News
Irène Deliège, an obituary
Irène Deliège (1933 - 2024)
C'est avec une grande tristesse que nous vous annonçons le décès de notre fondatrice, la Docteure Irène Deliège, survenu le samedi 11 mai 2024.
De 1991 à 2009, Irène Deliège a été la secrétaire générale de l'ESCOM et rédactrice en chef de sa revue Musicae Scientiae. Elle a organisé ou co-organisé plusieurs de nos réunions internationales et a coédité plusieurs ouvrages issus de ces rencontres. Plus récemment, elle a fondé le Fonds de traduction Irène Deliège d'ESCOM, qui a financé la traduction d'œuvres fondamentales de la science musicale de leur langue originale vers l'anglais.
Il est important de dire que nous devons l'existence et la santé continue de l'ESCOM à la clairvoyance et au dévouement d'Irène Deliège, sans parler de ses remarquables compétences organisationnelles.
Des hommages plus complets et des célébrations de sa vie et de son œuvre suivront dans les mois à venir, mais pour l'instant, au nom de tous ceux qui ont bénéficié de ce qu'elle a fondé et soutenu, nous adressons nos plus sincères condoléances à ceux qui lui étaient proches et à ceux qui pleurent sa disparition.
Le Comité exécutif d’ESCOM
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Irène Deliège (1933 - 2024)
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It is with great regret that we report the passing of our founder, Dr Irène Deliège, on Saturday 11th May 2024.
From 1991 to 2009 Irène Deliège was the General Secretary of ESCOM, and founding editor of its journal Musicae Scientiae. She was organiser or co-organiser of several of our international meetings, and co-editor of a number of books which arose from these meetings.
Latterly she founded the ESCOM Irène Deliège Translation Fund which has been responsible for funding the translation of seminal works of music science from their original language to English.
It is fair to say that we owe ESCOM’s existence and continuing health to the farsightedness and dedication of Irène Deliège, to say nothing of her prodigious organisational skills.
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Fuller tributes to and celebrations of her life and work will follow in the months to come, but for the moment, and on behalf of all who have benefitted from what she started and sustained, we send our deepest condolences to those close to her and those who are grieving her passing.
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The ESCOM Executive Committee
The Mariani Foundation is organising The Neurosciences and Music – VIII Conference, that will take place in Helsinki (Finland) and online from June 13th to 16th, 2024.
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The meeting – in partnership with the Centre of Excellence in Music, Mind, Body and Brain (MMBB) / University of Helsinki – is a continuation of our previous “Neuromusic” conferences.
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The central theme of this eight edition is Wiring, Re-wiring, and Well-being and, as usual, the program will include Symposia, Poster Sessions, Workshops and a Keynote Lecture.
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All details are available at: www.neuromusic.org
Special Issue, 2025: Call for proposals
Proposals should be sent electronically to the editor-in-chief:
Professor Jane Ginsborg (jane.ginsborg@rncm.ac.uk)
Since 2013 Musicae Scientiae has published four issues almost every year, one of which is usually a special issue. The following special issues have appeared to date:
2013: Replication in music psychology (Ed. Timo Fischinger)
2014: Music and emotion – Empirical and theoretical perspectives (Ed. Geoff Luck)
2015: The AIRS test battery of singing skills (Eds. Helga Gudmundsdottir & Annabel Cohen)
2016: Music as emotion regulation (Ed. Suvi Saarikallio)
2016: Tracking the creative process (Eds. Nicolas Donin & Caroline Traube)
2017: Music, health, and wellbeing (Eds. Gunter Kreutz & Urs Nater)
2018: Virtuosity (Ed. László Stachó)
2018: Creative conceptual blending in music (Eds. Emilios Cambouropoulos, Danae Stefanou, Costas Tsougras)
2019: Expressive interaction with music (Eds. Micheline Lesaffre, Edith Van Dyck, Marc Leman)
2021: Social impact of music making (Eds. Brydie-Leigh Bartleet and Lukas Pairon)
2022: Identity and music (Eds. Karen Burland, Dawn Bennett and Guadalupe López-Íñiguez)
2023: Supporting musicians’ growth: Maria Manturzewska in memoriam (Eds. Maria CheÅ‚kowska-Zacharewicz, Julia KaleÅ„ska-Rodzaj and Anna Antonina Nogaj).
