Free Registration is Now Open for our 5th Annual Conference

You are warmly invited to attend the Fifth Annual RMA Music and/as Process Conference at the University of Wolverhampton’s Performance Hub in Walsall on Saturday 20 May. This year’s conference is in association with the Society for Minimalist Music.

This one-day conference is themed around patterns, with presentations covering a range of subjects from hip hop as musical process to old and new minimalisms, and from sight-reading pattern recognition to compositional structures as dramaturgical tools. Jennie Gottschalk, author of the recent Bloomsbury book Experimental Music since 1970, will give the keynote, and Paul Cassidy will present a solo performance of Steve Reich’s Piano Phase in the evening concert. A detailed programme for the day is attached to this email, and the conference will be followed by an informal meal at the Metro Inn by the Walsall Campus.

Information for the UoW Walsall campus can be found here:

http://www.wlv.ac.uk/about-us/contacts-and-maps/all-maps-and-directions/map-and-directions-for-walsall-campus/

Registration for the conference is free; lunch and refreshments are provided throughout the day. If you would like to attend the conference, please register by following the link to the eventbrite page below, detailing any particular accessibility or dietary requirements:

https://www.eventbrite.co.uk/e/music-andas-process-2017-conference-tickets-34200597909

The recommended accommodation for the conference is the Metro Inn, within a few minutes’ walk of the campus:

http://metroinnswalsall.co.uk

There is more accommodation in central Walsall (a 30-min walk from campus, or a short bus/taxi ride away):

Premier Inn:

http://www.premierinn.com/gb/en/hotels/england/west-midlands/walsall/walsall-town-centre.html

Lyndon House Hotel

http://www.lyndonhousehotel.co.uk

The Park Inn by Radisson is slightly closer to campus, further along the ring road:

https://www.parkinn.co.uk/hotel-birminghamwalsall

If you have any further questions about the event, please contact Richard Glover.

We look forward to see you there!

The RMA Music and/as Process Study Group in association with the Society for Minimalist Music

The conference is supported by the University of Wolverhampton and the Royal Musical Association

Information for the UoW Walsall campus can be found here:

http://www.wlv.ac.uk/about-us/contacts-and-maps/all-maps-and-directions/map-and-directions-for-walsall-campus/

Please note that there is also an X51 (express) bus service which runs by the Walsall campus from Birmingham city centre.

RMA Music and Philosophy Study Group Conference: Associate’s Session

We’re very pleased to be hosting an associates session at the RMA Music and Philosophy Study Group conference. Our session examines Ephemeral Scores and the Work Concept. The session will include 5 works by composers who have taken different approaches to ephemeral notation and has been covered by the study group’s PhD student representative: Louis D’Heudeiers.

Read all of the details of the composers and works here.

Full details for the conference, including early bird registration details, can be found here.

Our session description:

This session explores the relationships of 5 contemporary composers with the ‘work concept’ through the medium of performative presentations of ephemeral scores. The 5 works presented in the session explore facets of notation from video to audio to objects which eventually degrade. Whilst the score of Charles Hutchins’ work Immrama is in fact a programme which generates live pages of notation that disappear after a number of seconds specified by the performers, Robert Stillman’s work The Wheel is inscribed on vinyl that is partly degraded by each performace, eventually rendering the music unperformable. In Andy Ingamells’s Waschen, the score is washed off the composer’s body as he performs it; in Louis d’Heudieres’s series Laughter Studies, it exists solely as an mp3 that is responded to in real time; in Maya Verlaak’s Supervision, it takes the form of an interactive sculpture that is physically altered by a flautist’s sound. In each case, the model of the score as a transcription of, or set of instructions for, the ‘work’ has been abandoned in favour of a concept of the score as a dynamic object that is—perhaps—more of a facet of the performance of the piece than a lasting trace of the compositional process. Taken together, the pieces presented are a statement of a number of possible positions from which the ‘work’ of music might be viewed in the present day, and offer a discussion of the relationship of the work of composition and performance with the ‘work’ of music.

Meet our keynote speaker: Dr Jennie Gottschalk

We’re looking forward to hearing from Dr Jennie Gottschalk who will deliver the keynote address at this year’s conference. Some may be familiar with her website, Sound Expanse, that documents many experimental music composers, their pieces, and approaches. She has recently published the book Experimental Music Since 1970 with Bloomsbury. This book is a welcome addition to the literature on this area and a much-needed overview of the current field. As a composer, author and music practitioner, Jennie will be drawing on her range of experience to speak to our optional theme of Music and Pattern.

