Key Submission Information
Please read the below information before starting your submission
SUBMISSION OPTIONS
There are four options to be considered when submitting your presentation:
Presentation type: Individual or roundtable spoken papers, workshop, symposia, or poster
Review panel: Every submission is to be connected to one of the 19 review panels
Presidential sessions: Submitters can request that their presentation be considered for this element of the program
Commissions and Special Interest Groups (SIGs): Submitters can request that their presentation be aligned with and curated by one of the ISME Commissions or SIGs
Further details of each submission type can be found later in this Call.
PRESENTATION TYPES
Individual spoken paper of 30 mins duration (approximately 20 minutes of presentation and 10 minutes of discussion).
Roundtable spoken paper of 10 minutes (as part of a 90-minute session that includes 5 other speakers plus 30 minutes discussion time).
Workshops consist of a 45-minute presentation followed by 10 minutes for discussion. Total duration no more than 55 mins to assist in the presenter changeover.
Symposia must have a minimum of three (3) participants and are limited to six (6) participants. Each symposium is allocated 90 minutes.
REVIEW PANELS
Every presentation, spoken papers (individual and roundtable), posters, workshops, and symposia must be submitted to a Review Panel.
Review Panel 1: Leadership in Music Education
Presentation of issues related to leadership in music education; cases of innovative, successful, or reflexive models of leadership organisation; implementation of programmes in music education focusing on the development and practice of leadership.
Review Panel 2: Curriculum Studies and Pedagogies
Multidisciplinary and multi-arts considerations for the music curricula and pedagogies; teaching practices that focus on capacity development, ecological justice, and/or considerations for diversity and inclusive access to music learning opportunities; emerging strategies for teaching indigenous music and decolonizing the music curriculum; complicated conversations and research shaping innovative music curricula and pedagogies.
Review Panel 3: Community Music and Music and Leisure
Approaches, priorities and issues impacting all aspects of community music including musical needs, interests, capacities, and participation opportunities in leisure and non-formal contexts.
Review Panel 4: Research Methodologies
Issues that address the study, design, development, and evaluation of a diverse range of methodologies and types of evidence in music education research; current debates related to epistemological, ontological, and ethical questions underlying research methodologies in music education.
Review Panel 5: Musical Development and Learning Across the Life Course
Musical learning processes for children, adolescents, and adults, including the role that social and cultural processes and context play in life-span development; in learning contexts across the life course; learning theories and related issues concerning cognitive, affective, motivational, behavioural, social, and cultural influences on learning.
Review Panel 6: Historical, Social, and Cultural Music Education Contexts
History and historiography of music education; social, cultural, and intercultural education through music; Indigenous knowledge systems and what they tell us about music education; the music teacher as a cultural activist; music education environments; role of interdisciplinary, situated, collaborative, interactive, informal, and nonformal contexts on music teaching and learning.
Review Panel 7: Evaluation and Assessment in Schools
Identifying educational interventions that improve music instructional and learning outcomes; evaluating reforms, programs, professional development, assessment systems, and/or policy implementation; classroom assessment practices, innovative methods and approaches to evaluation and/or assessment; equity and diversity issues related to evaluation and/or assessment in music classrooms and school contexts.
Review Panel 8: Education in Music Professions
Issues and opportunities in relation to the music professions: conservatoire, vocational and professional contexts for education, training and professional development; integration of technology; innovation, reform, and/or instructional approaches to professional music education; musician/educator mentoring; professional identity and social responsibility; expertise development; interprofessional and interdisciplinary collaboration; equality, diversity and/or social, cultural and economic issues that link professional music education with professional practice.
Review Panel 9: Music Teacher Education and Professional Development
Issues and innovations related to music teacher education within all levels of school or community settings; teacher preparation and professional development; equity and diversity in knowledge areas and roles for preservice teachers and teachers in their sites of practice, including working with vulnerable and underserved populations; reflective practice and inquiry- based approaches to music teacher education.
Review Panel 10: Music Education Policy and Social Justice Education
Multidisciplinary approaches to wide-ranging issues addressing formal, informal and nonformal music education that explore policy and/or politics implications; sustainable development in and through the arts; educational policy related to music internationally, social justice in music education; activism and music education in policy and practice; relationships and tensions among political actors and organizations/institutions involved in implementation and decision making in music education contexts; public opinion and policy-making processes in music education; policies and practices influencing equity, access, and opportunity.
Review Panel 11: Early Childhood Music Education
Opportunity and inclusion in early childhood music education; musically nurturing young children; developmental characteristics of early childhood music making; teaching and learning in early childhood music education.
Review Panel 12: Music in Therapeutic and Special Education Contexts
Equity, diversity, and inclusion issues related to special music education and music therapy practice, theory, and research; contemporary pedagogical practices and curricula for people with special needs; therapeutic interventions and applications within diverse settings within and beyond special education; sociocultural and interdisciplinary perspectives (including medical ethnomusicology, and psychology of music) on music practices for promoting people’s health and wellbeing.
