July 22, 2020
Steering Committee Nominations
The MayDay Group is seeking two at-large members for the MayDay Group Steering Committee. At-large members are elected in even-numbered years for six-year terms. Nominations will be open until August 15, 2020 and online elections will be held after that. The Chair of the Steering Committee is selected from its at-large members.

To nominate someone, or to self-nominate, please send an email to the Steering Committee chair, Darrin Thornton, at   dht2@psu.edu.
International Society for Music Education (ISME)
General Assembly
The General Assembly for the International Society for Music Education is announced for 4pm (Helsinki time). As previously advised the date is Thursday 6 August 2020.

The agenda is   here .

This will be an online event, which will also be recorded.

The Zoom link for the online event will be provided by email shortly. You may wish to look out for it.

The time has been chosen because it is the most convenient for the majority of our members. We strongly recommend that members do their best to attend. This is your chance to see first hand how your Society has performed over the past biennium under the presidency of Susan O'Neill and the plans for the next, which will be under the presidency of Emily Akuno.
Conferences & Calls
Music Education Research 
Special Issue: The Digital ‘Turn’ in Music Education 
Guest editor: Dr Dave Camlin
Royal College of Music 

The global COVID-19 pandemic has disrupted music education across the world, resulting in radical changes to the field of practice, accelerating a ‘turn’ toward online digital musical experiences. This digital ‘turn’ is likely to influence the future of music education in a variety of complex and inter-connected ways. In this special issue, we explore the implications of such a ‘turn’ for music educators and their students /participants, and highlight some of the possibilities offered by music education, whether real or imagined, to usefully contribute to human recovery in a post-COVID world. 

Call for Papers 
We are looking for papers which address some or all of the following areas of interest: 
  • What are the practical implications (negative and/or positive), now and in the future, of the digital ‘turn’ in music education? What works? How are music educators addressing the current crisis in terms of changes in their practice? 
  • What is the impact on the relational aspects of music education in a digital world? How are the relationships which underpin music education / collaborative music-making ‘performed’ in a digital world? 
  • What are the psychological implications of the digital ‘turn’ in music education for music educators as well as their students / participants? How might these be understood / addressed? 
  • How might music education contribute to the process of recovery from the pandemic? How can music education help individuals / groups / communities / countries / the planet recover from the crisis? How does what is ‘recovered’ differ from what went before? What can we learn from the digital ‘turn’ in music education that can inform and shape its longer-term future? How can music education contribute to broader global themes of sustainable development in a post-COVID world? 
  • What are the implications of the digital ‘turn’ in music education for teacher education and musician training? What kinds of training approaches will support a healthy ecology of music education in a post-COVID world? 

Papers to be considered for publication should be submitted electronically directly to the journal http://mc.manuscriptcentral.com/cmue by October 31st 2020. Manuscripts will be subject to the normal anonymous peer review by two referees. Papers should be between 5000 and 8000 words and conform to requirements of the journal. Please see guidelines at www.tandf.co.uk/journals/cmue .
For further information please contact: dave.camlin@rcm.ac.uk  
Website: https://www.tandfonline.com/doi/full/10.1080/14613808.2020.1776559 
CAML Review : Special issue on the impact of Covid-19 on music communities
The Covid-19 pandemic has turned the music industry upside down and has impacted all levels of creating, sharing, promoting, researching, studying and preserving music. How has the pandemic affected music collections and services in galleries, libraries, archives, and museums (collectively known as the GLAM sector)?  National regulations for social distancing around the world have resulted in cancelled tours and festivals, interruption in writing and recording and the shifting of these music-making practices onto virtual platforms like Instagram, Facebook and Zoom. While some artists are archiving these performances, many expire after 24 hours and are lost documents capturing this moment in history. Instructors have likewise had to grapple with ways of delivering lessons remotely, with private and college/university-level instruction changed drastically through digital mediation. While other economic sectors are planning for gradual reopening, the music and education sectors are predicted to endure longer periods of isolation. These sectors, which require physical closeness, face some uncertainty about when in-person activities can resume and the economic sustainability of the industry’s current model. 