Her current work includes an interview project that aims to give voice to wide range of perspectives on the field of experimental music. Through work as a transcriptionist she says that she has, ‘taken a real interest in what people say, how they say it, and how they relate to each other.’ She is trying to bring this into her work in experimental music, through this series. Experimental Music is historically difficult to define with multiple strands of practice and many different approaches in many different countries and scenes. In an interview, ‘Non-Fictional Music’, for Van Magazine, Gottschalk has reflected on her approach in this work in experimental music. She describes this practice as music that ‘planted me more firmly and consciously in the place where I was’. This evocation of the personal element of writing about music as well as making it is a refreshing an often quite unique part of her work in the area.

Jennie Gottschalk comes from Boston. She holds a bachelor’s degree in composition from The Boston Conservatory (2001), and a master’s degree and doctorate from Northwestern University (2008). Her teachers have included Larry Bell, Yakov Gubanov, Jay Alan Yim, Augusta Read Thomas, and Aaron Cassidy. Her dissertation and current work explore connections between American pragmatist thought and experimental music.

More details of her talk will be published in the run-up to the conference. You can explore her compositions at her personal website.

Music and/as Process Debut Album: Call for Works

RMA Music and/as Process Study Group

Debut album Call for Works

The Music and/as Process Study Group are curating the first in what will be an ongoing series of albums. The album will be released as a free download on www.bandcamp.com, under the title of Music and/as Process.

Requirements for submission:

  • The work/s must have been presented or performed at a Music and/as Process conference.
  • Please include the full title of the work, and the name of the composer/s to whom the work should be credited.
  • Files must be no more than 291MB.
  • Files must be in one of the following formats: .wav, .aif or .flac
  • Should your work be included in the album, you consent to your name and / or the work’s name being included in any promotional material created by the Study Group.
  • If you are not the work’s sole copyright holder, please obtain the written consent of all other co-writers in advance of the work before submitting it for consideration.
  • If the work has been released or published previously, please obtain the written consent of all parties who have any rights to the work in advance of the work before submitting for consideration.

Each work will be fully credited to the composer/s, and the Music and/as Process Study Group will make no claim to copyright with any of the works, and no profit will be made by the Study Group, or anyone associated with it, as part of the release.

Files must be sent using www.wetransfer.com to steve@stevegisby.com

Deadline for submission: 20th March, 2017.

Intended release date: 20th May 2017, to coincide with the 5th Annual Music and/as Process Conference at the University of Wolverhampton.

For further information, or any questions, please contact steve@stevegisby.com

Call For Presentations: 2017 Conference

RMA Music and/as Process Study Group
Fifth annual conference in association with the
Society of Minimalist Music
20 May 2017
University of Wolverhampton Performance Hub, Walsall Campus

With the support of CCHIP: Centre for Creativity, History and Identity in Performance and the Faculty of Arts at the University of Wolverhampton.

The keynote speaker for the conference will be Jennie Gottschalk, author of the recently acclaimed Bloomsbury publication Experimental Music since 1970. An evening concert given by Paul Cassidy will include a solo performance of Steve Reich’s Piano Phase for two pianos.

Call for Presentations

We welcome proposals for contributions in the following formats:

• Paper (20 minutes + 10 minutes questions)
• Lecture Recital (30 minutes)
• Participatory lecture/workshop (30 minutes)

The theme of the conference is Patterns. Whilst the Music and/as Process Study Group has previously been aimed towards the field of music, the call remains open to other disciplines within the arts and beyond who are drawn towards an association with the theme.

Particular themes covered might include:

• Patterns, sequences, orderings, in the performance/interpretation/realisation/ actualisation of a concept
• Patterns in performance interaction
• Patterns in the construction of new music/design/creative work
• Patterns in artistic social structures, groupings
• Behavioural patterns in performance or creative design

Proposals should include all of the details of the proposed contribution:

• the name(s) of presenter(s)
• title of paper/lecture-recital/workshop
• 200-word abstract
• [for participatory workshops only] description of the format of the workshop
• A full list of any technical requirements and other resources.

Please send your proposals by email to Richard Glover: Richard.Glover@wlv.ac.uk Deadline for proposals: 20 March 2017
Notification of successful presentations can be expected in late March 2017.

