Fwd: Faders - online, collaborative, smart DAW

Dear colleagues, 

We're proud to present the result of our spin-out from Birmingham City University: an online, collaborative, intelligent digital audio workstation (DAW) that's free to use and getting even more features every week: https://faders.io. 

Faders is built around the idea of removing all barriers in audio production, without hiding the complexity and dumbing down the interface. The result is a user-friendly, powerful, and smart DAW, which helps you by labelling tracks, doing rough mixes, trimming silence from recordings, … and a collaborative web-based platform that can accommodate cutting-edge processors that don't have to fit a single track "plugin" for DAWs. 

Synth and FX plugins are based on the open source JSAP framework https://github.com/nickjillings/JSAP, and a Freesound browser is integrated https://freesound.org/. Some of the tech in this platform is based on about a decade of academic research. 

It would mean a lot to us if you tried it out and let us know what you think, emailing me directly or on the forum at https://community.faders.io. 

Educators: we are especially keen to work with you and will be releasing an education mode where you can share files, follow up on student projects, and even teach remotely with video, all inside Faders. 

Please reach out to me if you tried it (I'd love to hear your thoughts) or if you want to use it for a class. We're also exploring all kinds of partnerships, from software instruments over plugin development to cross-promotion.

Thanks!

Brecht De Man
Ryan Stables
Nicholas Jillings

Semantic Audio Labs

Fwd: [DMRN-LIST] PhD Studentship. Haptic Interaction Design: Accessibility in Music-Making Tools

 Visual impairment (blind or partially sighted) affects thousands in the UK and millions worldwide. Accessibility to digital information and tools is necessary for engagement and participation within the society, for their educational aspirations and career. Whilst there is a massive effort from charities and organisations to support them, there is a lack of appropriate tools when it comes to computer-based musical creativity (e.g. composition and performance). Often users are required to adapt to commercially available software to meet their needs.

This project proposes to design a set of novel accessibility tools based on haptics to facilitate the communication between visual impaired users and creative software platforms for music creation. The project will rethink the current production tools and propose new ways for processing and experiencing information through haptics. It will challenge current human-computer-interaction paradigms and machine learning techniques with the aim to devise new ways, in which visually impaired users can process information, navigate, interact and collaborate with other blind and non-blind users during the music creation and performing processes.

This project will contribute to:

1. Understanding interaction design approaches for HCI accessibility with haptics;
2. Developing novel machine learning-based algorithms for real-time user interaction with the screen and audio;
3. Enabling haptic-based accessibility for navigation, screen interaction and collaboration.

PhD Classic Doctoral Training Grant Funding Information

This 36 month (3 year) fully-funded PhD Studentship, in-line with the Research Council values, comprises a tax-free stipend of £15,609 per annum (paid monthly). The bursary is renewable annually for up to 36 months in total, subject to you making satisfactory progression within your PhD research.

This funding model also includes a FT Home fees studentship (£4,500 for 2021-22) for up to 3 years, subject to you making satisfactory progression within your PhD research.

This opportunity is open to UK, EU and International applicants. International applicants will be required to meet the difference in fee costs from their own funds.

Person specification:

• A BSc or MSc in relevant field such as Music Technology, Computer Science, Data Analysis and Human Computer Interaction.
• Programming skills
• Good communication skills; especially in written English
• Strong work ethic
• Think creatively and independently

How to apply:

To apply, please complete the project proposal form of 1,500-2,500 words (fully referenced) explaining your ideas about the proposed topic, ensuring that you quote the project reference CDT Project 4, and then complete the online application, which can be found under the 'How to Apply' tab of the PhD course page where you will be required to upload your proposal form in place of a personal statement as a pdf document.

You will also be required to upload two references, at least one being an academic reference, and your qualification/s of entry (Bachelor/Masters certificate/s and transcript/s) and IELTS.

Deadline for Applications

Please ensure you submit your application by 23:59 on Thursday 16^th September for a February 2022 start.

Contact for Application Enquires:  tychonas.michailidis@bcu.ac.uk

Fwd: Invitation to attend history of Sound and Technology Working Group at CHSTM - Meets monthly from 10 September 2021 (online)

** This list is managed by Dr Evangelos Himonides (UCL), on behalf of the Society for Education and Music Psychology Research (sempre), and aims to serve as a discussion forum for researchers working at the shared boundaries of science and music. This list was previously managed by the Institute of Musical Research. ** MESSAGE FOLLOWS:

Dear list,

The Sound and Technology Working Group at the Consortium for the History of Science, Technology, and Medicine (CHSTM) invites you to participate in a series of workshops starting in September 2021.

