Deadline EXTENDED to July 9 -- Musical Metacreation Workshop (MUME2013)

-------- Original message --------
From: Graeme McCaig <graeme_mccaig@SFU.CA>
Date: 29/06/2013 09:40 (GMT+00:00)
To: MUSIC-AND-SCIENCE@JISCMAIL.AC.UK
Subject: Deadline EXTENDED to July 9 -- Musical Metacreation Workshop (MUME2013)

Call for Participation -- please distribute widely

=============================
Musical Metacreation 2013
  DEADLINE EXTENSION
Submissions Now Due July 9
=============================

((( MUME 2013 )))
2nd International Workshop on Musical Metacreation
http://www.metacreation.net/mume2013/

Held at the Ninth Annual AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment (AIIDE'13)
Northeastern University, Boston, Massachusetts, USA
October 14-15, 2013

----------------------

News:
New Deadline for Paper and Demo Submissions:
*** July 9, 2013 ***

New Info for Interested Industry Presenters:
http://www.metacreation.net/mume2013/industry

======================

We are delighted to announce the 2nd International Workshop on Musical Metacreation (MUME2013) to be held October 14 and 15, 2013, in conjunction with the Ninth Annual AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment (AIIDE'13). MUME2013 builds on the enthusiastic response and participation we received for the inaugural workshop in 2012, which received 31 submissions, 17 of which were accepted (a 55% acceptance rate). This year the workshop has expanded to 2 days.

Thanks to continued progress in artistic and scientific research, a new possibility has emerged in our musical relationship with technology: Generative Music or Musical Metacreation, the design and use of computer music systems which are "creative on their own". Metacreation involves using tools and techniques from artificial intelligence, artificial life, and machine learning, themselves often inspired by cognitive and life sciences. Musical Metacreation suggests exciting new opportunities to enter creative music making: discovery and exploration of novel musical styles and content, collaboration between human performers and creative software "partners", and design of systems in gaming and entertainment that dynamically generate or modify music.

MUME brings together artists, practitioners and researchers interested in developing systems that autonomously (or interactively) recognize, learn, represent, compose, complete, accompany, or interpret music. As such, we welcome contributions to the theory or practice of generative music systems and their applications in new media, digital art, and entertainment at large. Join us at MUME2013 and take part in this exciting, growing community!


Topics
======

We encourage paper and demo submissions on topics including the following:
    * Novel representations of musical information
    * Systems for autonomous or interactive music composition
    * Systems for automatic generation of expressive musical interpretation
    * Systems for learning or modelling music style and structure
    * Systems for intelligently remixing or recombining musical material
    * Advances or applications of AI, machine learning, and statistical techniques for musical purposes
    * Advances or applications of evolutionary computing or agent and multiagent-based systems for musical purposes
    * Computational models of human musical creativity
    * Techniques and systems for supporting human musical creativity
    * Online musical systems (i.e. systems with a real-time element)
    * Adaptive and generative music in video games
    * Methodologies for, and studies reporting on, evaluation of musical metacreations
    * Emerging musical styles and approaches to music production and performance involving the use of AI systems
    * Applications of musical metacreation for digital entertainment: sound design, soundtracks, interactive art, etc.


Format and Submissions
======================

The workshop will be a two day event including:
    * Presentations of FULL TECHNICAL PAPERS (8 pages maximum)
    * Presentations of POSITION PAPERS and TECHNICAL IN-PROGRESS WORK (5 pages maximum)
    * Presentations of DEMONSTRATIONS (3 pages maximum)
    * One or more PANEL SESSIONS (potential topics include international and networked collaborations, evaluation methodologies, generative music in art vs. games)
    * Presentations by INDUSTRY PARTNERS

Workshop papers will be published in a Technical Report by AAAI Press and will be archived in the AAAI digital library.
Submissions should be made in AAAI, 2-column format; see instructions here: http://www.aaai.org/Publications/Author/author.php

