IMR: Music and Shape conference (12-14 July 2012)

Music and Shape

12-14 July 2012

 

Senate House, University of London 

 

Call for Papers

 

/--Please see also the important note on accommodation at the end of this call for papers/--

 

Musicians habitually describe music as being shaped, especially when speaking of performance. This conference contributes to the AHRC-funded Research Centre for Musical Performance as Creative Practice and its project, based at King's College London, on 'Shaping Music in Performance' (www.cmpcp.ac.uk/smip.html), and is organised in collaboration with the Institute of Musical Research. The aim of the conference is to explore, from as many perspectives as possible, relationships between music and shape. Proposals for papers, sessions, lecture-recitals, research reports, soft-/hardware demonstrations, and posters will be welcomed from specialists in any discipline from the sciences, social sciences, humanities, engineering or performing arts that may be able to shed light on the creation, perception or reception of music (and especially musical performance) in relation to shape.

Following the conference, submissions will be invited to an edited, peer-reviewed book on music and shape.

 

Papers should last 20-30 minutes, research reports 10 minutes, and sessions 90 minutes. Lecture-recitals may last up to 45 minutes. The deadline for conference proposals is 19 December 2011. The conference programme will be published in February 2012.

 

Submissions should be made electronically in Word or PDF format to daniel.leech-wilkinson@kcl.ac.uk. Please provide your name, postal and email addresses, and any institutional affiliation on the first page.

Start your proposal on the second page and write no more than 300 words.

State your audio-visual or other equipment or space requirements after your proposal. All proposals should fully and clearly describe the topic of the presentation and should include the following information:

 

     * Background

     * Research questions

     * Aims

     * Summary of content

     * Significance

 

NOTE ON ACCOMMODATION

 

The Music & Shape conference happens two weeks before the start of the Olympic Games. Accommodation in or near London will be hard to find and very expensive. 100 rooms have been reserved for the conference at Travelodge Euston (£109 per night) and King's Cross (£99). Please book as soon as possible via the Institute of Musical Research (music@sas.ac.uk), and in any case before 1 June 2012. No rooms can be booked after 1 June 2012.

 

A booking form for meals and registration will be published at the same time as the conference programme in February 2012.

‘Rock and Roles’ conference abstract submission: deadline extended

Deadline Extended for Abstract Submission
'Rock and Roles' conference,
Institute of Contemporary Music Performance
London, England
July 23 & 24, 2012

www.icmp.co.uk/conference2012

Important news from UNESCO

The 36th Session of the General Conference of UNESCO agreed to:

 

1.       Adopt and support the The Seoul Agenda: Goals for the Development of Arts Education

2.       Designate the fourth week of May as International Week of Arts Education

3.       Support a Third World Conference on Arts Education.

 

The full resolutions as recorded at the UNESCO General Council are outlined below (Thanks to Canadian and German Commissions for UNESCO)

 

The World Alliance for Arts Education (WAAE: International Drama Education Association, International Society for Education in Art, International Society for Music Education and World Dance Alliance) has been active in developing and advocating for these initiatives.

 

Thanks go to the Korean Arts and Culture Education Services (KACES) and the Korean delegation at the 36th UNESCO General Conference for their advocacy for arts education during the conference in Paris. A statement from KACES re the announcement may be found at  http://www.artezine.kr/english/view.jsp?articleldx=1498

 

2012 will see the inaugural celebration of the International week of Arts Education

 

Item 5.13 – Implementation of the "Seoul Agenda: Goals for the Development of Arts Education", outcome document of the Second World Conference on Arts Education

 

The General Conference,

 

Recalling 35 C/Resolution 40 on the promotion of arts education,

 

Taking into consideration 185 EX/Decision 44,

 

Having examined document 36 C/55,

 

1. Welcomes the positive results of the First and Second World Conferences on Arts Education (held in March 2006 and May 2010) which highlighted the importance of high-quality arts education for all and of strengthening cooperation among various stakeholders (national authorities, local governments, teachers, artists, researchers associations and NGOs) and through the network of UNESCO Arts Education Observatories and Chairs to the development of best practices and the reinforcement of the position of arts education in schools and in societies;

