Welcome to Music and/as Process

RMA Music and/as Process Study Group

3rd Annual Conference
6th June, Goldsmiths, University of London
with the support of the Contemporary Music Research Unit at Goldsmiths

Registration is now live! To register, follow this link.

This year the Music and/as Process study group extends our focus on practice-led research by hosting a day of practice-led presentations as a mini-festival. The day will take in composition, performance and lecture recitals and include a keynote lecture given by Dr Bryn Harrison (University of Huddersfield).

Spread the word! Download a poster here: MP 2015 Poster v2.

Call for Works and Lecture-Recitals
Proposals for works and lecture recitals of between 10 and 30 minutes are invited from scholars, composers and practitioners in all areas of process in music.

Proposals might include:
·         The performance presentation of new or existing compositions
·         Performances of works which involve process from any period of music
·         Lecture recitals demonstrating musical processes
·         Process-based improvisations
·         Composer-performer collaborative presentations

Proposals should include all of the details of the proposed work and presentation, including:
·         the names of the composer(s)/performer(s)
·         the title, length, and instrumentation of the work
·         a short description of the format of the presentation
·         a full list of any technical requirements (including instruments; NB we are unlikely to be able to accommodate proposals that need a very large amount of equipment or a very long set-up time)
·         a description of the role of process in the music, of no more than 200 words

Please send your proposals by email to Lauren Redhead: lauren.redhead@canterbury.ac.uk
Extended deadline for proposals: 25th March 2015

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 (including performers who wish to attend the conference), will be required to pay the conference registration fee. This has not yet been fixed but is unlikely to exceed £10 for members of the RMA and £15 for others. The support of the CMRU ensures that the conference is free for all Goldsmiths staff and students.

Music and/as Process Study Group session 
RMA Annual Conference 2015
9-11 September, University of Birmingham

We are also hosting a session in the RMA Annual Conference this year, University of Birmingham, 9-11 September. Here are the details of the Music and/asProcess session, we’ll look forward to seeing you there!

Presenters: Dr James Saunders (Bath Spa University), Dr Fabrice Fitch (Royal Northern College of Music), Dr Larry Goves (Royal Northern College of Music), Dr Richard Glover (Wolverhampton University), Dr Steve Gisby (independent composer), Cara Stacey (University of Cape Town/School of Oriental and African Studies).

Click through to presenter abstracts and biographies here.

Session Outline

This session incorporates two major areas of interest for the Music and/as Process Study Group: music which is composed from, by, or can be said to be entirely, processes and practice-led or practice-as research. The session will comprise the presentation of research in composition, drawn from a call for works amongst the study group members, which includes or is based on process from members of the study group working across a variety of genres, styles and approaches in contemporary music. Music as process represents a compositional trend or tradition in contemporary music which has been most readily recognised in minimalist musics but also includes serialism, algorithmic composition, the inclusion of pre-tonal devices and non-western influences in music, and improvisatory approaches. As a result, today the composition of and using process transcends genre and represents an important line of enquiry for composer-researchers and improviser-researchers.

This session aims to represent the composers in the Music and/as Study Group in an innovative way. It creates the opportunity for them to present their work in a way which is particularly appropriate to research in this area, highlighting both the research and practice components of their work equally. The members of the Music and/as Process Study Group are investigating many relatively new areas or practice and research; in particular the spaces between improvisation and composition and the boundaries between practice and process. Recent areas of interest have emerged as devised music, collaboration, and process in relation to graphic, text and open notation.

Important considerations in the presentation of practice-led research are that the music should be allowed to speak for itself and that that the music should be recognised as the research itself, rather than merely a presentation or demonstration of research knowledge. These two considerations are reflected in the non-traditional presentation of the work of practitioner-researchers in this session. It attempts to bridge the gap between research presentations and practice presentations in a lecture recital style structure which will be part way between a concert and a conference session. Composers will offer short introductions to their music, accompanied by critical programme notes. Their works will then be heard in full either as live performances or recordings. Such presentation of work has been trialled at the annual Music and/as Process conferences leading to fruitful discussion about issues in and around the music presented, and the perception by the composers involved that the research aims of their work have been clearly articulated.

