Thursday, September 29, 2016

Fwd: Save the Date: announcing the 3rd Web Audio Conference, 21-23 August 2017, Queen Mary University of London

** This list is managed by Dr Evangelos Himonides (UCL), on behalf of the Society for Education and Music Psychology Research (sempre), and aims to serve as a discussion forum for researchers working at the shared boundaries of science and music. This list was previously managed by the Institute of Musical Research. ** MESSAGE FOLLOWS:
dear colleagues   (my apologies if you get this email more than once)

i am pleased and proud to announce that the Centre for Digital Music at Queen Mary University of London has been invited to host the 3rd Web Audio Conference. the first two were held at IRCAM and then Georgia Tech.

It will be held from 21-23 August 2017. As well as the main conference, which will include papers, posters, demos, music and art works plus social activities, we expect to offer tutorials, workshops and hacks. more news on this as the plans develop.

we are working right now on the Call for Participation and on keynote speakers, and we hope to announce these soon. in the mean time, do plan on being in London next august. there's lots to enjoy if you plan on coming for a longer stay. and if we're all lucky, it won't even rain!

can you please help and send this to any people you think would be interested?

thanks


mark




-- 
professor mark sandler, FREng
FIEEE, FAES, FIET
royal society wolfson research merit award holder

director of the centre for digital music (c4dm) & qMedia

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

mark.sandler@qmul.ac.uk
+44 (0)20 7882 7680; +44 (0)7775 016715

twitter: @markbsandler, 
follow the FAST-IMPACt Programme Grant @semanticaudio







Fwd: Journal of Creative Music Systems - Volume 1, Issue 1

** This list is managed by Dr Evangelos Himonides (UCL), on behalf of the Society for Education and Music Psychology Research (sempre), and aims to serve as a discussion forum for researchers working at the shared boundaries of science and music. This list was previously managed by the Institute of Musical Research. ** MESSAGE FOLLOWS:
Dear All,
 
We're happy to announce that the inaugural issue (Volume 1, Issue 1) of the Journal of Creative Music Systems has been published. Papers can be freely accessed at http://jcms.org.uk/issues/Vol1Issue1/toc.html
 
CONTENT
 
Articles
  • Learning and Creating Novel Harmonies in Diverse Musical Idioms: An Adaptive Modular Melodic Harmonization System.  Maximos Kaliakatsos-Papakostas, Dimos Makris, Costas Tsougras, Emilios Cambouropoulos.
  • Utility Versus Creativity in Biomedical Musification. Duncan Williams.

Research reports
  • Developing the Vocal Tract Organ. David M. Howard.
  • Playing in Time: Integrating Temporal Information in the Computational Measurement of Musical Similarity. Steven Crawford, Gang Ren, Mark F. Bocko.
  • Transformations in Shifting Models: Reorienting with DeepDream. Lendl Barcelos, Michael O. Vertolli.
 
Best wishes,
Steven Jan, Eduardo Miranda, Valerio Velardo
University of Huddersfield inspiring tomorrow's professionals.


Friday, September 16, 2016

The 10th International Conference for Research in Music Education, 24-27 April 2017, Bath Spa University

The 10th International Conference for Research in Music Education

April 24-27 2017

Bath Spa University

 

Call for Papers – Deadline 31 October 2016

 

The aim of the conference is to gather together researchers, teachers and practitioners to share and discuss research that is concerned with all aspects of teaching and learning in music: musical development, perception and understanding, creativity, learning theory, pedagogy, curriculum design, informal settings, music for special needs, technologies, instrumental teaching, teacher education, gender and culture. Music education is also viewed in the context of arts education, the whole curriculum and its sociocultural contexts. 