 

2. Invites Member States to ensure the follow-up to the Second World Conference by employing the strategies proposed in the Seoul Agenda and by implementing in a concerted manner the action items set out therein for the renewal of education systems;

 

3. Requests the Director-General to provide support for the mobilization of extrabudgetary resources for the holding of the Third World Conference on Arts Education and to ensure appropriate intersectoral cooperation between the Culture and Education Sectors of UNESCO in promoting and integrating arts education, in particular in the context of the education for all (EFA) and education for sustainable development (ESD) plans;

 

4. Decides to proclaim the fourth week of May as the International Arts Education Week and to encourage all Member States, civil society, professional organizations and communities to organize relevant activities on that occasion at the national, regional and international levels.

Leonardo Dreams of his Flying Machine

University of London Chamber Choir
conducted by Colin Durrant
Music by Poulenc, Byrd, Purcell, Whitacre and Jackson
Holy Trinity Church, Littlebury
Saturday 19th November 2011 - 7pm
www.ulchamberchoir.co.uk

imerc/IOE team receives award from RSPH

The Royal Society for Public Health Awards mark significant
contributions to research and practice in the field of Arts and Health
and are now in their fourth year. This year, the awards recognised
substantial achievements in original contributions to research and
evaluation that focused on the contributions of music and arts
organisations to health and wellbeing in healthcare and community
settings.

The research team from the International Music Education Research
Centre (imerc), Institute of Education, University of London received
an Arts and Health Award 2011 for their evaluation of the UK
Government's National Singing Programme 'Sing Up' in England. Members
of the research team that attended the special award ceremony at the
RSPH on 21st September in London were Professor Graham Welch, Dr Jo
Saunders and Dr Evangelos Himonides.

Photos supplied courtesy of RSPH (www.rsph.org.uk), photo 1: Award
Winners, photo 2: The IOE team receives award from Baron Hunt of Kings
Heath.

new book: Communication in Theatre Directing and Performance: From Rehearsal to Production By Jennifer Lanipekun

Communication in Theatre Directing and Performance: From Rehearsal to
Production By Jennifer Lanipekun
Description

For those wishing to develop their professional voice in theatre, it
is common to draw on practical training and experiences as their main
foci. Observational undertakings, apprenticeships, and personal
endeavours are also customary ways to further this development of
their persona as director or performer. There has been little in the
way of academic research or study of general principles to open the
door to formal discussion of the theatrical processes involved in
creating a production. Common approaches are personal (mainly
autobiographical or context-specific) assessments that recount
individual episodes and milestones within the careers of well-known
and respected individuals. Although such methods are informative and
often interesting, formal analytical tools to undertake production
analyses and intellectual comparisons are still needed.

This is the first study that attempts to apply a systematic process to
the mysteries of directorial communication within a theatrical
setting. Categories created using this methodology make comprehensive
breakdown and analysis possible of those elusive interpersonal
interactions, the communication flow, during the period of rehearsal
leading to a production. As such, the case studies make available some
of the inner individual experiences from each company's endeavour, the
artistic journey, successes and pitfalls, viewpoints and reflections
of those involved, the changing styles of communication, and thus,
many important lessons that would be otherwise completely unavailable
to a wider audience. Whilst centring specifically on opera as a
medium, the examination unpicks general processes of theatrical
rehearsal, profiling individuals at work in a systematic way that
begins to uncover and identify patterns of behaviour. The study, thus,
draws important lessons from observation of that process which can
then be applied to future experience, assisting the novice especially,
whose previous recourse was mainly limited to trial-and-error
approaches within their own personal production experience.

Communication in Theatre Directing and Performance is an important
addition to the general study of theatrical performance communication
and its analysis. The case studies and interviews are especially
helpful because the reader will not only be able to read directly the
views and experiences of professionals at work but also to unpick and
analyse those processes taking place over a period of rehearsal.

