September 15, 2021
Conferences & Calls
Special Issue on Anti-Racist Pedagogies
Meghan Forsyth, Marcia Ostashewski, and Daniel Akira Stadnicki, guest editors
MUSICultures solicits articles for publication in a special issue on Anti-Racist Pedagogies, guest edited by Dr. Meghan Forsyth (Memorial University of Newfoundland and Labrador), Dr. Marcia Ostashewski (Cape Breton University), and Dr. Daniel Akira Stadnicki (McGill University). We also continue to solicit articles on any topic related to our mandate. 

Responding to movements within academia to adopt anti-colonial and anti-racist pedagogies, including timely responses to violence against marginalized communities, this special issue will address university-level curricular development in ethnomusicology as well as music education outside of universities, both formal and informal. The CFP theme emerges in conjunction with two nodes of scholarly activity: 1) The CSTM’s Call to Action, which endeavours to take concrete steps toward challenging systemic racism while reaffirming the Society’s commitment to “fight for equal opportunity and to eradicate barriers of race, language, culture, and background within our scholarly society;” and 2) the DIALOGUES research and engagement program facilitated by a CSTM-ICTM partnership, through which Canadian and international scholars are working together in multiple initiatives toward the decolonization of sound, music, and dance studies. 

Over the past several years, issues of coloniality, systemic racism and police brutality in North America have been rendered more visible to a wider public. While music educators and post-secondary institutions have been confronted with the urgent need to adopt anti-racist frameworks centred on principles of shared responsibility, equal opportunity, and action, this has obscured the ongoing work of individual scholars who embody Indigenous, Black, and racialized subjectivities. As Stó:lō scholar Dylan Robinson emphasized in his recent open letter, it is time to transform “systems of music education into spaces where different epistemologies and values of music and world views are equally supported” (2019, 137).

As individual scholars, we are all at different points on the long journeys toward dismantling oppressive discourses in our academic field and in our teaching. Recognizing that many of our colleagues around the world have been doing this work in their institutions and communities for a long time, this special issue aims to bring together some of this expertise and creativity to help further conversations around anti-racist pedagogies and practices.

The editors seek contributions that engage with anti-racist syllabi and course design that identify, understand, and integrate scholarship, issues, and experiences of Indigenous, Black and other racialized communities, and themes related to anti-racism and decolonization in ethnomusicology. We encourage submissions that employ different formats, including, but not limited to, edited interviews or other dialogues, traditional scholarly articles, communications with responses, position papers, and/or multimedia projects with a substantial written component. 

MUSICultures is the peer-reviewed journal of the Canadian Society for Traditional Music / société canadienne pour les traditions musicales. It is published twice a year under the auspices of the Society. Membership in CSTM is not a prerequisite for publication. 

MUSICultures publishes original articles in English and French on a wide range of topics in ethnomusicology, traditional music research, and popular music studies. MUSICultures welcomes articles on music in Canadian contexts as well as scholarship on any relevant issues in relation to any music practices in the world or to global processes. The journal also publishes reviews of books, and sound and visual recordings. 

Articles are normally in the range of 6,500-8,500 words. We encourage authors who are interested in pursuing different formats to contact the guest editors ( and to discuss their ideas. The deadline for complete manuscripts for the special issue is December 31, 2021. 

Please visit our website for complete submission details: 
Submit manuscripts or general publishing questions to:
Feminist Theory and Music Conference
Conference Dates: July 7-10, 2022
Location: University of Guelph, Ontario, Canada
Abstract Submission Date: September 15, 2021
In 1991, 184 people came together at the first Feminist Theory and Music conference in Minneapolis, Minnesota to discuss engagements with feminist and sexuality studies in music scholarship. According to Lydia Hamessley, the main organizer of that meeting, the isolation these founding participants felt led to FT&M1’s theme: Toward a Common Language. They sought a welcoming place for their ideas—they heard the first iterations of some of the central work in the field and some people forged collaborations and alliances that bore fruit for years. 

In this thirtieth anniversary year, FT&M16 continues the tradition of women-led and feminist-centered collaborations and alliances. In the wake of the profound transformations caused by the COVID-19 pandemic and ongoing struggles for social justice, the theme for this conference will be “Connections.” We seek to foster and explore connections of all kinds—connections between people, between practitioners and academics, between generations, between the past and the present. 

