Fwd: CALL FOR PAPERS: Qualitative Interviewing in Music Research: A Study Day Royal College of Music (in-person & online)

Royal College of Music (in-person & online)

Thursday 27 June

10am-5pm


Qualitative interviewing offers an opportunity to shine a spotlight on participants' experiences and perspectives on a given topic. It plays an important role in knowledge generation, allowing researchers to question the underlying assumptions of existing theories and engage in the development of new theories.

This event will bring together doctoral students from a range of disciplines within music research (e.g. music psychology, ethnomusicology, performance) to share ideas about methods and challenges in qualitative interviewing, and to learn from each other. In addition to presentations from doctoral students on their own experience, we will have two keynote presentations from Dr Katherine Williams, Research Fellow in Popular Music Songwriting (University of Huddersfield) and Dr Jan Herbst, Reader, Department of Music & Design Arts (University of Huddersfield).


We warmly invite proposals for presentations from any doctoral student with an interest in qualitative interviewing in music research. Topics may include (but are not limited to):

·         Recruitment (e.g. how did you recruit participants for your study, and what impact did this have on the research process?)

·         Ethics (e.g. what ethical considerations were important to your study and how did you address them? What are your recommendations for other researchers to consider?)

·         Interviewing techniques (e.g. How did you prepare for your interviews? In what manner did you conduct your interviews? How did you build rapport with participants?)

·         Approaches to data analysis (e.g. How did you prepare for your data analysis? How did you choose your data analysis method and in what ways did this address your research question(s)?)

Presentations should run for approx. 20 minutes. Creativity is encouraged in the formatting and delivery of presentations. Proposals are welcome relating to any stage of the research process, from inception to data analysis; and from doctoral students at any stage in their research.


Please submit your proposal using this form: https://forms.office.com/e/X4ZMXcxXWp

Individuals will receive a decision regarding their proposal by 30th April. Further details on the programme for the study day will be circulated closer to the event.

A small number of travel bursaries will be available for speakers if travelling to the Royal College of Music from outside of London.

If you have any questions relating to the study day, please send an email to mark.rowles@rcm.ac.uk

Fwd: National survey of carers in HE (UK)-reminder

Dear Colleagues

I am sharing this final call as we will be closing our survey of carers in UK HE at the end of the month. Many thanks to those of you who have replied.

To be eligible, you need to be employed by a UK-based university and to be a carer (broadly understood, including as a parent, for a friend, a relative etc.). Here's the link:
https://angliaruskin.onlinesurveys.ac.uk/national-carers-survey-uk The outcomes will help us to better understand the experiences of carers in higher education and to provide recommendations to the sector.
We have received ethical approval for this project and are happy to address any question.
Warm wishes
Marie-Pierre

 

 

Marie-Pierre Moreau

Professor of Education - Education Research Lead - CERII Director - ARU, Cambridge, CB1 1PT.  

  

 

Fwd: [DMRN-LIST] job vacancy: Research Fellow on Generative Audio AI

Applications are invited for a vacancy: Research Fellow on Generative Audio AI, to work in the area of generative AI for audio generation with text and video prompts, at the Centre for Vision Speech and Signal Processing, University of Surrey, UK. Application deadline: 21st April 2024 (Sunday).

More details about the vacancy and the online application form can be accessed from the link here: https://jobs.surrey.ac.uk/Vacancy.aspx?id=13954&forced=2

Please feel free to circulate it to those who might be interested. Sorry for the cross-posting. 

Many thanks. 