We also invite companies involved in Musical Metacreation and its application to present their work and challenges to the MUME community. Each industrial partner selected will be given a timeslot to present/demo during the workshop. Interested industry representatives, for more info see: http://www.metacreation.net/mume2013/industry

For complete details on attendance, submissions and formatting, please 
visit the workshop website:
*** http://www.metacreation.net/mume2013/ ***



Important Dates
===============

Submission deadline: July 9, 2013
Notification date: August 6, 2013
Accepted author CRC due to AAAI Press: August 14, 2013
Workshop date: October 14-15, 2013


Workshop Organizers
===================

Dr. Philippe Pasquier (Workshop Chair)
School of Interactive Arts and Technology (SIAT)
Simon Fraser University, Vancouver, Canada

Dr. Arne Eigenfeldt
School for the Contemporary Arts
Simon Fraser University, Vancouver, Canada

Dr. Oliver Bown
Design Lab, Faculty of Architecture, Design and Planning
The University of Sydney, Australia

Graeme McCaig (Administration & Publicity Assistant)
School of Interactive Arts and Technology (SIAT)
Simon Fraser University, Vancouver, Canada


Program Committee
=================

Gérard Assayag - IRCAM-France
Al Biles - Rochester Institute of Technology - USA
Tim Blackwell - Department of Computing, Goldsmiths College, University of London - UK
Alan Blackwell - Cambridge University - UK
Oliver Bown - The University of Sydney - Australia
Andrew Brown - Queensland Conservatorium, Griffith University - Australia
Jamie Bullock - Integra Lab, Birmingham Conservatoire - UK
Karen Collins - University of Waterloo - Canada
Nick Collins - University of Sussex - UK
Darrell Conklin - University of the Basque Country - Spain
Arne Eigenfeldt - Simon Fraser University - Canada
Jason Freeman - Georgia Institute of Technology - USA
Guy Garnett - University of Illinois - USA
Toby Gifford - Griffith University - Australia
Luke Harrald - Elder Conservatorium of Music, The University of Adelaide - Australia
Bill Hsu - Department of Computer Science, San Francisco State University - USA
Robert Keller - Harvey Mudd College - USA
Nyssim Lefford - Audio Technology, Luleå University of Technology - Sweden
George Lewis - Department of Music, Columbia University - USA
Aengus Martin - Faculty of Engineering, The University of Sydney - Australia
James Maxwell - Simon Fraser University - Canada
Graeme McCaig - School of Interactive Arts and Technology, Simon Fraser University - Canada
Jon McCormack - Centre for Electronic Media Art, Monash University - Australia
James McDermott - Complex and Adaptive Systems Laboratory, University College Dublin - Ireland
Alex McLean - ICSRiM - University of Leeds - UK
Kia Ng - ICSRiM - University of Leeds - UK
Philippe Pasquier - School of Interactive Arts and Technology, Simon Fraser University - Canada
Marcus Pearce - Queen Mary, University of London - UK
Robert Rowe - New York University - USA
Benjamin Smith - Case Western Reserve University - USA
Richard Stevens - Leeds Metropolitan University - UK
Michael Sweet - Berklee College of Music - USA
Peter Todd - Indiana University - USA
Dan Ventura - Brigham Young University - USA
Ivan Zavada - Conservatorium of Music, The University of Sydney - Australia


----------------------

http://www.metacreation.net/mume2013/

======================

The First International Conference of Dalcroze Studies

The First International Conference of Dalcroze Studies

 

Coventry University UK, 24-26 July 2013

 

This event is part of the centenary celebrations of the London School of Dalcroze Eurhythmics. It will extend our understanding of Dalcroze Eurhythmics – and the relationships between music and movement more generally – from practice-based, pedagogical, phenomenological, empirical, neuro-scientific, philosophical, theoretical and historical perspectives. Connections to music performance, composition and therapy, as well as theatre, dance and the visual arts will be addressed by a wide variety of practitioners and researchers from all over the world.

