CALL FOR PROPOSALS: Learning and Teaching Music in the Twenty-First Century: The Contribution of Science and Technology

Submission deadline: December 15 2014.

Learning and Teaching Music in the Twenty-First Century:
The Contribution of Science and Technology
International Symposium
LTM21/AEM21
November 5 – 7, 2015
www.ltm21aem21.wix.com/colloque2015

Schulich School of Music, McGill University, and
Department of Music, Université du Québec à Montréal, Québec, Canada

The aim of this bilingual (English-French) conference is to bring together researchers from instrumental and music pedagogy as well as those from performance,  science performance and music practices to discuss the contribution of scientific research and technological advancements in music learning and teaching contexts in the twenty-first century.

We welcome submissions on any topic relating to learning and teaching of music cross-themed with science and technology, including (but not limited to):

Learning and teaching music – individual and collective settings – all levels/formal and informal settings
Instrumental practice
Control parameters – physiology, physics and psychology of instrumental practice
Traditional and augmented/hyper instruments
Performance and creativity
Learning and technologies
Music, health and well-being
The musician’s health and well-being
The benefits of music on health and well-being

The conference will include scientific presentations (talks, posters and discussion panels) from international researchers in Canada’s two official languages, English and French. This conference seeks to gather researchers, teachers and practitioners from across disciplines (music performance, collective and individual instrumental teaching, science of performance, musicians’ health, music learning and technology, etc.) to foster interdisciplinary collaboration and the development of evidence-based music pedagogy.

Three types of proposals associated with the topics listed above are welcome:
1.       Oral scientific communication;
2.       Scientific poster;
3.       Panel discussion.

For detailed guidelines, please see www.ltm21aem21.wix.com/colloque2015

Keynote speakers
Aaron Williamon, Director, Centre for Performance Science. Royal College of Music, London, UK.
Marc Leman, Director, Institute for Psychoacoustics and Electronic Music,  Ghent University, Belgium.
Wendy E. Mackay, Research Team Director IN|SITU at INRIA, Paris France

The Paradox of Music-Evoked Sadness: A Survey of Personality and Reward

The paradox of music-evoked sadness: an online survey

Taruffi L, Koelsch S – Published October 20, 2014

Department of Educational Sciences & Psychology and Cluster of Excellence, “Languages of Emotion”, Freie Universität Berlin, Berlin, Germany

This study explores listeners’ experience of music-evoked sadness. Sadness is typically assumed to be undesirable and is therefore usually avoided in everyday life. Yet the question remains: Why do people seek and appreciate sadness in music? We present findings from an online survey with both Western and Eastern participants (N?=?772). The survey investigates the rewarding aspects of music-evoked sadness, as well as the relative contribution of listener characteristics and situational factors to the appreciation of sad music. The survey also examines the different principles through which sadness is evoked by music, and their interaction with personality traits.

Results show 4 different rewards of music-evoked sadness: reward of imagination, emotion regulation, empathy, and no “real-life” implications. Moreover, appreciation of sad music follows a mood-congruent fashion and is greater among individuals with high empathy and low emotional stability. Surprisingly, nostalgia rather than sadness is the most frequent emotion evoked by sad music. Correspondingly, memory was rated as the most important principle through which sadness is evoked. Finally, the trait empathy contributes to the evocation of sadness via contagion, appraisal, and by engaging social functions.

The present findings indicate that emotional responses to sad music are multifaceted, are modulated by empathy, and are linked with a multidimensional experience of pleasure. These results were corroborated by a follow-up survey on happy music, which indicated differences between the emotional experiences resulting from listening to sad versus happy music. This is the first comprehensive survey of music-evoked sadness, revealing that listening to sad music can lead to beneficial emotional effects such as regulation of negative emotion and mood as well as consolation. Such beneficial emotional effects constitute the prime motivations for engaging with sad music in everyday life.

TABLE 2: Summary of the situations in which participants engage with sad music, and functions of listening to sad music in those circumstances.

TABLE 2: Summary of the situations in which participants engage with sad music, and functions of listening to sad music in those circumstances.

