experience in musical improvisation (in any idiom). A third supervisor will be sought according to the needs of the research proposal, in for example, philosophy, neuroscience or psychology.

Performing with Musical Machines

Supervisors: Prof Thor Magnusson, T.Magnusson@sussex.ac.uk

Apply to the School of Music, Film and Media

Recent developments in music technology and artificial intelligence have made the prospect of collaborating and performing with virtual and real musical machines actual. Our systems can learn, evolve and demonstrate creative behaviour. But how do we perceive these machines? How do we talk about computational creativity in its diverse manifestations? What language is emerging here regarding agency, authenticity and authorship? This project will develop series of experiments in robotic and virtual computational creativity and conduct related user studies. It will also engage in discourse analysis of how labs and companies around the world are presenting their creative technologies. The project is an interdisciplinary study with one foot in computer science and the other in the humanities.

Explorations in Robot Opera
Supervisor: Dr Evelyn Ficarra, E.J.Ficarra@sussex.ac.uk

Apply to the School of Music, Film and Media

The idea of using the performing arts as a laboratory through which to explore human – robot interaction (HRI) is gaining traction as a way of energising both the arts and the development of artificial intelligence.  Note, for example, the recent Performing Robots conference in Utrecht in May 2019, which repeatedly posited the idea of theatre as a 'test bed' for HRI explorations. Opera is a form which involves a high level of musical, theatrical and visual creativity. Experimental forms of opera, especially devised music theatre and improvisational forms, could therefore be the ideal HRI 'sand pit'. The abilities displayed by good musical / dramatic improvisers, for example (listening skills, a sense of timing and proportion, a commitment to team work, and ability to respond quickly and adapt to a changing situations, an ability to imaginatively co-create) could also be seen as transferable and highly prized social skills, in the development of AI. On the other hand, the influx of robotic and artificial intelligence technologies into the performing arts asks key questions about the nature and meanings of performance itself, as an augmented human experience. Which technologies will create the most compelling 'operatic' experience, and how might they re-define the form? Diverse proposals are welcome. Applicants should have a balance of expertise and/or strong interest in at least two of the following: music composition for opera or music theatre, robotics, music programming (e.g. of improvisational systems), artificial intelligence, machine learning, sensor driven technology.

--
Dr Alice Eldridge
Lecturer in Music & Music Technology
Co-Director Sussex Humanities Lab
University of Sussex
Falmer
Brighton
BN1 9RG

alicee@sussex.ac.uk
+44 (0)1273 877411
@alicealicealice
www.ecila.org

Fwd: [DMRN-LIST] London Calling (for papers) - 15th IASPM UK and Ireland Biennial Conference, 3-5th Sep 2020

15^th IASPM UK and Ireland Biennial Conference: London Calling

London College of Music, University of West London, 3^rd – 5^th September 2020

In 1992, Allan Moore hosted the 2^nd IASPM UK & Ireland conference at the Polytechnic of West London. 28 years later the conference returns to the same building – now the University of West London. As one of the key focal points of 20^th and 21^st century popular music practice, London has not only projected its musical voices all over the world but has also been a hub for incoming influences that have stimulated a rich and vast array of new musical cultures. The 2020 IASPM UK & Ireland conference seeks to use this amazing heritage to provoke discussion about this and many other subjects. In addition, we are aiming to continue the recent trend for weaving popular music practice and music business and management into the IASPM tapestry. And this practice-based specialism harks back to another key figure in the academic world of music, Christopher Small, who also taught in the same building until 1986 and who coined the term musicking.

Topics include, but are not limited to:

Popular music and London

Multiculturalism, race and diaspora

Theatricality and dramaturgy in popular music – from West End musicals to stadium gigs and clubbing.

The virtuoso and the dilettante – how do notions of skill and expertise play out in different musical communities?

Rebellion and commerce – what is 'the establishment' and how do artists negotiate between 'sticking it to the man' and making money?

The industrial and financial mechanisms of music – from small businesses to multi-nationals.

