Blog

Ruth Gipps: A Centennial Symposium

8th March 2021

5.45pm-6.45pm (UK)

An Online Event


An hour of talks and music marking 100 years since the composer’s birth. Featuring special guests – conductor Adam Stern, pianist Professor John Irving, clarinettist Jane Booth, musicologist Dr Helen Julia Minors and Dr Brittan Braddock

About this EventWho was Ruth Gipps? We will gain some insights into what it was like to work with her and discover what lay beyond the sometimes prickly front of her persona. As well as enjoying performances of three short pieces we will look at her chamber music and wind music in some detail with experts Adam Stern and Dr Brittan Braddock. A panel discussion at the end led by Dr Helen Julia Minors will encompass these themes in the context of Gipps’s role as a female leader in the music world.

The event will include performance of her chamber works for oboe, clarinet, piano and violin performed by Professor John Irving, Jane Booth, Rachel Harwood-White, Caroline Page, Toby Hawks and Helena Ruinard.

To register to attend please go to eventbrite:
https://www.eventbrite.co.uk/e/ruth-gipps-a-centennial-symposium-tickets-141989499415

Ruth Gipps – A Centennial SymposiumFeaturing special guests – conductor Adam Stern, Professor John Irving, Jane Booth, Dr Helen Minors and Dr Brittan Braddockwww.eventbrite.co.uk

Presented in Association with Music in New Malden

With best wishes,On behalf of Helena Ruinard and Toby Hawks.

Please send queries via Dr. Minors at h.minors@kingston.ac.uk and your queries will be passed to Helena Ruinard.

Early Recordings: Diversity in Practice

Online, various dates in May 2021

We are delighted to welcome submissions for the third edition of our conference on early recordings. The previous two editions (Past Performing Practices in Contemporary Research, 2019, and Methodologies in Research and Practice, 2020) confirmed that research into early recordings, as documents of performance practice, is thriving, and our conference provide a much-needed forum for discussion around new research activities and findings in the area. This year, the conference shall address diversity in early recordings, with the conference committee welcome submissions beyond classical repertoire. The event itself, ‘Early Recordings: Diversity in Practice’, shall run online, over three half-day events on the 5th, 12th and 19th of May, from 4-7pm (UK time). This short format allows for papers and/or research snapshots to be grouped around one specific topic in the day, followed by an invited research talk and informal chats over online drinks. 

Attendance is free, and Zoom links will be shared closer to time. 

We invite scholars and performers interested in any aspect of early recordings (pre-1945) as documents of performance practice to submit 250-word abstracts for either 1) 20 minute paper, or 2) research snapshot of 10 minutes, to both Dr Inja Stanovic (i.stanovic@hud.ac.uk) and Dr. Eva Moreda Rodríguez (Eva.MoredaRodriguez@glasgow.ac.uk) by 1 April 2021.

Please visit http://www.early-recordings.com for more information.

Away from the Centre: Conceptualising the Regional and Rural (1850-1950)

An Arts and Humanities Symposium hosted by Durham University

Monday 10th May 2021 (online)

Representations of place and space in literature and the performing arts provide a rich field of enquiry into the ways in which writers, composers, and artists engage with and conceptualise their environments. In particular, artistic explorations of spaces away from metropolitan centres of social and cultural activity offer varied insights into the relationship between environment and power in the context of cultural works. Central concerns for scholars thinking about these ways in which place and power have been culturally determined in works depicting non-metropolitan spaces often revolve around descriptive, yet conceptually imprecise, terminology such as ‘locality’, ‘remoteness’, and/or ‘provincial’, resonant with numerous ambivalent connotations. This interdisciplinary symposium aims to interrogate these tensions between notions of separation and network within the power dynamics of places often defined as rural, regional, or peripheral, with specific attention paid to cultural work of the late nineteenth and early twentieth centuries (1850-1950).

