Research positions available for EU-funded project at the University of Hamburg
1 PostDoc and 2 PhD positions for researchers with a background in
music, dance, psychology or movement science
Institute of Systematic Musicology, University of Hamburg, Germany
Closing Date: 15 February 2017
We invite applications for positions within the EU-funded research
project "Slow Motion: Transformations of Musical Time in Perception
and Performance" (SloMo). The project will commence in April 2017,
positions are available for a period of five years (2017–2022). The
research team will investigate musicians, dancers, and audiences of
performances in a series of empirical studies using a range of
interdisciplinary methods.
The PostDoc (full-time) will work on experimental research involving
musicians and dancers. She/He will contribute to testing and
developing theories, supervise data collection, analyse the data, and
take a key role in publications and presentations. The candidate is
expected to hold an excellent research-based PhD in one of the fields
of music or dance psychology, music or movement science, musicology,
dance studies, psychology or related fields. Apart from first
excellent publications and proficient English language skills,
experiences in quantitative motion capture research would be
advantageous.
For the PhD positions (65% of working time), the successful candidates
will run experimental sessions, analyse data, and contribute
significantly to presentations and publications. An excellent degree
in music or dance psychology, music or movement science, musicology,
dance studies, psychology or related fields is required. Very good
skills in empirical research and quantitative statistics as well as
proficient English language skills are necessary. Some programming
experiences (e.g. Matlab, Python) are advantageous.
Informal enquires are welcome: Professor Clemens Wöllner
[clemens.woellner@uni-hamburg.de]. Applications (PDF of cover letter,
curriculum vitae, and copies of degree certificate) should be
addressed to the same email address.
For further information, see https://www.fbkultur.uni-hamburg.de/sm.html
and https://www.uni-hamburg.de/uhh/stellenangebote.html
--
Prof. Dr. Clemens Wöllner
Institute of Systematic Musicology
University of Hamburg
Neue Rabenstr. 13
20354 Hamburg
Germany
Thursday, January 19, 2017
Wednesday, January 11, 2017
Fwd: CMC concert 10 Feb
In C, by American composer Terry Riley, is a 'minimalist' piece (some
say the first minimalist piece), composed in 1964. Scored for any
combination of forces (instruments and/or voices) it is written so as
to give performers a lot of freedom, but requires accuracy of reading
and counting, and an ability to listen to what others are doing.
We are intending to perform In C as the main item in a UCL Chamber
Music Club lunchtime concert on Friday 10 February. We have a core of
recruits, most of whom took part in a previous performance in 2010,
but there is room for more! If you are interested please let me know
(reply to rabeemus@gmail.com), indicating your instrument or voice.
(Keyboard players - if you sing or play another instrument, that would
be very useful.)
There will be a rehearsal next Thursday (19th) in Room G15, Chandler
House, 2 Wakefield Street, WC1N 1PF. Anyone is welcome to come along:
http://www.ucl.ac.uk/maps/chandler-house. More rehearsals will be
arranged for the following weeks.
You can find a copy of the score and performing directions at
http://imslp.nl/imglnks/usimg/4/47/IMSLP00899-TerryRiley-InC.pdf, and
of course if you google 'terry riley in c' you can find more
information about the piece (some of it accurate...), extracts to
listen to etc.
Those of us involved in the previous performance found the project to
be quite challenging but enjoyable and musically worthwhile. I look
forward to hearing from volunteers.
Best wishes,
Roger Beeson, Deputy Chair, CMC.
say the first minimalist piece), composed in 1964. Scored for any
combination of forces (instruments and/or voices) it is written so as
to give performers a lot of freedom, but requires accuracy of reading
and counting, and an ability to listen to what others are doing.
We are intending to perform In C as the main item in a UCL Chamber
Music Club lunchtime concert on Friday 10 February. We have a core of
recruits, most of whom took part in a previous performance in 2010,
but there is room for more! If you are interested please let me know
(reply to rabeemus@gmail.com), indicating your instrument or voice.
(Keyboard players - if you sing or play another instrument, that would
be very useful.)