Its ability to bring into relief the practices of theatrical
professionals makes this study an invaluable option for university
drama departments, colleges of drama training, as well as for
individuals at a more advanced point in their professional existence
who are looking to evolve their understanding and artistic style.

Research Seminar Announcement

Music Education Special Interest Group

 

Research Seminar Announcement

 

The private world of public master classes: instrumental sub-cultures and gendered perspectives on excellence

 

Dr. Marion Long

 

 

Date: 17^th October 2011

 

Time: 12.30 – 1.30

 

Room: 784

 

Further details from Lucy Green, l.green@ioe.ac.uk

 

All are welcome

 

 

Abstract

 

Public master classes provide students with an opportunity to both perform in front of colleagues, teachers and the public and to receive feedback on their performance from a master musician, selected for their musical expertise in a particular musical repertoire. The master musician is perceived to possess an exceptional blend of musical knowledge derived from firstly a distinguished musical career as a high profile performer and secondly in most but not all instances, a rigorous training in the values and methods of a particular musical tradition.

 

Recent research by Hanken (2008) has identified that master classes are relatively complex forms of learning in which the traditional master-apprentice pedagogic model expands to incorporate an audience. The presence of the audience of colleagues, faculty teachers and the public creates a particularly pressurised learning environment which tests an individual student's ability to perform convincingly. This audience can be described as 'informed' because it typically brings to this arena a shared awareness of the conventions of the musical style, and a specialised knowledge of a particular musical instrument or voice. The master musician judges the performance and provides positive, constructive or negative feedback, reflecting an expectation that the student will strive to master and to transcend the structural formalities and stylistic conventions relevant to the music that they have performed. 

 

A team of researchers from the Institute of Education and the Guildhall School of Music & Drama have investigated 373 conservatoire students' experiences and perceptions of various types of master class, collected in a questionnaire and analysed using quantitative and qualitative approaches. Students' performing experiences of public master classes were found to differ significantly according to their principal instrument of study. Further differences involving students' experiences as members of the audience reflected combined factors of principal instrument of study, gender and year at college. In particular these findings indicated that perspective taking on the concept of musical excellence was articulated through gender. A discussion of these findings will examine firstly, the extent to which students' performing and listening experiences and perceptions of public master classes were to some extent predetermined by intrinsically exclusive or inclusive attitudes towards music and secondly, the implications for the reproduction of musical sub-cultures and gendered perspectives on excellence in schools as music students take up positions as instrumental music teachers.

 

MARION LONG completed her PhD in Psychology of Education at the Institute of Education University of London, UK. Her PhD examined the effect of a music intervention on the temporal organisation of children's reading behaviour. She is involved in several research studies across a range of topics.

Call for papers: SPECIAL ISSUE Journal of Music, Technology and Education

Journal of Music, Technology and Education

Special Issue

An examination of affordances of the application of 'open source' to music education.

Guest Editors: Ketil Thorgersen (Sweden)  Lauri Väkevä (Finland) , Mikko Myllykoski (Finland) Steve Dillon (Australia), Alex Ruthmann (USA)

Call for papers

Brief description

This special issue of JMTE (http://www.intellectbooks.co.uk/journals/view-journal,id=152/) will examine the affordances of the application of 'open source' to music education. Each article will focus on one particular aspect and context.

The publication of this special issue follows on from an international symposium presentation at the Research in Music Education conference in Exeter in the UK in April 2011. The symposium revealed significant aspects of the need to apply development of philosophy and practice around the concept of open source in music classrooms.

 

Proposals

Music practitioners and researchers are invited to contribute research articles (6,000 words) or project reports (3,000-4,000 words) that look beyond open source a set of licenses and to consider the ideas and ideals that constitute what can be considered the open source movement and possible implications for music education research. What is it that makes masses of people spend their skills and time to produce software for free, which anyone can make use of and continue to develop freely and what constitutes such a generative society? The aim is for articles to elaborate on this from philosophical, pedagogical and practical technical points of view in an open atmosphere where the hope is that knowledge will be generated collectively through the session in an open sourced mode.

