Hi all,
Please note that the deadline for submissions for the Andrew Goodwin
Memorial Prize has been extended to 31 January 2016.
This is an annual prize for best postgraduate student paper on any aspect
of popular music from any disciplinary perspective, and the prize is £500.
See full details below. Please circulate widely and encourage your students
to submit an essay - or if you're a PG student member of IASPM UK-I, please
consider submitting.
Best wishes,
Matt Brennan
Member-at-large, IASPM UK and Ireland branch executive committee
--
http://www.iaspm.org.uk/andrew-goodwin-memorial-prize/
Andrew Goodwin Memorial Prize
Andrew Goodwin was a key figure in the development of popular music
studies. His background was in media and cultural studies: he received his
Ph.D. in Cultural Studies from the University of Birmingham and taught for
many years in the Department of Media Studies at the University of San
Francisco. He was a pioneer of the scholarly analysis of music video (in
his book, Dancing in the Distraction Factory. Music Television and Popular
Culture, for example, which drew on his previous work on television) and an
astute critic of the use of postmodern theory in popular cultural studies.
But his work also reflected his experiences as a working musician and
critic (experiences explored in his entertaining Professor of Pop blog),
and his articles on such topics as music technology and the concept of
world music remain models of clear-eyed common sense and analytic insight,
informed as much by practice as theory. As a teacher, colleague and
friend, Andrew was an untiring source of ideas, enthusiasm and support, and
his untimely death, in September 2013, was a huge loss to all of us in
IASPM. The Andrew Goodwin Memorial Prize was established in 2014 as a
fitting tribute to his generosity to younger scholars.
Aim: To promote popular music research and to support new scholars.
Eligibility: Postgraduate students who are currently registered at
universities and colleges in the U.K. and Ireland and who are members of
IASPM. Current students and IASPM UK-I members who submitted essays for the
AGMP in previous years but were unsuccessful may apply again; however, they
are not allowed to submit the same essay (or essay topic) twice. Previous
winners of the AGMP may not apply again.
Awarded for: Essay of 3,000 to 4,000 words, on any aspect of popular music
from any disciplinary perspective.
Prize: £500 and publication of the winning essay on the Andrew Goodwin
Memorial Prize web page on the IASPM UK and Ireland website.
Dates: Submissions to open 1 October 2015 and close 31 January 2016.
Decision announced 1st May 2016. Prize awarded at IASPM-UK conference (and
at IASPM international conference alternate years).
Panel of judges: The 2015-16 panel of judges is Matt Brennan, Sara Cohen,
Simon Frith, and Sarah Hill.
Guidelines for submission:
Submissions should be in either a Microsoft Word (.doc or .docx) or .RTF
document file format, with double-spaced, 11-point in Arial font text
(quotations larger than 40 words indented, in 10-point text). The student’s
name and institution should appear on a title page as part of the essay
document. PDF files cannot be accepted. All submissions should follow the
Harvard Referencing Guide.
Essays should be submitted by 31 December 2015 to the following e-mail
address:[log in to unmask]
On Wed, Jan 13, 2016 at 12:01 AM, MUSICOLOGY-ALL automatic digest system <
[log in to unmask]> wrote:
> There are 10 messages totaling 910 lines in this issue.
>
> Topics of the day:
>
> 1. Frank Bridge Chamber Works Symposium 19th Jan Royal College of Music -
> free tickets available
> 2. International Hip Hop Studies Conference - University of Cambridge
> 3. University of Cambridge Music Faculty Colloquia - Professor Nicholas
> Cook
> (20th January, 5pm)
> 4. Centre for Russian Music at Goldsmiths presents Prof Marina
> Frolova-Walker: 19th January 2016
> 5. CFP [extended] Gli spazi della musica (2016, no 1 and 2)
> 6. REMINDER: Call for Papers: IASPM UK and Ireland Biennial Conference:
> Popular Music: Creativity, Practice and Praxis
> 7. CfP - Inaugural Issue of the Journal of Creative Music Systems
> 8. Call for Participation - MUME 2016
> 9. REMINDER - Leverhulme Early Career Fellowships at the Faculty of
> Music,
> University of Oxford - Deadline Monday 18th January
> 10. Short term job/skills development opportunity for a recent PHD
> graduate at
> the RCM, London
>
> ----------------------------------------------------------------------
>
> Date: Fri, 8 Jan 2016 16:23:58 +0000
> From: Emma Hewett <[log in to unmask]>
> Subject: Frank Bridge Chamber Works Symposium 19th Jan Royal College of
> Music - free tickets available
>
> Dear Musicology subscribers,
>
> There are still free day and evening tickets left for the RCM's
> forthcoming Frank Bridge Symposium on the 19th January which will focus on
> his early chamber works during a workshop and an evening concert. Lunch,
> refreshments and an evening drinks reception are all included in the
> tickets.