Review Panel 13: Music, Health and Wellbeing
Presentations that provide opportunities, raise issues, or discuss current research that supports physical and psychological health of musicians and music educators; develop and disseminate the tools for healthy music skills, to enable musicians to maintain a lifetime of joyful music making.
Review Panel 14: Popular Music and Jazz in Education
Wide-ranging considerations for popular music and jazz curricula and pedagogies; teaching practices that focus on capacity development and/or equity, diversity, and inclusion; considerations for special needs learners; research shaping innovative popular music and jazz curricula, teaching, learning and assessment practices.
Review Panel 15: Music, Media and Technology
A focus on issues related to music, media, and technology; music technology in teaching and learning contexts; digitization in arts/music education; social media and music education, multimodal practices in music teaching and learning.
Review Panel 16: Spirituality and Music Education
Contributions to the discourse concerning the interrelationship of music and spirituality in theory, research, and practice, the integration of spirituality into everyday music education practices, the fostering of intercultural and inter-spiritual dialogue and the promotion of spiritually sensitive and informed music education cultures.
Review Panel 17: Cross Curricular and Integrated Music Practices
Embedding and blending music in the teaching of other subjects; music-infused curricula, pedagogies, and practices; music and multi-arts/multimodal/multiliteracy practices; issues related to integrated arts and music teaching and learning in diverse contexts.
Review Panel 18: Decolonising and Indigenising Music Education (DIME)
Contributions to the advancement of the discourse concerning decolonisation and indigenisation in music education by stimulating discussion about theoretical, philosophical, methodological, policy and applied issues: demonstrating the connection between theory and applied practice in decolonising and indigenising music education; research on traditional music, and past and emerging musical practices to advance resilient societies and sustainable ecosystems.
Review Panel 19: Performance Groups
For details on performance group submissions please see the Performance Group call.
COMMISSIONS AND SPECIAL INTEREST GROUPS (SIG'S)
For each submission, authors will have the option of being considered for a limited number of sessions organised by a Commission or SIG during the World Conference. If you would like your submission to be considered for one of those Commission or SIG session, please indicate this by selecting one Commission or SIG from the “Commission and SIG Session” option on the submission form.
ISME has 8 Commissions, and 10 SIGs as follows:
Commissions
• Research Commission
• Community Music Activity Commission (CMA)
• Early Childhood Music Education Commission (ECME)
• Education of the Professional Musician Commission (CEPROM)
• Commission on Policy: Culture, Education and Media
• Music in Schools and Teacher Education Commission (MISTEC)
• Music in Special Education and Music Therapy Commission
• Instrumental and Vocal Music Teaching Commission (IVMTC)
Special Interest Groups (SIGs)
• Musicians’ Health and Wellness
• Spirituality and Music Education
• Practice and Research in Integrated Music Education (PRIME)
• Music Education and Social Change
• Music Technology
• Applied Pedagogies (was Active Music Making)
• Assessment, Measurement, and Evaluation
• Popular Music
• Decolonising and Indigenising Music Education (DIME)
• Disability Studies
and Music Education
For inclusion within the Commission or SIG programming at the World Conference your accepted paper will be included with others for curation and potential inclusion by your nominated Commission/SIG. In instances where an accepted paper cannot be included within the nominated Commission/SIG programme it is returned to the organisers for placement in the conference.
For each submission that aligns with the conference theme Advocacy for Sustainability in Music Education, authors will have the option of being considered by the President and Scientific Committee for a limited number of Presidential Sessions.
Presidential Sessions will be curated to foster collaboration between scholars (or between scholars, students, practitioners, etc.) who have rarely if ever collaborated before and who come from different regions, disciplinary perspectives and/or methodological approaches but examine similar or related issues/topics that align with the conference theme. If you would like your submission to be considered for a Presidential Session, please indicate this by selecting the “Presidential Session” option on the online submission form.
Examples of questions to consider for Presidential Sessions that relate to topics addressing the conference theme include but are not limited to:
1. Whose interests are served in the music education enterprise?
2. What can be learnt from the other arts, Indigenous traditions, and past and emerging musical practices around the world in the efforts of advancing resilient societies and sustainable ecosystems?
3. How do national and global music education systems prevent or ensure equitable access to music learning opportunities and participation in music?
4. How can research help to advance equity, diversity, and inclusion as well as ecological sustainability in music education practices and/or policies?
5. What strategies governments should adopt to further promote music education in order to achieve well-being in the society?
Presidential sessions selection
The Scientific Committee will make a recommendation to the Scientific Chair and ISME President that a presentation be included as a presidential session where the author has asked to be considered as part of this element of the programme. The President and Scientific Chair will then curate that programme.
Note: NEW deadline for Submissions is October 13th, 2023, at 11:59pm Pacific Time.
The following procedures and policies must be adhered to. Failure to follow these polices will result in submissions being removed from consideration.
