Opportunities
Group Option
Admins
Members
Group Information
Category:
Name:
Opportunities
Created:
Tuesday, 15 September 2009
Creator:
Description
Got an opportunity to share?Employment, academic, competitions, festivals -- all are welcome!
Announcements
No bulletin added yet
Photo Albums
No album created yet.
Wall
11th International Conference on New Interfaces for Musical Expression (NIME 2011)
30 May - 1 June 2011, Oslo, Norway
http://www.nime2011.org
We invite you to be part of the International Conference on New Interfaces for Musical Expression. The core purpose of the NIME conference is to present the latest results in design, development, performance and analysis of/for/with new interfaces/instruments for musical use. In 2011 we will put an extra emphasis on performance aspects related to NIME, something which will also be addressed in a symposium, workshops and master classes in the days leading up to the conference.
We invite for the following types of submissions (see below for details):
- Paper (oral/poster/demo)
- Performance
- Performance Plus Paper
- Installation/exhibition
- Workshop
IMPORTANT DATES
- SID exhibition proposals: 5 November 2010 (22:00 CET)
- Paper/performance/installation/workshop submission: 31 January 2011 (22:00 CET)
- Review notification: 18 March 2011
- Final paper deadline: 26 April 2011
TOPICS
- Novel controllers and interfaces for musical expression
- Novel musical instruments
- Augmented/hyper instruments
- Novel controllers for collaborative performance
- Interfaces for dance and physical expression
- Interactive game music
- Robotic music
- Interactive sound and multimedia installations
- Interactive sonification
- Sensor and actuator technologies
- Haptic and force feedback devices
- Interface protocols and data formats
- Motion, gesture and music
- Perceptual and cognitive issues
- Interactivity design and software tools
- Sonic interaction design
- NIME intersecting with game design
- Musical mapping strategies
- Performance analysis
- Performance rendering and generative algorithms
- Machine learning in performance systems
- Experiences with novel interfaces in live performance and composition
- Surveys of past work and stimulating ideas for future research
- Historical studies in twentieth-century instrument design
- Experiences with novel interfaces in education and entertainment
- Reports on student projects in the framework of NIME related courses
- Artistic, cultural, and social impact of NIME technology
- Biological and bio-inspired systems
- Mobile music technologies
- Musical human-computer interaction
- Multimodal expressive interfaces
- Practice-based research approaches/methodologies/criticism
CALL FOR PAPERS
We welcome submissions on all above mentioned (and other) topics related to development and artistic use of new interfaces for musical expression. There are three different paper submission categories:
- Full paper (up to 6 pages in proceedings, longer oral presentation, optional demo)
- Short paper/poster (up to 4 pages in proceedings, shorter oral presentation or poster, optional demo)
- Demonstration (up to 2 pages in proceedings)
All accepted papers will be published in the conference proceedings.
Paper submission information
http://www.nime2011.org/submission/#papers
CALL FOR PERFORMANCES
We welcome submission of pieces for three different types of performance venues:
- Concert hall performance
- Club performance
- Foyer "stunt" performance
Any type of NIME performance pieces are welcome, but we would particularly like to encourage the use of motion capture techniques in performance. For this we can make available several different types of motion capture systems (Qualisys, XSens, Optitrack, Mega). Network pieces and mobile music pieces are also encouraged. Within reasonable limits, we may be able to provide musicians to perform pieces.
Performance submission information
http://www.nime2011.org/submission/#performances
CALL FOR PERFORMANCE PLUS PAPER
To support more cross-disciplinary work between scientific and artistic research, we highly encourage submission of performance pieces related to papers. Here the scientific presentation may be the basis for the artistic presentation, or vice versa.
Submissions within this category will have to be done for both the piece and the paper, with a clear note that paper and piece belongs together. Evaluation will be done on the combined quality of both submissions.
CALL FOR INSTALLATIONS
In connection with NIME 2011 an exhibition on sonic interaction design will be curated in collaboration with the EU COST IC0601 Action on Sonic Interaction Design (SID). For the exhibition we are looking for works using sonic interaction within arts, music and design as well as examples of sonification for research and artistic purposes. The exhibition will take place at the Norwegian Museum of Science, Technology and Medicine and run for three months over the summer 2011. We also aim to include works in public spaces to be presented at various locations in Oslo (possibly) for a shorter duration in parallel with NIME.
This is a curated exhibition, and there is a possibility for funding and assistance to be provided for selected artists. Note that there is an early deadline for submissions within this category (5 November). Further enquiries concerning the SID exhibition should be addressed to the curators (exhibition@nime2011.org).
In addition to the exhibition, we also call for installations to be presented during the NIME conference only. These may be foyer location installations or room-based installations.
Installation submission information
http://www.nime2011.org/submission/#installations
CALL FOR WORKSHOPS
We call for short (3 hours) or long (6 hours) workshops and tutorials. These can be targeted towards specialist techniques, platforms, hardware, software or pedagogical topics for the advancement of fellow NIME-ers and people with experience related to the topic. They can also be targeted towards visitors to the NIME community, novices/newbies, interested student participants, people from other fields, and members of the public getting to know the potential of NIME.
Tutorial proposers should clearly indicate the audience and assumed knowledge of their intended participants to help us market to the appropriate audience. Workshops and tutorials can relate to, but are not limited to, the topics of the conference. This is a good opportunity to explore a specialized interest or interdisciplinary topic in depth with greater time for discourse, debate, collaboration.
Admission to workshops and tutorials will be charged separately from the main conference. Proposer(s) are responsible for publishing any workshop proceedings (if desired) and should engage in the promotion of their event amongst own networks. Workshops may be cancelled or combined if there is inadequate participation.
Workshop submission information
http://www.nime2011.org/submission/#workshops
If you have any inquiries, please email us at post@nime2011.org.
