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2nd Announcement: EUROPEAN SOCIETY FOR THE COGNITIVE SCIENCES OF MUSIC conference - Liege - April 5-8, 2002 . . . [MTG] (02.04.09)
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Date: Mon, 22 Oct 2001 17:51:23 -0700
Submitted via: "Asmus, Edward P" <ed.asmus@MIAMI.EDU>
EUROPEAN SOCIETY FOR THE COGNITIVE SCIENCES OF MUSIC
Second Announcement
To celebrate its
10th ANNIVERSARY
ESCOM organises from 5 to 8 April 2002
At the Unversity of Liege (Ulg, City center buildings)
A conference around
MUSICAL CREATIVITY
Organisers
Marc Melen and Irene Deliege
Collaborations
Unite de Recherche en Psychologie de la Musique
University de Liege, Arts et Sciences de la Musique
Centre de Recherches et de Formation Musicales de Wallonie
Honorary committee
Robert Wangermee (President of the Conseil de la Musique de la Communaute
francaise)
Willy Legros (President of the ULg)
Bernard Rentier (Vice-President of the ULg)
Louis Kupper (Dean of the Faculty of Philosophy and Letters, ULg)
Marcel Crahay (Dean of the Faculty of Psychology and Educational Sciences,
ULg)
CALL FOR PAPERS
The programme will involve keynote lectures, symposiums and individual
contributions (spoken papers and posters). The themes of the individual
contributions are free. However, the topics concerning the themes of the
keynote lectures. The contributions not immediately related to musical
creativity, but likely to shed light on this domain, are also welcomed.
Deadline for submissions: 15 November 2001
Notification of evaluation: 15 December 2001
Authors are invited to submit an abstract of 300 words maximum, presenting
clearly the aim of the research, the method and the results obtained. They
will provide also: type of presentation, equipment needed, affiliation,
address, phone and fax number, e-mail. The submissions and notifications
will be done EXCLUSIVELY by e-mail at the following address:
m.melen@ulg.ac.be
10th ANNIVERSARY AWARD
MUSICAE SCIENTIAE will publish a special issue presenting particularly
outstanding individual oral presentations or posters. Awarded candidates
will be asked to submit their final draft by end of October 2002. The papers
will be submitted to the usual peer-review process. A diploma of the 10th
anniversary will be attributed to the selected candidates after publication
of their paper.
Scientific Committee: Irene Deliege (University of Liege), Alf Gabrielsson
(Uppsala University), Michel Imberty (Paris-X Nanterre), Marc Melen
(University of Liege), Andrzej Rakowski (Chopin Academy of Music Warsaw),
John Sloboda (Keele University).
The official languages of the conference are English and French. A
simultaneous translation will be organised for the keynotes and the
symposia.
Remarks :
The organisers will respect the authors' wish as much as possible. However,
they reserve the right to change the type of presentation.
CONFERENCES AND SYMPOSIA
Performance
Conference: Eric CLARKE (Sheffield University)
Symposium: Andreas LEHMANN (University of W=FCrzburg)
Philosophy and Musicology
Conference: Nicholas COOK (University of Southampton)
Symposium: Michel IMBERTY (Paris X-Nanterre)
Neurosciences
Conference: Colin MARTINDALE (University of Maine)
Symposium: Eckart ALTENM=DCLLER (University of Hannover)
Artificial Intelligence
Conference: Peter TODD (Max Planck Institute, Berlin)
Symposium: Geraint WIGGINS (City university-London)
Education
Conference: Peter WEBSTER (Northwestern University)
Symposium: Peter WEBSTER (Northwestern University)
Musicotherapy
Conference: Tony WIGRAM (University of Aalborg)
Symposium: Edith LECOURT (University of Paris-V)
SATELLITE SYMPOSIUM dedicated to Fred LERDAHL=B9s last book Tonal pitch
space.
WORKSHOP on an educational approach for children by the Centre TEMPO REALE
(Florence) and the Ecole Nationale de Musique du pays de Montbeliard.