>
> Some big names are featured including pianists David Owen Norris and Roger
> Vignoles, scholars Lewis Foreman and Stephen Banfield, composer Anthony
> Payne, and violinist Madeleine Mitchell.
>
> Day sessions (from 10am) include:
> 'The Early Chamber Music of Frank Bridge: Finding a style at the Turn of
> the Century'
> 'Bridge as Song Writer', 'Bridge and the Phantasie'
> Workshop on Frank Bridge's Early Chamber Works
> 'Frank Bridge and the BBC'
> Roundtable discussion
>
> Evening reception then a concert starting at 7pm
> Students from the RCM explore the Chamber Music of Frank Bridge including
> String Quartet in Bb Major (1901), 'Phantasie' Piano Trio No. 1 (1907),
> Three Idylls (1906) , String Quartet No. 3 (1926)
>
> Sign up at http://rcm.ac.uk/events/listings/?date=2016-01-19
>
> We look forward to seeing you on the day or in the evening - it should be
> really enjoyable!
>
> Emma
>
> Emma Hewett
> Research & Knowledge Exchange Manager
> Royal College of Music
> Prince Consort Road
> London SW7 2BS
> United Kingdom
> Tel +44 (0)20 75914734
> Fax +44(0)20 7591 4356
> Email: [log in to unmask]<mailto:[log in to unmask]>
> www.rcm.ac.uk<http://www.rcm.ac.uk/> @MusicResearchKE<
> https://twitter.com/MusicResearchKE>
>
> ------------------------------
>
> Date: Mon, 11 Jan 2016 16:18:52 +0000
> From: James Butterworth <[log in to unmask]>
> Subject: International Hip Hop Studies Conference - University of Cambridge
>
> ‘It Ain’t Where You’re From, It’s Where You’re At’: International Hip Hop
> Studies Conference
> University of Cambridge
> 23-24 June 2016
>
> Keynote speakers:
>
> Tricia Rose, Brown University
> Murray Forman, Northeastern University
>
>
> The AHRC ‘Performing hip hop Englishness’ project, in collaboration with
> the University of Cambridge, is pleased to invite proposals for papers to
> be presented at the international hip hop studies conference ‘It ain’t
> where you’re from, it’s where you’re at’.
>
> It ain’t where you’re from:
> The line ‘it ain’t where you’re from, it’s where you’re at’, from Rakim’s
> ‘In the Ghetto’, has become a commonly articulated hip hop trope that can
> be variously understood as a way of emphasizing one’s location and action
> in the moment, as well as privileging one’s orientation over one’s
> ontology. How can we, as scholars from diverse disciplinary backgrounds
> working in the field of hip hop studies, interpret this phrase? How far can
> it take us? What does it obscure? What is the role of negation in the
> construction of hip hop’s various histories, its cultural politics, and its
> re-territorialisations?
>
> It’s where you’re at:
> The line ‘it ain’t where you’re from, it’s where you’re at’ can also be
> used to highlight the roles of artistic skill, cosmopolitan awareness, and
> critical engagement with the local. How can an emphasis on ‘where you’re
> at’ help us to understand the ethics and aesthetics of hip hop? What
> relevance does the privileging of orientation have to the development of
> hip hop studies as an interdisciplinary field? We encourage papers that
> shed light on this phrase and its implications for hip hop culture and hip
> hop studies, particularly in relation to issues of place, space,
> temporality, language, ethnicity, ethics, and politics.
>
> Where are we at?
> Over the last four decades hip hop has grown to become one of the most
> dominant cultural forms and practices across the globe. As hip hop evolves
> so too does hip hop studies. However, the trajectory of hip hop studies is
> not only dependent on the changing nature of its object of study but also
> its own methods, theories and contexts. What should hip hop scholars be
> doing now and in the future? This conference will attempt to take stock of
> where both hip hop and we as hip hop scholars are at.
>
> We invite proposals (title and abstract) of no more than 200 words for 20
> minute papers. Please send submissions to the conference convener, James
> Butterworth ([log in to unmask]), by 4th March 2016. Acceptances will be
> issued by mid-March.
>
> ------------------------------
>
> Date: Mon, 11 Jan 2016 15:26:05 +0000
> From: Charlotte Bentley <[log in to unmask]>
> Subject: University of Cambridge Music Faculty Colloquia - Professor
> Nicholas Cook (20th January, 5pm)
>
> Dear all,
>
> The first colloquium of the term (Wednesday 20th January, 5pm) will be
> given by Professor Nicholas Cook (University of Cambridge).
>
> His paper is entitled 'The imaginary African: race, identity, and Samuel
> Coleridge-Taylor'.
