Centre for Music and Science

SysMus10 brought together advanced students working in the field of systematic musicology, with particular focus on the ongoing research developed by those studying for PhDs or completing Masters’ degrees. The conference included the publication and presentation of peer-reviewed papers and posters, keynote speeches from top researchers in the field, workshops and social activities. SysMus10 was held in the historic and beautiful surroundings of the University of Cambridge, UK, and is being organized by PhD students at the Centre for Music and Science in the University’s Faculty of Music; it builds on the successes of the first SysMus conference, held in 2008 at the University of Graz, Austria, and SysMus09, held in 2009 in Ghent, Belgium.

The SysMus10 conference is hosted by the Centre for Music and Science, organised by Sarah Knight, Michelle Phillips, Tal-Chen Rabinowitch and Guy Hayward.

Venue

SysMus10 took place at the Faculty of Music, University of Cambridge.

Guest Speakers

Eric Clarke, Nicholas Cook, Petri Toiviainen and Ian Cross gave presentations at this conference.

Call for papers

The review process included double-blind reviews by over 20 reviewers worldwide. A list of the review committee can be found here.

Papers at this year’s conference

All research involving meaning, description, and technological mediation of music can be related to musicology. However, the complexity of musical engagement in socio-cultural contexts engenders different networks of research and knowledge, with distinct interdisciplinary configurations, methods and specializations. Systematic musicology specifically deploys this methodological diversity so as to approach each musicological question with a specific configuration of methods. In doing so, systematic musicology often bridges methodological foundations of sciences with critical analysis from the humanities. It promotes the study of aesthetics, semiotics, and cultural studies by incorporating empirical and data-oriented methods into the methodological framework. It relies on paradigms from different disciplines as diverse as the philosophy of aesthetics, theoretical sociology, semiotics, and music criticism, combined with strategies derived from empirical psychology, acoustics, physiology, neurosciences, cognitive sciences, computing, and others.

Proceedings

Proceedings have been published in the form of full academic papers (for both oral and poster presenters).

E-mail: SysMus10@mus.cam.ac.uk