30 May - 1 June 2011, Oslo, Norway
http://www.nime2011.org
We invite you to be part of the International Conference on New Interfaces for Musical Expression. The core purpose of the NIME conference is to present the latest results in design, development, performance and analysis of/for/with new interfaces/instruments for musical use. In 2011 we will put an extra emphasis on performance aspects related to NIME, something which will also be addressed in a symposium, workshops and master classes in the days leading up to the conference.
We invite for the following types of submissions (see below for details):
- Paper (oral/poster/demo)
- Performance
- Performance Plus Paper
- Installation/exhibition
- Workshop
IMPORTANT DATES
- SID exhibition proposals: 5 November 2010 (22:00 CET)
- Paper/performance/installation/workshop submission: 31 January 2011 (22:00 CET)
- Review notification: 18 March 2011
- Final paper deadline: 26 April 2011
TOPICS
- Novel controllers and interfaces for musical expression
- Novel musical instruments
- Augmented/hyper instruments
- Novel controllers for collaborative performance
- Interfaces for dance and physical expression
- Interactive game music
- Robotic music
- Interactive sound and multimedia installations
- Interactive sonification
- Sensor and actuator technologies
- Haptic and force feedback devices
- Interface protocols and data formats
- Motion, gesture and music
- Perceptual and cognitive issues
- Interactivity design and software tools
- Sonic interaction design
- NIME intersecting with game design
- Musical mapping strategies
- Performance analysis
- Performance rendering and generative algorithms
- Machine learning in performance systems
- Experiences with novel interfaces in live performance and composition
- Surveys of past work and stimulating ideas for future research
- Historical studies in twentieth-century instrument design
- Experiences with novel interfaces in education and entertainment
- Reports on student projects in the framework of NIME related courses
- Artistic, cultural, and social impact of NIME technology
- Biological and bio-inspired systems
- Mobile music technologies
- Musical human-computer interaction
- Multimodal expressive interfaces
- Practice-based research approaches/methodologies/criticism
CALL FOR PAPERS
We welcome submissions on all above mentioned (and other) topics related to development and artistic use of new interfaces for musical expression. There are three different paper submission categories:
- Full paper (up to 6 pages in proceedings, longer oral presentation, optional demo)
- Short paper/poster (up to 4 pages in proceedings, shorter oral presentation or poster, optional demo)
- Demonstration (up to 2 pages in proceedings)
All accepted papers will be published in the conference proceedings.
Paper submission information
http://www.nime2011.org/submission/#papers
CALL FOR PERFORMANCES
We welcome submission of pieces for three different types of performance venues:
- Concert hall performance
- Club performance
- Foyer "stunt" performance
Any type of NIME performance pieces are welcome, but we would particularly like to encourage the use of motion capture techniques in performance. For this we can make available several different types of motion capture systems (Qualisys, XSens, Optitrack, Mega). Network pieces and mobile music pieces are also encouraged. Within reasonable limits, we may be able to provide musicians to perform pieces.
Performance submission information
http://www.nime2011.org/submission/#performances
CALL FOR PERFORMANCE PLUS PAPER
To support more cross-disciplinary work between scientific and artistic research, we highly encourage submission of performance pieces related to papers. Here the scientific presentation may be the basis for the artistic presentation, or vice versa.
Submissions within this category will have to be done for both the piece and the paper, with a clear note that paper and piece belongs together. Evaluation will be done on the combined quality of both submissions.
CALL FOR INSTALLATIONS
In connection with NIME 2011 an exhibition on sonic interaction design will be curated in collaboration with the EU COST IC0601 Action on Sonic Interaction Design (SID). For the exhibition we are looking for works using sonic interaction within arts, music and design as well as examples of sonification for research and artistic purposes. The exhibition will take place at the Norwegian Museum of Science, Technology and Medicine and run for three months over the summer 2011. We also aim to include works in public spaces to be presented at various locations in Oslo (possibly) for a shorter duration in parallel with NIME.
This is a curated exhibition, and there is a possibility for funding and assistance to be provided for selected artists. Note that there is an early deadline for submissions within this category (5 November). Further enquiries concerning the SID exhibition should be addressed to the curators (exhibition@nime2011.org).
In addition to the exhibition, we also call for installations to be presented during the NIME conference only. These may be foyer location installations or room-based installations.
Installation submission information
http://www.nime2011.org/submission/#installations
CALL FOR WORKSHOPS
We call for short (3 hours) or long (6 hours) workshops and tutorials. These can be targeted towards specialist techniques, platforms, hardware, software or pedagogical topics for the advancement of fellow NIME-ers and people with experience related to the topic. They can also be targeted towards visitors to the NIME community, novices/newbies, interested student participants, people from other fields, and members of the public getting to know the potential of NIME.
Tutorial proposers should clearly indicate the audience and assumed knowledge of their intended participants to help us market to the appropriate audience. Workshops and tutorials can relate to, but are not limited to, the topics of the conference. This is a good opportunity to explore a specialized interest or interdisciplinary topic in depth with greater time for discourse, debate, collaboration.
Admission to workshops and tutorials will be charged separately from the main conference. Proposer(s) are responsible for publishing any workshop proceedings (if desired) and should engage in the promotion of their event amongst own networks. Workshops may be cancelled or combined if there is inadequate participation.
Workshop submission information
http://www.nime2011.org/submission/#workshops
If you have any inquiries, please email us at post@nime2011.org.
