30th ISME World Conference on Music Education: more photos and delegates' comments!

Additional photos by member of the COG committee, Theophilos Guinness.

All photos are organised in slideshows:

Welcome-registration
http://www.flickr.com/photos/teogin/sets/72157630984026974/show/

Day 1 http://www.flickr.com/photos/teogin/sets/72157630712126672/show/

Day 2 http://www.flickr.com/photos/teogin/sets/72157630726394820/show/

Day 3 http://www.flickr.com/photos/teogin/sets/72157630753566550/show/

Day 4 http://www.flickr.com/photos/teogin/sets/72157630835192114/show

Day 5 http://www.flickr.com/photos/teogin/sets/72157630979783644/show/

the 30th ISME World Conference on Music Education (15-20 July 2012, Thessaloniki, Greece)

30^th World Conference: 15th - 20th July 2012

ISME celebrated another successful biennium, with the hosting of the 30th ISME World conference on Music Education. ISME members, family and partners gathered in Thessaloniki, Greece, from July 15-20 for ISME's 2012 biennial World conference on music education. This was the 30^th such conference convened since the inception of ISME in 1953. Hearty congratulations go out to the Conference Organising Group, led by Polyvios Androutsos and the Greek Society for Music Education, GSME (May Kokkidou, President) who were the hosting association.

The world conference was preceded by the 7 ISME Commissions' international seminars in Athens, Corfu, Komotini and Thessaloniki. The Forum for Instrumental and Vocal teaching held very successful sessions throughout the World Conference. In a pilot initiative, 9 Special Interest Groups (SIGs) held sessions at the World Conference. These were organised to focus on a variety of themes and areas of academic and professional concern under the themes: New Professionals; Active Music Making; Assessment Measurement and Evaluation; El Sistema; Jazz; Spirituality and Music Education; Technology; Musicians Health and Wellness; and Practice and Research in Integrated Music Education.

The Society's three major sponsors NAMM, Gibson and SEMPRE have supported ISME in many ways over the past biennium including sponsorship of the World and Regional conferences (NAMM), sponsorship of the 2012 ISME Gibson Awards, and individual sponsorship of delegates to the World Conference (SEMPRE). The partnerships with these organisations enable ISME to make a mark in music education where it is needed most and contribute to the success of the World Conference.

For some pictures from the conference visit the GSME website (http://www.eeme.gr/en.html)

Also slideshows to the following links:

• Slideshow 1
• Slideshow 2
• Slideshow 3
• Slideshow 4

ISPS 2013 | Vienna | 28-31 August 2013

CALL FOR PAPERS
_________________________

ISPS 2013
Performing Together

28 | 31 August 2013
Vienna | Austria

www.performancescience.org
_________________________


The next International Symposium on Performance Science will be hosted
by the University of Music and Performing Arts, Vienna (MDW), on 28-31
August 2013.

The ISPS 2013 theme, Performing Together, is intended to encourage
discussion and debate on collaborative performing activities of all
types and between various constituents. 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 the
performing arts and other performance disciplines, as well as the
natural, social, and applied sciences.

KEYNOTE SPEAKERS

Tecumseh Fitch
University of Vienna (Austria)

Peter Keller
University of Western Sydney (Australia)

Emma Redding
Trinity Laban Conservatoire of Music and Dance (UK)

Alan Wing
University of Birmingham (UK)

IMPORTANT DATES

30 November 2012: Paper/poster abstract submission deadline
15 January 2013: Registration for ISPS 2013 opens
1 February 2013: Notification of submission decision
1 March 2013: End of early registration
15 April 2013: Deadline for papers for the ISPS proceedings
28 August 2013: Start of ISPS 2013

SUBMISSIONS

Submissions are invited for

- Spoken papers
- Poster presentations
- Symposia and workshops

Detailed instructions for submissions are available via the conference
website: www.performancescience.org. Submissions should be made
electronically to cps@rcm.ac.uk by 30 November 2012.

GRADUATE AWARD

The Scientific Committee is keen to encourage the attendance of
students, as well as established researchers and practitioners.
Therefore, the ISPS 2013 Graduate Award will be offered to one
graduate student to present a keynote paper at the conference.

REVIEW PROCESS

Each submission will be reviewed anonymously by the Scientific
Committee according to its originality, importance, clarity, and
interdisciplinarity. Corresponding authors will be notified by email
of the Committee's decision by 1 February 2013.

