CFP: HEJMEC (Hellenic Journal of Music, Education and Culture) (journal submission)

HEJMEC (HELLENIC JOURNAL OF MUSIC, EDUCATION AND CULTURE)
CALL FOR SUBMISSIONS
DEADLINE: 31 OCTOBER 10

We would like to announce the establishment of the new electronic journal under the title HEJMEC (Hellenic Journal of Music, Education and Culture)

HeJMEC is an international open-access and peer reviewed journal devoted to critical study and critical analysis of issues related to the fields of Music, Education, and Culture.

HeJMEC draws its contributions from a wide community of researchers. Its reach is international since we want the publication to reflect a wide variety of perspectives from disciplines within the fields of music education and musicology. The journal is concerned with the dissemination of ideas relating to theoretical developments in the above fields and welcomes cross - and inter- disciplinary contributions of research and literature in the areas of music, education and culture.

Music and Education: The wide range of topics includes various aspects of music education (pedagogy, history, philosophy, sociology, psychology, technology, and aesthetics) addressing vocal, instrumental, general music at all levels, from early childhood through adult and comparative studies. Education is interpreted in a broad sense including all aspects of teaching and learning within formal and informal contexts (such as, musical development; socio-cultural issues; creativity; gifted and talented students; special needs; community settings; teachers’ professional development; curriculum design; assessment) in order, additionally, to challenge established accounts of music education policy-analytic methods and to explore alternative approaches to policy-making. Music and Culture: Our aim is to provide essential reading on different aspects of the study of music from a cultural point of view (ideology, music and words, music and society, music and postmodernism, music and genre,and so forth); also, to relate them with educational issues (music cultural policy, the learning process, the relationship to educational institutions, and so forth). The journal thus offers a unique forum for researchers to develop views on music as a social and cultural product, as part of human behaviour and in relation to broadly perceived educational issues at the leading edge of musical and multidisciplinary scholarship.

Every issue will include articles on the topics, case studies and book reviews. Articles in Greek or English will be accepted.

We welcome submissions for our forthcoming issues. The deadline for submissions for our next issue is 31/10/2010.

Please see our website for more details: http://www.hejmec.eu/

CFP: Music and Medicine (journal submission)

MUSIC AND MEDICINE
SPECIAL ISSUE: MUSIC TECHNOLOGY IN THERAPUTIC AND HEALTH SETTINGS
CALL FOR PAPERS
DEADLINE: 1 NOVEMBER 2010

http://mmd.sagepub.com

Music & Medicine invites researchers and clinicians in neuroscience, medicine, music therapy, education, computer science, engineering and technology to submit original articles that focus on music technologies for health and development, and as an evaluative tool to assess responses to music.

Of particular interest are papers with an emphasis on:
• Clinical practice with electronic music technologies for people with special needs in a diverse range of clinical and community settings
• Engineering and design of music and assistive technologies with potential application in clinical or community settings
• Measurement and evaluation using technology for measuring musical responses e.g. brain imaging/PET/ EEG; clinical evaluation systems

SUBMIT YOUR MANUSCRIPT TODAY!
http://mc.manuscriptcentral.com/mmd

Editors:
Joanne Loewy, DA, LCAT, MT-BC
The Louis Armstrong Center for Music & Medicine, Beth Israel Medical Center, New York, NY

Ralph Spintge, MD
Sportskrankenhaus Hellersen, Luedenscheid, Germany

Guest Editor:
Wendy Magee, PhD, NMT-F
Institute of Neuropalliative Rehabilitation, Royal Hospital for Neuro-Disability, London, U.K.

CFP : Special issue of Dancecult: Journal of Electronic Dance Music Culture

SPECIAL ISSUE OF DANCECULT: JOURNAL OF ELECTRONIC DANCE MUSIC CULTURE
TITLE: PRODUCING EDM
GUEST EDITOR: DR ELIOT BATES (UNIVERSITY OF MARYLAND, COLLEGE PARK)
DEADLINE: 1 MAY 2010
CALL FOR PAPERS

The third issue of Dancecult, the open-access peer-reviewed journal on electronic dance music cultures, will focus on producers and the production of electronic dance music.

