Fwd: Valuing and Evaluating Music Performance

 

We regret to announce that the Valuing and Evaluating Music Performance workshop scheduled for 17 – 19 April 2020 in Lugano, Switzerland has been postponed due to the escalating global situation.

 

We aim to host the workshop at a later date in the calendar year. Please watch this space and the workshop website for details of the new date when they become available.

 

With best wishes,

Hubert Eiholzer

Aaron Williamon

Anna Modesti

George Waddell

 

Fwd: Midlands New Music Symposium - Call for Proposals (deadline this Sunday 15/03/20)

Hi all, 

Just a quick reminder that the deadline for proposals for the Midlands New Music Symposium is this coming Sunday, 15th March.

Please see below for further information.

Kind regards, 

Duncan. 

--------

Midlands New Music Symposium - Call for Proposals (presentations; lecture-recitals; recitals; and workshops).

 

Midlands New Music Symposium (May 8-9), University of Nottingham

Deadline for the Proposals: Sunday 15 March 2020 (23.59 GMT).

Details of the call and how to submit can be found here: http://symposium.nottfar.org.uk

 

Keynote Speaker: Simon Emmerson

 

Nottingham Forum for Artistic Research (NottFAR) are delighted to announce a Call for Proposals for the inaugural Midlands New Music Symposium (May 8-9) and accompanying Nottingham New Music Weekend (May 7-10).

 

The symposium seeks to explore and celebrate the diversity of current contemporary music and creative sound practices in the fields of composition, performance, and technology. The two-day symposium will include a series of presentations, lecture-recitals, discussions, workshops, and concerts.

 

The symposium themes are open to let practitioners and scholars set the agenda. As such, the committee invites a broad range of proposals (outlined below) from individuals in and outside of academia. Moreover, we welcome proposals that engage with the Nottingham New Music Weekend theme of Deep Sounds, namely low pitched instruments and/or electronics.

 

Proposal formats:

• Papers (20 minutes)
• Presentations (10 minutes)
• Demonstrations (up to 20 minutes)
• Workshops (up to 60 minutes)
• Short recitals (15 minutes)
• Lecture-recitals (30 minutes)

Details on the call and submission guidelines can be found online at: http://symposium.nottfar.org.uk 

Dr Duncan MacLeod

Assistant Professor of Music Composition

Department of Music, School of Humanities

University of Nottingham

University Park, Nottingham, NG7 2RD

nottingham.ac.uk/music | www.duncanmacleod.org 

Follow us Twitter.com/UoNMusic

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Call for papers for special two-part issue titled Women in Popular Music: Their Musical Education and Pedagogical Inspirations

Journal of Popular Music Education

Call for papers for special two-part issue titled Women in Popular Music: Their Musical Education and Pedagogical Inspirations, in Two Parts: (1) Women in WoPop (World Popular Music) and (2) Women in Popular Music across the Anglosphere

Guest Editor: Patricia Shehan Campbell

 

The aim of this two-part issue is to honor the voices of women in popular music across generations and cultures, their musical journeys from nascent to fully fledged or professional musicians, their ways of learning their craft, and their contributions in inspiring, influencing, and imparting to others the skills for engaging in popular music of various forms. Representations of women in popular music and related industries remain low, and the chronicling of the nature of their expressive practices has been minimal to almost entirely absent in scholarly journals in music and music education. The intent of the collected articles is to open wide issues of gender and inclusion, and to expand the present discourse on teaching and learning popular music by featuring research and scholarship on women in popular music from across different musical genres, performances, and cultural practices.  

 

The special issue will fall into two parts, with scholarly articles on (1) Women in WoPop (World Popular Music)—such as Umm Kulthum, Lila Downs, Teresa Teng, Oumou Sangare, Celia Cruz, Nana Mouskouri, and Sinead O'Connor (and others), and (2) Women in Popular Music across the Anglosphere of English-speaking cultures—such as Patsy (Cline), Aretha, Joni, Selena, Amy (Winehouse), Madonna, Celine, Taylor, and Beyoncé (and others). Articles need not be artist-specific, but may well encompass topics and people who would likely not otherwise feature in the journal; international and cross-generational components are of interest as well. We welcome research and scholarship of various methodological emphases, and which address but are not limited to the following themes:

 (a) women's conceptions of and contributions to popular music within world communities and English-speaking cultures (such as the U.S., the UK, Australia, Canada, and New Zealand);

 (b) musical beginnings and developments of women popular music artists as children-to-youth via popular music experiences in the home/family, in the neighborhood, and via formal training/education;

(c) the nurturing by women popular music artists of a younger generation of aspirants via straight-ahead teaching/coaching and indirect-yet-effective means of motivating young musicians;

(d) the wider scape of women and girls in learning and 'doing' popular music, as aspirants, apprentices, and emerging artists.