 

KEYNOTE SPEAKERS TO INCLUDE

 

Professor Evert Bisschop Boele – Prince Claus Conservatoire, Groningen, Netherlands

Professor Patricia Shehan Campbell – University of Washington, USA

Professor Heidi Westerlund– Sibelius Academy, University of the Arts, Helsinki, Finland

Associate Professor Ruth Wright – Don Wright Faculty of Music, Western University, Canada

 

 

Submissions

  • Abstracts of no more than 300 words should be submitted with an indication of the mode of presentation:  e.g. paper, poster, symposium etc.
  • Abstracts should be sent as Word compatible documents. Please DO NOT send pdf documents.
  • Authors who intend to submit their work to the journal should indicate this on the abstract (i.e. 'this article will also be submitted to the journal for review')
  • Paper presentations should be 20 minutes in length, to be followed by up to 10 minutes chaired discussion time.
  • Practical workshops linking research to practice are especially welcome.
  • If you are interested in organising a symposium please contact the conference director before submitting an abstract.
  • Criteria for acceptance: original, well conducted and reported research, relevant to an international audience in the field of music education, demonstrating sufficient command of English.
  • A short curriculum vitae (resumé) of no more than one side of A4 must be attached.

 

Submit to <rime@bathspa.ac.uk>

 

All abstracts are anonymously reviewed. Papers to be considered for publication in the journal 'Music Education Research' should be submitted electronically directly to the journal (http://mc. Manuscriptcentral.com/cmue). Papers for the journal should be between 5000 and 8000 words and conform to requirements of the journal (see style guidelines at www.informaworld.com/cmue).

 

Conference Director: Mary Stakelum

Further details and booking information available on

www.bathspalive.com/rime

 

 

Wednesday, September 14, 2016

Fwd: SIG NOTICE Vocality/Instrumentality 2017

 

 

Hello everyone 

 

I would like to draw your attention to an event taking place in the School of Music, Humanities, and Media at the University of Huddersfield, UK on the weekend of 14-15 January 2017.  

 

Vocality/Instrumentality is a two-day conference, which will provide a platform for papers, lecture recitals, poster presentations, and performances of various kinds that explore the nature of the relationship between voice and instrument.  It will take place in the Creative Arts Building and St Paul's Hall.  This event is an activity of the Huddersfield Centre for Performance Research (HuCPeR), and is further supported by the Department of Music and Music Technology, the University of Huddersfield Researcher Development Fund, the Music and Letters Trust, and the Royal Musical Association.  

 

The weekend will feature a keynote lecture by Professor Lydia Goehr (Columbia University New York), and a performance by the British soprano, Juliet Fraser.  Please visit our website for all current information: https://vocalityinstrumentality2017.wordpress.com/

 

The deadline for proposals is 7 October 2016 and the Call for Participation can be found on the website here: https://vocalityinstrumentality2017.wordpress.com/call-for-participation/

 

We would welcome submissions from a variety of different disciplinary perspectives.  If you would like to suggest an idea less formally to begin with, please feel free to get in touch (kristine.healy@hud.ac.uk).  

 

For students: if you are in the early stages of a research project and would like to make a 10 minute 'Research Statement' presentation rather than a full paper, there will be a session chaired by Professor Daniel Leech-Wilkinson (King's College London) that will provide an opportunity for you to receive feedback on your work and your presentation style.  All musical topics are welcome for this particular session - it doesn't need to relate to the theme directly. 

 

Please share this information widely amongst your networks of friends, colleagues, and students.  Also, I would be very grateful indeed for any help you can offer in circulating the website on social media, if you use it.  The Twitter tag is #vocalityinstrumentality.

 

Best wishes

 

Kristine Healy

Tuesday, September 6, 2016

Fwd: 2nd AES Workshop on Intelligent Music Production: one week left to register

** This list is managed by Dr Evangelos Himonides (UCL), on behalf of
the Society for Education and Music Psychology Research (sempre), and
aims to serve as a discussion forum for researchers working at the
shared boundaries of science and music. This list was previously
managed by the Institute of Musical Research. ** MESSAGE FOLLOWS:
[apologies if you receive multiple copies]

2nd AES Workshop on Intelligent Music Production: one week left to register
Tuesday 13 September 2016
Centre for Digital Music, Queen Mary University of London, UK
http://www.aes-uk.org/wimp/

Registration: http://wimp.eventbrite.co.uk
Registration deadline: Thursday 8 September 2016

Venue: Willoughby Lecture Theatre, Charterhouse Square campus, London, UK
Schedule: http://www.aes-uk.org/wimp/
Proceedings: http://c4dm.eecs.qmul.ac.uk/events/wimp2/

Audio Engineering and Music Production are inherently technical
disciplines, often involving extensive training and the investment of
time. The processes involved implicitly require knowledge of signal
processing and audio analysis, and can present barriers to musicians
and non-specialists. The emerging field of Intelligent Music
Production addresses these issues via the development of systems that
map complex processes to intuitive interfaces and automate elements of
the processing chain.