Producers and production is broadly conceived to include:
--The production/creation/composition of dance music in recording studios
--Visuals production (e.g. VJing, liquid lights)
--The development, use, and transformations of technologies, musical instruments, software, interfaces, and computer hardware related to dance music and visuals production
--Event production and organization

A constellation of theoretical questions motivate the production of the present volume:
What is production, and how does electronic dance music production relate to creative work and production in other musical styles and cultural contexts?
Revisiting Negus and DuGay's expression "cultures of production / production of culture," what exactly is produced in EDM production?
Also, what are the cultures of EDM production?
To what extent are emergent genres fruitfully analyzed as a product of changing sociotechnological systems?
How are different forms of virtuality (virtual communities, online distribution, social media) affecting the situatedness of production?

We encourage the submission of articles that deal with topics of production in geographically and/or generically diverse milieus. In addition to feature articles and interviews, we encourage submissions of shorter, deeply ethnographic works with a strong multimedia component to the From the Floor section. These could include, for example, a studio production ethnography, a study of the organization of a single event, or a focused analysis of an online community of EDM producers.

Besides this special issue, we also welcome submissions of articles related to any aspect of electronic dance music cultures.

About Dancecult:
Dancecult is a peer-reviewed, open-access e-journal for the study of electronic dance music culture (EDMC). A platform for interdisciplinary scholarship on the shifting terrain of EDMCs worldwide, the journal houses research exploring the sites, technologies, sounds and cultures of electronic music in historical and contemporary perspectives. Playing host to studies of emergent forms of electronic music production, performance, distribution, and reception, as a portal for cutting-edge research on the relation between bodies, technologies, and cyberspace, as a medium through which the cultural politics of dance is critically investigated, and as a venue for innovative multimedia projects, Dancecult is the forum for research on EDMCs.

CFP: Music, Law and Business (Helsinki)

MUSIC, LAW AND BUSINESS
IASPM-NORDEN 2010 CONFERENCE, HELSINKI
24 - 27 NOVEMBER 2010
CALL FOR PAPERS

The field of music production is in a state of uncertainty, if not even in an outright crisis of reproduction. Because of recent and relatively rapid changes in communication technology, old conglomerate models and structures of production, dissemination and consumption of music are arguably subject to change. This has also created pressure towards legislative changes, especially in relation to copyright issues. In general, the increased importance of immaterial property rights, as opposed to selling physical records, has been acknowledged within the music industries.

In order to address these shifting conditions of music production and consumption, IASPM-Norden (the Nordic Branch of the International Association for the Study of Popular Music; http://iaspmnorden.wordpress.com/) invites scholars and other interested parties to share their ideas in the "Music, Law and Business" conference. The aim of the conference is to provide a forum in which industry professionals, officials, scholars and other agents can engage in a mutually beneficiary dialogue. The goal is furthermore explicitly multidisciplinary, as the purpose is to bring together experts not only from the conventional areas of music research dominated by humanities and social sciences but also from economics and legal studies.

The programme of the conference consists of keynote lectures, plenary roundtables, thematic workshops, individual presentations and poster presentations. Individual presentations and entire workshops may be built for example on the following topics:

• music and global/national/regional economy
• export ventures of music
• economic dimensions of music copyright, including sampling and licensing
• synergy/cross‐marketing
• economic impacts of music technology
• restructuring of music industry
• music cluster in terms of economy and legal issues
• music and market censorship
• music and public subvention
• music and fair use
• music piracy
• legal and economic ethics of music
• musical expression, genres and styles in terms of law and business
• the aesthetic and legal criteria of musical works
• the impact of fan communities and social media
• legal and economic implications of music education

Proposals for presentations (20 mins) or workshops (90 mins) should be sent to the conference organisers no later than 15 December 2009, preferably as an email attachment (rtf/pdf/doc) to iaspmnorden [at] gmail.com. The proposal should include the following information:

Title
Presenter(s)
Institution(s)
Email
Summary (200 words, explicating the background, approach and central arguments)
Keywords (max. five)
Technical equipment required (PC/DVD/CD/data projector/over-head projector/etc.)

Please label your attachment with your last name and first initial (eg. beathoven-l.rtf), not the title.

The official language of the conference is English. Notifications of acceptance will be sent no later than 15 January 2010.

Confirmed guest speakers of the conference include Adj.Prof. Tarja Rautiainen-Keskustalo (Department of Music Anthropology, University of Tampere, Finland) and Dr Patrik Wikström (Media Management and Transformation Centre, Jönköping International Business School, Sweden).