Thursday, 09 September 2010 09:44
Carleton College invites applications for a tenure-track position at the Assistant Professor level in musicology with an emphasis in American music to begin September 1, 2011. We seek a musicologist who is a dynamic classroom teacher with a breadth of experience in and continuing commitment to the study of a wide variety of music in a liberal arts setting. The successful candidate will continue, expand and enrich our course offerings in popular music in areas such as, but not restricted to, jazz, rock, pop, and hip hop as well as more traditional areas of music history. Depending on the successful candidate’s areas of expertise, the position could possibly, but not necessarily, include applied teaching such as ensemble direction and/or private lessons. We seek candidates committed to teaching, mentoring, and advising a diverse student body. PhD or its imminent completion is required.
Application Documents :
To apply please send the following in PDF format to musicsearch@carleton.edu by December 1, 2010: a letter of application, a CV, statements describing your teaching philosophy and your research, three confidential reference letters, graduate transcripts, and a writing sample. No supplementary materials until requested.
About Carleton:
Carleton is a small, highly selective liberal arts college of 1,950 students located 45 miles south of the Twin Cities of Minneapolis and St. Paul. The Department of Music includes nine full-time and over thirty part-time faculty members with specialties in ethnomusicology, performance, theory, and musicology. Over 800 students participate in musical activities during each term of the academic year. The Department offers the BA with a major in music. Carleton College is committed to developing our faculty to better reflect the diversity of our student body and American society. Minority candidates and women are particularly encouraged to apply.
Application Documents :
To apply please send the following in PDF format to musicsearch@carleton.edu by December 1, 2010: a letter of application, a CV, statements describing your teaching philosophy and your research, three confidential reference letters, graduate transcripts, and a writing sample. No supplementary materials until requested.
About Carleton:
Carleton is a small, highly selective liberal arts college of 1,950 students located 45 miles south of the Twin Cities of Minneapolis and St. Paul. The Department of Music includes nine full-time and over thirty part-time faculty members with specialties in ethnomusicology, performance, theory, and musicology. Over 800 students participate in musical activities during each term of the academic year. The Department offers the BA with a major in music. Carleton College is committed to developing our faculty to better reflect the diversity of our student body and American society. Minority candidates and women are particularly encouraged to apply.
Wednesday, 08 September 2010 13:12
Postdoc in Real-Time Music Source Separation
The METISS team at INRIA Rennes, France, is offering a postdoc position in real-time music source separation in the context of a project with Audionamix, the leading company in source separation (see details below). Applications including a full resume, a letter of motivation and up to three reference letters must be sent by email to the principal investigator before October 1, 2010. Phone interviews of selected candidates will be held during the first week of October.
TITLE: Real-time music source separation
DURATION: 2.5 years
RECRUITMENT DATE: as soon as possible and no later than January 1, 2011
SALARY: according to experience
PRINCIPAL INVESTIGATOR: Emmanuel Vincent (emmanuel.vincent@inria.fr)
CO-PRINCIPAL INVESTIGATOR: Rémi Gribonval (remi.gribonval@inria.fr)
DESCRIPTION OF THE PROJECT:
As a consequence of the ubiquity of 3D audio devices, music professionals and listeners are expecting increasingly advanced stereo-to-3D playback systems. While current systems rely on simple spatial filtering algorithms, real-time access to individual sound sources is necessary for improved spatialization and interaction. Today's audio source separation algorithms cannot be used in this context since they typically operate offline by learning source models over the full signal duration.
This postdoctoral project aims to design real-time music source separation algorithms. This work will be based on the state-of-the-art "variance modeling" paradigm [1] making it possible to combine alternative source models such as GMM and NMF currently at the core of industrial source separation systems. Three challenges will be investigated in particular:
- determining the best combination of models for the extraction of a target class of sources given computation and parallelization constraints,
- proposing a general procedure for robust online learning of the model parameters from small amounts of data,
- estimating advanced spatial parameters in addition to the source directions of arrival, e.g. their distance to the microphones or the room reverberation time, and exploiting them for dereverberation
Promising research tracks can be found in the literature about online GMM or NMF learning [2,3] and variance-based reverberation modeling [4].
[1] A. Ozerov, E. Vincent and F. Bimbot, "A general modular framework for audio source separation", in Proc. 9th Int. Conf. on Latent Variable Analysis and Signal Separation (LVA/ICA), 2010.
[2] Y. Zhang and M.S. Scordilis, "Effective online unsupervised adaptation of Gaussian mixture models and its application to speech classification", Pattern Recognition Letters 29(6), 2008.
[3] B. Cao, D. Shen, J.-T. Sun, X. Wang, Q. Yang and Z. Chen, "Latent factor detection and tracking with online non negative matrix factorization", in Proc. International Joint Conferences on Artificial Intelligence (IJCAI), 2007.
[4] N.Q.K. Duong, E. Vincent and R. Gribonval, "Under-determined reverberant audio source separation using a full-rank spatial covariance model", IEEE Transactions on Audio, Speech and Language Processing 18(7), 2010.
WORK ENVIRONMENT:
INRIA, the French National Institute for Research in Computer Science and Control plays a leading role in the development of Information Science and Technology (IST) in Europe. The METISS team at INRIA Rennes gathers a staff of 20 people focusing on audio signal processing research.
This position is part of the i3DMusic project supported by EUREKA aiming to interactively respatialize mono or stereo music content in real time. It will involve regular exchanges and collaboration with the project coordinator Audionamix (http://www.audionamix.com/) in Paris and the other partners Sonic Emotion (http://www.sonicemotion.com/) and EPFL in Switzerland.
CANDIDATE PROFILE:
Prospective candidates must hold or be about to defend a PhD in audio signal processing. Proficient coding in Matlab or C++ is necessary. Additional knowledge about musical audio, 3D audio rendering or parallel computing would be an asset.
The METISS team at INRIA Rennes, France, is offering a postdoc position in real-time music source separation in the context of a project with Audionamix, the leading company in source separation (see details below). Applications including a full resume, a letter of motivation and up to three reference letters must be sent by email to the principal investigator before October 1, 2010. Phone interviews of selected candidates will be held during the first week of October.
