Tuesday, April 14, 2015

The Benefits of Singing in a Choir

Published on Gresham College (http://www.gresham.ac.uk)

Home > The Benefits of Singing in a Choir

The Benefits of Singing in a Choir

The benefits of singing in a choir are many and various. In particular, there are positive physical outcomes and mental health benefits.

These are related to improved cardiovascular fitness (including lung function), as well as improved mood and general alertness, often allied to a feeling of being spiritually uplifted. Because singing involves many different areas of the brain acting in concert, there are often associated cognitive benefits, such as improvements in children’s reading ability that are linked to increased auditory discrimination that supports phonological development.

There are also social and psychosocial benefits, as singing in a collective can improve participants’ sense of belonging and of being socially included by engendering a positive sense of community. Benefits are available across the lifespan and are indicated pre-birth in the final months of foetal life. At the other end of the lifespan, singing can bring a stronger and more positive sense of identity in a context where there is often a sense of loss of control due to the challenges of aging. There are also musical and cultural benefits as participants gain skills, knowledge and understanding of the nature and place of music in their lives and the lives of others.

 

08/07/2015 - 18:00
Location


NAMM Foundation: SENATE Proposes New Education Bill; Debate and Mark-Up This Week


SENATE Proposes New Education Bill; Debate and Mark-Up This Week

A new bipartisan Senate ESEA proposal, "Every Child Achieves Act of 2015," retains the core academic subject section from No Child Left Behind that had been eliminated in an earlier version, and adds "music" as a specific core academic subject in addition to the "arts."

 

The draft bill is available for review with specific language concerning core academic subject designation on page 529. Also, the Senate HELP Committee and Senator Murray, Ranking Member on the HELP Committee, have released a summary of the bill. Mark up (a term used to debate, adjust and amend the bill) of the bill will start tomorrow, Tuesday, April 14; the procedure will be live-streamed and posted on the Senate HELP Committee website. As of this date, the House has not resumed its debate of the education bill.

 

As music and arts education advocates, we urge you to contact your Senator today (via phone or email) to thank them for including music and arts as part of the core curriculum and to reinforce that federal policy must clearly state that music and arts education be part of the core curriculum so every child has this opportunity as part of a whole and complete education. 

 

To learn more about why music education matters, please visit The NAMM Foundation and Broader Minded websites.

Saturday, April 11, 2015

Fwd: Observatoire Interdisciplinaire de Création et de Recherche en Musique [Postdoctoral fellowship scholarship]

Chercheure postdoctorale

Coordonnatrice générale et scientifique de l'Observatoire
interdisciplinaire de création et de recherche en musique (OICRM)

Université de Montréal

Faculté de musique



C.P. 6128, Succ. Centre-ville

Montréal, QC H3C 3J7

514-343-6111 poste 2801

www.oicrm.org

-









As part of its general scholarships program for the 2015-2014 year,
the OICRM is offering one (1) Postdoctoral fellowship scholarship in
musicology, ethnomusicology, composition, instrumental didactics, or
musical pedagogy for students who will be completing their fellowship
under the supervision of a regular member of the OICRM. At Université
de Montréal and at Université Laval, instruction is given in French;
it is therefore important that students demonstrate a good knowledge
of French (spoken and read). The fellowship must start between
September 1st, 2015 and January 1st, 2016. Candidates must have
received their doctorate during the last five years (i.e. after
September 1st, 2010).



The scholarship has a value of $22,000 per year, for a maximum
duration of 24 months (2 years). This summ will include taxes
depending on the university with which the Postdoctoral fellow is
affiliated.



For candidates with Canadian citizenship (or permanent resident
status), the Postdoctoral scholarship is granted insofar as the
candidate agrees to apply for a scholarship from the FQRSC and the
SSHRC for the second year of his or her fellowship. The OICRM
Postdoctoral scholarship may be combined with other scholarships or
research contracts with the exception of FQRSC and SSHRC
excellence-based grants, up to a maximum amount of $45,000.



For foreign candidates, the Postdoctoral scholarship may be combined
with other scholarships or research contracts up to a maximum amount
of $45,000.



Students who have obtained a doctoral degree from Université de
Montréal cannot apply for the fellowship at Université de Montréal in
the same discipline, just as students who have obtained a doctoral
degree from Université Laval cannot apply for the fellowship at
Université Laval in the same discipline.