>
> 'Samuel Coleridge-Taylor (1875-1912), now forgotten but in his time an
> outstandingly successful British composer, was the illegitimate child of a
> West African medical student and an English mother. His father returned to
> Africa before his son was born: Coleridge-Taylor was brought up in an
> entirely white environment. It was only in early adulthood that he became
> involved with African and African American issues: he incorporated
> spirituals into his compositions, and was involved in the early development
> of pan-Africanism. The dissonance between his black skin and English
> upbringing, together with his subsequent engagement with his racial
> patrimony, make his life and career an unusually rich example of the
> purposeful reconstruction of identity. The aim of this chapter is to
> investigate the role that music played in this process, and to use music as
> a means of understanding it'.
>
> We hope that many of you will be able to join us at 5pm on Wednesday 20th
> January in the Recital Room of the Faculty of Music, West Road, Cambridge.
> The colloquium will be followed by drinks and canapés in the Faculty Foyer.
>
> Here is a list of this term's colloquia for your information:
>
> 20/01 Nicholas Cook: "The imaginary African: race, identity, and Samuel
> Coleridge-Taylor"
>
> 27/01 Laudan Nooshin: "Re-imagining Musical Difference; creative profess,
> alterity and 'improvisation' in Iranian music from classical to jazz".
>
> 03/02 Laura Tunbridge: "Stockpiling Schubert"
>
> 10/02 Gavin Williams TBA
>
> 17/02 Anahid Kassabian TBA
>
> 24/02 Julian Anderson: "Obuhow, Ravel, Lindberg: investigating a hidden
> connecting seam in modern music".
>
> 02/03 Derek Scott: "Cosmopolitan Musicology"
>
> 09/03 Tomas McAuley: "What is music and philosophy (or: what does music
> mean?)?"
>
> ------------------------------
>
> Date: Mon, 11 Jan 2016 10:48:02 +0000
> From: Tamsin Alexander <[log in to unmask]>
> Subject: Centre for Russian Music at Goldsmiths presents Prof Marina
> Frolova-Walker: 19th January 2016
>
> Centre for Russian Music: Soviet Music Lecture Series 2016
>
> The Centre for Russian Music and Goldsmiths Music Research Series are
> pleased to present Prof Marina Frolova-Walker in a talk on 'Stalin's
> Playlist'.
>
> Time: Tuesday 19th January, 5pm
> Venue: Goldsmiths University of London, Richard Hoggart Building, Room 308
> Admission: Free
>
> Marina Frolova-Walker is Professor of Music History at the Faculty of
> Music, University of Cambridge, and Fellow of Clare College. She is the
> author of Russian Music and Nationalism from Glinka to Stalin (Yale, 2007),
> co-author (with Jonathan Walker) of Music and Soviet Power, 1917–32
> (Boydell, 2012), and has written numerous scholarly articles and popular
> essays on Russian and Soviet music and culture. In 2014 she was elected
> Fellow of the British Academy, and in 2015 she was awarded the Edward J.
> Dent Medal by the Royal Musical Association for ‘outstanding contribution
> to musicology’.
>
> 'Stalin’s Playlist'
> The issue of Stalin’s musical tastes has never undergone any scholarly
> investigation: it remains a preserve of popular literature, where fact is
> often mixed with fiction. In this paper, I will approach it from one
> particular angle: the awards of Stalin Prizes in music, which are often
> seen by popular writers as a direct extension of Stalin’s personal
> preferences. Among the many surviving documents pertaining to Stalin
> Prizes, I have discovered lists of nominations which include Stalin’s own
> marginalia. Considering them together with relevant memoir literature will
> allow us to answer the question on whether Stalin was indeed routinely
> imposing his personal musical tastes on the nation.
>
>
> This is the first in a series of lectures on Soviet music to be held at
> Goldsmiths this term. Further talks will be held at the same location as
> follows:
>
> Tuesday 9th February
> Dr Cameron Pyke: 'Benjamin Britten and Russia'
>
> Tuesday 1st March
> Dr Gavin Dixon: 'Schnittke's compositional method'
>
> All are very welcome.
>
> For further information contact
> Dr Tamsin Alexander ([log in to unmask])
>
> For more on the Centre for Russian Music: http://www.gold.ac.uk/crm/
> And on the Goldsmiths Music Research Series: http://www.gold.ac.uk/mrs/
>
> -------------------------------------------
> Dr Tamsin Alexander
> Lecturer in Music
> Centre for Russian Music
> Goldsmiths, University of London
> London
> SE14 6NW
>
> ------------------------------
>
> Date: Tue, 12 Jan 2016 12:10:20 +0000
> From: Benedetta Saglietti <[log in to unmask]>
> Subject: CFP [extended] Gli spazi della musica (2016, no 1 and 2)
>
> The editorial board encourages authors to submit contributions for the
> upcoming issues (2016, no 1 and 2), for both parts of the journal.
