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)

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

Registration

9.00-10.40

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

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

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)

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)

Darragh Kelly (Trinity College Dublin)

The Superfold: Digital Media and Conceptual Composition – a Point of View paper (5 mins)

DISCUSSION

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

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

14:30-16:00

Concurrent Sessions Round 2

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

Lynette Quek (University of York)

Performance and Technology within Audiovisual Settings: a musician’s viewpoint

Lynette Quek and Carmen Troncoso Caceres (University of York)

Recordeur I-II

Gilberto Agostinho (City University)

Towards an Automatic Approach to Instrumental Music

16:30-18:00

Concurrent Sessions Round 3

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

Walk to DINA

Pre-dinner drinks (not included in conference fee)

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

9:00-10:30

Concurrent Sessions Round 4

SESSION 4A CONFERENCE ROOM

CHAIR: James Whittle

#practice #notations #interpretation

9:00-9:30

Desmond Clarke

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:

#craft #instruments #vegetables

9:00-9:30

Ben Eyes (University of York)

Composing with New Instruments

9:30-10:00

Jacob Randell (University of Leeds)

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

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

–

12:15-13:00

ATRIUM

Lunch

13:00-14:30

Concurrent Sessions Round 6

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

Composing’s Hidden Game – How Useful is Coaching in the Composition Process?

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

–

Walk to DINA

Drinks (not included in conference fee)

15:00 CONCERT, DINA

Sarah Watts

Bass/Contrabass clarinets, electronics

16:30 approx

END