Research Hands on FLUTE

Research Hands on FLUTE

Research ‘Hands on’ FLUTE is a meeting dedicated to the area of the flute, and is unique due to its symbiosis between two types of meetings: the convention, of an artistic nature which concentrates on a particular instrument (such as the British Flute Society Convention 2016, for example) and the traditional academic research conference, but focusing on an instrumental area. ‘Hands on’ Flute aims to bridge the gap between artistic production and academic research, creating opportunities to combine the artists’ and the researchers’ knowledge, for mutual benefit. This first meeting will take place at the University of Aveiro from April 10th to 13th, 2017.

 

Call for Proposals

The University of Aveiro, INET-md (Institute of Ethnomusicology, Centre for Studies in Music and Dance) and the Associação Portuguesa de Flautas, will host the research meeting Research ‘Hands on’ FLUTE, in Aveiro, Portugal, from the 10th to the 13th of April, 2017.

This research meeting aims to bring artistic production and academic research closer together, creating opportunities to combine the artists’ and the researchers’ knowledge, which will have benefits for all. The invited keynotes speakers and performers, who have already confirmed, are: Sophie Cherrier; Paolo Taballione; Mario Caroli; Sibel Pensel; Berten Dhollander; Monica Finco; Christine Erlander Beard; Michele Gori; Stefano Parrino; Francesco Parrino; Qi Wang; Marco Gaudino; Luca Bellini (as soon as new names are confirmed they will be added to this list).

This first edition in 2017 focuses on the vast instrumental area of the flute – historical and modern performance practices, repertoire, pedagogy, aesthetics, ethnomusicology, history, analysis, organology and interpretation. Proposals that centre on performance practices as research are particularly welcome. Lecture-recitals are the most natural format for these proposals.

The conference organisers accept submissions in Portuguese and Spanish, although English is preferable. Proposals that focus on the above aspects are particularly encouraged, although other proposals may also be accepted, once they lie within the general theme of the meeting. Proposals that focus on any research area relating to flute performance will also be considered.

Proposals should be submitted via the platform Easy Chair, formatted according to the nature of the proposal (in order to fulfil the form, the applicants should first create an Easy Chair account):

  • Lecture Recitals: The abstract should include information regarding the duration of the presentation, which may be between 30 and 45 minutes, and a short artistic CV of the presenter(s). These submissions may also include a link to a Youtube video of the proposed performance (you may choose to upload your video as ‘unlisted’, ‘private viewing’ or ‘public viewing’). The link must be included in the field ‘other documents’ on the platform. The proposer must also specify any technical requirements or materials necessary for the recital.
  • Papers: Communications will be of a 20 minute duration. The abstract should contain a maximum of 350 words.
  • Recitals: Recitals will have a maximum duration of 30 minutes. You must send a recording/demo, which will be evaluated by the Artistic and Scientific Commission. Please include a short artistic CV of the performer(s). These submissions must include a link to a Youtube video of the proposed performance (you may choose to upload your video as ‘unlisted’, ‘private viewing’ or ‘public viewing’). The link must be included in the field ‘other documents’ on the platform. You must also specify any technical requirements or materials necessary for the recital.
  • Panels: In addition to the abstract and/or media, please send details regarding the panel participants, including their institutional affiliations, and the themes of each individual presentation. The total duration of the panel, including debate, should not exceed 90 minutes.
  • Presentation of Projects: The organising committee does not stipulate any particular model for these abstracts, but recommends that the proposals include information regarding the context, objectives, methods and results.
  • Demonstration of pedagogical approaches: These demonstrations should be of a 20 minute duration. Abstracts must not exceed 350 words.
  • Workshops: Please send a description and the duration of your proposed workshop.
  • Performative Installations: Abstracts should not exceed 350 words. Please use the field ‘other documents’ on the Easy Chair platform to upload your technical/material requirements. The installations could be made available during the four days of the meeting.

Should you have any queries (registration, travel, accommodation), please do not hesitate to contact us at deca-hands_on@ua.pt

Important Deadlines

The deadline for proposal submission is February 15th, 2017.