TABLE 6: Summary of the situations in which participants engage with happy music and functions of listening to happy music in those circumstances.

TABLE 6: Summary of the situations in which participants engage with happy music and functions of listening to happy music in those circumstances.

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And for our Italian friends:

Questo studio esplora l’esperienza della tristezza indotta dall’ascolto della musica. La tristezza è comunemente considerata un’emozione negativa e pertanto evitata nella vita quotidiana. Rimane una questione aperta: perché quindi le persone apprezzano la musica triste? Gli Autori presentano i risultati di uno studio condotto online che ha coinvolto 722 partecipanti occidentali e orientali. Lo studio indaga gli effetti gratificanti delle emozioni tristi evocate dalla musica, nonché l’apporto relativo alle caratteristiche dell’ascoltatore e alle situazioni che contribuiscono all’apprezzamento della musica triste. Lo studio esamina inoltre i differenti principi attraverso i quali la tristezza viene evocata dalla musica e la sua interazione con i tratti della personalità.

I risultati mostrano quattro diversi aspetti gratificanti della musica triste: l’effetto dell’immaginazione, la regolazione delle emozioni, l’empatia e l’assenza di implicazioni nella vita reale. Inoltre, l’apprezzamento della musica triste segue una modalità congruente con l’umore ed è più grande tra gli individui con maggiore empatia e minore stabilità emotiva. Sorprendentemente la nostalgia piuttosto che la tristezza è l’emozione più frequente evocata dalla musica triste. Di conseguenza, la memoria è stata valutata come il principio più importante attraverso il quale l’emozione viene evocata dalla musica triste. Infine, il tratto di empatia contribuisce all’evocazione della tristezza attraverso il contagio, l’apprezzamento e il coinvolgimento delle funzioni sociali. I presenti risultati indicano che la risposta emotiva alla musica triste è sfaccettata, modulata dall’empatia e collegata a una esperienza multidimensionale del piacere.

Questi risultati sono stati corroborati da una ricerca successiva sulla musica allegra, che mostra differenze tra le esperienze emotive nell’ascolto di musica felice o triste. Questo è il primo studio comprensivo sulla tristezza evocata dalla musica, e rivela che l’ascolto della musica triste può portare benefici emotivi come la regolazione delle emozioni negative e dell’umore, oltre che della consolazione. Questi benefici emozionali costituiscono una ragione per ascoltare la musica triste durante la vita quotidiana.

Information provided by abstract – full study may be found here.

doi:10.1371/journal.pone.0110490.t002

(My favorite ‘sad’ video of all time below).

CALL FOR PAPERS – Medical Ethnomusicology and Music Therapy – Voices

Voices is an interdisciplinary peer reviewed journal founded in 2001 by Professor Carolyn Kenny and Professor Brynjulf Stige. It is an Open Access peer reviewed journal that invites dialogue and discussion about music, health, and social change. The journal values inclusiveness and socio-cultural awareness and has increasingly nurtured a critical edge that refines the focus on cultural issues and social justice.

Further information at https://voices.no/index.php/voices/index

CALL FOR PAPERS – SPECIAL ISSUE

Medical Ethnomusicology and Music Therapy

Guest editors

Jane Edwards (Ireland/Australia), Gregory Barz (USA), and Busskorn Binson (Thailand)

 Medical ethnomusicology is an emerging interdisciplinary area of study. Hailed as “representing a new stage of collaborative discourse among researchers, musicians, and practitioners”; FSU web site http://fla.st/1prUG2O, it refers to knowledge which spans the globe of traditional cultural practices of music, health, and healing. To date little dialogue between music therapy and medical ethnomusicology has occurred. This special issue of Voices presents an opportunity to open further dialogue seeking clarification of the differences and synergies between music therapy and medical ethnomusicology, in order to discover and develop new collaborations and alignments.

Individual authors or collaborating practitioners and scholars who wish to discuss, present, critique, or describe practices in ethnomusicology that relate to health and well-being, or practices in music therapy that align with medical ethnomusicology are invited to submit scholarly papers for consideration in a special issue of the journal to be published in 2015.