 

Articles could address, but are not limited to the following questions that arise for music education:

 

1) How should music educators relate to different arguments for and against creative recycling in the digital music culture?

2) Is it possible to teach music taking seriously the argument for Music 3.0, and if it is, how can we support creativity full-scale in music education recognizing this possibility?

3) How can we offer versatile musical content and tasks with educational open source applications?

4) How to maintain people's individual rights to their own musical content in open shareable software environments?

5) Might "Music" be the original "open source" project? What might we gain or lose by looking toward technological models for music education?

6) What might be afforded by providing students with the tools to design and build theri own musical environments?

7) What are the relational pedagogies needed for this approach?

8) How can we apply the philosophy of 'open source' technology in music education?

 

A Prezi outline of the RIME symposium can be found at: http://prezi.com/cm0vnmiayfq-/open-source-and-music-education-rime-2011/

 

Proposals for research articles and project reports should be e-mailed to Ketil Thorgersen (Sweden)  Lauri Väkevä (Finland) , Mikko Myllykoski (Finland) Steve Dillon (Australia), Alex Ruthmann (USA)

no later than 31 October 2011, and include a 250- 500 word abstract, the title of the proposed article, a brief biography (200 words max), and the contact details of the author. Authors will be notified of the outcome of their proposals by the end of December 2011. If successful, the full articles would need to be submitted by the end of January 2012.

 

For more information, contact:

Dr Ketil Thorgersen ketil.thorgersen@utep.su.se

Dr Steve Dillon, Queensland University of Technology: sc.dillon@qut.edu.au

Dr Lauri Väkevä lauri.vakeva@siba.fi

Dr Alex Ruthmann alex.ruthmann@gmail.com

Dr Mikko Myllykoski mikko.myllykoski@campus.jyu.fi

Call for Papers: Rock and Roles conference

 

23rd & 24^th July 2012

 

Institute of Contemporary Music Performance, London, UK.

 

Theme: Philosophy and sociology of popular music education

 

The Institute (www.icmp.co.uk) has been one of the world's leading providers of education in contemporary popular musics for almost thirty years. The Institute's 2^nd biannual international conference, 'Rock and Roles', offers a forum for dissemination and discussion of research and practice on topics including, but not limited to:

 

• Careers and continuation
• Cultural perspectives
• Creativity
• Canon and the contemporary

 

Papers are invited from scholars at all stages in their careers. Research may be completed or ongoing.

 

Keynote speakers               

Ruth Wright (University of Western Ontario)

TBC

                                               

Academic review panel to include:

Dr Gareth Dylan Smith (Chair) (Institute of Contemporary Music Performance)

Terence Gregory (Institute of Contemporary Music Performance)

Atar Shafighian (Institute of Contemporary Music Performance)

Prof Andrew Blake (University of East London, Emeritus)

Dr Helena Gaunt (Guildhall School of Music and Drama)

Prof Lucy Green (Institute of Education, University of London)

Dr Don Lebler (Griffith University)

Dr Richard Osborne (Middlesex University)

Dr Carlos Xavier Rodriguez (University of Michigan)

Chris Sampson (University or Southern California)

Dr Sidsel Karlsen (Hedmark University College)

 

Abstracts submission deadline:         1^st November 2011

Presenters notified:                            15^th January 2012

Registration from:                                1^st February 2012

Early-bird registration:                        1^st May 2012

Registration:                                         1^st June 2012

 

Abstracts must be between 250 and 350 words, and should be emailed to conference@icmp.co.uk. Please include in the abstract any special requirements for your paper, and whether you propose to present a spoken paper, poster, panel, symposium, or workshop. Spoken papers will be allotted 20 minutes each, plus 5 minutes for questions; symposia will be scheduled for 30-45 minutes; workshops will be given 45-60 minutes.

 

Please send abstracts as MS Word documents. In your email, please include your name and institutional affiliation. Do not include your name or institutional affiliation in the body of the abstract, as all abstracts will subject to blind peer-review.