The conference is organized by the Nordic Branch of the International Association for the Study of Popular Music with the Finnish Society for Ethnomusicology, University of Helsinki (Musicology), Aalto University (School of Economics/Best Practices of Globalization in Finnish Rock Exports research project), Sibelius Academy and Music Export Finland, in co-operation with the IPR University Center, International Institute of Popular Culture and Statistics Finland.

Should you need more information about the conference, please visit IASPM-Norden website (http://iaspmnorden.wordpress.com/) or contact IASPM-Norden chair Antti-Ville Kärjä personally (avkarj@utu.fi).

Future of Music Publishing? - Sheet Music on Kindle

FUTURE OF MUSIC PUBLISHING?

SHEET MUSIC ON KINDLE

From Amazon Kindle's Blog today: "FreeHand Systems has announced that its Novato Music Press catalog, which includes thousands of classical, traditional and American music titles, is now available on Kindle. This marks the first time that a comprehensive collection of sheet music is being offered for this exciting new medium."

The CEO of FreeHand Systems, Kim Lorz is quoted as saying "musicians never have to fumble through paper scores or worry about forgetting a piece of music. Everything is wirelessly downloaded and stored in the Kindle and is available for easy recall."

The collection has holdings of J.S. Bach, Mozart and Beethoven and "minor composers [...] including Scott Joplin's Treemonisha." I find their characterisation of one of the first American operas as 'minor' truly amusing.

This could not stand in starker contrast to a presentation that Dr. Wolf-Dieter Seiffert, Managing Director of G. Henle Publishers gave on 1 April 2009 to the International Confederation of Music Publishers (ICMP).

Printed music has existed for over 5 centuries and Dr Seiffert's perspective reinforces the printed medium. He outlines some of the benefits of being able to download music which include providing access to lesser known composers and compositions which have been removed from the printed catalogue. Among the reasons why he thinks printed music will be around for another century are:

• "When my screen falls down to the floor, it breaks. Sheet music has been falling on the floor for 500 years – and survived.
• When you have a power blackout, your screen goes dark. Even 500 years from now music on paper will not need electric currency.
• Software is consistently updated, storage media is subject to change; that leads to the next technology-related problem: I am not sure whether the next generation of equipment is compatible. A few years from now, will I be able to read and convert the music I painstakingly scanned and downloaded? Music on paper is independent of software and does not need a disk drive."

You can access his full speech here. (PDF)

Whether music publishing will remain as static as Dr. Seiffert indicates or the pendulum swings to the Kindle remains to be seen. As a performer I can see benefits to both approaches, but should I go down the Kindle path I'll be sure not to drop it!

CFP: Teaching Music History Day 2009 (Edinboro Univ, PA)

TEACHING MUSIC HISTORY DAY 2009:

CRITICAL QUESTIONS AND NEW TECHNOLOGIES

EDINBORO UNIVERSITY OF PENNSYLVANIA

12 SEPTEMBER 2009, 8.00 - 17.00

www.edinboro.edu/departments/music/ams-tmh-day-2009.dot

The Pedagogy Study Group of the American Musicological Society, the Midwest Chapter of the AMS, and Edinboro University announce the sixth Teaching Music History Day, to be held Saturday, September 12, 2009. Teaching Music History Day is a forum for exchanging ideas on effective teaching, and is open to all who have an interest in teaching music history. We extend a special invitation to those whose primary discipline lies outside of musicology who teach music history, music appreciation, or related courses.

Call for Presentations

As the universe of what might be included in a music history course continues to expand, so does the challenge of charting a student’s exploration of that universe. What constitutes a representative sample of our musical world, if that is even possible? Should we neglect one quadrant in favor of another? For example, what should music students know about popular music idioms and their interface with other music? Does it make sense to scale back coverage of some of the canonic periods to make more time for popular music, new music, “world” music, or other areas? Most importantly, what are the goals and objectives of teaching music history that should determine such decisions? Similarly, the rise of new media and online pedagogical tools constitute new maps and new vehicles for exploration. With their focus on the Western canon, are music history textbooks the most relevant and effective tools? How can teachers employ blogs, wikis, and other Web 2.0 applications to help students create their own map of the musical universe?

The program committee (Matt Baumer, Daniel Burdick, Mary Paquette-Abt, Colin Roust, and Pamela Starr) welcomes papers, presentations, or teaching demonstrations that focus on these critical questions or new technologies. Please submit a brief 250-word abstract in the body of an email to mbaumer at iup.edu describing the question you wish to address and the mode of presentation. The deadline for submissions is July 24, 2009. Accepted proposers will be notified no later than August 15.