The acceptance of proposals, following a process of evaluation by the scientific and artistic commission, will be communicated no later than February 28th, 2017, with proposals from outside Europe being notified as quickly as possible.

The selected authors will be invited to submit an article or recording to the book of conference proceedings (with audio-visual support). All articles and recordings must be submitted by April 30th, 2017.

 

Organization

Associação Portuguesa de Flautas (APF)

Departamento de Comunicação e Arte

Instituto de Etnomusicologia Centro de Estudos em Música e Dança (INET-md)
Universidade de Aveiro

Image

Álvaro Sousa

Language, Music, and Computing

Second International Workshop on Language, Music, and Computing

http://lmac.hf-guap.ru/ENG/index.html

Aims of the workshop: to encourage interdisciplinary communication and collaboration of linguists, musicians and IT-specialists in the sphere of some actual problems, among which are the following:
1. Language and music acquisition; influence of music skills on language acquisition and language processing; influence of linguistic skills on music acquisition; relationship between music and language training.
2. Linguistic and music knowledge, their structure and functioning; explicit and implicit knowledge of music and language; similarities and differences in understanding of music and language.
3. Automatic classification of linguistic and music knowledge; formal models of linguistic and music knowledge; musical information retrieval vs. linguistic information retrieval.

This year special topics of the workshop are:
– Formal representation of language and music: differences and similarities
– Sound corpora in music and linguistics

Keynote speakers:
Sabine Iatridou, USA
Sergi Jordà, Spain
Merryl Goldberg, USA
Elena Riekhakainen, Russia

Languages of the conference:
Russian & English (some sessions will be simultaneously translated)

Submission process:

Abstracts from different fields are warmly invited. Presentations will last 20 minutes, followed by a ten minute discussion. Abstracts should be submitted before November 27, 2016. Notification of acceptance follows on January 20, 2017. Abstracts should be 450-500 words long (without any subheadings) and clearly present a research question/aim, critical review of the literature, methodology, results and conclusions. Abstracts should be submitted as a pdf. If you wish to include any specific symbols (such as phonetic transcription), please submit your paper both in DOC and PDF format. We have the intention to select papers for a peer-reviewed special issue.
Please send each abstract both in anonymized and unanonymized forms (with author(s) and affiliation) to the following address: al@hf-guap.ru

Registration fee (includes program, coffee-breaks, post-conference publication, visa support (if needed)):
Early-bird fee (before March 15, 2017) – 2500 rubles, or 45 euros; students – 1000 rubles, or 20 euros;
regular fee (after March 15, 2017) – 3000 rubles, or 55 euros; students – 1500 rubles, or 35 euros.

Important dates:

Submission deadline: November 27, 2016
Notification of acceptance: January 20, 2017
Registration starts: February 1, 2017
Early-bird registration ends: March 15, 2017
Workshop: April 17-19, 2017
Final papers: June 1, 2017
Results of the revision process: July 25, 2017
Publication – Fall 2017

The Power of Hip Hop: EXCHANGE

One day seminar around hip hop and social change

 

FRIDAY 8TH JULY, 9.30 – 17.00 (plus post-event networking and music)

Venue: RichMix, Bethnal Green Road, London

 

Full Price: £45

Student / Concession: £36

SPECIAL DISCOUNT: Use code hiphop15 at checkout to get your £15 ticket

Lunch, refreshments and delegate packs provided.

To Book: https://www.richmix.org.uk/events/music/power-hip-hop-exchange

The Power of Hip Hop: LIVE is a unique academic seminar that explores the role, challenges and potential of hip hop culture in facilitating social change in global contexts, and its role as a site of resistance and identity.