 

The Journal of Popular Music Education is a peer-reviewed journal published by Intellect. It seeks to define, delimit, debunk, disseminate, and disrupt practice and discourse in and around popular music education. Popular music education takes place at the intersections of identity realization, learning, teaching, enculturation, entrepreneurship, creativity, a global multimedia industry, and innumerable instances of music making as leisure. Through drawing together diverse, rigorous scholarship concerning learning in, through and about popular music worldwide, JPME seeks to identify, probe and problematize key issues in this vibrant, evolving field. 

 

Scholarship from and across all relevant research methods and disciplines is welcome. Please submit manuscripts of approximately 6,000 words (double-spaced, Times New Roman, font size 12, including references) by December 1, 2020 for the attention of guest editor Patricia Shehan Campbell via the JPME website. Please refer to the Intellect style guide when preparing a submission. Less traditional format submissions are also welcomed for the Practices and Perspectives section of the journal.

Fwd: [DMRN-LIST] Call for Papers - WIMP2020 Workshop on Intelligent Music Production

6th Workshop on Intelligent Music Production Call for Papers

Friday 4th September 2020

Hosted by the Interdisciplinary Centre for Computer Music Research, University of Plymouth.

Registration: https://intelligent-music-production.github.io/

Venue: Jill Craigie Cinema, Roland Lowinski Building, University of Plymouth, Plymouth, UK

Submission deadline: Friday 17 July 2020

Notification of acceptance: Friday 31 July 2020

The production of music requires creativity, extensive knowledge of audio processing and exceptional listening skills. Many of these complex production processes have rules that could be made more intuitive, or managed by intelligent processes. The aim of the conference is to discover new music production techniques using state-of-the-art practices and techniques.

 

This event will provide an overview 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 presentations from leading academics, keynotes, posters and demonstrations. We welcome submissions on all aspects of Intelligent Music Production from researchers from any country at all stages of their careers.

 

Suggested topics include:

• Automatic Mixing Technologies
• AI for Music Production
• Computer Music Generation
• Melody Generation
• Philosophical foundations of Music Production Systems
• Improving Accessibility to Audio
• Philosophical Foundations of Music Production Systems
• Intelligent and Assistive Production Tools
• Semantically powered mixing technology
• Utilising novel Human Inputs for the Mixing Experience

 

As well as submissions in the following general areas:

• Perception, psychoacoustics and evaluation
• Source separation
• Semantic audio processing
• Musical similarity and structure analysis
• Music generation
• Sound Synthesis

Paper submissions are accepted in PDF format and should be between 2 and 4 pages, including references. Templates for submission are available for Word and LaTeX via the website. 

Accepted papers will be made available under a Creative Commons Attribution 4.0 International license (CC BY 4.0) 

Many thanks

Dave Moffat

david.moffat@plymouth.ac.uk

Open PhD position at the University of Graz

Call for Doctoral Student
The Centre for Systematic Musicology of The University of Graz, Austria, offers one fullyfunded
doctoral fellowship on the topic of Musical Creativity for a period of three years. The
successful applicant will enroll in the Doctorate of Philosophy program at the Faculty of
Humanities, University of Graz, will be supervised by Dr. Andrea Schiavio, and will contribute
to a collaborative project funded by the Austrian Science Fund (FWF) (link). The project, led
by Schiavio, combines theoretical and empirical research to explore links between creative
cognition, intersubjectivity, and action, in the contexts of musical performance, composition,
and learning. The candidate will contribute to this research by taking part in and facilitating
experiments, and generating original work on musical creativity (or a closely related area), for
his or her dissertation.
Details of the contract
• 100% employment contract funded by the Austrian Science Fund (FWF), Project:
P32460 - "Together in Music. Creative tools for music performance, education, and
composition"
• starting date: 01 October 2020.
Prerequisites
• Applicants are expected to hold (or about to obtain) an excellent Masters degree in
music, musicology, cognitive sciences, psychology, neuroscience, or relevant
discipline.
• Applicants are expected to have hands-on experience with empirical research and data
analysis.
• Excellent English proficiency is compulsory. Basic knowledge of German desirable.
Applications shall include
• CV
• 2-page motivation letter (explaining your suitability for the project)
• PhD proposal: max. 3000 words (written in English, including questions, objectives,
methods).
• Optional: Masters thesis, or draft of thesis, or thesis proposal, or draft journal
submission (preferably in English, but at least with English title and abstract)
Deadline for applications: 01.04.2020
To apply, please send via email all material, in one cumulative PDF file, to Dr. Andrea Schiavio
(andrea.schiavio@uni-graz.at). Please write "PhD Application Musical Creativity" as object.