CFP: 12th Brazilian Symposium on Computer Music (Brazil)

12TH BRAZILIAN SYMPOSIUM ON COMPUTER MUSIC

PORTO DIGITAL, RECIFE, PE - BRAZIL

7 - 9 SEPTMEBER 2009

CALL FOR PAPERS

http://compmus.ime.usp.br/sbcm/2009/

The SBCM - Brazilian Symposium on Computer Music is a biannual event with international recognition in the field of computer music organized by NUCOM, the computer music interest group of the Brazilian Computer Society (SBC). This 12th edition will be held from September 7th to 9th, 2009, in Recife, capital of the state of Pernambuco, at the beautiful northeast Brazilian coast, and is specially dedicated to approaching the relentless universe of new paradigms for making music with computers and electronic gears, bringing up their essentials and trends.

Researchers, scientists, composers, educators, manufacturers, and all concerned with the interplay between music and technology are invited to submit works.

During the symposium there will be speeches by renowned researchers, technical and music paper sessions, discussion panels, and concerts. The program will include, among others, a keynote speech by Miller Puckette (University of California, San Diego), author of Pure Data (Pd) real-time graphical programming environment, a tutorial on mathematical models in computer-aided music theory by IRCAM, and a keynote speech by composer Daniel Teruggi, director of the Groupe de Recherches Musicales at INA (Institut National De L'Audiovisuel, Paris).

We are proud to inform that a selection of the best papers presented at SBCM will be invited to submit an extended version for a dedicated Special Issue of the Journal of New Music Research, and the selected musical pieces will be published with the support of the Electronic Music Foundation (EMF). The program committee will also give a prize for the best student papers presented at SBCM. Papers that have a student as a major author are eligible. Two awards will be given: one for the best technical paper and another for the best music paper. One prize will be a one-year Forum IRCAM subscription.

Important Dates

June 28th Full papers and posters submissions due

July 23rd Full papers and posters notification of acceptance

August 5th Camera-ready version of papers and posters due

Technical Topics of Interest

The topics to be covered include, but are not limited to:

● Acoustics, Diffusion, Sonorization

● Artificial Intelligence

● Artificial Life and Evolutionary Music Systems

● Audio Hardware design

● Computer-Aided Music Analysis

● Computer-Aided Musical Education

● Computer-Aided Musicology

● Digital Sound Processing

● Digital Music Systems and Services

● Distributed Music

● Internet and Web Applications

● Movement and Gesture

● Multimedia Systems and Applications

● Music Emotion and Communication

● Music Formats, Data Structures and Representation

● Music Information Retrieval

● Music Management

● Music Notation, Printing, and Optical Recognition

● Music Perception and Cognition

● Psychoacoustics and Cognitive Modeling

● Quality of Service for Audio

● Real-time Interactive Systems

● Software Systems and Languages for Composition

● Sound Analysis and Synthesis

Papers Submission Instructions

Papers must be submitted in PDF format via the JEMS online submission system (https://submissoes.sbc.org.br/). Submissions in Spanish, Portuguese and English are welcome.

Technical papers, up to 12 pages long, are supposed to present original research with scientific contributions. Music papers, up to 12 pages long, should describe the experience of composers and users of computational tools to produce music (see guidelines at conference website). Extended abstracts of posters, up to 4 pages long, should present on-going research.

Please carefully comply with instructions in publications templates. Papers which do not fulfill the requirements can not be published. Download the files for manuscript preparation in accordance with the SBC guidelines from http://gsd.ime.usp.br/sbcm/2007/templates.

In order to get the paper published, it is required that at least one author register for the symposium by August 3rd, 2009.