> http://www.ojs.unito.it/index.php/spazidellamusica/index
>
> «Gli spazi della musica» is a biannual online journal published by the
> Department of Humanities of the Università degli Studi di Torino (StudiUm),
> based on a process of blind peer-reviewing (ISSN 2240-7944).
>
> "Ricercari" are free papers on basic topics of music studies.
> Therefore, the editorial board invites authors to submit essays on any
> aspect of musicological and comparative research.
>
> "Variazioni" are papers on a given topic.
>
> The theme for the Variazioni in both 2016 issues is: From sign to sound
> and vice versa, across the centuries.
>
> Possible but not exclusive topics could be:
> - How did the relationship between sign and sound develop and take shape
> in different cultures and ages?
> - How does the study of musical signs influence our understanding of
> music, past and present?
> - Which is the relationship, if there is any, between musical notation and
> improvised music, or between notation and ornamentation?
> - How can musicology analyse music that is not transmitted through written
> signs?
> - How can we confront with new methods of transmitting music?
> - Which is the relationship between new technologies and traditional
> musical notation?
> - How do new systems of transmitting music influence the way in which we
> interact with, perceive, memorize and conceptualize music?
>
> Deadlines for all types of contributions (Ricercari and Variazioni),
> written according to the Author guidelines published on the website and
> provided with an abstract of 600 characters:
> January 31, 2016 for the 1st issue; June 15, 2016 for the 2nd one.
> Contributions should take the form of full length essays (4000/12500
> words).
>
> Papers must be submitted to the address glispazidellamusica.studium AT
> unito.it
>
> Supported languages are English, French, German, Italian, and Spanish
>
> Please share with interested colleagues!
>
>
> ------------------------------
>
> Date: Tue, 12 Jan 2016 10:23:42 +0000
> From: Richard Elliott <[log in to unmask]>
> Subject: REMINDER: Call for Papers: IASPM UK and Ireland Biennial
> Conference: Popular Music: Creativity, Practice and Praxis
>
> IASPM UK and Ireland Biennial Conference: Popular Music: Creativity,
> Practice and Praxis
>
> University of Sussex and the British and Irish Modern Music Institute
> (Brighton), 8-10 September 2016
>
> Creativity is clearly a vital aspect of popular music and one which may be
> understood from a variety of perspectives, for example those of educators,
> composers, musicians, fans, music industry workers and critics. No doubt
> many of these perspectives overlap, not least for those with a foot in more
> than one of these camps. At the same time there are divergent opinions of
> how best to teach, study, theorise or practise creativity and this can
> hopefully lead to instructive debate.
>
> Proposals should indicate what new perspectives are being offered to the
> discussion of popular music creativity. Possible topics include, but are
> not limited to, the following:
>
> • composition
> • music production
> • creativity in performance
> • the creative fan
> • music education and creative pedagogy
> • interactions of technology and creativity
> • music and media, practice and praxis
> • creativity, culture and musical worlds
> • creativity/identity/politics
> • creativity, age and experience
> • creativity, practice and otherness
> • creativity, practice, praxis and protest
> • curating creativity / creative pasts / memory and creativity
> • creating the future
> • the resurrection of the author
> • social authorship and art worlds
>
> Proposals are invited for:
>
> • organised panels (3 or 4 thematically connected papers, 1½ or 2 hours)
> • round-table discussion sessions (3-4 shorter presentations on a given
> topic not exceeding 10 mins each, chaired discussion, 1½ or 2 hours)
> • structured workshops (targeting PG students and/or early-career
> researchers: these could include one or more facilitators focusing on
> theoretical, methodological, or career-related topics, e.g. publishing,
> grant applications etc., 1½ or 2 hours)
> • listening/viewing/practice groups (including audio/visual extracts or
> performances with minimal or no verbal presentations, 1½ or 2 hours)
> • individual papers (20 mins + 10 mins for questions)
> • poster/digital display material
>
> Proposals should be sent as attached Word documents to
> [log in to unmask] by Monday 25th January 2016. In order to
> facilitate the anonymous peer-review process, please make sure that your
> proposal conforms to the following formats.
>
> For organised panels/round-table sessions/structured workshops/listening
> or viewing groups: please include names, affiliations and email addresses
> of proposer/facilitator and individual contributors, abstract for the
> session (c.300 words) and abstract for each contribution (c.200 words).
> Make sure that the names of the proposer and contributors do not appear in
> the abstracts.
>
> For individual presentations: please include name, affiliation and email
> address of the presenter, and an abstract of no more than 300 words. Make
> sure that the name of the presenter does not appear in the abstract.
>
> For poster/digital display material: please include name, affiliation and
> email address of the presenter, a short description of the material, and
> any technical requirements.
>
> Participants in the conference will be required to be IASPM members.