Guidelines for Voices submissions can be found athttps://voices.no/index.php/voices/about/submissions#onlineSubmissions

Authors should use the online submission system for the journal located at

https://voices.no/index.php/voices/about/submissions#onlineSubmissions

Final date papers for the special issue can be submitted: June 1 2015

Final decision about inclusion in the journal: August 1 2015

CALL FOR PROPOSALS: Special issue of Musicae Scientiae

home_coverMusicae Scientiae is now accepting proposals for the special issue of 2016. Those interested are requested to send short proposal (of no more than 1000 words) describing:
•  The scope of the proposed theme
•  the papers (and authors) that would be featured in the issue (about 7-8 manuscripts)
•  the time plan and projected issue
•  information on how the professional language editing will be handled for manuscripts of non-native English writers.

Persons submitting the proposal should make a case justifying the dedication of special issue to this particular theme and its topicality. Their proposals should demonstrate that the special issue would have overall coherence. Those interested in submitting should highlight any editorial experience they already have, and they are welcome to make proposals for reviewers.

Persons submitting the proposal will be expected to act as guest editors for the special issue, to communicate with contributors with regard to revisions, and to produce an issue containing strong and coherent collection of papers. One member of the editorial board will be assigned to work with the guest editors in overseeing the refereeing process to ensure that the collection as a whole and the individual papers meet the quality standards of the journal.

Proposals should be submitted no later than 30 November 2014. The editor will decide by 30 December 2014 which of the proposals will be accepted.

The deadlines for the entire production process will be as follows:

SI 2016:……………….…Issue 1(March)………Issue 2 (June)………Issue 3 (September)
Submission of collected ms
……………………………1 Aug 2015…………..1 Nov 2015…………1 Feb 2016
Return of reviews
……………………………1 Sep 2015…………..1 Dec 2015…………1 Mar 2016
Return of revisions
……………………………1 Oct 2015…………..1 Jan 2016…………1 Apr 2016
Start of copy editing
……………………………1 Nov 2015…………..1 Feb 2016…………1 May 2016

Proposals should be sent electronically to the editor: Dr. Reinhard Kopiez, Hannover University of Music, Drama and Media, Germany (reinhard.kopiez@hmtm-hannover.de)

Call for Papers – Harvard Graduate Music Forum Conference 2015

poster-draft

 

Call for Proposals

 This interdisciplinary conference takes as its premise that  music is inseparable from the economic conditions of its production and consumption. Through presentations, lecture-recitals and composers’ colloquia,  we seek to explore the intersections of music and economics from a diverse array of perspectives including labor, practice, material culture, and capital.

Questions include but are not limited to:

  • How do musicians and their employers understand musical labor, and how does this  impinge on issues of amateurism, professionalism, and institutionalization?
  • How have shifting economic systems — for instance, from patronage to mass consumption, or from liberalism to neoliberalism — altered the place of music in society?
  • How have issues such as postcolonialism, the North-South economic divide, and globalization, intersected with various musical practices to forge divergent models of economies of music?
  • Where does music succeed and where does it fail in transforming economic relations?
  • What are the economic consequences of the material means of musics’ dissemination, such as manuscripts, published scores, phonograph recordings, streaming and live performance?
  • How do questions of cultural and economic capital combine in appraisals and contestations of musical value?
  • How has music symbolically represented economics and status? What is music’s role in this endeavour today?

Submissions

We welcome submissions from current graduate students on these and related topics. We seek proposals on all repertoires, musical practices and historical periods, and representing a broad set of methodologies. Formats for presentation include:

  • 20-minute papers, audiovisual presentations, or exploratory text works, with 10 minutes for discussion
    Please submit abstracts of a maximum of 350 words and, where appropriate, up to 4 additional pages for figures. Please add a short statement regarding AV requirements.
  • 30-minute composer colloquia, performances, or lecture-recitals, with 15 minutes for discussion
    Please submit details of the work to be presented in a maximum of 350 words and, where appropriate, links to relevant sound recordings and/or scores or supplementary documentation.

Deadline for proposals: 5 December 2014

Please e-mail submissions to: harvardgmf2015@gmail.com

There Is Always Hope: How Music Saved My Life

A couple of months ago, I was asked by To Write Love On Her Arms to do a post on my experience with depression, music, and being a suicide survivor.