Best wishes,
 
Wenwu
 
 
--
Wenwu Wang

Professor of Signal Processing and Machine Learning

Centre for Vision Speech and Signal Processing (CVSSP)

& Surrey Institute for People Centred AI

University of Surrey

Guildford, GU2 7XH
United Kingdom
Phone: +44 (0) 1483 686039
Fax: +44 (0) 1483 686031
Email: w.wang@surrey.ac.uk

https://personalpages.surrey.ac.uk/w.wang/

Fwd: [DMRN-LIST] Society for Music Production Research Inaugural Conference September 12-14, 2024 • Leeds Beckett University, Leeds, UK

Call for Proposals

Society for Music Production Research Inaugural Conference

September 12-14, 2024 • Leeds Beckett University, Leeds, UK

 

Deadline for abstracts: March 15, 2024

Change and Continuity: Traditions, Tensions and Transformations in Music Production

 

The deadline to submit for the inaugural SMPR Conference, scheduled for the 12th-14th September 2024 at Leeds Beckett University (UK), has been extended to the 15th March 2024 (Midnight 12:am EST).

 

The call for papers and submission form is available via this link: https://bit.ly/SMPR2024CFP. Submission types include:

 

Individual Papers – 20-minute presentations with 10-minute Q&A. Submit an abstract of up to 300 words. Include the Title, Author(s), contact information, and 3-5 keywords. Abstracts should summarize the context and argument of the paper and a brief conclusion.

Organized Panels - up to 2 hours consisting of a moderated presentation with 4-6 participants. Submit an abstract of up to 300 words describing the panel theme, rationale, and goals. Include a list of participants, designated moderator, and a list of 3-5 keywords.

Themed Session – up to 2 hours consisting of 3-4 papers. Submit an abstract of up to 300 words describing the panel's theme, list of proposed papers, rationale, and goals and a list of 3-5 keywords.

Alternative Presentations – up to 2 hours. Submit an abstract of up to 300 words describing the theme, rationale, and goals of a non-standard presentation. Include a list of 3-5 keywords, the delivery format, and any special requirements.

Virtual Presentation - For colleagues who are unable to travel to the conference but still wish to present their work, there will be a very limited number of virtual presentation slots. Slots will be a 15-minute video presentation to be submitted BEFORE the conference with 10-minute online Q&A. Submit an abstract of up to 300 words. Include the Title, Author(s), contact information, and 3-5 keywords. Abstracts should summarize the context and argument of the paper and a brief conclusion.

 

The conference will include the first annual meeting and election, and we'll be welcoming contributions from colleagues across the wide spectrum of music, and from various other organisations, including the Art of Record Production (ARP), the International Association for the Study of Popular Music (IASPM) and the Audio Engineering Society (AES). We'll be announcing keynote speakers and more information on the event shortly but please spread as widely as you can across your own networks.

 

 

If you have any questions, please get in touch and we look forward to your contributions!

 

Conference committee: 

• Alex Stevenson, Course Director for BA Music Performance and Production & BA Music Industries Management a.s.stevenson@leedsbeckett.ac.uk 
• Paul Thompson, Reader in Popular Music, p.a.thompson@leedsbeckett.ac.uk 
• William Moylan,  Professor Emeritus of Music and Sound Recording Technology, University of Massachusetts Lowell
• Samantha Bennett, Professor of Music, Australian National University

Fwd: [DMRN-LIST] PhD position: Interactive Sound Spaces - Deep Learning Architectures for Creative Sound Practices and Musical Applications

How do we make music with wicked sounds generated by Deep Learning architectures?

We are looking for candidates for a PhD position, in the project Interactive Sound Spaces - Deep Learning Architectures for Creative Sound Practices and Musical Applications at Chalmers University of Technology in Sweden. We will research and develop novel Deep Learning tools for various musical interaction modalities and possibilities, to thereby help, guide, and enable creative practitioners in the novel ways of exploring, selecting, designing, and performing sound. Please find the more details of the project at the following link: https://tinyurl.com/ypyjxz83

The deadline for applications is April 15th, 2024.