BLOG POSTS


Call for Performers: RMA Conference

The study group have successfully proposed a themed session for the RMA’s 53rd Annual Conference at the University of Liverpool. The conference takes place from Thursday 7th until Saturday 9th September 2017 and the session will take place on Saturday 9th September from 14.00-15.30

Performers are invited to take part in the session in two of the pieces that will be presented. These are:

Sophie Stone “As Sure As Time…” (2016, for any number of speaking voices; performance directed by the composer)

and

Mathias Spahlinger eigenzeit from vorschläge (1992-3, for any number of performers with objects; performance directed by Alistair Zaldua)

Programme notes for both pieces are below.

If you would like to join one or both of the performances in the session, please contact Lauren Redhead <lauren.redhead@canterbury.ac.uk> who will be chairing the session, by 30th June 2017.

Anyone who attends the RMA conference, including those who perform in the session need to register. Unfortunately, the study group is unable to offer funds to support this. The conference fees are very reasonable, particularly the ‘early bird’ rates, and a discount is offered for members of the RMA. Details of the conference and fees can be found here: https://www.liverpool.ac.uk/music/rma2017/

“As sure as time…” is part of an ongoing series of performances that use the same score. It is a spoken word piece that can be performed by one to four vocalists, and includes a variety of structural elements, sound/vocal techniques and movements. The score consists of a quote from Harper Lee’s Go Set a Watchman (London: William Heinemann, 2015): “As sure as time, history is repeating itself, and as sure as man is man, history is the last place he’ll look for his lesson”. The work allows for performer interpretation with the vocalist performing an individual compositional process; where there are several performers, several compositional processes occur simultaneously. Rather than a traditional concert performance, the listener should experience the work as an installation in a gallery or other environment, allowing them to explore the environment as they wish to, talk and enter/leave when they like. When observed in its entirety, the series presents a new sense of extended duration with long silences separating the performances and the totality being the performance of the work itself. The work also highlights the numerous interpretations of silence as silences of unpredictable length are used within the performances and between each performance; the interpretation of silence is thus questioned as it never truly exists.

eigenzeit is one of over 25 concepts contained in Mathias Spahlinger’s work (written in 1993) vorschläge (suggestions). The instructions read:

“find or invent possible objects or performance methods that are barely modifiable regarding their tempo, rhythm, and total duration; and which, once they have begun, cannot be further influenced; and whose processes cannot be reversed.

examples and suggestions: circling plates and cymbals, falling ping-pong balls, pendulating giant feathers, buzzing/snapping a ruler held over a table-edge, marbles thrown over a marble lane, rubber balls thrown down the stairs, etc.

each player decides by themselves when to play, and how they ‘stage’ their unique, and unmistakable sounds, bearing in mind their approximate duration. frequent accumulation of density and vain repetitions are to be avoided.” (Translation: Alistair Zaldua)

Performing Temporal Processes: RMA Annual Conference Session

In September, the study group will present a session at the RMA annual conference, titled: Performing Temporal Processes. This session also represents a co-authored article by members of the Study Group that will be published in 2018 in the New Sound International Journal of  Music.

 

Session outline: 

All process music deals with time as a part of its material. However, in the case of this music, the experience of time in music is not simply the experience of music as Zeitkunst (in Adorno’s terms), but the experience of time itself. Where many musical works offer an experience of time as an experience of change or development, process works offer the opportunity to experience time as time. That is to say, these works offer the expression and experience of units of time that are defined by, and enclose, processes. Where the duration of a non-process work might be defined by its form, here the work’s form is defined by its duration.

This experience of musical time has been described by Lawrence Kramer as ‘vertical time’ (1981/1988): the extended perception of a single moment. Such an experience of vertical time might be easily identified in Steve Gisby’s Iterative Music and Alistair Zaldua’s Foreign Languages. Both works are entirely prescriptive—even to the level of moment-to-moment duration in the case of the Gisby. Yet, in their performance, the moment-to-moment sonic details of the work remain undefined and are discoverable only as they unfold highlighting an unexpected characteristic of highly prescriptive music: its unpredictability.