What role do the GLAM play within this evolving context? With GLAM doors shut to the public, how are libraries and archives responding to and adapting services to support clients? What archival work is being done to document the pandemic and its impact on performance, production, consumption, dissemination, preservation and curation of local, national and international music communities?

For this special issue of  CAML Review , the Editorial Board seeks contributions addressing the impact of Covid-19 on all aspects of music-making, including issues of physical and digital curation, preservation and dissemination through a variety of music-making activities and across all genres. Submissions may take the form of standard academic papers or creative works such as first-person narratives, interviews, memoirs, poetry.

For standard academic papers please send an abstract of 250-words; for creative works please send a short description of the intended submission.  

Deadline:  November 15, 2020  to Jan Guise (jan dot guise at utoronto dot ca) and Jada Watson (jwatso4 at uottawa dot ca). We will contact contributors by November 30, 2020 with instructions for final submission.

Final submissions will be due by  March 15, 2021

Please do not hesitate to contact us if you have any questions,

Jan Guise and Jada Watson
CAML Review, Co-Lead Editors
Journal of Critical Thought and Praxis
As a result of disharmony, determining the purpose of education is often left to government leaders, rather than educational experts and consumers. Zion and Blanchett (2017) described four various interest themes that are embedded in US education: Egalitarian, economic, civic, and humanistic. These four themes in education represent the P-20 spectrum in a number of ways and also breakdown political interest areas.

The Journal of Critical Thought and Praxis invites submissions for a special issue focused on politics and education. We invite manuscripts that fit into one of the below themes, based on the four interest areas proposed by Zion and Blanchett (2017) that show how these interest areas may be included by the political sphere. 

  1. An egalitarian concern: Focused on the quality of educational opportunity and the potential of education to create opportunities for individuals and sees education as the great equalizer;
  2. An economic concern: Focused on the economic vitality of the nation/state, to equip citizens with needed workplace competencies and skills;
  3. A civic concern: Focused on ensuring that members of society are prepared to participate in public life and to own the national identity or pride;
  4. A humanistic concern: Focused on education as a fundamental human right, supporting the right of each individual to develop their highest potential.

We call on scholars, practitioners, activists, and professionals from a range of disciplinary and professional positions to submit work (research articles, conceptual essays, book reviews, and poems) that illuminates the dynamic between education and politics. As an interdisciplinary journal, JCTP welcomes work from a variety of epistemological, theoretical, and methodological traditions from the sciences, social sciences, and arts and humanities.

For more information click here.

IJRCS Editorial Board and Associate Editor/Editor
Call for Nominations

The editor of the  International Journal of Research in Choral Singing  requests nominations for membership on the Editorial Board (2021–2026). Nominations are additionally invited for the position of Associate Editor (2021-2022), with intention to serve as Editor from 2023-2026. Electronic files of nomination materials will be accepted through September 15, 2020, addressed to Patrick K. Freer,  IJRCS  Editor, at IJRCS@acda.org

             Editorial Board . Nominees should hold a completed doctorate and have a record of research publications. Nominations must include: 1) a letter of nomination from another individual that includes description of the nominee’s qualifications to evaluate quantitative and qualitative research manuscripts; the letter should also highlight the nominee’s most important research publications and any previous editorial/reviewer work; 2) the nominator's ACDA membership number/membership expiration date; 3) the nominee’s Curriculum Vitae; and 4) a PDF or direct link to a representative published research article selected by the nominee. International nominees need not be ACDA members. Application materials may be emailed directly by the nominee; the letter of nomination may be sent separately, if desired.

            Associate Editor . It is assumed that nominees would accept membership on the Editorial Board if not selected as Associate Editor; please inform if otherwise. Nominations must include the four items outlined above. Complete nominations will additionally include, as a fifth item, a letter of recommendation from the editor of a journal for which the nominee has served as a member of the review board; this letter should address issues of scholarly contribution to the review process, timeliness, and collegiality. 

