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/

12+ fully-funded PhD studentships to start September 2022
Covers fees and a stipend for four years
Application deadline: 30 January 2022

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 25 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 outstanding 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, Music 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.
• Musical training (any of performance, production, composition or theory) is desirable but not a prerequisite.
  

For this call we are inviting applications from UK Home students and International students, as well as students supported by national and international funding bodies, such as the China Scholarship Council (CSC), CONACYT, and the Commonwealth PhD Scholarship scheme. Queen Mary's commitment to our diverse and inclusive community is embedded in our student admissions processes. We particularly welcome applications from women and under-represented groups, and from applicants in all stages of life.

Funding
For this call we offer 12+ fully-funded 4-year PhD studentships available for students starting in September 2022 which will cover the cost of tuition fees and will provide an annual tax-free stipend (£17,609 in 2021/22). 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 students 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: 30 January 2022
For further information on eligibility, funding and the application process please visit our website. Please email any questions to aim-enquiries@qmul.ac.uk

Fwd: [DMRN-LIST] Job opening: Research Technician Officer 0.6FTE at The University of Sheffield

At The University of Sheffield we are looking for a Research Technician Officer (0.6Fte fixed term 22 month period) to join our UKRI funded project team on developing new technologies for older adults (including those living with dementia). Working as part of a team that includes Dr Jennifer Macritchie, Dr Justin Christensen, Prof Renee Timmers, Prof Luc de Witte and Prof Andrew McPherson (QMUL), the candidate will be responsible for developing (and/or adapting) the music interfaces used in this research with guidance from co-researchers in the community.

More about the project is here: https://eur01.safelinks.protection.outlook.com/?url=https%3A%2F%2Fmmm.sites.sheffield.ac.uk%2Four-projects%2Fdesigning-new-musical-technologies-for-older-adults-wellbeing&data=04%7C01%7Ce.himonides%40UCL.AC.UK%7C8c5e28c1af1745edcb2e08d9ae8ba701%7C1faf88fea9984c5b93c9210a11d9a5c2%7C0%7C0%7C637732737683883420%7CUnknown%7CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0%3D%7C3000&sdata=SLjXcjj5WFvcjNy0WnlVwN6simlQ96MqZ7masfmVKTM%3D&reserved=0

Job description and application process can be found here:
https://eur01.safelinks.protection.outlook.com/?url=https%3A%2F%2Fjobs.shef.ac.uk%2Fsap%2Fbc%2Fwebdynpro%2Fsap%2Fhrrcf_a_posting_apply%3FPARAM%3DcG9zdF9pbnN0X2d1aWQ9NjE5NTY3QkMwRDAyMUIzMkUxMDAwMDAwQUMxRTg4NzgmY2FuZF90eXBlPUVYVA%3D%3D%26sap-client%3D400%26sap-language%3DEN%26sap-accessibility%3DX%26sap-ep-themeroot%3D%2FSAP%2FPUBLIC%2FBC%2FUR%2Fuos%23&data=04%7C01%7Ce.himonides%40UCL.AC.UK%7C8c5e28c1af1745edcb2e08d9ae8ba701%7C1faf88fea9984c5b93c9210a11d9a5c2%7C0%7C0%7C637732737683893411%7CUnknown%7CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0%3D%7C3000&sdata=%2FbDUBnNmQhjLbbnIGn0Mpe4B%2BVlUWixQ0X%2Bt%2FpT89Ko%3D&reserved=0

Any enquiries can be addressed to Dr Jennifer Macritchie (j.macritchie@sheffield.ac.uk)

Best Regards,
Jennifer

Fwd: Ph.D. student position in Interactive Music Systems using Machine Learning and AI at Chalmers University of Technology in Sweden

Dear all,

We are excited to share our new Ph.D. student position in Interactive Music Systems using Machine Learning and AI at Chalmers University of Technology in Gothenburg, Sweden. The research focus is understanding interactivity in interdisciplinary musical practices. The selected candidate will take part in the development of novel interactive systems of Machine Learning and Artificial Intelligence for musical applications such as live performances, artwork installations and musical production. This is fully funded for five years, which is the full duration of the studies, covering 80% research and 20% teaching duties.

The position is hosted at the Interaction Design Unit (IxD) Computer Science and Engineering (CSE) Department The CSE department is now expanding the IxD division with a new research group in Interactive AI in Music. The current members of this new research group are Assistant Professor Kıvanç Tatar and Professor Palle Dahlstedt. The research perspective centers on aesthetics, ethics, and societal aspects of Artificial Intelligence. The creation of this new research group, as well as this Ph.D. position, is funded by the The Wallenberg AI, Autonomous Systems and Software Program – Humanities and Society (WASP-HS).