TITLE: Real-time music source separation
DURATION: 2.5 years
RECRUITMENT DATE: as soon as possible and no later than January 1, 2011
SALARY: according to experience
PRINCIPAL INVESTIGATOR: Emmanuel Vincent (emmanuel.vincent@inria.fr)
CO-PRINCIPAL INVESTIGATOR: Rémi Gribonval (remi.gribonval@inria.fr)
DESCRIPTION OF THE PROJECT:
As a consequence of the ubiquity of 3D audio devices, music professionals and listeners are expecting increasingly advanced stereo-to-3D playback systems. While current systems rely on simple spatial filtering algorithms, real-time access to individual sound sources is necessary for improved spatialization and interaction. Today's audio source separation algorithms cannot be used in this context since they typically operate offline by learning source models over the full signal duration.
This postdoctoral project aims to design real-time music source separation algorithms. This work will be based on the state-of-the-art "variance modeling" paradigm [1] making it possible to combine alternative source models such as GMM and NMF currently at the core of industrial source separation systems. Three challenges will be investigated in particular:
- determining the best combination of models for the extraction of a target class of sources given computation and parallelization constraints,
- proposing a general procedure for robust online learning of the model parameters from small amounts of data,
- estimating advanced spatial parameters in addition to the source directions of arrival, e.g. their distance to the microphones or the room reverberation time, and exploiting them for dereverberation
Promising research tracks can be found in the literature about online GMM or NMF learning [2,3] and variance-based reverberation modeling [4].
[1] A. Ozerov, E. Vincent and F. Bimbot, "A general modular framework for audio source separation", in Proc. 9th Int. Conf. on Latent Variable Analysis and Signal Separation (LVA/ICA), 2010.
[2] Y. Zhang and M.S. Scordilis, "Effective online unsupervised adaptation of Gaussian mixture models and its application to speech classification", Pattern Recognition Letters 29(6), 2008.
[3] B. Cao, D. Shen, J.-T. Sun, X. Wang, Q. Yang and Z. Chen, "Latent factor detection and tracking with online non negative matrix factorization", in Proc. International Joint Conferences on Artificial Intelligence (IJCAI), 2007.
[4] N.Q.K. Duong, E. Vincent and R. Gribonval, "Under-determined reverberant audio source separation using a full-rank spatial covariance model", IEEE Transactions on Audio, Speech and Language Processing 18(7), 2010.
WORK ENVIRONMENT:
INRIA, the French National Institute for Research in Computer Science and Control plays a leading role in the development of Information Science and Technology (IST) in Europe. The METISS team at INRIA Rennes gathers a staff of 20 people focusing on audio signal processing research.
This position is part of the i3DMusic project supported by EUREKA aiming to interactively respatialize mono or stereo music content in real time. It will involve regular exchanges and collaboration with the project coordinator Audionamix (http://www.audionamix.com/) in Paris and the other partners Sonic Emotion (http://www.sonicemotion.com/) and EPFL in Switzerland.
CANDIDATE PROFILE:
Prospective candidates must hold or be about to defend a PhD in audio signal processing. Proficient coding in Matlab or C++ is necessary. Additional knowledge about musical audio, 3D audio rendering or parallel computing would be an asset.
Tuesday, 07 September 2010 10:25
Mannes College’s First Graduate Student Theory Conference
Sunday, January 16, 2011
Mannes College is delighted to host its first Graduate Student Theory conference on Sunday, January 16, 2011 at Mannes College in New York City, with a focus on Schenkerian Analysis.
Eligibility and Call for Papers
Current students in Master’s or Doctoral programs in music are invited to submit proposals for papers on topics reflecting Schenkerian-related approaches to the analysis of tonal music. (Submissions from advanced undergraduates may also be considered.)
Proposals should include:
1. A description of the presentation no longer than 500 words. If musical examples are part of the proposal, they should be no longer than 2 pages in length. The author’s name should not appear in the description or the musical examples.
2. An abstract of no more than 250 words, suitable for printing in the meeting program.
3. A cover email with the author’s name, the title of the proposal, the author’s school affiliation and current program of study, and whether the author wishes 20 or 30 minutes to present her/his paper.
4. If the author requires equipment other than a piano and playback equipment, please include that information in the cover email.
The proposal should be emailed to Robert Cuckson, Chair at cucksonr@newschool.edu no later than November 15, 2010. The proposals will be read by members of the Mannes Techniques of Music faculty.
At the beginning of December, Mannes will inform all those who submit proposals whether their proposal has been accepted.
The Program on January 16
There will be two sessions of paper readings, one in the morning and one in the afternoon, with time for discussion following each paper or group of papers. The program will feature a keynote presentation by Eric Wen, and a reception. Eric Wen is the Edward Aldwell Professor of the Techniques of Music at Mannes.
Logistics
There will be no registration fee, but all attendees must register in advance. Housing will not be provided, but efforts will be made to supply suitable housing advice. Participants should arrive at Mannes by 9 AM on January 16. Mannes will provide a continental breakfast and a buffet lunch.
Location
Mannes College The New School for Music, 150 W. 85th St, NY NY 10024
Contact
If you have any questions, please email Ruka Shironishi at shirr999@newschool.edu.
Sunday, January 16, 2011
Mannes College is delighted to host its first Graduate Student Theory conference on Sunday, January 16, 2011 at Mannes College in New York City, with a focus on Schenkerian Analysis.
Eligibility and Call for Papers
Current students in Master’s or Doctoral programs in music are invited to submit proposals for papers on topics reflecting Schenkerian-related approaches to the analysis of tonal music. (Submissions from advanced undergraduates may also be considered.)