Keynote Speakers

Martha Diaz (NYU Gallatin)

Hip-Hop Without Borders: A Revolutionary Global Movement of Struggle, Liberation and Sustainable Living”

Jason Nichols (University of Maryland)

Lean wit it:  Black Masculinities in Hip-Hop Dance”

Plus special introduction about In Place of War’s work by Professor James Thompson

 

Four diverse panels exploring: 

  • Global power of hip hop
  • Cultural power of hip hop
  • Power of place & identity
  • Hip hop and pedagogy

International Artist Presentations by

Shhorai (Colombia)

Zambezi News (Zimbabwe)

Smockey (Burkina Faso)

 

For a full programme and speaker list visit: cultconflictchange.wix.com/powerofhiphop

Steering Group

Richard Bramwell (University of Cambridge)

Eithne Quinn (University of Manchester)

Teresa Bean (In Place of War)

Featuring a programme of academic panels, keynote papers, artist presentations and practitioner provocations, this event harnesses In Place of War’s vast international network of grassroots artists and blends it with a rich selection of researchers exploring issues including but not limited to hip-hop and gender, race, religion, commerce, and conflict.

A day full of rich discussion, unique encounters, thought-provoking papers and academic-artist exchange.

The Power of Hip Hop: EXCHANGE is part of In Place of War’s event series Culture. Conflict. Change. taking place at RichMix throughout 2016. It is proudly funded by the Arts & Humanities Research Council, and supported by Index on Censorship.

Find out about the rest of the series here: www.cultconflictchange.wix.com/powerofhiphop 

 

About In Place of War: www.inplaceofwar.net

About Index on Censorship: www.indexoncensorship.org

 

#PowerOfHipHop

Brian Boydell Centenary Conference

Call For Papers: Brian Boydell Centenary Conference
Friday 23 – Saturday 24 June 2017
The Long Room Hub, Trinity College Dublin
CFP Deadline: Friday 3 February 2017

Contact: boydell100@gmail.com

Born in Dublin in 1917, Brian Boydell was one of Ireland’s major 20th century composers. As a musicologist, he published seminal research on music in 18th century Dublin. As a broadcaster, performer, adjudicator, public lecturer, an often outspoken agitator for music, singing teacher, Professor of Music at Trinity College Dublin, one of the founders of the Music Association of Ireland and long-time member of the Arts Council, his influence on music and music education in Ireland was significant. An honorary DMus of the National University of Ireland (1974) and Fellow of the Royal Irish Academy of Music (1990), he was elected to Aosdána, the affiliation of creative artists in Ireland, in 1984.

To mark his centenary, a conference will be held on Friday 23/Saturday 24 June 2017 in The Long Room Hub, Trinity College Dublin, with a recital of his music in the Royal Irish Academy of Music, to re-evaluate his contributions to Irish musical, artistic and academic life, and their place within the wider contexts of musical, cultural and artistic developments in Ireland in the 20th century. Confirmed speakers are Professor Barra Boydell, who will give a special address, and Peter Murray, Director of the Crawford Art Gallery Cork, who will present a guest lecture on Brian Boydell’s paintings.

Proposals are invited for the following:

  • Individual papers
  • Joint papers (maximum 2 speakers)
  • Lecture recitals
  • Themed sessions
  • Panel discussions (up to a maximum of 6 speakers)

Proposal details:

All proposals should be submitted as one file in Microsoft Word or PDF format:

Individual papers of 20 minutes in duration followed by 10 minutes for questions and discussion. Proposals should include:

  • title of paper
  • abstract of no more than 250 words
  • name, contact details and affiliation
  • a brief biography (max. 100 words)
  • any technical requirements

Joint papers of 20 minutes in duration followed by 10 minutes for questions and discussion. Proposals should include:

  • overall title of presentation and abstract (max. 150 words)
  • titles of individual papers
  • individual abstracts of no more than 250 words
  • names, contact details and affiliations
  • a brief biography for each presenter (max. 100 words)
  • any technical requirements

Lecture recitals of 30 minutes (including performance) followed by 10 minutes for questions and discussion. Proposals should include:

  • overall title of lecture recital and abstract/proposal of no more than 250 words
  • name(s), contact detail(s) and affiliation(s)
  • a brief biography for each presenter (max. 100 words)
  • any technical requirements

