MET 2018

Researching Music - Education - Technology (MET2018)

26–27 March 2018

  • #sempremet
  • venue: Senate House , University of London (Woburn Suite and Room G21A)
  • chairs: Dr Evangelos Himonides, UCL; Dr Andrew King, University of Hull; Dr Francisco Quadrado, Universidad Loyola Andalucía
  • Registration fee (in British Pounds, GBP): £15 (UCL registered students), £60 (SEMPRE student members, and unwaged participants), £95 (SEMPRE members), £130 (non members). Please note that it is of better value to acquire a SEMPRE membership and register as a member, as you will be receiving copies of the Journal, as well as online access to all back issues, on the Sage website.

Important Dates

  • Paper submissions are now CLOSED.
  • Deadline for submissions: 24/12/2017
  • Authors notified: 15 January 2018
  • Conference: 26–27 March 2018
  • Special submission for Big Data Volume: Monday 23 April 2018 (more information tba soon)

Registration and Payment

Please note that you will be able to register and pay for multiple individuals, if needed, using the Paypal 'cart'. Please include the names of additional participants in the "any other information or needs" textbox on the payment form.

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If, for any reason, you are not able to use the automated Paypal system successfully, please contact the Sempre administrator; Josephine will be able to help/support you. Contact information is available on the Sempre "Contact Us" page on our website.


Following the great success of its inaugural conference held by the University of Hull in 2010, MET2014, and MET2016 at IOE London, this fourth two-day conference (#sempreMET) will be hosted by the Department of culture, Communication & Media, IOE, University College London, at the University of London’s iconic Senate House.

Although the 'musicking' humanity has been reliant on technology from the very beginning of its musical journey, we cannot deny that, nowadays, technology changes, develops, and its role is being redefined at a dramatically greater rate. This sempre conference aims to celebrate technology's challenging role(s) and provide a platform for critical discourse and the presentation of scholarly work in the broader fields of digital technologies in:

  • music composition and creation
  • music performance
  • music production (recording, studio work, archival and/or communication of music)
  • diverse musical genres (e.g. popular, classical, world, etc.)
  • creativity/ies
  • real world praxial contexts (e.g. classroom, studio, etc.)
  • assessment of musical development and/or assessment of performance
  • computational musicology
  • music and Big Data (a special call for chapters for an edited OUP VOLUME will be posted soon)
  • the music industry
  • special educational contexts/needs

The conference will provide opportunities for colleagues to present and discuss ideas in a friendly and supportive environment, as well as to provide a meeting point for academics, scholars, teachers, and practitioners who are seeking to form connections and synergies with participants from around the world.

Partners and Sponsors

University College London

UCL Institute of Education ucl

Conference organisation

University of Hull

University of Hull

Conference organisation

Universidad Loyola Andalucía

Universidad Loyola Andalucía

Conference organisation

International Music Education Research Centre (iMerc)


Conference sponsorship


DAREDigital Arts Research Education, UCL Institute of Education

Conference sponsorship

Music Teachers National Association (MTNA)

MTNAWith the kind sponsorship and financial support of the Music Teachers National Association, United States of America


AutographAutograph, Europe's leading theatre sound design and rental company

Conference sponsorship

Keynote Speakers

We are delighted to announce that the now confirmed MET2018 Keynote Speakers are:

Professor Martha Hilley, University of Texas at Austin, USA

Martha Hilley Professor Martha Hilley joined the faculty of The University of Texas School of Music in 1982 as coordinator of group piano. In 1986, she became head of the keyboard division and served in that position until 1989. She served for five years as Associate Director of the School of Music as well as Director of Undergraduate Studies and was Chair of the 1999-2000 University of Texas Faculty Council. Ms. Hilley has been an active participant in workshops, conferences and seminars on the international, national, state and local levels. She has been co-curriculum coordinator for the International Pedagogy Workshops in Italy, Belgium, Norway, Australia and Hawaii and served as pedagogy faculty for the Fairbanks Summer Arts Festival in Alaska and Tunghai University's Summer Keyboard Institute in Taichung, Taiwan. Her abilities as a teacher were recognized in 1983 when she received the Texas Excellence Teaching Award, and again in 1988 when she was awarded one of four Dad's Association Centennial Fellowships for excellence in undergraduate teaching. In 1992, Professor Hilley was recipient of the prestigious Orpheus Award presented by Phi Mu Alpha Sinfonia in recognition of her contributions to the field of music. In 1997, she was awarded the Outstanding Collegiate Teacher Award by the Texas Music Teachers Association and in 1998, Hilley was awarded the William David Blunk Professorship in recognition of outstanding undergraduate teaching and research. In 2000, she was chosen for membership in Leadership Texas and was elected in September of 2000 to the Leadership Texas Alumni Board of Directors. Hilley was inducted into the Academy of Distinguished Teachers at UT Austin in 2005 and awarded the Distinguished Service Award from the Music Teachers National Association in the spring of 2008. Professor Hilley's articles have been published in Clavier, Piano Quarterly and Keyboard Companion. She is co-author of two college piano texts: " Piano for the Developing Musician " and " Piano for Pleasure ." The texts were the first to embrace digital sequencer technology through disks furnished to teachers as well as the first to provide web-based computer tutorials, downloadable pdf and mp3 files and dedicated web sites for each text.

