Wednesday, July 5, 2023

Fwd: British Academy Fellowship, School of Music, University of Leeds, Expressions of Interest

British Academy Fellowship, School of Music, University of Leeds, Expressions of Interest

 

The School of Music at Leeds invites expressions of interest from postdoctoral researchers considering making an application for the 2023/24 British Academy Postdoctoral Fellowship scheme. This is a three-year, full time postdoctoral fellowship starting from 1 September 2024. The British Academy call can be found here.

 

The School of Music at Leeds represents one of the largest collections of music researchers in the UK. Our primary research aim is to explore the interaction of music with people, cultures and technologies, and disseminate knowledge created through this work to advocate for the historic and continued significance of music in society. Our research expertise includes the cultural and historical study of Western and popular music, music analysis, aesthetics, composition, music technology, music psychology, music and wellbeing, and music pedagogy. In the REF, 93% of our research activity was rated as 'world leading' or internationally excellent', and 100% of our research impact was rated as 'world leading' or internationally excellent'. 

 

Within the University we are one of nine schools in Faculty of Arts, Humanities and Cultures <https://ahc.leeds.ac.uk>, through which we participate in the Leeds Arts and Humanities Research Institute <https://ahc.leeds.ac.uk/leeds-arts-humanities-research-institute>. The Institute provides creates opportunities for collaborative, inclusive, interdisciplinary working for researchers at every career stage.

 

The remit of the BA Fellowship scheme covers the fields of musicology, music psychology and music education. Practice-based projects in composition and performance are not supported by this particular scheme. The proposed research should align closely with the research expertise of a member of staff and ideally with one of the research clusters within the School. For more details on our research clusters, see <https://ahc.leeds.ac.uk/music-research-innovation>.

 

Candidates must normally be within three years of the award of their doctorate, and must be a UK or EEA National or demonstrate a strong prior association with the UK academic community.

 

General enquiries may be made by via music@leeds.ac.uk FAO Director of Research and Innovation. Those considering applying are encouraged to contact potential research mentors in Music to discuss their proposal directly.

 

How to apply:

Make sure you meet the British Academy's eligibility criteria for the scheme before you start to prepare your application. Please send your academic CV and a detailed project proposal directly to your prospective mentor, copying in music@leeds.ac.uk as soon as possible.

 

Applicants who would like to be hosted by Leeds should submit an outline proposal and CV by 5pm on Friday 18th August.

 

The outline proposal should contain the following information:

Title of Proposed Project

Project Summary (max. 500 words)

Research Outline (max 1500 words in total, including the below sections)

Aims and Objectives, Research Context, Research Methods, Research Timetable, Proposed Research Outcome(s)

 

Applicants are strongly advised to take advantage of the rigorous School peer review process.

 

For those who submit an outline proposal, please note that Music operates an internal closing date for this scheme of Wednesday 20 September 2023. Applications received after this date will not be supported.

 

https://www.thebritishacademy.ac.uk/funding/postdoctoral-fellowships/

 

Saturday, June 17, 2023

Fwd: Update - Call is closing on the 21st June


11th International Scientific Meeting for Sound, Music and Musical Instrument Studies

www.animusic.eu

 

Submissions update: till the 21st of June

Information and proposals: congressorg2023.animusic@gmail.com

 

ONLINE OR IN PRESENCE

 

In-motion, with emotion: the belief in Art, Science and interdisciplinary knowledge.

 

Topics that we particularly welcome in the ANIMUSIC Congress 2023:

-musical instruments and their influence in the compositional styles (traditional and modern creations)

-reflections on wave equations (variability in sound materials)

-technology in the service of music and musical instruments

-imaging, 3D drawing and printing musical instruments

-past and future of sound production and industry

-acoustics of theaters, auditoriums and rooms for music processing – the sound of spaces (architecture)

-acoustics of instruments and sound tools

-ethnological diversity and similarities

-anthropological considerations about the evolution of music and sound tools

-archives and libraries - resources for the study of musical instruments

-biological interface (our body and sound production and perception)