The event will open with a keynote conversation led by Dr Karin Koehler (School of Languages, Literatures and Linguistics, Bangor University) and Dr Sarah Fuchs (Department of Art and Music Histories, Syracuse University), followed by individual papers and culminating with a chaired roundtable discussion. We welcome abstracts for individual 20-minute papers from Postgraduate and Early Career Researchers within the Arts and Humanities working on relevant research across this period (1850-1950). Papers may address, but are not limited to, the following themes: 

·       Development and depiction of identity/identities within the rural and regional (including industrial, agrarian, and uncultivated spaces)

·       Representations of rurality and its relationship to nationhood, particularly within British and French contexts

·       The exploration of power dynamics within or between individuals and communities

·       Concepts of rapprochement and/or distancing between places and people

·       The function and representation of communication and networks of infrastructure               between communities and their inhabitants

·       Methodological approaches to theorising the rural or provincial in a body of work

We hope that this session will bring together researchers from various institutions, foster new collaborations, and provoke lively research conversations.

This event will take place virtually over Zoom.

Please send proposed titles and abstracts (250-words plus 50-word bio, including affiliation and year of study) to sophie.a.horrocks@durham.ac.uk by 15th March 2021.

International Forum «New Music»

The Saint Petersburg Contemporary Music Center reMusik.org invites you to take part in the international forum “New Music” within the frame of VIII St. Petersburg International New Music Festival. It will be held online and offline in Russian and English. The forum will discuss topics related to copyright, funding and the presence of new music on stage and screen. Musicians and directors, managers and critics, international foundations and government agencies, concert halls and theaters, patrons and commercial companies are invited to participate.

The forum will highlight aspects of the presence of new music on stage and screen: in drama and opera performances, cinema and animation, museum exposition and public spaces. Anyone can take part in the forum: composers and musicologists, directors and art critics, cultural managers and journalists – those who are interested in the development of contemporary music.

One of the forum topics is the role of new music in visual, auditory, situational formats and related art forms. We are planning to review the following aspects:

– the work of a composer in theater and cinema: methods, role, interaction experience;
– the perception of modern music in theater, cinema, animation, museum spaces, etc.;
– the development of new spaces: ways of interaction and development of different forms;
– complex experiments: the experience of musical programs creation (the coexistence of classics and modernity in concert programs), experimental experience in search of a new language, etc.

The second direction of the forum is the functioning of non-profit organizations and interaction with commercial structures, charitable foundations and government programs for the sake of supporting contemporary music and art. The forum will consider successful experiences of interaction with business, strategies for corporate and social responsibility of business, types of joint projects. Parallel line – new music festivals, challenges and requirements of the time, conditions of organization, interaction with sponsors.

The third area is the issue of copyright, protection and restrictions, rights and obligations. The following aspects will be considered at the forum and round table:

1. Copyright societies – rules, regulations, types of work in terms of new music.

2. Online events and broadcasts: how to protect the group of authors and the organizer of the event from unplanned expenses.

3. Copyright: from creative to legal. Questions of interaction with the author’s society and aspects of interaction between the author and the publisher and manager of cultural projects.

4. Online and offline: World changes.

Thus, everyone who wants to take part in the forum program, please send

1. Abstracts for the presentation (about 150 words) indicating the direction of the forum,

2. A good resolution photograph (approx. 1MB),

3. Brief biography (approx. 100 words)

Due to the uncertainty of the epidemiological situation, the conference will be held in two formats: online and offline. Clarifications on the format of the event will be sent to the participants in the spring of 2021.

Applications for participation must be sent by February 28, 2021 at www.remusik.org/forum

For questions and requests, please contact the curator of the Forum – Lidia Ader at l.ader@remusik.org

About the Festival

The annual St. Petersburg International New Music Festival is among the main projects through which reMusik.org pursue its mission. The largest festival of new music in Russia takes place at the end of May during a period of famous White Nights in distinguished venues around the city, including the Mariinsky Theatre Concert Hall, the New Stage of the Alexandrinsky Theater, New Holland, the St. Petersburg State Conservatory and others.

The festival is presented by world-famous musicians and well-known ensembles, both classical and experimental ones, specializing in the new music performance. The reMusik.org Festival covers various areas of contemporary academic music – experimental, electro-acoustic, electronic music, multimedia projects, free improvisation and others.

The festival program has numerous educational highlights: master classes, pre-rehearsal talks, scientific conference, composition course, presentations, educational lectures, training lab for music critics, workshops and reading sessions with soloists and several ensembles.