Each monthly session – to take place on Zoom – will feature a moderated discussion of a new or recently published work by a scholar working in the area of the history of sound and technology, broadly construed. Readings will be pre-circulated in advance of each session.

Researchers at all levels are invited, though we especially welcome graduate students and early-career researchers.

If you are interested in participating, please create an account at the CHSTM website (https://www.chstm.org/) and join the working group (https://www.chstm.org/content/sound-and-technology). You will then receive updates on the group's activities through this site.

A short description of the scope of the working group and a schedule for the first semester of meetings follows. This initiative builds on the activities of the TAXIS reading group (https://taxis.hcommons.org), whose members generously contributed to its conception and planning.

Please do not hesitate to contact the conveners if you have any questions or comments about the group. We look forward to your participation!

Eamonn Bell <eabell@tcd.ie>

Brian Miller <millerba42@gmail.com>

Ezra Teboul <ezra@redthunderaudio.com>

---

Meeting Schedule

(EDT = Eastern Daylight Time; EST = Eastern Standard Time)

Friday, September 10, 2021 1:00 pm to 2:30 pm EDT

Guest: Dr. Deirdre Loughridge (Northeastern University)

Friday, October 8, 2021 1:00 pm to 2:30 pm EDT

No meeting (4S)

Friday, November 12, 2021 1:00 pm to 2:30 pm EST

Guest: Dr. David Suisman (University of Delaware)

Friday, December 10, 2021 1:00 pm to 2:30 pm EST

Guest: Dr. Viktoria Tkaczyk (Humboldt University of Berlin)

Friday, January 14, 2022 1:00 pm to 2:30 pm EST

TBA (topical readings and/or guest)

Friday, February 11, 2022 1:00 pm to 2:30 pm EST

Guest: Dr. Alexandra Hui (Mississippi State University)

Friday, March 11, 2022 1:00 pm to 2:30 pm EST

TBA (topical readings and/or guest)

Friday, April 8, 2022 1:00 pm to 2:30 pm EDT

Guest: Dr. Peter Sachs Collopy (California Institute of Technology)

 

Friday, May 13, 2022 1:00 pm to 2:30 pm EDT

Guest: Dr. Mara Mills (New York University)

Group summary

The Sound and Technology working group is concerned with scholarship coming from the history of technology and science, towards a history of sonic technocultures. This group welcomes scholars interested in sound and sound technology from all time periods, though the group's reading and writing will focus on cases, debates, and actors that engage the conditions of sound's technological reproducibility since the late 19th century. Because of the interdisciplinary nature of the topic, relevant studies have been fragmented across a variety of fields within the humanities, arts, social sciences, engineering, acoustics, and the sciences. This working group will work across these disciplines to collectively interpret sources and commentary that share an interest in sound.

Fwd: [DMRN-LIST] Lecturer position at Centre for Digital Music

he Centre for Digital Music @c4dm at Queen Mary @QMUL is looking to recruit a Lecturer in Audio Signal Processing. 

 

Candidates should have a track-record of high quality research, applying Digital Signal Processing with Machine or Deep Learning, and/or Data Science to areas such as Digital Audio (Production, Consumption, Access, Distribution), Digital and Computer Music, Bioacoustics and Environment Acoustics, Computational and Virtual Acoustics. Expertise and experience in Human-Computer Interaction and User-centric studies applied to these fields will also be advantageous.

 

Further details here: https://ig24.i-grasp.com/fe/tpl_qmul01.asp?newms=jj&id=150200&newlang=1

 

Please pass this on to anyone you think might be suitable.

NB: although we don't have official Tenure-track positions in the UK, this is the equivalent.

Fwd: Recent articles published in Music & Science

Music & Science provides an open-access platform for engaged debate and insight into music research from a wide range of scientific perspectives. Three recent articles illustrate the highly interdisciplinary scope and focus of the journal.

 

Yannick Wey and Cornelia Metzig's 'Machine Learning Classification of Regional Swiss Yodel Styles Based on their Melodic Attributes' is the first computational analysis of alpine yodelling. Through a classification of yodel styles based on their melodic features, the authors demonstrate significant regional differences between yodel tunes in Switzerland, and reveal the most salient musical features that contribute to different yodel styles. The study provides empirical evidence to support anecdotal claims from folklore studies that yodelling, often assumed to have a 'national' style, is in fact rooted in distinct geographic regions. Moreover, the work offers an innovative methodology with potential applications for analysis of other developing or ambiguous genres of music.