The OICRM Postdoctoral scholarship is intended to support the career
development of a researcher who has recently obtained a doctoral
degree. Candidates must show, through their project, that they are
undertaking new research, are publishing or will publish the results
of their research, are creating or extending their network of
research-based resource people, will enrich their teaching experience,
and will contribute to furthering and broadening the field of research
of the researcher, research team, or host lab. Selected projects will
be those that meet a maximum of the set goals.



Proposed projects must be defined in terms of the OICRM's lines of
research (Doing, Learning, Understanding), and must integrate with a
research or research-creation project carried out by a regular member
of the OICRM.



Candidates do not need to be members of the OICRM at the time of application.



Applications must include:

* A duly completed application form (available at
www.oicrm.org and at the OICRM office, A-769)

* A letter of motivation

* Three letters of reference, including one from the
director of research providing details of the supervision conditions
of the fellowship, as well as the financial support offered to the
candidate (form available at www.oicrm.org)

* A recent transcript from the last program of study

* A digital copy of the doctoral thesis.



Candidates must at the same time also submit an application for
admission to the Faculty of Graduate and Postdoctoral Studies at the
host university.



Application deadline: June 1st, 2015 at 5:00 p.m.



Completed electronic applications must be sent by email to the
following address: liouba.bouscant@umontreal.ca

Please ask at the same address by another mailing a reception notice.



Observatoire interdisciplinaire de création et de recherche en musique

Scholarships Program

Faculty of Music - Université de Montréal

P.O. Box 6128, Station Centre-Ville

Montréal (Québec) Canada H3C 3J7

Thursday, March 26, 2015

Fwd: Funded PhD Research Studentships in Computational Intelligence at University of Kent

Hello all, in case you haven't seen yet:

Please see below the announcements for funding for PhD studentships at
the School of Computing, University of Kent, UK, including funding for
projects around Computational Intelligence. This area includes
Computational Creativity and Music Informatics. Deadline is
approaching soon, at 31st March 2015. Please do feel free to pass this
information onto others who may be interested.

Regards,
Anna Jordanous

Funded Research Studentships in Computational Intelligence

We invite applications for three year, funded PhD degrees.

Research Topics:
- Decision-theoretic Planning
- Probabilistic Reasoning
- Artificial Intelligence for Games
- Computational Creativity
- Music Informatics
- Cognitive Neuroscience (e.g. Attention, Lie Detection, Brain Signal
Processing)
- Simulation of Evolution and Modelling in Life Sciences
- Molecular Computing
- Bioinformatics
- Data Mining and Machine Learning
- Bio-inspired Algorithms (e.g. Genetic Programming, Ant Colony
Optimization)
- Information Visualization
- Automated Graph Drawing

Successful applicants will be supervised within the Computational
Intelligence Research Group

For more information, see
http://www.cs.kent.ac.uk/research/studyingforaphd/phd-compint.html or
contact the Head of Group, Professor Alex Freitas. There are a list of
suggested PhD projects at
http://www.cs.kent.ac.uk/research/groups/compint/pgprojects.html and
alternatively we also welcome suggestions based around the above
research interests.


--
Dr Anna Jordanous
Lecturer
School of Computing
Room M3-13, Medway Building
University of Kent
Medway campus
Kent ME4 4AG

Tel: +44 (0)1634 202990
Email: a.k.jordanous@kent.ac.uk
Web: http://www.cs.kent.ac.uk/people/staff/akj22/

Tuesday, March 24, 2015

Audience research symposium 29th April

Registration is now open for a one day symposium hosted by the
Sheffield Performer and Audience Research Centre (SPARC) on
'Understanding audiences for the contemporary arts', to be held in the
Humanities Research Institute, University of Sheffield on Wednesday
29th April, 10.30-5.00pm. All those with an interest in contemporary
arts, from a practitioner, researcher or spectator position, are
warmly invited to join us and contribute to our discussions.

The event will include presentation of an ongoing collaboration
between the SPARC research team and Birmingham Contemporary Music
Group, invited talks from Dr Philip Thomas (University of
Huddersfield) and Kealy Cozens (Sound and Music), as well as shorter
papers on three themes relating to research with audiences: methods
and ethics, communication and collaboration, and impact and
application.

