Society for Music Perception and Cognition
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Psychology Today

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Science News (special issue: A Mind for Music)

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Acoustics Research Letters Online

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APA Journals

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Computer Music Journal

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Upcoming Events:

Thirteenth International Research Symposium On Talent Education (May 26 & 27, 2016, Minneapolis, MN)

Minneapolis Hilton Conference Centre, MN,

Keynote address by Dr. Aniruddh Patel, Tufts University

Call for Research Papers, posters and Graduate Projects

Unpublished scholarly research papers and poster proposals, at any stage of development, on topics relevant to Suzuki Music Education are invited for submission to the 13th International Research Symposium on Talent Education or to the IRSTE Graduate Student Seminar and "research master class"* with Dr. Aniruddh Patel of Tufts University. Presenters are not required to be affiliated with the Suzuki Association.

Appropriate topic areas could include:

-early childhood development

-any related areas of music education

-instrumental education

-parental involvement in music education

-teacher-student interaction

-historical research regarding the Suzuki method

You are invited to submit an abstract of 300 words or less for papers, posters or the master class. On the title page, include the author's name, institutional affiliation (if applicable), email, and mailing address. Please also specify the event for which you are applying (the Research Symposium, Graduate Seminar or Poster Session). View our website for more details:

A copy of the abstract must be submitted electronically by January 31, 2016.

Selection of papers will be determined by a panel of qualified readers. Authors will be notified by Feb 29, 2016. Deadline for final paper submission is March 31, 2016. Email all submissions to Pat D'Ercole (pdercole <at> at the University of Wisconsin Stevens Point.

 * The Symposium provides a forum for papers and posters regarding current research in Talent Education. The Graduate Student Seminar features a unique research "master class," in which several graduate students will have the opportunity to consult and discuss their research in progress or project proposals with Dr. Aniruddh Patel.



Exploring the mind through music (June 6-10, 2016, Rice University, TX)

The Shepherd School of Music and Rice University are preparing to host their 3rd "Exploring the Mind through Music" Conference.  We are now accepting applications from musicians and scientists for the four-day program. All Conference costs are covered, including registration fees, housing and meals; fellows are only required to pay for their travel to campus. Please see the attached flyer and Conference website for full details:

The mornings feature innovative cross-disciplinary seminars: the science fellows will study music theory and history while the music fellows will learn about brain morphology, music perception and experimental design. The afternoons and evening sessions include presentations by visiting faculty including Ian Cross, Elizabeth Margulis, Isabelle Peretz, David Temperley, Michael Thaut, and Lawrence Zbikowski.

The fellows will also have a chance to share their work with their peers and the public in short, "TED"-style presentations. 

Musicians and scientists at any stage in their careers are encouraged to apply. Fifteen musician and fifteen scientist applicants will be selected based on their demonstrated interest and accomplishment in the field. Applications are due November 1st, 2015 and applicants will be notified by January 15th, 2016.


International Conference of Students of Systematic Musicology (SYSMUS) (Jyväskylä, Finland, 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.

If you would like to present your work/research there, the deadline for abstracts (300 words) is on the 31st of January. More information is available here:


Musical haptics workshop: Use and relevance of haptic feedback in musical practice - (July 4, 2016, London UK)

The workshop will present the latest researches (and related open issues) on the role of the haptic modality in the musician-instrument interplay, and on the implementation of haptic feedback in digital musical instruments.

Together with audition, the sense of touch is key when playing traditional musical instruments, supporting performance control (e.g., timing, intonation) and expressivity. Conversely, while current digital musical interfaces usually offer touch-mediated interaction, they currently do not provide a natural physical experience to the performer. We argue that future digital musical instruments (DMIs) providing advanced haptic feedback may offer enhanced user experience and performance. Also, haptic feedback would facilitate the access to DMIs for persons with somatosensory loss, the visually and even the hearing impaired, and it may provide an effective means for musical tuition and guidance. However, the details of how the auditory and haptic modalities are actually exploited in instrumental performance are still largely unknown, and require further research. For this reason, and due to still unanswered technological requirements, the design of haptic DMIs is not yet established. To investigate such issues, a strongly interdisciplinary scientific approach is required, bringing together fields such as haptic technology, psychophysics of audition and touch, physics of musical instruments, applied psychology and human-computer interaction.

The workshop is especially targeted to haptic engineers, interaction designers, HCI researchers, musicians and musical instrument designers who are interested in the use of haptic and auditory feedback in musical devices and human-computer interfaces in the broader sense.

Registration: Interested attendees must register through the Eurohaptics conference portal.

Additionally they are kindly requested to contact directly the workshop organizers by sending an email to stefano.papetti <at>


International Conference on Music Perception and Cognition (ICMPC) 2016 (San Francisco, CA, July 5-9th, 2016)

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. Abstract submission is now open! All abstracts are due February 1, 2016.

Abstract submission portal & instructions may be found here:

Don't forget to friend us on Facebook:

Or follow us on Twitter: @icmpc14

The opening keynote address will be at 1 PM on the 5th, and the closing keynote will end at 6 PM on the 10th

For more details, visit:

For questions & comments, contact the organizing committee:

icmpc14 <at>

We look forward to seeing you at ICMPC14!

Other important dates (tentative):
- Abstract acceptance: February 2016
- Final abstracts due: March 2016
- Early registration deadline: April 2016


Methods in Empirical Music Research (Max Planck Institute for Empirical Aesthetics, Frankfurt, Germany, July 18 -22, 2016)

An intensive five-day workshop for Music Scholars taught by Prof. David Huron, Special Guest Lecturer Prof. Heiner Gembris.