CONFERENCE PUBLICATION

Accepted paper, poster, and symposium/workshop submissions will be
published as 6-page papers in the Proceedings of ISPS 2013 (complete
with ISBN), available in hardcopy at the conference and subsequently
downloadable via the conference website. Details of the procedure and
format for submitting published papers will be provided when authors
receive notification of acceptance. Final papers for publication will
be due on 15 April 2013.

REGISTRATION

Full and one-day registration options are available. Online
registration will open on 15 January 2013.

For further information about the venue, submissions, graduate award,
and registration, visit the conference website:
www.performancescience.org.

The official language of the conference is English.

__________________________________________

Aaron Williamon
Royal College of Music, London

Werner Goebl
University of Music and Performing Arts, Vienna

Violin Virtuoso Joins El Sistema Movement at Exemplary Charter School

August 1, 2012

BRIGHTON, MA Violin virtuoso Adrian Anantawan has never let excuses
stand in the way of his art. Born without a right arm, Anantawan took
up the violin at the age of 9 using an adaptive device, which allows
him to control the bow with great sensitivity. At the age of 27, the
young protégé of Pinchas Zuckerman and Itzak Perlman has performed
concertos with professional orchestras in Toronto, Vancouver, and
Montreal, earning acclaim as a "rising star" of the classical world.
But for Anantawan, the glory of the concert hall takes a second fiddle
to what he sees as his highest purpose: bringing the joy of music
performance to those who are too often cut off from it.

This fall, he will join forces with the El Sistema movement as a
conductor of the Dudamel Orchestra at Conservatory Lab Charter School,
a public elementary school providing free, intensive music instruction
to children from Boston's poorest neighborhoods. Each student at the
school receives 2.5 hours of daily orchestral music instruction
beginning in kindergarten, woven into their academic schedule. Music
at Conservatory Lab is a vehicle for building a culture of excellence,
social responsibility, and self-confidence, a philosophy that
Anantawan has shared from the beginning.

"A lot of people don't realize how valuable their voices are;"
Anantawan explains, "for me, music saved my life. I want my students
to have the same opportunity to grow, to explore through music." He
cites his early success with the violin as a turning point in his
life, when he began to began to expect more from himself and from his
studies. His mentor, Itzak Perlman, who sits down to play the violin
after a childhood polio affliction weakened his legs, taught him that
the key to overcoming any disability is to develop a concept of what
you want, then figure out how to do it.

With degrees from the prestigious Curtis Institute of Music as well as
the Harvard School of Education, Anantawan is part of a new breed of
teaching artists, what Eric Booth describes as, "a practicing
professional artist with the complementary skills, curiosities and
sensibilities of an educator." He joins a team of likeminded
professional musicians who teach each of the orchestral instruments
offered at Conservatory Lab.

He understands himself as a musician who has been "enabled" by great
teachers who helped him realize his own innate artistry. Now he
strives to provide the same opportunities to children and adults,
whatever their obstacles might be.

Anantawan is in his element as he sorts through poems his students
have created to describe the emotions in Sibelius' Finlandia, a piece
he will conduct with them this fall. He smiles as he remarks, "I feel
like this is the perfect place to be right now."

The Oxford Handbook of Music Education

THE OXFORD HANDBOOK OF
MUSIC EDUCATION
Edited by Gary McPherson and Graham Welch
Order online at www.oup.com/us and enter promotion code 28862 to save 20%

Music education takes place in many contexts, both
formal and informal. Be it in a school or music studio,
while making music with friends or family, or even
while travelling in a car, walking through a shopping mall or
watching television, our myriad sonic experiences accumulate
from the earliest months of life to foster our facility for making
sense of the sound worlds in which we live. The Oxford
Handbook of Music Education offers a comprehensive overview
of the many facets of musical experience, behavior and
development in relation to this diverse variety of contexts.
While the first volume primarily focuses on children during
school-age years, this second collects an international list of
contributors to explore how music learning takes place
outside of the traditional classroom environment. Discussing a
range of issues such as music education for the special needs
population, music learning in adulthood, and music learning
through media and technology these chapters help to
broaden conceptions of music and musical involvement.
Whether they are used individually or in tandem, the two
volumes of The Oxford Handbook of Music Education update
and redefine the discipline, and show how individuals across
the world learn, enjoy and share the power and uniqueness of
music.

Features
- Features contributors at the forefront of music education
from around the world
- Recognizes that music education occurs in many contexts,
both formal and informal
- Updates and redefines music education as a discipline
through innovative principles and approaches to music
learning and teaching