-music and sound at the service of psychology and vice-versa

-gender, abnegation, survival, and glory

-the role of medicine in the ergonomic construction of musical instruments

-museums' difficulties and solutions in the conservation, restoration and exhibition of sound (related) objects


ANIMUSIC, with the Association Museum of Music of Coimbra, is promoting another special gathering from the 21st to the 24th of July. In 2023, we are having (confirmed) national and international guests, with topics that go from aartistic and ethnological marvels to the upfront of technology, with Artificial Intelligence. We are delving in some of the "shadowed" aspects of musicology (conspicuous absence and marginalization of women in the androcentric music industry, thanks to Dr Ragland) as well as acoustics (des-sound quality in theatres), and the psychological strength of musical performance, all in relation to sound, music, and musical instruments.

Moreover, an Exhibition of a singular collection, with some unique banjos and new inventions, will be shown at one of the emblematic buildings by a renown Portuguese architect, in the "Green Park" (yes, the dinner shall be served looking at the sunset over the river).

A strong highlight is the visit to the Seminario Maior (18th century); besides the splendid building which we shall visit, it has a fabulous organ in a circular, and extraordinary in many ways, church (we try to show with the pictures and a short improvised video at the website). Following Dr Paulo Bernardino, for us certainly at the summit of the Portuguese organists, we will then go to one of the oldest universities of the world (1290), and visit the superb baroque organ there. We shall enjoy mesmerizing performances in these organs, as well as front-rank virtuoso pianist Toni James at the Convent of S. Francisco, the Scottish Voices, lead by our favorite friend composer, Professor Graham Hair (Australia), and the amazing art of several musicians from Coimbra.

 

www.animusic.eu

Contact: congressorg2023.animusic@gmail.com

Greetings from the ANIMUSIC team

Thursday, June 15, 2023

[LAUNCH] iMerc Research Seminar Newsletter

Dear Colleagues,

We are pleased to announce the launch of our Newsletter (compiled PDFs will be available on the official iMerc website soon).

The Newsletter includes the details of our May and June seminars, with the Zoom link attached. If you know anyone who's doing a PhD in music education at UCL, would you please forward this Newsletter to them and invite them to join us for the seminar? 

We hope you enjoy reading it. If you have any thoughts or suggestions about the newsletter or the community, feel free to let us know. And please be ready that we'll ask for more help/ collaboration in the future! 

Hope you are all enjoying the blue skies,

Graham, Evangelos and Eunice






Friday, June 9, 2023

Fwd: Cadenza Project: Participants needed for research into music listening with hearing loss


*** IMPROVING MUSICAL EXPERIENCES FOR PEOPLE WITH HEARING LOSS ***

 

Dear all,

 

We are conducting new research as part of the Cadenza Project (https://cadenzachallenge.org/), which seeks to develop measures of audio quality for music for people with hearing loss. The broader aim of using these measures is to develop novel signal processing strategies (methods that change the audio quality characteristics of music) that can be used in hearing aids and consumer devices to improve experiences of music. 

 

We are planning an online listening experiment that will take place in the coming months, in which participants will be asked to listen to many excerpts of music, and rate these in terms of their audio quality, using several attributes developed by hearing aid users. 

 

We are now looking to recruit potential research participants to this online listening experiment. Participation would involve being invited to have a hearing test, and listening in your homes to music excerpts for up to 5 hours in total; this duration of listening will be separated into smaller manageable blocks of time. You would be compensated for this time, and for travel costs for any hearing tests. 

 

To be eligible to take part, prospective participants should be: 

 

·        Bilateral hearing aid users 

·        Have a hearing loss in the range of mild to moderately severe in their better ear 

o   Please note: At this point in the process, we have recruited a number of participants to this study, many with a moderately-severe/borderline severe hearing loss. Ideally, to have a balance and representation of hearing loss levels across the mild to moderately-severe range for this study, we are now looking to recruit more participants with a mild or moderate hearing loss. 