There will be a rehearsal next Thursday (19th) in Room G15, Chandler
House, 2 Wakefield Street, WC1N 1PF. Anyone is welcome to come along:
http://www.ucl.ac.uk/maps/chandler-house. More rehearsals will be
arranged for the following weeks.
You can find a copy of the score and performing directions at
http://imslp.nl/imglnks/usimg/4/47/IMSLP00899-TerryRiley-InC.pdf, and
of course if you google 'terry riley in c' you can find more
information about the piece (some of it accurate...), extracts to
listen to etc.
Those of us involved in the previous performance found the project to
be quite challenging but enjoyable and musically worthwhile. I look
forward to hearing from volunteers.
Best wishes,
Roger Beeson, Deputy Chair, CMC.
Thursday, December 29, 2016
Afghan Women’s Orchestra “Zohra”
Dear friends,
I am writing to invite you to watch a streaming performance by the Afghan Women's Orchestra "Zohra," who will be performing the closing performance of the 2017 World Economic Forum in Davos, Switzerland on Friday, January 20, 2017 at 5:30 Swiss time, which is 11:30am EST. It will be streaming on www.weforum.org
The closing performance at the Davos Congress Centre is attended by all the participants and attendees of the 2017 conference, which include several thousand world leaders and top business men and women from all around the world. The concert will be broadcast on international media in over 70 countries.
I have had the honor of teaching and leading the Afghan Women's Orchestra "Zohra" this year as the Director of Orchestral Studies at the Afghanistan National Institute of Music. This concert features 31 young ladies from across Afghanistan. They are the very first large performing ensemble of all female musicians EVER in Afghanistan, which is still ranked among the top worst places in the world to be a woman, and where music and musicians are still targeted and suppressed. The orchestra contains both Western and traditional Afghan instruments.
The concert will feature 4 parts. The first part will feature small ensemble pieces by traditional Afghan instruments. The next three parts will feature the full orchestra, led by my two conducting students, Zarifa and Negin, and myself. These young ladies are the first female conductors EVER in Afghanistan. It is an important and symbolic gesture for a woman to take a public, leadership role in Afghanistan- and it is one that does not come without risks. All of our young ladies have been very brave and defied the odds against violence and poverty to come to school each day. Zarifa and Negin will lead the orchestra in a wide selection of Afghan music arranged for our unique ensemble. I will get to conduct the orchestra myself in my own arrangement of the last movement of Beethoven's 9th Symphony, and a world premiere written for the orchestra by Sadie Harrison. Part of my job in Afghanistan has been to create written arrangements of Afghan folk music (a primarily aural tradition) for various ensembles, to help make sure that this centuries-old musical tradition is never at risk at again.
This concert kicks off a European tour, where we will then play concerts and participate in cultural exchanges and workshops in Geneva and Zürich (at the famous Zürich Tonhalle,) and then in Weimar and Berlin.
You can find various photos and videos on Facebook leading up to and during the tour by searching the hashtag #Zohratour. There is also a lot of hype going around via the Associated Press, so you will see us a lot in the news in the coming weeks if you search "Afghan Women's Orchestra Zohra."
I am also proud to announce that Naxos choose our Toccata Classics album "The Rosegarden of Light" as one of their top albums of 2016. This was last year's project between the Afghan Women's Orchestra "Zohra," the Ensemble of Traditional Afghan Instruments, and our musical ensemble back in Connecticut, Cuatro Puntos. With this album, and now again with this historic tour, I am honored to play a part in leading the Afghan Women's Orchestra "Zohra" toward redefining the image of Afghanistan, as well as serving a role in preserving Afghan music and making it available worldwide.
We hope you will hear us via the streaming performance at www.weforum.org
Happy holidays! Kevin Bishop
Director of Orchestral Studies- Afghanistan National Institute of Music
Wednesday, December 21, 2016
Fwd: Computer Simulation of Musical Creativity 2017
Dear all,
We are happy to announce the second Conference on Computer Simulation
of Musical Creativity. The event will be held at the Open University
in Milton Keynes (UK) from 11 to 13 Sept 2017.