Organization Committee

General chairs: Regis Rossi A. Faria (LSI - University of São Paulo)

Marcelo Queiroz (IME - University of São Paulo)

Local organization chairs: Geber Ramalho (UFPE - Federal University of Pernambuco)

Giordano Cabral (UFPE - Federal University of Pernambuco)

Technical Papers chair: Marcelo Pimenta (UFRGS - Federal University of Rio Grande do Sul)

Music Papers chair: Damián Keller (UFAC - Federal University of Acre)

Technical Program Committee

Adolfo Maia Jr. (UNICAMP, Brazil)

Aluizio Arcela (UnB, Brazil)

Álvaro Barbosa (Universidade Católica Portuguesa, Portugal)

Andrew Horner (The Hong Kong University of Science & Technology, Hong Kong)

Chris Chafe (Stanford University, USA)

Eduardo Miranda (University of Plymouth, UK)

Emilios Cambouropoulous (Aristotle University of Thessaloniki, Greece)

Evandro Miletto (UFRGS, Brazil)

Fabien Gouyon (INESC – Porto, Portugal)

Fabio Kon (USP, Brazil)

Flávio Soares Corrêa da Silva (USP, Brazil)

François Pachet (Sony Computer Science Laboratory, France)

Geber Ramalho (UFPE, Brazil)

Gianpaolo Evangelista (Linköpings Universitet, Sweden)

Giordano Cabral (Université Paris 6, France)

Hugo de Paula (PUC-MG, Brazil)

Ian Whalley (University of Waikato, New Zealand)

Jean-Pierre Briot (CNRS - Université Paris 6, France)

Jonatas Manzolli (UNICAMP, Brazil)

Lelio Camilleri (University of Bologna, Italy)

Luis Jure (Universidad de la República, Uruguay)

Marcelo Soares Pimenta (UFRGS, Brazil) - Technical Papers Chair

Marcelo Queiroz (USP, Brazil)

Marcelo Wanderley (McGill University, USA)

Marcio Brandao (UnB, Brazil)

Mikhail Malt (IRCAM, France)

Oscar Di Liscia (Universidad Nacional de Quilmes, Argentina)

Palle Dahlstedt (Göteborg University/Chalmers University of Technology, Sweden)

Peter Beyls (Hogeschool Gent, Belgium)

Petri Toiviainen (University of Jyvaskyla, Finland)

Regis R. A. Faria (USP, Brazil)

Roger Dannenberg (Carnegie Mellon University, USA)

Rosa Viccari (UFRGS, Brazil)

Sever Tipei (University of Illinois School of Music, USA)

Victor Lazzarini (National University of Ireland, Ireland)

Music Papers Program Committee

Adina Izarra (Universidad Simón Bolivar, Venezuela)

Alejandro Viñao (United Kingdom)

Catalina Peralta Cáceres (Universidad de los Andes, Colombia)

Damián Keller (UFAC - Federal University of Acre) - Music Papers Chair

Daniel Teruggi (GRM, Institut National de l'Audiovisuel, France)

Didier Guigue (Universidade Federal da Paraíba, Brazil)

Fernando Iazzetta (Universidade de São Paulo, São Paulo, Brazil)

Fernando Lopez-Lezcano (Center for Computer Research in Music and Acoustics, Stanford University, USA)

Javier Alvarez (Conservatorio de las Rosas, Mexico)

Rodolfo Coelho de Souza (University of São Paulo, Ribeirão Preto, Brazil)

Support

EMF - Electronic Music Foundation

IRCAM - Institut de Recherche et Coordination Acoustique/Musique

CDTL - Centro de Desenvolvimento de Tecnologias Livres (Recife/Brazil)

More Information

For further information and advanced technical program, please visit the symposium home page at http://compmus.ime.usp.br/sbcm/2009/. For questions regarding submissions, local organization and general inquiries, send e-mail to the Organization Committee at sbcm2009 at gmail.com.

Job Postings: Lectureships in Audio Signal Processing (Queen's University, Belfast)

JOB POSTING: LECTURESHIPS IN AUDIO SIGNAL PROCESSING AND PERFORMANCE/AUDIO VISUAL DESIGN AND NEW TECHNOLOGIES

QUEEN'S UNIVERSITY, BELFAST

DEADLINE: 26 JUNE 2009

The Sonic Arts Research Centre is pleased to announce two new lectureships in audio signal processing, and performance or audio visual design and new technologies.

Details of the posts can be found here: http://www.qub.ac.uk/sites/QUBJobVacancies/AcademicJobs/

Closing date is 26 June 2009.

CFP: Rush and Philosophy (Journal)

RUSH AND PHILOSOPHY

CALL FOR PAPERS

DEADLINE: 19 JULY 2009

We are looking for short articles (of around twenty pages) to add to this proposed anthology for the series that began with "Seinfeld and Philosophy" (2000), but since 2005 has also included a number of music-related books.