Themed sessions of 90 minutes (3 papers) or 120 minutes (4 papers) including questions and discussion, and Panel discussions of 90 minutes (up to a max. of 6 speakers, each presenting a position paper followed by questions and discussion). Proposals should include:

  • overall title of presentation and abstract/proposal (max. 250 words)
  • titles of individual papers and abstracts of no more than 250 words
  • name, contact details and affiliation of convenor
  • names, contact details and affiliations of proposed presenters
  • a brief biography for the session/panel convenor and each proposed presenter (max. 100 words each)
  • any technical requirements

Deadline for submission of proposals is Friday 3 February 2017.

All proposals should be submitted as a Microsoft Word or PDF attachment to Dr Barbara Jillian Dignam by email at boydell100@gmail.com It is envisaged that notification of the conference committee’s decision will be communicated by March 2017. A conference website will be launched shortly.

Proposals might consider (but are not limited to) Brian Boydell’s contributions under any of the following areas:

  • the re-examination and assessment of his compositions – individually and collectively – and their place within Irish music of the 20th century and the wider context
  • his musicology and other writings
  • his work as a performer: conductor of the Dublin Orchestral Players for over twenty years, founder and director of the Dowland Consort, singer, oboist, and occasional conductor of the Radio Éireann/RTÉ Symphony Orchestra
  • his teaching, professorship at TCD, public lectures, adjudicating at music festivals and numerous radio and television broadcasts
  • as agitator for music, through the Music Association of Ireland, the Arts Council, Forás Éireann and other bodies to which he contributed
  • his place within the wider context of Irish artistic and cultural life in the 20th century

Brian Boydell’s papers, including his original scores, musical notebooks, radio broadcast scripts, and his extensive correspondence with musicians, musical and cultural bodies, and others covering many decades in Irish musical life, are held in the library of Trinity College Dublin and remain a largely untapped resource. The Contemporary Music Centre also holds copies of his scores. His work as an artist in the early 1940s before he devoted himself fully to music were highlighted in the recent exhibition ‘The Language of Dreams’ at the Crawford Art Gallery, Cork. See also Gareth Cox, Axel Klein and Michael Taylor (eds.) The life and music of Brian Boydell (2004), and the Encyclopaedia of Music in Ireland (EMIR).

Conference committee:

Prof. Barra Boydell, Dr Barbara Jillian Dignam (Chair, Maynooth University), Dr Kerry Houston (DIT Conservatory of Music and Drama), Roy Stanley (Trinity College Dublin), Marie Moran (Royal Irish Academy of Music), Dr Gareth Cox (Mary Immaculate College, University of Limerick)

For further information on the conference, submission process or any other queries, please contact the conference committee chair, Dr Barbara Jillian Dignam, at boydell100@gmail.com

Also follow our conference posts on Twitter https://twitter.com/Boydell100 and Facebook https://www.facebook.com/boydell100/

Arts Without Borders? Perspectives on Collaboration and Interdisciplinarity in and through the Arts

 

Call for Papers

Arts Without Borders? Perspectives on Collaboration and Interdisciplinarity in and through the Arts

An international conference hosted by the University of the Arts Helsinki and CERADA (Center for Educational Research and Academic Development in the Arts), Finland

October 19-22, 2016

We are experiencing a renaissance in the power of the arts, even where political will is lacking. Artists increasingly make their own futures and work collaboratively across disciplines. Dimensions of creativity and innovation, empowered learning, distributed and ethical leadership, and entrepreneurship and activism, all of which are embedded within artistic practices, are being recognized as critical to contemporary societies in diverse ways. At the same time arts institutions in Higher Education, many of which have operated as small organizations focused on a single discipline, are starting to merge and to collaborate at interdisciplinary levels. This trend raises many questions about purpose and principles, and indeed in some contexts arts organisations are resisting pressures to merge, seeing these being driven by finance and bureaucracy, and perceiving a threat to their own core purpose and quality.