As we embark on the next thirty years of feminist thought and action in music studies we acknowledge, also, that many iterations of feminist discourse, ideology, and practice have been broadly alienating, oppressive, and exclusionary. We assert that with new connections can come the rupture of old ways of being, knowing, and doing; we also claim that disruption and disconnection can be as generative and powerful as collaboration. For these reasons, we especially welcome the participation and perspectives of people who have been historically excluded or omitted from feminist spaces.
FT&M16 welcomes proposals for presentations that explore questions that include (but are not limited to):
  • In what ways are feminist approaches to music studies distinct? What are the core commitments and praxes of feminist music studies?
  • How might we constructively envision a more equitable, decolonial, and just future for engagements between feminist theory and music studies and practice?
  • What connections are there between contemporary political and social justice movements and the study and practice of music?
  • How do practitioners and scholars of music and sound arts live feminist lives? 
  • How do artists, activists, and scholars sound feminist ways of being, knowing, and doing?
  • How might feminist theory generate critical transformations in music and sound studies in particular, and in academic and industry spaces more generally?
  • What does decolonizing feminist music studies want? what does it take? what does it do? 
  • How do intersectional and critical race theory approaches to music and sound deepen our individual and collective feminist logics and practices? 
  • What is the significance of historic and present-day women-led and feminist-centered collaborations and alliances in music and sound?
We invite submissions from artists, activists, and scholars at any stage of their careers, including undergraduate and graduate students, and especially encourage submissions from people working outside of the academy. We welcome proposals for a range of presentation formats, including (but not limited to): 
  • Individual Papers (20 minutes)
  • 250-word abstract
  • Themed Panels of Papers (90 to 120 minutes)
  • 250-word abstract plus ~150-word abstracts from each proposed participant
  • Film/Media Screenings (45 minutes)
  • 250-word abstract
  • Performances or Lecture-Demonstrations (45 minutes)
  • 250-word abstract
  • Workshops (45 or 90 minutes)
  • 250-word abstracts
  • Roundtable Conversations (90 minutes)
  • 250-word roundtable abstract plus ~150-word abstracts from each proposed participant
  • Seminars with Pre-Conference Circulation of Materials (including multi-day discussions) (90 minutes/day; 1-3 days)
  • 250-word seminar abstract plus ~150-word abstract(s) for each day requested if more than one day
The committee understands that many people are not familiar with the norms of conference proposals. We offer consultation sessions via Zoom to anyone who would like mentoring or guidance through the process of writing and submitting their proposal during the week of August 23, 2021. More details about these consultations will be available on the FT&M16 website ( Please contact Kristen Turner, chair of the program committee, with any questions at 

Proposal guidelines:
All proposals should be submitted via this Google Form by 11:59 p.m. (EDT) on September 15, 2021. 
Program Committee 
Kristen Meyers Turner - Chair, North Carolina State University 
Tiffany Kuo, Mt. San Antonio College 
Rosheeka Parahoo, Western University
Jessica Perea, University of California, Davis
Jennifer Szeto, Musique 3 Femmes 
Christi-Jay Wells, Arizona State University
Starting Over? Popular Music and Working in Music in a Post-Pandemic World
International Association for the Study of Popular Music (IASPM) Canada
Western University
London, Ontario, Canada
May 22-25, 2022

IASPM-Canada and the Working in Music research network (WIM) invite abstracts for their joint 2022 conference, to be held at the University of Western Ontario, in London, Ontario, Canada.

The IASPM/WIM 2022 joint conference welcomes scholarly research from all disciplines that engages with the changing contexts of musical practice experience—music making, the circulation of music, musical pedagogy and fandom, music and social movements, and various other dimensions of musical engagement—playing, dancing, streaming, listening.
For more than a year, the global pandemic has highlighted and accelerated the destabilization of practices and institutions of music making and partaking. The enforced hiatus from many aspects of public life offers a chance to evaluate music practices. Which have continued? Which ones will resume? Which ones may not return, at least not as they were?

While we welcome papers on any aspects of popular music, we encourage papers that align with the conference subthemes.

The Impact of the Global Pandemic and Reopening
The pandemic-driven global recession and states’ preferential delivery of economic relief to major corporations have produced a “K-shaped recovery” with wildly divergent outcomes: record-breaking profits in some sectors and regions, recession and even depression in others.

For example, platform capitalism and its playlist-based systems of music circulation and changing habits and preferences of music audiences—not to mention competition from “spoken word” podcasts—have continued to transform markets for recorded music. Covid-19 has devastated touring circuits and venues of all kinds. Music teachers offer lessons remotely, performers and orchestras produce concerts especially for home audition by internet video users, and while record stores are shut, pressing plants operate under massive backlogs.

Pause and Resumption in Popular Music
We also welcome proposals that explore other aspects of resumption in relation to music. Music careers of all kinds are marked by hiatus and returns – the “comeback” is a common feature of many artists’ biographies. Likewise, the histories of musical styles are not necessarily continuous, and there are numerous examples of revival of musical styles, or even recovery of lost traditions within popular music.

Proposals might also approach the long and rich history of breaks, pauses and returns as formal musical elements. Such elements may be used for dramatic effect in a song, or may have been in a vinyl album, by the need to flip the record. Comeback or starting over also appears as a thematic or lyrical element in any number of songs and albums.