ERIC CLARKE
University of Sheffield
CREATIVITY IN PERFORMANCE
Biographical sketch
Eric F. Clarke went to the University of Sussex to read for a degree in
Neurobiology, and graduated (1977) with a degree in Music. He took an M.A.
in Music at Sussex (1978), studying options in Analysis, Aesthetics and the
Sociology of Music, and completed a doctorate in Psychology (1984) at the
University of Exeter, supervised by Henry Shaffer, writing a thesis on
"Structure and Expression in the Rhythm of Piano Performance". From 1981 he
worked as Lecturer, Senior Lecturer and Reader in music at City University
in London. In 1993, he took up his present post of Professor of Music at the
University of Sheffield. He is a consulting editor for the journals Music
Perception and Musicae Scientiae, on the Editorial Board for the journal
Music Analysis, and a member of the Advisory Panel for the Journal of the
Royal Musical Association. He has published widely on musical performance
and perception (with a particular focus on rhythm and timing). He is
currently contracted to Oxford University Press for an edited book with
Nichoilas Cook on Empirical Musicology, : Aims, Methods, Prospects and a
monograph on listening which considers the relationship between the
perception of music and the perception of environmental sound, with an
emphasis on the meaning and aesthetic impact of music.
Keynote abstract
All musical performance is creative in the sense that it gives rise to
sound; but clearly some kinds of performance, and performance in certain
musical idioms, display more conspicuously creative characteristics than
others. This paper reviews some of the considerable volume of research that
has investigated different aspects of creativity in performance, and
considers different perspectives on how this creativity might be accounted
for and understood. While acknowledging the creativity in all performance,
it is in improvised performance that creativity is arguably at its most
obvious. The study of improvisation, and of the origins of improvised
creativity, therefore constitute an important part of this paper, seen from
both cognitive and social perspectives. This in turn raises a number of
aesthetic issues in improvisation which have broadly psychological
implications: Who is improvisation for, the performers or the audience? Ho w
might different genres of improvisation be defined, and do they raise
different questions, and demand different approaches? What is the particular
fascination of improvisation by comparison with composition or performance?
The paper concludes with some suggestions for domains and methods within the
study of improvisation which have so far received little or no attention.
NICHOLAS COOK
University of Southampton
THEORY OF MUSIC OR THEORY OF CREATIVITY?
Biographical sketch
A musicologist and theorist, Nicholas Cook contributed to found the
Department of Music at the Universities of Hong Kong and taught at the
University of Sydney. Professor of Music at the University of Southampton in
1990, he was Head of the Department of Music (1990-1995) and Dean of the
Faculty of Arts (1996-1998). He was then visiting professor at Yale
University (1994) and Ohio State University (2000). He is editor of the
Journal of the Royal Musical Association, and is on the editorial board or
advisory panel of other journals including Music Analysis, Music Theory
Online, and Musicae Scientiae. His articles have appeared in most of the
major journals of music analysis and musicology. His books include A Guide
to Musical Analysis (1987), Music, Imagination, and Culture (1990), Music:
A Very Short Introduction (1998) and Rethinking Music (1999, co-edited with
Mark Everist). Current research includes projects on Schenker and on the
analysis of performance. In 2001, he was elected a Fellow of the British
Academy.
Keynote abstract
Separate developments in the sixteenth century, and then again around 1800,
constructed the experience of music in the West as an apprehension of it as
the work of its author. Interest in music became a mode if interest in its
creator. It is therefore not surprising that a close association developed
between musical analysis and the concept of creativity, particularly as an
aesthetic based on the affects (and hence on the listener) gave way to the
Romantic cult of genius. It has sometimes been observed that theories such
as Schenker's are as much theories of genius as of music. In this paper I
show how changing notions of creativity underlie familiar analytical
strategies, constituting part of the hidden baggage that any analytical
approach brings with it. Much nineteenth-century theory can be seen as an
amalgam of the descriptive and the prescriptive. On the one hand A. B. Marx,
for instance, sought to elucidate the workings of genius in Beethoven's
music, while on the other he sought to build such insights into a pedagogy
of musical creation. In the twentieth century these distinct epistemological
streams became both more separate and, paradoxically, more confused. On the
one hand the tradition that ran (however uncertainly) from Schenker to Forte
sought to rationalise the study of music by emphasizing the musical object
at the expense of its creator. On the other, a tradition that passed from
Schoenberg to Boretz and his followers regards theory as inseparable from
compositional practice. In reality, however, these apparently distinct
traditions have become inextricably intertwined, resulting in almost
unlimited possibilities of epistemological slippage =AD possibilities which
I illustrate through a brief consideration of the work of Lerdahl and
Jackendoff.