This international conference will explore the potential and challenges of interdisciplinarity, and the full scope of the performing and visual arts in discovering new territories and evolving beyond existing paradigms. Through the event we aim to set agendas and mobilize global networks, generating dialogue and exchange between researchers, arts practitioners, and professionals from a wide range of disciplines including education, psychology, health care, organizational management and leadership.

Conference themes

  • Collaborative processes, conflict and leadership: leveraging individual and collective expertise, empowering new knowledge and enabling the full potential of the arts
  • Improvisation, creativity and innovation: exploring tensions between traditional and contemporary practices, notated repertoire and making new work.
  • Connecting the arts beyond their own disciplines: new visions for breaking through professional silos and embracing diversity
  • Rethinking paradigms of purpose in the arts: dimensions of quality, entrepreneurship, impact and activism

Keynotes

Efva Lilja, choreographer http://www.efvalilja.se

Helen Marriage, director, Artichoke http://www.artichoke.uk.com

(The full list of keynotes will be announced at a later date).

We welcome the following categories of proposals related to the Conference themes

  1. Research papers & performance papers
  2. Practical workshops
  3. Symposia
  4. Individually tailored proposals

The deadline to submit an abstract proposal is January 11, 2016

All outcomes will be known by March 14, 2016

Proposals for papers will be peer reviewed and proposals for performances and workshops will be included on the basis of quality, engagement and relevance to the strands. Abstracts should be written in English, and should be around 400 words.

Conference Organising Committee            University of the Arts Helsinki, Finland

  • Professor Helena Gaunt Sibelius Academy
  • Patrick Furu Sibelius Academy
  • Professor Heidi Westerlund Sibelius Academy
  • Kai Lehikoinen Theatre Academy
  • Professor Riikka Stewen Academy of Fine Arts

(Full Peer Review Scientific Committee to be confirmed)

Please find the proposal guidelines on the Conference website and submit your abstract using the electronic form provided:

http://www.uniarts.fi/arts-without-borders

For further details please contact: Katja Thomson katja.thomson@uniarts.fi

 

 

 

 

Composition Schools in the 20th Century: the Institution and the Context

45th Baltic musicological conference dedicated to the centennial anniversary of Julius Juzeliūnas

19–22 October 2016

Lithuanian Academy of Music and Theatre, Vilnius

Keynote speakers are dr. Algirdas Ambrazas (Lithuanian Academy of Music and Theatre), dr. Gražina Daunoravičienė (Lithuanian Academy of Music and Theatre), dr. Marina Frolova-Walker (University of Cambridge), and dr. Melita Milin (Serbian Academy of Sciences and Arts).

Secondary themes:
The idea of a composition school and the guidelines for its theoretical conceptualisation
The core of composition schools: traditions, programs, and pedagogical directions
Composition schools vs. individual tutors: differentiation and value criteria
Teachers of composition: pedagogic innovations and ties with traditions
Pedagogy of composition and the idea of writing national music: paths and crossroads
Active pedagogy in composition: ideas and realisation
Teaching the art of sounds in the 21st century
The phenomenon of Julius Juzeliūnas as teacher of composition
Exploring Julius Juzeliūnas’ personality and works
Traditions, directions and identity dimensions of the composition schools in the Baltic States
Ties between national schools of composition and traditions within the world’s largest centres of composition training
The micro-stories from different composition schools that capture imagination

There is no conference fee.

English and German are the two working languages of the conference. Participants who wish to speak during the conference or want to offer topics for round-table discussions and study group sessions should submit their proposals by 18 April 2016 to Zita Abramavičiūtė, coordinator of the conference (mokslas@lmta.lt). Individual speakers are expected to provide an abstract of up to 300 words for a 20-minute report and a CV of up to 150 words. Those intended to speak during round table discussions and study group sessions should send a general summary of their topic. The information about the selected themes is to be announced by the end of April 2016. More details regarding the programme and accommodation are due in May 2016 online. Please check the websites of the Lithuanian Academy of Music and Theatre (www.lmta.lt) and the Lithuanian Composers’ Union (www.lks.lt).