 

For more information, go to: www.eventsforce.net/dalcrozeconference

 

Confirmed keynote speakers

Prof. Maxine Sheets-Johnstone, University of Oregon, USA

Prof. Louise Mathieu, Université Laval, Canada

Dr Selma Odom (Professor Emerita), York University, Canada

Dr Katie Overy, University of Edinburgh, UK

Dr Joan Pope OAM, Dalcroze Australia

 

There will be more than 80 separate events running in parallel: papers, workshops, symposia, performances and poster sessions. We will also present the exhibition Emile Jaques-Dalcroze: Music in Movement for the first time in the UK.

 

To book, go to: www.eventsforce.net/dalcrozeconference

 

Delegate fee- £120 (includes lunch & refreshments)

 

REGISTRATION CLOSES SUNDAY 07 JULY

 

Sponsors

Association des Amis de Jaques-Dalcroze

The Dalcroze Society UK

Fondation Emile Jaques-Dalcroze

FIER

For information please visit the website or contact Julia Baron, 02476 888236 (email Julia.Baron@coventry.ac.uk)

Researching Music, Technology & Education: critical insights

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STOP PRESS / Save the dates: Conference Announcement & Call for Papers

SEMPRE Conference

Researching Music, Technology & Education: critical insights

3-4 April 2014

International Music Education Research Centre (iMerc)
Institute of Education, University of London

Conference Chairs:     Dr Evangelos Himonides, iMerc

                                    Dr Andrew King, University of Hull

Keynote speakers:      Professor Ian Cross, University of Cambridge

                                   Professor David Howard, University of York

Following the great success of its inaugural conference held by the University of Hull in 2010, this two-day conference will be hosted by the Department of Culture, Communication & Media, Institute of Education, University of London.

Although the 'musicking' humanity has been reliant on technology from the very beginning of its musical 'journey', we cannot deny that, nowadays, technology changes, develops, and its role is being redefined at a dramatically greater rate. This SEMPRE conference aims to celebrate technology's challenging role(s) and provide a platform for critical discourse and the presentation of scholarly work in the broader fields of digital technologies in:

●      music composition and creation

●      music performance

●      music production (recording, studio work, archival and/or communication of music)

●      diverse musical genres (e.g. popular, classical, world, etc.)

●      creativity/ies

●      real world praxial contexts (e.g. classroom, studio, etc.)

●      assessment of musical development and/or assessment of performance

●      computational musicology

●      special educational contexts/needs

The conference will provide opportunities for colleagues to present and discuss ideas in a friendly and supportive environment, as well as to provide a meeting point for academics, scholars, teachers, and practitioners who are seeking to form connections and synergies with participants from around the world. The event will include 20 minute spoken paper presentations, poster presentations, workshops, open dialogue sessions, as well as two keynote addresses from renowned scholars (more details will become available on the SEMPRE website shortly).

Submissions for both spoken papers and posters will be structured in short-paper format (500-1000 words) and include the following information:

1. Title

2. Submission to be considered for Paper or Poster

3. Author's full name (First, Last)

4. Author's Affiliation

5. Author's Country

6. Author's Email Address

[repeat  points 3 to 6 for each individual author]

7. Abstract

8. Keyword 1, Keyword 2, Keyword 3

9. Aims

10. Methods

11. Outcomes

12. Implications (could be combined with 'Outcomes', above)

13. Acknowledgements (only if applicable, should you need to acknowledge a funding body or other body and/or individual whose support has been vital)

14. Three key references *only* (please use the American Psychological Association-APA version 6 referencing style)

All accepted, peer refereed papers will be included in a dedicated paperback volume, under the SEMPRE Conference Series imprint, published by the International Music Education Research Centre. The volume will be fully indexed and become available on all major bookstores and retailers. All conference delegates will receive a printed copy as part of their conference registration.

Some authors will be invited to contribute expanded versions of their papers for a forthcoming edited volume by a leading publisher in the field; further details will become available online (SEMPRE website) soon.