Choral Journal Research Report Submissions
American Choral Directors Association
The Research Report column of the Choral Journal publishes recent or in-progress work related to choral singing. Sponsored by the American Choral Directors Association, the column editor seeks pitches for submissions related to arts participation and life-long music-making in the coming two years. Topics promoting continued musical participation are welcome, as are pitches focused on the types of music being made or the inclusion of musicians of all types. We welcome pitches that deconstruct or critique current music-making structures in or out of schools. The column has traditionally been used to synthesize quantitative research to balance the historical research often published as feature articles in the journal. However, all non-historical research pitches are welcome, including philosophical, descriptive, and anecdotal reports of musical experience. For pitches that are accepted, Research Reports in their final form are typically 1500-3000 words in length. Contact the column editor, Bryan Nichols at bnichols@psu.edu
Music, Mediation, and Disability: Representation and Access
The COVID-19 pandemic has reminded us of the centrality of mediation—the representation and communication of images and sounds via technology—at the intersections of music and disability (Kilian-Gilbert 2016, 375). Whether at work behind new technologies of access in a time of crisis or portraying people with disabilities on screen, mediation plays a critical role in the social construction of disability (Pullen et al. 2019, 467). New and established technologies of mediation possess the potential to enable the “empowerment of excluded and silenced bodies” (Garrisi & Johanssen 2020, 18). At the same time, however, they can also reflect, and even reproduce, systemic inequalities and ingrained prejudices, both historically and in the present global crisis.
The opportunities and challenges of mediating disability clearly play out in the musical realm, where the boundaries between representation and misrepresentation, and between accessible and inaccessible musicking, are in constant negotiation. As Neil Lerner has argued, a musical score can both support and—on another level—resist screen-media narratives of disability (Lerner 2017, 856-90). The current pandemic-driven mediation of music on digitized platforms draws increased attention to access, as demarcations between public and private musical experience are navigated and/or redrawn. How might the mediation of music assist in “offering a forceful alternative to pervasive ableist imaginaries” (Galan 2020)?
This renewed focus on mediating modes of musical experience resonates with ongoing scholarly conversations about liveness in performance (Auslander 1999; Reason and Mølle Lindelof 2016), space and sonic environments (Home-Cook 2015), and qualities of aurality (Kendrick 2017), especially in relation to audiences with diverse perceptual capacities and dis/abilities. It thus raises questions about how mediation shapes musical performance creation and reception (Bennett 2019), about the effects of live and digitized sonic practices on embodiment, and about the role of new technologies in shaping our social spheres in relation to the interconnected perceptual experiences of hearing and touch, and by extension, practices of listening. 
With these concerns in mind, we invite a range of proposals for the symposium Music, Mediation, and Disability: Representation and Access. The symposium will feature keynote presentations from  Joy Elan and  Xuan Thuy Nguyen . Joy Elan is an award winning author and spoken word artist, who uses her writing to advocate for civil rights for Blacks/people of color, women, and people with disabilities. Xuan Thuy Nguyen is an Assistant Professor in the Institute of Interdisciplinary Studies and the Pauline Jewett Institute of Women and Gender Studies at Carleton University in Canada, with research that focuses on the transdisciplinary areas of critical disability studies, human rights, inclusive education and critical childhood studies. The organizing committee is committed to ensuring accessibility and inclusivity in our symposium programming. We warmly welcome submissions in multiple formats and from all persons who are engaged in topics related to music, media, and disability. This symposium will take place online, 21–22 November 2020. Selected contributions will be considered for inclusion in an edited volume.
Submission Guidelines
Submissions are welcome for a variety of presentation formats including but not limited to oral and/or multimedia presentations, performance/practice-as-research and research creation, panel discussions, workshops, etc. Please submit proposals by completing  this form  by 31 August 2020. For more information, please visit our  website .
Important Dates
Proposal Submissions Due: 31 August 2020
Notification to Submitters: 15 September 2020
Materials due to organizing committee: 13 November 2020
Conference: 21–22 November 2020
Organizing Committee
James Deaville (Carleton University), Natalia Esling (University of British Columbia), Stefan Sunandan Honisch (University of British Columbia), Samantha Jones (Harvard University), Chantal Lemire (University of Western Ontario), Ailsa Lipscombe (University of Chicago). 
Hosted and sponsored by the Carleton University Faculty of Arts and Social Sciences and the School for Studies in Art & Culture, the symposium is a joint initiative of the AMS Music and Disability Study Group, the SMT Interest Group on Music and Disability, and the SEM Disability and Deaf Studies Special Interest Group.
Statement of Access
In line with the aims of the conference themes, the organizing committee is committed to fostering access via the online format of the conference. Presenters will be provided with a set of guidelines for presentation methods and best practices. Access needs will be surveyed as part of the conference registration procedure, and we invite conference participants to contact the organizing committee about access needs of which we should be aware. 
Statement of Solidarity
We stand in solidarity with members of our communities who are black, Indigenous, and people of colour, including trans, queer, and disabled BIPOC. We stand in solidarity against racism and with those seeking racial justice. Racism is deeply rooted in both Canada and the United States, and across the globe. We recognize our responsibility to acknowledge and to continue educating ourselves about systemic racism and oppression within our society and its institutions. 
We also acknowledge that an online conference is not a place-less, disembodied exchange. We are all  in place  and our diverse lived, embodied experiences shape who we are and that is significant. The internet, too, has a material impact on land and resources across the globe. With this awareness, we acknowledge our privilege of being on and materially benefitting from settler-colonization of the Indigenous lands of Turtle Island, and our responsibility to be actively anti-colonial.
International Association for the Study of Popular Music (IASPM) Journal
Crises at Work: Potentials for Change? (2021)