Please feel free to contact me (tatar@chalmers.se) or Palle Dahlstedt (palle@chalmers.se) if you have questions, and please share the call to people who might be interested.

We are looking forward to receiving your applications. The application deadline is December 18th, 2021. The full details of this position and the link to the application portal can be found at the official call page:

https://www.chalmers.se/en/about-chalmers/Working-at-Chalmers/Vacancies/Pages/default.aspx?rmpage=job&rmjob=9976&rmlang=UK

Please use the application portal at the link above to send your applications.

Thank you,

PS: Apologies for cross posting.

--

Kıvanç Tatar, Ph.D., M.Mus., B.Sc.
 Musician|Artist|Researcher in Artificial Intelligence for Music and Interactive Arts
 +
Assistant Professor in Interactive AI
 Department of Computer Science and Engineering | Interaction Design Unit
 Chalmers University of Technology
 Gothenburg, Sweden
 +
WASP-HS Fellow
 The Wallenberg AI, Autonomous Systems and Software Program - Humanities and Society

https://kivanctatar.com/

Fwd: [DMRN-LIST] VC's PhD Scholarships at the London College of Music, UWL

The London College of Music, UWL welcomes applications for our full-time Vice Chancellor's PhD scholarships, which are open to all UK students (including EU students with settled status) who qualify and include:

• Waiver of UK PhD tuition fees
• Payment of a tax-free stipend of £15,000 per annum.

PhD scholars carry out teaching (or possibly RA) duties for a maximum of six hours per week. Scholarships are for three years (subject to satisfactory performance and academic progress).

To apply for one of our scholarships as part of a PhD application – please state on the application form that you would like to apply for the Vice-Chancellors Scholarship. Deadline 6th December 2021

Research topics can be of the individual's preference and align with aspects of recording, music production and audio technology (Prof. Justin Paterson, Dr Dan Pratt, Prof. Simon Zagorski-Thomas)

There are also five targeted projects are as follows:

We are offering two industry-linked places supervised by Prof. Justin Paterson, and co-supervised by the CEO of the collaborating companies:

1] Generic Robotics Ltd (https://genericrobotics.com/), co-supervised by Dr Ally Barrow.

This will build on the work of the HAPPIE project (https://www.uwl.ac.uk/research/research-centres/prism-music-and-screen/1m-happie-project) and will investigate deployment of haptic feedback (touch) in audio production and/or music performance systems.

2] RT60 Ltd (https://www.rt60.uk/) co-supervised by Prof. Rob Toulson.

With a backdrop of RT60's mobile app design, this work will investigate the quantifiable 'rules' of drum and percussion tracks with the purpose of supporting the intelligent, assistive and educational music technologies of the future

We are also offering three other specific projects:

3] Hip Hop Pedagogy (supervision TBC)

UWL is introducing a new hip hop course in September 2022 based on immersive learning through a community of practice. We are looking for a practice-led PhD student who would use the process of establishing and running an extra-curricular community for a study involving the university's London Noise record label (in collaboration with Sony Records), the student union and other industry partners. The ideal candidate would be a hip hop practitioner.

4] London Noise Record Label - Immersive Pedagogy (Dr Kristina Kelman, Dr Dan Pratt)

In conjunction with UWL's London Noise record label (in collaboration with Sony Records), we are establishing a more inclusive label, run by undergraduate students, which will work with school sixth forms and further education colleges to develop new up-and-coming artists. This PhD student would document and analyse the process whereby the staff and students engaged with the label develop their knowledge and understanding of this community of practice. The student's primary supervisor would be Dr Kristina Kelman who has recently been conducting similar research in Australia.

5] Practical Musicology Methods (Prof. Simon Zagorski-Thomas)

As part of his work with the 21^st Century Music Practice network and his forthcoming monograph on Practical Musicology, Simon Zagorski-Thomas is looking for one or more PhD students to use their own practice research as a vehicle for a doctorate exploring the methods of documenting and representing tacit knowledge and the explicit incorporation of developing their musical aesthetic into that process.