The festival is supported by the Government of St. Petersburg, the Committee for Culture

Petersburg, the Swiss Council for Culture Pro Helvetia, The French Institute, the Swiss Embassy in Russia, The Swiss Consulate General in St. Petersburg, The German Consulate General in St. Petersburg, The Consulate General of the Kingdom of Belgium in St. Petersburg, The Polish Institute in St. Petersburg.

Panel Discussion of Women Leaders in the Contemporary Music Industries, 8th March 2021, Women’s Musical Leadership Online Project

Registration is now open for the Women’s Musical Leadership Online Project’s one-day event exploring Women Leaders within the Contemporary Music Industries. This event will take place online on International Women’s Day 2021 (Monday 8 March), 11am-4pm. This event is free, but registration is required. The Teams link will be emailed to all those who have registered, shortly after registration closes.

Please register here: https://www.eventbrite.co.uk/e/women-leaders-within-the-contemporary-music-industries-registration-139921437787

More information on the Women’s Musical Leadership Online Project is available here: https://fass.open.ac.uk/research/projects/wmlop

Programme

11am – 1pm: Panel Discussion of Women Leaders in the Contemporary Music Industries

This online panel will bring together four women leaders to discuss gender issues in the contemporary music industries within a cross-genre perspective.

Invited speakers: Alexandra Ampofo (Women Connect/Metropolis Music); Deborah Annetts (Incorporated Society of Musicians); Clare Duffin (University of the West of Scotland/Drummer/Manager); Harriet Wybor (PRS for Music, Classical).

1pm – 2pm: Lunch Break

2pm – 4pm: Afternoon Session with Vick Bain

Vick Bain, founder of The F-List directory of female musicians, considers women working within the contemporary music industries and presents her ground-breaking work to ensure greater gender inclusion.

Dr Laura Hamer

Dr. Helen Julia Minors

Dr. Laura Watson

Music and Intercultural Practice Symposium

29th and 30th April 2021

University of Hull, UK – Online

KEYNOTE SPEAKERS

Professor Lily Chen-Hafteck (University of California, Los Angeles, USA)

Professors Laudan Nooshin (City University, UK) & Amanda Bayley (Bath Spa University, UK)

Dr Arla Good (Ryerson University, Toronto, Canada) 

Dr Fang Liu (University of Reading, UK)

Interculturality is about the interaction of cultures. It might be regarded as a practice through which individuals from different cultures learn more about their own culture and the culture of others. One example is the Chinese Whispers™ project at the University of Hull, which seeks to enable members of the University, local schools, and community choirs to learn Mandarin Chinese through the medium of song and to promote intercultural awareness.* 

This online symposium will feature invited presentations and selected submissions from researchers, performers and composers on intercultural practice involving music. We invite contributions exploring this theme from a range of perspectives, including musical, historical, psychological, educational, health and wellbeing. Contributions are welcome from researchers, performers and composers at all levels and are especially encouraged from postgraduate students and early-career researchers. In addition to spoken papers, live/recorded performances and compositions, a panel discussion will be held with our keynote speakers, Professors Lily Chen-Hafteck, Laudan Nooshin and Amanda Bayley, Drs Arla Good and Fang Liu. Submissions should show how the topic relates to music and intercultural practice.

Please send abstracts for spoken presentations, performances or compositions (250 words) to musicICP@hull.ac.uk by Monday 1st March 2021. For further information, please email: musicICP@hull.ac.uk

To register an interest in attending the symposium, visit [https://www.eventbrite.co.uk/e/music-and-intercultural-practice-symposium-university-of-hull-online-tickets-140856235793]

Symposium Committee: Yanyi Lu, Eloise McCann, James Rushworth, Dr Elaine King (Chair), Dr Simon Desbruslais, Dr Shane Lindsay, Dr Rowan Oliver, Dr Alexander Binns 

*The Chinese Whispers™ project is run by the Confucius Institute at the University of Hull. Researchers in the areas of both Music and Modern Languages are investigating the emotional experiences of choir members, the teaching process, and the development of intercultural practice.

Appel à communications – Colloque international « La Péniche Opéra 1982-2015 »

Paris et Poitiers (FR) 4-10 avril 2022

Contexte historique

En 1975, la metteuse en scène Mireille Larroche crée avec le comédien-musicien Jean-Paul Farré une compagnie itinérante : la Péniche Théâtre. En quête de nouvelles pratiques théâtrales, les spectacles s’ouvrent de plus en plus à la musique (Utopopolis, Instantanés/Actualités, Il était un soldat/L’ Histoire du Soldat). En 1982, la compagnie devient « Compagnie d’Expression Musicale et d’Opéra Vivant » (association loi 1901) à bord du bateau de 80 places appelé Péniche Opéra, amarré à Paris sur le bassin de La Villette.