Professor Andrea Creech, Université Laval, Canada

Andrea Creech Dr Andrea Creech has extensive experience as an academic (music and psychology in education), professional musician, music teacher and researcher. Before receiving a Chair at Université Laval, she was Reader in Education and Academic Research Coordinator at University College London, Institute of Education. She has also held posts as Associate Lecturer (psychology) for the Open University and Guest Lecturer at the Guildhall School of Music & Drama, London. Previously she has held principal positions in orchestras in the UK and Canada and subsequently was founder and director of a Community Music School in the Republic of Ireland. Andrea has been project manager for a number of funded research projects in the areas of music education, music and health, and lifelong musical development. Her special research interests are ageing, learning and teaching for adults, wellbeing and community arts; and musical development across the lifespan. Andrea has presented her work at international conferences and published widely. She is the current editor of Sempre 's journal Psychology of Music, Published by SAGE.

Real world and music industry perspectives

Avgoustos Psillas, Autograph, UK

Avgoustos Psillas Avgoustos joined the Autograph sound design team in 2008. Autograph is a leading British sound design and equipment hire company, responsible for numerous theatre productions at home and abroad, including: Hamilton, Les Misérables, Wicked, Mamma Mia!, An American in Paris, Book of Mormon, Aladdin, Matilda, School of Rock, Cats International Tour, Harry Potter and the cursed child, Annie, The Ferryman and many others.

Avgoustos started his career in the world of sound as an assistant recording engineer and producer in Cyprus. Alongside his studio work, he toured Europe with the internationally acclaimed vocal ensemble Diastasis. His career continued in the UK at the MTV Broadcast Services, The Royal College of Music in London where he worked as a recording engineer/producer and later as studio manager. During his five years there, he also designed and taught the music technology course at Imperial College, London.

Avgoustos’ recent design work includes: Pippin (Malmö Opera, Sweden) Shrek UK Tour 2018 – 2019, Elf (Theatre Royal Plymouth & The Lowry) Big Fish (The Other Palace), Sunday in the Park with George (The Other Palace), Imaginary A New Musical (The Other Palace), London Musical Theatre Orchestra – CANDIDE in Concert (Cadogan Hall), London Musical Theatre Orchestra Concert - A Night on Broadway (St Albans Cathedral), The Philanthropist (Trafalgar Studios), BIG The Musical (Theatre Royal Plymouth & Bord Gais, Dublin); A Christmas Carol - Concert (Lyceum Theatre); Honeymoon in Vegas (London Palladium); Oliver! (The Curve, Leicester); Shrek UK Tour; Avenue Q UK Tour; Legally Blonde UK Tour; AGES (Old Vic), Strangers on a Train (Gielgud Theatre), EPIDEMIC the Musical (Old Vic); Sondheim at 80 concerts of Merrily We Roll Along and Company (Queen’s Theatre); Holding the Man and Being Shakespeare (Trafalgar Studio 1); Pygmalion (Garrick Theatre); Laurence Olivier Awards Ceremonies 2009-2016 (Royal Opera House, Covent Garden). For the Open Air Theatre Regent’s Park, Henry V, Lord of the Flies Tour, Hobson’s Choice, Winter’s Tale. For the Hackney Empire, Sleeping Beauty, Mother Goose, Dick Whittington, Blues in the Night, Puss in Boots, Aladdin, Jack and the Beanstalk, Cinderella. As an Associate Designer, his work includes: The Ferryman (Gielgud Theatre), To Kill a Mocking Bird UK Tour, The Machine (Manchester International Festival and Park Ave Armory NYC); The Curious Incident of the Dog in the night-time (Apollo Theatre); Daddy Long Legs (St James Theatre); South Downs and Browning Version (Harold Pinter); Jerusalem (Apollo); Top Girls (Trafalgar Studio 1); Passion (Donmar Warehouse); Imagine This (New London Theatre); Chitty Chitty Bang Bang UK Tour and The Rise and Fall of Little Voice (Vaudeville Theatre).