The event will provide an overview of some of the tools and techniques
currently being developed in the field, whilst providing insight for
audio engineers, producers and musicians looking to gain access to new
technologies. The day will consist of a selection of research
presentations, a panel featuring IMP leaders from industry and
academia, and additional posters and demonstrations.
In addition, Bryan Pardo (Interactive Audio Lab, Northwestern
University) and François Pachet (SONY Computer Science Laboratory
Paris) are confirmed as keynote speakers.

The workshop is followed by the monthly lecture of the British Section
of the Audio Engineering Society, open to the public and taking place
in the same room: Philosophy of human and machine creativity in audio
by Andy Farnell.

For more information about the event, please get in touch with the
workshop chairs:
Brecht De Man <b.deman@qmul.ac.uk>
Joshua D. Reiss <joshua.reiss@qmul.ac.uk>


________________________________________________

Brecht De Man
PhD Student in Audio Engineering
Centre for Digital Music
Queen Mary University of London

School of Electronic Engineering and Computer Science
Mile End Road
London E1 4NS
United Kingdom

brechtdeman.com
b.deman@qmul.ac.uk
Skype: brechtdeman
Twitter | LinkedIn | Academia | GitHub

Friday, July 22, 2016

the oft discussed examiner's scanned passport over email... one more time!

Simply DO NOT send your scanned passports to anybody over email.
This has nothing to do with adherence to legislation; this is moronic,
borderline criminal, practice that very careless people in University
HR departments encourage.

This is today's response to one of them... second in two days
(although yesterday's response was not so polite, due to the heat!)

please feel free to share, quote, or disregard!

Evangelos

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

Dear Jane Doe [obvious alias here],
I am happy to accept.

I am also happy to provide evidence about my eligibility to work in
the UK (despite the fact that your are approaching me in order to act
as **internal** examiner, as full time employee of UCL, a college of
the University of London, a sibling institution to Yours -- but I will
not play this oft discussed on social media card!)

May I also raise the minor issue that I do not wish to be **employed**
by your institution; I am only willing to act as **examiner** of one
of your students. I have examined doctoral theses all over the world
without the need to obtain a working permit or visa for that purpose.
I therefore think that your HR department needs to rehearse a
different notion, other than employment, for academics that offer this
type of service to their field, and research in general. This is also
supported by the fact that a 'salary' of £150 would be highly
inappropriate, for something that requires anything between 60 and 100
hours of a senior academic's time, in focused reading, editing, and
reporting.

I will certainly not send you a scanned copy of my passport through an
unsecure channel of communication such as email. I have to report that
I find it shocking that during these times of heightened security, a
prestigious institution that is part of the University of London, with
a world leading department in computer science and digital
technologies, is conducting this type of practice. Sadly, this is
performed by many an HR department all over the U.K.
I have a responsibility, as chartered Fellow of the British Computer
society to object to this malpractice.

I am happy to produce my passport in person, and should you need to
keep a photocopy of the photo pages, the Head of Your Department will
have to sign a disclosure, wherein your data protection measures of
archived paper material will be clearly outlined. I will counter-sign
this, reserving my legal right to act accordingly, in case of your
failure to protect this document. In case you require to keep a
digital copy of the passport, this will have to be watermarked, so
that, in case of a breach of security, responsibility can be
taken/assigned accordingly.

I hope that this is clear and apologise for the mild inconvenience.
But this is exactly what this is about, the convenience of HR
departments' employees, cleverly disguised as adherence to
legislation; I find this to be unacceptable and potentially dangerous
practice!