This workshop will be of interest to anyone wishing to expand or enhance their research skills in music. Participants will learn how to design and carry out music experiments, and how to apply empirical, systematic and statistical techniques to problems in music history, analysis, performance, culture, and other topics. The workshop is designed specifically to develop practical research skills for musicians and music scholars with little or no previous background in empirical methods.

The workshop introduces participants to a number of methods, including descriptive, exploratory and questionnaire methods, field research, interview techniques, correlational and experimental methods, hypothesis testing, theory formation, and other useful research tools and concepts. Participants will also learn how to read and critique published empirical research related to music — identifying strengths and weaknesses in individual music-related studies.

Finally, the workshop will address classic ideas in the philosophy of knowledge including postmodern critiques of empiricism. Participants will learn the advantages and disadvantages of both exploratory qualitative methods and formal quantitative methods. They will also learn the value of mixed qualitative and quantitative methods.


The workshop will accept 15 participants.
To apply for the workshop please send the following documents online to MEMR16.prj <at>

an up-to-date CV (PDF file)
grade transcripts from your Bachelor and/or Master courses (PDF file)
a one page letter of motivation, highlighting your interest and prior experience in the topic (PDF file)

  • Latest date for application: April 10, 2016, 24h CET
  • Notification of acceptance: April 29, 2016
  • Start of workshop: July 18, 2016


Summer School on Cognitive Neuroscience (3 ECTS) (Helsinki, Finland, August 11 to 17, 2016)

Organisers: Cognitive Brain Research Unit, Institute of Behavioural Sciences, University of Helsinki; Cicero Learning, University of Helsinki; Doctoral Program Brain & Mind (B&M)
Credits: 3 ECTS
Prerequisites: We primarily select to this course PhD students who have basic knowledge on neuroscience and/or related fields.

Aim and Format
The human brain and its ability to adapt to the demands of the environment is the core of our course. The course program will cover brain functions in the framework of neuroplasticity, with a focus in music processing during the course of normal and abnormal development. The course has demonstrations on modern brain imaging techniques such as electroencephalography (EEG), magnetoencephalography (MEG), and transcranial magnetic stimulation (TMS). The students also have an opportunity to introduce their projects and research outcomes in a poster session and to discuss their viewpoints in group works based on the pre-course readings. We primarily select to this course PhD students who have basic knowledge on neuroscience and/or related fields. This course is particularly useful for students who wish to gain knowledge about the most recent developments in auditory cognitive neuroscience, particularly when it comes to music functions.

For more information, visit


CogMIR 2016 (Columbia University, New York, NY, August 12, 2016)

The sixth annual seminar on cognitively based music informatics research (CogMIR) will take place on August 12, 2016 at Columbia University in New York City. In addition to invited keynote presentations by Daniel Müllensiefen (Goldsmiths College, University of London) and Juan Pablo Bello (New York University), we are pleased to invite the submission of abstracts for spoken or poster presentations.

Abstract submissions concerning research on the following topics are especially welcome:
-Computational modeling of music similarity
-Computational modeling of music emotion
-Cognitively based approaches to music information retrieval
-Cognitively based approaches to music analysis
-Cognitively based approaches to music generation
-Music cognition with implications for music informatics including music recommendation and music streaming systems

Abstracts of no longer than 200 words should describe the motivation, methodology, results and conclusions of research. Do not send abstracts as an attachment. Please type the abstract directly into the body of your email with a complete list of authors and their affiliations. Please indicate preference for poster or paper presentation.

Abstract submissions should be emailed to: cogmir2016 <at>

Important Dates:
Deadline for abstract submission: May 31, 2016
Notification of acceptance: by June 15, 2016
One-day Seminar: August 12, 2016, 9 am – 5.30 pm

Please direct any questions to the Seminar Organizers: Naresh Vempala (nvempala <at> or Frank Russo (russo <at>


Making Time in Music: an international conference (University of Oxford, U.K., 12–13 September 2016)

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.

Proposals of 250–300 words are invited for spoken papers of 20 minutes. These should be sent as a Word attachment to 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:

It is hoped that some papers from the conference will contribute to
a volume, Making Time in Music, edited by Mark Doffman.

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).


Past Events:

Pitch, Pace, and Rhythm – the Essentials to Conducting Music Treatment Research
Saturday, April 16, 2016, Program for Music, Mind, and Society at Vanderbilt
Vanderbilt Kennedy Center, Nashville, TN

[Abstract Submission is now open! To receive the link to submit an abstract or register for the workshop, please complete the Workshop SignUp Form if you have not done so already.]

The Program for Music, Mind, and Society at Vanderbilt invites interested researchers, students, and clinicians to attend our inaugural Workshop on the Essentials for Conducting Music Treatment Research. The workshop will bring together treatment researchers from musical and non-musical fields to enhance the methodology, design, and funding applications for incorporating music in treatment studies for language, social, cognitive, emotional, and motor outcomes.

The workshop will include presentations by featured NIH-funded treatment researchers and members of NIH review committees. Topics will include: the research story and getting funded (the pitch); the timing, collaborations, and trajectory of treatment research (the pace); and the foundation, design, and mediators of treatment research (the rhythm). The workshop will provide an opportunity for fostering connections and collaborations between treatment researchers.

Interested researchers are invited to submit abstracts of no more than 200 words for a limited number of spoken presentations and feedback opportunities. Presentations should focus on one of the following themes: (1) established/ongoing treatment research involving music; (2) pilot work (e.g., descriptive studies, case studies, etc.) that is looking to transition into treatment research; or (3) innovative methodologies for treatment research in music. Please note that individuals do not need to submit an abstract to attend the workshop. All attendees can participate in the roundtable discussions to discuss their treatment research designs.