Please feel free to contact potential supervisors directly via email to discuss the details of your proposal before submission. General enquiries about the scholarships can be addressed to postgraduate.admissions@uwl.ac.uk

 

Justin Paterson

Professor of Music Production

Course Leader

MA Advanced Music Technology

LCM Offices — PK.01.016

Park

University of West London

St. Mary's Rd

Ealing

London

W5 5RF

https://www.uwl.ac.uk/academic-schools/music

UWL is open and teaching

Search - Assistant/Associate Professor of Applied Performance Science Research - Schulich School of Music, McGill University, Canada

Dear Music and Science Community members,

The Departments of Music Performance and Music Research of the
Schulich School of Music, McGill University, Canada, invite
applications for a tenure-track appointment in Applied Performance
Science Research at the rank of Assistant or Associate Professor,
starting August 1, 2022.

Review of applications will begin immediately and will continue until
the position is filled. Those received by November 30th, 2021, will be
given full consideration.

For more details, please see:
https://www.mcgill.ca/music/files/music/assistant-associate_professor_of_applied_performance_science_research.pdf

Or

https://www.mcgill.ca/music/files/music/professeur_associe-agrege_en_sciences_appliquees_de_la_performance.pdf

The Schulich School of Music of McGill University is Canada's leading
institution for the professional training of performers and composers,
and the humanities-based and scientific research in music and sound.
We seek individuals with an international profile in music performance
and research who will maintain a high level of professional activity
and are able to teach and supervise students in all university degree
and diploma programs through to the doctoral level. Montreal offers a
vibrant multicultural living environment and is consistently rated
among the best student cities in the world.

McGill University is committed to equity and diversity within its
community and values academic rigour and excellence. We welcome and
encourage applications from racialized persons/visible minorities,
women, Indigenous persons, persons with disabilities, ethnic
minorities, and persons of minority sexual orientations and gender
identities, as well as from all qualified candidates with the skills
and knowledge to engage productively with diverse communities.

Fwd: virtual seminar series: music-data

We are delighted to announce an online seminar series as part of the
AHRC funded research network Datasounds, datasets and datasense:
Unboxing the hidden layers between musical data, knowledge and
creativity. Starting January 2022, we will host guest speaker on the
last Monday of the month on a range of topics relating to music, data
and the gaps between them. The talks will take place in the afternoon
(UK time). Abstracts, links for joining and specific time will be sent
before each seminar.
Feel free to email o.ben-tal@kingston.ac.uk if you wish to receive
updates on the seminars or on the research network in general.

January 31 Renee Timmers (University of Sheffield) & Elaine Chew (IRCAM)

Renee Timmers' current research projects investigate ensemble
performance, in particular what visual and auditory nonverbal cues
musicians use to coordinate and communicate with each other during
performance.

Elaine Chew's research centers on the mathematical and computational
modeling of musical structures, with present focus on structures as
they are communicated in performance and in ECG traces of cardiac
arrhythmias.

February 28 Atau Tanaka (Goldsmiths University of London)

Atau Tanaka conducts research in embodied musical interaction. This
work takes place at the intersection of human computer interaction and
gestural computer music performance. He studies our encounters with
sound, be they in music or in the everyday, as a form of
phenomenological experience. This includes the use of physiological
sensing technologies, notably muscle tension in the electromyogram
signal, and machine learning analysis of this complex, organic data.

March 28 Blair Kaneshiro (Stanford University)

Blair Kaneshiro's research focuses on using brain and behavioral
responses to better understand how we perceive and engage with music,
sound, and images. Other research interests include music information
retrieval and interactions with music services; development and
application of novel EEG analysis techniques; and promotion of
reproducible and cross-disciplinary research through open-source
software and datasets.

April 25 Anna Xambo (De Montfort University)

Anna Xambo envisions pushing the boundaries of technology, design, and
experience towards more collaborative, egalitarian and sustainable
spaces, what I term intelligent computer-supported collaborative music
everywhere. My mission is to do interdisciplinary research that
embraces techniques and research methods from engineering, social
sciences, and the arts for creating a new generation of interactive
music systems for music performance and social interaction in
alignment with Computer-Supported Collaborative Work (CSCW)
principles.

May 30 Jeremy Morris (University of Wisconsin-Madison)

My research focuses on new media use in everyday life, specifically on
the digitization of cultural goods (music, software, books, movies,
etc.) and how these are then turned into commodified and sellable
objects in various digital formats. My book, Selling Digital Music,
Formatting Culture, focuses on the shared fate of the computing and
music industries over the last two decades and my recent co-edited
collections examine Apps (Appified, 2018) and Podcasting (Saving New
Sounds, 2021).