Analysing popular music – what kinds of conceptual and visual representational tools are relevant to popular music and why?

The pedagogies of popular music practices 

Music and technology – from the social construction of technology to schizophonia and virtual reality. 

Lists, Charts and Anniversaries – from genre and canon formation to the significant anniversaries of the deaths of Jimi Hendrix, Janis Joplin, John Lennon and Ian Curtis: why are these types of data category so important to us?

How do issues of gender, sexuality, race, nationalism, post-colonialism, power relationships etc relate to any of the above themes?

 

Proposals are invited for:

Individual papers (20 mins + 10 mins for questions) – if, in addition, you wish to submit your proposal for consideration for the Cambridge University Press Elements series 21^st Century Music Practice, please visit http://www.c21mp.org/iaspm-2020-cambridge/ or email simon.zagorski-thomas@uwl.ac.uk for further details.

Lecture recital / multimedia presentation (20 mins + 10 mins for questions)

90 minute Group Sessions based around a topic, person or example of musical practice and involving three or four contributors – if, in addition, you wish to submit your proposal for consideration for the Bloomsbury 21^st Century Music Practice book series please visit http://www.c21mp.org/iaspm-2020-bloomsbury/ or email simon.zagorski-thomas@uwl.ac.uk for further details.

Use of our 3-D audio speaker system, 'silent disco' headphone system and network audio for researchers who want to explore creative presentation technologies.

Online presentation – before and after the 'face-to-face' conference there will be a virtual conference and for a reduced registration fee a blog / vlog submission can be proposed. This will hopefully increase international participation without increasing our carbon footprint. Further details will be announced closer to the time.

Proposals should be sent to iaspmuki2020@gmail.com by 31^st Jan 2020. In order to facilitate the anonymous peer-review process, please make sure that your proposal conforms to the following formats.

For Group Sessions please include names, affiliations and email addresses of proposer/facilitator and individual contributors, abstract for the session (c.300 words) and abstract for each contribution (c.200 words). Make sure that the names of the proposer and contributors do not appear in the abstracts.

For individual presentations: please include name, affiliation and email address of the presenter, and an abstract of no more than 300 words. Make sure that the name of the presenter does not appear in the abstract.

Participants in the conference will be required to be IASPM members.

Organising committee

Gavin Baker, Mike Exarchos, Daniel Hagan, Tim Hughes, Sara McGuinness, Paul Oliver, Justin Paterson, Liz Pipe, Dan Pratt, Caroline Russell, Simon Zagorski-Thomas

Chair of IASPM UK & Ireland: Sarah Hill

IASPM - The International Association for the Study of Popular Music - http://www.iaspm.org.uk/

Fwd: PhD funding in music

With apologies for cross posting...

Music @Kingston is welcoming potential applications for TECHNE doctoral training. The initial application is due Nov. 24th with final application deadline in Early February. Details available at https://www.kingston.ac.uk/research/research-degrees/funding/ahrc-studentships/techne/ 

Music is part of the Kingston School of Arts.

We would particularly welcome practice-based research projects which can be focused on composition, improvisation, production, or interdisciplinary projects enhancing our links with other artistic practices in the School of Arts.

Please contact o.ben-tal@kingston.ac.uk with any questions

Oded Ben-Tal

Research into gender and music education: online survey on how boys and girls learn music

Please can you help us with our research?

We are academics and researchers from University College London who are interested in teachers’ views on how boys and girls learn music in different school contexts. For our purposes, the term "school" is used broadly in the questionnaire, so please interpret this in relation to your own professional context; you will be able to give more detail about your educational context in the questionnaire. The questions are also based on a research survey conducted and the 1990s and we are particularly interested in whether or not the findings in that decade apply today.

We will be very grateful for your time in completing this short, anonymous questionnaire. Thank you for your support with this research.

https://opinio.ucl.ac.uk/s?s=61599

Drs Ross Purves and David Baker
UCL Institute of Education, London