  • Global (in)equalities and discrimination (e.g. racism, access to high-speed internet, online censorship)
  • Creative crisis, resilience and wellbeing
  • Crises of labour and music business
  • Innovative approaches to dealing with restrictions and limitations
  • Adaptations and alternative forms of commercial music industries
  • Focusing after overload: technical, psychological, social, economic issues
  • Value and appreciation of music professions in times of crisis
  • Emerging networks, communities and collaboration (online and offline)
  • Material and non-material support
  • Moral and ethical aspects of change
We are looking for both scholarly contributions and expressions of opinion or relevant artistic outputs from professionals. The Special Issue also aims to provide a global perspective on support structure and hence motivates popular music scholars to provide information on their regional specifics.
This Special Issue contains two parts, 1) full articles, 2) statements.
Re 1) Full articles will be between 6,000-8,000 words and subject to double-blind peer review. We encourage practice-based and practice-led research submissions. The audio or audio-visual components must not be copyright protected and must be accompanied by a written component of 3,000 to 4,000 words that clearly describes research questions or objectives, relevant literature, the creative process and conclusions.
Re 2) Statements by scholars and practitioners (industry, education, administration, policy makers etc.) about their experiences of crisis in the form of text (max. 2,000 words), audio (max. 12 minutes) or video (max. 8 minutes). The statements will be subject to editorial review.
Abstract/proposals for full articles and statements are due by 15 August 2020, with full submissions (if accepted) expected by 1 January 2021.
To be considered for this Special Issue, please submit an abstract of 150-250 words (plus references, if necessary) by 15 August 2020; along with author name(s), institutional affiliations, contact details and a brief bio of no more than 150 words which includes the author’s positionalities in relation to their topic to:  j.herbst@hud.ac.uk . Please indicate “IASPM Crises Special Issue” in the subject line.
If your abstract is accepted we expect to receive the full submission uploaded into the online submission by 1 January 2021 at 