Submissions will open on 1 September 2013, on the SEMPRE website.

The hard deadline for submissions will be 31 December 2013.

For further information, please contact:

Dr Evangelos Himonides
Institute of Education
University of London
20, Bedford Way
London WC1H 0AL
United Kingdom
Email: e.himonides@ioe.ac.uk

www.sempre.org.uk

The Noises of Art

The Noises of Art Conference
Aberystwyth Arts Centre, 4-6 September 2013
Call for Papers/Performances & Presentations Deadline:
For both paper and virtual presentations and the Postgrad strand
July 1st 2013
Please send submissions and any queries to Sophie Bennett:
sob@aber.ac.uk

For more details please visit our website: http://noisesofart.weebly.com/
The conference addresses what is arguably the most prolific, varied,
and ground-breaking period in the coming together, exchange, and
mutual influence of visual art and sound-based practices (such as
music and the spoken word).
Organized by the School of Art in collaboration with the Courtauld
Institute of Art, London and Aberystwyth Arts Centre.


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Copyright © 2013 The Noises of Art Conference, All rights reserved.
Our mailing address is:
The Noises of Art Conference
Aberystwyth Arts Centre, United Kingdom
Aberystwyth, Wales SY23 3DE
United Kingdom

[Deadline extended] Third Annual Conference of the Society for Music Education in Ireland

3rd Annual Conference of The Society for Music Education in Ireland: The Music Education Gathering 2013 takes place 1-3 November 2013 at St. Patrick's College, Drumcondra (Dublin).  This unique event brings together the largest forum of international and national speakers on Music Education held in Ireland since the mid-1990s, including David Elliot (Canada/US), Harry White (Ireland), Sheila Woodward (South Africa/US), Mícheál Ó Súilleabháin (Ireland), Marie McCarthy (Ireland/US) and Keith Swanwick (UK). Representing the third annual conference of the Society for Music Education in Ireland, The Music Education Gathering 2013 will include keynote papers, music making workshops, showcase concerts, research papers and informal music happenings.  It will coincide with The Fidelio Trio Winter Music Festival, also at St Patrick's College 1-3 November featuring the London-based world renowned ensemble The Fidelio Trio with special guests.

Further details, including instructions for submission of proposals can be viewed on the SMEI website http://www.smei.ie/smei-conference-2013.html

Please note that the submission deadline has been extended to 31 July 2013

AHRC Collaborative Doctoral Awards at Sheffield

TWO AHRC-FUNDED DOCTORAL STUDENTSHIPS: Music, place and people: investigating the impact of Western classical music provision and attendance in two English cities

                                                                                                          

The Department of Music, University of Sheffield is pleased to announce two doctoral studentships under the AHRC's Collaborative Doctoral Awards scheme, in conjunction with Music in the Round (MitR) and the City of Birmingham Symphony Orchestra (CBSO). Students will be supervised by Dr Stephanie Pitts and their work will fall within the remit of the Sheffield Performance and Audience Research Centre (SPARC). The studentships will begin on 1^st October 2013, and can be taken as full-time (3 years) or part-time (6 years) registration.

 

Project overview

The Music, Place and People project seeks to understand the place of Western classical music providers in two contemporary English cities, by investigating the factors currently affecting the cultural provision and impact of the two partner organisations' work, and their remit within their home cities of Sheffield and Birmingham.

 

The context in which both Music in the Round (MitR) and the City of Birmingham Symphony Orchestra (CBSO) operate is a rapidly changing one, encompassing shifts in public funding, demographic profiles, changes throughout the education system and an increased foregrounding of digital distribution of all kinds of music. Both organisations have a wide musical remit, within which Western classical music is the most prominent feature of their programming; both have worked hard in recent years to broaden the demographic of their audience and to offer events in new formats, such as MitR's 'Pay What you Want' concert and CBSO's 'Friday Night Classics'. Both recognise, however, that while these initiatives might have

short-term effects on attendance and box office income, there is a need for a more radical examination of contemporary attitudes to Western classical music. This project aims to provide such investigation, shedding light on the place of these

organisations within the cultural life of their cities, and asking broader questions about the cultural and social value of live classical music listening for current, potential, and absent listeners:

 

1.      How does live music listening relate to other arts/leisure activities for regular audience members at CBSO/MitR?

2.      What are the attitudes to Western classical music expressed by non-attenders? How are these affected (or not) by the place of CBSO/MitR in their home cities?

