SOUND AGENDAS COMPOSERS’ CONFERENCE
Value – Practice – Craft – Future
The University of Sheffield, Friday 27 April – Sunday 29 April 2018
DRAFT PROGRAMME Updated 22/04/18
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See links at the bottom of the page for venue locations
Thursday, 26th April 19:30, FIRTH COURT, CONCERT |
CeNMaS Launch–Sarah Watts, Jonathan Ayerst and Ligeti Quartet perform new works by Sheffield composers |
Friday, 27th April 9:30-16:30, HUMANITIES RESEARCH INSTITUTE |
Ligeti Quartet Professional Development Workshop Observers by ticket only (no charge, limited availability) |
9:30-12:30 12:30-13:30 13:30-16:30 |
Workshop Session 1 (with refreshments) Lunch break for artists (observers make own arrangements) Workshop Session 2 (with refreshments) |
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Dinner – own arrangements |
Friday, 27th April 19:30, UPPER CHAPEL, CONCERT |
Crippled Symmetries–Philip Thomas, Richard Craig and Damien Harron play Feldman |
Saturday 28th April, 9:00-18:00, HUMANITIES RESEARCH INSTITUTE |
Sound Agendas Composers’ Conference |
8:45-9.00, ATRIUM |
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Registration |
9.00-10.40 |
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Concurrent Sessions Round 1 |
SESSION 1A CONFERENCE ROOM |
CHAIR: George Nicholson |
#practice #visual #theatre |
9:00-9:30 |
James Whittle |
Music is Theatre: ‘it’s not too late for us to have bodies’ |
9.30-10.00 |
Jenny Jackson |
The Theatre of Musical Performance: how much do we ‘see’ music? |
10.00-10.10 |
Laura Shipsey (Cardiff University) |
Sonic Portraiture—a Point of View paper (5 mins) |
10.10-10.40 |
James Redelinghuys (University of York) |
Employing Hidden Rituals |
SESSION 1B SEMINAR ROOM |
CHAIR: Ben Gaunt |
#craft #harmony #voice-leading
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9:00-9:30 |
Daniel Fardon (University of Birmingham) |
Constructing Tonalities: fluid orientations and how choices in tonality and style relate to expressive possibilities in contemporary composition and its craft |
9:30-9:40 |
Claire Roberts (Bangor University) |
Lines and Leads: addressing harmonies in contemporary music – a Point of View paper (5 mins) |
9:40-9:50 |
5 min break |
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SESSION 1C SEMINAR ROOM |
CHAIR: Ben Gaunt |
#future#new practices |
10:00-10:40 |
Colin Frank (University of Huddersfield) |
Hybridized Practice: Multifaceted Approaches to Creation – a Point of View paper (5 mins) |
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Ellen Sargen (University of Sheffield) |
Discussing the impact of Western ‘appropriation’ on scoring for the Chinese guzheng: questioning prescriptive practice in contemporary composition – a Point of View paper (5 mins) |
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Darragh Kelly (Trinity College Dublin) |
The Superfold: Digital Media and Conceptual Composition – a Point of View paper (5 mins) |
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DISCUSSION |
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10:40-11:00 |
ATRIUM |
Coffee/Tea |
11:00-11:50 |
CONFERENCE ROOM, KEYNOTE (Intro: Dorothy Ker) |
Christopher Fox |
11:50-12:15 |
Walk to Firth Court, Western Bank, Sheffield S10 2TN |
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12:15-13:15 |
FIRTH COURT, LUNCHTIME CONCERT |
Lucas Fels, cello |
1:30-14:15 |
KREBS CAFE, FIRTH COURT (ground floor) |
Lunch |
14:15-14:30 |
Return to HRI |
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14:30-16:00 |
Concurrent Sessions Round 2 |
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SESSION 2A CONFERENCE ROOM |
CHAIR: Moss Freed |
#practice #theatre #texts |
14:00-14:30 |
Liz Johnson |
(com)Mission Impossible? One Composer’s Practice |
14:30-15:00 |
David Power |
Ho what a Beano – Why Set the Poem Twice? |
15:00-15:30 |
Edmund Hunt |
Ancient Texts – Contemporary Voices? |
SESSION 2B SEMINAR ROOM |
CHAIR: |
#craft #form #audibledesign |
14:00-14:30 |
Patrick Jones (University of York) |
Stasis and Directionality in Locks of the Approaching Storm for mixed octet |
14:30-15:00 |
Elspeth Brooke (Royal Northern College of Music) |
Applying Cinematographic Techniques and Aesthetics of Perspective and Proximity in Michelangelo Antonioni’s L’avventura to Instrumental Composition |
15:00-15:30 |
Ambrose Seddon (Bournemouth University) |
Audible Relationships in Acousmatic Music Composition |
16:00-16:30 |
ATRIUM/MEETING ROOM |
Coffee/Tea and Poster Session |
POSTER SESSION, MEETING ROOM |
CHAIR: Dorothy Ker |
#scores #instruments #audiovisual |
16:10-16:30 |
Jonathan Packham (St Hilda’s College, Oxford) |
Performative Nonlinearity in the Context of a 360° Mobile Score |
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Lynette Quek (University of York) |
Performance and Technology within Audiovisual Settings: a musician’s viewpoint |
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Lynette Quek and Carmen Troncoso Caceres (University of York) |
Recordeur I-II
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Gilberto Agostinho (City University) |
Towards an Automatic Approach to Instrumental Music |
16:30-18:00 |
Concurrent Sessions Round 3 |