In 2024 the Special Issue, scheduled to be published in June, will be Music making and music listening today: Challenges and opportunities, to be edited by Alice Chirico and Alfredo Raglio.
We are now accepting proposals for the special issue that is currently scheduled to appear in June 2025. Those interested are requested to send a proposal of no more than 1000 words describing
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the scope of the proposed theme
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the authors and papers to be featured in the issue, within the constraints below
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how manuscripts submitted by contributors for whom English is not their native language will be handled, in terms of their professional language editing.
Special issues can be no more than 60,000 words long. This represents 130-140 printed pages, so only 6-7 manuscripts can be accepted, in total.
Proposers should make a case justifying the dedication of a special issue to their particular theme and its topicality. Proposals should demonstrate that the special issue would have overall coherence. Those making proposals should highlight their existing editorial experience. If their proposal is accepted, they will be expected to identify reviewers who are both willing and able to review by the specified deadlines for each manuscript to be considered. Proposers will also be expected to act as guest editors for the special issue, to communicate with contributors with regard to revisions, and ultimately to be responsible for producing an issue containing a strong and coherent collection of articles. One member of the editorial board will be assigned to work with the guest editors in overseeing the refereeing process to ensure that the individual articles and the collection as a whole meet the quality standards of the journal.
Proposals should be submitted no later than 22 December 2023. The editor-in-chief will communicate her decision as to which of the proposals will be accepted in early January 2024.
It is imperative that guest editors should identify reviewers who are willing and available to review before manuscripts are submitted to the journal. The deadlines for the process from submission of manuscripts to submission of final copy to Production will be as follows:
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1 June 2024: Authors to submit manuscripts to Musicae Scientiae (MSX) via Scholar One portal.
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5 June 2024: GEs to check manuscripts and send to already-identified reviewers.
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20 July 2024: Reviewers to return reviews to MSX.
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1 August 2024: GEs to read reviews, request revisions and return manuscripts to authors.
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15 September 2024: Authors to submit revised manuscripts directly to GEs.
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31 October 2024: GEs to work with authors on revisions and ask authors to submit revised manuscripts to MSX.
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2 November 2024: GEs to send manuscripts to reviewers.
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16 November 2024: Reviewers to return 2nd reviews to MSX.
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15 December 2024: GEs to read reviews and work with authors to prepare all-but-final manuscripts. GEs to send them directly to EIC.
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Dec 2024 – Jan 2025: EIC to work with authors on final edits and request final copy to be submitted to MSX for formal acceptance.
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Final copy to Production 31 January 2025.
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Proposals should be sent electronically to the editor-in-chief:
Professor Jane Ginsborg (jane.ginsborg@rncm.ac.uk)
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ESCOM 12 will be hosted by The University of York (UK), with satellite locations at Universidad Nacional de la Plata (Argentina), and The University of Melbourne (Australia).
The aim of the conference is to provide an interdisciplinary and intercultural platform for the dissemination of the most recent developments in music cognition research. The goal is to offer a green and inclusive format that combines high scientific standards with lower emissions associated with flying.
Participation is encouraged in person in one of these hubs, or entirely remotely (e.g., from their home computer). We invite all participants to go to the nearest hub, trying to avoid flying for environmental reasons. The conference will be live-streamed across the hubs (and remotely) and all talks will be recorded and made available to all attendees for the weeks following the event.
We are not the first to run our conference in this way. There have been other examples from which we are learning. Richard Parncutt et al. (2021) found that a multi-hub academic conference affords “global, inclusive, culturally diverse, creative, [and] sustainable” participation. The way it works is that each site preserves the experience of an in-person event, but the sites are spaced geographically to facilitate overland transportation and require much less flying. Professor Parncutt and colleagues in the field of music and psychology demonstrated the feasibility of this format at the 15th biennial International Conference on Music Perception and Cognition (“ICMPC15/ESCOM10”), which had simultaneous sites in Montreal (Canada), La Plata (Argentina), Graz (Austria), and Sydney (Australia).
Welcome to ESCOM12:
The 12th Triennial Conference of the European Society for the Cognitive Sciences of Music!
Environmental Improvement Award: Runner-up 2021
Our green and inclusive conferencing project, ICMPC2021 was nominated for the green impact national awards and has been chosen as the runner-up for the Environmental Improvement Award.
A huge thank you to Renee Timmers, Karolina Prusicka and Yuko Kure.
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https://sites.google.com/sheffield.ac.uk/greenandinclusiveconferences/home