Fwd: Valuing and Evaluating Music Performance

Valuing and Evaluating Music Performance

 

An international workshop for researchers and practitioners in music performance evaluation

 

17 - 19 April 2020

Conservatorio della Svizzera italiana, Lugano, Switzerland

 

The evaluation and assessment of musical performance is central to the career of any aspiring musician. Valuing and Evaluating Music Performance will bring together leaders in research, education, and performance to foster discussion and knowledge exchange between research and musical practice.

 

The workshop is organized in collaboration with the Centre for Performance Science, Royal College of Music London, and will offer plenary presentations, experiential learning activities, and roundtable discussions.

 

International speakers will present on a range of topics including the psychological and aesthetic underpinnings of music performance evaluation, the skills and tools of the expert evaluator, and the contexts in which evaluations take place. Speakers will include:

 

Michele Biasutti, University of Padua
Hubert Eiholzer, Conservatorio della Svizzera italiana Lugano

Solange Glasser, University of Melbourne

Noola Griffiths, Teesside University
Evangelos Himonides, University College London

Ivan Hewett, Royal College of Music

Gary McPherson, University of Melbourne  

Stephanie Pitts, University of Sheffield
Rafael Ramirez, Universitat Pompeu Fabra

George Waddell, Royal College of Music

 

Registration

Spaces are limited. To register, please click here.
Registration will close on 20 March 2020.

 

Workshop fees:

Participants: CHF 200

External students: CHF 100

 

The registration fees include lunches and attendance at workshop presentations and activities.

 

For more information, please visit the workshop website.

 

Hubert Eiholzer

Aaron Williamon

Anna Modesti

George Waddell

 

York Music Education Conference 2020: Learner voice

York Music Education Conference 2020: Learner voice

Music Department, University of York, 29-30 May 2020

Deadline for proposals: Friday 13 March 2020

In recent years there has been an increasing recognition of the importance of learner voice in music education. By placing this at the heart of music teaching and learning we seek to include and empower all learners regardless of music educational setting and the age, ability, or number of learners. A learner-centred approach encourages active participation and meaningful engagement with learning which can not only raise standards of achievement but potentially also lead to new pedagogical practices.

This conference will bring together researchers, teachers, practitioners, and students to stimulate critical discussion and sharing of learner voice approaches in a wide range of music education contexts and to facilitate reflection on effective practice. Cross-disciplinary perspectives from music psychology, healthcare, and music technology are welcome.

SUBMISSIONS

Proposals are invited from researchers, teachers, learners, and practitioners; submissions from postgraduate research students and early-career academics are encouraged. Proposals should show how the topic relates to the conference theme and are welcome for presentations in various formats:

- Spoken papers (20 minutes + 10 minutes for Q&A)

- Interactive poster presentations

- Workshops (45 minutes)

- Panels (45 minutes)

- Short provocations (max. 5 minutes followed by discussion)

Please send abstracts (max. 250 words) and biographies for all presenters (max. 150 words) by email to Dr Caroline Waddington-Jones (caroline.waddington-jones@york.ac.uk) by Friday 13 March 2020.

Fwd: PhD position in Sound and Music Computing, KTH, Stockholm, Sweden

Doctoral student in Sound and Music Computing
KTH Royal Institute of Technology
Stockholm, Sweden

Project description
Third-cycle subject: Media Technology
The project you will work in is funded by the Swedish agency
Vetenskapsrådet, and is titled "Historically informed design of sound
synthesis". Based on a forgotten treasure, the Elektronmusikstudion
(EMS) collection of historical analog synthesizers from the 60ies and
70ies, we aim to create a series of digital electronic music instruments
enabling different expressions and instrumental forms. Your task will be
to explore the collection, to implement digital emulations of some of
the instruments, and to develop user interfaces for them. You will then
collaborate with artists at the royal college of music (KMH) to use
these instruments within new compositions, and conduct user tests with
online communities.Your work will take place at the Division of Media
Technology and Interaction design (MID), in the Sound and Music
Computing (SMC) team. You will collaborate with the Royal College of
Music and with the organization hosting the synthesizer collection
(Musikverket). In addition, you will be able to apply for short term
scientific missions to visit partners in the Nordic SMC network during
your studies.

Supervision: The doctoral student will be supervised by: Andre Holzapfel
(main supervisor), Sandra Pauletto (co-supervisor, KTH), Henrik Frisk,
(co-supervisor, KMH), Dan Lundberg (co-supervisor, Musikverket).

