Dr. Stephanie Shonekan is an ethnomusicologist specializing in popular music of both Africa and the African diaspora, race and identity in music, and protest music. She is the newly appointed Dean of the College of Arts and Humanities at the University of Maryland

The series will launch with a talk by Dr. Bibian Kalinde entitled, “Unraveling timbre in the music of the marriage ceremony of the Chewa and Bemba in Zambia.”

Learn about timbre and orchestration with the ACTOR project! In Episode 1, Stephen and his assistant Cameron Chameleon explore what goes on inside the ACTOR labs.

On September 26, at 1:00pm (EDT), the ACTOR Training and Mentoring Committee(TMC) hosted an online workshop on CVs and cover letters with professors Robert Hasegawa (McGill University), Pierre Michel (Université de Strasbourg), Lindsey Reymore (Arizona State University), and Caroline Traube (Université de Montréal).

The Analysis, Creation and Teaching of Orchestration (ACTOR) Project and the Schulich School of Music invite you to a lecture about the the Composer-performer Orchestration Research Ensemble (CORE) project presented by Professors Stephen McAdams (Music Technology) and Guillaume Bourgogne (Orchestral Conducting) on April 8 at 5:00pm EDT as part of the Research Alive Series.

We often reach for crossmodal metaphor to describe music--it sounds warm, or velvety, or rough, spiky, jagged, smooth, glassy, or bright, etc. What if these metaphors were not as subjective as we might think, but had a scientific, neurological basis?

On December 6, 2021, the ACTOR Training and Mentoring Committee (TMC) hosted an online workshop on conference proposal abstract writing with professors Robert Hasegawa (McGill University) and Malte Kob (Detmold University of Music).

One of the most curious aspects of timbre and its manifestation through orchestration is its ability to create what is known as a timbral emergence: the synthesis of a new timbre whose component instruments are unidentifiable as themselves.

Successful musical interpretation in performance involves the ability to go beyond the written notation, to “take the music off the page,” so to speak. Music theoretical analysis often stops at written notation, where performers only begin their interpretive processes.