In collaboration with
Australian Music & Psychology Society (AMPS)
Melbourne | Australia
16 | 20 July 2019
Melbourne Conservatorium of Music
University of Melbourne
Centre for Performance Science
Royal College of Music | Imperial College London
20 January 2019: Paper/poster abstract submission deadline, via EasyChair
01 February 2019: Notification of submission decision
15 March 2019: Article submissions open for Frontiers Research Topic
15 April 2019: End of early registration
16 July 2019: Start of ISPS 2019
31 December 2019: Article submission deadline for Frontiers Research Topic
For two decades, William Barton has forged a peerless profile as a performer and composer in the classical musical world, from the Philharmonic Orchestras of London and Berlin to historic events at Anzac Cove, the Beijing Olympics, to his recent contribution to the 2018 Gold Coast Commonwealth Games Opening Ceremony. With his prodigious musicality and the quiet conviction of his Kalkadunga heritage, he has vastly expanded the horizons of the didgeridoo — and the culture and landscape that it represents.
In 1998 and at 17 years-of-age, William Barton realised a lifelong dream when he was invited to perform with the Queensland Symphony Orchestra, but the full, rapturous embrace of the classical music world came in 2004, when Tasmanian composer Peter Sculthorpe unveiled his Requiem with the Adelaide Symphony Orchestra and guest soloist, William Barton.
By the mid-2010s, despite a bare minimum of formal musical education, William Barton had won an ARIA Award for his classical album Kalkadungu, composed a world premiere work for members of the Berlin Philharmonic at Sydney Opera House, and unveiled his first-string quartet, Birdsong at Dusk, with the Kurilpa String Quartet and his mother Delmae Barton on vocals.
Today he holds honorary doctorate music degrees from the Universities of Griffith and Sydney, an adjunct professorship of music from the Queensland University of Technology, and has released five albums on the ABC Classics label. His most recent, Kalkadungu: music for Didjeridu and Orchestra, features predominantly his own compositions.
Professor Jane W. Davidson is Deputy Director of the Australian Research Council’s Centre of Excellence for the History of Emotions, Associate Dean Research and Professor of Creative and Performing Arts at The University of Melbourne. Academic interests include: arts and health development across the lifespan; emotion, expression and historically informed performance practices; vocal studies and performance science. She publishes in the disciplines of music psychology, education and history of emotions, as well as reflective practice research. She has worked as an opera singer and director, collaborating with groups such as Opera North UK and the West Australian Opera Company. She has secured a range of research grants in both Australia and overseas and is currently Deputy Director of the Australian Research Council’s Centre of Excellence for the History of Emotions. She has held many positions in academic service including the Presidency of the Musicological Society of Australia and editor of the international journal, Psychology of Music.
Zach Hambrick is a professor in the Department of Psychology at Michigan State University, where he directs the Expertise Lab. Dr. Hambrick’s work focuses on the nature and origin of expertise in complex domains such as music, sports, and science. He is author of over 100 articles, chapters, and reviews, and has written for the New York Times, Scientific American, Slate, and Politico. He received his Ph.D. from the Georgia Institute of Technology in 2000, and is a Fellow of the Association for Psychological Science. He is co-founding editor of the Journal of Expertise and lead editor of the recent volume The Science of Expertise: Behavioral, Neural, and Genetic Approaches to Complex Skill.
Andrew J. Martin, PhD, is Scientia Professor, Professor of Educational Psychology, and Co-Chair of the Educational Psychology Research Group in the School of Education at the University of New South Wales, Australia. He specializes in motivation, engagement, achievement, and quantitative research methods. He is also Honorary Research Fellow in the Department of Education at the University of Oxford, Honorary Professor in the School of Education and Social Work at the University of Sydney, Fellow of the American Psychological Association, Fellow of the American Educational Research Association, Fellow of the Academy of the Social Sciences in Australia, and Fellow of the (Australian) College of Educational and Developmental Psychologists. He is Associate Editor of British Journal of Educational Psychology, Associate Editor of School Psychology International, Consulting Editor for Educational Psychology and serves on numerous international and national Editorial Boards (Journal of Educational Psychology; Educational Psychologist; Contemporary Educational Psychology; Learning and Individual Differences; Educational and Developmental Psychologist; Journal of Psychologists and Counsellors in Schools).
Mark Wiggins is Professor of Organisational Psychology at Macquarie University, Sydney, Australia. He gained is PhD in Psychology from the University of Otago, New Zealand in 2001. Mark is currently the Deputy Director of the Centre for Elite Performance, Expertise, and Training at Macquarie University, and Director of the Macquarie University Integrated Simulation Hub. He is a Registered Psychologist with an endorsed area of practice in Organisational Psychology. Mark’s research and teaching interests lie in the assessment and development of expert performance, particularly in the context of cognitive skills such as diagnosis and decision-making. He has led a number of national and international research projects in domains including power system control, software engineering, medicine, and aviation. He has acted as an advisor to the United States Federal Aviation Administration, the Civil Aviation Safety Authority, the Australian Transport Safety Bureau, the Victorian Department of Infrastructure, the New South Wales Clinical Excellence Commission, the Australian Rail Track Corporation, and Transport for New South Wales.
Melbourne Conservatorium of Music
The Conservatorium is situated at the Ian Potter Southbank Centre, Sturt Street, Southbank, Victoria 3006.