Application info (Deadline 20 March 2020):
https://www.kth.se/en/om/work-at-kth/lediga-jobb/what:job/jobID:315148/type:job/where:4/apply:1

--
Andre Holzapfel
Assistant Professor
KTH Royal Institute of Technology
School of Computer Science and Communication
Media Technology and Interaction Design
https://www.kth.se/profile/holzap

Fwd: postdoc opportunity (KTH, Stockholm)

From: Bob Sturm <bobs@kth.se>

I'm happy to announce the first postdoc position (Music Cultures and AI) of my new ERC Consolidator Grant: https://www.kth.se/en/om/work-at-kth/lediga-jobb/what:job/jobID:317558 

I'm looking for the best and brightest candidates, with a strong background from at least one of these areas, or related fields:     

• (ethno)musicology      

• anthropology     

• science and technology studies 

The candidate must have experience in performing ethnographies, as well as quantitative and qualitative research methods. Well-developed analytical and problem-solving skills are a requirement. Musicianship is not essential, but desired. The successful applicant should have an outstanding research and publication record. The successful applicant must have an awareness of diversity and equal treatment issues with a particular focus on gender equality. Very good command of English orally and in writing is required to present and publish research results. Great emphasis will be placed on personal competence and suitability.

Please forward this announcement to anyone you feel would be a great candidate. I'm happy to answer any questions.

Sincerely,

Bob L. T. Sturm, Associate Professor
Tal, Musik och Hörsel (Speech, Music and Hearing)
Lindstedtsvägen 24
School of Electronic Engineering and Computer Science
Royal Institute of Technology KTH, SE-100 44 Stockholm, Sweden
https://highnoongmt.wordpress.com

Fwd: [DMRN-LIST] Innovation in Music 2020: Call for papers

Innovation in Music 2020 in Stockholm 03-05 December 2020

Music Production: International Perspectives

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

***Apologies for Cross Posting***
Please forward to interested parties within your institution and beyond.

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

Call For Papers

​Innovation in Music 2020 will be held at the Royal College of Music, Stockholm, Sweden on 03 - 05 December 2020. A Routledge conference proceedings book will be published in 2021. 

The titled theme is "Music Production: International Perspectives" and whilst contributions aligning to this are encouraged, it is not exclusive; the conference scope remains multi-disciplinary as below.

Innovation in Music welcomes academics, creatives, producers, artists, industry professionals, technology developers and equipment manufacturers to come together and submit abstracts for consideration on a wide range of topics including:

·       ​Innovative music creation and performance

·       Music production: past, present and future

·       Music technology innovation

·       Innovation in music business

·       Innovation in music in the Nordic countries

o   and the relationship to International innovation. 

·       Cross-disciplinary topics around music and innovation 

Abstracts of 300-500 words will be reviewed for inclusion in the conference programme. After the conference, presenting authors will be expected to submit a full paper for peer review and inclusion in the book of conference proceedings, published by Routledge.

Abstracts should be submitted by 01 July 2020 to the following email address:

​info@musicinnovation.co.uk

Innovation in Music are also welcoming proposals for innovative, interactive demonstrations and performances appropriate to the conference scope. If you are interested in being involved in any way please contact us at the following email addresses:

info@musicinnovation.co.uk

 

Dates and Deadlines

·       01 July 2020 - abstracts deadline

·       01 August 2020 - acceptance of abstracts sent to authors

·       01 October 2020 - early bird registration discount ends

·       03 December 2020 - conference opens

·       06 January 2021 - full chapters submitted for conference proceedings book with Routledge

See www.musicinnovation.co.uk for more information

 

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

Organisation

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

Conference Chair

Professor Jan-Olof Gullö – Royal College of Music (KMH), Stockholm

 

Conference Committee Sweden

Conference Coordinator Elina Edblom – KMH

Head of Academy Per-Henrik Holgersson, Academy of Music Education – KMH

Head of Academy Anna Maria Koziomtzis, Academy of Classical Music, Composition, Conducting and Music Theory – KMH

Head of Academy Bo Westman, Academy of Folk Music, Jazz and Music and Media Production – KMH

 

Conference Committee UK

Professor Justin Paterson – University of West London

Russ Hepworth-Sawyer – MOTTOsound & York St John University

Professor Rob Toulson – RT60 Ltd

 

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

Further Information

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

 

We will subsequently be confirming full conference details.

You can also follow @InMusicConf on Twitter for communications and updates, as well as visit our Facebook page at:

https://www.facebook.com/InnovationInMusic

To unsubscribe or for any other enquiries please email:

info@musicinnovation.co.uk

 

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

Welcome to Stockholm & the Royal College of Music in December! 

 

Jan-Olof Gullö