Writers in philosophy, musicology, music theory, American studies,economics, and psychology have already committed to "Rush and Philosophy," and they are exploring various areas from across Rush's career (1974- ). However, possible areas of interest for additional articles include: balance through instrumental "songs," humour, and recent "sightings" of the band in the mainstream media, as well as participation in roundtables concerning music technology and rock critics. Contributions from women, minorities, and people from outside of North America are most welcome!

Deadline for one-page abstracts: July 19, 2009

Deadline for completed first-drafts: August 31, 2009

Please send to Durrell Bowman and Jim Berti: db at durrellbowman.com; koors58 at yahoo.com

Job Posting: Music Research Laboratory Officer (Open University)

JOB POSTING: MUSIC RESEARCH LABORATORY OFFICER

FACULTY OF ARTS, THE OPEN UNIVERSITY

DEADLINE: 12 JUNE 2009

£29,704 - £35, 469, Ref: 5631

Based in Milton Keynes

2 year temporary contract available immediately

We wish to appoint a Laboratory Officer to support research and other work taking place in the University's Music Research Laboratory, incorporating facilities for the recording, editing and analysis of audio and video material.

You should have a degree in a relevant subject such as Music, Music Technology or Ethnomusicology, as well as relevant training and experience in the recording and editing of audio and video material. You will need to be well organised, and to show initiative and judgement in carrying out your tasks. You must also be a good team worker, with excellent communication and inter-personal skills.

For detailed information and how to apply go to www3.open.ac.uk/employment, call Donna Elstob on 01908 653370 (24 hour answerphone) or email Arts-recruit@open.ac.uk quoting the reference number. Closing date: 12 June 2009. Interview date: 8 July 2009.

Further particulars are available in large print, disk or audiotape (minicom 01908 654901).

We promote diversity in employment and welcome applications from all sections of the community.

Job Posting: MacOS X User Interface Developer (IRCAM)

JOB POSTING:MAC OS X USER INTERFACE DEVELOPER (C++/OBJECTIVE-C)

IRCAM, PARIS

IRCAM is a leading non-profit organization dedicated to musical production, R&D and education in acoustics and music. The organization is located in the center of Paris (France), next to the Pompidou Center. It hosts composers, researchers and students from many countries cooperating in contemporary music production, scientific and applied research. The main topics addressed in its R&D departement are acoustics, psychoacoustics, audio synthesis and processing, computer aided composition, user interfaces, real time systems. Detailed activities of IRCAM and its groups are presented on our WWW server, http://www.ircam.fr/recherche.html

The developpement position is immediately available in the analysis/synthesis team. The analysis/synthesis team is researching and developing new and advanced algorithms for sound signal analysis, synthesis and transformation.

JOB DESCRIPTION:

A full time position for the development of user interfaces for state of the art signal processing algorithms. The main target application is AudioSculpt (http://forumnet.ircam.fr/691.html) a graphical user interface for command line applications and signal processing libraries. The main task is the design and implementation of the user interfaces that provide ergonomic and intuitive access to state of the signal processing algorithms that are developed by the researchers of the team. The responsibilities include the communication with the user base at IRCAM and in the IRCAM Forum, the creative design of new approaches to sound manipulation and the integration of user feedback.

The target environment of the application is Mac OS X and the programming languages are C/C++ and objective-C.

DEVELOPMENT TASKS:

The candidate will perform the following tasks:

o design, implement and continually improve the graphical user interface for the signal processing algorithms

o integrate new algorithms into AudioSculpt and implement a new kernel interface

o continue the modernization of the internal code base

o communicate with users, propose creative solutions for sound design problems

o ensure communication with the researchers and Phd students and implement 

o set up automated testing procedures

o participate in the long term software planning process

o prepare software releases

REQUIRED EXPERIENCE AND COMPETENCE:

o Excellent knowledge of C++ and Objective C programming language.

o Excellent skills and several years of experience as MacOSX developer including graphical interfaces.

o Experience with design of user interfaces.

o Experience with STL.

o Basic understanding of digital signal processing algorithms.

o Interest for music.

o High productivity, methodical and autonomous work, creativity, good communication skills, and excellent programming style.

o knowledge of Max/MSP is desirable

AVAILABILITY:

 - The position is available in the "Analysis/Synthesis" team in the R&D department starting as soon as possible.