For more information, pre-registration, to submit an abstract, or to be added to the contact list for this workshop:

Please contact Miriam.Lense <at> with questions regarding scientific programming.

Abstracts are due by March 15, 2016 and decisions will be made on a rolling basis.

Registration is required by April 6, 2016, or when we reach capacity. Lunch will be provided to all registered participants. Registration fees are free for students; $25 for post-doctoral fellows, non-faculty, and community members; and $50 for faculty.


International Symposium on Music Performance: Art and Neuroscience in Dialogue (Tübingen, Germany, 29th April – 1st May 2016)

Venue: Pfleghofsaal, Historical Room in the Institute of Musicology of Tübingen (Germany)
Organizers: Dr. Boris Kleber (University of Tübingen), Dr. Maria Herrojo Ruiz (Goldsmiths University of London), Dr. Paul Töbelmann (Werner Reichardt Centre for Integrative Neuroscience, CIN, Tübingen)

This symposium is possible thanks to the generous support of the Schering Foundation, The Werner Reichardt Centre for Integrative Neuroscience (CIN), and the International Brain Research Organization (IBRO).

Some highlights: Keynote lecture by Robert Zatorre (McGill, Montreal); final session with Robert Sutherland (Metropolitan opera, NYC) and Aaron Williamon (Royal College of Music, London).

Registration and poster abstract submission are now open:



CFP: Fifth Biennial Yale Graduate Music Symposium, Sound Limits: Music and Its Borders (March 4-5, 2016, Yale University, CN)

The graduate student community of Yale's Department of Music welcomes submissions for the Fifth Biennial Yale Graduate Music Symposium, to be held Friday, 4 March–Saturday, 5 March, 2016. We are pleased to announce that the Symposium will feature a keynote address by Prof. Ana María Ochoa (Columbia University), as well as a workshop led by Prof. Brian Kane (Yale University).

The theme for the conference is Sound Limits: Music and Its Borders. We invite graduate students to submit abstracts, of up to 300 words, for 20-minute papers that engage critically with music at its limits. The deadline for submission is Monday, 7 December, 2015. Abstracts should be sent to ygms <at>

Potential topics include, but are not limited to:

- Movements of music across boundaries—temporal, geographical, national, disciplinary, sensory, generic, religious, multimedial, and others

- Ways music has been employed in the service of structures of power, and/or the limits placed on musicality or expression by such forces

- Boundaries drawn between sound and music, musical genres, modes of musical performance, and other questions and problems of musical ontology

- Relationships between music and language, and how those relationships have been, or might be, understood

- The expansion of traditional analytical techniques and theoretical paradigms to accommodate wide-ranging repertoires (popular musics, folk musics, etc.)

- Formal and/or generic expectations, and how they condition interactions with music

- The (in)efficacy of importing humanistic or scientific discourses into the study of music

- Roles that sound studies, voice studies, and other new interdisciplinary fields forming around music and sound might play in music studies in the coming years

Please see visit our website at for further details.


2nd Conference of the Australian Music & Psychology Society (AMPS) 2015: The Art and Science of Music (Sydney, Australia, 7-9th December, 2015)

Abstracts are invited for the 2nd Conference of the Australian Music and Psychology Society (AMPS) Inc. to be held Monday 7 December to Wednesday 9 December on the University of Western Sydney Parramatta City (7-8 Dec) and Parramatta South (9 Dec) campuses. AMPS 2015 follows the successful inaugural AMPS conference held at the University of Melbourne in 2013. The theme of AMPS 2015 is The Art and Science of Music.

The aim of AMPS 2015 is to bring together faculty and Honours, Masters, and PhD students whose research is at the intersection of music and psychology. For example, music performance, music perception and cognition, music composition, improvisation, digital media, music education, music therapy, music and dance, wellbeing and health, psychoacoustics, and computational models of music(al) processes.

The conference will include short (15 min) oral presentations, poster presentations, keynote addresses, a music and text performance by austraLYSIS and friends on the evening of 8 December (Riverside Theatre, Parramatta), and sessions for members of the community and professions allied to the arts, education, health, and science.

The MARCS Institute at UWS is hosting four conferences from 7 to 11 December. Confluence on Wednesday 9 December will be a constellation of the four conferences to encourage new connections across disciplines. Confluence comprises meetings of AMPS together with the Australian Linguistic Society (ALS), Australasian Language Technology Association Workshop (ALTA) and Australasian Document Computing Symposium (ADCS). Confluence will be held on UWS Parramatta south campus and include oral and poster presentations, keynote addresses including Prof Jane Davidson (University of Melbourne, VCA and Melbourne Conservatorium of Music), Prof Dr Sonja Kotz (University of Manchester and Max Planck Institute for Human Cognitive and Brain Sciences), Prof Joe Wolfe (The University of New South Wales), a music and text performance by austraLYSIS, and a symposium on music and language, all designed to be of mutual interest and to optimise new interdisciplinary connections across the four conferences, the 300 delegates, and the disciplines of music, psychology, science and health, engineering, computing, design, acoustics, linguistics, and speech science.

AMPS 2015 will run Monday 7 December to Wednesday 9 December. Monday and Tuesday will be held on UWS Parramatta City campus and Wednesday on UWS Parramatta South campus (transport from Parramatta City to Parramatta South will be provided).

Contact Details: ampsconf15 <at>


Northeast Music Cognition Group (January 16th, 2016 - Harvard University, Cambridge, MA)

The next meeting of the Northeast Music Cognition Group (NEMCOG) will take place at Harvard University on Saturday, January 16th, 2016. The event is co-hosted by the Harvard Department of Music and the Harvard Mind Brain Behavior Music/Science Faculty Interest Group.