COLIN MARTINDALE
University of Maine
NEUROSCIENTIFIC APPROACHES TO MUSICAL CREATIVITY
Biographical sketch
Colin Martindale obtained his Ph.D. in clinical psychology from Harvard
University in 1970 and is presently professor of psychology at the
University of Maine. His research has been focused primarily on
psychological aesthetics and creativity. He is award winner of many
scientific prices and honorary distinctions, such as award of the American
Association for the Advancement of Science (Socio-Psychological Prize,
1984), Doctorat Honoris Causa at the Universit=E9 Catholique de Louvain
(1988), Honorary Professor of Psychology and Art, Perm State Institute of
Arts and Culture (Russia, 1997), Fechner Award for Outstanding Contributions
to Empirical Aesthetics (2000). He was president of the American
Psychological Association, Division 10 (Psychology and the Arts) in
1986-1987 and of the International Association of Empirical Aesthetics
(1994-1998). He is a member of the Editorial board of several journals:
Empirical Studies of the Arts, Poetics, The Journal of Mind and Behavior,
Journal of Creative Behavior, The Creativity Research Journal. He is the
author of over 200 articles, chapters, and books. His books include:
Cognition and consciousness (1981), The clockwork muse: The predictability
of artistic change (1990), Cognitive psychology: A neural-network Approach
(1991), and Emotion, creativity, and art (co-edited book in 2 volumes,
1997). He recently wrote a chapter entitled Biological bases of creativity
in the Handbook of Creativity (J. Sternberg, Ed., 1999).
Keynote abstract
A fairly large portion of the brain is involved in the processing and
production of music. Brain lesions in normal people have given us a fairly
good idea of the localization of various functions involved with music
processing. A few cases of lesions caused by stroke in composers have helped
fill out the picture. Though fairly rare today, post-mortem examinations of
the brains of eminently creative people shed valuable light on creativity
and the brain. Contrary to popular belief, these studies were well done, and
their main findings have been replicated. There are more studies of
perception of music and the other arts using techniques such as EEG and
brain scans than there are of differences between more vs. Less creative
people. However, studies of brain functioning in highly creative people have
yielded a consistent picture. There are few differences between more and
less creative people in general, but creative people show distinctive
patterns of EEG activity when they are actually engaged in tasks that call
for creativity. Connectionist or neural-network models of mind suggest
reasons why such patterns literally have to be present for creative ideas to
emerge. patterns of EEG activity when they are actually engaged in tasks
that call for creativity.
PETER TODD
Max Planck Institute, Berlin
PUTTING SOME (ARTIFICIAL) LIFE INTO MODELS OF MUSICAL CREATIVITY
Biographical sketch
Peter Todd studied mathematics and electronic music composition at Oberlin
College. For his PhD (Stanford University) he developed neural network
models of music composition and cognition and of the evolution of learning.
His postdoctoral researches were dedicated to artificial life simulations
(Rowland Institute for Science in Cambridge, Massachusetts). Then he became
an assistant professor of psychology at the University of Denver (Colorado).
After having helped found the Center for Adaptive Behavior and Cognition at
the Max Planck Institute for Psychological Research (Munich), he extended
his work on artificial music by incorpating genetic algorithms. Recently his
research interests moved toward the interactions between decision making and
decision environments (see the book Simple Heuristics That Make Us Smart,
1999). In addition, Peter Todd has coedited two books on neural network
models in music (Music and Connectionism, 1991; Musical Networks: Parallel
Distributed Perception and Performance, 1999) and has written papers on
topics ranging from social decision processes in rats to the impact of mate
choice on biodiversity.
Keynote abstract
Computer models of musical creativity have long been dominated by
knowledge-intensive methods from traditional AI. These models have often
involved laborious processes such as the construction and application of
large databases of compositional rules and examples. More recently, systems
have been developed that apply techniques from the "new AI," including
learning neural networks and evolving genetic algorithms, to the composition
of music. Researchers have been mildly successful in betting neural networks
to produce novel melodies based on learned examples, but they bump up
against a limit to the novelty that learning and generalization can produce.