3.      How can existing methods of audience research be developed to capture the experience of infrequent or non-attenders more effectively?

4.      How could these arts organisations and others like them adapt to their circumstances, in relation to social media, local demographics, changes in live/recorded listening habits?

5.      Where does the future of Western classical music lie in these two cities and beyond?

The starting point for both studentships will be a mainly qualitative investigation of the existing provision and perceptions of the partner organisations in their home cities, through questionnaires, interviews and focus groups with existing audience

members, city officials (Council, Education Dept etc), and other leisure groups and audiences. Comparisons will be made by the end of the first year across the two cities and types of classical music provision (chamber/orchestral), to analyse

factors shaping the attitudes, attendance habits and experiences of local residents and to theorise more widely about the future of live classical music listening in relation to previous research. From this initial groundwork, the students will be

expected to define more challenging questions for the remainder of their doctoral studies, and it is anticipated that the two projects could take quite different directions after their first year of shared focus and investigation. Possibilities could

include 'audience exchanges' with other arts providers in the cities, the use of life history research to establish the factors that draw people into or away from classical music, and the exploration of digital media as a way of engaging new audiences.

 

This project will contribute to knowledge by addressing current challenges in research and practice: how to attract new audiences to classical music (Dobson & Pitts, 2011; Kolb, 2001; Arts Council England, 2011), how to capture the experience of live arts attendance through more sophisticated research tools (Radbourne et al., 2011) and how to respond to changes in technology in promoting audience engagement (Wall & Long, 2012; MTM London, 2010). It will enable knowledge exchange between the partner organisations and others, and so demonstrate the value of research in supporting arts engagement and understanding.

 

The studentships

One student will be appointed to work closely with each partner organisation, who will provide workplace experience in marketing, audience development and/or educational work, as well as free access to concerts or events that are relevant to the research. 

 

The timescale outlined below illustrates how the two students will be

encouraged to work in parallel for their first year, gathering extensive and rich data

about the perceptions of the two organisations across their cities, before defining

independent research questions in the second and third year of their studies:

 

Year 1	Activity	Student 1 attached to MitR Student 2 attached to CBSO Both engaging in regular work placements and initial fieldwork, including interviews with current audiences, city officials, other leisure groups in the city
	Reporting & dissemination	Regular meetings in the university and MitR/CBSO Six monthly reports to MitR/CBSO governance End of Year 1 presentation at Graduate Study Day and at MitR annual conference
	Goals	By end of year 1: both students to have compiled a report on their organisation, addressing preliminary research questions and identifying a focus for continued investigation. Plan for Year 2/3 of PhD to be approved as part of confirmation process in university, and to be agreed with partner organisations.
Year 2	Activity	Students now working more independently, still attached to 'their' organisation but pursuing research questions defined at end of Year 1. These should include more innovative methodologies, attempts to reach previously silent constituents in audience research, theoretical frameworks drawn from interdisciplinary literature. Example: The student working with CBSO could investigate perceptions of Western classical music amongst the BME community, by carrying out fieldwork in contexts where this audience is more prevalent, and conducting life history interviews to find out how attitudes to music are shaped by school and home.
	Reporting & dissemination	Regular meetings in the university and MitR/CBSO Six monthly reports to MitR/CBSO governance Presentation at a national conference e.g. Society for Education Music and Psychology Research (SEMPRE) Jointly written article based on first year data collection.
	Goals	By the end of Year 2, both students to be working on independent questions, and to be networking across each city to broaden the scope and reach of their work. Data will have been collected that is sufficient to make recommendations to the organisations, with some of these to be implemented in Year 3 for evaluation by the completion of the project.
Year 3	Activity	Students now working towards completion and writeup, monitoring the effects of any intervention studies and consulting beyond the partner organisations to understand the wider relevance of their work. Example: The student attached to MitR could have identified a need for greater online presence for the organisation, and be working on evaluating initiatives in this area, through comparisons with other organisations and theories of community and attachment.
	Reporting & dissemination	Regular meetings in the university and MitR/CBSO Six monthly reports to MitR/CBSO governance Presentation at an international conference e.g. International Conference on Music Perception and Cognition (ICMPC).  Students to run a professional conference in Sheffield to report work to Arts Council and other organisations.
	Goals	Successful completion of PhDs at end of Year 3. Reports to professional networks. Academic publications (beyond the end of the project) to include journal articles and jointly authored book. Expected change to practice in partner organisations, meeting the remit to understand, articulate and promote the place of classical music in contemporary society.