Henri Bergson’s (1889;1910) Time and Free Will outlines the distinction between a ‘scientific’ understanding of time—as units of duration understood as a spatial metaphor—and ‘real duration’ which is the experience of time passing in the present. This is expressed as a differentiation between a quantitative and a qualitative multiplicity. In the latter case “several conscious states are organised into a whole, permeate one another, gradually gain a richer content.” (1910, p.122). By enacting such ‘scientific’ processes of spatial duration in their approach to time in their works, the composers featured in this session conversely allow the experience of ‘real duration’ through the reification of the quantitative multiplicity of time on the surface of their music. In Mathias Spahlinger’s eigenzeit the duration of the piece is clearly determined by the duration of its processes, although these durations remain undetermined until they are enacted. In foreign languages time is determined by a series of actions that have no duration until they are enacted. Sophie Stone takes this further in “As sure as time…” by imagining each performance of the piece to be a unit of duration in a theoretical meta-performance of the work, and hearing the spaces between them as silence. These composers, then, show how the performance of temporal process “un-mixes” space and time through making concrete the quantitative nature of units of duration and shifting the focus of the listener to an experience of vertical time.

This session foregrounds the experience of these works, first presenting them as compositional research outcomes. Each performance involves the piece’s composer, excepting that by Mathias Spahlinger which will be performed by members of the study group. The performance will be followed by a round table discussion of the temporal processes and issues in the music, bringing out the common research themes and interests between the composers.

Programme Notes

Iterative Music is an ongoing series of pieces that Steve Gisby has been composing since 2014. There are four in the series so far, which are all identical in terms of both structure and duration. They were created using a simple mathematical process that involves gradually assembling and then superimposing five layers of audio material, with each layer building up in the exact same way. The process itself is fundamentally very simple but, even if it has been correctly perceived by the listener, there is no possibility of predicting exactly what musical material each new step in the process will bring – meaning the piece is simultaneously predictable and unpredictable. The project has now been developed for live performance. Using pre-prepared audio material, Ableton Live and MaxMSP, a piece can be created that follows the same mathematical process. It is impossible, from the outset of a piece that uses this process, to conceive of the composite patterns that will emerge as a result. A key feature in the approach to performing the piece live has been the incorporation of a degree of indeterminacy in regard to the rate at which the process progresses. In Music As A Gradual Process, Steve Reich stated that “One can’t improvise in a musical process – the concepts are mutually exclusive.” Gisby believes this depends on where one sets the parameters of a process: what material, or elements of a piece are determined by the process, and what aren’t? This juxtaposition of performer autonomy as a counterpoint to strict, logical systems has been a feature his work.

foreign languages for solo percussion and live electronics was inspired by reading both Maurice Blanchot’s Death Sentence which is a short novel in two cryptically related parts, and Jacques Derrida’s commentary on Blanchot’s text. This work is not representational in any way; Zaldua’s interest was to foreground the problem of translation in a work for percussion. More than works for any other instrument percussions pieces define their cumulative ‘instrument’ anew with almost every piece.

The composer will be performing the 2nd part of this two-part piece, for solo cymbal and live electronics. The deliberately curtailed notation presents the performer with a map of the cymbal with a set of directions for the beater to follow. The rhythm used is the rhythm of the performer’s own (internally) spoken voice (derived from the original French and translated English of the Blanchot text) which is tracked by the computer to trigger changes in the compressor and filter settings. While playing, harmonics are accessed using simple paper beakers, and this, as well as the tracked spoken rhythms, in turn influences the filter settings in the electronics.

eigenzeit is one of over 25 concepts contained in Mathias Spahlinger’s work (written in 1993) vorschläge (suggestions). The instructions read:

“find or invent possible objects or performance methods that are barely modifiable regarding their tempo, rhythm, and total duration; and which, once they have begun, cannot be further influenced; and whose processes cannot be reversed.

examples and suggestions: circling plates and cymbals, falling ping-pong balls, pendulating giant feathers, buzzing/snapping a ruler held over a table-edge, marbles thrown over a marble lane, rubber balls thrown down the stairs, etc.

each player decides by themselves when to play, and how they ‘stage’ their unique, and unmistakable sounds, bearing in mind their approximate duration. frequent accumulation of density and vain repetitions are to be avoided.”