>
> Andrew Goodwin Memorial Prize
> The winner of the Andrew Goodwin Memorial Prize will be announced during
> the conference. This is an annual prize for best postgraduate student paper
> on any aspect of popular music from any disciplinary perspective. The
> deadline for submissions is 31 December 2015. For further details see
> http://www.iaspm.org.uk/andrew-goodwin-memorial-prize/.
>
> Organising committee
> University of Sussex: Richard Elliott, Lucy Robinson, Michael Bull
> BIMM Institute Brighton: Jonathan Stewart, Mark Irwin, Richard Harvey
> Chair of IASPM UK & Ireland: Rupert Till
>
> ________________________________________________
> Dr Richard Elliott
> Lecturer in Popular Music
> School of Media, Film and Music
> University of Sussex
> Falmer
> BN1 9RG
>
> T: 01273 877271
> E: [log in to unmask]
>
> New book (October 2015): The Late Voice: Time, Age and Experience in
> Popular Music (Bloomsbury Academic)
> http://www.bloomsbury.com/the-late-voice-9781628921182<
> http://www.bloomsbury.com/the-late-voice-9781628921182/>
> <http://www.bloomsbury.com/uk/the-late-voice-9781628921182/>
> http://www.sussex.ac.uk/music/people/list/person/307949
> http://sussex.academia.edu/RichardElliott
>
> <https://www.equinoxpub.com/equinox/books/showbook.asp?bkid=505>
>
> ------------------------------
>
> Date: Mon, 11 Jan 2016 10:16:07 +0000
> From: Valerio Velardo U1370329 <[log in to unmask]>
> Subject: CfP - Inaugural Issue of the Journal of Creative Music Systems
>
> Dear all,
>
> this is a reminder of the CfP for the inaugural issue of the Journal of
> Creative Music Systems.
> Deadline for submission of papers: 31st January 2016
>
> Call for Papers - Inaugural Issue
> Journal of Creative Music Systems (http://jcms.org.uk/
> <redir.aspx?REF=BAQG13ydS0rkAvUS1-lsNv_yi8H98pumYIQ4yrHGvez0BASpbhrTCAFodHRwczovL3N0YWZmbWFpbC5odWQuYWMudWsvb3dhL3JlZGlyLmFzcHg_UkVGPXhMTmRZc3hhUmp5Y2hMcExaWUR6WGdkLS1rLXAwczNHZkJUWHNaemRYalFKa0dodGJoclRDQUZvZEhSd09pOHZhbU50Y3k1dmNtY3VkV3N2>)
>
> The Journal of Creative Music Systems (JCMS) is a new open-access journal
> publishing peer-reviewed articles on computational creative systems in the
> domain of music. JCMS is intended to serve as a forum for scholarly
> dialogue regarding the most important emerging issues in the field.
>
> JCMS is intended to focus on computer systems which generate, perform or
> analyse music, and which either demonstrate a distinct degree of creativity
> or which shed light on the nature of creativity. Both empirical articles,
> which focus on the design and implementation of new techniques; as well as
> theoretical papers, which investigate the scientific and philosophical
> foundations of music-creative systems, are encouraged. In recognition of
> the inherent interdisciplinarity of the field, JCMS encourages
> submission of articles at the intersection of different disciplines, such
> as music (theory, analysis, history), artificial intelligence, music
> information retrieval (MIR), cognitive science, evolutionary theory,
> mathematics and philosophy.
>
> Topics
> For the journal’s inaugural issue, topics of submissions 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;
> * robotic systems;
> * systems implementing societies of virtual musicians;
> * systems that enhance the musical creativity of human users;
> * music recommendation systems;
> * systems implementing computational aesthetics, emotional response,
> novelty/originality;
>
> Theory
>
> * surveys of state-of-the-art techniques in the area;
> * validation methodologies;
> * philosophical/mathematical foundations of creative music systems;
> * evolutionary models for music creative systems;
> * cognitive models for music creative systems;
> * studies on the applicability of music-creative techniques to other
> research areas;
> * new models for improving music creative systems.
>
> Types of Submissions
> JCMS accepts articles, research reports, reviews and tutorials. Articles
> should make a major theoretical or empirical contribution to knowledge.
> Research reports should describe research which is in a preliminary phase.
> Reviews provide critical commentary on scholarly books, articles and events
> such as conferences relevant to the field. Tutorials are intended to
> illustrate new technologies relevant to CSMC.