This is my story.

photo

For as long as I can remember, my greatest aspiration has been to study psychological resilience and music. Having begun touring as a singer from age three, my furthermost joy and identity were formed in creating and performing music. As I attempt to place these thoughts in tangible form, I’d like to explain where the past year of my life has taken me, and how this hope has finally come to be realized. I’d like to tell you how music saved my life.

       On July 9, 2013, I grabbed sushi with a dear friend from college. It had been at least a year since we’d seen one another due to his relocation to another state. We had a wonderful dinner, his charisma weaving grandiose patterns of laughter and jokes to make up for lost time. To this day, he remains the only friend who could ever get away with his hysterical manner of picking me up and spinning me around. It was simply his way of saying “Hello.”

       The following afternoon, as I was on my way to Stanford University to cover a behavioral science and creativity conference, I received an urgent phone call from the Los Angeles Police Department. After an inundation of bewildering questions and the request that I be sitting down, I was alerted that my friend had sustained a perplexing and potentially fatal injury. The following two months would consist of a blur of countless ER, ICU and eventually hospice visits, and even more fatigued phone calls from detectives, friends, and families in attempt to speculate every detail as to my friend’s condition. After failing to regain consciousness, my friend died on August 21, 2013 of a self-inflicted gunshot wound to the head. He was twenty seven.

        In the months following my friend’s suicide, the protracted plagues of devastation, anxiety and sheer panic made it painfully clear that I was suffering from severe depression. I had battled fear before, but the danger of self-harm from my perceived terror of abandonment now hit an all-time high. Something about being the last person to see my friend before he took his life had finally made my very existence seemingly unbearable. I simply couldn’t imagine a reality where I would ever feel whole again. Somewhere along the way, however, something began to penetrate the walls I had built. Maybe it was that night of such unbearable emptiness, resulting in my frantic request of a trusted friend, “Why can’t you just tell me it’s going to be okay?” I’ll never forget his response: “Because it’s going to be okay whether I say so or not.”

       For possibly the first time, I realized that no matter how much people love and cherish you, sometimes, they can’t be there. It was not until this year – twenty eight years into my life – that I was truly faced with the chief insecurity of uncovering and confronting my own sense of self. It hit me then: I had built my entire value solely upon the affirmation of others. How would I ever afford unconditional love and hope if I did not possess it for myself?  It took more correspondence with prudent souls, more star-filled nights, more floods of tears and more compassionate, tough love from friends than I ever thought possible, but eventually, I began to understand that a lifetime’s lacking of my own self worth had been, in fact, the greatest torment of all. Slowly, with the help of my music and a lot of blind faith, I decidedly began the harrowing task of turning inward to face a past that had hidden profoundly in the dark for far too long.

       As I discovered that in music could be found the tools for defense, it quickly became all but Pavlovian. With each resurfacing memory of the loss of my father, of my friend, or even the type of violations that I as a young woman should never have had to endure, it began to feel like there was no margin in what could be taken from me, save my headphones screaming louder than any external threat or captor. I recalled that when at age eighteen I witnessed a childhood crush lose his longstanding battle with cancer, a piano, and occasionally present kindred spirit, taught me that three keys struck within a proper distance could form a chord. Those chords at once revealed the earliest potential of more than an escape – they provided the will to keep going.  It was within the process of witnessing my own hopelessness slain by the dogged determination playing before me like a vivid, striking film sequence that I cemented an acute desire to help others through their pain.

Steinway

        It was not quite until really digging in to the psychology of music that I found the possibility of a way not to dull the pain, but utilize it for courage. When my collapsed sense of self risked self-harm, gentle souls appeared to remind me of what I’d already overcome. When the radiant pangs of feeling alone threatened to overtake me, I discovered mercy and anticipation in composing. When I found myself paralyzed by the searing agony of depression, exterior melodies stepped in to share my burden. This award of music had not only provided oxygen for my lungs; it had yielded a powerful breed of strength and beauty within me – the will to struggle, and the will to survive.