 

Since the student working with CBSO will need to spend substantial periods of time in Birmingham for data collection, it may be appropriate for that person to be resident there and to travel to Sheffield for monthly supervision meetings. Both students will be required to participate in the five graduate study days run by the department during each academic year, and in the Doctoral Development Programme which supports all postgraduate research students in assessing and fulfilling their training needs.  Costs of travel between Birmingham and Sheffield as necessary will need to be met from within the AHRC grants, which include an additional annual payment of £550 towards the costs of travelling to and working with the external partners.

 

Financial information

In the 2013-14 academic year, full-time awards provide a maintenance grant payment of £13,726, plus payment of standard tuition fees. The studentship is available to support three years' full-time work, subject to satisfactory progress, and can be taken on either a full-time or a part-time basis. For further details, please see the AHRC Student Funding Guide:

http://www.ahrc.ac.uk/SiteCollectionDocuments/Student-Funding-Guide.pdf.

 

Criteria and application process

Successful applicants will need to show evidence of a clear interest in this area of research, training and experience (preferably at Masters level) in data collection and analysis, excellent writing skills, and an exciting and realistic vision for the three years of the project.  Please apply by sending a covering letter addressing these points and a CV giving full details of relevant academic and practical experience; you should also arrange for two references to be submitted by the closing date of 1^st July 2013.  Interviews will be held in Sheffield on Friday 12^th July.

 

Address for applications:

Email (preferred) – s.e.pitts@sheffield.ac.uk

Post – Dr Stephanie Pitts, Department of Music, University of Sheffield, 34 Leavygreave Road, Sheffield, S3 7RD

 

Links and further information

SPARC - http://www.sparc.dept.shef.ac.uk/

MitR - http://www.musicintheround.co.uk/

CBSO - http://www.cbso.co.uk/

University of Sheffield, Department of Music – http://www.shef.ac.uk/music

Mechanical Musical Instruments Conference, 7th & 8th July, Guildhall School

 

 

Dear all,

 

Please find details below of our forthcoming ResearchWorks conference, Mechanical Musical Instruments and Historical Performance.

Sunday 7 & Monday 8 July Ÿ Lecture Recital Room, Guildhall School of Music & Drama

This two-day conference on Mechanical Musical Instruments and Historical Performance at the Guildhall School will include keynote speaker Peter Holman, Arthur Ord-Hume, performances by Guildhall students and professionals and a visit to the Colt Clavier Collection.

The conference fee is £40, however concessions are available to NEMA members and staff and students of the Guildhall School.

All bookings can be made via the NEMA website at: http://www.earlymusic.info/nemanews.php

 

For further information on the conference, contact Emily Baines at Emily.Baines@stu.gsmd.ac.uk

 

 

 

Growing into music in Mali - Da Kali: the pledge to the art of the griots

Music SIG Seminar - all welcome!

