These conferences are updated regularly. If no detail is provided on submission opportunities then the conference invitation has either not yet opened or has closed.
Humanities Research Institute, University of Sheffield, UK, 23-25 March 2015
In live and virtual situations, music listening and performing are multimodal experiences: Sounds may be experienced tactically, music evokes visual images or is accompanied by visual presentations, and both generate vivid cross-modal associations in terms of force, size, physical location, fluency and regularity, among others.
ICMEM aims to bring together researchers from various disciplines who investigate the multimodality of musical experiences from different perspectives. Disciplines may include audiology, cognition, computer science, music performance and theory, neuroscience, philosophy, and psychology. Presentation formats include papers, symposia, demonstrations and posters.Investigations may include but are not necessarily confined to the following areas:
-Cross-modal correspondences with musical parameters
-Visual influences on the perception of music
-Role of the body and motor knowledge in the perception and interpretation of music
-Cross-modal interaction in multimedia, including music in film and games
-Uses of cross-modal correspondences to compensate for hearing or visual impairment
-Strong and weak synaesthesia
-Brain-structures related to cross-modal associations
-Phenomenology of cross-modal experiences
-Technological and commercial applications of cross-modal associations
-Creative and pedagogical uses of cross-modality in music
Proposals are invited for papers, symposia, demonstrations and posters on investigations of the multimodal experience of music.
Further information: www.sheffield.ac.uk/music/research/mmm/icmem
Submission deadline: 27th October 2014 by e-mail to ICMEM@sheffield.ac.uk
This conference is supported by ESCOM and SEMPRE, who offer bursaries to student attendees.
SMART Cognitive Science: The Amsterdam Conference
Intensive 2-day workshops on language, music, games, communication and agency, 3 plenary keynotes, 15+ workshop related keynotes, and several plenary debates and discussions. All this in historic Amsterdam in the Spring of 2015. See the website below for more information.
I will be speaking at this event on Friday March 27th as part of the Music and Language meeting
2nd International Conference on Music and Consciousness
Faculty of Music, University of Oxford, UK, 14th-17th April 2015.
Organised jointly by the Faculty of Music, University of Oxford, and the University of Newcastle’s International Centre for Music Studies.
There have been rapid multidisciplinary advances in scholarly understanding of musical experience over the last fifteen years or so. It is increasingly accepted that musical experiences are multi-faceted, fluctuating, and dynamic; complex composites of cognitive, perceptual, embodied and affective components. One response to the acknowledged phenomenological complexity of musical engagement has been a growing interest in the relationship between music and consciousness.
Following on from the success of the first International Conference on Music and Consciousness (Sheffield, 2006), and the edited volume Music and Consciousness to which this led, this second conference is again intended as a forum for the exchange of perspectives from a broad range of disciplines, including but not restricted to: neuroscience, psychology, phenomenology, philosophy, sociology, musicology, performance studies, ethnomusicology, music therapy, evolutionary psychology, cognitive archaeology, and cultural history.
The conference will consist entirely of plenary sessions, enabling wide-ranging participation, with significant time set aside for discussion. It will include keynote presentations, papers, short communications, and musical performances.
The conference committee welcomes submissions addressing a broad range of themes, including but not limited to the following:
• Music and Unconsciousness
• Neural substrates of musical consciousness
• Consciousness and musical performance
• Music and trance, flow, absorption, dissociation, and altered states of consciousness (ASC).
• Theorising musical consciousness – across disciplines, across cultures, across history
• Consciousness and musical creativity
• Modes of musical consciousness, modes of musical subjectivity
• Music and collective consciousness
Proposals will be accepted on the basis of their relevance to the conference themes, significance, originality and rigour.
A formal call for papers will be issued in January 2014, with a deadline for proposals of July 2014.
11th International Symposium on Computer Music Multidisciplinary Research (CMMR)
Music, Mind, and Embodiment
Plymouth, UK on 16-19 June 2015.
Paper submission deadline February 27th 2015
Music submission deadline February 27th 2015
Notification of acceptance March 27th 2015
Revisions and camera ready copy deadline May 1st 2015
Plymouth is a vibrant ocean city with a global history which stretches back hundreds of years. The symposium will include a series of concerts, a satellite workshop on Music Neurotechnology, and an unforgettable boat cruise and banquet trip around the iconic Plymouth Hoe from the Barbican Harbour, site of the Mayflower Steps (portrayed in the logo above), from which the Pilgrim Fathers left England to settle in North America in 1620.