Proposals should include:
1. A description of the presentation no longer than 500 words. If musical examples are part of the proposal, they should be no longer than 2 pages in length. The author’s name should not appear in the description or the musical examples.
2. An abstract of no more than 250 words, suitable for printing in the meeting program.
3. A cover email with the author’s name, the title of the proposal, the author’s school affiliation and current program of study, and whether the author wishes 20 or 30 minutes to present her/his paper.
4. If the author requires equipment other than a piano and playback equipment, please include that information in the cover email.
The proposal should be emailed to Robert Cuckson, Chair at cucksonr@newschool.edu no later than November 15, 2010. The proposals will be read by members of the Mannes Techniques of Music faculty.
At the beginning of December, Mannes will inform all those who submit proposals whether their proposal has been accepted.
The Program on January 16
There will be two sessions of paper readings, one in the morning and one in the afternoon, with time for discussion following each paper or group of papers. The program will feature a keynote presentation by Eric Wen, and a reception. Eric Wen is the Edward Aldwell Professor of the Techniques of Music at Mannes.
Logistics
There will be no registration fee, but all attendees must register in advance. Housing will not be provided, but efforts will be made to supply suitable housing advice. Participants should arrive at Mannes by 9 AM on January 16. Mannes will provide a continental breakfast and a buffet lunch.
Location
Mannes College The New School for Music, 150 W. 85th St, NY NY 10024
Contact
If you have any questions, please email Ruka Shironishi at shirr999@newschool.edu.
Tuesday, 07 September 2010 08:26
Postdoctoral Position at the Music Dynamics Laboratory
A postdoctoral position is now available in the Music Dynamics Laboratory at Florida Atlantic University. Research at MDL focuses on auditory cognitive neuroscience and music cognition, with an emphasis on theoretical modeling of neural and psychological processes. This NSF-funded position involves the development of neurodynamic models of tonal cognition in music. Individuals with experience in music psychology, music theory, auditory neuroscience, signal processing, music technology, neural networks, dynamical systems or related areas are encouraged to apply.
An initial appointment will be made for two years with a possibility of extension based on the availability of funding. Salary will be determined according to NIH scale.
Please send a copy of your vita and a cover letter emphasizing relevant experience and training to large@ccs.fau.edu. Include the names and contact information of three individuals who can serve as references, and indicate when you would be available to start. Funding for the position will begin in January, 2011.
Additional information about the Music Dynamics Laboratory can be found at http:www.ccs.fau.edu/~large.
A postdoctoral position is now available in the Music Dynamics Laboratory at Florida Atlantic University. Research at MDL focuses on auditory cognitive neuroscience and music cognition, with an emphasis on theoretical modeling of neural and psychological processes. This NSF-funded position involves the development of neurodynamic models of tonal cognition in music. Individuals with experience in music psychology, music theory, auditory neuroscience, signal processing, music technology, neural networks, dynamical systems or related areas are encouraged to apply.
An initial appointment will be made for two years with a possibility of extension based on the availability of funding. Salary will be determined according to NIH scale.
Please send a copy of your vita and a cover letter emphasizing relevant experience and training to large@ccs.fau.edu. Include the names and contact information of three individuals who can serve as references, and indicate when you would be available to start. Funding for the position will begin in January, 2011.
Additional information about the Music Dynamics Laboratory can be found at http:www.ccs.fau.edu/~large.
Friday, 03 September 2010 16:03
Finale® National Composition Contest
In partnership with MakeMusic, Inc. and the Grammy-winning ensemble eighth blackbird, the American Composers Forum announces the Finale® National Composition Contest.
The objective of this competition is to encourage creativity by composers throughout the United States and to recognize and reward their accomplishments.
The focus of the competition will be chamber music. Three composers from the total applicant pool will be chosen as finalists. They will receive a cash prize and be asked to write a piece for eighth blackbird, which will be workshopped and performed in the ensemble’s Chicago studio. One of the pieces will be chosen to receive the final prize, which includes an additional cash award and a future public performance by eighth blackbird.
COMPETITION DETAILS and SCHEDULE:
Entries must be postmarked on or before September 15, 2010.
The names of the three finalists will be announced by December 31, 2010.
Each of the finalists will write a piece 8 to 10 minutes in length, scored for the instrumentation unique to the six members of eighth blackbird: flute(s), clarinet(s), violin/viola, cello, percussion, and piano
The piece must be acoustic-only and must utilize the full ensemble (i.e., no trios, quartets, etc.). It will be due on or before June 15, 2011
Scores and parts created in Finale® music notation software are encouraged, but pieces using other software programs are acceptable.
The eighth blackbird workshop and public studio performance (which will be recorded for archival purposes) will take place in Chicago, Illinois, in late August/early September 2011, during which the winning selection will be made. NOTE: Participation in the workshop/ performance is mandatory for the three finalists.
AWARDS:
Each of the three finalists will receive an award of $1,000 plus an additional $500 to help defray expenses associated with attending the workshop and studio performance.
The composer of the winning piece will receive an additional $2,000 and the piece will be premiered by eighth blackbird.
For complete guidelines and application information, click here.
In partnership with MakeMusic, Inc. and the Grammy-winning ensemble eighth blackbird, the American Composers Forum announces the Finale® National Composition Contest.
The objective of this competition is to encourage creativity by composers throughout the United States and to recognize and reward their accomplishments.
The focus of the competition will be chamber music. Three composers from the total applicant pool will be chosen as finalists. They will receive a cash prize and be asked to write a piece for eighth blackbird, which will be workshopped and performed in the ensemble’s Chicago studio. One of the pieces will be chosen to receive the final prize, which includes an additional cash award and a future public performance by eighth blackbird.
COMPETITION DETAILS and SCHEDULE:
Entries must be postmarked on or before September 15, 2010.