DURATION

The initial contract is for 1 year, an extension is intended.

LOCATION: 

IRCAM is located in the center of Paris, next to theBthe George Pompidou Museum for Modern Art at 1, pl. Igor-Stravinsky, 75004 Paris, France

EEC WORKING PAPERS:

- In order to start immediately, the candidate should preferably have EECBcitizenship or already own valid EEC working papers.

SALARY:

- According to background and experience.

TO APPLY:

- Please send your resume with qualifications and other pertinent information preferably by email to: Xavier.Rodet@ircam.fr (Xavier Rodet, head of the analysis synthesis team) and Axel.Roebel@ircam.fr

or by fax at: (33 1) 44 78 15 40, to Xavier Rodet

or by surface mail to: Xavier Rodet, Axel Roebel, IRCAM, 1 Place Stravinsky, 75004 Paris.

Funded PhD Studentships (University of Plymouth)

COMPUTER MUSIC & MUSIC TECHNOLOGY PHD STUDENTSHIPS
UNIVERSITY OF PLYMOUTH
DEADLINE: 29 MAY 2009

The University of Plymouth is offering a number of full-time PhD studentships (UK Tuition fees and stipend of £13,290).

Candidates interested in the field of computer music and music technology, including composition and performance with new technologies, are welcome to apply.

Please see the following webpage for more details: http://neuromusic.soc.plymouth.ac.uk/jobs.html

The deadline is 29 May 2009

Please do not hesitate to contact us if you would like to discuss your application on an informal basis before you submit it. We would be happy to advise.

Prof Eduardo Miranda (eduardo.miranda AT plymouth.ac.uk).
ICCMR, University of Plymouth

Fully Funded Visiting Research Studentships Available (Open University)

VISITING RESEARCH STUDENTSHIPS
MUSIC COMPUTING LAB, OPEN UNIVERSITY
COMMENCING: 1 MAY 2009

Four fully funded places for three-month Visiting Research Studentships, available immediately at the Music Computing Lab at the Open University.

Up to four fully funded places for three-month Visiting Research Students are immediately available at the Music Computing Lab at the Open University. The projects will be undertaken in collaboration with the Pervasive Interaction Lab. You must be an EU or UK National. Prospective students could be excellent final year undergraduates, Masters students, or PhD students, or could have recently completed any of these awards.

You must be available to start in May 2009. Broadly, we are interested in candidates with experience in HCI, Pervasive Interaction, Music Computing or Haptics.

We welcome recommendations for likely candidates from researchers or teachers from relevant disciplines in university departments. Students or recent students are equally welcome to apply on their own behalf.

Visiting students will work on predefined research projects as summarized below.

The studentships are available to start from 1st May (with a small amount of flexibility). The studentships will run until 31st July, although in an exceptional case a studentship might be extended by a few weeks.

Students will be based at the Open University Campus in Milton Keynes. We will pay for accommodation in Milton Keynes plus living expenses. We can also cover reasonable travel expenses at the start and finish of the studentship.

Project Area 1
Music Computing and Pervasive Interaction: Implementation

1.1 Multi-touch shared tabletop interaction in Music Computing
1.2 Haptics and force feedback in Music Computing
1.3 Expressive, interactive animated graphics for Music Computing tools
1.4 Tangible, embedded, and whole body Music Computing
1.5 New tools for supporting beginning String Players

Project Area 2
Music Computing and Pervasive Interaction: Evaluation
The purpose of this family of projects is to assist in carrying out user studies and other
kinds of evaluation of new tools for music performance, composition and education.

Project Area 3
Exploratory Music programming for the iPhone.

Project Area 4
Collaborative creativity between professional musician(s), and the general public
This project involves assisting in the design, implementation and evaluation of tools to
support collaborative creativity between professional musician(s), and the general public.
This work is likely to involve a Multi-touch shared tabletop interface.

For full details and more information on the projects, contact mcs-computing-secretaries@open.ac.uk. Applications should also be sent to this address. Informal enquiries for projects 1-3 should be sent to s.holland (insert here) open.ac.uk. For details of projects 1 and 2 also contact j.vanderlinden. For project 3, also contact r.w.griffiths. The contact for project 4 is r.c.laney. (All addresses are open.ac.uk.)

Applications should include a CV and covering note that summarizes
• evidence of appropriate knowledge, skills and experience for the specific studentship,
• why you want to undertake this particular studentship,
• why you think you would be a good candidate,
• telephone, email and postal contact details for two referees, at least one of whom must be able to comment on subject discipline specifics.