Do let me know how you wish to proceed upon consultation with your Head of HR.

Also, please keep in mind, that I do not wish to cause any
inconvenience to the student and their supervisor; I am therefore
willing to examine the thesis gratis, if that would help not having to
deal with adopting this pseudo-employment paradigm. A donation of £150
from your institution to a charity of your choice would be appreciated
in this case.

with all best wishes,
Evangelos

--
Dr Evangelos Himonides FBCS CITP
Reader in Technology, Education and Music
University College London


On 22 July 2016 at 11:21, [Shared] Council Researchdegrees
<researchdegrees@putnameofunihere.they.all.do.it> wrote:

> Dear Dr Himonides,
>
> I am writing to ask if you would be willing to act as the internal examiner
> for the following candidate:
>
> Candidate: Virginia Wolf [obvious alias here as well]
>
> Thesis title: a multimodal framework for mapping HEI HR department madness [made up title, obviously]
>
> Degree for which entered: PhD
>
> Supervisor: Dr Super Visor
>
> Expected date of thesis submission: 1st August 2016
>
> Examiners are required to read and write a preliminary report on the thesis,
> and together with their co-examiner to conduct an oral examination and write
> a subsequent joint report. Examiners are paid a fee of £150 plus expenses.
> Further details on the examination process will be sent out with the thesis.
>
> Dr Ex Ternal of the Pokemon Go University [it's hopefully now obvious that these are aliases] has been invited to act as the external examiner in this case.
>
> I would be grateful if you could confirm whether or not you are able to
> accept this invitation to act (confirmation by email is fine). Before
> responding to this invitation, please read the information below on
> eligibility to work in the UK. Regretfully, putnameofunihere.they.all.do.it is unable to appoint examiners who cannot provide evidence of eligibility to work in the UK.
>
> Travel and expenses claims
>
> Information about the maximum rates for travel and expenses claims that will
> be reimbursed by putnameofunihere.they.all.do.it is at
>
> http://url.here
>
> Section 9 is about travel and subsistence.
>
> The rates for meals are
>
> Breakfast £7.00
> Lunch £10.00
> Evening Meal £20.00
>
> For all expenses claims original receipts must be provided. If you pay by
> contactless card methods please request a tax receipt. In line with HMRC
> guidance putnameofunihere.they.all.do.it is unable to reimburse claims without original receipts and photocopies cannot be accepted. For travel in London using an Oyster Card, if the card is registered with Transport for London an e-receipt for travel
> can be obtained. Train travel is re-imbursed at standard rates only. Please
> submit claims within 3 months of the date of expenditure.
>
> Proof of eligibility to work in the UK
>
> In order to comply with Right to Work checks required by the UK Home Office
> all examiners are asked to provide proof of their eligibility to work in the
> UK including those who are British or European Economic Area (EEA)
> nationals.
>
> The initial check must be done before the examination, even if you have
> worked for us before. In accepting this invitation to examination, please
> would you send me by email a scanned copy of your passport photo/information
> page and any relevant visa you may currently hold.
>
> If you do not hold a passport issued by a member state of the European
> Economic Area and you live and work outside the UK, you will need to enter
> the UK through the Permitted Paid Engagements route. For some non-EEA
> nationals (those classified as 'visa nationals' by the Home Office) this
> will mean that you will require a visa to enter and work in the UK and you
> must obtain this before you travel to the UK.
>
> For other non-EEA nationals (those classified as 'non-visa nationals' by the
> Home Office) you will not require a visa to enter via the Permitted Paid
> Engagements route provided you are coming to the UK for less than 6 months.
> You must however declare that you are entering via this route at the UK
> border check. Please bring your letter of invitation from putnameofunihere.they.all.do.it to act as an examiner to show at the border check.
>
> To check if you need a visa please see
>
> https://www.gov.uk/check-uk-visa
>
> Information about the Permitted Paid Engagement visa is at
>
> https://www.gov.uk/permitted-paid-engagement-visa/overview
>
> Please do not hesitate to contact me with any queries at any point.
>
> Yours sincerely,
>
> Jane Doe