·        Between the ages of 18 and 90 

·        Either: 

o   Able to attend a university site (Leeds, or Nottingham) for a hearing test, OR: 

o   Able to provide a recent audiogram (within the last 6 months) 

·        Have access to a computer at home, with internet connection 

 

Unfortunately, at this current stage and design of the research, there are some exclusion criteria that would prevent participation, including: 

 

·        Cochlear implant use, or use of other hearing interventions besides acoustic hearing aids 

·        Diagnosis of Meniere's disease, or hyperacusis 

·        Use of a programmable ventriculo-peritoneal (PVP) shunt 

·        Severe tinnitus that is affected by music, or that interferes with your listening to music 

 

If you are interested in potentially taking part, please feel free to complete a short Eligibility Questionnaire, found using the following link – https://universityleeds.fra1.qualtrics.com/jfe/form/SV_aW3GNlCCZ4XoCFg

 

You will be asked at the end of this questionnaire to provide your contact details to us if desired, so we can be in touch with further details about the online listener experiment. 

 

If you have any questions at all at this point, please do not hesitate to get in touch with us at musicandhearingaids@leeds.ac.uk 

 

Prof. Alinka Greasley & Dr Scott Bannister

 

This research has received ethical clearance from the University of Leeds Ethics Committee (Approval Reference: FAHC 21-125), and is funded by the Engineering and Physical Sciences Research Council (Grant Reference: EP/W019434/1). 

 

 

 

Prof. Alinka Greasley

Professor of Music Psychology

Director of Research and Innovation

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

Email: a.e.greasley@leeds.ac.uk | Phone: + 44 113 343 4560

 


Wednesday, May 3, 2023

Fwd: PhD Studentship: Psychological safety in elite performance training


Psychological safety in elite performance training

PhD studentship at Guildhall School of Music & Drama, in association with Loughborough University
Deadline: Wednesday 24th May 2023

This opportunity is offered with a full fee waiver in the first instance, with the possibility of further funding. The position would suit applicants with a background in music, performing arts, psychology (particularly sub-disciplines of music, coaching, sports, organisational, educational, clinical or counselling psychology), education, or a related discipline. Experience in empirical research methods (quantitative and/or qualitative approaches) is essential. Candidates should hold, or expect to achieve before commencement of the studentship, a Masters-level qualification in a relevant field. Candidates without a Masters degree, but who can demonstrate equivalent professional experience, may also be considered. Experience of high-level performance is desirable.

This PhD programme of studies sits within an exciting new partnership between the Guildhall School of Music and Drama and the School of Sport, Exercise and Health Sciences at Loughborough University. The project revolves around exploring the significance of social environments that are psychologically safe within the context of elite performance generally, and music in particular. Environments or climates underpinned by psychological safety maybe key aspects for musicians' and their teachers' performance and wellbeing. Developing high-performing musicians requires social/learning environments within which musicians, teachers, peers and other related staff feel trusted and respected as well as able to take interpersonal risks (e.g. 'thinking outside the box' individually and collaboratively, stretching one's own boundaries, stepping outside one's comfort zone). It is in such environments that musicians (and their teachers) can express their creativity, resourcefulness, talents and skills without self-silencing (fear of expressing a point of view, thought, belief) or worrying about failure (fear of doing something wrong, looking foolish or not meeting expectations). The premise of this research is that recruiting very talented musicians and teachers is not enough; these individuals have to be able to bring their authentic selves to work and work together. This is a full-time PhD programme of study that aims to examine the interplay of such psychosocial concepts as psychological safety, interpersonal relationships, communication and team building. Methodologically, the research will employ both qualitative (e.g. content, narrative, thematic analysis) and quantitative (e.g. multi-level modelling) designs to generate and analyse data.

This project, part of a developing research partnership, has the potential to make a real impact in performing arts. In choosing Guildhall School of Music and Drama and Loughborough University for your research, you'll work alongside academics who are leaders in their respective fields. You will benefit from comprehensive support and guidance, including tailored careers advice, to help you succeed in your research and future career. Please note that the PhD is due to start in September 2023 (for 3 years).

How to apply
Applications should be submitted online via Guildhall School. Please select MPhil/PhD full time from the options available.