Marv Radio, Independent clinician and artist, UK

Marv Radio London raised Marv Radio (previously know as Marv-ill) is a rapping, singing, beatboxing and sound healing force of nature. He combines his skills to make what he describes as “Hip Hop Healing”. Whether Radio is on stage, teaching a workshop, performing a sound therapy session or in the studio, he aims to leave people feeling better when he uses his voice. “Music is medicine,” Marv explains. “I always knew music had an incredible ability to uplift people and help them process their emotions. All the great musicians that inspire me have uplifted people through hard times and this is my main intention with the music I make.” Radio was first introduced to music in his mother’s womb as she played Stevie Wonder and other great music to her pregnant belly through a pair of headphones. “Music and sound has always made more sense than any words I have ever heard. As people we tend to pick up on vibrations and sensations and the words fill in the gaps in what we perceive”. Music has become a massive part of Marv’s identity and has taken him to many places, from France to Lithuania to Gambia and even the Amazon rainforest. “I never managed to fit in at school,” he says. “Hip hop gave me a voice and a way to think for myself and sound led me to all the good things in my life.” He has been performing at live events for over 13 years and in that time has performed at many top live venues, events and festivals. He is the beatboxer behind First Direct’s “Unexpected Tweet” TV advert. Marv loves to travel and performs as he does. In 2013 he travelled through parts of South America and in 2016 he journeyed to The Gambia performing, making music and learning more about the healing power of the voice.

Information regarding book of proceedings

Each delegate will receive a printed book of conference proceedings. All accepted papers have been included. This printed version will be revised before becoming available for international distribution, libraries, and bookshops.

Please ensure that at least one of the authors has registered and paid to attend the conference. Failure to do so will result the paper being removed from the final printed version.

Information for presenters and delegates

  • Spoken papers will be between 15-20minutes (confirmation will be sent upon finalisation of the conference programme)
  • Presenters will be able to use their own laptop computers or tablets given that they supply their own adapters for interfacing with a standard connection to a projector (D-sub15 VGA).
  • Presenters will be able to use sound/audio for their presentations; there is no need to bring audio cables, as long as your computer/device has a standard 1/8in (3.5mm) stereo minijack socket.
  • If you have specialist requirements, please contact the conference Chair as soon as possible. We will try to support you in identifying a solution and tend to your needs.
  • Presenters that wish to use the conference venue computer should try to email their presentations to the conference Chair the soonest possible. Please do not leave this for the very last moment.
  • Presenters do not need to bring their own computer/device for their presentation. The venue will have installed computer(s) connected to the powerpoint projectors. If you prefer to use the installed machine on the day, please ensure that you bring your presentation files in a standard format (PDF, PPT, Open Presentation). Also, please ensure that you are not using specialist fonts (unless your presentation is inside a compiled PDF). Finally, please ensure that whatever files you link to from inside your presentation are accessible on a different computer (either 'package' your presentation, or point to files/assets online).
  • The venue does provide high speed internet for those that would prefer to use a Prezi show (or google show, etc) but please do not rely on internet connectivity and ensure that you have your files on a disk or usb flashdrive.
  • We will aim to record all presentations (audio/video), please inform the registration desk upon arrival if you have particular reasons to object this.
  • All delegates will receive a printed book of proceedings.
  • Presenters will be kindly asked to follow the session chairs' guidelines.

Financial support

Bursaries are available for FT students and unwaged applicants, as well as anyone from areas of the world who are defined by the UN as likely to have higher need of support (see UN Human Development Index 2015 ). Please use the dedicated contact page for enquiries ( Contact ).

If you would like to be considered for financial support, please download the Application Form , complete it, and email the completed form to Dr Evangelos Himonides (e dot himonides at ucl dot ac dot uk) by 23:59hrs, on 11 February 2018 using 'MET2018 conference award application' as your email subject line.

Publisher and Demonstrator Stands

Accommodation will be provided for publishers, manufacturers, suppliers, and other organisations and/or companies that would like to participate. Prices for typical packages are provided below. Please contact the conference organisers if you require more information.

  • Manned Stand £199 (£120 per day)
  • Unmanned Stand £299 (£180 per day)
  • Whole right-hand side Advertisement page in published Book of Proceedings £199 (you will need to provide a camera ready PDF - no bleed - please allow for at least 1cm margin all around, for trade standard Royal page size, 6.14x9.21 inches [156x234 mm])
  • Flyers/Inserts in delegate packs £149 total
  • Societies / Charitable organisations FREE

How to find the Senate House