 

Presenting a similarly critical examination of culturally-constructed ideas about music using empirical methods, 'Discrepancies and Disagreements in Classical Chamber Musicians' Characterisations of a Performance' by Neta Spiro and Michael Schober investigates perceptions of live duo performances from the perspectives of both musicians and audiences. Employing a mixed-methods approach including a novel time-based interactive visualisation for multi-modal data, the study demonstrates the ways in which performers' characterisations of just-played performances diverge from one another, in contrast to dominant narratives that emphasise musicians' shared understandings in ensemble playing––indeed, in some cases in this study, performers' conceptions of their playing had less in common with one another than with those of the audience. As well as extending findings from previous research on jazz performance and offering wider applications for performance pedagogy, the study provides a novel method for the effective collection of immediate responses to music as it unfolds.

 

Moving from the close analysis of interactions between individuals and music to broader issues at the intersection of music, science, and social value, Kat Agres and colleagues' 'Music, Computing, and Health: A Roadmap for the Current and Future Roles of Music Technology for Health Care and Well-Being' presents a systematic overview of the latest best practices for music computing and technology being employed in healthcare and wellbeing settings. Bringing together expertise from music psychology and neuroscience, music therapy, music information retrieval (MIR), music technology, medical technology, and robotics, this highly interdisciplinary article assesses the current range of uses and functions of technology across different domains, as well as proposing future directions for interdisciplinary collaborations to create novel practices and applications.

 

Together, these three articles provide a snapshot of the diverse and original research presented in the journal, whilst also demonstrating the value of creating a forum for dialogue between music and the sciences.

 

Find out more about the journal here: https://us.sagepub.com/en-us/nam/music-science/journal202491.

 

Ian Cross (Editor-in-Chief), Adam Ockelford, Graham Welch, Emily Payne

 

Dr Emily Payne

Lecturer in Music

Assistant Editor, Music & Science

 

School of Music, University of Leeds, Leeds LS2 9JT, UK

https://ahc.leeds.ac.uk/music/staff/396/dr-emily-payne

Payne, E. & Thomas, P. (2020). Getting exercised: Ensemble relations in Christian Wolff's Exercises. In R. Adlington & E. Buch (Eds.), Finding Democracy in Music (pp. 101–124). Routledge. Available at: https://www.routledge.com/Finding-Democracy-in-Music/Adlington-Buch/p/book/9780367486921

Thomas, P. & Payne, E. (2020). 'We also like to be surprised': Disruption, provocation and surprise in the music of Christian Wolff. CIRCUIT, 30(2), 27–45. Available at: https://id.erudit.org/iderudit/1071119ar

(pronouns: she/her)

Fwd: 4 Free-Improvising/Non-Idiomatic Improvising Musicians

4 Free-Improvising/Non-Idiomatic Improvising Musicians and Quantum/Particle Physicists wanted for a 5 day funded online research and development project taking place over July and/or September @ £120 per day.

Music of the Atoms is a piece by the UK based musician/composer Suzie Shrubb exploring the relationship between quantum theory and musical improvisation. This project brings together improvising musicians and scientists to explore this intersection, create music, document process, generate templates and create projects etc. This initial project will take place online, although my hope is to bring us together in an embodied space for one day if possible. This initial research and development project is part of a wider piece which will develop into recordings and live music performances in the embodied space and also aims to support the wider realm of working online. 

For musicians some form of experience with and enjoyment of non-idiomatic or free improvisation is essential. Documenting and reflection will be a part of this process so even if this is not part of your practice the invitation will be to do this over the course of the project in a way that works for you. 

I'm also always wanting to meet and talk with scientists and if you're a scientist then you don't need any experience of music at all. I'd love to hear from you.  This project is structured in a way that scientists can drop in and out of sessions- I know you're all super busy!

Musicians do not need to know anything about quantum physics although any knowledge is most welcome.  Please also get in touch even if the project interests you but you don't want to work online. Opportunities to play in the embodied space will be possible at some point and I would love to hear from anyone, musician or scientist who is interested in this project for the future, just make that clear in your application.

Scientists who are musicians are absolutely welcome to apply.

If you're a musician or a scientist/musician please apply by sending 200 words or a voice message of no more than 3 minutes to suzieshrubb@hotmail.com saying what excites or interests you about the project and include information about your relationship to and experience of free improvisation. Please email me if you have any questions. The deadline for applications is Monday 5th July.

If you're a scientist who is interested in offering your expertise and being a scientist in the space, or supporting my ongoing research or learning with a conversation or lesson or just because you're curious then please also get in touch. I'd love to hear from you.

And I'd love to hear from anyone who is interested! Space on this particular project is limited because this is an initial R & D phase funded by Arts Council England. But  I'm excited to hear from as many people as possible to feed into the development of this piece.