Applications should address the candidate's suitability for the role and include an initial research outline. Shortlisted candidates will be invited to interview. Candidates who are successful at this stage will be invited to develop a fuller research proposal and return for a second interview approximately two weeks later. Both rounds of interviews will take place in June 2023. Informal enquiries are welcome and should be directed to doctorate@gsmd.ac.uk.

               
Dr Karen Wise PhD BA PGDip(RNCM) FHEA GMBPsS
Research Fellow
Lecturer in Psychology (Music Therapy)
Assistant Editor, Psychology of Music

Research and Enterprise | Guildhall School of Music & Drama, Milton Court, 1 Milton Street, London, UK. EC2Y 9BH | karen.wise@gsmd.ac.uk

Monday, April 24, 2023

Fwd: PhD studentship in Making micromusics: musical summarisation for sonic branding

Please share this opportunity for a PhD Studentship:

Making micromusics: musical summarisation for sonic branding
WRoCAH funded Collaborative Doctoral Award between Department of Music,
Department of Computer Science, University of Sheffield and Maison Mercury Jones

Project summary
Sound branding composers frequently need to create music which is recognisably the same across long-form and short-form contexts. However, current compositional tools are of limited assistance in composing for contemporary touchpoints of short-duration music (sound logos, video clips). This collaboration with sonic branding agency Maison Mercury Jones draws on musical, cognitive and computational approaches to investigate sonic identity across musical materials of different durations, proposes a theoretical framework for sonic identity in branding contexts, and creates musical summarisation software helpful to sound branding practitioners.

PhD Project description
Sonic branding features in multiple places in the contemporary mediascape: in longer-form broadcast media of TV ads and background music to the short duration social media clips and sonic logos afforded by the new media niches of mobile computing. This project addresses a conceptual and practical challenge: what constitutes a coherent sonic identity across multiple touchpoints of different durations? Reducing sound in temporal space in a meaningful way is a non-trivial task into which there has been extensive research: music theoretic approaches posit the cognitive reality of reductional representations (Huron, 2000) and music information retrieval approaches use audio thumbnailing techniques, intended to produce short representative samples of music tracks (Raposo et al, 2016). Time compression and harmonic reduction are unsatisfactory since they omit what is often perceptually important (rhythm, melody, timbre), and concatenating evenly distributed short excerpts can miss perceptually relevant moments. Identifying a single salient short excerpt, or concatenating distributed salient excerpts, is often preferred, but does not take into account critiques of MIR abstraction of musical material from the social (Born, 2022). A critical review of music summarisation techniques will guide a behavioural experiment to help determine how best to condense long-form music into smaller temporal packages. The aim is to retain qualities (meanings, musical structures etc) deemed important in the original by listeners and creatives for sonic branding purposes. This will be used to develop a music summarisation software. This is proposed as a PhD by publication (three journal articles) with a practice component (music technology software tool design) in order to quickly disseminate the research and maximise its impact for current sound branding practice. Other PhD formats will be considered. This interdisciplinary project addresses innovation in the creative industries. It answers intellectually challenging research and innovation questions by connecting complementary strengths in music, cognition and AI at the University of Sheffield (research groups MMM and MiMA) with unique expertise in sound branding.

About Maison Mercury Jones
Maison Mercury Jones are a sonic branding agency working across composition for marketing campaigns, sonic identities, artist booking and brand and  music partnerships. Led by renowned musicians, award-winning strategists and supported by Grammy nominated producers and composers, they are founded on the belief that the pillars of diversity, science and technological innovation are the key to excellence in music for brands. They support and collaborate with artists that are currently underrepresented in the music and marketing industries, including Female, Trans +, LGBTQ+, diverse ethnicities, class, dis/abilities and ages, to compose innovative and effective soundtracks for brands. They pride themselves on being the first creative agency entirely POC / Queer / Female / Trans+ led.