For further information on the Melbourne Conservatorium of Music and the University of Melbourne, see www.mcm.unimelb.edu.au.
Melbourne | Australia
For information on Melbourne’s history, sights, and attractions, see www.visitmelbourne.com.
We are delighted to announce that the Call for Papers is now open!
To read the complete Call for Papers, visit EasyChair:
Structured abstract submissions should be made by 20 January 2019 here:
To log in to EasyChair, you will first need to ‘create an account’ and then ‘enter as an author’.
Submissions are invited for:
Spoken papers (empirical or theoretical)
Poster presentations (empirical or theoretical)
Abstract submissions must use the following templates:
The ISPS 2019 Committee is keen to encourage the attendance of students, as well as established researchers and practitioners. Therefore, the ISPS 2019 Graduate Paper Award will be offered to one graduate student to present a keynote paper at the conference.
In addition, delegates at the conference will be able to nominate one graduate student for the ISPS 2019 Graduate Poster Award from among those presenting at the symposium.
Each submission will be reviewed anonymously according to its originality, importance, clarity, and interdisciplinarity. Corresponding authors will be notified by email of the Committee’s decision by 1 February 2019.
Building on the publication of articles from ISPS 2013, ISPS 2015 and ISPS 2017 in Frontiers in Psychology, the journal is will host a Research Topic in the specialty section Performance Science for ISPS 2019 presenters.
To qualify, the first (or corresponding) author must be a registered presenter at ISPS 2019, and the manuscript should be submitted to the journal for independent peer-review between 15 March and 31 December 2019. Manuscripts that are accepted for publication following peer review may incur an article processing fee (reduced for Research Topic submissions), depending on the article type. For more information on the Frontiers open access policy and publishing fees, see www.frontiersin.org/about/publishing-fees.
Note. The ISPS 2019 Research Topic replaces the Proceedings of the International Symposium on Performance Science. As with ISPS 2015 and ISPS 2017, a proceedings volume will not be produced for ISPS 2019; however, published articles from all previous ISPS are freely available here.
Registrations are now open for ISPS2019 via http://go.unimelb.edu.au/ck76
Full and one-day registration options are available:
Early Bird tickets for full registration (which include the Conference Dinner) are now available. This offer is available until 15 March 2019.
Please note that tickets for one-day registrations include lunch, but not the conference dinner.
All prices are in Australian dollars (AUD).
* Student Registration is available to students undertaking a university degree who are employed for no more than 50% of a full-time salary. A valid student card or any documentation proving student status must be brought with you to the conference for verification at registration.
Information coming soon.
We are delighted to announce that the inaugural Performance Science Development Day will launch the 2019 symposium on the 16th of July!
The Performance Science Development Day will kick-start the 2019 Conference of the International Symposium on Performance Science (ISPS), incorporating the Australia Music & Psychology Society (AMPS) conference.
Our event aims to provide postgraduate, early and mid-career researchers the opportunity to:
This one-day event includes three components: networking opportunities, panel discussions and workshops, and cultural activities.
The day’s focal activity will be our fast-paced academic ‘speed-dating’ networking event, which will allow emerging researchers to discuss their research and areas of interest with prominent established researchers from Australia and internationally in an informal and supportive setting.
To solidify the ties formed throughout the development day, a suite of social events is programmed for the evening, which will culminate in a cultural exploration of the music and performance practices of Indigenous Australian musician, William Barton.
A unique feature of the ISPS is its interdisciplinary nature; this development day will allow attendees from diverse disciplines to connect with each other, with the aim of driving forward future collaborations and innovations. It is our hope that the Performance Science Development Day will enable collaborative peer-based learning and mentorship between emerging researchers, as well as foster ongoing and meaningful ties with leading international researchers in performance science fields.
Further information regarding the full conference program will be released in April 2019.
Aaron Williamon is Professor of Performance Science at the Royal College of Music, where he directs the Centre for Performance Science. His research focuses on skilled performance and applied scientific initiatives that inform music learning and teaching, as well as the impact of music and the arts on society. Aaron is founder of the International Symposium on Performance Science, chief editor of Performance Science (a Frontiers journal), and a fellow of the Royal Society of Arts and the UK’s Higher Education Academy. In 2008, he was elected an Honorary Member of the Royal College of Music.
Gary E. McPherson is the Ormond Professor and Director of the Melbourne Conservatorium of Music at the University of Melbourne. He has served as National President of the Australian Society for Music Education and President of the International Society for Music Education. His research interests are broad and his approach interdisciplinary. His most important research examines the acquisition and development of musical competence, and motivation to engage and participate in music from novice to expert levels. With a particular interest in the acquisition of visual, aural and creative performance skills, he has attempted to understand more precisely how music students become sufficiently motivated and self-regulated to achieve at the highest level.
Solange Glasser is a Lecturer in Music Psychology and Performance Science at the Melbourne Conservatorium of Music, University of Melbourne. She studied violin performance and musicology at the Queensland Conservatorium of Music (Australia), before obtaining both a Licence and Masters in Musicology from the University of Paris IV – Sorbonne, and a Diploma of Orchestral Conducting from the Municipal Conservatorium of Paris XIX (France). Solange completed her PhD in 2018 under the supervision of Professor Gary McPherson, at the University of Melbourne (Australia). Her doctoral research examined the impact of synaesthesia and absolute pitch on musical development.