Working in Music
Following Ruth Finnegan, it is possible to say that one of the noticeable aspects of musical work is that it is often hidden. The hours that are taken to master an instrument are hidden from the public, the musicians who make recordings and perform live are often hidden behind the “stars”, the ways musicians find work and work with other musicians and music intermediaries are often hidden, and the vast majority of working musicians remain anonymous. Meanwhile those working behind the scenes in areas such as publishing, live music, artists’ management and recording largely remain similarly unknown as well as the ways they make music and musical careers happen. But music only happens because work is put in. It is this context that we invite panels and papers to this subtheme which address working in music, pre- or post-pandemic, as distinctive social practices.

Submission Guidelines:
Abstracts of individual papers, workshops, performances and other presentations should be no longer than 300 words. The program committee is especially interested in proposals in diverse formats. Panel submissions should include a title and abstract for the panel (300 words max.) as well as titles and abstracts for the individual papers on the panel. All abstracts for a panel should be submitted together. Abstracts will be adjudicated individually, so it is possible for a panel to be accepted but not an individual paper and vice versa. Each abstract should also include a short biography of the author (100 words max.) including the institutional affiliation, if any, and email address of each author. Each abstract should also include five keywords. Submissions in French and English are acceptable. Proposals will be blind reviewed.

Please submit proposals using the following Google form link: 

Proposals are due on or before November 1, 2021. We hope to inform you of decisions before January 31, 2022.

Presentation Logistics:
Papers will be limited to 20 minutes followed by 10 minutes of questions. Panels will be limited to a maximum of 4 papers. Other presentations (workshops, film screenings, roundtables, etc.) will generally be limited to 60 minutes, but alternatives can be discussed/proposed.

For questions about the conference, please contact the Program Committee Chair, Richard Sutherland (, or Local Organizing Chair, Matt Stahl (

Program Committee Members:
Olufunmilayo Arewa, Temple University (WIM)
Pierre Bataille, Université Grenoble-Alpes (WIM)
Vanessa Blais-Tremblay, Université de Québec à Montréal (IASPM CA)
Maxim Bonin, Université de Québec à Montréal (IASPM CA)
Alexandra Boutros, Wilfrid Laurier University (IASPM CA)
Marie Buscatto, Université Paris 1 Panthéon Sorbonne, IDHE.S (WIM)
Francesca D’Amico-Cuthbert, University of Toronto (IASPM CA)
Athena Elafros, University of Lethbridge (IASPM CA)
Charity Marsh, University of Regina (IASPM CA)
Méi-Ra St-Laurent, Concordia University (IASPM CA)
Richard Sutherland (Chair), Mount Royal University (IASPM CA)

Canada Graduate Student Research Grants 
IASPM-Canada will award up to three small Research Grants to the sum of $500, for the session 2021-22. Applicants working on topics in popular music should submit a short proposal outlining their research project, research costs, and any other funding applied for or received. Students who are selected will be invited to present their research as part of our 2021-22 Online Speaker Series.

Applications are due October 1, 2021, for consideration.
Judging committee: Line Grenier, Will Straw and Paul Théberge (chair)

Criteria for Funding:
The funding must be used to support a research or research creation project related to the study of popular music. Applicants should be enrolled in a recognised postgraduate research degree programme and must be a member of IASPM Canada. Funds may be used for research travel, research materials, and research-related equipment.
Questions? Email:
Grooves and Movements
International Association for the Study of Popular Music (IASPM) United States
University of Michigan
May 26-May 28, 2022 
Ann Arbor/Detroit Michigan 

The International Association for the Study of Popular Music-United States chapter (IASPM-US) invites proposals for its annual conference, which will take place in Ann Arbor at the University of Michigan on May 26-28, 2022. We welcome abstracts for individual papers, organized panels, roundtable discussions, and alternative (non-paper) presentations on all aspects of popular music, broadly defined, from any discipline or profession. We especially encourage submissions on the many rich popular music histories of Michigan, Ann Arbor, and Detroit. 

The theme for this year’s conference “Grooves and Movements” intersects with Detroit and its storied place in rhythm and blues, rock, punk, hip-hop, and electronic dance music, and is intended to connect the histories, philosophies, and practices of urban spaces to other historical and global popular music communities.

Submission Instructions: 

Please submit proposals using the link below no later than midnight (EST) October 15, 2021. Individual presentations may last up to 20 minutes with a 10-minute question and answer period. Roundtables and organized panels can be allotted up to a two-hour time slot. Abstracts not adhering to the word count will not be considered. 