The idea of national schools of composition which emerged in the leading European centres of culture in the 19th century was later gradually adopted by smaller nations seeking statehood and cultural identity. The three Baltic States and the neighbouring countries with similar cultural traditions saw the idea of national music coming into fruition in the early 20th century, the development that prompted their national composition schools to begin taking shape between the two world wars. The latter is an undeniable sign of maturity of a national musical culture. Evidently enough, scientific papers dedicated to the development of professional music often overlook the phenomenon of national composition schools the concept of which usually exists as a non-binding general category although no one has ever tried to play down its importance. Whenever we are trying to describe a national school of composition which, according to Algirdas Ambrazas, is “the commonness of self-awareness of a national culture, aspirations, and artistic images inspired by ethnic consciousness“, the term refers to the equivalent of a national culture of music.

The formation and development of pedagogic schools of composition plays a particularly important role within the structure of the phenomenon of a composition school. They bring together teachers, students, programs, classes, and creative efforts of both students and their tutors. Pedagogic schools of composition offer knowledge and expertise, orientation and technological principles vital in the process of developing skills the craft requires and, quite often, help to define one’s creative stance. As far as their concept is concerned, pedagogic schools of composition are based on several commonly accepted components, such as programme, teachers, students, and particular location, time and tradition. This level of the phenomenon reveals the ways alongside which a teacher’s oeuvre together with his or her stylistic and technological mindset, ideals and pedagogic traits inspire their students and, through their artistic endeavours, eventually influence the advance of a particular musical culture.

Artur Kapp, Heino Eller, Jāzeps Vītols and Juozas Gruodis – the four composers behind the emergence of national pedagogic schools of composition in Estonia, Latvia and Lithuania – have set the first milestones for the development of professional music in their native countries. Spanning over more than one hundred years, its history provides a wealth of material for anyone eager to learn more about its birth and evolution. This conference aims first and foremost at exploring the concept of national schools of composition in small nations and at examining their role in the processes of musical culture of the 20th century and early 21st century.

The conference offers a ground for discussions on a number of provoking subjects: What is the role of a traditional institution, a school for composers, within the contemporary culture given the ever increasing volume of exchanges in musical information? What is key in making a centre for composition studies attractive and productive? What are the priorities and methodical tools in developing a composer’s creativity and skill of his craft? Should the contemporary knowledge about making music be limited by a national tradition? Is teaching composition the exclusive privilege of the most famous composers? What are the ways of transforming experience and creativity in teaching composition? What famous schools of composition have emerged in the 20th century outside the world’s leading centres of musical education?

These are just a few intriguing questions that have inspired the organisers of the Conference dedicated to the centennial anniversary of Julius Juzeliūnas (1916–2001), one of the outstanding representatives of the Lithuanian school of composition. In Lithuania, Stasys Šimkus was the first to offer a course in composition in 1923 while working as a teacher for Klaipėda Music School, or Memeler Konservatorium der Musik as its was officially known at the time. It took another several years for a more systemic approach to develop after Juozas Gruodis began tutoring composition at Kaunas Music School which eventually grew into a conservatory. As one of the most famous and influential teachers of composition, Julius Juzeliūnas has ensured the continuity of the national tradition in professional music as well as its rejuvenation in the second half of the 20th century.

Ludo 2015

Utrecht

9–10 April 2015, University of Utrecht

Learning from Video Game Music

Call for Papers PDF

The Ludomusicology research group will be hosting a two day conference on video game audio to take place on the 9th and 10th of April, 2015 at Utrecht University. We are seeking proposals for papers on the topic of video game music and sound. Papers may contain interdisciplinary import of any type. Paper proposals are welcome from both academics and those working in the video game industry.