Les quatre fondateurs de la Péniche Opéra représentent chacun un domaine : Mireille Larroche vient du théâtre, Pierre Danais défend la création musicale contemporaine, Ivan Matiakh porte le répertoire des XIXe et XXe siècles, Béatrice Cramoix soutient la musique ancienne. En 1988, une deuxième péniche, la Péniche Adélaïde, propose les soirées « Coups de cœur », cartes blanches intimistes confiées aux collaborateurs de la Péniche Opéra. Reconnue « Compagnie Nationale de Théâtre Lyrique et Musical » par le Ministère de la Culture en 1998, cette institution atypique témoigne de l’histoire du spectacle vivant au tournant des XXe et XXIe siècles et d’ une politique favorisant les processus de démocratisation, de diffusion et de décentralisation culturelles.

La Péniche Opéra soutient la création à travers la commande d’opéras et de pièces de théâtre musical, comme Opéra Louffe (1983), La Barca de Venitia per Padova / O comme Eau (1984), Les Chambres de Cristal (1985), Shoot again (1986), Moderato Cantabile (1987), Vingt mille lieues sous les mers (1988), Le Rouge et le noir (1989), Rêves et dérives (1991), Scorrendo (1992), Le Fusil de chasse (1999), La belle Lurette (2000), Ubu, opéra (2002), Cantates de bistrot (2005) … Les formes sont souvent novatrices, les œuvres peuvent rassembler plusieurs compositeurs ou établir des perspectives à travers le temps et l’espace. Des opéras oubliés sont ressuscités comme Le Mariage forcé, Le Toréador, Ô mon bel inconnu, Le Vin herbé, Le Roi Pausole... Enfin, la compagnie programme des soirées thématiques en cycles : « cabaret contemporain » (1985, 1998), « coups de cœur » (1988-2015), « le printemps de la mélodie » (2002-05), « les lundis de la contemporaine » (2006-2014), « les mardis baroques » (2007- 2008) et peut accueillir des spectacles d’autres compagnies.

La politique de la Péniche Opéra repose sur une volonté de mobilité et de diffusion, notamment envers les publics peu sensibilisés au théâtre lyrique. Dans un souci de mutualisation, elle conçoit des coproductions avec le Cargo-Maison de la culture de Grenoble, l’Opéra-Comique, l’Opéra de Toulon, le Théâtre des Champs-Élysées, le Théâtre Sylvia Monfort et diffuse son répertoire (Wozzeck) dans certains opéras de la Réunion des opéras de France (Avignon, Rouen, Limoges, Reims, Nice). Elle est programmée dans de nombreux festivals (Romans, Utrecht, Sarrebruck, Strasbourg, Avignon, Versailles, Aix-en-Provence, Beaune, Évian, Brétigny), tourne au Japon et en Chine, est accueillie en résidence à Fontainebleau, Vitry-sur-Seine et part en tournée sur les canaux européens depuis Paris jusqu’à Berlin (1985), Prague (1990), Magdebourg (1993), Maubeuge (2000). En 2015, Mireille Larroche a transmis la Péniche Opéra à la POP, incubateur artistique et citoyen destiné à soutenir des spectacles de création sonore et musicale. Ses anciens partenaires artistiques et institutionnels sont alors sollicités pour penser la valorisation de ses archives.

Contexte scientifique

Un programme de recherches fédère depuis 2016 le Centre de Recherche en Histoire de l’art et Musicologie (Université de Poitiers), l’IReMus (Sorbonne Université/BnF/CNRS/Ministère de la Culture) et l’Institut de Recherche en Études Théâtrales (Université Sorbonne-Nouvelle).

L’investigation de ces archives s’inscrit en effet dans plusieurs axes de recherche – politique culturelle, esthétique musicale et théâtrale, économie de la culture et sociologie – qui ont en commun de démontrer la singularité de cette institution et de son répertoire.