•Deadline for paper submission: 10 June 2017
Submissions can cover both theoretical and/or practical aspects of
the computer simulation of musical creativity. Interdisciplinary
proposals at the intersection of music, computer science, psychology
and philosophy are welcome. Topics of interest may include, but are
not limited to:
Computer Systems
• systems capable of generating music;
• systems capable of performing music;
• systems capable of (online) improvisation;
• systems capable of analysing music;
• music-robotic systems;
• systems implementing societies of virtual musicians;
• systems that foster and enhance the musical creativity of human users;
• music recommendation systems;
• systems implementing computational aesthetics, emotional responses,
novelty and originality;
Theory
• surveys of state-of-the-art techniques in the area;
• validation methodologies;
• philosophical foundations of creative music systems;
• mathematical foundations of creative music systems;
• evolutionary models for creative music systems;
• cognitive models for creative music systems;
• studies on the applicability of music-creative techniques to other
research areas;
• new models for improving creative music systems.
Peer-Review Process and Proceedings
All papers are double-blind peer reviewed by at least two
specialists. Proceedings will be published online. Extended versions
of selected papers will be published in a special issue of the Journal
of Creative Music Systems (http://jcms.org.uk/).
Paper Submission
Details of submission procedure and formatting can be found at
https://csmc2016.wordpress.com/instructions-for-authors/.
For enquiries, please contact Robin.Laney@open.ac.uk
Best Wishes,
Robin Laney
Steven Jan
Valerio Velardo
Publications: http://oro.open.ac.uk/view/person/rcl46.html
The Open University is incorporated by Royal Charter (RC 000391), an
exempt charity in England & Wales and a charity registered in Scotland
(SC 038302).
We are happy to announce the second Conference on Computer Simulation
of Musical Creativity. The event will be held at the Open University
in Milton Keynes (UK) from 11 to 13 Sept 2017.
•Deadline for paper submission: 10 June 2017
Submissions can cover both theoretical and/or practical aspects of
the computer simulation of musical creativity. Interdisciplinary
proposals at the intersection of music, computer science, psychology
and philosophy are welcome. Topics of interest may include, but are
not limited to:
Computer Systems
• systems capable of generating music;
• systems capable of performing music;
• systems capable of (online) improvisation;
• systems capable of analysing music;
• music-robotic systems;
• systems implementing societies of virtual musicians;
• systems that foster and enhance the musical creativity of human users;
• music recommendation systems;
• systems implementing computational aesthetics, emotional responses,
novelty and originality;
Theory
• surveys of state-of-the-art techniques in the area;
• validation methodologies;
• philosophical foundations of creative music systems;
• mathematical foundations of creative music systems;
• evolutionary models for creative music systems;
• cognitive models for creative music systems;
• studies on the applicability of music-creative techniques to other
research areas;
• new models for improving creative music systems.
Peer-Review Process and Proceedings
All papers are double-blind peer reviewed by at least two
specialists. Proceedings will be published online. Extended versions
of selected papers will be published in a special issue of the Journal
of Creative Music Systems (http://jcms.org.uk/).
Paper Submission
Details of submission procedure and formatting can be found at
https://csmc2016.wordpress.com/instructions-for-authors/.
For enquiries, please contact Robin.Laney@open.ac.uk
Best Wishes,
Robin Laney
Steven Jan
Valerio Velardo
Publications: http://oro.open.ac.uk/view/person/rcl46.html
The Open University is incorporated by Royal Charter (RC 000391), an
exempt charity in England & Wales and a charity registered in Scotland
(SC 038302).
Thursday, December 15, 2016
Fwd: Psychology of Music - New Editor Announcement
14-Dec-2016
Greetings to all in the Psychology of Music community,
I am honoured to have been appointed as the incoming Editor of
Psychology of Music. I am extremely fortunate to be taking over from
Alexandra Lamont who, alongside the Editorial Board and the team at
SAGE, has done a superb job over the past five years.
During the handover period Alexandra will continue to oversee papers
where she has already begun the editorial process. I will work
alongside her and gradually take over the role of Editor. My very
sincere thanks go to Alexandra, Paolo Ammirante and the team at SAGE
for their support and advice during the handover period which has
begun in this month of December.
As incoming Editor my first priority is to maintain and build upon our
Journal's outstanding reputation as a platform for robust, innovative
and interdisciplinary perspectives in the field.