June 27 Psyche Loui ( Northeastern University)

Psyche Loui's research aims to understand the networks of brain
structure and function that enable musical processes: auditory and
multisensory perception, learning and memory of sound structure, sound
production, and the human aesthetic and emotional response to sensory
stimuli. Tools for this research include electrophysiology, structural
and functional neuroimaging, noninvasive brain stimulation, and
psychophysical and cognitive experiments


The Datasounds, datasets and datasense: Unboxing the hidden layers
between musical data, knowledge and creativity network aims to
identify core questions that will drive forward the next phase in
data-rich music research, focused in particular on creative music
making. The increased availability of digital music data combined with
new data science techniques are already opening new possibilities for
making, studying and engaging with music. This direction is only
likely to speed up upending many current practices, opening up
creative avenues and offering new opportunities for research. However,
the rapid technological progress with new techniques producing
surprising results in rapid succession, is often disconnected from the
knowledge and knowhow gained by musicians through creativity, practice
and research. By bringing together researchers and practitioners from
different underlying disciplines and with a wide range of expertise
the network will enable a better foundation for future research.
Performers, composers, and improvisers will contribute through
embodied knowledge and practice-based methods; researchers in
psychology will bring insights about cognitive, affective and
behavioural processes underpinning musical experience; and data
scientists will add analytical expertise as well as relevant theories,
methods and techniques. These will lead to significant conceptual
breakthroughs in data driven approaches and technologies applied to
music.

The network is lead by Oded Ben-Tal (Kingston University) in
partnership with Federico Reuben (York University), Emily Howard
(PRiSM, Royal Northern College of Music), Robin Laney (Open
University), Nicola Dibben (University of Sheffield), Bob Sturm (Royal
Institute of Technology, KTH, Sweden) and Elaine Chew (IRCAM)

Fwd: We need your help on how best to make space data audible (10min survey)

Our sense of sound can be a powerful tool in exploring and analysing
data collected from satellites. But what is the best way to make this
data audible? Space science researchers at Imperial College London are
asking for input from communities with relevant expertise (including
Audio, Citizen Science, Music, Public Engagement, and Science
Communication) to help us choose the best method of making Ultra-Low
Frequency waves around the Earth audible. Fill out our quick survey
telling us which you think sounds best. It shouldn't take more than 10
minutes. Your valuable feedback and recommendations will help space
scientists around the world to improve science communication, public
engagement, and citizen science.



If you would like further information please contact Dr Martin Archer,
Stephen Hawking Fellow in Space Physics at Imperial College London via
m.archer10@imperial.ac.uk. Thank you for your help!


--
Dr Martin Archer
Physicist & Science Writer/Presenter
W: www.martinarcher.co.uk
T: @martinarcher
F: DrMartinArcher
Y: martinarcherdr

Fwd: Ongoing thoughts while reading and listening to music: Participants needed

We're inviting you to participate in a novel online study aiming to
compare mental experiences between reading and listening to music. The
study is very easy and fun, and involves attending to two different
tasks: reading a short article (~2 min) and listening to a piece of
music (~6 min) of a genre of your personal choice. After each task,
you will be asked to answer some questions related to the thoughts you
experienced. The study takes max 20 min, is completely anonymous, and
will give you the opportunity to enter a prize draw to win an Amazon
voucher of 20£.

Many thanks in advance for your help!

Here is the link to the study:
https://durhammusic.eu.qualtrics.com/jfe/form/SV_1WSFBIEDaRBfkTI

All best wishes,
Liila Taruffi

---

Dr. Liila Taruffi
Lecturer in Music Psychology
Department of Music
Durham University

Fwd: CfP 'Rethinking Participatory Processes Through Music' — 14-15 January 2022, online event

Call for Papers [deadline 31 October 2021]

'Rethinking Participatory Processes Through Music'
14-15 January 2022, online event
https://musicdemocracystudydays.wordpress.com

Convened by Igor Contreras Zubillaga (British Academy Postdoctoral
Fellow, University of Huddersfield) and Robert Adlington (University
of Huddersfield)

Keynote speakers: Hélène Landemore (Yale University), Anna Bull
(University of York), Raymond MacDonald (University of Edinburgh)


In recent times, the UK's Brexit vote, the 2016 US presidential
election, and other elections worldwide have made democratic processes
the subject of unprecedented public debate. This has led to widespread
questioning of the mechanisms for people's participation in the
democratic system and in political decision-making. One of the most
ground-breaking inquiries into what public participation ought to look
like within democracy has recently been carried out by political
scientist Hélène Landemore (Yale University). In her book Open
Democracy (2020), Landemore favours the ideal of 'representing and
being represented in turn' over direct-democracy approaches. Drawing
on recent experiments with citizens' assemblies, Landemore offers a
different concept of nonelectoral democratic representation.