       While covering a music industry event in Hollywood this Spring, I had the pleasure of speaking to Benjamin Weinman of The Dillinger Escape Plan. As a friend had alerted me of Ben’s advocacy for youth suicide prevention (The You Rock Foundation in particular), I took the opportunity to ask him what it was about the process of creating music that had helped him in overcoming adversity.

“When I was growing up, I had a lot of difficulties in school. I had certain learning disabilities that made it difficult for me to process information in the way it was presented by a typical school curriculum. My experiences left me feeling extremely isolated and insecure. When I started playing music, I realized that intelligence had nothing to do with one’s ability to excel in the classroom environment. It gave me passion. It gave me confidence. I was able to make friends and also figure out new ways of learning. Creating give me purpose every day and will for the rest of my life… Music saved my life.”

The Dillinger Escape Plan live at Porter’s Pub, San Diego, 2014. Photo by Diana Hereld.

       Like Ben, I never cease to be amazed at music’s capacity to bring about a mental resilience. I know music to be a healing tool, because we are living attestations. It is utterly apparent that the pleasure of simply working in music sustained me through my more anguished, desperate moments. In The Problem of Pain, C.S. Lewis stated “No one ever told me grief felt so like fear.” In Orthodoxy, G.K. Chesterton said “The only courage worth calling courage must necessarily mean that the soul passes a breaking point and does not break.” I have felt this terror, and desperation – but I have also perceived the call of this courage.

˜

       A little over a year ago, I got the call about my friend. Over three hundred and sixty five days have passed since the night I thankfully had the cheek to gleefully yelp “Love you, buddy!” after my friend as he walked away; one hand in the air like an old fashioned movie star. Over the past twelve months, I have been granted more exposure to trauma, mental illness and mercy than I’d ever imagined possible. I have been made aware of more triggers in my subconscious than I felt I could handle, and I have been forced to confront them head on.  I’ve loved and lost more deeply, and written more music than ever before. I’ve applied to, and received a full fellowship to attend my top choice grad school for music and psychological resilience beginning this month. My friends have become my family; my songs that rare blend of confidant and hope. Though I have feared the dangers of losing emotional jurisdiction over my own life the most, I have realized that sometimes, it’s okay to let go, and press on – even when the route is unclear. As Bukowski famously quoted “As the spirit wanes, the form appears.”

       Not a day goes by that I don’t think of my friend. He touched the lives of so many, and I can only pray that I will one day repay him by giving back the selfless love he radiated to everyone around him, and by furthering the cause to ease the hearts of those struggling to find hope.

sunset

       I want to tell you, dear reader, that regardless of the tactless tragedies or inconsolable madness you may be undergoing, there are others. It’s not just that you are not alone – of course you’re not. You are surrounded by a cloud of witnesses, a humanity of enduring creatures, and an enclave of people who not only want to understand, but do understand. As unimaginable as it might sound at times, there is so much love to be found. If you’re standing on the beach at sunset, savor it while it lasts. If you’re going through hell, keep going. The impermanence and temporal nature of existence only contribute to its need to be treasured. For me, it has been my faith in God, and the self-awareness, hope and love I have found and tried to share though music. In the end, it is very possible that only we can save ourselves, but it is often the intrinsic beauty of life and dear ones surrounding that offer the priceless reminder that we can, and should. In the profound words of author Jennifer Hect, “We are indebted to one another and that debt is a kind of faith — a beautiful, difficult, strange faith. We believe each other into being.” Please stay, and please keep going. You will make it though, and it will be more radiant and precious than anything you can possibly imagine.

Diana Hereld, UCSD, Fall 2014

To those who have sustained me through the darkest and brightest of times:

As I continue to research the neurology of self-destructive behaviors and the psychological interventions that might be employed via music, I can only convey my infinite gratitude for whatever role, small or gargantuan; you have played in my life. I love you all. And thank you for the music.

˜

If you or someone you know is struggling with depression or suicidal thoughts, please visit the Suicide Prevention Lifeline or call 1-800-273-TALK (8255).