The goal of this group is to facilitate interaction among researchers at institutions along the Northeast Corridor who are interested in music cognition, to discuss research in the field, and to identify topics of joint interest and areas for potential collaboration.


If you would like to attend NEMCOG 2016, please RSVP by November 16th, 2015 using this form. For those that are interested in presenting either a talk or a poster, the form includes a place for you to provide a title and short abstract. We will notify you of abstract acceptance and format by mid-December.

If you would like to receive our regular announcements, or if you cannot attend this spring's meeting but wish to be kept informed of the group's activities, please sign up for our mailing list:

Please circulate this invitation widely to anybody that you think might be interested and able to attend!

If you have any questions, feel free to contact the organizing committee: nemcog1 <at>



Learning and Teaching Music in the Twenty-First Century: The Contribution of Science and Technology International Symposium (Montreal, Canada, 5-7th November, 2015)

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

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

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

Organizing committee
o   Isabelle Cossette – McGill (Event coordinator)
o   Isabelle Héroux – UQAM (Event coordinator)
o   Georges Dimitrov –Concordia University
o   Francis Dubé – EIRPI, Université Laval
o   Justin Maheux – SQRM
o   Caroline Traube- OICRM, Université de Montréal

Extended call for proposals: New deadline January 15th, 2015


11th AnnualNeuroMusic Conference: “Music and Health” (November 14, 2015, McMaster, Hamilton, ON)


"How Can Learning Dance Choreography Inform us About Neurorehabilitation?"

Dr. Joseph DeSouza, York University

"The Impact of Music Training on Hearing Abilities in Older Adults "

Dr. Benjamin Zendel, Faculty of Medicine, Memorial University

"A Deeper Look at Musicians’ Health: Examining the Mind/Body Connection"

Dr. Kathleen Riley, Cleveland Institute of Music

Poster Submission: Posters are welcome on any topic related to the scientific study of music perception and cognition. Please email a 250 word abstract to Dr. Steven Brown (stebro <at> The deadline for abstract submissions is October 15, 2015.Notification of acceptance will be sent out as poster submissions are received.


“What are Emotions and Why Does Music Elicit Them?”

Dr. Julian Thayer, Ohio Eminent Scholar Professor in Health Psychology, Ohio State University

Featuring Musical Illustration by All Star Trio:

Tim Ries, (Saxophone) currently with The Rolling Stones

Pheeroan akLaff, (Drums) currently with Jazz Legend Cecil Taylor

Julian Thayer, (Bass)


To register online, click on the following link: (not set up yet)

Early Bird Registration: If you register before October 30th, cost of the CONFERENCE ONLY is $75 ($50 for students) and includes breakfast and lunch.

*****With registration, a ticket to the Keynote Concert is an additional $25.

If you wish to attend only the Keynote Concert, the cost is $35.

Seating for the Keynote Concert is limited to 100 people so reserve your ticket early!

Late Registration: After October 30th, registration for the CONFERENCE ONLY is $95 ($70 for students).

Keynote Concert $35

For more details, visit Workshop talk abstracts, maps, dinner ideas, where to stay in Hamilton, and more will be available in the coming weeks.


CRoMA 2015 (November 14th, 2015, Lincoln University, MO)

CRoMA 2015 is the 1st Annual Symposium for Computational Research on Music & Audio

The website for this symposium is here:

The call for participation is here:


APCAM 2015 (Chicago, IL, November 19th, 2015)

The 14th Annual Auditory Perception, Cognition and Action Meeting (APCAM 2015) will be held on Thursday, November 19th (at the Hilton Chicago Hotel) in Chicago, Illinois. APCAM is a one-day satellite meeting affiliated with the annual meeting of the Psychonomic Society. The goal of APCAM is to bring together researchers from various theoretical perspectives to present focused research on auditory cognition, perception, and aurally guided action. APCAM is a unique meeting in its exclusive focus on the perceptual, cognitive, and behavioral aspects of audition. Another unique aspect of APCAM is that it recently has become a FREE EVENT FOR ALL ATTENDEES.

The Organizing Committee welcomes not only empirical, but also general theoretical and methodological submissions on a variety of auditory topics, including (but not limited to) the following areas:

Localization, motion perception, and spatial cognition
Object, event, and pattern perception
Aurally guided action and navigation
Auditory scene analysis
Timing and attention
Pitch, loudness, and timbre perception
Music perception, cognition, and performance
Comparative auditory processing
Behavioral neuroscience
Memory and source identification

Submissions should include an abstract of 300 words or less, the title of the proposed presentation, names and institutional affiliation information for all contributing authors as they should appear in the conference program, as well as e-mail contact information for the primary/submitting author. Abstracts should be submitted online by following the Submit link on the APCAM website (; this submission portal is expected to become active prior to the end of June. Authors also can communicate directly about submissions with the Chair of the Organizing Committee at hallmd <at>

Each submission also should indicate whether there is a preference for an oral or poster presentation. The committee will make every effort to accommodate presentation preferences, though it may not be possible to honor all requests. Given the limited number of oral presentations, authors traditionally have only been permitted a single oral presentation. If there are more accepted abstracts with an oral presentation preference than there are available presentation slots, preference will be given to papers judged to represent the strongest contributions, as well as to participants who did not deliver an oral presentation at the immediately preceding APCAM.