While we welcome all proposals, we are particularly interested in papers that support the education theme in terms of how we learn with, learn from, and learn about, video game music. Possible paper topics on this theme include:

  • Instrumental teaching through video games
  • Pedagogics of ludomusicology
  • Composition in video games
  • Music, sound design and video games in higher education
  • Game audio outside games
  • Trans-media interactions
  • Lessons for musicology from game music

A keynote address will be given by Karen Collins, author of Playing with Sound (2013), Game Sound (2008), and From Pac Man to Pop Music (2008). Other speakers are to be confirmed shortly.

Papers should be a maximum of 20 minutes in length, with 10 minutes allowed for discussion. Shorter papers will also be considered for inclusion. Proposals should be no more than 250 words in length and sent as an attachment to ludomusicology@gmail.com.

 

DEADLINE FOR PROPOSAL SUBMISSION: 31 JANUARY 2015.

Organizers: Michiel Kamp, Tim Summers, Mark Sweeney.

Hosted by University of Utrecht.

Supported by The Institute for Cultural Inquiry (ICON).

www.ludomusicology.org | ludomusicology@gmail.com

Language, Music and Computing

Call for papers
International Workshop on Language, Music, and Computing
20-22 April, 2015
http://www.lmac.hf-guap.ru/ENG/index.html

Organized by:
• Saint Petersburg State University of Aerospace Instrumentation
• Laboratory of Formal and Computational Linguistics, SUAI
• Saint Petersburg State Conservatoire named after N.A. Rimsky-Korsakov

Aims of the workshop: to encourage interdisciplinary communication and collaboration of linguists, musicians and IT-specialists in the sphere of some actual problems, among which are the following:
1. Language and music acquisition; influence of music skills on language acquisition and language processing; influence of linguistic skills on music acquisition; relationship between music and language training.
2. Linguistic and music knowledge, their structure and functioning; explicit and implicit knowledge of music and language; similarities and differences in understanding of music and language.
3. Automatic classification of linguistic and music knowledge; formal models of linguistic and music knowledge; musical information retrieval vs. linguistic information retrieval.

Proceedings:
A Special Issue of Proceedings of Scientific Meetings at SUAI will be published after the workshop (included into Russian Science Citation Index).

Keynote speakers:
David Pesetsky, MIT
Andrej A. Kibrik, Institute of Linguistics, Russian Academy of Science; Moscow State University
Martin Rohrmeier, Technische Universität, Dresden
John Frederick Bailyn, SUNY at Stony Brook
Tatyana Bershadskaya, Saint Petersburg State Conservatory

Programming Committee:
1. Olga Mitrenina, Saint Petersburg State University
2. Sergey Krylov, Russian Academy of Science, Moscow
3. John Frederick Bailyn, SUNY at Stony Brook
4. Polina Eismont, Saint Petersburg State University of Aerospace Instrumentation
5. Natalia Degtyareva, Saint Petersburg State Conservatory
6. Anton Tanonov, Saint Petersburg State Conservatory
7. Nadezhda Solovyeva, Saint Petersburg State University of Aerospace Instrumentation
8. Natalia Konstantinova, University of Wolverhampton
9. Maria Eskevich, Dublin City University. Ireland

Languages of the conference:
Russian & English (some sessions will be simultaneously translated)

Submission process:
Abstracts from different fields are warmly invited. Presentations will last 20 minutes, followed by a ten minute discussion.
Abstracts should be submitted before January 10, 2015. Notification of acceptance follows on February 15, 2015. Abstracts should be 250-300 words long (without any subheadings) and clearly present a research question/aim, critical review of the literature, methodology, results and conclusions. Abstracts should be submitted as a pdf. If you wish to include any specific symbols (such as phonetic transcription), please submit your paper both in DOC and PDF format. We have the intention to select papers for a peer-reviewed special issue. Please send each abstract both in anonymized and unanonymized forms (with author(s) and affiliation) to the following address: al@hf-guap.ru.