In your proposal please clearly indicate all of the presenters, including any performers if you do not intend to perform your own work. Unfortunately, the study group is not able to provide any financial assistance to attend the conference, or to support the creation or performance of works at the conference. All presenters and delegates will be required to pay the conference registration fee, but this will be kept as low as possible.

2016 Conference Booking and Travel Information

Music and/as Process 2016 is based at Bath Spa University’s Newton Park campus, primarily in the Michael Tippett Centre, our new Commons building, and outside (weather permitting).

For any queries, please email James Saunders – j.saunders[at]bathspa.ac.uk


Booking

To book a place at the 2016 Music and/as Process Conference please visit the Bath Spa Live website.

RMA Members: £40
Non-RMA Members: £50


Bath Spa University – Newton Park Campus – Useful Information for Visitors

Full Address: Newton St. Loe, Bath BA2 9BN
Phone: +44 1225 875875
Web: www.bathspa.ac.uk
Google Map Link for directions: http://goo.gl/maps/BRYDM

How to find us – by Bus, Car, Train or Air (includes campus maps):
www.bathspa.ac.uk/about-us/how-to-find-us


Accommodation near Bath Spa University – Newton Park Campus

The new University residence in Bath – Green Park House – will be open in time for the conference. Booking access will be available by the beginning of June. A single room will cost £65 per night, and the bus to the campus is just outside.

Below is a map with other accommodation choices listed, including hotels, B&B’s, hostels and guest houses. They are all priced in the mid to cheap range. Bath is expensive so we have included some options further afield. Bristol is worth considering if you have a car, as it is close and the Newton Park campus is actually outside Bath and a little towards Bristol. Even without a car, hotels close to Bristol Temple Meads Station (as listed here) would be a viable option. Please note these are not approved by us, so please check the accommodation meets your requirements independently.
Click this link for a full-screen Google Map, which is a little more useable than the embedded version –  http://goo.gl/maps/uyYdS

Airbnb might be a good option here since hotels are pricey. Click here for a link to a wishlist of nearby properties. Please check locations before booking – some of these (outside of Bath) might suit visitors with a car but be less accessible by public transport. We’d also suggest a search of your own as listings change rapidly.

Music and/as Process conference 2016

1-2 July 2016, Bath Spa University (Newton Park Campus)

Friday 1 July

1.30pm Registration: Michael Tippett Centre

2:00: Welcome

2:15pm-3:45pm: Session 1 (workshops). Michael Tippett Centre

  • Marcelo Gimenes (Plymouth University): Collective decision-making with smartphones for music composition and performance
  • Richard Harding: The use of ‘People Processes’ in Musical Composition: Questioning Conceptions of Composer Authority
  • Stefano Kalonaris (Queen’s University, Belfast): Markov Networks as a framework for freely improvised musical interactions

3.45-4.15 Tea

4:15pm-6:15pm: Session 2 (papers). CM107

  • Cayenna Ponchione-Bailey (University of Oxford): Influence and action: tracking the emergence of expressive performance parameters in orchestral practice
  • Tania Lisboa (Royal College of Music): Synchronous Distance Learning: a focus on rehearsal strategies in ensemble playing over LOLA
  • Louis D’Heudieres (Bath Spa University): Notions of failure (and success) in scores written in time-based media
  • Vassilis Chatzimakris (Bath Spa University): Interfacial Scores: An exploration of approaches to indeterminacy of performing means

6.15pm: Buffet dinner

7.30pm: Session 3 (performance presentations). Michael Tippett Centre

  • Alistair Zaldua (Canterbury Christ Church University) and Adam Hodgkins (University of Westminster): Improvisation/Notation, Video/Sound
  • Steve Gisby: Iterative Music
  • Simon Limbrick: Between Boundaries

9.10pm: bus to city centre

 

Saturday 2 July

8.35am: bus from city centre

9.00am: registration. Michael Tippett Centre

9.30-11.00 Session 4a/4b (6 papers).

CM.107

  • Rogerio Costa (University of São Paulo): Entremeios: sound, image, collective creativity and technology
  • John Hails (Edinburgh Napier University): On Decalcomania: Organisms and enlightenments
  • Maya Verlaak (Birmingham City University): Embodying context during the music compositional process, leading to a re-evaluation of the connection between musical concepts, values and their means of execution.