The CDA partnership will:
- Enhance knowledge about musical summarisation
- Use a participatory design process in the context of commercial music making and client briefs
- Create a software tool for music summarisation in sonic branding

Engagement, outreach, dissemination and impact initiatives
Results from the project will be disseminated by the student through multiple channels to a variety of stakeholders.
The sonic branding partners who will use the knowledge in their professional practice
The business clients who will benefit from the music/sound made using these ideas
A stakeholder workshop
An academic-practitioner study day/conference session,

Financial support
Studentships for doctoral research are 40 months in duration for full-time study. Awards are subject to satisfactory academic progress. Awards must be taken up in October 2023; no deferrals are possible. Awards will comprise fees at Research Council rates and a maintenance grant. The grant pays the fees at the Home/UK rate; international students are, however, eligible to apply for this Studentship and the difference between the Home/UK and International fee will be met by the University of Sheffield for a successful international applicant. Awards may be taken up on a part-time basis if a student is eligible to undertake part-time study; international applicants may be required to study full-time by the terms of their visa.

Qualifications
Applications are invited from students with a good first degree in an appropriate subject (e.g. music, computer science, music technology, psychology) and a Distinction in a Master=E2=80=99s degree appropriate to the topic (or strong evidence of working experience at an equivalent outstanding level). You should have some experience of computer programming (e.g. Python), and the ability to apply your programming skills to a music-related project. Experience of machine learning is not essential but desirable. We particularly welcome applicants who self-identify as being from underrepresented groups.

Requirements of the Studentship
WRoCAH students are required to undertake a bespoke training package and to complete a Researcher Employability Project of at least a month, a Knowledge Exchange Project, and to engage with Internationalisation.
All WRoCAH students must submit their thesis for examination with the funded period. This is a requirement of the Arts & Humanities Research Council, which provides the funding for WRoCAH, and is a condition of accepting a Studentship.

Before applying for any WRoCAH Studentship, please first ensure that you have read the WRoCAH webpages about the WRoCAH training programme and requirements, as well as other funding opportunities
http://wrocah.ac.uk/


How to apply
By 5pm Wednesday 26 April 2023, applicants are required to submit to WRoCAH an Expression of Interest, which should include:

1.CV with details of academic qualifications

2.covering letter comprising a two-page statement to convey your motivation and enthusiasm for the project, and to demonstrate your suitability for your intended PhD studies with the University and Project Partner.

The covering letter should specifically highlight the following:

Your interest in the project and details on why you have chosen that University and Project Partner.

How you will apply your current skills, knowledge and experience to undertake a PhD and the approach you would take to develop the project.

How the project fits into your career plans and ambitions.

Expressions of Interest must be submitted via this form.

May 2023: decision on short-listing
The short-list of candidates to be invited for an interview will be announced on Tuesday 2 May 2023.  Short-listed candidates must complete a PhD programme application before interview. If you are short-listed for an interview you will be sent details of how to apply for a place at the University of Sheffield. At that point you will need to submit the names and contact details of two referees, copies of transcripts of your academic qualifications and (if applicable) an IELTS certificate.

10 May: interviews

Interviews will involve the academic supervisor, Project Partner supervisor and a member of the WRoCAH Studentships Committee. They will be conducted online.

For more information about this project contact
Prof Nicola Dibben (n.j.dibben@sheffield.ac.uk)

Saturday, April 15, 2023

Fwd: EDIMS Open Forum on Aural/Neuro Diveristy in Music HE

Dear All (with apologies for cross posting)

You would be more than welcome to attend the next EDIMS (Equality, Diversity & Inclusion in Music Studies) Open Forum session on Tuesday 25th April at 1pm-3pm (BST)

You can reserve your spot at https://www.eventbrite.com/e/edims-open-forum-on-aural-neuro-diversity-tickets-617839383227

An opportunity to explore these widespread but very underrepresented issues. Roughly 20% of the population have recognisable neurodivergent traits, and it is possible, though under-researched that this percentage is even higher in the Arts industries and Higher Education. The world of HE is catching on to supporting neurodiverse students through their studies, but there is little acknowledgement of the value and needs of neurodiverse staff. Aural diversity is also something rarely if ever discussed in the context of music studies, but is something which many encounter without the tools and vocabulary to have meaningful discussions around. The range of ways in which we hear and think differently can lead to a rich and creative professional environment, but too often the systemic assumption that most of us are in some way 'typical' places obstacles in the way of many colleagues and students.