Social program:
 A guided tour of St.Petersburg
 Concert of classical music
 Conference dinner

Venue:
 Saint Petersburg State University of Aerospace instrumentation
 Saint Petersburg State Conservatory

Registration fee (includes program, coffee-breaks, post-conference publication, visa support (if needed)):
Early-bird fee (before March 15, 2015) – 2000 rubles, or 45 euros; students – 1000 rubles, or 20 euros;
regular fee (after March 15, 2015) – 2500 rubles, or 55 euros; students – 1500 rubles, or 35 euros.

Important dates:
Submission deadline: January 10, 2015
Notification of acceptance: February 15, 2015
Registration starts: February 16, 2015
Early-bird registration ends: March 15, 2015
Workshop: April 20-22, 2015

Improvisation: Educational Perspectives (1-day workshop)

Improvisation: Educational Perspectives (1 day workshop)
22nd of April
St Cecilia’s Hall
University of Edinburgh
(Admission free but booking essential)

BOOKING:  http://bit.ly/improveducation

Improvisation is taught and formally assessed in higher education institutions (HEIs) throughout the world, yet there are a number of intrinsic difficulties in teaching and assessing improvisation that may impact on the pedagogical process.  This event is a one-day workshop that will give academics and practitioners working in this area the opportunity to share ideas, practices and methods specifically related to the teaching, learning and assessment of improvisation in higher education.

The sorts of questions and topics we expect to cover include:

• What is improvisation?
• Can improvisation be taught and, if so, how?
• What scope and range can/should HEI curricula include?
• Should improvisation be assessed?  If so, how do we do this effectively?
• Is assessor subjectivity an important concern?  If so, is this more or less problematic than in traditional ‘recital’ assessment?
• Idiomatic versus ‘generic’ issues in improvisation pedagogy.
• Assessing the process of improvisation rather than the outputs.

(NB Lunch and refreshments will be provided so please be sure to inform us of any special requirements when you book [http://bit.ly/improveducation])

Speakers: 

Prof Raymond MacDonald (University of Edinburgh)

Improvisation and all that Jazz

Improvisation, as a universally accessible form of creativity, can facilitate innovative artistic collaborations that are both transdisciplinary and cross cultural. This presentation explores these unique features and also poses some key questions that are aligned with improvisation’s growing emergence within higher education. These questions include: what is improvisation; can it be taught and how can it be assessed.

Dr Michael Duch (Department of Music, Norwegian University of Science and Technology)

Composing Improvisation: Composed experimental music as improvisational exercises.

Can improvisation be composed and what is required of the performer? In the 1960’s experimental composers such as Cornelius Cardew and Christian Wolff made musical scores inspired by improvisation. Many of these pieces intended to diminish or blur the boundaries between composer and performer, but also between composed and improvised music.

Dr Paul Kleiman (Higher Education Academy)

Taking a Note for a Walk: Improvising assessment and assessing improvisation

Of all arts-based forms, improvisation provides a particular challenge to assessment regimes based on normative pedagogic discourses and practices. This contribution explores some of those challenges and offers some creative approaches to assessing on the edge of chaos.

Dr Zack Moir (University of Edinburgh)

‘Just like Clarence’ or ‘Just like Jimi’: Issues surrounding creativity, originality and pedagogy in pop and rock improvisation.

This presentation will begin by considering the nature of improvisation in pop and rock music with particular focus on creativity and originality.  The pedagogical implications of such issues will then be discussed by way of understanding the teaching, learning and assessment of improvisation in this idiom.

Dr Philippa Derrington (Queen Margaret University)

Making connections through improvisation in music therapy.

What is the purpose of improvisation in music therapy? How do music therapists improvise? This presentation will look at ways that improvisation is used to engage clients in interactive live music-making and how therapists are trained.

SEMPRE Conference: Researching Music Technology in Education: Critical Insights

iMerc, Institute of Education, University of London
Dates: 3-4 April 2014
Submissions will open on 1 September 2013, on the SEMPRE website.
The hard deadline for submissions will be 31 December 2013
More information available at http://imerc.blogspot.co.uk/2013/06/researching-music-technology-education.html
Conference chairs: Dr Evangelos Himonides (IoE) & Dr Andrew King, University of Hull