Evolution on the other hand is a process that is clearly able to generate
significant novelty in nature. But it is not clear what kind of "fitness
function"--saying which examples will prosper and which will be weeded
out--should be used in simulated natural selection to evolve interesting
musical patterns. Human listeners could judge the "fitness"=8Bfor instance,
the novelty--of the patterns produced in each generation, creating a process
akin to artificial selection. But this, like the older AI models, again
requires a large amount of work (and interaction) on the part of the user.
Instead, some composers are turning to models from the field of artificial
life to create simulated musical agents that they hope can themselves be
musically creative. These artificial organisms may for Instance live out
their lives in a musical environment, inventing "songs" and responding to
the songs of other agents, much as birds do.
PETER WEBSTER
Northwestern University
CREATIVE THINKING AND MUSIC EDUCATION: ENCOURAGING STUDENTS TO MAKE
AESTHETIC DECISIONS
Biographical sketch
Peter Webster holds degrees in music education from the University of
Southern Maine (BS) and the Eastman School of Music at the University of
Rochester (MM, PhD). He is the John Beattie Professor of Music Education and
Music Technology at Northwestern University. He coordinates the music
education program at Northwestern and is the principle advisor for the PhD
program in that field. He teaches in the music cognition and music
technology programes. He has served as a guest lecturer for colleges in
Australia, Hong Kong, the UK, and in Portugal. His published work have
appeared in Psychomusicology, Journal of Research in Music Education,
Research Studies in Music Education, Music Education Research, Council for
Research in Music Education Bulletin, Music Educators Journal, and in
journals outside the field of music. He serves on many editorial boards.
Webster is president of the Association for Technology in Music Instruction.
He recently co-edited a large section in the new edition of the Handbook of
Research in Music Teaching and Learning (in press). Webster is co-author
with David Williams of Experiencing Music Technology (1999). He is also
writing a new book on music composition in the schools.
Keynote abstract
Of all the sub-disciplines in music, one would expect music teaching and
learning to be full of wonderful examples of creative thinking. To be sure,
there are great teachers that do challenge children to apply musical
concepts and techniques in creative ways, but the majority of the profession
continues to create a very convergent environment for learning music in
which little opportunity exists to celebrate creative thinking in sound.
This talk will review the major forces, in both music and psychology, that
shape a philosophy of music teaching that encourages creative thinking. A
definition of creative thinking in music will be presented and a link will
be made to emerging concepts of constructionism in education and how they
apply to music teaching. The opportunities that music technology afford the
music educator will be reviewed, including brief references to exciting
software that encourages creative thinking in music. will spend some time
reviewing the results of recent research on creative thinking ability from a
cognitive perspective and I will describe possible ways to assess creative
thinking in music with children based on my personal research. A refined
model of creative thinking in music will be presented and I will suggest
possible research topics that might be of interest to the cognitive science
community. I will end my presentation with a number of practical suggestions
for encouraging creative thinking in teaching settings that occur in private
studios, rehearsal halls, and classrooms.
TONY WIGRAM
University of Aalborg
STRUCTURED AND FLEXIBLE MUSICAL IMPROVISATION TO ENGAGE THE MUSICAL
CREATIVITY IN CHILDREN WITH AUTISTIC SPECTRUM DISORDER
Biographical sketch
Tony Wigram read Music Therapy at the Guildhall School of Music (under
Juliette Alvin). He took a qualifying degree in Psychology at Royal Holloway
and Bedford New College (London University) and his Doctorate at St. Georges
Medical School (London University). He is professor of Music Therapy and
Head of Phd. Studies in Music Therapy in the Institute for Music and Music
Therapy, University of Aalborg,. He is Head Music Therapist at the Harper
House Children's Service and Research Advisor to the Horizon N.H.S. Trust.
He is Past President of the European Music Therapy Committee and
Past-President of the World Federation of Music Therapy. He is a Visiting
Lecturer in Music Therapy, Child Assessment, Learning Disability and
Vibroacoustic Therapy in universities in England, Australia and Belgium. He
is Adjunct Professor in Music Therapy at CRM, Naples, University of the
Basque Country (Vitoria-Gasteiz). He is a Research Fellow in the Faculty of
Music in Melbourne. He is a former Chairman of the Association of
Professional Music Therapists, and of the British Society for Music Therapy.