Growing into music in Mali - Da Kali: the pledge to the art of the griots

Dr. Lucy Durán, School of African and Oriental Studies (SOAS), Music
Department, University of London

Thursday 6th June

1.00 - 2.00

Room: 944

Further details from Lucy Green, l.green2@ioe.ac.uk

All are welcome

This paper will present some key findings about childhood music
learning from her film Da kali, the pledge to the art of the griot,
filmed on location in Mali between 2009-12, illustrating her talk with
a selection of excerpts featuring children in four celebrated griot
families learning song, dance, kora and jembe.
With the high international profile of Malian musicians, it is
tempting to think that griots (hereditary musical artisans, or jelis
as they call themselves) and their music are thriving. By exploring
how, what, and when young children of jeli families learn to perform
the music and dance of their heritage, the film Da Kali constitutes
unprecedented research on how children in Mali 'grow into music', and
suggests a more nuanced view of the current state of play with Malian
music (just before events in 2012). Despite the commitment of elder
jelis to the transmission of their art to the new generation, the
reality is that they are competing with many other factors, such as
globalised youth culture, the media, old social prejudices about the
artisans, and the lack of institutional support for their music,
threatening the future of this ancient art form.
The film is officially being launched as part of the AHRC Beyond Text
Growing into Music project on June 7, 2013, at SOAS.

Lucy Durán is a university lecturer specialising in West African
music, and is based in the Music Department of the School of Oriental
and African Studies, University of London. She has published widely on
Mali's star women singers, and on the kora. She is also a broadcaster
(she has been the regular presenter of BBC Radio 3's leading world
music programme World Routes since it began in 2000).
Durán has a long professional involvement with the music
industry, and has been at the forefront of the promotion and
dissemination of Malian music for the past 20 years. She is also a
music producer, and has produced many Malian artists including Grammy
award-winning kora player Toumani Diabate, and the highly acclaimed
Malian ngoni player Bassekou Kouyate.
Having devoted much of her professional life to balancing her
broadcasting, recording, and academic work, Durán argues for the need
to forge better links and understanding between the media and
academia. She is committed to the promotion, production and
dissemination of Malian music, and to finding ways of creating a
contemporary voice for Malian artists working within their own
traditions. Her work as Principal Investigator of the AHRC funded
project Growing into Music <www.growingintomusic.co.uk> has sparked
off a special interest in oral transmission of music across
generations.

Doctoral Day, Tuesday 11 June, 11-5pm, Chancellor's Hall Senate House

 

 

Dear all,

 

Please find details below of our forthcoming ResearchWorks event, Doctoral Day: Creative thinking about artistic practice through research, chaired by Dr Biranda Ford, Dr Julian Philips and Dr Kate Romano.

Tuesday 11 June   11 - 5pm   Chancellor's Hall, Senate House, Malet Street, WC1E 6HU

Doctoral Day: Creative thinking about artistic practice through research
The Guildhall School's Doctoral students present a day of performances, talks, round table discussions and workshops addressing the variety, complexities and exciting potential of practice-based research in a conservatoire.

There will additionally be talks from Dr Kate Romano, Director of Doctoral Programmes, on doctoral opportunities for performers at the Guildhall School, and from Dr Julian Philips, Head of Composition, on composition research degrees at the Guildhall School.

Admission Free
To book email: research@gsmd.ac.uk

For further information visit: www.gsmd.ac.uk/research

 

 

 

 

 

 

Best wishes,

 

 

Esther Fowler

Research & Knowledge Exchange Coordinator

Guildhall School of Music & Drama

Silk Street, Barbican

London EC2Y 8DT

 

PhD Scholarships at London College of Music

PhD Scholarships in Performance in the Studio and the Psychoacoustics of Mixing and Record Production

 

London College of Music / University of West London Graduate Scholarships    

 

The University is appointing a number of Graduate Scholars and applications are invited by the London College of Music in either of the following two areas of specialism:

1. Performance in the Studio

Research Context

This project reflects the London College of Music's (LCM) international reputation in the emerging research field of record production and the perception of recorded music. LCM combines cutting edge research with enormous experience of professional practice in this area and is also working in conjunction with the School of Computing and Technology on using case-based reasoning in the field of applied audio engineering.