This position is part of a broad call for up to five fully funded PhD positions in Computer Science and Engineering covering areas such as: data science, logic and types, natural language processing, formal methods, software engineering, interaction design, computer graphics, and networks and systems. Candidates choose a project from a list of various topics in Computer Science fields to apply. If you would like to work in Deep Learning architectures for experimental music and sound practices, 

Please state in your cover letter that you are applying for the project DSAI01 - Kivanc Tatar - Interactive Sound Spaces - Deep Learning Architectures for Creative Sound Practices and Musical Applications. More info about the application procedure is below.

Please submit your application using the button at the end of the official call page at the link below: 

https://www.chalmers.se/en/about-chalmers/work-with-us/vacancies/?rmpage=job&rmjob=12588&rmlang=UK

Qualifications

To qualify as a PhD student, by the starting date, you must complete the requirements for a master's level degree of at least 240 higher education credits in Computer Science and Engineering or in a study program relevant to your chosen research area.

The working language at the department is English, the position requires sound verbal and written communication skills in English.

Contract terms

Full-time employment. The position is limited to a maximum of five years.

We offer

Chalmers offers a cultivating and inspiring working environment in the coastal city of Gothenburg. Read more about working at Chalmers and our benefits for employees.

Swedish is not a pre-requisite for applying. If you wish to learn Swedish, Chalmers offers Swedish courses to support your integration in Swedish society.

Application procedure

The application must include the following materials:

• Selection of minimum one and maximum two of the projects indicating, which of the two is the preferred project to work on.

• A cover letter explaining the merits of the candidate and describing clearly their suitability to the first ranked project. The cover letter must not exceed two pages. In the case of candidates who have not completed their required qualifications, the letter should include a clear statement as to their expectations to complete their qualifications.

• A CV detailing previous experience including links to additional materials such as theses, publications, previous projects, or similar.

• Certificates of previous degrees and transcripts of courses the student passed and their grades.

The application is to be written in English. The interview and assessment process will include:

1. Shortlisting:

1. Shortly after the application deadline, suitable candidates will be contacted by the respective supervisors.

2. Candidates should be ready to present a previous project at a master level within at a short notice of about a week.

2. Interview:

1. Shortlisted candidates will be asked prior to the interview to complete a small take-home assignment related to the project they have selected.

2. Shortlisted candidates will be invited to an online interview of about 1 hour, including a discussion of their assignment and other relevant questions.

If you have questions, please feel free to contact:

Regarding employment, application procedures, and positions: Sanna Staf (sanna.staf@cse.gu.se)

Regarding the projects and other questions: Nir Piterman (piterman@chalmers.se)

Thank you,

Fwd: [DMRN-LIST] CfP Listen to the Web

Dear DMRN, 

Please find embedded a link to a Call for Papers for a workshop on "How do we listen to the Web?". We invite presentations, demos, and papers about experiences or provocations in this area as a workshop that will run on 21st May, 2024 as part of the Web Science conference programme.

https://iaine.github.io/ListentotheWeb/

Topics include, but not limited to:

• Sonification, musification or audification

• Modelling

• Designs and patterns

• Inclusive Design Approaches

• Uncertain and Incomplete Data

• Temporality

• Machine Listening

• Tools and techniques

• Explaining Computational Models, not limited to Artificial Intelligence or Machine Learning

• Sonic Epistemology

• Listening

• Sonifying the usage and evolution of the Web in a global context

Activities

The session will begin with short presentations, such as paper or audio of about 10 minutes before moving to a working session to develop resources and links.

The abstract submission deadline is April 4th.

If you have any further questions about the event, please do email me. 

Thanks, 

Iain

Iain Emsley
Research Software Engineer
Iain.Emsley@warwick.ac.uk

Fwd: [DMRN-LIST] Call For Papers: Commercial Electronic Musical Instruments in 21st Century Music Practice

Call For Papers: Commercial Electronic Musical Instruments in 21st Century Music Practice

The 21st Century Music Practice Research Network's 2024 Two Day Conference is on Mon & Tue, 9^th & 10^thSeptember 2024 at the University of West London, St. Mary's Road, Ealing, London W5 5RF.