The names of the three finalists will be announced by December 31, 2010.
Each of the finalists will write a piece 8 to 10 minutes in length, scored for the instrumentation unique to the six members of eighth blackbird: flute(s), clarinet(s), violin/viola, cello, percussion, and piano
The piece must be acoustic-only and must utilize the full ensemble (i.e., no trios, quartets, etc.). It will be due on or before June 15, 2011
Scores and parts created in Finale® music notation software are encouraged, but pieces using other software programs are acceptable.
The eighth blackbird workshop and public studio performance (which will be recorded for archival purposes) will take place in Chicago, Illinois, in late August/early September 2011, during which the winning selection will be made. NOTE: Participation in the workshop/ performance is mandatory for the three finalists.
AWARDS:
Each of the three finalists will receive an award of $1,000 plus an additional $500 to help defray expenses associated with attending the workshop and studio performance.
The composer of the winning piece will receive an additional $2,000 and the piece will be premiered by eighth blackbird.
For complete guidelines and application information, click here.
Wednesday, 01 September 2010 15:32
ANNOUNCEMENT OF FACULTY TENURE-TRACK POSITION
IN MUSIC THEORY - SEPTEMBER, 2011
RESPONSIBILITIES: Teach first-year and second-year music theory and aural skills, and upper-level theory electives. Contribute to the coordination and advancement of the core theory curriculum.
QUALIFICATIONS: Demonstrated excellence in both theory and aural skills instruction. Record of, or potential for, significant scholarly contributions in the field of music theory. Appropriate terminal degree.
RANK AND SALARY: Tenure-track. Rank and salary dependent upon qualifications and experience.
APPLICATIONS: Curriculum vitae, academic transcripts, and three letters of recommendation should be mailed to the address given below. A sample of recent scholarly writing (no more than two articles or book chapters) should be submitted electronically to: search_musictheory@lawrence.edu. Please note: only the sample of scholarly writing is to be submitted electronically; all other application materials should be sent via regular mail.
CONSERVATORY OF MUSIC: Serving more than 350 music majors, the Lawrence University Conservatory of Music, founded in 1874, is a purely undergraduate program offering preparation for professional careers in music within the intellectual environment of a liberal arts college.
Consideration of candidates will begin on November 15, 2010 and will continue until the position is filled. Applications and nominations should be directed to:
Chair, Music Theory Search Committee
Conservatory of Music
Lawrence University
711 East Boldt Way
Appleton, WI 54911
Telephone: (920) 832-6614
AA/EEO employer.
IN MUSIC THEORY - SEPTEMBER, 2011
RESPONSIBILITIES: Teach first-year and second-year music theory and aural skills, and upper-level theory electives. Contribute to the coordination and advancement of the core theory curriculum.
QUALIFICATIONS: Demonstrated excellence in both theory and aural skills instruction. Record of, or potential for, significant scholarly contributions in the field of music theory. Appropriate terminal degree.
RANK AND SALARY: Tenure-track. Rank and salary dependent upon qualifications and experience.
APPLICATIONS: Curriculum vitae, academic transcripts, and three letters of recommendation should be mailed to the address given below. A sample of recent scholarly writing (no more than two articles or book chapters) should be submitted electronically to: search_musictheory@lawrence.edu. Please note: only the sample of scholarly writing is to be submitted electronically; all other application materials should be sent via regular mail.
CONSERVATORY OF MUSIC: Serving more than 350 music majors, the Lawrence University Conservatory of Music, founded in 1874, is a purely undergraduate program offering preparation for professional careers in music within the intellectual environment of a liberal arts college.
Consideration of candidates will begin on November 15, 2010 and will continue until the position is filled. Applications and nominations should be directed to:
Chair, Music Theory Search Committee
Conservatory of Music
Lawrence University
711 East Boldt Way
Appleton, WI 54911
Telephone: (920) 832-6614
AA/EEO employer.
Monday, 30 August 2010 10:36
Mannes College’s First Graduate Student Theory Conference
Sunday, January 16, 2011
Mannes College is delighted to host its first Graduate Student Theory conference on Sunday, January 16, 2011 at Mannes College in New York City, with a focus on Schenkerian Analysis.
Eligibility and Call for Papers
Current students in Master’s or Doctoral programs in music are invited to submit proposals for papers on topics reflecting Schenkerian-related approaches to the analysis of tonal music. (Submissions from advanced undergraduates may also be considered.)
Proposals should include:
1. A description of the presentation no longer than 500 words. If musical examples are part of the proposal, they should be no longer than 2 pages in length. The author’s name should not appear in the description or the musical examples.
2. An abstract of no more than 250 words, suitable for printing in the meeting program.
3. A cover email with the author’s name, the title of the proposal, the author’s school affiliation and current program of study, and whether the author wishes 20 or 30 minutes to present her/his paper.
4. If the author requires equipment other than a piano and playback equipment, please include that information in the cover email.
The proposal should be emailed to Robert Cuckson, Chair at cucksonr@newschool.edu no later than November 15, 2010. The proposals will be read by members of the Mannes Techniques of Music faculty.
At the beginning of December, Mannes will inform all those who submit proposals whether their proposal has been accepted.
The Program on January 16
There will be two sessions of paper readings, one in the morning and one in the afternoon, with time for discussion following each paper or group of papers. The program will feature a keynote presentation by Eric Wen, and a reception. Eric Wen is the Edward Aldwell Professor of the Techniques of Music at Mannes.
Logistics
There will be no registration fee, but all attendees must register in advance. Housing will not be provided, but efforts will be made to supply suitable housing advice.
Participants should arrive at Mannes by 9 AM on January 16. Mannes will provide a continental breakfast and a buffet lunch.
Location
Mannes College The New School for Music, 150 W. 85th St, NY NY 10024
Contact
If you have any questions, please email Ruka Shironishi at shirr999@newschool.edu.