For more information on what The You Rock Foundation is doing to help youth overcome depression, follow them on FB and stay tuned for their official launch at http://www.yourockfoundation.org . Follow them on social media here -

twitter.com/YouRockFND
instagram.com/yourockfnd
youtube.com/yourockfnd

For more information on Benjamin Weinman and The Dillinger Escape Plan, visit here and here.

Can musical training influence brain connectivity? Evidence from diffusion tensor MRI

Brain Sci 2014 Jun 10;4(2):405-27

Can musical training influence brain connectivity? Evidence from diffusion tensor MRI

(Moore E, Shaefer RS, Bastin ME, Roberts N, Overy K)*

brainsci-04-00405-g001

“In recent years, musicians have been increasingly recruited to investigate grey and white matter neuroplasticity induced by skill acquisition. The development of Diffusion Tensor Magnetic Resonance Imaging (DT-MRI) has allowed more detailed investigation of white matter connections within the brain, addressing questions about the effect of musical training on connectivity between specific brain regions. Here, current DT-MRI analysis techniques are discussed and the available evidence from DT-MRI studies into differences in white matter architecture between musicians and non-musicians is reviewed. Collectively, the existing literature tends to support the hypothesis that musical training can induce changes in cross-hemispheric connections, with significant differences frequently reported in various regions of the corpus callosum of musicians compared with non-musicians. However, differences found in intra-hemispheric fibres have not always been replicated, while findings regarding the internal capsule and corticospinal tracts appear to be contradictory. There is also recent evidence to suggest that variances in white matter structure in non-musicians may correlate with their ability to learn musical skills, offering an alternative explanation for the structural differences observed between musicians and non-musicians. Considering the inconsistencies in the current literature, possible reasons for conflicting results are offered, along with suggestions for future research in this area.”

And for our Italian friends:

In tempi recenti i musicisti sono stati sempre più spesso reclutati per indagare la neuroplasticità della sostanza grigia e bianca indotta dall’acquisizione di nuove abilità. Lo sviluppo della risonanza magnetica a tensore di diffusione (DT-MRI) ha permesso un’indagine più dettagliata delle connessioni della materia bianca all’interno del cervello, permettendo di rispondere a quesiti che interessano lo sviluppo della neuroplasticità indotta dal training musicale. In questo studio, si discutono le potenzialità di questo metodo e si evidenziano le differenze di connettività riscontrate nel cervello di musicisti e non musicisti. Globalmente, la letteratura attuale tende a supportare un aumento della connettività interemisferica indotta dalla pratica musicale, con differenze significative trovate nelle varie regioni del corpo calloso dei musicisti rispetto ai non musicisti. In ogni caso, le differenze nelle fibre intra-emisferiche non sono sempre replicate, mentre le osservazioni riferite alla capsula interna e al tratto corticospinale sembrano essere contraddittorie. Esiste anche una recente evidenza che suggerisce che la variabilità nella struttura della sostanza bianca nei non musicisti possa correlare con la loro capacità di acquisire nuove abilità musicali, offrendo una spiegazione alternativa per le differenze strutturali osservate tra i musicisti e i non musicisti. Considerando le incongruenze nella letteratura, gli Autori propongono una possibile spiegazione per i risultati contraddittori, suggerendo una strategia per la ricerca futura in quest’area delle neuroscienze.

*(1 Institute for Music in Human and Social Development (IMHSD), Reid School of Music, Alison House, 12 Nicolson Square, Edinburgh EH8 9DF, UK; 2 SAGE Center for the Study of the Mind, University of California, Santa Barbara, CA 93106, USA; 3 Centre for Clinical Brain Science, University of Edinburgh, Edinburgh EH8 9YL, UK; 4 Clinical Research Imaging Centre (CRIC), University of Edinburgh, Edinburgh EH8 9YL, UK; 5 Institute for Music in Human and Social Development (IMHSD),Reid School of Music, Alison House, 12 Nicolson Square, Edinburgh EH8 9DF, UK)

“Neuromusic News” edited by Fondazione Mariani.
Contributors: Luisa Lopez, Giuliano Avanzini, Maria Majno and Barbara Bernardini.

This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution license (http://creativecommons.org/licenses/by/3.0/).