Additionally, the Organizing Committee welcomes proposals representing either a cluster of 3-4 related abstracts or a possible (45- to 60-minute) panel discussion on a unified topic. Related abstracts can be submitted separately, along with a separate abstract (still 300 words or less) from the coordinating author. Proposals for panel discussions will only require this latter type of abstract. The abstract from the coordinating author should indicate the motivation for, and the nature of, the proposed session, including a brief overview of the fundamental issue(s) that it hopes to address. A listing of contributing authors for the session also should be provided, along with a brief statement about what each author will discuss. Such abstracts are expected to be included in the printed program if a proposal is accepted. Preference will be given to proposed sessions that cut across research domains and that have important theoretical implications and/or practical applications. Additionally, panelists for proposed sessions should be selected based upon their areas of expertise, and thus their ability to actively contribute to the discussion. Panel discussions should be designed to allow for at least 10-15 minutes of questions/participation from the audience either at the end of the session or interspersed throughout the panel discussion.

The deadline for submission of abstracts and all program proposals is October 1. While this traditional deadline is very close to the conference date, all authors are expected to be notified about the status of their submission very rapidly after the submission deadline. Travel and reservation information can be located through the APCAM website (, which includes a link to details found on the Psychonomic Society site (


Conference on Interdisciplinary Musicology (CIM15) "Imagination in Music" (Shanghai, China, 27-29 November 2015)

CIM brings together all subdisciplines and paradigms of musicology – including analytical, applied, comparative, cultural, empirical, ethnological, historical, popular, scientific, systematic, theoretical - and all musically relevant disciplines – including acoustics, aesthetics, anthropology, archeology, art history and theory, biology, composition, computing, cultural studies, economics, education, ethnology, gender studies, history, linguistics, literary studies, mathematics, medicine, music theory and analysis, neurosciences, perception, performance, philosophy, physiology, prehistory, psychoacoustics, psychology, religious studies, semiotics, sociology, statistics, therapy. All contributions to CIM have at least two authors, and the first two authors represent two of the following three groups: humanities, sciences, and practically oriented disciplines.

CIM15 will be the 10th CIM and the first Asian CIM. It will be held in Shanghai, China from November 27 to 29, 2015, and hosted by the Shanghai Conservatory of Music.

CIM15 will focus on imagination in music – a topic involving such diverse disciplines as acoustics, audio technology, physiology, psychology, sociology, aesthetics, philosophy, history, ethnology, anthropology, and ideology. The central role of imagination in music has been underestimated in music research. If we are to understand the composition, performance, perception, reception, meaning and social functions of music, we must also understand how music is imagined. On a broader philosophical or religious level, studies of imagination can help us to understand deep questions of body, mind and soul and their interrelationships.

The conference will be bilingual, English and Chinese. Introductory and administrative announcements and information will be presented in both languages. At least half of presentations will be entirely in English, and Chinese presentations will be bilingual, with speech in Chinese and slides in English or vice-versa. The abstract booklet will include an English and a Chinese version of every abstract.

The theme of CIM15
All conference submissions must address the conference theme "imagination in music". Relevant disciplines and promising approaches include:
• Philosophy: musical imagination as culture and ideology
• Anthropology: musical imagination in different cultures
• History: musical imagination in different periods
• Reception: musical audiences, music criticism, musical meaning
• Mind, body, and soul: ecstasy/trance in music, music therapy, music and religion, transculturality
• Technology: sound and music computing, music and the internet
• Psychology of music and imagination: behavior, cognition, neuroscience
• Music theory: imagination of musical structure
• Composition: imagination and creativity, aesthetics, individual composers
• Performance: imagination, interpretation, improvisation
• Other arts: imagination in music and literature, visual arts, plastic arts, drama, architecture

Please submit your abstract to cim2015 <at> by 31 December 2014


International workshop on quantitative and qualitative music therapy research (Barcelona, Spain, 15th October, 2015)

Music is known to have the power to induce strong emotions and physiological changes. Musical activities have a positive impact in the perception of quality of life and may even improve cognitive, social and emotional abilities. it is not surprising that a variety of clinical conditions are often treated with music therapy. Large scale studies have shown that music therapy produces significant improvements in social behaviors, overt behaviors, reductions in agitated behaviors, and improvements to cognitive problems, However, the positive effects of music therapy are not homogeneous among all studies, and there is often a lack of formal research involving quantitative and qualitative methods to assess the benefits and limitations of music therapy in concrete treatments.

In order to encourage participation, registration to the Workshop will be free of charge. However, the workshop has a limited number of places for non presenters, so please register by sending an email to rafael.ramirez <at> with your name and affiliation.


SEMPRE 2015 Conference on Music and Health (21st - 23rd Oct 2015, Glasgow).

Register at the conference website:

Event details:

This is a three day event in partnership with SEMPRE and the Scottish Music and Health Network, and comprises three separate events:

·         Wednesday 21st Oct: SEMPRE Study day on Music Psychology and Education. A postgraduate study day focussing on music psychology, education and related topics.

·         Thursday 22nd Oct: SEMPRE conference on Music and Health. One day conference exploring the relationship between music and health, encompassing music listening, performance, music therapy, community music and more.

·         Friday 23rd Oct: SMHN meeting for music practitioners, healthcare professionals, academics and interested members of the public. Free to attend, however numbers may be limited subject to availability.


The conference will be held at the Technology and Innovation Centre, 99 George Street, Glasgow, G1 1RD.