>
> Deadlines for Inaugural Issue
>
> * Submission of papers: 31st January 2016
> * Reports from referees sent to authors: 31st March 2016
> * Submission of revised papers: 15th April 2016
> * Expected publication date: May 2016
>
> Submission Instructions
> Please visit the JCMS website (http://jcms.org.uk/<redir.aspx?REF=WRT_6SMhdHXpo_aaSGpeH3Ey6rju3vN3a0mKCehfEh_0BASpbhrTCAFodHRwczovL3N0YWZmbWFpbC5odWQuYWMudWsvb3dhL3JlZGlyLmFzcHg_UkVGPXRSalkyTlBpLUpMUmQxeHJPaTVONVNfSU5Ua0xrOFJmbHdhMW01RUJhSzlROG1wdGJoclRDQUZvZEhSd09pOHZhbU50Y3k1dmNtY3VkV3N2>)
> for a description of the journal, instructions to authors and submission
> guidelines.
>
> Further Information
> For any enquiries, please contact Valerio Velardo, Associate Editor, at
> [log in to unmask]
> <redir.aspx?REF=6ofEcMYKa34CUNW9HSqHaRr3m3QZB9BCTu46pCmEMr30BASpbhrTCAFodHRwczovL3N0YWZmbWFpbC5odWQuYWMudWsvb3dhL3JlZGlyLmFzcHg_UkVGPXFSVE1RMVlXMEZKOUlyZnNJUHBFWXRRaG1VMlRhM1R0Vk9sdS1Tb1ZTNVJROG1wdGJoclRDQUZ0WVdsc2RHODZZWE56YjJOcFlYUmxMV1ZrYVhSdmNrQnFZMjF6TG05eVp5NTFhdy4u>.
>
>
> Best wishes,
> Valerio Velardo
>
> University of Huddersfield inspiring tomorrow's professionals.
> [http://marketing.hud.ac.uk/_HOSTED/EmailSig2014/EmailSigFooter.jpg]
>
> This transmission is confidential and may be legally privileged. If you
> receive it in error, please notify us immediately by e-mail and remove it
> from your system. If the content of this e-mail does not relate to the
> business of the University of Huddersfield, then we do not endorse it and
> will accept no liability.
>
> ------------------------------
>
> Date: Tue, 12 Jan 2016 14:01:53 +0000
> From: Kıvanç Tatar <[log in to unmask]>
> Subject: Call for Participation - MUME 2016
>
> ======================
>
> CALL FOR PARTICIPATION
>
> ======================
>
> ((( MUME 2016 )))
>
> 4th International Workshop on Musical Metacreation
>
> http://www.musicalmetacreation.org
> <https://www.easychair.org/conferences/?conf=mume2016>
>
> June 27, 2016
>
> MUME 2016 is to be held in Paris at Université Pierre et Marie Curie
> (UPMC), in conjunction with the Seventh International Conference on
> Computational Creativity, ICCC 2016.
>
> === Important Dates ===
>
> Workshop submission deadline: May 1, 2016
>
> Notification date: June 1, 2016
>
> Camera-ready version: June 10, 2016
>
> Workshop date: June 27, 2016
>
> ======================
>
> We are delighted to announce the 4th International Workshop on Musical
> Metacreation (MUME 2016) to be held June 27, 2016, in conjunction with the
> Seventh International Conference on Computational Creativity, ICCC 2016.
> MUME 2016 builds on the enthusiastic response and participation we received
> for the past occurrences of MUME series:
>
> - MUME 2012 (held in conjunction with AIIDE 2012 at Stanford):
> http://musicalmetacreation.org/index.php/mume-2012/
>
> - MUME 2013 (held in conjunction with AIIDE 2013 at NorthEastern):
>
> http://musicalmetacreation.org/index.php/mume-2013/
>
> - MUME 2014 (held in conjunction with AIIDE 2014 at North Carolina):
> http://musicalmetacreation.org/index.php/mume-2014/
>
> Metacreation involves using tools and techniques from artificial
> intelligence, artificial life, and machine learning, themselves often
> inspired by cognitive and life sciences, for creative tasks. Musical
> Metacreation explores the design and use of these tools for music making:
> discovery and exploration of novel musical styles and content,
> collaboration between human performers and creative software “partners”,
> and design of systems in gaming and entertainment that dynamically generate
> or modify music.
>
> MUME aims to bring together artists, practitioners, and researchers
> interested in developing systems that autonomously (or interactively)
> recognize, learn, represent, compose, generate, complete, accompany, or
> interpret music. As such, we welcome contributions to the theory or
> practice of generative music systems and their applications in new media,
> digital art, and entertainment at large.
>
> Topics
>
> ======
>
> We encourage paper and demo submissions on MUME-related topics, including
> the following:
>
> -- Representation and Algorithms for MUME
>
> ---- Novel representations of musical information
>
> ---- Advances or applications of AI, machine learning, and statistical
> techniques for generative music
>
> ---- Advances or applications of evolutionary computing or agent and
> multi-agent based systems for generative music
>
> -- Systems and Applications of MUME
>
> ---- Systems for autonomous or interactive music composition
>
> ---- Systems for automatic generation of expressive musical interpretation
>
> ---- Systems for learning or modeling music style and structure
>
> ---- Systems for intelligently remixing or recombining musical material
>
> ---- Online musical systems (i.e. systems with a real-time element)
>
> ---- Adaptive and generative music in video games
>
> ---- Techniques and systems for supporting human musical creativity
>
> ---- Applications of musical metacreation for digital entertainment: sound
> design, soundtracks, interactive art, etc.