 

A conference website will be accessible in due course.

University of Amsterdam: Assistant Professor ‘Pop Music and Popular Culture’

Assistant Professor 'Pop Music and Popular Culture'

full-time (38 hours per week)

vacancy number W11-136

With support from a generous financial endowment by the 'Duurzame Geesteswetenschappen' (Sustainable Humanities Project), the Faculty of Humanities is able to employ a new generation of scholars. This position is one of them.

The candidate has demonstrated outstanding competence in the field of pop music and popular culture studies. Since pop music and popular culture are major sources of the creation of meaning in the present audiovisual culture, s/he works in a multidisciplinary perspective, exploring and mutually relating musical, textual, media and performative aspects in a social, cultural and political context.

S/he has a keen eye for the possibilities of collaboration with other (performing) arts and arts related institutions and academies in Amsterdam as well as a proactive approach in initiating such collaborations. The scope of his/her interest in pop music and popular culture extends well beyond the North-Atlantic world and music industries.

S/he has an outspoken affinity with one or more of the faculty's research foci: first of all Globalization, with a possible development in relation to Heritage and Cognition.

Tasks

• teaching and developing teaching activities both as part of the programmes of Media Studies, and Arts, Religion and Culture Studies (Musicology) (55% of the tasks)
• (co-)supervising Bachelor's and Master's theses
• independently conducting research in the area mentioned, resulting in contributions to leading international publications (40% of the tasks)
• co-supervising PhD candidates
• making a contribution to raising contract and indirect funding
• administrative duties (5% of the tasks)

Requirements

• relevant PhD degree
• experience in research and excellent research skills, evidenced by publications in renowned international professional journals / book form
• teaching experience at university level and demonstrable didactic abilities and / or training, evidenced by an educational portfolio
• experience with digital and audio-visual equipment; affinity with ICT in academic education
• team spirit and capable of functioning at all levels of more than one study programme
• willingness to develop in a multidisciplinary capacity in order to be able to participate in multiple areas of the Faculty's curriculum
• organisational experience and skills
• thorough knowledge of Dutch and English; non-native Dutch speakers must achieve fluency in Dutch within two years

Further information

Further information can be obtained from:

• Prof. Rokus de Groot, +31-20-525.4445, R.deGroot@uva.nl
• Prof. Frank van Vree, +31-20-525.3847/525.2980, F.P.I.M.vanVree@uva.nl

Appointment

The appointment will either be in the Department of Media Studies or in the Department of Art, Religion and Cultural Studies. In addition to regular teaching duties at one of the departments you will also be required to teach a minimum of 300 hours at the other department. Research will be caried out within the Amsterdam School for Cultural Analysis (ASCA) or the Institute of Culture and History (ICH).

The appointment will initially be for a period of no more than two years. Subject to satisfactory performance, a permanent appointment will be offered.

The gross monthly salary will range from €3,195 (scale 11) to €4,970 (scale 12) based on a full-time appointment (38 hours a week).

Job application

Applications should be sent before 1 september 2011 to the Universiteit van Amsterdam, to the attention of the Dean of the Faculty of Humanities, Prof. J.F.T.M. van Dijck, Spuistraat 210, 1012 VT Amsterdam. Please state the vacancy number in the upper left corner of the envelope. You may also submit your application by e-mail to solliciteren2011-fgw@uva.nl with the vacancy number in the subject field.

Applications should include:

1. a curriculum vitae
2. a research proposal (max. 500 words) related to the theme and to the research priority area 'Cultural Transformations and Globalisation' or 'Cultural Heritage and Identity' (ICH)
3. a proposal for a course that potentially fits in the Faculty's curriculum (bachelor's programme, 6 EC, given in eight weeks)

See for more information about the research priority areas www.hum.uva.nl/research/priority-areas.cfm and for the BA and MA programmes www.hum.uva.nl/education/default.cfm.

The selection process will include a trial lecture. The interviews and trial lectures are scheduled for 10-14 October, 2011.