Psychology of Music is, of course, a testament to the international
expertise and outstanding professionalism represented amongst our
authors, reviewers and readers. I look forward to serving this
community and I hope you will all continue to support Psychology of
Music.
Andrea Creech, incoming Editor
Professeure en didactique instrumental
Chaire de recherche du Canada en Musique dans la Communauté
Faculté de Musique,
Université Laval,
Québec, Canada,
Andrea.creech@mus.ulaval.ca
Greetings to all in the Psychology of Music community,
I am honoured to have been appointed as the incoming Editor of
Psychology of Music. I am extremely fortunate to be taking over from
Alexandra Lamont who, alongside the Editorial Board and the team at
SAGE, has done a superb job over the past five years.
During the handover period Alexandra will continue to oversee papers
where she has already begun the editorial process. I will work
alongside her and gradually take over the role of Editor. My very
sincere thanks go to Alexandra, Paolo Ammirante and the team at SAGE
for their support and advice during the handover period which has
begun in this month of December.
As incoming Editor my first priority is to maintain and build upon our
Journal's outstanding reputation as a platform for robust, innovative
and interdisciplinary perspectives in the field.
Psychology of Music is, of course, a testament to the international
expertise and outstanding professionalism represented amongst our
authors, reviewers and readers. I look forward to serving this
community and I hope you will all continue to support Psychology of
Music.
Andrea Creech, incoming Editor
Professeure en didactique instrumental
Chaire de recherche du Canada en Musique dans la Communauté
Faculté de Musique,
Université Laval,
Québec, Canada,
Andrea.creech@mus.ulaval.ca
Fwd: Call for Papers: 5th Occupational Voice Symposium
Call For Papers!
(We are having some problems with our servers so please accept our apologies if you have received this already!)
Dear Colleagues,
On behalf of Dr Ruth Epstein and the Speech-Language Therapy Department of the Royal National Throat Nose and Ear Hospital and the UCL Division of Surgery and Interventional Science I am pleased to announce the 5th Occupational Voice Symposium! The symposium will take place on the 28th and 29th of March 2017 at University College London.
The programme will include keynote addresses by invited speakers, roundtable discussions and 15 minute free paper presentations on the following topics:
The role of vocal hyperfunction in occupational voice disorders | Assessment of risk factors for voice problems |
Absenteeism versus presenteeism in the workplace | Evaluation of the efficacy of vocal dosimeter devices |
Preventative management for work-related voice disorders | Employer detection of dysphonia |
Perceptual assessment tools for evaluating voice disorders | Socioeconomics of occupational voice disorders |
Use of technology in managing occupational voice | Epidemiology and aetiology of occupational voice disorders |
The submission deadline is 15th JANUARY 2017.
Abstract submissions, updates and further details including how to register are found on our website: www.
For more information, please don't hesitate to contact Brian Saccente-Kennedy at brian.saccentekennedy@uclh.
We look forward to seeing you in London in March!
Brian Saccente-Kennedy MRCSLT
Specialist Speech and Language Therapist
University College London Hospitals NHS Foundation Trust
The Royal National Throat Nose & Ear Hospital
330 Gray's Inn Road
London
WC1X 8DA
Tuesday, November 29, 2016
Fwd: PhD scholarships
> PhD scholarships
>
> AHRC-funded 3D3 Centre for Doctoral Training welcomes applications for doctoral scholarships to pursue a PhD at Plymouth University's Interdisciplinary Centre for Computer Music Research (ICCMR) in the UK.
>
> More information on ICCMR is available here: http://cmr.soc.plymouth.ac.uk
>
> Candidates wishing to apply should submit an Expression of Interest (EoI) by Jan 03, 2010 by 22:00.