>
> -- Evaluation of MUME
>
> ---- Methodologies for qualitative or quantitative evaluation of MUME
>
> ---- Studies reporting on the evaluation of MUME
>
> ---- Theory, and Socio-economical Impact of MUME
>
> ---- Computational models of human musical creativity
>
> ---- Emerging musical styles and approaches to music production and
> performance involving the use of AI systems
>
> ---- Socio-economical impact of MUME
>
> ---- Authorship and legal implications of MUME
>
> Submission Format and Requirements
>
> =================================
>
> Please make submissions via the EasyChair system at:
>
> https://easychair.org/conferences/?conf=mume2016 .
>
> The workshop is a full day event that includes:
>
> - Presentations of FULL TECHNICAL PAPERS (8 pages maximum)
>
> - Presentations of POSITION PAPERS and WORK-IN-PROGRESS PAPERS (5 pages
> maximum)
>
> - Presentations of DEMONSTRATIONS (3 pages maximum)
>
>
> All papers should be submitted as complete works. Demo systems should be
> tested and working by the time of submission, rather than be speculative.
> We encourage audio and video material to accompany and illustrate the
> papers (especially for demos). We ask that authors arrange for their web
> hosting of audio and video files, and give URL links to all such files
> within the text of the submitted paper.
>
> Submissions do not have to be anonymized, as we use single-blind reviewing.
> Each submission will be reviewed by at least three program committee
> members.
>
>
>
> Workshop papers will be published as MUME 2016 Proceedings and will be
> archived with an ISBN number. Submissions should be formatted using the
> AAAI, 2-column format; see instructions and templates here:
> http://www.aaai.org/Publications/Author/author.php
>
> Submission should be uploaded using MUME 2016 EasyChair portal:
>
> https://www.easychair.org/conferences/?conf=mume2016
>
> For complete details on attendance, submissions and formatting, please
>
> visit the workshop website: http://www.musicalmetacreation.org
>
> Presentation and Multimedia Equipment:
>
> ==========================================
>
> We will provide a video projection system as well as a stereo audio system
> for use by presenters at the venue. Additional equipment required for
> presentations and demonstrations should be supplied by the presenters.
> Contact the Workshop Chair to discuss any special equipment and setup
> needs/concerns.
>
> Attendance
>
> =======================================
>
> It is expected that at least one author of each accepted submission will
> attend the workshop to present their contribution. We also welcome those
> who would like to attend the workshop without presenting. Workshop
> registration will be available through the ICCC2016 conference system.
>
> Questions & Requests
>
> ======================================
>
> Please direct any inquiries/suggestions/special requests to the Workshop
> Chair,
>
> Philippe Pasquier ([log in to unmask]).
>
> Workshop Organizers
>
> ===================
>
> Pr. Philippe Pasquier (Workshop Chair)
>
> School of Interactive Arts and Technology (SIAT)
>
> Simon Fraser University, Canada
>
> Pr. Arne Eigenfeldt
>
> School for the Contemporary Arts
>
> Simon Fraser University, Canada
>
> Dr. Oliver Bown
>
> Design Lab, Faculty of Architecture, Design and Planning
>
> The University of Sydney, Australia
>
> Kıvanç Tatar (MUME Administration and Publicity Assistant)
>
> School of Interactive Arts and Technology,
>
> Simon Fraser University, Vancouver, Canada.
>
> ----------------------
>
> http://www.musicalmetacreation.org
>
> ======================
>
> Best regards,
> --
> Kıvanç Tatar
> ----------------------------------
> Researcher, Metacreation Lab
> Interactive Arts and Technology
> Simon Fraser University, Vancouver, Canada
> GSM : 1 778 858 6073
> Email: [log in to unmask]
> Website: https://kivanctatar.wordpress.com/
>
> ------------------------------
>
> Date: Tue, 12 Jan 2016 14:28:56 +0000
> From: Catherine Lieben <[log in to unmask]>
> Subject: REMINDER - Leverhulme Early Career Fellowships at the Faculty of
> Music, University of Oxford - Deadline Monday 18th January
>
> This is a reminder of the Leverhulme Early Career Fellowship application
> opportunity at the Faculty of Music, University of Oxford. All information
> below.
> Deadline for submitting an Expression of Interest is Monday 18th January.
