2022-MET-TMOHE: 2022 MET/TMOHE online conference online London, UK, April 7-8, 2022

Conference web page	https://sempre.org.uk/2022-met-tmohe
Submission link	https://easychair.org/conferences/?conf=2022mettmohe
Conference program	https://easychair.org/smart-program/2022-MET-TMOHE/
Abstract registration deadline	March 8, 2022
Submission deadline	March 8, 2022
Authors Notified	March 13, 2022

Submission Guidelines

All papers must be original and not simultaneously submitted to another journal or conference. The theme for the 2021 conference is:  Sustainability in online music teaching. We welcome paper presentations, research presentations, posters and panel discussions focused on the conference theme as well as topics that relate to teaching music online at the tertiary level.

Please consider submitting a proposal for a presentation at the 2022 MET & Teaching Music Online in Higher Ed (TMOHE) Conference. You are invited to contribute to the conference in a variety of forms:

• Paper presentation
• Poster presentation (virtual)

This is a blind peer-reviewed conference. Authors and presenters are invited to upload their submissions in English through this Easy Chair conference area. Please log into Easy Chair (you will need to create an Easy Chair account prior to submission). Submissions must be original and should not contain previously presented data.

Proposal formats include the following two options:

• For paper presentations, submit a 400-word abstract (plus references); or
• For a poster, submit a 400-word abstract (plus references).

Note: Extended versions (3000–4000 words) of all accepted papers will be eligible for submission to either:

• the International Journal on Innovations in Online Education's 2021 special edition in Online Music Teaching
• the journal of Music, Technology, Education

Submissions will be evaluated using the following criteria:

• Relevance to the conference theme Sustainability in online music teaching;
• Clarity and accessibility of writing style;
• Innovation of approach, research, practice-based model, and relevance in Higher Education;
• Relevant use of literature (i.e., appropriateness of references);
• Relevance of methodology, techniques used, or modes of inquiry (may not apply for all submission categories);
• Overall scholarship and quality of the submission.

 

Committees

Program Scientific Committee

• Dr Julie Ballantyne, The University of Queensland, Australia
• Dr Noemy Berbel Gómez, The University of the Balearic Islands, Spain
• Professor Andrea Creech, McGill University, Canada
• Professor Ian Cross, University of Cambridge, U.K.
• Dr Francisco Cuadrado, Universidad Loyola Andalucía, Spain
• Dr Monica Esslin-Peard, University of Liverpool, U.K.
• Dr Andrea Giraldez-Hayes, University of East London, U.K.
• Dr Evangelos Himonides, UCL, U.K.
• Dr James Humberstone, The University of Sydney, Australia
• Dr Andrew King, University of Hull, U.K.
• Professor Adam Ockelford, University of Roehampton, U.K.
• Dr Rosie Perkins, Royal College of Music, U.K.
• Dr Helen Prior, University of Hull, U.K.
• Dr Ross Purves, UCL Institute of Education, U.K.
• Dr S. Alex Ruthmann, NYU, U.S.A.
• Dr Mary Stakelum, Bath Spa University, U.K.
• Dr Cynthia Stephens-Himonides, Kingston University, U.K.
• Dr George Waddell, Royal College of Music, U.K.
• Professor Peter Webster, University of Southern Californina, U.S.A
• Professor Graham Welch, UCL Institute of Education, U.K.
• Professor Aaron Williamon, Royal College of Music, U.K.
• Dr Margaret Young, Ohio State University at Lima, U.S.A.

Organizing committee

• Dr Carol Johnson, University of Melbourne, Australia
• Dr Brad Merrick, University of Melbourne, Australia
• Dr Evangelos Himonides, UCL, U.K.
• Dr Andrew King, University of Hull, U.K.

Keynote Speakers

Professor Peter Webster, University of Southern California, U.S.A.

Title: Big Ideas in Music Teaching and Learning: Implications for Online Learning

This talk will begin with a short summary of big ideas that support music teaching and learning pedagogy in 2022. These ideas will be framed by social issues but also musical ones as we move forward in teaching music in the 21st century. Implications of these big ideas for online instruction and music technology will be suggested. Specific examples of current and future development will be offered as a basis for discussion.