I'm a white British queer composer. My pronouns are she/her. I welcome applications from people belonging to groups who are underrepresented in the realms of music and science.

 

Fwd: Digital Libraries for Musicology (DLfM) 2021 -- Registration Now Open

DLfM 2021 -- Registration Now Open

Registration is now open for the 8th International Conference on Digital Libraries for Musicology.  The conference will be held from July 28th to July 30th in association with the International Association for Music Libraries (IAML), and will be entirely online.

Thanks to the generous support from Goldsmiths University of London, Georgia Institute of Technology, and the Royal Music Association, we are pleased to announce free registration for all participants and attendees. Advance registration is mandatory in order to receive links to conference events.

Please visit the link below to register:

https://www.eventbrite.co.uk/e/8th-international-conference-on-digital-libraries-for-musicology-dlfm-21-tickets-156092070585

We are pleased to announce our preliminary conference schedule is now available: https://dlfm.web.ox.ac.uk/2021-programme 

For more details, please visit our conference website at https://dlfm.web.ox.ac.uk 

---

Claire Arthur

Assistant Professor, School of Music

College of Design

Georgia Institute of Technology

claire.arthur[at]gatech.edu

Professor Graham Welch: research impact

https://bit.ly/2OUtlQ9

Optimising well-being and development through music

Professor Graham Welch and the music education research team at University College London have conducted extensive work to evaluate and document the benefits of music for children. Their research has included large-scale studies of music programmes sponsored by governments and charities. The outcomes of these studies have shown clear benefits of music in supporting optimal health, well-being and development in children. The science data indicate that music holds great potential to support human development and enhance social and emotional well-being.

PhD course in Non-Western Educational Philosophy

PhD course in Non-Western Educational Philosophy  

Greetings from Bergen, Norway.  

We are pleased to announce that once again we will be offering a new PhD course at Western Norway University of Applied Sciences on the topic Non-Western Educational Philosophy and Policy.  

Please think about whether you know someone who could benefit from this course, which will be offered entirely online in English, and is open to doctoral students from anywhere. Is there someone who might appreciate you telling them about this course?  

Here are links to articles about this course from the very first time it was offered (just last year, 2020):  

http://sociomusicology.blogspot.com/2020/08/benefits-of-shifting-to-online-learning.html 

Here are links to publications developed through this course from the first time it was offered (published in the first half of 2021):  

https://journals.oslomet.no/index.php/nordiccie 

Please keep in mind that higher education in Norway is essentially free, and this course is for 5 transferable European (ECTS) credits, offered online October 11-22, 2021.  

 

Here are links for detailed information about (a) the PhD program in Norway, and its accessibility for individual courses, (b) the course Non-Western Educational Philosophy and Policy, and (c) the application portal (called Søknadsweb in Norwegian):  

 

(a) 

https://www.hvl.no/en/research/phd-programmes/apply-for-a-single-course-at-phd-level/admission-for-single-courses-phd-in-bildung-and-pedagogical-practices/ 

(b) 

https://www.hvl.no/en/studies-at-hvl/study-programmes/courses/phd911 

(c) 

https://fsweb.no/soknadsweb/velgInstitusjon.jsf 

 

Thank you very much.  

Best wishes,  

 

David Hebert 

Fwd: [DMRN-LIST] 1st Symposium on Quantum Computing for Musical Creativity

The 1st Symposium on Quantum Computing for Musical Creativity will take place on November 19-20, 2021. 


The symposium is organised by University of Plymouth's Interdisciplinary Centre for Computer Music Research (ICCMR), in collaboration with Cambridge Quantum Computing and IBM Quantum.  


The event will be primarily online.  An in-person component is planned at Cambridge Quantum Computing's premises in Oxford, UK, if the conditions permit. 


The envisaged programme comprises research talks, a hands-on introduction to programming quantum computers for musicians, and practical demonstrations. 


We welcome proposals for paper presentations. 


Selected papers will be considered for publication in an special issue of Contemporary Music Review.


For more information: https://eur01.safelinks.protection.outlook.com/?url=https%3A%2F%2Ficcmr-quantum.github.io%2F1st_isqcmc%2F&amp;data=04%7C01%7C%7C337e89f394c444d27f9108d92bf67ada%7C1faf88fea9984c5b93c9210a11d9a5c2%7C0%7C0%7C637589161081989796%7CUnknown%7CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0%3D%7C3000&amp;sdata=CH5qCqI68AnR%2BBWRIVPUeqOHLLD061EeAYLMpBfUPxw%3D&amp;reserved=0