• Submissions are open to ISME members only. All presenters and co-presenters must be an ISME member at the time of submission, at the time of acceptance, and at the time of presenting.
• Submissions are accepted online only. This system will be available to ISME members through the ISME 2024 conference website at: ismeworldconference.org
• All submissions and presentations must be in English.
• Submissions must arrive by the deadline. The submission system closes on October 13th 2023 at 11:59pm Pacific Time. Late submissions will not be accepted.
• There will be no deadline extension. Applicants should ensure that they begin the process of submitting in good time and should not assume that the deadline will be extended.
• Submission of full papers. Applicants who want to submit full papers for publication in the conference proceedings must upload their full paper by October 13th 2023 at 11:59pm Pacific Time. Full papers submitted after this deadline will not be included in the conference proceedings. All full papers must be in the format of the Guidelines for Authors. Submissions that are not presented in the required format will not be included in the conference proceedings.
• Formats of submission. ISME accepts four submission formats:
1) Papers (includes individual and roundtable)
2) Posters
3) Symposia (includes diverse format sessions)
4) Workshops (includes demonstrations)
• Submission review panels. Each paper (individual and roundtable), poster, and symposia submission must select one Review Panel that corresponds the best with your topic area.
• All submissions—including symposia—must be made without author identification, for blind review. Submissions that are not anonymised will be automatically rejected.
Note: References may include citations from the author(s) if applicable.
SUBMISSION REQUIREMENTS
Please read the requirements carefully. Only submissions that adhere to the requirements will be considered.
• References, tables and figures. These should be added at the end of the document and are not included in the word count. No more than a total of two (2) tables and/or figures may be included.
• Include full details of any special requests. The submission MUST include details of any equipment, instruments, or facilities that you will require and cannot provide yourself. If any requirements are not included in the submission the conference organizers cannot guarantee to meet your needs and you may need to find alternative ways to present.
• Participant registration and attendance requirement. To be included in the published program, individuals must be registered on the Submission System. This includes co-presenters, panelists, and symposia participants. All presenting authors of accepted papers and all participants in accepted sessions (presenting authors, chairs, and discussants) are required to register for and attend the 2024 ISME World Conference and to be present at the scheduled sessions. Submission is a commitment to do so.
• First author participation limits. To promote broad participation at the 2024 ISME World Conference, an individual may not appear as first author on more than TWO paper (individual or roundtable) and/or poster submissions and TWO symposia and/or workshop submissions. If a submitter exceeds these limits, the earliest submissions only will be reviewed. The purpose of this requirement is to limit the number of first author submissions in any one year. The Scientific Committee reserves the right to further limit the number of presentations accepted for any one individual.
• Other participation limits. In addition, an individual may not appear on the program more than four times (e.g., in the role of chair, discussant, or presenter/participant). The participation limit does not include participation in invited speaker sessions, or any session connected with an ISME office, committee, or award.
• Originality of submissions. Do NOT submit the same proposal for a Commission pre- conference seminar and the World Conference. Submissions that have been previously published or presented at another professional meetings are NOT eligible.
• Selling resources. If your submission is accepted for presentation, please note that sessions should not be used to sell resources, publications or other products.
• If you have questions regarding the submission process, please e-mail ISME 2024 Conference Office at isme2024@confedent.fi. For general questions regarding submissions, please e-mail submissions@isme.org
MULTIPLE SUBMISSIONS POLICY
This policy does not include any sessions to which the presenter has been invited by ISME to contribute, it refers only to submissions that are made through the online submissions system.
Conference submissions for each presenter are limited to a TOTAL of four; this can only be made up of:
• TWO paper (individual or roundtable) and/or poster submissions;
• TWO symposia and/or workshop submissions.
If a submitter exceeds these limits, the earliest submissions only will be reviewed. No individual will be permitted to present in more than a total of TWO Papers, Posters, or Workshops/Demonstrations sessions and TWO Symposia.
Depending on the number of submissions, the Conference Organizers reserve the right to further limit the number of presentations accepted for any one individual.
In addition to the maximum of four conference submissions as outlined above, further submissions are permitted where the delegate is listed as a contributing author (not first author) and is not a presenter. Delegates may also act as one symposium Discussant, in addition to their quota of four conference submissions as outlined above.
COMMON SUBMISSION MISTAKES TO AVOID
• Uploading papers with author identification. All abstract uploads for submissions for papers (individual and roundtable), posters, symposia, and workshops are submitted without author identification.
• Exceeding the word limit. (Paper and poster submissions have different word limits than symposia and workshops).
• Submitting the same submission to multiple review panels/topic areas; submissions may be submitted only to one review panel.
• Submitting a previously published or presented paper; this is not permitted.
• Submitting the same paper to both the World conference and a Commission for a pre-conference seminar; this is not permitted.
• Uploading the incorrect paper to a particular submission.
• Indicating the wrong category for your submission (e.g., paper versus symposia submission). Also, for paper submissions, you must specify your preferred presentation format (individual or roundtable).