CM.108

  • James Williams (University of Derby): Exploring Collective Decision-making in Collaborative Rehearsal Environments: Three-dimensional Improvisations between Composer, Performer and Live Electronics.
  • Alexis Porfiriadis (Bath Spa University): Structuring the unknown: decision-making in open-form compositions for groups.
  • Jonathan Cole (Royal College of Music): Intensifying the role of musicians within the performance of new music

11.00 Coffee

11.30-13.00  Session 5 (lecture-recitals). Michael Tippett Centre

  • Zubin Kanga (University of Nice-Sophia Antipolis/Royal Academy of Music) and Adam de la Cour: Through the Silver Screen: Filmmaking as Collaborative Catalyst in Creation and Performance of Adam de la Cour’s Transplant the Movie! for piano, video and electronics.
  • Pavlos Antoniadis and Panos Ghikas (Canterbury Christ Church University): Open Cycles: Embodied Navigation of Unreal-time improv

13.00: Buffet lunch

14.00: Keynote: Howard Skempton (CM107)

15.15: Tea

15.30  Session 6 (2 performances). Michael Tippett Centre.

  • Stephen Chase: music on the move, in the moment, out-of-doors suite.
  • TOPOS KOLEKTIV (Prague): Site-specific improvised music (Annabelle Plum, Martin Klusák, Hana Hrachovinová and Marek Matvija)

17.30: END. Dinner in Bath

Keynote Speaker: Howard Skempton

We are delighted to announce that Howard Skempton will join us as our invited keynote speaker at this year’s conference. He will address our optional theme from his wealth of compositional and collaborative experience.

Howard Skempton is a professional composer whose works have been published by Oxford University Press since 1994.  His best known work is “Lento” (1990), commissioned by the BBC for the BBC Symphony Orchestra and was performed at 2010 BBC Proms. Much of his music is available on CD.  The Oxford University Press website includes discography, a biography and details of recent compositions.  He is an Honorary Member of the Royal Academy of Music.

‘Only the Sound Remains’ was shortlisted for the 2011 Royal Philharmonic Society Music Awards.  The piece, a large scale composition for viola and chamber ensemble, was written for the Birmingham Contemporary Music Group, and had its premiere in 2010.  Howard has had previous success at the Awards with his string quartet,Tendrils, written for the 2004 Huddersfield Festival. It won the Royal Philharmonic Society award for chamber-scale composition.  Tendrils also won the Chamber Music category in the BBC Radio 3’s British Composer Awards.  ‘The Moon is Flashing’ won the 2008 award in the vocal category.

Howard has continued to compose choral music, including an Advent antiphon for Merton College Oxford and anthems for Chester and Wells Cathedrals.

Call for Papers: 4th Annual Conference, 2nd July 2016, Bath Spa University

RMA Music and/as Process Study Group 4th Annual Conference

2nd July 2016, Bath Spa University

with the support of the Centre for Musical Research at Bath Spa University

This year the Music and/as Process study group extends its focus to collective working practices which involve group decision making as part of the composition process, rehearsal, or performance. The day will include practice-led presentations, workshops, and papers and will be based at Bath Spa University’s Newton Park campus.

Call for Contributions

We welcome proposals for contributions in the following formats:

  • Paper (20 minutes)
  • Lecture-recital (30 minutes)
  • Participatory lecture/workshop (30 minutes)

Proposals on any aspect of process in music are welcome, although this year we are particularly interested in proposals that address:

  • collective composition working practice
  • collective decision-making in rehearsal
  • live group decision-making in performance
  • uses of technology to mediate collective behaviours and decision-making
  • formation and operation of collectives
  • distributed creativity

Proposals should include all of the details of the proposed contribution, to include:

  • the name(s) of presenter(s)
  • title of paper/lecture-recital/workshop
  • 300-word abstract
  • [for participatory workshops only] description of the format of the workshop, including a full list of any technical requirements and other resources.

Please send your proposals by email to Lauren Redhead:lauren.redhead@canterbury.ac.uk

Deadline for proposals: 18th March 2016

Notification of successful presentations can be expected in April.

In your proposal please clearly indicate all of the presenters, including any performers if you do not intend to perform your own work.  Unfortunately, the study group is not able to provide any financial assistance to attend the conference, or to support the creation or performance of works at the conference. All presenters and delegates will be required to pay the conference registration fee, but this will be kept as low as possible.

attend the conference, or to support the creation or performance of works at the conference. All presenters and delegates will be required to pay the conference registration fee, but this will be kept as low as possible.