For more information about the conference, including featured events, membership requirements, and detailed submission procedures please visit the full Call for Proposals at 

Crossover, Exchange, Appropriation: Navigating Stylistic Boundaries in the Music History Classroom
Modern Musicology and the College Classroom
Esther Morgan-Ellis, volume editor
Amid increasing calls to teach a global music history, instructors are faced with a challenge: How can we adjust our perspective in a way that denaturalizes the practices of “Western art music” and invite students to engage with other traditions—vernacular, popular, non-Western—on their own terms? It has become increasingly common to combine the teaching of diverse musical traditions within a single course, often by means of exploring themes that intersect across practices, yet it is unquestionably the case that practitioners in different traditions hold heterogenous values and understandings regarding their musical activities. In order to accord appropriate respect to musical traditions, it is necessary to clearly specify the objectives of practitioners in each community and the standards by which they assess their own activities. This volume will investigate cases that might be located along stylistic borders—cases in which the musical characteristics of one category of practice are subjected to the values of another.

Each chapter in this collection will navigate a specific case in which an artist or community engages in what might be termed “crossover” (bringing a set of skills developed in one stylistic world to another), “exchange” (absorbing influence from another style by means of immersive learning), or “appropriation” (surface use of another style without the acquisition of deep understanding). The object of each chapter, however, is not to pass judgment on which of the three techniques has been applied, but rather to trouble the concepts themselves. How does musical meaning change when a melody, texture, or style is transferred from one world of practice to another? What is lost when artists fail to engage thoughtfully with sources from which they borrow? How are we to categorize, analyze, and assess musical practices situated in boundary spaces? Chapters will address works and subjects that music instructors are likely already teaching in their classrooms, but will present new ways to understand and interpret the material.

This edited volume is intended for the Routledge series Modern Musicology and the College Classroom, which includes books that serve current and future college instructors of musicology in the broadest definition of the field. Volumes in the series feature pragmatic suggestions for incorporating ideas from current scholarship directly into the classroom. Although this volume is not yet under contract, it has the full support of the series editor at Routledge.

Interested contributors should submit a 500-word abstract to the volume editor, Esther Morgan-Ellis (esther.morgan-ellis -at-, by October 15. Inquiries are welcome. Acceptances will be issued within two weeks, and the deadline for completed manuscripts of approx. 8,000 words will be June 1, 2022.
Georgia Music Educators Association (GMEA) In-Service Conference
Athens, GA
January 27-29, 2022

GMEA Research in Music Education and College Division is pleased to announce the call for proposals for presentations at the Georgia Music Educators Association Conference Research Poster Session.

Students (undergraduate and graduate) and faculty are invited to submit abstracts describing completed or in-progress research pertaining to any aspect of music teaching and learning. Researchers whose work is selected are required to (a) register for and attend the GMEA Conference (researchers from out-of-state will received complimentary registration), (b) prepare a visual display of their research, and (c) be available during the dedicated poster session to discuss their work with interested persons.

Posters will be displayed on traditional large poster boards in the Atrium of The Classic Center for the entire day on Friday, January 28th. Posters can be up to 44’’ wide and 36’’ high. The dedicated poster session time slot from 11:15 AM-12:15 PM will provide opportunities for conference attendees to interact with researchers. In the event the conference moves to a virtual format due to COVID-19, the research posters will be displayed online.

Research studies exemplifying qualitative, quantitative, philosophical and historical methodologies will be considered for this session. Submissions of “Graduate Research” and “Action Research” completed by music educators in his or her classroom/rehearsal hall are also encouraged.

To Submit:
Please upload an abstract (maximum of 300 words) that does not identify the author(s). The title of the MS Word or PDF file should be the actual title of the poster proposal (except without punctuation). Authors should explicitly state the purpose of the research, methodology including sample, questions or problems of the study, and how results (or anticipated results for in-progress work) relate to practice. Submissions not adhering to these guidelines will be automatically rejected. Upload the abstract here:

All submissions must be received according to instructions by midnight, October 1, 2021. Abstracts will be blind-reviewed and notification will be sent electronically by October 15th.

GMEA Research Chair, Dr. Martin Norgaard at

Two Special Issues of Journal of Popular Music Education

Music Technology and Popular Music Education 
adam patrick bell and Leila Adu-Gilmore, guest editors

Any Sound You Can (Re) Imagine, A 25th Anniversary Special Issue
Dan Walzer, guest editor
Music Technology and Popular Music Education 
adam patrick bell and Leila Adu-Gilmore, guest editors

The aim of this issue is to examine music technology as it relates to popular music education writ large. A field unto itself, music technology covers an ever-increasing range of practices and products, and intersects with diverse disciplines. This call for submissions purposely avoids defining music technology to allow authors to contribute their own understandings of this ubiquitous label to popular music education. We welcome research and scholarship of various methodological emphases, and which address but are not limited to the following prompts: 