Sunday, January 16, 2011
Mannes College is delighted to host its first Graduate Student Theory conference on Sunday, January 16, 2011 at Mannes College in New York City, with a focus on Schenkerian Analysis.
Eligibility and Call for Papers
Current students in Master’s or Doctoral programs in music are invited to submit proposals for papers on topics reflecting Schenkerian-related approaches to the analysis of tonal music. (Submissions from advanced undergraduates may also be considered.)
Proposals should include:
1. A description of the presentation no longer than 500 words. If musical examples are part of the proposal, they should be no longer than 2 pages in length. The author’s name should not appear in the description or the musical examples.
2. An abstract of no more than 250 words, suitable for printing in the meeting program.
3. A cover email with the author’s name, the title of the proposal, the author’s school affiliation and current program of study, and whether the author wishes 20 or 30 minutes to present her/his paper.
4. If the author requires equipment other than a piano and playback equipment, please include that information in the cover email.
The proposal should be emailed to Robert Cuckson, Chair at cucksonr@newschool.edu no later than November 15, 2010. The proposals will be read by members of the Mannes Techniques of Music faculty.
At the beginning of December, Mannes will inform all those who submit proposals whether their proposal has been accepted.
The Program on January 16
There will be two sessions of paper readings, one in the morning and one in the afternoon, with time for discussion following each paper or group of papers. The program will feature a keynote presentation by Eric Wen, and a reception. Eric Wen is the Edward Aldwell Professor of the Techniques of Music at Mannes.
Logistics
There will be no registration fee, but all attendees must register in advance. Housing will not be provided, but efforts will be made to supply suitable housing advice.
Participants should arrive at Mannes by 9 AM on January 16. Mannes will provide a continental breakfast and a buffet lunch.
Location
Mannes College The New School for Music, 150 W. 85th St, NY NY 10024
Contact
If you have any questions, please email Ruka Shironishi at shirr999@newschool.edu.
Friday, 27 August 2010 10:24
New Perspectives on Musical Form
Society for Music Analysis International Symposium
The Music School, Palace Green, Durham University Friday 24th September 2010, 10.00 - 18.00
The Society for Music Analysis warmly invites you to a one-day symposium, bringing together international scholars from different analytical disciplines:
Pieter Bergé (Leuven): 'Schoenberg and Formenlehre'
William Caplin (McGill): 'The "Continuous Exposition" and the Concept of Subordinate Theme'
William Drabkin (Southampton): 'Applied Formal Analysis: Composing a First Movement for Haydn's Opus 103'
Julian Horton (Dublin): 'Criteria for a Theory of Nineteenth-Century Sonata Form'
Max Paddison (Durham): 'Formenlehre and Musique informelle'
Michael Spitzer (Liverpool): 'Analysing Musical Emotion: Forms of Fear in Schubert'
Richard Widdess (SOAS): 'Musical Structure and Cultural Models: Dancing for the Dead in Bhaktapur, Nepal'
Attendance is free for SMA members. The fee for non-members is £20 / £10 (students), which includes a year's membership to the SMA. A limited number of bursaries (of up to £100) for travel and accommodation expenses are available for existing student members of the SMA - further information on the application process may be found at http://www.lancs.ac.uk/sma/travel.htm.
For further details of the Symposium, see www.dur.ac.uk/analysis.school/programme.html or contact Michael Spitzer: michael.spitzer@liverpool.ac.uk
Society for Music Analysis International Symposium
The Music School, Palace Green, Durham University Friday 24th September 2010, 10.00 - 18.00
The Society for Music Analysis warmly invites you to a one-day symposium, bringing together international scholars from different analytical disciplines:
Pieter Bergé (Leuven): 'Schoenberg and Formenlehre'
William Caplin (McGill): 'The "Continuous Exposition" and the Concept of Subordinate Theme'
William Drabkin (Southampton): 'Applied Formal Analysis: Composing a First Movement for Haydn's Opus 103'
Julian Horton (Dublin): 'Criteria for a Theory of Nineteenth-Century Sonata Form'
Max Paddison (Durham): 'Formenlehre and Musique informelle'
Michael Spitzer (Liverpool): 'Analysing Musical Emotion: Forms of Fear in Schubert'
Richard Widdess (SOAS): 'Musical Structure and Cultural Models: Dancing for the Dead in Bhaktapur, Nepal'
Attendance is free for SMA members. The fee for non-members is £20 / £10 (students), which includes a year's membership to the SMA. A limited number of bursaries (of up to £100) for travel and accommodation expenses are available for existing student members of the SMA - further information on the application process may be found at http://www.lancs.ac.uk/sma/travel.htm.
For further details of the Symposium, see www.dur.ac.uk/analysis.school/programme.html or contact Michael Spitzer: michael.spitzer@liverpool.ac.uk
Tuesday, 24 August 2010 09:22
Seventh International Conference on Music Since 1900 / Lancaster University Music Analysis Conference (LancMAC)
Lancaster Institute for the Contemporary Arts, Lancaster University
28-31 July 2011
Call for Papers
Deadline: 3 December 2010
The Seventh Biennial International Conference on Music Since 1900 and the international conference of the Society for Music Analysis will take place at the Lancaster Institute for the Contemporary Arts from Thursday 28 July to Sunday 31 July 2011.
The theme of the Biennial Conference is music since 1900, conceived in the broadest possible terms. Proposals for papers may be submitted on any topic relating to 20th- and 21st-century musics (of any genre), drawing on scholarly approaches from any relevant intellectual discipline.
The Music Analysis Conference welcomes papers on any aspect of theory and analysis relating to music of any genre and historical period.
Editorial representatives from Music Analysis and twentieth-century music will be keen to discuss the possibility of developing conference papers into articles for their respective journals.