Monday, July 18, 2016

The Journal of Music, Technology, and Education 10th Anniversary Special Issue

The Journal of Music, Technology, and Education 10th Anniversary Special Issue

 

Title: Music, Technology, and Education: Cultural Perspectives

 

Editor: Dr Andrew King (University of Hull, UK)

Associate Editors: Professor Andrew R Brown (Griffith University; Australia); Dr Evangelos Himonides (UCL; UK); Dr Alex Ruthmann (NYU; USA); and Dr Jonathan Savage (Manchester Met University; UK).

 

SCIMago Journal Rank Indicator = 0.506 11th (Q1) out of 112 music publications World-wide (source SCImago; 2016)

 

The reasons for this special issue are to mark the 10th anniversary of the Journal of Music, Technology and Education alongside the Hull UK City of Culture celebrations in 2017.  The aim of the issue is to share ideas and discuss research with foci on technology, pedagogy, music, and culture from a ranged of viewpoints. Themes for the papers could include how culture can inform: curricula design; creativity; composition; consumption; interdisciplinary work; performance; philosophical perspectives; production; software; and song writing.

 

Papers should be between 5-8k words and will need to be submitted before 20 January 2017. Colleagues are welcome to share abstracts with the editor before this date or express a general interest in contributing to this volume.

 

Full details and guidelines for authors can be found on our publishers website:

 

http://www.intellectbooks.co.uk/journals/view-Journal,id=152/

 

Papers and enquiries should be submitted to the editor Dr Andrew King (a.king@hull.ac.uk).

 

In addition to the special issue, The University of Hull will also be hosting a conference between 3–5 April 2017 within the area of Musical Cultures. Keynotes addresses for the conference include: Professor David Huron (Ohio State University, USA), Professor Patricia Shehan-Campbell (University of Washington, USA), Professors Mine Dogantan-Dack (University of Oxford, UK) and Professor Daniel Leech Wilkinson (King's College, London, UK). The submission process for this conference is separate to this call for papers and colleagues should use follow the guidelines on the conference website:

 

http://www2.hull.ac.uk/fass/drama,-music-and-screen/conferences/musical-cultures-conference.aspx

 

 

Wednesday, July 6, 2016

Fwd: International Conference “Musicology Applied To The Concert: Performance Studies At Work”


Call for Papers

 

INTERNATIONAL CONFERENCE

"MUSICOLOGY APPLIED TO THE CONCERT: PERFORMANCE STUDIES AT WORK"

 

1-3 December 2016

International University of Andalusia

"Antonio Machado" Campus, Baeza, Jaen (Spain)

 

BACKGROUND

Performance studies are encouraging a massive turning point in musicology. To such an extent that many scholars are claiming to rethink a fundamental premise of the discipline, namely the change of a traditional orientation of music as text to a recent one of music as performance. This perspective takes then performance as the object of study and the concert as the privileged space where it takes place. This conceptual change challenges established methodologies and scholarly practices, while bringing together more easily musicologists and musicians. This International Conference aims to impulse the recent debate promoted by performance studies within Iberian musicology. It will consist of a series of keynote presentations, experimental lab-concerts, selected papers and practical workshops.

 

 

GUEST PARTICIPANTS

• Keynote speakers:

John Sloboda (Guildhall School of Music and Drama, London)

Pablo L. Rodríguez (Universidad de La Rioja / El País)

Aaron Williamon (Royal College of Music, London)

Miguel Angel Marin (Universidad de La Rioja / Fundacion Juan March)

 

• Lab-concerts: Ensemble Armonia Concertada (Switzerland/Spain), Capella Prolationum & Ensemble La Danserye (Spain) (16th- and 17th- century music)

 

• Workshops: Conjunto Ars Longa de La Habana (Cuba) & Albert Nieto (Spain) (18th-, 19th- and 20th- century music)

 

 

SUBMISSIONS

Proposals for 20-minutes papers or workshops are welcome. Potential topics include:

• Creative experimentation

• Analysis and performance

• Historically Informed Performance (HIP)

• Embodiment

• History of performance

• Discology and recording practices

• Gestural meaning in performance

• Composer-performer collaborations

• From score to performance

• Performance philosophies

• Improvisation and arrangements

• Concert programming

• Creative role of listeners

 

Applications should include:

• Title of the paper or workshop proposed

• Abstract (maximum 250 words)

• Full name, contact details, and institutional affiliations (if any)

• Short biography (maximum 150 words)

• Audio-visual and other requirements (data projection, CD/DVD player, piano, etc.)