Après inventaire1, une partie des archives de la Péniche Opéra a été déposée à la Bibliothèque nationale de France (départements de la Musique et de l’Audiovisuel) en juin 2019 et a déjà pu faire l’objet d’un traitement par un groupe de chercheurs issus des institutions qui pilotent le projet. À partir du printemps 2021 la mise à disposition de toute la communauté scientifique de l’ensemble des archives permettra de compléter et d’approfondir les travaux de recherche amorcés. Le fruit de ces travaux sera présenté lors d’un colloque international en avril 2022, à l’occasion du quarantième anniversaire de la création de la compagnie. Il sera enrichi de manifestations culturelles et un volume collectif sera publié l’année suivante.

Axes de réflexion

Pour préparer le colloque et sa publication, il est proposé de travailler, le cas échéant en les croisant, sur quelques dimensions encore inexplorées.

– Histoire culturelle : le contexte d’éclosion de la Péniche Opéra : les compagnies alternatives dans les années 1980 ; la place de la Péniche Opéra modèle ou contre modèle pour la construction des compagnies et ensembles de théâtre lyrique en France et dans le monde : études transversales et comparées ; transmettre le spectacle vivant : la passation de la Péniche opéra…

– Histoire et esthétique des arts du spectacle : les collaborations récurrentes – Claude Prey, Bruno Gillet, Denis Chouillet, Vincent Bouchot…, les rencontres d’artistes, la construction des choix musicaux, la recherche de nouveaux genres – Opéras louffes, Les Chambres de cristal…, le répertoire et son rayonnement, les recréations –Vlan dans l’oeil, Le Toréador, Le Vin herbé…, l’esthétique du cabaret et de la revue, la place du cinéma à la Péniche Opéra -les films de résidences, les spectacles autour des Shadocks…

– Études de genre : la scène au féminin. On se penchera sur l’itinéraire de Mireille Larroche la créatrice, mais aussi sur le rôle qu’a joué cette expérience dans la construction de la carrière et du rapport à la musique scénique de Béatrice Cramoix et des compositrices accueillies, Isabelle Aboulker, Françoise Barrière, Édith Canat de Chizy, Monic Cecconi, Pascale Criton, Graciane Finzi, Suzanne Giraud, Betsy Jolas, Caroline Marçot, Claire Renard, Michèle Reverdy, Françoise Sarhan, Élisabeth Sikora, Mélanie Sinnhuber, Valérie Stéphan.

1 Cécile Auzolle, Sylvain Labrousse et Clara Roupie, Le Fonds d’archives de la Péniche Opéra. Inventaire [en ligne], Institut de Recherche en Musicologie, janvier 2018, disponible sur : https://www.nakala.fr/nakala/data/11280/79d0057f

– Sociologie de la musique : les publics de la Péniche Opéra : comment les archives administratives permettent-elles de comprendre la constitution des publics de la Péniche Opéra, leur recherche, leur motivation, leur évolution, leur fidélisation ? Quelle fut la réception des spectacles de la Péniche Opéra, en France comme à l’étranger ?

Format des propositions

Les propositions de communication (2000 signes maximum, espaces compris) accompagnées d’une courte bio-bibliographie (500 signes maximum, espaces compris) sont à envoyer au format word ou PDF au comité d’organisation du colloque :

cecile.auzolle@univ-poitiers.fr ; augustinbraud@gmail.com ; marianne.coutures@cnrs.fr ; Gilles.DEMONET@cnrs.fr ; catherine.treilhou-balaude@sorbonne-nouvelle.fr ; clara.roupie@hotmail.fr ; noemietessier.pro@gmail.com

Les langues du colloque seront le français et l’anglais. Date limite de soumission des propositions : 15 avril 2020

Réponse du comité scientifique : fin mai 2020

Comité scientifique

Cécile Auzolle (Université de Poitiers/Criham/IReMus) Guillaume Bourgeois (Université de Poitiers/Criham/IReMus) Gilles Demonet (Sorbonne Université/IReMus)
Sylvie Douche (Sorbonne Université/IReMus)
Catherine Treilhou-Balaudé (Université Sorbonne Nouvelle/IReT) Daniel Urrutiaguer (Université Sorbonne Nouvelle/IReT)