The Interdisciplinary Centre for Computer Music Research (ICCMR) is hosting the symposium on campus in the center of Plymouth, in their newly completed multi-million pound headquarters, “The House”, which includes a multichannel diffusion suite and full scale auditorium for concert performances.
Music, Mind, and Embodiment
This year, we encourage the submission of contributions on the theme of Music, Mind, and Embodiment. The notion of mind and embodiment is important in any field related to sound and music and is therefore well adapted to this interdisciplinary conference, since it can be studied from different standpoints spanning from physics to perceptual and cognitive considerations, and from scientific to artistic approaches.
Some central questions of interest in this context are (but not necessarily restricted to) :
– How to identify perceptually relevant signal properties linked to music (for example, neurophysiologically or biologically influenced music creation, performance, or analysis?)
– How to define new timbre descriptors that characterise perceptual or emotional characteristics?
What is the link between mind and embodiment in musical performance, interpretation, and improvisation?
– How can gesture and embodiment be used as a control signal for music generation, sonification, and performance?
– How can multiple modalities be characterised in interdisciplinary musical contexts (vision, audition, kinesthetic, bio- and neuro- informed approaches)?
Contributions on other topics as described in the call for contributions are also welcome. Submission deadline is February 27th 2015.
Hugues Vinet (IRCAM)
David Rosenboom (CalArts)
Eduardo Miranda (ICCMR)
For further details please visit: http://cmr.soc.plymouth.ac.uk/
AES Conference on Music-Induced Hearing Disorders
June 28-30th 2015 conference event in Aalborg, Denmark.
The Audio Engineering Society (AES) has issued a call for papers to be presented at its 58th International Conference on Music Induced Hearing Disorders. This is the second AES conference on the topic, and will continue the important task of presenting and discussing advances in the state of the art in hearing loss diagnosis and prevention, as well as strategies, technologies, and devices related to safe yet impactful music production and reproduction. The event will take place at Hotel Comwell Hvide Hus in Aalborg, Denmark, June 28-30, 2015.
Researchers from both the audiology and pro audio fields are invited to submit papers for presentation at the conference. Proposed topics for presentation include: Music versus Noise as an Exposure Agent; Hearing Exposure Measurement and Control Devices; Sound Level Management for Live Events; Active and Passive Hearing Protection Devices; Hearing Loss in the Music Industry; Electronic Devices for Hearing Impaired Musicians and Sound Engineers; Standardization and Legislation of Exposure to Music; and other related topics. For a full list of suggested topics, please visit http://www.aes.org/conferences
The conference committee invites the submission of manuscripts (4-8 pages) for consideration. Preliminary papers should be 4-8 pages and submitted by February 15, 2015 for consideration. Papers should include a problem statement, work performed, methods employed, conclusions, and significance of the work. Each submission will be reviewed, and authors notified of acceptance for inclusion in the conference by March 15, 2015. In addition, accepted papers will be considered for inclusion in a special issue of the Journal of the Audio Engineering Society.
The AES 58th International Conference is being chaired by Prof. Dorte Hammershøi, MScEE, PhD, of Aalborg University. Co-chairs for papers are Rodrigo Ordoñez and Robert Schulein. General conference information including the Call For Papers for the Conference on Music-Induced Hearing Disorders can be found at:http://www.aes.org/conferences
17–23 August 2015 Manchester, U.K.:
Royal Northern College of Music, Manchester, U.K.
Organisers: Jane Ginsborg (chair), Alexandra Lamont (co-chair)
We are pleased to announce the Call for Papers for the Ninth Triennial European Society for the Cognitive Sciences of Music (ESCOM) Conference to be held at the Royal Northern College of Music in Manchester, UK from 17 to 22 August 2015.
ESCOM supports and promotes empirical and theoretical research from a wide range of disciplines, including aesthetics, anthropology, artificial intelligence, cognitive science, composition, education, health and wellbeing, linguistics, music theory, music therapy, neuroscience, performance studies, philosophy, psychoacoustics, psychology and psychophysics. We expect the research to be disseminated at the Ninth Triennial Conference to be new and unpublished, and to have the potential for contributing to a better understanding of how music is perceived, represented and generated.
Submissions are now invited for spoken papers, poster presentations, symposia and workshops. The language of the conference is English and all spoken papers, posters, conference proceedings and publications will be in English. All submissions should be made online. They will be reviewed anonymously by two or more members of the Review Committee. Full-text conference Proceedings will be published online, for downloading, and on a USB flash drive.