>
> Instructions here: http://3d3research.co.uk/information/expressions-of-interest/
>
> ICCMR welcomes proposals to work on pioneering new technologies and approaches to computer-aided musical creativity including, but not limited to:
>
> (a) Unconventional Sound and Music Computing, in particular to develop interactive Bio-computing technology & n-AI (natural-Artificial Intelligence). More info & impact:
>
> http://www.bbc.co.uk/news/science-environment-31655846
>
> https://www.theguardian.com/science/grrlscientist/2015/feb/09/slime-mould-and-researcher-set-to-play-piano-duet
>
>
> (b) Exploring the potential of Quantum Computing for music. More info & impact:
>
> https://www.wired.com/2016/07/quantum-computers-dont-make-sense-one-makes-music/
>
> http://magazine.viterbi.usc.edu/fall-2016/articles/superposition/
>
>
> (c) Evolutionary Computing modelling for musical creativity, in particular involving voice/singing. More info & impact:
>
> http://www.nature.com/nature/journal/v474/n7349/full/474035a.html
>
> http://www.springer.com/gb/book/9781846285998
>
>
> Should you wish to discuss your EoI and/or other ideas before you submit it, please contact Prof Eduardo Miranda by e-mail:
>
> eduardo DOT miranda AT plymouth DOT ac DOT uk
>
>
> Small print: before you proceed, please note:
>
> a) UK citizens are eligible for full scholarship: fees + stipend (3 years).
> b) Non-UK EU citizens are eligible for full fees only (3 years) but in exceptional cases the university may fund an additional stipend to successful candidates (It is worth trying anyway).
> c) Non-EU/UK citizens are not eligible for this scholarship.
>
Monday, November 28, 2016
cfp: 10th biennial International Symposium on the Sociology of Music Education
Call for Papers – one week to deadline
The organizing committee of the 10th biennial International Symposium
on the Sociology of Music Education and the Institute of Contemporary
Music Performance are pleased to announce a call for papers. We
welcome proposals from a broad range of perspectives, related to
sociology and music education. Colleagues are invited to submit
individual papers (twenty minutes, plus five minutes for discussion)
or panels of three to five presenters (50 minutes, plus 10 minutes for
discussion). Topics of particular interest include, but are not
limited to, sociological studies of music education that relate to:
· Communities of musical practice
· Music, multimedia, and online learning
· Transdisciplinary, hybrid and sound-based music
· Power and (symbolic) violence
· Aspiration and social mobility
· Social justice and citizenship
· Feminist, gender, queer and trans theories
· Punk, hip-hop and anarchist pedagogies
· Critical studies of creativity
· Practice-led and arts-based research methods
· Music making, leisure, cultural participation
· Intergenerational learning, health and creative aging
· Internationalization and globalization
· Neoliberalization of schooling and higher education
· Public–private partnerships
· Religion and spirituality
· An age of polarized politics
· An anti-intellectual age
We also welcome proposals for 60-minute performance/teaching workshops
that illustrate effective practical responses to social issues in
music. Please contact Gareth Dylan Smith with any informal enquiries
at gareth.smith@icmp.ac.uk.
Abstracts should be 300-350 words in length, and should be accompanied
by a 150-word biography for each presenter. Email submissions to
gareth.smith@icmp.ac.uk, including full name/s and institutional
affiliation/s. The closing date for submissions is 1 December 2016.
All submissions will be reviewed by the organizing committee: Dr Clare
Hall, Dr David Hebert, Dr Danielle Sirek and Dr Gareth Dylan Smith.
All presenters will be notified of acceptance by 1 January 2017. The
Symposium will be held at the ICMP's London campus, 11-14 June 2017.
Registration, and information regarding travel, accommodation and
scheduling, will be available (from spring 2017) via:
http://www.icmp.ac.uk/issme2017.
Action, Criticism, and Theory for Music Education will publish a
special Sociology of Music Education issue in early 2018, including
articles based on ISSME 2017 presentations, and guest edited by Gareth
Dylan Smith and Clare Hall. Submissions should meet ACT standards
(http://act.maydaygroup.org/submissions/) and will be subject to
double-blind peer review. Submissions to the guest editors will be due
by September 1, 2017.