 

Proposals should be sent as email attachment (.doc, .docx, .rtf) to Ana Lombardía (<ana.lombardia3@gmail.com>)

- Deadline for submission: 12 September 2016

- Deadline for notification of selected proposals: 22 September 2016

- Official languages: English and Spanish

 

Conference organization will provide accommodation on demand in the 17th-century University building. Baeza was declared World Heritage Site by UNESCO in 2003 together with Ubeda for its outstanding Renaissance old city. Tourist routes will be offered to conference members.

 

 

ORGANIZERS

• International University of Andalusia (UNIA)

• Research Group "Music in Spain: Composition, Reception and Performance" (MECRI), University of La Rioja

• Early Music Festival of Ubeda & Baeza (member of REMA and FestClasica)

 

 

SCIENTIFIC DIRECTION

• Miguel Ángel Marín (University of La Rioja / Juan March Foundation)

• Javier Marín-López (University of Jaen / Early Music Festival of Ubeda & Baeza)

 

For more information, please contact Ana Lombardía: ana.lombardia3@gmail.com

 

www.unia.es

http://www.unirioja.es/mecri/CongresoBaeza2016_eng.shtml

www.festivalubedaybaeza.org

 

 

 +++

 

CONGRESO INTERNACIONAL

"MUSICOLOGÍA APLICADA AL CONCIERTO: LOS ESTUDIOS SOBRE PERFORMANCE EN ACCIÓN"

 

 

1- 3 diciembre 2016

Universidad Internacional de Andalucía

Campus "Antonio Machado" de Baeza, Jaén (España)

 

 

 

PRESENTACIÓN

Los estudios sobre performance están impulsando un profundo cambio de dirección en la musicología. Hasta tal punto que muchos investigadores han sugerido reformular una de las premisas fundamentales de la disciplina: el cambio de una orientación tradicional que entiende la música como texto a una más reciente que considera la música como performance. Esta perspectiva toma, pues, la performance como objeto de estudio y el concierto como el espacio privilegiado en el que tiene lugar. Este giro conceptual desafía las metodologías establecidas y las prácticas académicas, al tiempo que vincula de manera más directa a musicólogos e intérpretes. Este Congreso Internacional se propone impulsar el reciente debate promovido por los estudios de performance dentro de la musicología ibérica. El congreso se articula a través en una serie de ponencias invitadas, lab-conciertos experimentales, comunicaciones libres y talleres prácticos.

 

 

INVITADOS

• Ponentes:

John Sloboda (Guildhall School of Music and Drama, Londres)

Pablo L. Rodríguez (Universidad de La Rioja / Diario El País)

Aaron Williamon (Royal College of Music, Londres)

Miguel Angel Marín (Universidad de La Rioja / Fundación Juan March)

 

• Lab-conciertos: Ensemble Armonia Concertada (Suiza/España), Capella Prolationum & Ensemble La Danserye (España) (música de los siglos XVI y XVII)

 

• Talleres: Conjunto Ars Longa de La Habana (Cuba) y Albert Nieto (España) (música de los siglos XVIII, XIX y XX)

 

 

PROPUESTAS

Los interesados pueden presentar propuestas de comunicación y de talleres sobre los siguientes posibles temas:

• Experimentación creativa

• Análisis y performance

• Interpretación Históricamente Informada

• Corporización

• Historia de la interpretación y de la performance

• Discología y prácticas de grabación

• Significados del gesto en la interpretación

• Colaboraciones compositor-intérprete

• De la partitura a la performance

• Filosofías de la interpretación

• Improvisación y arreglos

• Programación de conciertos

• El papel creativo del oyente

 

La propuestas deben incluir:

• Título de la comunicación o taller propuesto

• Resumen (máximo 250 palabras)

• Nombre completo, información de contacto y afiliación institucional (si procede)

• Breve biografía (máximo 150 palabras)

• Medios audio-visuales y otros requerimientos (proyector, reproductor de CD/DVD, piano, etc.)