Peter R. Webster is currently Scholar-in-Residence at the Thornton School of Music at the University of Southern California in Los Angeles and is a Professor Emeritus of Music Education at the Bienen School of Music, Northwestern University in Evanston, Illinois. He 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 has taught for over 50 years at various levels of instruction. Webster was the 2014 recipient of the Senior Researcher Award from the Society of Research in Music Education of the National Association for Music Education. He is co-author of Experiencing Music Technology, 4th edition Updated (Oxford University Press, 2022). He has presented at many state, national, and international meetings and is a frequent keynote speaker. His published work includes over 100 articles and book chapters on music technology and creative thinking in music which have appeared in journals and handbooks in and outside of music.

Professor Emily Howard, Royal Northern College of Music, U.K.

title: tbc

Professor Emily Howard holds a Personal Chair in Composition at the RNCM and is Director of PRiSM, the RNCM Centre for Practice & Research in Science & Music. Howard’s music is commissioned, performed and broadcast all over the world. Her work is known for its inventive connections with mathematical shapes and processes: Antisphere – the latest addition to Howard’s ongoing series of orchestral geometries – was commissioned by the Barbican for Sir Simon Rattle and the London Symphony Orchestra (LSO), and opened the 2019-20 season. Her music is the focus of a NMC composer portrait disc, Magnetite. BBC Radio 3’s Record Review noted that the scientific ideas were ‘brilliantly articulated’ throughout the collection.

Industry Keynote Speakers

Hans Lavdal Jakobsen

Title: Keeping aural training and sight-singing students motivated with the interactive app EarMaster

eaching aural training and sight-singing online brings about two major challenges: How do we keep students motivated? And while doing so, how do we retain a high level of tuition quality? This presentation will demonstrate how the app EarMaster can help reach both aims effectively.

Hans Lavdal Jakobsen, M.Sc. Robotics, Founder and CEO of EarMaster. With his engineering background in robotics from the Technical University of Denmark (DTU) and his passion for playing Classical and Jazz music, Hans Lavdal Jakobsen developed the idea of EarMaster back in the mid-90’s. Until recently, he had been the lead developer of the EarMaster software, but he now focuses almost exclusively on leading the EarMaster company towards its vision to make the perfect tool for Musicianship tuition. Hans plays the piano, mainly jazz and gospel music, and plays at various Gospel events in the area where he lives.

Taylor Robinson

Title: Finally! Play Together. From Anywhere.

An exploration into the cutting edge technology of ultra-low latency web conferencing. Platforms are now emerging that claim to have finally solved an age-old problem in music education… How do we play together when we can’t be together? In this keynote, we’ll discuss what this field of technology is, how it works, what can be expected of it, and what may be its current limitation. We’ll look briefly into its past and into its exciting future – a landscape that combines the internet of things, edge computing, virtual reality, and artificial intelligence in a way that may bring us closer together as musicians than we’d ever dreamed.

Taylor Robinson is a CEO, CTO, and serial entrepreneur in the field of music education technology. After founding Taylor RobinsonMusic, America’s first “Uber for Music Lessons”, and growing its marketplace to contract with over 20,000 instructors, Taylor spun off its proprietary web conferencing platform to start a new company. RealTime Audio, with its unique “Z o o m for Musicians” app, came loaded with a number of features and functions specifically relevant to music ed. Most importantly, it would crack the code on ultra-low-latency audio processing, enabling musicians the ability to finally play remotely, over webcam, as if they were in the very same room together. Today, Taylor is actively involved in running both companies. He continues to speak, advocate, evangelize and educate on the topic of music ed, technology, and how they will come to shape our lives, art, and work far into the future.

Publication

2022-MET-TMOHE proceedings will be published online by International Music Education Research Centre (iMerc) Press

Venue

The conference will be held exclusively online using standard online meeting technology.

Contact

All questions about submissions should be emailed to the conference organising committee.

Registration Fee

The conference registration fee is 30GBP (aprox. 40USD, 55AUD). Registration will be available online, on the official Sempre Website (https://sempre.org.uk/2022-met-tmohe)