More details are available via the conference website, and the Scottish Music and Health Network Website:


3rd ViennaTalk on Music Acoustics (Vienna, Austria, 16–19th September 2015)

This international symposium is organised by the Institute of Musical Acoustics (Wiener Klangstil) in association with the TCMA of the EAA and co-sponsored by ASA, ESCOM, HBS and AMIS. The complete call for participation can be found at

The meeting will take place on the occasion of the 35th anniversary of the Institute at the campus of the University of Music and Performing Arts Vienna. We want to address scientists as well as musicians and makers or conservators of musical instruments. The idea, "Bridging the Gaps", means to focus on the dialogue between the aforementioned groups. Scientists will be encouraged to present their papers in a generally understandable way, and instrument makers and musicians will be able to communicate their observations, hypotheses and problems to an interested scientific audience. This way, research might be directed towards new questions, while manufacturers, musicians, instrument conservators and collectors will have the opportunity to find answers and get access to new methods and tools.

We encourage submissions in a wide range of topics in Music Acoustics, Performance Science, and Organology. Please submit your contribution as 300-word abstract or 4-8 page paper by March 1st 2015 at

For more information, please visit the conference web page:  If you have any questions after visiting the web page, please email the secretary at viennatalk <at>



The Institut fur 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 on our website

Important Dates
- 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

More details on the conference, venue and registration will be announced on the website


CogMIR 2015 (Ryerson University, Toronto, Canada, Sept 5th, 2015)

The fifth annual seminar on cognitively based music informatics research (CogMIR) will take place on September 5, 2015 at Ryerson University in Toronto, Canada. In addition to invited keynote presentations by Morwaread Farbood (New York University) and Erik Schmidt (Pandora), we are pleased to invite the submission of abstracts for spoken or poster presentations.

Abstracts submissions concerning research on the following topics are especially welcome:
-Computational modeling of music similarity
-Computational modeling of music emotion
-Cognitively based approaches to music information retrieval
-Cognitively based approaches to music analysis
-Cognitively based approaches to music generation
-Music cognition with implications for music informatics including music recommendation and music streaming systems

Abstracts of no longer than 200 words should describe the motivation, methodology, results and conclusions of research. Do not send abstracts as an attachment. Please type the abstract directly into the body of your email with a complete list of authors and their affiliations. Please indicate preference for poster or paper presentation.

Abstract submissions should be emailed to:

Important Dates:
- Deadline for abstract submission: June 15, 2015
- Notification of acceptance: by June 30, 2015
- Deadline for early registration: August 5, 2015
- One-day Seminar: September 5, 2015, 9 am – 5.30 pm

Please direct any questions to the Seminar Organizers: Naresh Vempala (nvempala <at> or Frank Russo (russo <at>


International Symposium on Performance Science 2015 (Ryukoku University, Kyoto, 2-5th September 2015)

The ISPS 2015 theme, Performance Education, is intended to provide a platform for new research and discussion on processes of learning, training and review that enable effective performance. Specific research topics, fields of study, and methodological approaches have been left open intentionally to encourage interdisciplinary exchange.

Submissions detailing original research are invited from across all performance disciplines. The official language of the conference is English.

15 January 2015: Paper/poster proposal deadline
15 February 2015: Notification of submission decision
1 March 2015: Registration opens for ISPS 2015
15 April 2015: End of early registration discount
1 May 2015: Frontiers Research Topic opens for submissions
2 September 2015: Start of ISPS 2015

Abstract submissions of 500 words (maximum) are invited for
- Spoken papers
- Poster presentations
- Symposia and workshops

Detailed instructions for submissions, registration and graduate awards are available via the conference website:


2nd international Conference on Dalcroze Studies: "The movement connection"(26 - 29 July 2015, Vienna)

Following the successful and widely praised inaugural conference at Coventry University in 2013, we are pleased to announce that the 2015 host is the University of Music and Performing Arts Vienna (mdw), Austria. 2015 is an important year for the field of Dalcroze Studies. It is the 150th anniversary of Jaques-Dalcroze’s birth in the city of Vienna. Other celebrations include the centenaries of the Institut Jaques-Dalcroze, Geneva and Dalcroze UK (formerly the Dalcroze Society UK).

However, the aims of the conference look beyond these particular events and organisations:
- To present the best of current research and practice within Dalcroze Studies and related fields worldwide, especially – this year – research into music and movement relationships in music, dance, somatic practices, theatre and therapy
- To develop interdisciplinary research into Dalcroze Eurhythmics and related fields
- To develop Dalcroze practice, and that in related fields, through research
- To promote contact and understanding between different disciplines, including different traditions of Dalcroze practice and Dalcroze-related practice

Keynote speakers (confirmed):
- Professor Dr Eckart Altenmüller, Hochschule für Musik, Theater und Medien Hannover, Germany
- Dr Gunhild Oberzaucher-Schüller, dance historian
- Dr Marja-Leena Juntunen, Sibelius Academy, Helsinki, Finland
- Prof. Sally Ann Ness, University of California Riverside, California, USA

We also proudly present:
- Professor Eleonore Witoszynskyj (University of Music and Performing Arts Vienna, Austria) in conversation with Dalcroze Diplômé Paul Hille
- And Hilde Kappes as our guest artist

For more information:


Ninth Triennial European Society for the Cognitive Sciences of Music (ESCOM) Conference(17-22 August 2015, Manchester, UK)

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

Key dates:
· 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 or contact the Organising Committee at escom2015 <at> We look forward to receiving your submissions and encourage you to keep abreast of developments relating to the conference on the website and Twitter <at> ESCOM2015. Please also share amongst colleagues, students, and other interested parties.

Jane Ginsborg (Chair) and Alexandra Lamont (Co-chair)


Society for Music Perception & Cognition 2015

SMPC 2015 was held August 1-5, 2015, and hosted at Vanderbilt University. Dr. Elizabeth Dykens agreed to serve as conference chair, with Dr. Reyna Gordon serving as conference co-chair. For more information please visit the conference website.


11th International Symposium on Computer Music Multidisciplinary Research (CMMR) Music, Mind, and Embodiment (16-19 June 2015, Plymouth, UK)

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)?