Full details of the programme and how to register are available on the
SPARC website -
http://www.sparc.dept.shef.ac.uk/registration-open-understanding-audiences-symposium/


Questions about the event can be directed to the organising team on
sparc@sheffield.ac.uk



Sheffield Performer and Audience Research Centre

www.sparc.dept.shef.ac.uk

Monday, March 23, 2015

Fwd: FW: SIG NOTICE: New Directions in Jazz Studies - One-Day Symposium

New Directions in Jazz Studies - One-Day Symposium Friday 5th June
2015 - Senate House, University of London

Jazz Studies within the UK is continuing to thrive as a research
field, with a number of graduate, post-doctoral, and early career
researchers adding to an already wide array of researchers in multiple
disciplines.
This one-day symposium aims to foster a network of postgraduates and
ECRs working within the broad area of jazz studies in the UK.
Participants will critically reflect on existing research
methodologies, and explore future directions for the academic study of
jazz. With this aim in mind, we invite papers of no more than 20
minutes, allowing time for questions and extended discussion.
Taking as broad an approach as possible, presentations may fall into
any of these categories:

- (Re)conceptualising jazz performance
- Interdisciplinary jazz studies
- Jazz and ecology
- National, transnational, global jazz
- Jazz and/as theory (Critical, Cultural, Musical)
- Jazz research and the creative industries
- Bridging the gap between academic and non-academic discourses

The event will also include a roundtable discussion on new directions
in jazz studies with Dr Tom Perchard (Goldsmiths), Dr Catherine
Tackley (The Open University) and Professor Tony Whyton (University of
Salford).

Abstracts of no more than 300 words should be sent to
benjamin.norton.2014@live.rhul.ac.uk by Monday 20th April. Decisions
will be communicated within a week of the deadline. While we invite
papers from all, preference will be given to those who are
postgraduate students/ECRs. Please include institutional affiliation,
level of study, and any AV requirements when sending abstracts.

There will be no delegate fee, however registration for this event is
essential. Please register at the following link:
https://www.eventbrite.co.uk/e/new-directions-in-jazz-studies-one-day-symposium-tickets-16221279283


Conference convenors
Ben Norton, Royal Holloway, University of London Dr Catherine Tackley,
The Open University

The event is generously supported both by Equinox, publishers of the
Jazz Research Journal, and Royal Holloway University of London,
Department of Music.
http://www.equinoxpub.com/journals/index.php/JAZZ
https://www.royalholloway.ac.uk/music/

Thursday, March 19, 2015

Ann Arbor Symposium IV Teaching and Learning Popular Music




Ann Arbor Symposium IV
Teaching and Learning Popular Music

November 18-21, 2015
School of Music, Theatre & Dance
UNIVERSITY OF MICHIGAN

CALL FOR PAPERS

In the tradition of the Ann Arbor Symposia of 1978, 1979, and 1981, Symposium IV provides a forum for interdisciplinary discourse. The Symposium IV topic is the teaching and learning of popular music in elementary, secondary, and tertiary education. We welcome contributions from musicological, theoretical, and pedagogical perspectives. The primary goal is to examine how popular music and culture influences the ways we perform, create, analyze, listen to, and think about music in teaching and learning contexts, especially embracing intersections between the disciplines. Submissions are invited for spoken papers, poster presentations, and collaborative sessions on a special topic.

Symposium topics include, but are not limited to:

• Frameworks, conceptualizations, and analyses of popular music
• Historical developments and traditions in popular music
• Popular musicianship in the digital era
• World music and popular music
• Popular music and creativity
• Policy issues of popular music in school curricula

Guest Speakers:
Lori Burns, University of Ottawa
John Covach, University of Rochester Institute for Popular Music
Robert Fink, University of California, Los Angeles
Lauri Väkevä, Sibelius Academy of the University of the Arts Helsinki
Jacqueline Warwick, Dalhousie University
Ruth Wright, Western University

Spoken papers are 30 minutes in length, including 20 minutes for presentation and 10 minutes for discussion.

Posters are exhibited in a single session for viewing and discussion with authors. Poster format details are provided with poster acceptance notification.