This session will be structured in two parts with a break mid-way. It will begin with an introduction to Aural Diversity with Prof. Andrew Hugill (University of Leicester) who has recently co-edited the first book on the subject (Routledge 2022). The second part of the session will be a more open discussion with Andrew and other neurodivergent academics working in Music HE, Dr Emily Baines (Brunel University), Dr Pete Furniss (Goldsmiths, Univeristy of London), and Prof. Allan Moore (University of Surrey). Participation in this discussion, which will include areas for future research among other subjects is encouraged, particularly from current students.


The event will take place on Zoom and participants will be sent the link the day before. (Please note you will need to be logged into a Zoom account to attend)

All best

Dr Emily Baines DMus FHEA (she/her)
Recorders, Historical Woodwinds
Senior Lecturer (Professional Practice) in Music
Music Admissions Tutor
Department of Arts & Humanities
Brunel University London


'Baines…shows us that familiar tunes…brought back to life by an artist can turn into gorgeous confections…[a] highly original programme.' – BBC Music Magazine
(The Ghost in the Machine, Amyas – Double 4* Review)

'Whether or not you have an interest in 18th-century performing style or mechanical musical instruments, this is a delightful sequence of pieces, expertly played by Emily Baines and her colleagues in Amyas.' – Andrew Benson-Wilson
(The Ghost in the Machine, Amyas)

'You'll love this!' – Record Review, BBC Radio 3
(Of Arms and A Woman, Blondel)

www.emilybaines.co.uk
www.amyasensemble.com
www.renaissance-winds.com


Thursday, March 23, 2023

Fwd: 2 calls for application: (1) SIMM research seminar on participatory opera and music theatre (Barcelona, 12-14.06.23) + (2) SIMM-posium (Brisbane, 20-22.11.23)



1. SIMM research seminar #6 on participatory opera and music theatre: 
The international research network SIMM is from 12 to 14 June 2O23 proposing a research seminar on this practice at the Barcelona based Gran Teatre del Liceu, which is itself very active in this field.  

2. SIMM-posium #8 in Brisbane, Australia:
SIMM is since 8 years actively developing a network of scholars and practitioners interested in research on the role music may play in social and community music projects and programmes. This year's SIMM-posium is organised in Brisbane Australia (20-22.11.23). Please share this information or send your own proposal for a paper presenting research in this field. 
The call for applications for this year's SIMM-posium can be found here. Deadline for applications is 29th April.


Tuesday, March 7, 2023

Fwd: ISPS 2023 | 17-20 August 2023 | Warsaw

Dear colleagues, 
 
I am writing to announce that the online submission portal for the International Symposium on Performance Science, ISPS 2023, in Warsaw (17-20 August 2023) is open. 
 
Please visit www.PerformanceScience.org to submit abstracts for: 
 
Spoken papers  
Poster presentations 
Symposia (a collection of spoken papers) 
 
The ISPS 2023 Graduate Paper Award will be offered to one graduate student to present a keynote paper at the conference. 
 
In addition, at the symposium, delegates will be able to vote for the highest quality poster presentation delivered by a graduate student. The student(s) with the highest vote tally will be given the ISPS 2023 Graduate Poster Award. 
 
Detailed instructions for submissions are available at www.PerformanceScience.org. 
 
With best wishes, 
 
Yours sincerely, 
ISPS 2023 co-chairs 
 
Aaron Williamon, London  
Krzysztof DÄ…browski, Warsaw 
 

 
CALL FOR PAPERS 

 
ISPS 2023 
Performance Care and Careers 
 
17 | 20 August 2023 
Warsaw | Poland 
 
www.performancescience.org 
 
The next International Symposium on Performance Science, ISPS 2023, will be hosted by the Chopin University of Music and the Medical University of Warsaw on 17–20 August 2023. 
 
The ISPS 2023 theme, Performance Care and Careers, is intended to encourage discussion and debate on connections between performance, wellbeing, and society. Specific research topics, fields of study, and methodological approaches have been left open intentionally to encourage interdisciplinary exchange. 
 
Submissions detailing original research are invited from all performance disciplines, offering new perspectives from across the arts and sciences. 
 