Music, Sound, and Trauma: Interdisciplinary Perspectives
Location: Online
Date: February 12-14, 2021
Keynote Speakers: Maria Cizmic (University of South Florida), others TBA
Although trauma has always shaped human lives, discussions of trauma have especially come to the fore in our current moment. From the pandemic’s impacts—including global spikes in domestic violence and adverse impacts on mental health—to the tragedies of systemic racism and police brutality, trauma dominates contemporary conversations for wide swaths of people. Today’s focus on trauma follows a decade of burgeoning attention to the socio-cultural and psychological causes and effects of trauma in popular media and academic scholarship, including music studies. This conference—"Music, Sound, and Trauma: Interdisciplinary Perspectives”— seeks to bring together scholars working in and beyond music and sound studies to address the myriad ways that music and sound historically and contemporaneously not only have helped people process trauma, but also have been implicated in violence resulting in trauma. In addition, we are especially interested in hearing from scholars working with music and sound in pedagogical contexts with a focus on trauma-informed teaching and learning.
Supported by an IU Presidential Arts & Humanities Grant and taking place February 12-14, 2021, this online conference will feature invited talks, roundtable conversations, paper presentations, workshops, and seminars. This event is designed to engender conversations amongst researchers, students, and the general public not only about the role of music and sound in traumatic experience, but also about how attending to trauma as a physiological, psychological, and social phenomenon might produce individual, interpersonal, and social healing. In addition to roundtables, panels, and workshops given by leading researchers in music and trauma studies, musicologist Maria Cizmic (University of South Florida) will give a keynote lecture, with additional keynote performers and speakers to be announced at a later date. This conference is connected with a proposed Oxford Handbook of Music, Sound, and Trauma Studies and a special issue of the Journal of Music History Pedagogy—following the February 2021 meeting, conference organizers will invite contributors to participate in these projects.​
The conference organizers are excited to request proposals for 20-minute paper presentations, 1-hour panels of 3-4 participants, 1-hour workshops, 1-hour lecture recitals, and 1-hour performances (these can be live or pre-recorded).
Although we are certainly interested in papers and presentations that address the traumas of the current moment, we also solicit papers, workshops, lecture recitals, and performances that address music and trauma in various social, cultural, and historical contexts. Topics might include but are not limited to:

  • ​Music, sound, and trauma in contexts of 
  • ​war, revolution, and displacement
  • colonial violence
  • systemic racism, sexism, homophobia, ableism, and classism
  • incarceration
  • sexual violence (broadly defined)
  • disease, illness, and medical institutions
  • musical institutions
  • academic music disciplines
  • music education
  • music performance
  • ​Music, sound, and violence
  • Music, sound, and cultural trauma
  • Vocal and instrumental expressions of trauma
  • Trauma-informed pedagogy and teaching about trauma in music classrooms
  • Interdisciplinary approaches to music, sound, and trauma
  • Music, sound, and trauma in literature, media, and film
  • Methodologies for addressing/analyzing music, sound, and trauma
  • Therapeutic potentials of music and sound for traumatized communities and individuals
  • Bridging the gap vis-à-vis trauma studies between music studies and other disciplines (e.g. medical humanities, psychology, sociology, cultural history, anthropology, African-American and African diaspora studies, disability studies, gender and queer studies, etc.)

If you are interested in participating in this conference please send the following to the conference organizers at  musicsoundtraumaconf2021@gmail.com  by September 1, 2020:
  • ​To propose a 20-minute paper: 
  • ​​300-word (max.) abstract
  • 100-word (max.) bio
  • ​To propose a 1-hour panel of 3 or 4 (max.) speakers: 
  • ​300-word (max.) overview of the panel
  •  ​300-word (max.) abstracts for each speaker’s paper
  •  100-word (max.) bio for each speaker
  • To propose a 1-hour lecture recital:
  • ​300-word (max.) abstract
  • 100-word (max.) bio of each performer involved
  • ​To propose a 1-hour workshop: 
  • ​300-word (max.) abstract
  • 100-word (max.) bio of each person involved
  • ​To propose a 1-hour performance:
  • 300-word (max.) abstract
  • 100-word (max.) bio of each performer involved

The conference organizers will notify all applicants of their decisions by November 1, 2020.
See the conference website ( https://musicsoundtraumaconf2021.com/ ) for more information, and feel free to direct any questions you may have to 
Conference program committee: Erin Brooks (State University of New York-Potsdam), Jacqueline Fortier (Indiana University-Bloomington), Michelle Meinhart (Trinity Laban Conservatory), and Jillian Rogers (Indiana University-Bloomington).
Job Announcements

W2- Professur für Musikpädagogik: Hochscule für Musik und Tanz Köln
Gesucht wird eine Persönlichkeit, die das Fach Musikpädagogik in angemessener Breite vertreten kann und in Lehre und Forschung einen weiten und offenen Kulturbegriff zugrunde legt.

Zu den Aufgaben im Bereich der Lehre zählen insbesondere Veranstaltungen im Rahmen der Lehramtsstudiengänge Musik an Gymnasien und Gesamtschulen sowie im Master Musikpädagogik. Der Aufgabenbereich umfasst außerdem die konzeptionelle Gestaltung und Koordinierung des Gruppenmusizierens.