He has edited seven books, and authored many articles. His research
interests include the physiological effect of sound and music, assessment
and diagnosis of Autism and communication disorder, Rett Syndrome, methods
of training in music therapy, and thematic improvisation.
Keynote abstract
The evidence of neuro-developmental impairments in children with autism
explains the presence of social impairments. There are rigid, repetitive,
perseverative, ritualistic and stereotypical patterns of thought and
behaviour that retard learning, and result in the emergence of challenging
behaviour at school and at home. Current diagnosis finds evidence of routine
bound and =B2learnt=B2 imaginative play that appears to prevent the
development of creativity in educational play from an early age. Clinical
research have shown that music created spontaneously and creatively through
structured and flexible improvisation attracts the attention and provokes
engagement in such children, and promotes the development of reciprocal,
interactive contact and play. Evaluation of musical interaction in music
therapy reveals that the presence of structure in music, including 16 and 32
bar frames with stable elements of tempo and meter that still allow
flexibility and freedom promote creative music making in children with ASD.
The development of musical creativity requires a subtle process of learning
patterns within musical structures and frames that then spontaneously
develop variability in dynamic, tempo, duration and accentuation. For
children with impairments in their basic innate skills in communication,
this musical interaction can provide a frame for development.
Please return the following form, along with payment to Marc Melen at the
address below. Further information concerning the conference, the conference
venue, the registration, etc. can be obtained from Marc Melen or from the
ESCOM Web site(http://musicweb.hmt-hannover.de/escom).
For BOOKING and PAYMENT
Marc Melen
C/O Marie-Isabelle Collart
CRFMW
Place du Vingt Aout 16
B-4000 Liege
Telephone : + 32/(0)4/223 22 98
Fax : + 32/(0)4/222 06 68
E-mail : crfmw@skynet.be
For further INFORMATION
Marc Melen
Unite de Recherche en Psychologie de la Musique
Service d'Arts et Sciences de la Musique
Place du Vingt Aout 7 (A1)
B-4000 Liege
Telephone : + 32/(0)4/366 32 36
Fax : + 32/(0)4/366 51 84
E-mail : m.melen@ulg.ac.be
LODGING
The participants are invited to book their room by taking contact directly
with the hotels. A list of possible hotels is available on the ESCOM Web
site: http://musicweb.hmt-hannover.de/escom
BOOKING FORM (also available in PDF format on the ESCOM Web site)
First name(s)- Surname(s)
Affiliation
Address for correspondence
E-mail Tel./Fax
REGISTRATION FEE
Registration before 15/01/02 (Amount to complete)
Full Members 175 euros
Student Members 125 euros
Student Non-Members 150 euros
Non-Members 225 euros
Registration after 15/01/02
Full Members 200 euros
Student Members 150 euros
Student Non-Members 175 euros
Non-Members 250 euros
Gala Dinner 40 euros
TOTAL
Remarks :
1 Member discount is available only to ESCOM members in continuous
membership from 2000 to 2002 or who take a 3-year membership starting in
2001. For details on how to apply for membership see the conference web
site.
2 The registration includes the book of abstracts, the proceedings, morning
and afternoon tea/coffee breaks, lunches.
3 Euro conversion rates : 1 euro =3D 40.3399 BEF; 1.95583 DEM; 166.386 ESP;
6.55957 FRF; 0.787564 IEP; 1936.27 ITL; 40.339 LUF; 2.20371 NLG; 13.7603
ATS; 200.482 PTE; 5.94573 FIM; 344.750 GRD; 0.9109 USD (according to the
exchange rate on 11 October 2001); 0.6277 BRP (according to the exchange
rate on 11 October 2001). For further information about the euro see the
site: www.euro.ecb.int
4 Please join evidence of full-time student status to this booking form.
PAYMENT (only by credit cards)
Type of card (tick one) Cardholder's Address
VISA
American Express
Mastercard
Dinners
Name of card holder
Card number
Expiry date
SIGNATURE DATE
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