 

Las propuestas deberán remitirse como archivo adjunto (.doc, .docx, .rtf) a Ana Lombardía (<ana.lombardia3@gmail.com>)

- Fecha límite para la presentación: 12 Septiembre 2016

- Fecha límite para la notificación de propuestas seleccionadas: 22 Septiembre 2016

- Idiomas oficiales del congreso: español e inglés

 

La organización proporcionará alojamiento a aquellos interesados en la Residencia de la Universidad, ubicada en un edificio del siglo XVII. Baeza fue declarada Patrimonio de la Humanidad por la UNESCO en 2003 junto a Úbeda por su sobresaliente casco histórico del Renacimiento. Se ofrecerán visitas turísticas a los participantes.

 

 

ORGANIZADORES

• Universidad Internacional de Andalucía, Baeza (UNIA)

• Grupo de Investigación "Música en España: Composición, Recepción e Interpretación" (MECRI), Universidad de La Rioja

• Festival de Música Antigua de Úbeda y Baeza (miembro de REMA y FestClásica)

 

DIRECCIÓN CIENTÍFICA

• Miguel Angel Marín (Universidad de La Rioja / Fundación Juan March)

• Javier Marín López (Universidad de Jaen / Festival de Música Antigua Úbeda y Baeza)

 

Para más información, por favor contacte con Ana Lombardía: ana.lombardia3@gmail.com

 

www.unia.es

http://www.unirioja.es/mecri/CongresoBaeza2016.shtml

www.festivalubedaybaeza.org



Calling PARENTS of under 5's* Please complete this survey on how you engage in musical and other activities with your little one. Thank you!

This survey is intended for parents of infants (3 months -1 year and
11 months) or children of the preschool age (2-5 years) and should be
completed by the primary caregiver (i.e., the parent or carer that
spends more time with the child; in the case of equal parenting,
either parent could take the survey). It has been created through a
collaboration between Middlesex University and Goldsmiths University
of London and it aims to collect information regarding musical
experience in the family and interactions between parents and their
children. The survey should only take 10-15 minutes and data will be
anonymised.
If you are a parent of two children within the age range mentioned
above (3 months-5 years) please complete this survey for your youngest
child.

https://mdxl.eu.qualtrics.com/SE/?SID=SV_5yxKaZ3X8uTndjL

The Lived Experience of Improvisation

The Lived Experience of Improvisation

IN MUSIC, LEARNING AND LIFE

 

SIMON ROSE

Published by Intellect Ltd

Distributed by University of Chicago Press

261 pages | 7 x 9 | © 2016

 

Improvisation is crucial to a wide range of artistic activities—most prominently, perhaps, in music, but extending to other fields of experience such as literature and pedagogy. Yet it gets short shrift in both appreciation and analysis of art within education. This is in no small part due to our tendency to view the world in fixed categories and structures that belie our ability to generate creative, groundbreaking responses within and between those structures.
           
 The Lived Experience of Improvisation draws on an analysis of interviews with highly regarded improvisers, including Roscoe Mitchell, Pauline Oliveros, and George Lewis. Simon Rose also exploits his own experience as a musician and teacher, making a compelling case for bringing back improvisation from the margins. He argues that improvisation is a pervasive aspect of being human and that it should be at the heart of our teaching and understanding of the world.

The book will appeal to those with an interest in the creative process of improvisation - musicians, artists, teachers, researchers and others. Its analysis and discussion of improvisation is interdisciplinary and relevant across fields.

http://www.press.uchicago.edu/ucp/books/book/distributed/L/bo25032241.html