Inspired by Landemore's work, this third and last study day on the
theme of music and democracy aims to explore the potential of music to
contribute to this rethinking of participatory processes. As Robert
Adlington and Esteban Buch (2020) argue, 'music is an arena for many
kinds of decision-making, and thus for the negotiation of power. It is
such parallels that have attracted the attention of many musicians,
who have seen in their practice the possibility of modelling new or
ideal kinds of democratic social arrangement'. Thus, we will address
questions such as: What might democratic participation look like in
music? What can music-making tell us about participatory processes in
general? What is achieved, politically, by rethinking the way in which
music is made? How might we pursue in musical life Landemore's
aspiration to 'reinvent popular rule for the twenty-first century'?

We invite proposals from scholars working in any discipline for papers
exploring participation, decision-making and power negotiation in
relation to any musical practice in any historical and geographical
context. Alongside Professor Landemore, who joins us as one of our
keynote speakers, we will have keynote presentations from Dr Anna Bull
(University of York), who has written stimulatingly and critically on
the idea of cultural democracy in relation to state funding and
pedagogy of music, and Professor Raymond MacDonald (University of
Edinburgh), who has explored new approaches to the distribution of
power in the domain of jazz and improvisation. Papers will be
20-minutes in length followed by 10 minutes of discussion time. Please
submit proposals (250-300 words) to I.ContrerasZubillaga@hud.ac.uk by
the deadline Sunday 31 October 2021. The programme will be announced
in early December.


-------
Dr Igor Contreras Zubillaga
British Academy Postdoctoral Fellow

University of Huddersfield
School of Arts and Humanities
Queensgate
Huddersfield, HD1 3DH

Fwd: Cambridge — Assistant Professor in Composition (electroacoustic or acousmatic music)

Assistant Professor in Composition (electroacoustic or acousmatic music)

Job Reference: GT28593

The Faculty of Music at the University of Cambridge wishes to appoint
a composer specialising in electroacoustic or acousmatic music to the
post of Assistant Professor (0.5 FTE), starting on 1 September 2022 or
as soon as possible thereafter.

Holding a PhD in Composition (or with equivalent experience) and with
a record of, or clear potential for, outstanding research, you will be
a composer with specialist expertise in studio composition or live
electronics, potentially also encompassing laptop composition and/or
digital signal processing. You will also have expertise in acoustic
composition and be willing to support and contribute to its teaching
within the Faculty. Your work will accordingly intersect with and
complement the Faculty's current research in acoustic Composition as
part of a Creative Practice cluster. Applicants whose approach shows
interdisciplinary potential (e.g. possible synergies with the
Faculty's Centre for Music and Science or other University faculties
and departments) will be especially welcome. The specialist remit of
this particular post does not extend to algorithmic or commercial
composition, film music or sound design.

You will be ready to teach at all undergraduate and postgraduate
levels and have the capacity to attract PhD students. You will also
contribute to the Faculty's administration, outreach and impact
activity. The Faculty teaches Composition through lectures, seminars,
workshops including feedback on student work, and one-to-one
supervision.

At the heart of a vast network of musical study, research and
practice, the Faculty of Music is made up of 14 permanent academic
staff, 5 postdoctoral researchers, 20 affiliated lecturers and 18
professional services staff who work with around 200 undergraduates
and 65 graduate students. As a world-leading centre of research the
Faculty includes specialists in medieval and renaissance music, early
modern music, nineteenth-century music, opera, popular music,
ethnomusicology, performance studies, composition, and scientific
approaches to music. The Faculty facilities include a fully
professional concert hall and music library as well as an impressive
collection of historical instruments and a Javanese gamelan. Integral
to the Faculty is the Centre for Music and Science, a purpose-built
facility housing a fully equipped recording studio, computer room and
research room.

We support and encourage under-represented groups and we value
diversity. We welcome applications from individuals with disabilities.
Our recruitment and selection procedures follow best practice. The
University has an Equal Opportunities Policy, along with a range of
diversity networks for women, black and minority ethnic and lesbian,
gay, bisexual and transgender staff. More details are available at
http://www.equality.admin.cam.ac.uk/.

The successful candidate will be expected to take up appointment on 1
September 2022, or as soon as possible thereafter.

Full details of the post and details of how to apply can be found at
https://www.jobs.cam.ac.uk/job/31895/

Application Deadline: 28 November 2021