  • How is music technology experienced in popular music education by teachers and learners in schools and/or community contexts? (or, How should music technology be experienced in popular music education by teachers and learners?) 
  • How does music technology intersect with popular music education as it relates to teachers’ and learners’ identities including but not limited to disability, sexuality, gender, race, ethnicity, class, and culture? 
  • What is the role of music technology in popular music education? Consider, for example, performance practices, music creation (including but not limited to producing, songwriting, composing), and improvisation. 
  • How does music technology mediate the ways in which teachers and learners engage in music making? 
  • What is the impact of music technology on social interactions in the places of popular music, virtually and/or in person? 
  • Is music technology a liberator? Oppressor? Neither? How are conceptualizations of music technology navigated in popular music education contexts? 
  • What are the best teaching practices for music technology in popular music education? 
  • How do technology corporations, companies, and other capitalist enterprises influence popular music education? 
  • In which ways does music technology change/deepen/decolonize the discussion on which cultural types of music we teach, study, learn and create? 
 Alternatively, contributors are invited to examine the intersection of music technology with popular music education as it relates to: 

  • Higher education, Secondary education, or Elementary education 
  • Curriculum 
  • Assessment 
  • Instrument-specific practices 
  • Style/genre-specific practices 
  • Cultural- or other identity-specific practices 
  • Interdisciplinary and transdisciplinary practices 
  • Designing 
  • Programming, coding, computer science, STEM/STEAM 
  • Hacking 
  • Multimedia 
  • Video games 
  • Artificial Intelligence 
  • Other 

Scholarship from and across all relevant research methods and disciplines is welcome. Please submit manuscripts of between 6,000 and 8,000 words (double-spaced, Times New Roman, font size 12, including references) by 1 December 2021 for the attention of guest editors adam patrick bell and Leila Adu-Gilmore via the JPME website. Please refer to the Intellect style guide when preparing a submission. Less traditional format submissions are also welcomed for the Practices and Perspectives section of the journal.

Any Sound You Can (Re) Imagine, A 25th Anniversary Special Issue
Daniel Walzer, guest editor
Paul Théberge, guest contributor 
2022 marks the 25th anniversary of Any Sound You Can Imagine: Making Music / Consuming Technology, a ‘book about the role of recent digital technologies in the production of popular music…the industries that supply these technologies, the media that promote them, and the meanings they have for the musicians who use them’ (Théberge 1997: 5). A ground-breaking and interdisciplinary study drawing on music technology, cultural studies and popular music, Théberge’s research examined the complicated tensions among production and consumption, capitalism and consumerism, and what Henry Jenkins (2006) would later refer to as convergence culture, an interconnectedness among ‘media convergence, participatory culture, and collective intelligence’ (n.p.). Music production and consumption remain complex, as does the influence that corporations exert on virtually all aspects of the creative process. Prescient today as much as it was then, Any Sound You Can Imagine remains essential reading for scholars in popular music and technology. 
In the nearly 25 years since its first publication, many of the training mechanisms associated with popular music and technology have shifted to educational institutions of all kinds. A once-robust music industry controlled by major labels has consolidated, recording studios have closed, and myriad business models have come and gone. Nevertheless, popular music continues to evolve mainly due to increased media exposure, organizations providing hands-on learning and performing opportunities, a steady increase in K-12 schools offering popular music classes along with colleges and universities offering credentials in popular music, and global interest in research and scholarship in popular music education as modern band programs expand. Educational institutions serve multiple critical purposes in that they provide opportunities for people to engage with popular music and serve as conduits for creativity and innovation. 
The increasing connections between the music industry and global education have multiple pedagogical, technological, and sociocultural implications for researchers and practitioners. To commemorate the silver anniversary of Any Sound You Can Imagine and recognize the broad growth of popular music education, the guest editor for this issue of the Journal of Popular Music invites contributions on (but not limited to) the following questions:
  • What influence do music and media corporations have in designing facilities,        standardizing curricula, and promoting knowledge transfer in popular music education?
  • How are the relationships between corporations and educational institutions scrutinized in popular music? 
  • How can stakeholders from technology, industry and education promote a more just,        equitable, inclusive, and sustainable future for the next generation of popular musicians? 
  • How does the corporate monopolization of certain music technologies and media affect creative music-making and learning? 
  • What disruptive forces in education, industry and culture have affected the ‘doing’ of       popular music over the past 25 years? 
  • What interdisciplinary theories and models of culture and musical practice can be mobilized to help reimagine pedagogy, creativity and learning in popular music education?  
Proposals falling outside the scope of the themes above are also welcomed. Questions about possible topics should be emailed to the issue’s guest editor, Daniel Walzer, at

Full papers should be uploaded via the journal’s website at by January 30, 2022 with an expected publication date of November 2022.   
Henry Jenkins Blog (2006), ‘Welcome to Convergence Culture’, Accessed 27 August, 2021.   
Théberge, Paul (1997), Any Sound You Can Imagine: Making Music / Consuming Technology. Middletown, CT: Wesleyan University Press. 
 2021 New York State School Music Association Winter Conference
Location: Rochester, NY
Date(s) of Meeting: December 2nd - 5th, 2021

The New York State School Music Association will sponsor a Research Gallery Session at its 2021 annual winter conference in Rochester, New York, December 2nd-5th. This year's Research Gallery Session will be held on Saturday, Dec. 4th at 9:30 a.m. Researchers are encouraged to display their poster upon arrival at the conference, allowing attendees to become familiar with the displays well before the Saturday morning session.