Comité d’organisation

Cécile Auzolle (Université de Poitiers/Criham/IReMus)
Augustin Braud (Université de Poitiers/Criham)
Marianne Coutures (IReMus)
Gilles Demonet (Sorbonne Université/IReMus)
Catherine Treilhou-Balaudé (Université Sorbonne Nouvelle/IReT) Clara Roupie (Université Sorbonne Nouvelle/IReT)

Noémie Tessier (Université Sorbonne Nouvelle/IReT)

Comité d’honneur

Mathias Auclair, directeur du Département de la Musique de la BnF Vincent Bouchot, compositeur
Graciane Finzi, compositrice
Mireille Larroche, metteuse en scène, fondatrice de la Péniche Opéra Olivier Mantei, directeur du théâtre de l’Opéra-Comique

SysMus21

We are excited to welcome you to SysMus21 in Aarhus, Denmark (and virtually), on 3-5 Nov 2021! SysMus conferences (International Conference of Students of Systematic Musicology) are annual student-run events designed to allow advanced bachelors, masters, and PhD students in the fields of systematic musicology and music science to meet and discuss their research. They provide the opportunity to present scientific work to peers in a professional, yet informal, setting. Due to generous funding from Novo Nordisk Foundation, the conference fee will be very low — we expect less than 60 EUR. We invite presentations in the form of live talks, virtual talks, and poster presentations (details below).

SysMus is dedicated to represent the diversity of topics and methods that are summarized under the umbrella term ‘systematic musicology’. Therefore, submissions addressing any of the following subjects are welcome (but not limited to these): Music perception, music cognition, music therapy, music modelling, music information retrieval, music sociology, music education, music technology, music and culture, music philosophy, music theory and analysis.

We are pleased to announce this year’s keynote speakers: Jonna Vuoskoski (RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion, University of Oslo) and Nori Jacoby (Computational Auditory Perception research group at the Max Planck Institute for Empirical Aesthetics, Frankfurt). Additionally, Peter Vuust (Center for Music in the Brain, Aarhus University) will give a welcome talk. A satellite event (“Music in the Brain”) is scheduled for 2 Nov.

Please check out our conference website (https://sites.google.com/view/sysmus21) and connect via Twitter (https://twitter.com/SysMus21)!

 What to submit

Submissions are due on June 1st, 2021.

Full details: https://sites.google.com/view/sysmus21/call-for-contributions

Please submit two abstracts via the submission system (https://app.oxfordabstracts.com/login?redirect=/stages/2481/submitter).

1. Short Abstract

The short abstract is limited to no more than 100 words and should briefly describe the motivation, main findings, and implications. It should explain the significance of the research at a level understandable to researchers outside the author’s own specialized field. This is what will go into the abstract book.

2. Extended Abstract

The extended abstract gives you an opportunity to describe the motivations for your work, the methodology used, as well as the results and conclusions in more detail. This is what will go into the conference proceedings. The word limit is 300-500 words, and extended abstracts follow the structure: Background, Aims, Method, Results, and Conclusion. The author can choose to indicate a preference for either spoken (live or virtual) or poster presentation in the submission form. Authors should avoid referring to their own names within the submitted abstracts, as acceptance will be determined by anonymous peer review.

Live and virtual presentations

Live and virtual presentations will be allocated slots of 20 minutes, with 12 minutes for the presentation, 5 minutes for discussion, and 3 minutes to prepare for the next talk. The amount of virtual presentations will depend on the COVID situation. We will try to be flexible in choosing the most suitable format and will try to provide the same flexibility for participants, while ensuring everyone’s safety.

Poster presentations

Poster presentations will have designated time slots and presentation spaces that will not overlap with any other activity. Poster presentations will be live and/or virtual – we will keep you updated.

Important dates

1st June 2021: Submission deadline for short and extended abstracts

1st August 2021: Notification of acceptance & registration open

1st October 2021: Deadline for revised abstracts

3-5 November 2021: SysMus21 in Aarhus (and virtually)

Best regards,

SysMus21 Organizing Committee

(Signe Hagner (chair), Christine Ahrends, Jan Stupacher, & Niels Chr. Hansen)

The 22nd International Society for Music Information Retrieval Conference

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ISMIR 2021, Online, November 8-12, 2021
https://ismir2021.github.io/
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The annual conference of the International Society for Music Information Retrieval (ISMIR) is the world’s leading research forum on processing, analyzing, searching, organizing and accessing music-related data. The 22nd ISMIR conference, to be held online, welcomes contributions related to any aspect of Music IR, including foundations and theories for music processing, evaluation algorithms, applications, and analysis.