We intend to offer both on-site and electronic presentation options, although the former will depend on possible restrictions on public meetings and international travel in place at the time of the event. 
 
KEYNOTE SPEAKERS 
 
Roberta Antonini Philippe 
Institute of Sport Sciences 
University of Lausanne (Switzerland) 
 
Hans-Christian Jabusch 
Institute of Musicians' Medicine 
Dresden University of Music Carl Maria von Weber (Germany) 
 
Tapio Lokki 
Department of Signal Processing and Acoustics 
Aalto University (Finland) 
 
Hara Trouli 
Faculty of Medical Sciences 
University College London (UK) 
 
IMPORTANT DATES 
 
01 April 2023: Paper/poster abstract submission deadline 
01 May 2023: Notification of submission decision 
15 May 2023: Article submissions open for ISPS 2023 Research Topic in Frontiers 
01 June 2023: End of early registration 
17 August 2023: Start of ISPS 2023 
31 December 2023: Article submission deadline for ISPS 2023 Research Topic in Frontiers
 
SUBMISSIONS 
 
Submissions are invited for 
 
- Spoken papers 
- Poster presentations 
- Symposia 

Detailed instructions for submissions are available via the conference website: www.performancescience.org. Submissions should be made electronically by 01 April 2023. 

GRADUATE AWARDS 
 
The Scientific Committee is keen to encourage the attendance of students, as well as established researchers and practitioners. 
 
The ISPS 2023 Graduate Paper Award will be offered to one graduate student to present a keynote paper at the conference. 

In addition, at the symposium, delegates will be able to vote for the highest quality poster presentation delivered by a graduate student. The student(s) with the highest vote tally will be given the ISPS 2023 Graduate Poster Award. 

REVIEW PROCESS 
 
Each submission will be reviewed anonymously by the Scientific Committee according to its originality, importance, clarity, and interdisciplinarity. Corresponding authors will be notified by email of the Committee's decision by 01 May 2023. 
 
CONFERENCE PUBLICATION 
 
Building on the publication of articles from ISPS 2013, ISPS 2015, ISPS 2017, ISPS 2019, and ISPS 2021 in Frontiers in Psychology, the journal is hosting a Research Topic in the specialty section Performance Science for ISPS 2023 presenters. To qualify, the first (or corresponding) author must be a registered presenter at ISPS 2023, and the manuscript should be submitted to the journal for independent peer-review between 15 May and 31 December 2023. 
 
To learn more about the specialty section Performance Science, see www.frontiersin.org/Performance_Science. 
 
Note. The ISPS 2023 Research Topic replaces the Proceedings of the International Symposium on Performance Science. A proceedings volume will not be produced for ISPS 2023; however, published articles from all previous ISPS are freely available at www.performancescience.org. 
 
REGISTRATION 
 
Full and one-day registration options are available, which also include student discounts and online-only options. 
 
Online registration will open on 01 March 2023. 
 
For further information about the venue, submissions, graduate award, and registration, visit the conference website: www.performancescience.org. 
 
The official language of the conference is English. 
 
Aaron Williamon, London 
Krzysztof DÄ…browski, Warsaw 

Friday, February 17, 2023

Fwd: Lecturer in Audio Engineering (Research and Teaching)

Dear Music and Science List,

We are looking for a Lecturer in Audio Engineering to join us at the Institute of Sound Recording at the University of Surrey. The deadline is on 26/3/2023. Please share with colleagues who may be interested.

Many apologies for cross-posting. Thank you!

Best regards,
  Enzo

--
Enzo De Sena
Senior Lecturer (Associate Professor)
Institute of Sound Recording
Department of Music & Media
University of Surrey
Guildford, Surrey, GU2 7XH, UK
URL: desena.org

--

LECTURER A / LECTURER B IN AUDIO ENGINEERING
University of Surrey
Location: Guildford
Salary: £38,592 to £51,805 gross per annum
Permanent position + benefits
Post Type: Full Time
Closing Date: 23.59 hours BST on Sunday 26 March 2023
Reference: 001023

We seek an outstanding, self-motivated Lecturer to contribute to the education of exceptional future audio engineers and musicians on the BMus/BSc Music and Sound Recording (Tonmeister®) programme in the Department of Music and Sound Recording, and to conduct world-leading research.