Types of Submissions Sought: Research Posters

Research paper abstracts focusing on topics in music education, music performance, music therapy, or other related topics are welcome. Researchers whose projects are selected will be required to prepare a visual presentation of their research and to be available during the Research Gallery Session to discuss their work with interested conference attendees. Projects may be completed or in progress, and only an abstract is required for consideration.

Submission Information:

1. Research abstracts should be submitted via email attachment in Microsoft Word (.doc, .docx) or as a portable document file (.pdf). Send materials to NYSSMA Research Chairperson, Dr. Matthew Clauhs,, no later than September 30th, 2021.

2. Submissions must include: - a single cover page that includes author's name, institutional affiliation, mailing address, phone number, current email address and title of the abstract - a separate document of the completed abstract that does not identify the author in any way. This abstract should not exceed 400 words. Give the file a brief, descriptive name, but do not use author names.

3. Abstracts submitted for presentation must conform to the Code of Ethics published regularly in the Journal of Research in Music Education: (a) if the data have been presented in whole or substantive part at previous research sessions, a statement specifying the details of that presentation must be included with the submission in a cover letter. (b) the paper may have been submitted for publication, but must not appear in print prior to the winter conference.

4. All submissions may be blind reviewed by members of the NYSSMA Research Committee.

Deadline for Submissions and Timeline for Acceptance of Proposals:

Deadline - September 30, 2021;
Notification - October 8, 2021

Matthew Clauhs
Con Fuoco 2021
Ontario Music Educators' Association Conference
Location: Online
Dates: November 5-7th


(Friday, November 5, 2021 Trivia Night Wine & Cheese with Tia McGraff, Saturday and Sunday, November 6 & 7, 2021 workshops and keynotes. Access available for one month.)

OMEA members wishing to register for a conference must hold a valid membership that is current through to the date of NOVEMBER 7, 2021 in order to register.

The register button will not appear unless:
a) you are logged on
b) your membership is current through November 7th, 2021
Special Issue on Cultural and Racial Issues
Psychology of Aesthetics, Creativity, and the Arts 
Edited by Thalia R. Goldstein & Oshin Vartanian
The Editors of Psychology of Aesthetics, Creativity, and the Arts (Drs. Thalia R. Goldstein & Oshin Vartanian) seek papers for a Special Issue devoted to cultural and racial issues in creativity, aesthetics, and arts research. The vast majority of published scientific work on psychology of aesthetics, creativity, and the arts focuses on Western populations, and in particular on art forms that come from European and Anglo-Saxon histories. While there is significant new work that includes participants from China and Japan, cross-cultural and comparative work is rare. Furthermore, work that investigates racial and ethnic differences within cultures, focuses on art forms not traditionally seen in "high culture" venues, and art that investigates cultural issues such as prejudice, discrimination, equity, appropriation, diversity, disability, and indigenous knowledge is understudied. Similarly, published research on creativity across cultures, within understudied and marginalized populations, and the creativity of stigmatized groups is uncommon. 
Papers for the Special Issue can be empirical or theoretical in nature, and could cover a wide range of topics under the umbrella of culture, diversity, disability, equity, race, ethnicity, inclusion, within the psychology of creative thought, aesthetic appreciation and evaluation, and artistic production, engagement, and experience. Papers on cultural appropriation, cross-cultural comparisons, activist art, and indigenous creativity would be particularly welcome. PACA defines art and creativity widely, which can include dance, theatre, visual arts, music, and creative thought, and also architecture, circus, video games, and the like. 
Papers should be submitted through the regular APA Manuscript Central, and will be subject to peer review. Please note in your cover letter and through the MC system that the paper should be considered for the special issue. Papers can be submitted any time until June 1, 2022. We anticipate publication of the Special issue in 2023. Any authors with questions about manuscript appropriateness or relevance are welcome to contact Drs. Goldstein and Vartanian directly at or
Psychology of Aesthetics, Creativity, and the Arts is the journal of Division 10 of the American Psychological Association, and published through APA. It holds a 2 year Impact Factor of 4.349 and a 5-Year Impact Factor of 4.224.  It is currently ranked as the #11 Psychology – Experimental journal (out of 90), and the #1 journal in Interdisciplinary Humanities. For more information and instructors to authors, please visit
Job Announcements
Associate / Full Professor, Music and Music Education Program Teachers College, Columbia University
Posting Summary:
The Program in Music and Music Education at Teachers College Columbia University invites applications for the position of Associate or Full Professor of Music and Music Education.