For further details please visit:


1st International Workshop on Brain-Computer Music Interfacing (15 June 2015, Plymouth, UK)

This workshop will be hosted at the Interdisciplinary Centre for Computer Music Research (ICCMR), Plymouth University UK. It is a satellite of the 11th International Symposium on Computer Music Multidisciplinary Research - CMMR 2015: Music, Mind, and Embodiment (see details above). Attendance to both events is strongly encouraged.

The workshop will coincide with the publication of a new book by Springer entitled Guide Brain-Computer Music Interfacing, edited by Eduardo R. Miranda and Julien Castet.

Prof David Rosenboom, the pioneer from CalArts, California Institute of the Arts, is set to perform at the workshop and deliver a CMMR 2015 keynote

We are inviting submissions for papers, demo's and performance pieces.
Submission deadline: 27th Feb 2015

For more information and submission instructions please visit the website at:


Fifth Biennial International Conference on Mathematics and Computation in Music (MCM2015) (22-25 June 2015, Queen Mary University of London, United Kingdom)

MCM is the flagship conference of the Society for Mathematics and Computation in Music, whose official publication is the Journal of Mathematics and Music. The aim of the conference is to bring together researchers from around the world who adopt mathematical and/or computational approaches to address any aspect of music theory, music analysis, composition and performance. MCM aims to provide a dedicated platform for the communication and exchange of ideas amongst researchers in mathematics, informatics, music theory, composition, musicology, and related disciplines.

For further details on the conference and the submissions please go to

We look forward to seeing you in London!

MCM 2015 General Chairs:
Oscar Bandtlow, Queen Mary University of London
Elaine Chew, Queen Mary University of London

MCM 2015 Programme Chairs:
David Meredith, Aalborg University
Anja Volk, Utrecht University


AES Conference on Music-Induced Hearing Disorders (June 28-30, 2015, 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.

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

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:


SIMCAM 2015 - XI International Symposium on Cognition and Musical Arts (Pirenópolis, Brazil, 26-29th May, 2015)

In 2015 the 11th International Symposium on Cognition and Musical Arts (SIMCAM), promoted by the Brazilian Association of Cognition and Musical Arts (ABCM) in partnership with the Federal University of Goiás (UFG), will be held in the historic city of Pirenópolis (near Goiânia), between 26 and 29 May.

General information: The symposium will schedule conferences, roundtables, oral communications and poster sessions for research results and ongoing research. There will also be meetings of different working groups and artistic presentations.

Chair: Prof. Dr.  Sônia Ray - Federal University of Goiás
soniaraybrasil <at>

Call for Papers:

Deadline: February 22, 2015


Methods in Empirical Music Research: A Workshop for Music Scholars. (May18-22,2015)

Monday May 18 to Friday May 22, 2015.
School of Music, Ohio State University

We are pleased to announce a workshop on empirical methods in music research. This is an intensive five-day workshop taught by Prof. David Huron.

The workshop will be of interest to anyone wishing to expand or enhance their research skills in music. Participants will learn how to design and carry out music experiments, and how to apply empirical, systematic and statistical techniques to problems in music history, analysis, performance, education, culture, policy, and other areas. The workshop is designed specifically to develop practical research skills for musicians and music scholars with little or no previous background in empirical methods.

The workshop introduces participants to a number of methods, including descriptive, exploratory and questionnaire methods, field research, interview techniques, correlational and experimental methods, hypothesis testing, theory formation, and other useful research tools and concepts. Participants will also learn how to read and critique published empirical research related to music — identifying strengths and weaknesses in individual music-related studies.

The workshop objectives will be pursued through a series of day-long activities, including lectures and demonstrations, interspersed with twenty hands-on and group activities.

Three different forms of registration are available for workshop participants. The fee for non-credit participation is $450. A fee schedule for continuing education, and graduate course credit (2 credit hours) is pending. Participants are responsible for their own transportation, food and accommodation.

For further details, see

David Huron
Arts and Humanities Distinguished Professor of Music
School of Music
Ohio State University
huron.1 <at>


NORTHEAST MUSIC COGNITION GROUP (Wesleyan University, April 4, 2015)

The next semiannual meeting of the Northeast Music Cognition Group (NEMCOG) will take place at Wesleyan University on Saturday April 4, 2015.  The goal of this group is to facilitate interaction among researchers at institutions along the Northeast Corridor who are interested in the area of music cognition, to discuss research in the field, and to identify topics of joint interest and areas for potential collaboration.

If you would like to attend this meeting of NEMCOG, please RSVP to nemcog1 <at> by Sunday, March 15, 2015.

You are welcome to attend the day's events and enjoy the company of your colleagues. You are also invited to give a very short (8 minutes), semi-formal presentation of your work, aimed at a fairly general audience that will include people with established research programs in areas outside your specialty, as well as students and other newcomers to the field.  The goal is simply to give a broadly contextualized sense of the questions you're asking, not a detailed picture of your answers.  At our previous meetings, we have found the 8-minute format to be expedient, exhilarating, and successful for both presenters and audience members.

This year, we especially welcome abstract submissions in honor of David Wessel (1942 - 2014), Professor of Music at UC Berkeley, founding director of Berkeley's Center for New Music and Audio Technologies, and past president of the Society for Music Perception and Cognition.

We hope to make slots for eight-minute talks available to all, but in an effort to make room for speakers who have not spoken at NEMCOG previously, we may have to turn down some requests for slots at this meeting.  If you would like to do a presentation, please indicate so in your RSVP with a tentative title and a short abstract or bio. All presented abstracts and bios will be shared with our attendees and posted on our web site.