The successful applicant will teach on the prestigious Tonmeister undergraduate programme as well as: organise and develop modules at undergraduate or postgraduate level; contribute to student recruitment; and conduct personal tutorials with students. The topics taught will depend on the profile of the successful applicant, but will include some of the following: audio engineering; audio signal processing; computer audio systems; electroacoustics; or sound synthesis. You will therefore have a good background in one or more of these topics at degree level, excellent administrative and organisation skills, and an ability to clearly explain topics related to audio engineering.

You will have the potential to develop and sustain research activities, with a clear vision for how your research will progress and an idea of how it might feed into or complement the Institute of Sound Recording's (IoSR's) goals of engineering perceptually-motivated audio signal analysis, processing and control systems. You will be encouraged to develop your own research profile and to produce high-quality research outputs, including books, academic journal articles or other appropriate forms of research output.

You will be joining a supportive and varied team of colleagues drawn from both academic and respected industry backgrounds. The programme has a small cohort of high-quality students, enabling a highly collegiate environment between staff and students. Our students are highly motivated and have a strong background in music, mathematics and physics. 

Running since 1970, the Tonmeister programme is unique in the way that it combines study of audio engineering, music, and practical sound recording.  It has produced a stream of successful alumni, including winners of Oscars, Grammys, EMMYs, BAFTAs, and the Mercury Prize. Our graduates work across a wide cross-section of the audio industry, from product design to film music composition, and this alumnus network enables us to call upon current industry expertise in many areas.  Alumni are very keen to give something back to the programme, and our reunions are excellent networking opportunities.  The programme includes a Professional Training Year, and we have regular placements with many high-profile companies including Abbey Road Studios, Focusrite/Novation and Sky Post-Production.

Research in the IoSR focuses on human perception of audio quality and uses this focus to engineer perceptually-motivated signal analysis, processing and control systems. Our projects have been funded by EPSRC, the European Commission and industrial collaborators, involving human listening tests, acoustic measurement, statistical modelling and digital signal processing. Current work is, for example, developing efficient methods of generating artificial reverberation, optimising reproduced audio on headphones in the presence of external environment sound, and modelling timbral perception.

There is opportunity to collaborate with many groups across the University; previous and current projects involved the Department of Psychology, the Centre for Vision, Speech and Signal Processing (CVSSP), the Surrey Institute for People-Centred Artificial Intelligence, and colleagues in Music.

The facilities available in the Department for teaching and research include: 3 recording studios containing high quality equipment including consoles from Studer and AMS-Neve; over 120 microphones for recording and technical measurement; an ITU-R BS 1116 standard listening room containing a 30-loudspeaker reproduction system; and a range of test and measurement hardware and software.  The Department is home to the Moog Sound Lab UK, and benefits from many links with the audio, video and computer games industries. The University is has recently invested nearly £3m in new and updated facilities for the Department, including a new film and television production studio, new computing labs, and an electronics laboratory.

At Surrey, we are committed to providing an inclusive environment that offers equitable opportunities for all, in the pursuit of Surrey's vision to be a leading global University. We work together to create a truly inclusive culture. We place great value on diversity and welcome applicants from all backgrounds. We are seeking to increase the diversity within our community and would particularly encourage applications from under-represented groups, such as women, people from Black, Asian and minority ethnic groups and people with disabilities.

Potential applicants are encouraged to contact Dr. Russell Mason (r.mason@surrey.ac.uk) or Dr. Chris Mark (c.mark@surrey.ac.uk) for an informal discussion about the role.

Interviews are expected to be held on 21 April. To apply, go to https://jobs.surrey.ac.uk/Vacancy.aspx?ref=001023


Best regards,
   Enzo

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Enzo De Sena
Senior Lecturer
Institute of Sound Recording
Department of Music & Media
University of Surrey
Stag Hill, University Campus, Guildford GU2 7XH, UK

Office: 08aBC03