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Important Dates
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Time zone: Anywhere On Earth (AOE)
Abstract Submission: May 8, 2021
Final Submission: May 15, 2021
Notification of Acceptance: July 9, 2021
Camera-Ready Upload: August 2, 2021

There will be *no extension* to the submission deadlines. However, authors of registered papers on or before May 8th will be allowed to upload new versions of their papers until May 15th.

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Submission Guidelines
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All submissions must comply with the following requirements:

Length (6+n pages): papers must contain at most 6 pages of scientific content (including figures and tables), with additional optional pages that contain only references and acknowledgments.

Templates: papers must be submitted in PDF format using the ISMIR 2021 templates (LaTex or Word) to be released soon. You may not manipulate the style files in any way.

File size: submitted PDF files must be at most 4MB in size. Please compress images and figures as necessary before submitting.

Originality: papers must be original contributions. They cannot have been published elsewhere nor currently submitted for publication anywhere else. All relevant work, including direct quotations from your own work, should be cited.

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Submissions
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Submission system: We will use Microsoft CMT (the submission link will be released soon).

Supplementary material: In addition to the PDF file of the manuscript, authors will be able to also upload supplementary files for their submission, such as audio samples, code or additional results. We strongly encourage authors to do this.

Main message: During submission, authors will be asked for ONE line of text stating the main take-home message of their work. This information will NOT be available to reviewers or meta-reviewers; it is intended to help organize cohesive sessions for the conference.

Anonymity: ISMIR reviews are double-blind; authors and reviewers will be anonymous to each other. For the initial submission, please keep the author list from appearing in the text. Also, do not add any links/URLs that could reveal authors’ identity (e.g., to github pages). Likewise, make any self-citations in the third person, although self-citations should be kept to a minimum. Note that acknowledgments must not be included in the anonymized submission.

Preprints: to maintain the legitimacy for our double-blind review process, we strongly discourage authors from posting near duplicate manuscripts on public archives (technical reports, arXiv, etc.). In the same spirit, to protect our double-blind reviewing process, authors need to make sure they do not promote their work in any way during the review process (social media, blog, mailing-list, etc.), since this may prevent preserving anonymity.

Submissions that deviate from any of the above requirements will be automatically rejected.


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Review Process
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In order to ensure the quality of the papers published at the conference, all submissions will be evaluated according to the following criteria:

– Novelty
– Scholarly/scientific quality
– Reusable insights
– Thought-provoking potential
– Appropriateness of topic
– Importance
– Presentation and readability

We especially call for submissions that explicitly discuss reusable insights, that is, insights that may go beyond the scope of the paper, domain or application, to build up consistent knowledge across the MIR community.

The reviewing workflow follows a two-tier model, i.e. with one level of “regular” reviewers, and another level of “meta-reviewers”. All papers are examined by at least three reviewers.

Accepted papers must be presented at the conference by one of the authors, and at least one of the authors must register before the deadline given for author registration (TBD). Failure to register before the deadline will result in automatic withdrawal of the paper from the conference proceedings and program.

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Topics of Interest
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ISMIR 2021 welcomes full-paper contributions to any aspect of Music IR. Relevant topics include, but are not limited to:

– MIR fundamentals and methodology: music signal processing; symbolic music processing; metadata, tags, linked data, and semantic web; lyrics and other textual data, web mining, and natural language processing; multimodality.

– Domain knowledge: representations of music; music acoustics; computational music theory and musicology; cognitive MIR; machine learning/artificial intelligence for music.

– Musical features and properties: melody and motives; harmony, chords and tonality; rhythm, beat, tempo; structure, segmentation, and form; timbre, instrumentation, and voice; musical style and genre; musical affect, emotion and mood; expression and performative aspects of music.

– MIR tasks: sound source separation; music transcription and annotation; optical music recognition; alignment, synchronization, and score following; music summarization; music synthesis and transformation; fingerprinting; automatic classification; indexing and querying; pattern matching and detection; similarity metrics.