2024's C21MP network event is themed around Pete Townshend's long-term loan to UWL of his extraordinary collection of commercially produced electronic musical instruments. Presenters who wish to use one or more of the instruments from UWL's Townshend Studio in their video or in the session should contact the organisers to discuss the possibilities (see list below).

The format of the conference is a repeat of last year in that it is inspired by the format of the 'flipped classroom':

• Themed panels involve three 'presenters' and a discussant / moderator. Presenters must be able to attend in person on 9^th & 10^th September 2024.
• Each presenter produces a 20 minute video of their presentation in advance of the conference which are available online for attendees (and the public) two weeks in advance. All presenters and moderators must watch all three videos in advance of their 'in person' session.
• During the session, each presenter gives a five minute summary / abstract which is followed by 75 minutes of discussion between the four panellists and with audience involvement, led by the discussant / moderator. 
• Presentations can involve practical demonstration, musical examples and performance but must address a research question and point towards or provide answers / new knowledge. If you want to use one or more of the instruments in UWL's Townshend Studio please contact the organisers.

300 word abstracts using the format outlined below should be submitted to 2024conference@c21mp.org by 5pm GMT on 28^th April 2024 and selected abstracts will be notified by 26^th May 2024.

Selected abstracts will submit 20 minute videos by 5pm GMT on Monday 12^th August 2024

Proceedings will be published on the website.

There will be eight panels based on the following:

Conference Themes

1.     Music technology - discussions about the nature of Commercial Electronic Music Instruments (CEMIs) - their unique sounds and the types of interfaces both for triggering the sounds and for editing them. How are sampling and synthesis being used to create new instruments? Are there alternatives to speaker-based electronic instruments?

2.     Creative entrepreneurship - how are developments in CEMIs playing out in the economy? What products and services are being developed? For whom? Where? And Why? How are music consumers engaging with electronic music in different ways to the ways they 'normally' engage? How can music makers and instrument makers work better together?

3.     Composition and song writing - approaches to using CEMIs for composing, song writing and arranging. Why and How is it different? How do the sounds make a difference to what is or can be written or produced? How do the interfaces and instrument design make a difference to what is or can be written or produced?

4.    Diversity and Access - how do different forms of privilege (socio-cultural and economic) play out differently through CEMIs? How and why have these technologies been situated in professional, educational, industrial, amateur and domestic settings? What can we do to improve things and how can we use them as tools to improve equality, diversity and inclusion? Who are the 'outsiders' in these art forms and what are they doing that is different?

5.     Methodology and practice - given the amazing collection that Pete Townshend has given us access to, what can and should we be doing with it and why? What are the issues for conservation that flow from his insistence that these are instruments that need to be used? What are the wider implications of this?

6.     Collaboration - what are the creative possibilities for collaboration with CEMIs that are different to those for acoustic instruments? Why are there so few electronic orchestras and what kind of repertoire do and/or should they be performing? 

7.     Pedagogy – as the evidence about the benefits of music education mounts up and its support in formal education decreases, what can CEMIs offer to help this alarming situation? Can they help with engaging children with logical thinking and STEM subjects? What do we know about the way that people first encounter CEMIs has an influence on their engagement? 

8.     Performance – the growth in modular synthesis has seen an explosion in new forms of electronic music performance. What are the differences and possibilities that electronic instruments offer? What other possibilities do CEMIs offer in terms of control and expression? 

Abstract Format

Your abstract will be assessed on the following criteria:

·       You have clearly identified the theme / panel you wish to be considered for and why.

·       There is a clear research question or problem and an explanation of how it might produce new knowledge or understanding

·       The abstract provides a clear idea of the form your presentation will take.

·       It is clear how this presentation will contribute towards a meaningful discussion of the theme.

