Monty Adkins: new book publication ‘Shibusa – Extracting Beauty’

Prof. Monty Adkins has recently published Shibusa – Extracting Beauty, a book co-edited with Pip Dickens. The book is published by Huddersfield University Press and is also available through Amazon and Jeremy Mills Publishing.

Shibusa – Extracting Beauty celebrates a number of artistic endeavours: music, painting and the skill of making in general with particular reflection upon Japanese aesthetics.

Composer, Monty Adkins and visual artist, Pip Dickens (through a Leverhulme Trust Award collaboration) investigate commonality and difference between the visual arts and music exploring aspects of rhythm, pattern, colour and vibration as well as outlining processes utilised to evolve new works within these practices. The hand-cut paper Katagami stencil: a beautiful utilitarian object once used to apply decoration onto Japanese kimonos,  is used as a poignant symbol – the ‘hand-made machine’ –  by Adkins and Dickens both within the production of paintings and sound compositions and as a thematic link throughout the book.’

The book accompanies a series of exhibitions by Pip Dickens including Patterns of Shadows at the Daiwa Anglo-Japanese Foundation and Monty Adkin’s CD fragile.flicker.fragment released on Audiobulb in 2011.

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Prof. Michael Clarke wins AHRC research award; launch of two DVDs

Prof. Michael Clarke has been awarded a large AHRC research grant (£312,000 over 3 years). This is a joint project with Prof. Peter Manning of Durham University entitled ‘The impact of technology on the creative processes of composing electroacoustic music.’

Prof. Clarke will launch the DVD publications (performance and software): Quartet Choreography and Evolution and Collaboration: the composition, rehearsal and performance of Finnissy’s Second String Quartet at Senate House, London on March 7. This work results from a research collaboration with Dr Amanda Bayley (Wolverhampton) investigating composition, rehearsal and performance questions arising from quartets by Stravinsky, Ligeti, Lutoslawski and Michael Finnissy. more information: DVD Launch Invitation

Maria Castro: audio sculpture work in London

Dr Maria Castro‘s audio work Passe Temps Pluie is included in FULL RABBIT (24 Feb – 11 March), a collaborative exhibition between UK-based and Chinese artists at Shoreditch Town Hall, London. The project was initially presented in Shanghai last year and surveys multidisciplinary work combining sculpture and sound to examine ideas on fortune and self perception.

More information on Maria’s work can be found on her website.

Aaron Einbond joins CeReNeM as research fellow

We are pleased to welcome Dr Aaron Einbond to Huddersfield as CeReNeM research fellow. Aaron’s work explores the intersection of composition, computer music, music perception, field recording, and sound installation. He was born in New York in 1978 and has studied at Harvard, the University of Cambridge, the University of California Berkeley, and IRCAM in Paris. His teachers have included Mario Davidovsky, Julian Anderson, Edmund Campion, and Philippe Leroux. From 2009-2011 he was Mellon Postdoctoral Fellow in Music at Columbia University. Upcoming projects include a Giga-Herz Prize from ZKM to produce a new work for pianos and electronics at the SWR Experimentalstudio and a Fromm Foundation Commission from Harvard University for Ensemble Dal Niente. He will be working closely with Dr Aaron Cassidy and Dr Pierre Alexander Tremblay.

He says: ‘My recent work traces the interdependencies of music technology research and new composition for instruments and live interactive electronics focusing on an intensive investigation of timbre.  The goal is to develop an approach to music informatics including audio feature analysis and transcription as a formal model for analysis and composition of instrumental and electronic music.  A variety of computer programs and platforms are enlisted and extended for these approaches, including Max/MSP, FTM&Co., CataRT, OpenMusic, AudioSculpt, Spat, and ambisonic techniques, with emphasis placed on the fluid and flexible exchange of data and formats between programs to pilot sound synthesis, spatialisation, and computer-assisted composition.  These tools form an essential resource for creative work, including new compositions for instrumental ensemble, voice, live electronics, and sound installation.’