These conferences are updated as regularly as possible. Please send a message through the Contact Page if you would like a conference to be added.
Minneapolis Hilton Conference Centre, MN, May 26 & 27, 2016
Keynote address by Dr. Aniruddh Patel, Tufts University
The International Research Symposium on Talent Education (IRSTE) highlights the applications of research as it relates to music teaching and learning.
Of special interest are those topics that relate specifically to aspects of the Suzuki Method. Established by Margery Aber in 1990 at the University of Wisconsin-Stevens Point, the symposium is a means to promote research among Suzuki teachers, disseminate research that influences teaching practice, and educate teachers to use research in resolving studio challenges.
University of Jyväskylä, Department of Music, June 8-10, 2016
SysMus, or the International Conference of Students of Systematic Musicology, is a series of conferences for students by students. SysMus promotes systematic musicology as an interdisciplinary field by giving students who study music from computational, psychological, sociological and other non-traditional perspectives the opportunity to interact with each other and with successful professionals in the field.
The SysMus conference series offers students the chance to practice conference organizing, practice presenting their research, visit internationally recognized institutions in systematic musicology, and network in an interdisciplinary environment.
The 2016 International Conference of Students of Systematic Musicology (SysMus) will take place from June 8-10, 2016 at the University of Jyväskylä, Finland. Masters- and doctoral-level researchers are invited to submit abstracts proposing oral or poster presentation as part of the conference.
SysMus is dedicated to including a broad range of topics within its conferences, representative of the great diversity within systematic musicological study. Submissions addressing any of the following subjects are particularly welcome:
- Systematic musicology
- Music perception
- Music cognition
- Music psychology
- Music therapy
- Music information retrieval
- Music sociology
- Music education
- Music technology
- Music and culture
Submission deadline has passed
Questions can be directed to the conference e-mail address: firstname.lastname@example.org
June 8–11, 2016: The New School, New York, USA
World music traditions are receiving increasing attention in all areas of music research, including ethnomusicology, music theory and analysis, music history, music psychology, and music information retrieval. Analytical Approaches to World Music 2016 is the fourth in a series of conferences that bring together scholars from diverse disciplines and cultures, in order to foster interdisciplinary and cross-cultural dialogue and promote new approaches and methods for the study of world music.
We welcome submissions that examine world musical traditions from any analytical and theoretical angles, including (but not limited to) ethnographic, historical, formal, computational, and cognitive perspectives. Submission formats include papers, posters, special sessions, and workshops.
Please see below for information on conference organization and submission guidelines. Conference web site: http://aawmconference.com
- Lawrence Shuster (College of Saint Rose, USA), Chair
- John Roeder (University of British Columbia, Canada)
- Michael Tenzer (University of British Columbia, Canada)
- Brian Jarvis (The University of Texas at El Paso, USA)
Local Arrangements Committee
- Chris Stover (The New School College of Performing Arts, USA), Chair
- Evan Rapport (The New School Eugene Lang College, USA)
- Lynne Rogers (The New School College of Performing Arts, USA)
- Nancy Rao (Rutgers University, USA)
- Jay Rahn (York University, Canada)
- Richard Widdess (School of Oriental and African Studies, University of London, UK)
- Panayotis Mavromatis (New York University, USA)
- Chloe Alaghband-Zadeh (University of Cambridge, UK)
For additional information regarding the conference, including venue, transportation, and accommodations, please check the conference website: http://aawmconference.com
Updated information will be posted there as soon as it becomes available. Please direct all remaining questions to email@example.com
1st Conference on Computer Simulation of Musical Creativity
17-19 June 2016? University of Huddersfield, UK
Complete CfP: https://csmc2016.wordpress.com/call-for-papers/
Keynote speakers: Prof. Graeme Bailey (Cornell University), Prof. Geraint Wiggins (Queen Mary University of London)
Computational simulation of musical creativity is an emerging, exciting and significant area of research. In the last few years, numerous systems that compose, improvise and perform music have been developed. These systems pose several theoretical and technical challenges, and are the result of an interdisciplinary effort that encompasses the domains of music, artificial intelligence, cognitive science and philosophy.??The main goal of this conference is to bring together scholars from different backgrounds, interested in virtual emulation of musical creativity, providing an interdisciplinary platform to promote, present and discuss their work.
Submissions are now closed. ??Further information can be found on the conference website https://csmc2016.wordpress.com/
July 5 – 9, 2016: Hyatt Regency, San Francisco (USA)
Conference chair: Theodore Zanto (UCSF)
The opening keynote address will be at 1 PM on the 5th, and the closing keynote will end at 6 PM on the 10th
Abstracts deadline has passed
The International Conference on Music Perception and Cognition is pleased to announce the call for abstract submissions for its 14th biennial meeting to be held at the Hyatt Regency hotel in San Francisco, CA, USA, from July 5-9, 2016. Abstract submissions are invited for oral presentations, poster presentations, and symposia. Advanced registration and abstract submission will open November 2, 2015.
For more details, visit: http://www.icmpc.org/icmpc14/index.html
For questions & comments, contact the organizing committee: firstname.lastname@example.org
Further details will be communicated in the digest, and on the SMPC website (musicperception.org).