Due to the likely interest in this conference the number of opportunities available to each presenter, particularly for spoken papers, is limited. We suggest that those wishing to make more than one submission consider allowing co-authors to present, and/or submitting proposals in different formats such as poster presentations, symposia or workshops, as alternatives to spoken papers. Full details of the types of presentations available can be found at http://www.escom2015.org/call_for_papers.html.
· Submissions open: 15 September 2014
· Deadline for submissions: 29 December 2014 (no extensions are expected)
· Decisions communicated to presenters: from 23 February 2015
· Registration deadline for presenters (essential to be included in the programme): 1 May 2015
· Deadline for receipt of papers for the Proceedings: 15 May 2015
For more information please see the conference website www.escom2015.org or contact the Organising Committee at firstname.lastname@example.org. We look forward to receiving your submissions and encourage you to keep abreast of developments relating to the conference on the website and Twitter @ESCOM2015. Please also share amongst colleagues, students, and other interested parties.
Jane Ginsborg (Chair) and Alexandra Lamont (Co-chair)
The SMPC Board is pleased to announce that SMPC 2015 will be hosted at Vanderbilt University. Dr. Elizabeth Dykens has agreed to serve as conference chair, with Dr. Reyna Gordon serving as conference co-chair. More details will be forthcoming as the conference chairs make further arrangements.
The tentative dates for the conference are August 6-10, 2015, so factor that into your advance plans!
8th INTERNATIONAL CONFERENCE OF STUDENTS OF SYSTEMATIC MUSICOLOGY?
17th – 19th September, 2015
Keynotes: Dr. Daniela Sammler (Max-Planck-Institute for Human Cognitive and Brain Studies, Leipzig)
Prof. Matthias Vogel (University of Gießen, Germany)
Prof. Eric Clarke (University of Oxford, UK)
Scientific Supervision: Prof. Sebastian Klotz
Direction: Laura Neumann
The Institut fu?r Musikwissenschaft at Universität Leipzig (Germany) will host the International Conference of Students of Systematic Musicology (SysMus), from 17th to 19th September, 2015. The SysMus conferences are annual, student-run events designed to allow advanced students in the field of systematic musicology – particularly those studying for PhDs or completing Masters’ degrees – to meet and discuss their research.Systematic musicology embraces a wide and diverse mix of epistemologies and methodologies from science and humanities in order to study the phenomenon of music in its general rather than specific manifestations.
Co-founded by Manuela Marin and Richard Parncutt in 2008, the SysMus conferences have been organized at different venues across the world (including Austria, Belgium, Germany, Canada, Italy, and the UK) and internationally renowned researchers working in various subfields of systematic musicology have attended SysMus as keynote speakers. More details on past and future SysMus conferences can be found onour website https://sysmus2015.com.
Researchers are invited to submit proposals for oral or poster presentations in English. We also welcome panels gathering 3 to 4 speakers (max.) to present their research addressing one single topic.
Besides an abstract (c. 300 words), a separate, small biographical note (c. 150 words) is requested. The individual talks should not exceed 20 minutes, followed by 10 minutes for discussion. When applying for a panel presentation, the title, the name of the organizer and an abstract related to the panel (c. 300 words) should be included, followed by the individual abstracts and biographical notes of the panel members.
Only one proposal per person is allowed and all must be send in PDF to email@example.com. Please, specify if you are applying for an oral, poster or panel presentation and include your full name, institutional affiliation, postal address and telephone number in the email.
DO NOT mention your name on your abstract submission, as they will be subject to a blind peer-review procedure, conducted by the Scientific Committee.
– The submission deadline is the 30th of April
– Notification of acceptance will be announced individually by email on the 30th of June.
– Early registration for SysMus 2015 closes after the 31st of July
Submissions on the following topics complementing and expanding experimental and empirical music research are particularly welcome:
– Audio cultures in a systematic perspective
– The cultural practice of musical instruments and music software
– Music and social cognition
– The ecology of music
– Music and mediation
– Systematic epistemologies of music
– Musical knowledge systems in a systematic perspective
– Music and the theory of social systems
More details on the conference, venue and registration will be announced on the website http://symsus2015.com.
We are looking forward to welcoming you to Leipzig in September!
If you hear of any conferences that may be interesting for music psychologists then please forward details to me: v.williamson- at- gold.ac.uk