In addition to open sessions, the Programme Committee warmly invites proposals for papers to be read at the sessions devoted to the following themes:
§ computing and contemporary musicology
§ curating the new
§ electroacoustic music and intermedia
§ film music
§ the future of the digital economy
§ the impact of technology on music
§ jazz
§ new historiographies
§ phenomenology
§ popular music
§ temporalities
§ timbre
Proposals in the following categories will be considered:
§ Papers (20 minutes maximum, with 10 minutes for discussion)
§ Paper sessions (three or four papers, each of 20 minutes maximum, with 10 minutes for discussion)
§ Roundtable discussions (up to 6 participants, each giving a short position paper, followed by a general discussion)
§ Recitals, lecture-recitals and lectures illustrated by sound diffusions or audio-visual screenings
Proposal Instructions / Guidelines:
Abstracts and proposals should be prepared as follows:
- For individual papers: up to 250 words
- For paper sessions: 250-word (maximum) summary and up to 250 words for each session participant
- For roundtable discussions: 250-word (maximum) and up to 150 words for each panel participant
- For recitals, lecture-recitals and lectures illustrated by sound diffusions or audio-visual screenings: 250 word (maximum) summary, plus participant CVs and recordings / scores / other details of works to be included in the event
Further information for applicants:
- Only one proposal of each type is permitted per applicant
- Proposals should not substantially duplicate presentations being given at conferences or other events proximate in time or place to ICMSN 2011 / LancMAC
- All proposals must be sent by email as a MS Word attachment to msnmac2011@lancaster.ac.uk
Programme Committee: Dr Paul Archbold, Dr Arved Ashby, Prof. Rachel Cowgill, Prof. William Drabkin, Dr Nicholas Gebhardt, Prof. Adam Krims, Dr Alan Marsden, Prof. Deborah Mawer, Prof. Peter Nelson, Dr Nicholas Reyland, Prof. Michael Spitzer, Dr Edward Venn (Chair), Dr Charles Wilson
DEADLINE FOR PROPOSAL SUBMISSION: 3 DECEMBER 2010
Successful applicants will be informed by 17 January 2011
Please e-mail proposals and enquiries to Dr Edward Venn: msnmac2011@lancaster.ac.uk
CONFERENCE BOOKING OPEN IN JANUARY 2011
Visit http://www.lancs.ac.uk/sma/msnmac for updates
Contact: Dr Edward Venn: msnmac2011@lancaster.ac.uk
Lancaster Institute for the Contemporary Arts, Lancaster University
28-31 July 2011
Call for Papers
Deadline: 3 December 2010
The Seventh Biennial International Conference on Music Since 1900 and the international conference of the Society for Music Analysis will take place at the Lancaster Institute for the Contemporary Arts from Thursday 28 July to Sunday 31 July 2011.
The theme of the Biennial Conference is music since 1900, conceived in the broadest possible terms. Proposals for papers may be submitted on any topic relating to 20th- and 21st-century musics (of any genre), drawing on scholarly approaches from any relevant intellectual discipline.
The Music Analysis Conference welcomes papers on any aspect of theory and analysis relating to music of any genre and historical period.
Editorial representatives from Music Analysis and twentieth-century music will be keen to discuss the possibility of developing conference papers into articles for their respective journals.
In addition to open sessions, the Programme Committee warmly invites proposals for papers to be read at the sessions devoted to the following themes:
§ computing and contemporary musicology
§ curating the new
§ electroacoustic music and intermedia
§ film music
§ the future of the digital economy
§ the impact of technology on music
§ jazz
§ new historiographies
§ phenomenology
§ popular music
§ temporalities
§ timbre
Proposals in the following categories will be considered:
§ Papers (20 minutes maximum, with 10 minutes for discussion)
§ Paper sessions (three or four papers, each of 20 minutes maximum, with 10 minutes for discussion)
§ Roundtable discussions (up to 6 participants, each giving a short position paper, followed by a general discussion)
§ Recitals, lecture-recitals and lectures illustrated by sound diffusions or audio-visual screenings
Proposal Instructions / Guidelines:
Abstracts and proposals should be prepared as follows:
- For individual papers: up to 250 words
- For paper sessions: 250-word (maximum) summary and up to 250 words for each session participant
- For roundtable discussions: 250-word (maximum) and up to 150 words for each panel participant
- For recitals, lecture-recitals and lectures illustrated by sound diffusions or audio-visual screenings: 250 word (maximum) summary, plus participant CVs and recordings / scores / other details of works to be included in the event
Further information for applicants:
- Only one proposal of each type is permitted per applicant
- Proposals should not substantially duplicate presentations being given at conferences or other events proximate in time or place to ICMSN 2011 / LancMAC
- All proposals must be sent by email as a MS Word attachment to msnmac2011@lancaster.ac.uk
Programme Committee: Dr Paul Archbold, Dr Arved Ashby, Prof. Rachel Cowgill, Prof. William Drabkin, Dr Nicholas Gebhardt, Prof. Adam Krims, Dr Alan Marsden, Prof. Deborah Mawer, Prof. Peter Nelson, Dr Nicholas Reyland, Prof. Michael Spitzer, Dr Edward Venn (Chair), Dr Charles Wilson
DEADLINE FOR PROPOSAL SUBMISSION: 3 DECEMBER 2010
Successful applicants will be informed by 17 January 2011
Please e-mail proposals and enquiries to Dr Edward Venn: msnmac2011@lancaster.ac.uk
CONFERENCE BOOKING OPEN IN JANUARY 2011
Visit http://www.lancs.ac.uk/sma/msnmac for updates
Contact: Dr Edward Venn: msnmac2011@lancaster.ac.uk
Tuesday, 24 August 2010 08:05