12–13 September 2016: Faculty of Music, University of Oxford
Call for Papers
The capacity to be in time together lies at the heart of all music-making and is one of the most profound of human capabilities; being in time together is implicated in social bonding, altered states, and foundational pleasures associated with music. The ways in which we play in time together, also mark out difference—between genres and between instruments (and instrumentalists), between studio and live performance, between the virtuoso and the beginner.
Two assertions about the temporal in music are the starting point for our call for papers: David Epstein’s comment in his seminal book, Shaping Time, that time is ‘the critical element in performance’, and Lefebvre’s lament that rhythm has been music’s neglected component. These comments underscore the aim of this conference, which is to bring time and timing to the fore in our thinking about musical experience, and in particular, its production.
The conference committee encourages submissions from scholars representing diverse disciplines whose interests lie in time, timing and timekeeping, and their construction by musicians. We welcome papers that address the subject from the following broad perspectives: the psychological/cognitive foundations of this human achievement, time and timing as part of specific cultural praxis, critical approaches to time and technology, the aesthetics of timing, and musical time’s relationship to social being.
The following list of questions indicates some broad concerns of the conference but is suggestive rather than prescriptive.
– How is the time of music implicated in social being and sociability? In what ways does the social penetrate the temporality of music?
– Can we speak of cultures of time in music? How does the relatively tacit feel for time amongst musicians connect with the discursive?
– What is the relationship between the relatively automatic capacity to be in time together and timekeeping as intentional and expressive?
– In what ways have technologies changed our relationship to time in music? Is temporality changed through developments in recording and digital technologies?
– What are the politics of musical time?
– What methods are available to us to address questions of temporality, music, the social and the psychological?
– How do we teach and learn about time in music?
Proposals of 250–300 words are invited for spoken papers of 20 minutes. These should be sent as a Word attachment to email@example.com and must include the following: Title, author(s), affiliation(s), email address for contact. The deadline for proposals is Friday 15 April 2016 at midday. Decisions on proposals will be communicated by Monday 9 May 2016.
Registration will open on Tuesday 10 May. Information about the conference—accommodation, travel information, draft programme and so on will be available on our website
The conference committee is: Dr. Mark Doffman, Dr. Jonna Vuoskoski, and Dr Toby Young (all University of Oxford), and Dr. Emily Payne (University of Leeds).
Dr Emily Payne
Postdoctoral Research Assistant, John Cage and the Concert for Piano and Orchestra Project
School of Music, University of Leeds, Leeds LS2 9JT, UK
Tel. +44 (0)113 343 8209 / +44 (0)7816 401211
Event type: International Conference
Location: National College Learning and Conference Centre, Nottingham
Date: Wednesday 21st September 2016
Theme: Arts and Dementia: Research into Practice
We are excited to announce that booking is now open for the first TAnDem Arts and Dementia Conference: Research into Practice. It will be held in Nottingham on Wednesday September 21st 2016. We would like to invite you to attend, and to please circulate information about the day through your networks and distribution lists.
Through a stimulating mix of keynote speaker presentations, discussion, exhibited artwork and practical demonstration the conference will explore some of the key issues affecting those who practice arts and dementia activity, those who research it and those who experience it. How should we be looking to evaluate the work? What is it like to research, or be researched? What drives the funding and commissioning of research and arts practice?
Confirmed speakers include:
· Professor Paul Camic, Canterbury Christchurch University
· Philip Cave, Arts Council England
· Professor Norma Daykin, University of Winchester
· Gary Glazner, Alzheimer’s Poetry Project
· James Pickett, Alzheimer’s Society
· Clive Parkinson, Manchester School of Art
· Dr Victoria Tischler, University of Nottingham
We welcome the participation of anyone with an interest in arts projects and activities that benefit all those living and working within the community of people affected by dementia. The conference will be of particular interest to arts therapists, practitioners and artists, researchers, people living with dementia and their carers, and funders and commissioners of arts programmes.
The Ist International Conference on Music Psychology and Music Performance will be held in Madrid between the 5-7 of October 2017. This Conference is organized by the newly created Spanish Association for the Psychology of Music and Music Performance (AEPMIM) in cooperation with the UNED.
AEPMIM was founded in 2015 to bring together researchers, musicians, and music educators from all over the world, particularly Latin America, with the purpose of sharing the latest research in the field of the psychology of music. With this aim in mind, AEPMIM has already established ties with several associations from Latin America, such as SACCOM, PSICMUSE and ABCM, in addition to collaborating with the largest and most important worldwide associations, such as ESCOM and SEMPRE.
The Conference is part of a vision to connect musicians and researchers in order to create an open space of communication in which researchers can share their findings with musicians. These findings, resulting from scientific studies on music learning, practice, composition and performance, can provide musicians with new perspectives on their music making and strategies for enhancing the quality of their practice and experience. Additionally the conference allows musicians to share their own findings, experiences, ideas and concerns with researchers and other musicians, thus creating a network of interdisciplinary cooperation.
The conference will provide knowledge which to date has not been readily available. Included will be presentations of original papers, practical-oriented workshops and concerts from diverse musical genres.
We warmly invite you to participate in this conference, so as to communicate your own findings and to benefit from the latest research in the field of the psychology of music.
If you hear of any conferences that may be interesting for music psychologists then please forward details to me: v.williamson- at- sheffield.ac.uk