Job Summary/Basic Function:
The Program in Music and Music Education at Teachers College Columbia University invites applications for the position of Associate or Full Professor of Music and Music Education. We seek a dynamic full-time faculty member with a record of important contributions to the field of music education through scholarly accomplishments, excellent teaching, leadership in music education programming, and professional service. Rank and tenure status will be designated at the Associate or Full Professor level.

We recruit a colleague whose work bridges theory and practice and who is productive in scholarship. An explicit commitment to diversity and to advancing understandings and outcomes for historically marginalized groups is required. The candidate should have successful experience teaching online, knowledge of music teacher professional development (both studio and P-12), and expertise with a range of research methods. An interest in creative and learner-centered approaches is highly desirable. The incumbent will teach two courses per semester and carry a typical advising load. They must be willing to assume the responsibilities of academic administration and planning, and to collaborate actively with colleagues in program development.

Minimum Qualifications:
· Earned doctorate with evidence of successful teaching experience at the graduate level;
· Record of research and scholarship in the field of music education research
· Commitment to diverse, inclusive, and multicultural scholarship in the field of music education research;
· Demonstrated expertise in public school music teaching, with experiences in multi/trans-cultural musics, multimodal literacies, interdisciplinarity, and/or urban music;
· Ability to incorporate new technologies;
· Dedication to international work;
· Successful experience with grant writing is desirable.

The candidate will have demonstrated participation in programs designed to promote diversity, equity, and inclusion, and have experience with research and educational programs that reflect the needs of minoritized or underserved populations. Finalists may be asked to supply reference information on students with whom they have mentored.

To apply:  
Using the link below, please submit the following materials:

(1) Letter of application specifying areas of research and teaching interests, teaching and mentoring philosophy, research plans and accomplishments including ideas and intellectual contributions to the field;
(2) Curriculum vitae
(3) Three representative writing samples;
(4) Three letters of recommendation (to be submitted independently by recommenders to Emily Riddles, Search Coordinator,;

With the letter of application please include the names, titles, addresses, telephone numbers and email addresses of the individuals who are writing letters of recommendation. 
Advertised: 08 Sep 2021 Eastern Daylight Time
Applications close: 15 Oct 2021 Eastern Daylight Time
Associate Professor or Professor (with tenure) in Critical Perpsectives in Arts- Based Educational Research 
University of British Columbia
The Departments of Curriculum and Pedagogy (EDCP) and Language and Literacy Education (LLED) within UBC’s Faculty of Education, one of the world’s leading faculties of its kind, invites applications for the position of Associate Professor or Professor (with tenure) in Critical Perspectives in Arts-Based Educational Research. 

Position Description: Situated on the unceded, ancestral and traditional territory of the xwmə0kwə’yəm (Musqueam people), the Departments of Curriculum and Pedagogy (EDCP) and Language and Literacy Education (LLED) in the Faculty of Education at the University of British Columbia (UBC) in Vancouver, invite applications for an Associate or Full Professor with tenure in Critical Perspectives in Arts-Based Educational Research. This position will build on the Faculty of Education and UBC’s leadership in fields such as a/r/tography, autoethnography, research-based theatre, poetic and narrative Inquiry, performative inquiry, digital arts-based research, applied within music, visual arts, media arts and design, movement and dance, drama and theatre, and across many genres of creative writing and scholarship, particularly as these apply to the need for embedding equity and diversity through creative practices in K-12 education, teacher education, and social sciences of education. This position may be offered as a joint appointment with the FTE equally split between EDCP and LLED, or, depending on the successful candidate’s research focus, as a regular full-time appointment in EDCP or in LLED, with expectations to collaborate with the other unit. This position is expected to commence July 1, 2022 (or as negotiated with the successful candidate). 

Qualifications & Requirements: Applicants for this position will hold a doctoral degree in an education-related field. The interdepartmental call is seeking a scholar with a proven track record of excellence in Arts-Based Educational Research (ABER) and a substantial record of generating peer-reviewed funding with interdisciplinary groups. 

The successful applicant’s research and teaching interests and expertise may include but are not limited to: arts-based research in teaching and learning across disciplines in art-making and aesthetics, health and well-being, conflict resolution, environmentalism or ecological justice, public art and online audience development, digital innovation and new approaches to cultural sharing and knowledge mobilization, Indigenous perspectives on culture and representation, curriculum design, teacher education, and collaborative practice.
We anticipate that the successful candidate will initiate and collaborate on funded research, publication, and teaching in the broad and interdisciplinary area of ABER, as well as add research expertise to LLED, EDCP, and Bachelor of Education programs. The Faculty of Education attracts many high level graduate students who wish to employ arts-based methods in their research, and the successful candidate will engage and support them with a focus on creative research methodologies, human understanding through the arts, and cross-cultural appreciation and learning in education. Beyond the Departments, there are collaborative opportunities across the Faculty of Education at UBC Vancouver and Okanagan campuses, and beyond with, for example, the Faculties of Arts, Science, Social Work, Medicine, Engineering, the Institute for Gender, Race, Sexuality and Social Justice. This position is open to an established researcher who provides national and international leadership in their field of study through proven teaching expertise and a research program that employs critical and creative use of artistic practice in the collection, analysis, and/or mobilization of research data and findings. The successful candidate will have an established ABER practice, academic and community connections, and will bring a fresh dimension to research methods and knowledge mobilization in the social sciences as applied in the field of education. 