“As sure as time…” is part of an ongoing series of performances that use the same score. It is a spoken word piece that can be performed by one to four vocalists, and includes a variety of structural elements, sound/vocal techniques and movements. The score consists of a quote from Harper Lee’s Go Set a Watchman (London: William Heinemann, 2015): “As sure as time, history is repeating itself, and as sure as man is man, history is the last place he’ll look for his lesson”. The work allows for performer interpretation with the vocalist performing an individual compositional process; where there are several performers, several compositional processes occur simultaneously. Rather than a traditional concert performance, the listener should experience the work as an installation in a gallery or other environment, allowing them to explore the environment as they wish to, talk and enter/leave when they like. When observed in its entirety, the series presents a new sense of extended duration with long silences separating the performances and the totality being the performance of the work itself. The work also highlights the numerous interpretations of silence as silences of unpredictable length are used within the performances and between each performance; the interpretation of silence is thus questioned as it never truly exists.

Composer Biographies 

Steve Gisby is a composer, bassist and educator based near London, UK. He holds a PhD in composition from Brunel University and his music has been performed across the UK, Europe and the USA. Two of his works appear on Symmetry | Reflection, the recent CD by US percussion duo Novus Percutere, alongside music by Steve Reich, John Psathas, Chrisopher Adler, Ivan Trevino and Luis Rivera. In May 2014, along with pianist Michael Bonaventure, he gave the world premiere performance of Tom Johnson’s Intervals.  He has given papers and presentations at IRCAM, the Sibelius Academy in Helsinki, Furman University in South Carolina, California State University at Long Beach, Canterbury Christ Church University, the University of Surrey, the University of Birmingham and the University of Huddersfield. He is on the committee for the Society for Minimalist Music. He also works as an examiner for Trinity College London on their Rock & Pop syllabus, having conducted exams in the UK, Northern Ireland, Italy, India, Vietnam, South Africa, Malaysia, Brunei, Thailand, Hong Kong and Macau.

http://www.stevegisby.com / http://www.iterative-music.com

Alistair Zaldua is a composer and conductor of contemporary and experimental music who currently teaches at Canterbury Christ Church University. His work has been performed both internationally and in the UK: Huddersfield Festival (2014), Sampler Series Barcelona (2014), Borealis (Bergen, Norway, 2014), Leeds New Music Festival (2013), UsineSonore (Malleray-Bevilard, Switzerland, 2012), Quantensprünge ZKM (Karlsruhe, 2007 & 2008), Música Nova (Sao Paolo, 2006). Alistair currently works with Lauren Redhead in performances for organ and live electronics, and improvises in a duet with film maker Adam Hodgkins (violin and live electronics).

alistiar-zaldua.de

mathias spahlinger was born in frankfurt in 1944. his father was a cellist. from 1951, he received lessons from his father in fiddle, viola, recorder and later, violoncello. he began piano lessons in 1952. from 1959 spahlinger developed an intense interest in jazz, took saxophone classes and wanted to be a jazz musician. in 1962 he left school and began an apprenticeship as a typesetter. during the apprenticeship he took private classes in composition with konrad lechner. after completing his apprenticeship he continued his studies with lechner at the städtischen akademie für tonkunst (state academy of music) in darmstadt (piano classes with werner hoppstock). in 1968 he took up a teaching position at the stuttgart musikschule (music school), teaching piano, theory, musical education for children and experimental music. from 1973-1977 he studied composition with erhard karkoschka at stuttgart’s staatliche hochschule für musik und darstellende kunst (state academy of music and performing arts.) in 1978 he became guest lecturer in music theory at the hochschule der künste (arts university) in berlin, and in 1984 professor for composition and music theory at the staatliche hochschule für musik (state academy of music) in karlsruhe. from 1990 to 2009 he held the position of professor of composition and head of the institute for new music at the staatliche hochschule für musik (state academy of music) in freiburg. he currently lives in potsdam near berlin.

Sophie Stone is a PhD student in music composition at Canterbury Christ Church University working under the supervision of Lauren Redhead and Matt Wright. She received her bachelor and master of music degrees at CCCU specialising in composition. Her research interests include extended duration music and the compositional and performance strategies that surround this genre.

5th Annual Conference: Programme

You can download our conference programme for 2017 here:

MusPro 2017 Schedule

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