Collaborative sessions are 85 minutes in length, consisting of three 20-minute spoken papers focused on a special topic, followed by 25 minutes for discussion. Each session is organized by a moderator who develops a theme, engages additional authors (of which the moderator may be one), submits a proposal, and upon acceptance, chairs the session and coordinates discussion.


PROPOSAL SUBMISSION

Proposals for each type of contribution should be 500 words in length, detailing the purpose, methodology, findings, and recommendations of the study, using Times 12-point font, double-spaced, one-inch margins, in pdf format, without author information. Each proposal should be attached to an email providing author name, title, school affiliation, and full return contact information. Send proposals to annarborsymposium@umich.edu. Questions about the submission process or Symposium IV should be directed to:

Carlos Xavier Rodriguez
School of Music, Theatre & Dance
University of Michigan
Ann Arbor, MI 48109-2085
734-936-5369

Proposals must be received by June 1, 2015.  Notification of acceptance will be made by June 15, 2015.  Upon acceptance of the proposal, abstracts of 250 words will be requested of participants and printed in the Symposium program. For updated information on the Symposium, please visit the Symposium website: music.umich.edu/symposium

Michael L. Mark Music Research Award

The Department of Music Education is proud to announce a new award honoring the contributions of University of Michigan alumnus Michael L. Mark to the music education profession.  The recipient will receive $1,000. This award is competitive and intended for scholars who have received their terminal degree within the past five years. Evaluative criteria include research questions based on a well-articulated theoretical framework, appropriate methodology, integrity of analysis and interpretation, and concise writing. Applicants must submit a successful proposal for the Symposium as described above, then submit the completed research paper, 5,000 words maximum, APA style, pdf format, along with a one-page resume by September 1, 2015 to annarborsymposium@umich.edu.  Submissions will be judged by a committee of interdisciplinary scholars. The winner will present the research paper and receive the award in a special session at the culmination of Symposium IV.


Call for papers and panel discussions





Research in Popular Music Education 
A One-Day Symposium
Thursday 23rd July 2015
University of Huddersfield, UK.

In association with
Association for Popular Music Education
International Association of the Study of Popular Music (UK & Ireland)
Institute of Contemporary Music Performance

Call for papers and panel discussions

The University of Huddersfield hosts this special one-day symposium to focus and reflect on the gathering momentum of research in popular music education. While music education and popular music each have well-established traditions of multi-disciplinary and inter-disciplinary research, the field of scholarly study in popular music education is less well developed. Amidst a surge of publications and burgeoning worldwide interest in this emerging field, we invite colleagues to contribute to the discussion by joining us for this event. Following the vibrant HEA/IASPM conference held at University of Edinburgh in 2014 that explored popular music pedagogy, we welcome submission of submit abstracts of 200-300 words on topics including, but not limited to: 

·       Popular Music Education vs Popular Music Studies
·       Higher Popular Music Education
·       Entrepreneurship, (neo)liberalism and contemporary higher
      education
·       Popular music pedagogies
·       Canon and creativity in curricula
·       Assessment – objectives and processes
·       Teaching teachers to teach popular music

These may be formal presentations, discussions, theoretical, practice-focused or industry-related. Abstracts should be emailed as Word or PDF attachments to r.till@hud.ac.uk not later than 1st May 2015. Notifications of acceptance will be by 15th May. Submissions may be for 20-minute spoken papers, or for 60 minute panel discussions. There will be a £45 fee for attendance.

The symposium is organised by Rupert Till, lead editor of the forthcoming (April 2015) special issue of IASPM@Journal on popular music education, and Gareth Dylan Smith, lead editor of the forthcoming Ashgate Research Companion to Popular Music Education (expected summer 2016). Keynote speaker: Bryan Powell (Association for Popular Music Education, Amp Up NYC, Music Learning Profiles Project)



Wednesday, March 18, 2015

Fwd: The 2nd Nordoff Robbins Plus Conference: "Evaluating music therapy" (June 2015)






The 2nd Nordoff Robbins Plus Conference

Evaluating music therapy:

Considering value, benefit and impact

Tuesday 9th June 2015

Nordoff Robbins London Centre
2 Lissenden Gardens, London, NW5 1PQ


KEYNOTE SPEAKER:

Dr Stuart Wood, Barchester Healthcare


Nordoff Robbins is delighted to bring together leading researchers and practitioners to consider, discuss and debate evaluation in and around music therapy. There is growing pressure to provide evidence of music therapy impact and benefit, and there are debates as to what methods are and are not appropriate. In considering 'value', 'impact' and 'benefit', this conference revisits the kinds of questions that need to be asked, and answered, when seeking to describe, understand, test, and communicate about, music therapy.