Responsibilities: The successful candidate is expected to (a) teach both advanced and introductory classes in undergraduate and graduate programs coordinated by one or both Departments, including courses in the Teacher Education Program; (b) supervise graduate students enrolled in LLED/EDCP, and related programs, and contribute grant support to doctoral student trainees; (c) sustain productive scholarly activity; (d) contribute to the scholarly community and service work of LLED/EDCP, the Faculty of Education, and the University community; and (e) participate in outreach with the broader educational and arts-based communities. The annual workload for this position is 4 courses (12 credits) or equivalent. 

This is a tenured position in the Professoriate Stream. The appointment (rank and tenure) is subject to a positive review of the successful candidate’s record of achievements based on UBC’s appointment and tenure criteria as specified in the Collective Agreement, following the University’s established appointment processes. For more information on the review process and criteria for an appointment at the rank of Associate Professor or Professor with tenure, please visit: This position is subject to final budgetary approval. The starting salary is determined both by the candidate’s qualifications and experience and by the career progress scale within the Faculty of Education. 

A complete application should include: 
(1) a cover letter (maximum 2 single-space pages and please indicate if you are legally entitled to work in Canada), 
(2) curriculum vitae, 
(3) a statement of their current and projected research interests (maximum 1 single-space page), 
(4) a statement of teaching/mentoring experience and philosophy (maximum 1 single-space page), 
(5) 2-3 samples of recently published scholarship using ABER, 
(6) evidence of teaching effectiveness (such as course outlines and student evaluations) and graduate student supervision 
(7) a Diversity Statement (maximum 1 page) that describes and documents how equity, diversity, and inclusion figures into your past, present, and future experience of teaching, research, community engagement, and your lived experience, and 
(8) names and contact details for three referees who should be at the rank of Associate Professor or above at a university of comparable or superior stature to UBC. Letters of reference will only be requested from short-listed candidates and referees will be asked to comment on the candidate’s engagement in equity, diversity, inclusion, anti-racism, and anti-oppression. 

All applications must be submitted electronically, in the format of a single, bookmarked PDF file, to: Following the submission of the application, the applicant will receive an Equity Survey link via email. Completion of the Equity Survey is required as part of the application process. 

While the search remains open until the position is filled, in order to be considered in this round of adjudication, interested applicants are asked to submit their complete application package by Friday, November 5, 2021. 

Questions regarding the position and its application deadline should be directed to Dr. George Belliveau, Department Head of LLED, at
Assistant/Associate/Full Professor, Music Education
Bienen School of Music, Northwestern University
The Northwestern University Henry and Leigh Bienen School of Music invites applications and nominations for a full-time, tenure-track (Assistant Professor) or tenure-eligible (Associate and Full Professor) position in Music Education to begin September 1, 2022. Area of specialization is open, however the ideal candidate will complement current faculty's curricular and scholarly strengths, will be committed to music education as both a practical and academic discipline, and will envision music learning and teaching as a global endeavor that occurs across the lifespan and both within and outside formal educational institutions.

Required: 1) a doctoral degree in Music Education; 2) an ongoing commitment to one or more lines of significant, innovative, and forward-looking research as demonstrated through publications and national/international professional activities; 3) successful primary and/or secondary school teaching experience and demonstrated effectiveness teaching music at university undergraduate and graduate levels; 4) evidence of innovative teaching (e.g., explores the nexus between music education and other disciplines, explores new models and environments of music learning, or examines music education's role in the preparation of professional musicians).

Responsibilities: 1) teaching, research, and service activities consistent with those of a large school of music within a research university; 2) teach undergraduate- and graduate-level core courses in music education as well as other courses and seminars in the applicant's area(s) of expertise and scholarly interest; 3) supervise graduate research projects and direct/advise dissertations in line with Northwestern University's mission as a major research institution; 4) maintain a high level of professional visibility through ongoing contributions to scholarly research and professional leadership in the field.

To Apply: Priority will be given to applications received before October 15, 2021. Screening will begin September 1, 2021 and continue until position is filled. Applicants should submit: 1) letter of application; 2) curriculum vitae; and 3) names and contact information of three persons qualified to serve as references.

To apply, visit or access the application process via the Bienen School's website at

Please direct questions to Dr. Sarah Bartolome, Search Committee Chair, at Northwestern University is an Affirmative Action/Equal Opportunity Employer. Hiring is contingent upon eligibility to work in the United States. Women and minorities are especially encouraged to apply.