CFP: Workshop on Machine Learning and Music (Slovenia)

WORKSHOP ON MACHINE LEARNING AND MUSIC

ECML/PKDD-09 EUROPEAN CONFERENCE ON MACHINE LEARNING AND PRINCIPLES AND PRACTICE OF KNOWLEDGE DISCOVERY IN DATABASES

BLED, SLOVENIA

7 - 11 SEPTEMBER 2009

CALL FOR PAPERS

http://www.iua.upf.es/~rramirez/MML09/

This conference is taking place on September 7, 2009, as part of ECML/PKDD-09, European Conference on Machine Learning and Principles and Practice of Knowledge Discovery in Databases

http://www.ecmlpkdd2009.net/

Research on machine learning and music is gaining increasing popularity due to the rapid expansion of music in audio formats, increasing availability of social music tagging data, and the ongoing musicological interest in mining of symbolic music data. As complexity of the problems investigated by researchers on this area increases, there is a need to develop new algorithms and methods to solve these problems. Machine learning has proved to provide efficient solutions to many music-related problems. The goal of MML 2008 is to bring together researchers who are using machine learning in musical applications, providing the opportunity to promote, present and discuss ongoing work in the area. The workshop is planned to last one full day, and will feature paper presentations, panel discussions and open discussions.

We invite contributions describing machine learning approaches to music processing including, but not limited to:

Sound synthesis and analysis

Pattern discovery in music

Computational musicology

Folk song analysis and classification

Music genre classification

Music analysis

Music Information Retrieval

Knowledge Representation and Computational Models

Psychoacoustics and Music Perception

Cognitive Modeling

Adaptive Systems and Music Education

Algorithmic Composition

Interactive Performance Systems

Digital Audio Signal Processing

Submissions:

Papers of 4-6 printed pages must be in English and must be formatted according to the Springer-Verlag Lecture Notes in Artificial Intelligence guidelines. Authors instructions and style files can be found in the workshop webpage. Papers should include author names, affiliations, contact information, and an abstract of 70-120 words. Papers will be reviewed by at least two members of the Workshop Committee. Contributions should be in PDF format and submitted to the workshop email address mml@iua.upf.edu.

Dates:

Submission deadline: June 14, 2009.

Acceptance notification: June 30, 2009.

Final versions due: July 8, 2009.

Workshop: September 7, 2009.

Organizing Committee:

Rafael Ramirez (Universitat Pompeu Fabra, Spain)

Darrell Conklin (City University London, UK)

Christina Anagnostopoulou (University of Athens, Greece)

José Manuel Iñesta (Alicante University, Spain)

MML09 webpage

http://www.iua.upf.edu/~rramirez/MML09

CFP: 2009 Art of Record Production: Producing Recorded Performances: Capture or Design (Glamorgan, Cardiff)

FIFTH ANNUAL ART OF RECORD PRODUCTION CONFERENCE
UNIVERSITY OF GLAMORGAN, CARDIFF, SOUTH WALES
13 - 15 NOVEMBER 2009
CALL FOR PAPERS

Producing Recorded Performances: Capture or Design?
The conference organizers invite submissions for papers on the following themes and any other related topics:

1. Performance and Record Production.
The evolving process of record production has altered performance practice in a variety of ways and across the whole range of musical styles. In turn these new developments have themselves driven the development of new musical styles. This stream will examine these issues and also how changes in the creative decision making process have affected the traditional roles of performer, composer, arranger and producer. Leiber and Stoller are often quoted as having said “we don’t write songs, we write records” and this recording based approach to creativity has many implications for the role of performers. How do performers and producers negotiate this creative balancing act? Indeed, how do all the participants in the production process communicate and interact? The stream invites submissions dealing with all aspects of performance in the recording studio.

2. Capturing Environments, Designing Space.
For many recording professionals the idea of ‘capturing’ the character of a specific space is central to their practice. For others the artificial construction of perceived ambience is equally crucial. The ‘sonic environment’ of recorded music can strongly affect the perceived meaning for a listener but the sound the performer hears during the recording process is also an important factor. This stream seeks to examine both how the artificial design of space has been incorporated into the production and compositional process as well as how techniques
that are specific to the recording of classical, jazz, acoustic, folk and traditional music forms utilise the sound of recorded space. Phrases such as hyper realism and “electronic fakery” illustrate the increased public awareness of the creative impact of technological mediation. We would therefore also like to encourage studies and discussions of related issues such as the aesthetics and psychoacoustics of place and proximity, the perception of technological mediation, authenticity and transparency.