Also up for debate is how goal-directed, outcome-focused evaluation approaches fit with the interactive, multifaceted and creative basis for music therapy. In the spirit of the Nordoff Robbins Plus series, speakers and respondents from adjoining disciplines, together with poster presentations and panel discussions, will offer multidisciplinary perspectives leading to robust discussions and debate.

Early bird registration (by 24th April 2015):
Regular fee: £55
Student fee: £25


Abstracts for submissions of posters are invited and welcome from a broad range of disciplines - please click here for further details

Want to know more?

Visit: www.nordoff-robbins.org.uk/conferences

Email: conferences@nordoff-robbins.org.uk


The 2nd Nordoff Robbins Plus Conference is part of London Creativity and Wellbeing Week
4th - 12th June 2015


Giorgos Tsiris
Researcher

Book your place now...
The 2nd Nordoff Robbins Plus Conference, 9th of June 2015
Evaluating Music Therapy: Considering value, benefit and impact

We look forward to seeing you!


-->

Tuesday, March 17, 2015

Speech: Nick Gibb speaks at the Music Education Expo (http://tinyurl.com/n5vu5uq)

Speech

Nick Gibb speaks at the Music Education Expo

From:
Department for Education and Nick Gibb MP
Delivered on:
12 March 2015 (Original script, may differ from delivered version)
Location:
Music Education Expo, central London
First published:
12 March 2015
Part of:
Reforming qualifications and the curriculum to better prepare pupils for life after school and Schools

Minister of State for School Reform Nick Gibb outlines the government’s support for music education in schools.

Nick Gibb MP

Good morning. It is a great pleasure to be here today [12 March 2015] at the Music Education Expo in the Barbican, home to world-class music, theatre, art, dance and film.

And it is a fitting venue in which to be speaking about the importance of music education. As music teachers and others involved in music education, your work helps to build a love of music among pupils.

Building this love of music in schools is crucial. Because music shouldn’t be the preserve of those who can afford it, whose parents play instruments themselves or listen to music at home. This government’s plan for education has focused on raising standards for all and narrowing the gap between disadvantaged students and their peers. In the same way that high-quality schools are essential to meet this goal, so too is high-quality music education in schools.

Music is an important subject in its own right, combining intellectual rigour with creativity. The academic opportunities offered by music are clear - in 2009, 18.6% of pupils who achieved an A grade for music A level went to Oxbridge. Only 5 subjects had a higher progression rate.

The wider educational and social benefits of music are also clear. ‘The Power of Music’, recently published by Professor Susan Hallam, points to the positive effects of different aspects of music teaching and training on verbal instruction, reading and comprehension, motivation, communication and behaviour.

Senior teachers and heads in schools often speak of these benefits. As the assistant headteacher of Hackney New School, which offers all children music lessons, recently said:

Music has undoubtedly had a huge impact. Not only are pupils enjoying school more, but almost without realising it they are gaining confidence, resilience and team working skills which they then bring into other subject areas.

The ABRSM Making Music survey in 2014 found that there are particular disparities in music: children from less well-off backgrounds are less likely to play a musical instrument and less likely to have had music lessons. 40% of children from lower socio-economic groups who have never played an instrument said they had no opportunity to learn at school.

That is why when we came into government in 2010 we set out high aspirations. In the remit of the ‘Review of Music Education in England’ by Darren Henley, we stated that “every child should receive a strong, knowledge-based cultural education and should have the opportunity to learn and play a musical instrument and to sing”. Music education was patchy across the country and we wanted to change that so every pupil could benefit. The Henley Review and the subsequent National Plan for Music Education were the starting point for our approach, and set out the direction of our reforms.

Through our curriculum review, music remained a statutory subject in the national curriculum, so every child in maintained schools must study it from age 5 to 14. The new national curriculum, introduced in September, is particularly important to tackle disadvantage as the focus is on setting high expectations for everyone and ensuring that children have access to all of the national curriculum.