List of Equipment in the Pete Townshend Collection

This is a preliminary list. More will be added to the list when we take delivery of the additional items:

·       Yamaha GX-1 Electone

·       Linn Drum LM-1

·       ARP 2500

·       Roland Jupiter 8

·       Prophet 10

·       Yamaha CS-80

·       Moog Model 15

·       Moog System 35

·       Wurlitzer student electronic piano

·       Fender Rhodes Eighty Eight

·       ARP Avatar guitar synth

·       Analogue Solutions Colossus

Fwd: MSc/PhD scholarships: Song/speech across cultures (CompMusic Lab, University of Auckland)

Dear colleagues (with apologies for cross-posting),

We are delighted to announce the availability of 1-2 fully funded MSc/PhD scholarships on cross-cultural relationships between song and speech in the School of Psychology, University of Auckland. Successful applicants will be working in the CompMusic Lab under the supervision of Dr. Patrick Savage and Prof. Suzanne Purdy (Te Rarawa, Ngāi Takoto).  

The closing date for applications is: Sunday 31^st March 2024.

Details of the scholarship application and eligibility requirements are available here. 

Please contact Dr. Patrick Savage at patrick.savage@auckland.ac.nz (informal enquiries welcome).

—
Ngā mihi / Regards / よろしくお願いします
Dr. Patrick Savage (he/him)

Director, CompMusic Lab

Senior Research Fellow, School of Psychology, University of Auckland / Waipapa Taumata Rau (Room 302.349)

Associate Professor, Faculty of Environment and Information Studies, Keio University

Fwd: [DMRN-LIST] Opportunity to win a Fellowship at the Centre for Digital Music

Both the Royal Society (Royal Society Newton International Fellowships) and British Academy (International Fellowships ) have open calls for applicants to win funding that can be used to work with us at Queen Mary's Centre for Digital Music. If you are interested, please drop a line to the most appropriate academic host (from our list of faculty here: https://www.c4dm.eecs.qmul.ac.uk/people/) and start a discussion.

 

The 2-year fellowship scheme is for non-UK researchers who are at an early stage of their career (normally no more than 7 years postdoctoral experience) and wish to conduct research in the UK, working with an established independent researcher who will be the 'sponsor'.

 

Because applications must be submitted by 13^th March 2024, there isn't a huge amount of time until the deadline. If you are interested in applying could you please get in touch as soon as possible.

 

Best wishes       

-- 

professor mark sandler, FREng, CEng, FIEEE, FAES, FIET

director of the centre for digital music (c4dm)

school of electronic engineering and computer science
queen mary university of london

mark.sandler@qmul.ac.uk | +44 (0)20 7882 7680

 

Fwd: [DMRN-LIST] music AI creativity 2024

Call for Participation

The Conference on AI and Music Creativity is an annual conference bringing together a community working on the application of AI in music practice. The AI and Music research focus is highly interdisciplinary with topics ranging from performance systems, computational creativity, machine listening, robotics, sonification, and more.

The 2024 conference will take place September 9-11 at Oxford University where we will be joined by two distinguished speakers: Dr Maya Ackerman Associate Professor of Computer Science and Engineering at Santa Clara University, and CEO/Co-Founder of musical AI startup, WaveAI, and London-based pianist, composer and technologist Dr. Zubin Kanga. 

The theme of the conference will be the Interconnections between Music AI and other fields, where we are interested in how the Music AI community considers connections and intersections with other fields of research and practice. We encourage authors, composers, performers, and artists to examine the intersection between their work in AI and other fields - see below for indicative topics. We encourage contributions that articulate not only how other fields inform Music AI research and practice, but how Music AI contributes or may contribute to other fields.

Dates

March 10th submission closes

April 30th - notification to authors

July 15th - Camera ready version of submissions

September 9 conference opens

All submissions will be created on pubpub.org while the review process will be handled through a conference management systems. Detailed instructions about the process will be available under the Call tab in the conference webpages (link above). Paper submission should be anonymised. This is not required for music or workshop/tutorials submissions.