Dr Gareth Dylan Smith BA, MA, MMus, PhD, LTCL, NCTM, SFHEA
Research Fellow
Editor, Journal of Popular Music Education
Vice President, Association for Popular Music Education
Chair, ISME Popular Music Education Special Interest Group
Direct: 020 7328 0222
Email: gareth.smith@icmp.ac.uk
Skype: garethdylansmith
Visit: www.icmp.ac.uk
The Institute of Contemporary Music Performance
Foundation House, 1A Dyne Road, London NW6 7XG
The organizing committee of the 10th biennial International Symposium
on the Sociology of Music Education and the Institute of Contemporary
Music Performance are pleased to announce a call for papers. We
welcome proposals from a broad range of perspectives, related to
sociology and music education. Colleagues are invited to submit
individual papers (twenty minutes, plus five minutes for discussion)
or panels of three to five presenters (50 minutes, plus 10 minutes for
discussion). Topics of particular interest include, but are not
limited to, sociological studies of music education that relate to:
· Communities of musical practice
· Music, multimedia, and online learning
· Transdisciplinary, hybrid and sound-based music
· Power and (symbolic) violence
· Aspiration and social mobility
· Social justice and citizenship
· Feminist, gender, queer and trans theories
· Punk, hip-hop and anarchist pedagogies
· Critical studies of creativity
· Practice-led and arts-based research methods
· Music making, leisure, cultural participation
· Intergenerational learning, health and creative aging
· Internationalization and globalization
· Neoliberalization of schooling and higher education
· Public–private partnerships
· Religion and spirituality
· An age of polarized politics
· An anti-intellectual age
We also welcome proposals for 60-minute performance/teaching workshops
that illustrate effective practical responses to social issues in
music. Please contact Gareth Dylan Smith with any informal enquiries
at gareth.smith@icmp.ac.uk.
Abstracts should be 300-350 words in length, and should be accompanied
by a 150-word biography for each presenter. Email submissions to
gareth.smith@icmp.ac.uk, including full name/s and institutional
affiliation/s. The closing date for submissions is 1 December 2016.
All submissions will be reviewed by the organizing committee: Dr Clare
Hall, Dr David Hebert, Dr Danielle Sirek and Dr Gareth Dylan Smith.
All presenters will be notified of acceptance by 1 January 2017. The
Symposium will be held at the ICMP's London campus, 11-14 June 2017.
Registration, and information regarding travel, accommodation and
scheduling, will be available (from spring 2017) via:
http://www.icmp.ac.uk/issme2017.
Action, Criticism, and Theory for Music Education will publish a
special Sociology of Music Education issue in early 2018, including
articles based on ISSME 2017 presentations, and guest edited by Gareth
Dylan Smith and Clare Hall. Submissions should meet ACT standards
(http://act.maydaygroup.org/submissions/) and will be subject to
double-blind peer review. Submissions to the guest editors will be due
by September 1, 2017.
Dr Gareth Dylan Smith BA, MA, MMus, PhD, LTCL, NCTM, SFHEA
Research Fellow
Editor, Journal of Popular Music Education
Vice President, Association for Popular Music Education
Chair, ISME Popular Music Education Special Interest Group
Direct: 020 7328 0222
Email: gareth.smith@icmp.ac.uk
Skype: garethdylansmith
Visit: www.icmp.ac.uk
The Institute of Contemporary Music Performance
Foundation House, 1A Dyne Road, London NW6 7XG
Fwd: Announcing the Open Multitrack Testbed
The Centre for Digital Music (C4DM) at Queen Mary University of London
is pleased to announce the launch of the Open Multitrack Testbed, an
online repository of multitrack audio, mixes or processed versions
thereof, DAW files and corresponding metadata.
http://multitrack.eecs.qmul.ac.uk/
Our aim is to provide a single, central resource for multitrack audio,
allowing easy browsing, filtering and searching for specific content
based on rich metadata associated with the content. We intend the OMTB
to be a valuable resource for audio researchers, students, and content
producers which enables users to retrieve all songs featuring a
particular instrument, or a track recorded using a specific
microphone, for example.
Much of our content is available under Creative Commons licenses, and
hosted or mirrored on our own servers whenever possible.
We're interested in comments, suggestions for features and bug reports
from users. If you have any feedback, please get in touch!
We're also always looking for new raw multitrack recordings, stems,
mixes and/or DAW files, especially those we can make available under
Creative Commons licenses. Let us know if you would like to
contribute.