Dr. Simon Zagorski-Thomas was recently awarded a visiting fellowship at Cambridge University and was principal investigator on an AHRC funded research network on Performance in the Studio. He is currently working with a team of international researchers on the outputs from those projects and on a proposal for follow-on funding to develop the research further and to organise further impact events.

This project would sit, along with other research into recorded music, plus two AHRC bids in development and the proposed networking event on mixing recorded music, within the remit of the new Institute for Creative Industries when it is launched.

Research Goal

The research activity will explore the concept of distributed creativity through a particular focus on Actor-Network Theory, the Social Construction of Technology and the systems approach to creativity. It will include the analysis of detailed case studies of recording sessions.

Candidate Profile

The ideal candidate should have an MA / MSc or equivalent degree in a relevant area of music performance or production. The candidate will combine experience of organising recording sessions (either as a performer or technician) with theoretical knowledge of performance studies and/or the social construction of technology.

The candidate would engage in the analysis of one or more recording sessions in the studios of LCM or elsewhere. This would involve, organising, filming and otherwise fully documenting these recording sessions and undertaking a structured analysis of both the interactions in the sessions themselves and any subsequent interviews and commentaries.

Knowledge / experience of qualitative questionnaire techniques and the statistical analysis of results would be a useful, though not essential skill.

 

2. The Psychoacoustics of Mixing and Record Production

Research Context

This project reflects the London College of Music's (LCM) international reputation in the emerging research field of record production and the perception of recorded music. LCM combines cutting edge research with enormous experience of professional practice in this area and is also working in conjunction with the School of Computing and Technology on using case-based reasoning in the field of applied audio engineering.

Dr. Simon Zagorski-Thomas and Dr. Andrew Bourbon are developing research in this area which would inform the theoretical framework about the perception and cognition of recorded music used in this PhD project. The outcomes of this project would also provide further theoretical input for the School of Computing and Technology's project on 'Experience-based audio mastering and mixing'. The extensive experience of mixing and recording that other members of the LCM have would also feed into these projects.

This project would sit, along with other research into recorded music, plus two AHRC bids in development and the proposed networking event on mixing recorded music, within the remit of the new Institute for Creative Industries when it is launched.

Research Goal

The research activity will aim to examine the way that specific techniques used in mixing recorded music (dynamic compression, frequency equalisation and filtering and spatial processing) affect its perception and can be used in its production.

Candidate Profile

The ideal candidate should have an MA / MSc or equivalent degree in the psychology of music, music technology or music production. The candidate will combine strong practical skills in mixing recorded music with a theoretical knowledge of music perception and cognition.

The candidate would work in conjunction with a number of staff in the music department whose research and professional practice is in the area of record production and mixing recorded music. The candidate will carry out applied research work that will involve listener and user studies to test hypotheses resulting from the proposed theoretical framework.

Knowledge / experience of qualitative questionnaire techniques and the statistical analysis of results would be a useful, though not essential skill.

Further Information

The Graduate Scholars will register as full-time MPhil/PhD students in one of the above strategic priority areas and will teach up to six hours per week (seminars, tutorials, marking and assisting in monitoring the academic progress of students).

The Scholarship will offer:

•    Tax-free stipend of £7000 per annum;

•    Support, subject to satisfactory performance and academic progress, for three years.

 For further information about the Graduate Scholarships, please email simon.zagorski-thomas@uwl.ac.uk (copying in researchdegrees@uwl.ac.uk) indicating the area in which you are interested.  You will then be sent details of the specific projects available including the entry criteria for each project and details of the application process.

 Last date for enquiries: Friday 21 June 2013

 Closing date for applications: Sunday 30 June 2013