If you cannot attend this spring's meeting, you can be kept abreast of the group's activities through continued inclusion on our e-mail list. If this message was forwarded to you by a colleague or through another e-mail list, and you would like to receive our regular announcements, please sign up for our mailing lists at


Musicians: Born or made? (April 10-11th, 2015, Montreal)

This conference on Music and Talent includes a scientific workshop with priority to the Academic community (registration in advance is preferred) and a free concert-conference.

The role of natural endowment and hard work in musical performance is one of the oldest and most contentious issue in both science and society. Up to the 20th century, innate talent was associated to musicianship. Over the last century, the prevalent view has been that intensive practice is key. The goal of this workshop is to examine whether music practice alone can account for individual differences in musical abilities or if we should also acknowledge the importance of innate predispositions.

The conference includes academic presentations by leading experts in the fields of music, child psychology and neuroscience, round table discussions and a public concert-conference.

Registration: The conference is free, however we would appreciate if you would register in advance here:

Dates and locations
Friday, April 10, 4pm to 6pm, Théâtre Rouge, Conservatoire de Musique de Montréal
Saturday, April 11, 9am to 6pm, C-3061, Carrefour des Arts et des Sciences
Pavillon Lionel-Groulx, Université de Montréal
(See the conference website for a detailed schedule)


2nd International Conference on Music and Consciousness

Faculty of Music, University of Oxford, UK (April 14-17th, 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. Deadline for proposals is July 2014.


Music Cognition: Where Computational and Cognitive Models Meet (March 25-26, 2015, Amsterdam, The Netherlands)

Music is a complex human phenomenon, motivating researchers to develop a wide variety of models to understand it. Scholars have been developing and revising musical models for more than two thousand years, ranging from the intervallic theories of Pythagoras to the models for large-scale music data mining used at music intelligence companies such as Spotify and Deezer. Different types of models have been developed to suit different academic purposes, including a number of cognitive models (Deutsch & Feroe, 1981; Koelsch, 2011; Lerdahl & Jackendoff, 1983; Narmour, 1992; Peretz & Coltheart, 2003) and a number of computational models of music cognition (Wiggins, Pearce, & Müllensiefen, 2009; Temperley, 2007; Honing, 2006), and at times, partisans of one model have criticized alternative models for the ways in which they are inevitably wrong or inadequate.

The study of music cognition has been a notable flashpoint in these debates, specifically whether ‘cognitive’ or ‘computational’ models are most appropriate and where to draw the boundary between them (Volk & Honingh, JMM special issue 2012). Such polemics may well have resulted in missed collaborations among researchers with the common goal of understanding the mechanisms underlying music cognition. This workshop aims to uncover new areas where cognitive models and computational models of music cognition could profit from one another, promoting a better understanding of music as a human phenomenon and improving the communication between music cognitive and computational scientists.

This workshop will feature keynote presentations, tutorials on computational and cognitive modelling (by the keynote speakers), and oral presentations. We welcome submissions for oral presentations (see submission guidelines).

This workshop on Music Cognition is embedded in the SMART Cognitive Science International workshop. For more information, see

Organisers: John Ashley Burgoyne and M. Paula Roncaglia-Denissen
Advising committee: Henkjan Honing, Aline Honingh and Makiko Sadakata


Northeastern Music Information Special Interest Group (NEMISIG) and Hacking Audio and Music Research (HAMR) (January 31 and February 1-2, 2015 - Ithaca, NY)

NEMISIG (Northeastern Music Information Special Interest Group) is a yearly informal workshop which brings together researchers from various institutions in the Northeastern United States who work on music information retrieval. The meeting provides a space for open discussion of new ideas and intends to foster intercollegiate collaboration.

NEMISIG will be followed by HAMR 2015 (Hacking Audio and Music Research). HAMR is an event which applies the hackathon model to the development of new techniques for analyzing, processing, and synthesizing audio and music signals.

NEMISIG - January 31, 2015 - Ithaca College, Ithaca NY, USA
HAMR - February 1-2, 2015 (tentative) - Cornell University, Ithaca NY, USA

There is no cost to register, but you must register to attend so that we can plan accordingly.

Details & Registration:
More information and instructions on how to register can be found at:


International Conference on Multimodal Experiences of Music (ICMEM) (March 23-25, 2015, Sheffield, UK)

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 among others audiology, cognition, computer science, ethnomusicology, music performance and theory, neuroscience, philosophy, and psychology.

This conference is supported by ESCOM and SEMPRE, who offer bursaries to student attendees.

The 9th Annual Meeting of the Auditory Cognitive Neuroscience Society (January 5-7, 2015 – Tucson, AZ)

The University of Arizona will host the 9th annual meeting of the Auditory Cognitive Neuroscience Society (ACNS). This conference was created to bring together researchers from a variety of backgrounds to discuss the cognitive/perceptual processing of complex signals such as speech, music, and natural sounds.

ACNS is free and open to the public. However, we ask that you register online so we can estimate attendance and plan accordingly.

Visitor parking is available in any of the UA parking garages. The 2nd Street Garage (2nd and Mountain) is closest to the conference venue. Parking costs $10/day.

Hotel Accommodations
Lodge on the Desert (3.2 miles from UA) is the main hotel for ACNS presenters. Other hotel options include Marriott Tucson University Park (within walking distance to the conference venue) or the Doubletree Hotel Tucson at Reid Park).

The deadline for poster submissions is November 24, 2014. Abstracts should be sent to davi.vitela <at> Additional instructions for poster abstract submission will be available on the conference website.

For more information, including further details on the conference schedule as they
become available, please visit
or contact Andrew Lotto at alotto <at>