This is an opportunity to gain experience on practical projects run in collaboration between the Music Computing Lab and the Pervasive Interaction Lab. Each project is intended to lead to a publication with the student as co-author.

Dr. Simon Holland
Director of Music Computing Lab
Department of Computing
Faculty of Mathematics and Computing
The Open University
Milton Keynes
UK
MK7 6AA

Upcoming Research Training Roadshow - Studying Music through Science and Technology (IMR)

RESEARCH TRAINING ROADSHOW: STUDYING MUSIC THROUGH SCIENCE AND TECHNOLOGY
INSTITUTE OF MUSICAL RESEARCH, SCHOOL OF ADVANCED STUDY
11 AND 12 MAY 2009 - 10.30 - 18.00


MONDAY 11 MAY
Research Training Roadshow Studying Music through Science and Technology (Senate House, Room NG16), 10.30 am – 6 pm

In association with Lancaster University, Queen Mary University of London, and Goldsmiths College

Speakers: Alan Marsden (Lancaster), Ian Knopke (Computing, Goldsmiths), and Dan Tidhar (Electrical Engineering, QMUL)

Free of charge. Advance registration required. To register, email music@sas.ac.uk.


TUESDAY 12 MAY
Research Training Roadshow Studying Music through Science and Technology (Lancaster Institute for the Contemporary Arts, Lecture Theatre/Recital Room, Lancaster University)*, 10.30 am – 6 pm

In association with Lancaster University, Queen Mary University of London, and Goldsmiths College

Speakers: Alan Marsden (Lancaster), Ian Knopke (Computing, Goldsmiths), and Dan Tidhar (Electrical Engineering, QMUL)

Free of charge. Advance registration required. To register, email music@sas.ac.uk.

*NB room change: this seminar will take place in Meeting Room 2 of the Institute of Advanced Studies, Lancaster University

ABSTRACT
Modern culture, in music research as in other fields, tends to divide science from art despite a strong strand of scientific music research dating back to the time of Pythagoras. This division is increasingly untenable in the light of the recent growth in 'Empirical Musicology' and developments in new technology. We aim in this study day to show how bridging this divide and applying scientific method and computing technology can help to address typical problems in musicology in general, and analysis in particular. Sessions will include material on Schenker and Palestrina; another focus will be applications of the software arising from the large-scale OMRAS 2 project of Goldsmiths' and Queen Mary Universities of London. Jargon and arcane technicalities will be avoided.

Job Posting: Lecturer (2 posts) - University of Leeds

JOB POSTING
LECTURER (2 POSTS)
SCHOOL OF MUSIC, UNIVERSITY OF LEEDS, UK
CLOSING DATE: 14 April 2009.

The School of Music invites applications for 2 Lecturer posts. Qualified to Doctoral level you will be an outstanding scholar who has research outputs of international significance (or the potential to develop) and be able to make a significant contribution to the research culture of the School and contribute to a lively postgraduate community. With excellent teaching skills, including experience at HE level, and the ability to demonstrate these in an appropriate choice of delivery techniques and assessment methods you will participate in specialist undergraduate and postgraduate teaching and supervision.

Post 1: Lecturer in Music with specialism in Composition (any style)
The successful candidate will contribute to the delivery and coordination of specialist Composition modules and be able to contribute to the degree programme in Popular and World Musics.

Post 2: Lecturer in Music with specialism in Music Technology
The successful candidate will contribute to the delivery and coordination of specialist Music Technology modules and contribute to a broader range of subjects within the School’s portfolio and contribute to both the BA Music and BA Popular and World Musics programmes. Knowledge of the wider musicological, historical, aesthetic, scientific, compositional and/or performative aspects of music technology and computer music would be desirable.

These posts are available from 1 September 2009 or as soon as possible thereafter.

Lecturer 7/8 (£29,704 - £43,622 p.a.) according to qualifications and experience

Informal inquiries about the post may be made to Professor Derek Scott, School of Music, email d.scott at leeds.ac.uk

To download an application form and job details please visit www.leeds.ac.uk and click on jobs. Alternatively these may be obtained from email vpaempl at leeds.ac.uk tel +44 (0)113 343 7003 or +44 (0)113 343 3731.
Closing date: April 14th, 2009.