– Evaluation, datasets, and reproducibility: evaluation methodology; evaluation metrics; novel datasets and use cases; annotation protocols; reproducibility; MIR tasks.

– Philosophical and ethical discussions: philosophical and methodological foundations; legal and societal aspects of MIR; ethical issues related to designing and implementing MIR tools and technologies.

– Human-centered MIR: user behavior analysis and mining, user modeling; human-computer interaction and interfaces; personalization; user-centered evaluation.

– Applications: digital libraries and archives; music retrieval systems; music recommendation and playlist generation; music and health, well-being and therapy; music training and education; music composition, performance, and production; gaming; business and marketing. 

For additional information, you can reach the program chairs via email at ismir2021-papers@ismir.net.

Zhiyao Duan, Peter van Kranenburg, Juhan Nam, and Preeti Rao

ISMIR 2021 Scientific Program Chairs

Singing and the Online World: Call for Abstracts

In March 2020, most countries around the world were forced into lockdowns, which instigated a change in how people communicate, interact, and even how they live and work. For many, online video-conferencing technologies such as Zoom, Microsoft Teams, Facebook messenger, Skype, WhatsApp etc. became vital resources in everyday communication, and though all of these platforms had existed previously, none had been designed to cope with such a multitude of online activity.  All forms of singing have been especially difficult to facilitate online. While the desire and need to continue vocal performance, teaching and research has swiftly forced the creation of new methods and practices that utilise the online space, it is also important to question issues of accessibility caused by this mass move online.

On the one hand, the online platform has opened up areas of singing practice and research to those who may not have had the means to access in-person activities or physical resources. For example, over the last ten years, there have been creative initiatives devised to help level barriers to access, allowing people with long-term physical and mental health issues, those who live far away, and those with caring responsibilities to engage in singing practice and/or research. Indeed, studies by Jeanette Tamplin (2019), Imogen N. Clark (2018), Shreena Unadkat, and Trish Vella-Burrows (2016) have turned to the online space and digital technology to facilitate singing activities.  On the other hand, singing online also presents many unique challenges, arguably imposing just as many, if not more, barriers to access. These include, but are not limited to access to a computer, fast-internet connection, headphones, a recorder, and the skillset and confidence to use video-conferencing and video-editing software. Other challenges could be, engaging in online singing activities while at home, limitations posed by the space or other people, comfort and confidence to engage socially online and so forth. These are just a few of the challenges this edited collection plans to address.

As such, Singing and the Online World aims to interrogate questions of access, considering the mitigations that need to be put in place to facilitate singing practice and research online. We seek papers that discuss, evaluate, and engage with issues of access when utilising the online space for singing practice and research. Please note topics do not have to centre on the Global pandemic and can highlight singing practices and research that utilised the online space before 2020.

Topics may cover but are not limited to:

  • Perceptions of accessibility. 
  • Initiatives designed to facilitate online singing activities. 
  • Benefits and challenges of interacting online compared to in-person interactions. Interactions might include lessons, masterclasses, choirs, ensembles, children singing activities, singing for health activities etc. 
  • Auditory experience of singing online. 
  • Psychological, social, demographic and environmental impacts encourage or prevent engaging with online singing activities or research.
  • The importance of developing accessible resources to facilitate singing practice and research. 
  • Understanding and interpreting historical materials and/or current research on singing.  
  • Initiatives designed to bring singing events into the home via online streaming platforms. 
  • Audience responses to streaming events. 
  • Accessibility and the streamed event.
  • History and development of online singing

We are particularly interested in research that challenge assumptions regarding accessibility, singing and the online space.

Where did the idea for this collection emerge?

The idea for this collection emerged from the Spheres of Singing online conference held in May 2020. Several papers presented at the conference considered singing practice and research in a variety of ways, but two of the most common themes were accessibility and utilising the online space. We have already approached an academic publisher who is interested in seeing a proposal for this collection.

Abstract Deadline

Please send abstracts of 500 words (maximum) as a PDF or word doc. to b.rkirkland@rcs.ac.uk by 28th February 2021. Please also include a 250-word biography. Final chapter lengths will be between 7000-8000 words (maximum).

Timeline

We will decide on final abstracts by 31st March and these will be included in our proposal (due to be submitted mid-April). If the proposal is contracted, we will be in touch with a final submission deadline for the completed chapter. All enquiries are welcome.