>
>
>
> The Faculty of Music at the University of Oxford invites proposals from
> anyone interested in applying for a Leverhulme Early Career Fellowship. Up
> to two such Fellowships in Music, of three years' duration will be offered,
> funded jointly by The Leverhulme Trust and the John Fell Fund of the
> University of Oxford.
>
>
>
> Applications in any field of music/musicology are welcome.
>
>
>
> Early Career Fellowships aim to provide career development opportunities
> for those who are at a relatively early stage of their academic careers
> (defined as having had their doctoral viva no more than five years prior to
> the closing date, i.e. after 10 March 2011) but with a proven record of
> research. Applicants should not have held an established academic
> appointment. The intention is to support the career development of those
> building an academic career within the UK. The Trust gives priority to
> applicants who show evidence of mobility during their academic careers to
> date. The Leverhulme online application deadline for the 2016 competition
> will be 4pm 10 March 2016.
>
>
>
> For more information on the scheme, including eligibility, please see The
> Leverhulme Trust website:
> https://www.leverhulme.ac.uk/funding/grant-schemes/early-career-fellowships
>
>
>
> Expressions of interest should be sent to [log in to unmask]<mailto:
> [log in to unmask]> by noon on Monday 18th January 2016, consisting
> of one PDF document containing:
>
> 1) a one-page CV including education, publications, any awards,
> thesis title and examiners;
>
> 2) a two-page draft statement of research (which may use headings
> similar to those in the Leverhulme scheme's notes of guidance);
>
> 3) an indication of any additional research expenses that may be
> needed for the proposed project, such as travel and subsistence.
>
>
>
> A selection process internal to the Faculty of Music will then determine
> which proposals go forward to a full application.
>
> Best wishes,
> Catherine
>
> Catherine Lieben
> Head of Administration and Finance
> Faculty of Music, University of Oxford
> Tel: +44 (0)1865 276134
> Fax: +44 (0)1865 276128
> Email: [log in to unmask]<mailto:
> [log in to unmask]>
>
> __________________________________
> St Aldate's
> Oxford OX1 1DB
>
> Check out our events at http://www.music.ox.ac.uk/events/
>
> ------------------------------
>
> Date: Tue, 12 Jan 2016 15:21:07 +0000
> From: Emma Hewett <[log in to unmask]>
> Subject: Short term job/skills development opportunity for a recent PHD
> graduate at the RCM, London
>
> Dear Musicology subscribers,
>
> The Royal College of Music has been awarded funding from the AHRC for a
> Cultural Engagement Fund project on
> "Exile Estates - Music Restitution: The musical legacy of
> conductor/composer Peter Gellhorn (1912-2004)".
>
> A Cultural Engagement Fellow (CEF) is sought as the lead researcher for
> the three month project, which is a collaboration with the International
> Centre for Suppressed Music (ICSM) and the Jewish Music Institute (JMI),
> running from February to May 2016. The AHRC's Cultural Engagement Fund
> supports the development of early career post-PhD researchers, particularly
> in relation to working with non-academic partners. The CEF will gain
> supervision skills, oral history interviewing and filming experience,
> project management skills, time management and facilitation skills, and
> will work with a wide range of academic and non-academic partners over the
> course of the project.
>
> The project, supervised by RCM professor Norbert Meyn, aims to bring Peter
> Gellhorn's work - and especially his compositions, which remain largely
> unpublished - to a wider audience. It is part of the RCM's wider research
> recording the lives and work of the many musicians forced into exile by
> National Socialism - see http://www.rcm.ac.uk/singingasong
>
> If you are an early career researcher with a PHD in Music, experience in
> archival research and academic writing, preparing music for
> performance/recording, event management who can use Sibelius, further
> information and application details are available at:
> http://www.rcm.ac.uk/about/jobs/jobs/jobtitle,19379,en.aspx
>
> The deadline is 12 noon Wednesday 20th January.
>
> Please don't reply to this email, all enquiries should go through the HR
> department: [log in to unmask]<mailto:[log in to unmask]>
>
> Emma Hewett
> Research & Knowledge Exchange Manager
> Royal College of Music
> Prince Consort Road
> London SW7 2BS
> United Kingdom
> Tel +44 (0)20 75914734 Mob 07903 677138
> Fax +44(0)20 7591 4356
> Email: [log in to unmask]<mailto:[log in to unmask]>
> www.rcm.ac.uk<http://www.rcm.ac.uk/> @MusicResearchKE<
> https://twitter.com/MusicResearchKE>
>
> ------------------------------
>
> End of MUSICOLOGY-ALL Digest - 11 Jan 2016 to 12 Jan 2016 (#2016-6)
> *******************************************************************
>
--
Matt Brennan
http://www.eca.ed.ac.uk/reid-school-of-music/matt-brennan
Reid School of Music
University of Edinburgh
Alison House
12 Nicolson Square
Edinburgh EH8 9DF
United Kingdom
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