3. Independent Production and Distribution
There is a long history of independent and entrepreneurial producers stretching from pioneers such as Sam Phillips and Joe Meek to contemporary artists such as Linda Perry and Steve Albini. There are also a variety of business models and working practices through which independent record producers and independent forms of distribution can be connected. Record production on the small scale impacts on the final sound in a variety of ways but particular business models and audience preferences in niche markets can also influence creative decisions in the production process. How might the model of ‘pay per listen’ as opposed to the ‘traditional’ product / ownership forms of income stream affect the production of recorded music? There are also perceptions amongst both audiences and artists about the relationship of independence and creativity and independence and credibility. This stream invites submissions relating to any of the above points and also those dealing with emerging business models related to independent and /or small scale production and the way they fit into the wider market place.

4. Five Years On: The Musicology of Record Production
Five years after the ‘Towards a Musicology of Record Production’ stream at the first ARP conference, how has this field of study moved on? At that conference Professor Allan Moore argued “that the major context for production decisions is the other musical decisions which go into the making of a track” and that, as such, a musicology of record production only makes sense as a component in the wider study of music. A growing number of academics are seeking ways in which the study of recording practice can be integrated into the study of music. What difference does it make when that study is in the western art tradition of musicology, ethnomusicology or popular music studies? What are the methodologies and approaches being utilised in this area and how do they fit together? What should a musicology of record production study and why?

We welcome work from any relevant academic perspective, including but not limited to popular music studies, ethnomusicology, the study of performance practice, communication studies, historical musicology, the history of technology, ergonomics, acoustics and psychoacoustics, music theory, music cognition, music and music technology education, and the philosophies of music, mediation and technology. Please include a note on methodology where appropriate.

Papers or demonstrations that require recording / studio / 5.1 playback facilities are also encouraged but selection will be subject to a feasibility study by the hosts at Glamorgan.

Proposals for individual papers and poster presentations should not exceed 500 words and should be in Word Document, Rich Text File or Text file formats (doc, docx, rtf or txt files). Submissions by email to simonzt@artofrecordproduction.com

Papers will be accepted in either English or Welsh.

The deadline for proposals is the Monday 20th April 2009.

CFP: 5th Conference on Interdisciplinary Musicology (Paris)

FIFTH CONFERENCE ON INTERDISCIPLINARY MUSICOLOGY
PARIS, FRANCE
26 - 29 OCTOBER 2009
CALL FOR PAPERS

http://cim09.lam.jussieu.fr

Abstract submission deadline March 27, 2009

• PRESENTATION
The Conference on Interdisciplinary Musicology is a forum for constructive interaction among all musically and musicologically relevant disciplines, including acoustics, aesthetics, anthropology, archeology, art history and theory, biology, composition, computing, cultural studies, education,
ethnology, history, linguistics, literary studies, mathematics, medicine, music theory and analysis, perception, performance, philosophy, physiology, prehistory, psychoacoustics, psychology, semiotics, sociology, statistics, and therapy. CIM especially promotes collaborations between sciences and humanities, between theory and practice, as well as interdisciplinary combinations that are new, unusual, creative, or otherwise especially promising.

• THEME FOR CIM09 MUSIC AND ITS INSTRUMENTS
CIM09 – will focus on relationships between music and the instruments used for its production.
How is the music of a given culture determined or influenced by the nature of its musical instruments? How do instruments influence repertoires? How are instruments that have been developed in the context of given musical styles used in new styles? Conversely, what issues arise when old instruments are revived, or new instruments adapted, for the performance
of early music?

• HOST INSTITUTIONS
Lutheries, Acoustique, Musique (LAM- IJLRA) - CNRS - Université Pierre et Marie Curie
Centre de recherche Langages Musicaux (CRLM) et Musicologie, informatique et nouvelles technologies (MINT) - Université Paris Sorbonne – Paris IV Cité de la Musique (Musée de la Musique) Musée du Quai Branly (Département de la Recherche et de l’Enseignement)
With the collaboration of Société Française d’Acoustique (SFA).

• ABSTRACT SUBMISSION
The abstract submission deadline for CIM09 is March 27, 2009. Submissions must be sent to : morange-cim09 at lam.jussieu.fr
All submissions to CIM09 must have at least two authors who represent two of the following three groups of disciplines: humanities, sciences, musical practice. Submissions must address a musical research question. See website for instructions.