Contact us at eecs-multitrack@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
www.brechtdeman.com
b.deman@qmul.ac.uk
Twitter | LinkedIn | Academia | GitHub
is pleased to announce the launch of the Open Multitrack Testbed, an
online repository of multitrack audio, mixes or processed versions
thereof, DAW files and corresponding metadata.
http://multitrack.eecs.qmul.ac.uk/
Our aim is to provide a single, central resource for multitrack audio,
allowing easy browsing, filtering and searching for specific content
based on rich metadata associated with the content. We intend the OMTB
to be a valuable resource for audio researchers, students, and content
producers which enables users to retrieve all songs featuring a
particular instrument, or a track recorded using a specific
microphone, for example.
Much of our content is available under Creative Commons licenses, and
hosted or mirrored on our own servers whenever possible.
We're interested in comments, suggestions for features and bug reports
from users. If you have any feedback, please get in touch!
We're also always looking for new raw multitrack recordings, stems,
mixes and/or DAW files, especially those we can make available under
Creative Commons licenses. Let us know if you would like to
contribute.
Contact us at eecs-multitrack@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
www.brechtdeman.com
b.deman@qmul.ac.uk
Twitter | LinkedIn | Academia | GitHub
Wednesday, November 23, 2016
Fwd: SIG NOTICE: Call for papers: Musichildren'17 | Music for and by Children: Perspectives from Children, Composers, Performers and Educators
Call for papers: Musichildren'17
1st International Conference: "Music for and by Children: Perspectives from Children, Composers, Performers and Educators"
October 19th to 21st 2017 | University of Aveiro, Portugal
The University of Aveiro, the Polytechnic Institute, Porto and INET-md (Institute of Ethnomusicology - Centre for Music and Dance Studies) will host the 1st International Conference: "Music for and by Children: Perspectives from Children, Composers, Performers and Educators", from October 19th to 21st 2017, at the University of Aveiro, Portugal. The keynote-speakers will be Jackie Wiggins (Oakland University) and Dai Fujikura (Royal College of Music).
The main goal of the musichildren'17 conference is to explore aspects of music for children, and music that is created by children. It aims to stimulate discussion, develop ideas, and disseminate research in the fields of Music Composition, Performance and Music Education. This 3 day event will host paper presentations, performances, workshops and discussions from around the world.
Main conference themes
1. Children as performers and audience: A forum that explores and presents research of processes that lead to music performed by children and the processes involved in performing to children.
2. Composing for children: A forum that aims to explore and present research and reflections on factors that contribute to widening repertoire for children and young audiences.
3. Children's music: A forum that aims to develop new understandings of children's creativity, and of the particular ways they create their own music, alone or in groups, in formal, non-formal and informal contexts.
Proposals for presentations compatible with the conference theme(s) are invited in any one of the following formats:
• Paper presentations (up to 20 minutes);
• Pre-formed Panel presentations. Please submit abstracts with each named speaker and their institutional affiliation (up to 90 minutes);
• Posters;
• Lecture-recitals (up to 35 minutes). Proposals submissions should specify exact length and be accompanied by a short curriculum of the presenter and links;
• Workshops (up to 60 minutes); Proposals submissions should specify exact length and be accompanied by a short curriculum of the presenter and links;
• Concerts involving children (up to 45 minutes). Proposals submissions should specify exact length and be accompanied by a short curriculum of the presenter and links.
Please note that active participation of children is encouraged in all presentation formats. Children must always be accompanied by an adult.
Authors should submit abstracts of up to 500 words using the online submission system Easy Chair. We recommend that submissions include information on context, theoretical background, methodology and results/findings.
Presentations for the Pre-formed Panel consist of a set of integrated spoken papers relating to a theme. Abstracts submitted in this format should be up to 300 words each. The Chair must also submit an overview, a proposal of 200 words including a general description of the session that includes the purpose, motivation, and justification for the session.
All full submitted papers will be published on the PROA-UA platform (revista.ua.pt).
Deadlines
Abstracts must be received by 26th March 2017.
Presenters will be notified by 2nd May 2017.
Deadline for the full papers submission is 10th September 2017.
General enquiries
General enquiries about registration, travel, lodging should be sent to musichildren@ua.pt
More information
Site: http://musichildren.web.
Facebook: https://www.
Organising committee
Sara Carvalho, Clarissa Foletto and Ana Veloso
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