Production Team: Rich Kroth, Rena Jordan, Mark Kalinowski, Susan O'Connor, Deanna Biase, John Laughton, Judy Smedley, Cathie Allison

Program Committee:Juan Bello, Winslow Burleson, Brett Busha, Michael Casey, Elaine Chew, Parag Chordia, Dan Ellis, Morwaread Farbood, Rebecca Fiebrink, Michel Galante, Grady Gerbracht, Fabien Gouyon, Ozgur Izmirli, Youngmoo Kim, Miroslav Martinovic, Andrew McPherson, Kazuhiro Nakadai, Doug Riecken, Robert Rowe, Meredith K. Stone, Jennifer Wang, Gil Weinberg

Contact for more information:


General Chair: Teresa Marrin Nakra

Program Chair: Andrea Salgian

Performance Chair: Roger Dannenberg

Creative Work Chair: Chris Ault

Performance Committee: Dan Trueman, Gary Fienberg

Creative Work Committee: Margaret Minsky, Warren Buckleiter

Production Coordinator: Rita Patel Eng


Important dates:
Notification of acceptance February 15, 2012
Camera-ready paper submissions March 16, 2012

Online system for submissions and reviews:

Please note that the submission deadline has passed.

We encourage submissions of 1-2 page extended abstracts on topics related to the workshop themes (see below). Submissions that present novel theories, late-breaking results, and new ways of addressing unresolved questions are welcome. Contributions are welcome from intellectual disciplines including (but not limited to): Music Perception/Cognition, Artificial Intelligence, Computational Musicology, Mathematics, Music Theory, Computer Science, Music Information Retrieval, Aesthetics, Creativity, Computer Music, Musical Robotics, New Interfaces for Musical Expression, and Affective Computing.

Authors of accepted abstracts will be asked to submit camera-ready papers by March 16 and present 30-minute talks at the workshop. All abstracts will be peer-reviewed according to their novelty, technical content, clarity, and contribution to the overall balance of topics and disciplines. Peer reviewers will be selected from a broad range of related disciplines, to ensure that papers and creative work are reviewed equitably. Approximately ten papers among the workshop submissions will be invited to submit an expanded paper toward publication in a shared volume after the workshop. To promote fair and objective assessment of each paper, the reviews will be double blind. Authors should omit their names in the submission, and avoid revealing their identity through citation.

Authors should upload their abstracts (in .doc, .docx, or .pdf format) to:

We also encourage submissions of new creative work in areas related to the workshop themes. All submissions will be peer-reviewed according to their quality and relevance to the workshop topics. Work may be submitted as either Stage Performances or Demonstrations. Performances will be presented in the TCNJ Mayo Concert Hall on the evening of March 30; they may complement a paper submission, or stand alone as independent works. Demonstrations will be presented in spaces adjacent to the Concert Hall on March 31; they should have an interactive or audio/visual component and may complement a paper submission.

Authors of creative work should upload up to 5 files containing their materials. The files must be in one of these formats: .doc, .docx, .pdf, .mp3, .wav, .aiff, .mp4, .jpg, .gif, .pict, .mpeg, .mov, .avi, .html. The materials may instead be submitted as a .zip archive in a single file. Along with media or music files, please include a document describing the details of the work, required resources, and production considerations. The submission should not contain any information that could identify the creator(s), to ensure double blind review.

Where possible, please limit audio and video to iTunes and YouTube quality to facilitate review. High quality versions of selected works will be expected for the performance.

Authors of creative work should upload their materials to:

The topics of the workshop have been designed to provide a framework for presentations and discussions about fundamental and unresolved questions in the contributing disciplines, drawing upon aspects of Marvin Minsky’s article, “Music, Mind and Meaning” (Computer Music Journal 5(3): 28-44):

• Creativity across Disciplines – In what ways can musicians and scientists contribute to each other’s disciplines? Can listening to or creating music help us find more imaginative and effective solutions to scientific and computational problems? Can scientific methods help musicians to be more effective? How to foster and evaluate different types of creativity and creative outcomes. Can musical concepts or ways of thinking influence and improve other pursuits? Definitions and types of creativity, how creativity can be measured, and whether it is possible to enhance creativity through musical activities and musical thinking.

• Ways of thinking about Music -- Synergistic relationships between music and computation/AI. Robotics as a platform for modeling and simulating human musical behaviors so as to better understand them. Music as embodied computation. Computational descriptions for musical gestures and movement. Theoretical frameworks and conceptual models of musical cognition, gesture, and expression.

• Music as a Medium for Improvement – Why is music capable of motivating and increasing mental focus and physical stamina? Music’s effects on psychomotor processes and emotion. Music as an effective technique and therapy for brain and speech disorders. Healing and motivational functions of music. Recent brain research in music.