Alongside the new national curriculum, we have also reformed GCSEs, A levels and vocational qualifications. The greater rigour and focus on knowledge and skills in the study of music throughout key stages 1 to 3, including exposure to a wide range of music and composers, and teaching children how to read and write music using standard staff notation, will mean that music is an option for more pupils at GCSE. And the new more rigorous GCSE will in turn better prepare students for progression to A level and beyond.

Across all subjects, the importance of high-quality teaching is known to be the crucial factor in delivering better outcomes for pupils. We are fortunate to have some excellent music teachers working in our schools and I was lucky enough to present Classic FM’s primary school music teacher of the year award to Katie Crozier last year. Katie teaches at 2 schools in Huntingdonshire and has delivered significant improvement for pupils there. At her school, where she has taught since 2008, she has transformed the approach to music: the school has gone from having no orchestra and a choir of 8 members to a 50-member orchestra and a choir of 100 singers.

While there is already a great deal of good practice, we also want to make sure there is support available for teachers who may need it - in particular, practical help for non-specialist primary school teachers. I am delighted that Classic FM and the ISM are going to compile, and give schools access to, a new list of 100 pieces of classical music that every child should be familiar with by the time they leave primary school.

Being familiar with the best known classical works is as important as reading the canon. Music has been important to me personally and my suggestions for pieces to include would range from Beethoven’s Fifth Symphony to Parry’s setting of ‘I was glad’ and Allegri’s ‘Miserere’, which I still remember singing as a choirboy. I very much hope there will be strong engagement from those within music teaching with ISM and Classic FM as they develop the list.

These initiatives highlight that our ambitions cannot be achieved by acting alone. That is one of the key reasons behind the music hubs which we established in 2012 as part of the national plan. The hubs are helping to ensure that every child has the opportunity to learn instruments through whole class teaching, that there are clear progression routes available and affordable to all young people, opportunities to play in ensembles and to sing regularly, including in choirs or vocal ensembles.

In their first year, the hubs gave nearly half a million children the opportunity to learn an instrument for the first time, as well as working with almost 15,000 school choirs, orchestras and bands. 80,000 disadvantaged pupils took part in instrumental ensembles and choirs. Last year, the hubs were working with more than 60% of primary schools and more than 50% of secondary schools on their singing strategy, and 50,000 more children were receiving whole-class ensemble music teaching as a result of the hubs’ work.

On a recent school visit to Redbridge Primary School, I was able to see first-hand their whole-class ensemble teaching programme, which they offer to pupils for 3 years, first hand.

The positive impact the hubs are having is clear. That’s why in July last year we announced further funding for music hubs - an extra £18 million for music programmes, bringing the government’s investment in music education to more than £270 million since 2012.

Government support also continues for the Music and Dance Scheme, that supports the exceptionally talented at 21 music and dance centres of advanced training and 8 specialist schools, including the Royal Ballet School, which I visited recently, the Purcell School and the Yehudi Menuhin School. Programmes such as the National Youth Music Organisations, Music for Youth and In Harmony, a national scheme which focuses on offering children in 6 deprived communities an intensive orchestra experience, also give important opportunities to children up and down the country.

I was fortunate enough to attend the schools prom series, run by Music for Youth, at the Royal Albert Hall back in November, and enjoyed listening to performances by a wide range of ensembles, from the Glantaf Duo from South Glamorgan to the Wessex Youth Orchestra from Dorset.

In addition to government-funded schemes, I am pleased to see other organisations working in this area to increase opportunities in music for young people - such as the National Orchestra for All. NOFA was founded by a Teach First participant in 2011 and takes 150 musicians each year from schools in London and the west Midlands to form a full orchestra, which rehearses and performs in venues such as the Southbank Centre and the Royal Academy of Music.

The government’s free school programme has also unleashed innovation in music teaching, with a number of schools offering a specialism or focus in music such as West London Free School, East London Academy of Music and Hackney New School.

There is a great deal to celebrate and to be proud of in our performance in music - from the great classical composers of past and present, to the string of UK artists who top the charts worldwide. And in 2 years’ time, Sir Simon Rattle will return to England to the London Symphony Orchestra here at the Barbican.

A strong and rigorous music education is as important a part of being well educated as learning about science, history and literature. I hope our commitment to music education in schools is clear. We want to ensure this success in music continues and I am confident that our reforms have set us off in the right direction.