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SESSION 3A CONFERENCE ROOM |
CHAIR: Ellen Sargen |
#practice #openscores #control |
16:30-17:00 |
Scott Hewitt (Leeds College of Music) |
Composing Processing Spaces to Prompt Improvisation |
17:00-17.30 |
Stephen Chase |
‘…and always in a new way’—A Memo on (In)consistency |
17:30-18:00 |
Moss Freed (University of Huddersfield/University of Hull) |
Balancing Control: formulating the grid score |
SESSION 3B SEMINAR ROOM |
CHAIR: Adam Stanovic |
#practice #process #space |
16:30-17:00 |
Alejandro Albornoz Rojas (University of Sheffield) |
‘La Lumière Artificielle’: Acousmatic octophonic cycle based on an idea by the Chilean poet Vicente Huidobro |
17:00-17.30 |
Duncan MacLeod (University of Nottingham) |
Sounding Out The Space: a composer’s perspective on spatial music |
17:30-18:00 |
Steve Gisby |
Iterative Music: loops, layers, found material and subjectifying the objective |
18:00 |
Pre-dinner drinks (not included in conference fee) |
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19:30 DINA (UPSTAIRS PRIVATE ROOM) |
DINNER |
Ticket entry (not included in conference fee, book at online store by 14:00 Weds 25th April) |
Sunday, 29th April 9:00-14:30 HUMANITIES RESEARCH INSTITUTE |
Sound Agendas Composers’ Conference |
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9:00-10:30 |
Concurrent Sessions Round 4 |
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SESSION 4A CONFERENCE ROOM |
CHAIR: James Whittle |
#practice #notations #interpretation |
9:00-9:30 |
Desmond Clarke
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Mediating Composition and Improvisation using Live-generated Video Scores |
9:30-10:00 |
Martin Vishnik |
Creating a sound-based aesthetic for music for music played on the classical guitar |
10:00-10:30 |
Stephen Preston (Royal Northern College of Music) |
Interpretation and Beyond: Perspectives from Composer and Performer |
SESSION 4B SEMINAR ROOM |
CHAIR:
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#craft #instruments #vegetables |
9:00-9:30 |
Ben Eyes (University of York) |
Composing with New Instruments
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9:30-10:00 |
Jacob Randell (University of Leeds)
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Composing with Decoupled Organ Pipes: Creating an Organ Pipe Ensemble |
10:00-10:30 |
Jacob Thompson-Bell and Adam Martin (Leeds College of Music) |
Unusual Ingredients: Reflections on creating a cross-modal musical-culinary |
10:30-10:45 |
ATRIUM |
coffee/tea |
10:45-12:15 |
Concurrent Sessions Round 5 |
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SESSION 5A CONFERENCE ROOM |
CHAIR: Dorothy Ker |
#practice #mathematics #matrices |
10:45-11.15 |
Dimitris Papageorgiou, (University of Edinburgh) |
Notational Machines |
11:15-11:45 |
Alexander Blustin (Colchester New Music); Francis Knights, (Fitzwilliam College, Cambridge); Pablo Padilla (UNAM, Mexico); Dan Tidhar (Cambridge Baroque Labs) |
New Structures in Composition: Mathematical Methods |
11:45-12:15 |
Hannah Firmin (University of Leeds) |
Parts and Wholes: Open Form and Micro-dramaturgy in My Quartet: Rock Formation (2017) |
SESSION 5B SEMINAR ROOM |
CHAIR: Alejandro Albornoz Rojas |
#practice #identity #east-west |
10:45-11.15 |
Carlos Zamora (University of York) |
The Use of Pre-Columbian Music in my Composition Process |
11:15-11:45 |
Andreas Tsiartas (University of York) |
Memory and Rite: Re-defining Sound and Identity between East and West |
11:45-12:15 |
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12:15-13:00 |
ATRIUM |
Lunch |
13:00-14:30 |
Concurrent Sessions Round 6 |
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SESSION 6A CONFERENCE ROOM |
CHAIR: Dorothy Ker |
#future #academia #coaching |
13:00-13:30 |
Martin Scheuregger (University of Lincoln) and Christopher Leedham (Leeds College of Music) |
The Composer’s Place in Academia |
13:30-14:00 |
Charles Gaskell
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Composing’s Hidden Game – How Useful is Coaching in the Composition Process?
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14:00-14:30 |
Neil Smith, (University of Nottingham) |
‘Emerging Composers’ and the Composition Opportunity |
SESSION 6B SEMINAR ROOM |
CHAIR: George Nicholson |
#future #gender #curation |
13:00-13:30 |
Nicholas Peters |
Unconscious Curators |
13:30-14:00 |
Harry Perry (Bangor University) |
Not special, but specialised: Reappraising the role of the composer within an interconnected cultural space |
14:00-14:30 |
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Drinks (not included in conference fee) |
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15:00 CONCERT, DINA |
Sarah Watts |
Bass/Contrabass clarinets, electronics |
16:30 approx |
END |
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Conference Venue List
DINA, 32A-34 Cambridge Street, Sheffield S1 4HP
Firth Court, University of Sheffield, Western Bank, Sheffield S10 2TN
Humanities Research Institute (HRI), University of Sheffield, 34 Gell Street, Sheffield S3 7QY
Krebs Cafe, Firth Court, University of Sheffield, Western Bank, Sheffield S10 2TN
Upper Chapel, Norfolk Street, Sheffield S1 2JD