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.
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.’
Prof Liza Lim‘s work Pearl, Ochre, Hair String (2010, Ricordi Munich Verlag) receives its UK premiere on March 17th at Glasgow City Halls performed by the BBC Scottish Symphony Orchestra conducted by Otto Tausk. The concert will be recorded for later broadcast on the BBC’s ‘Hear and Now’ programme. This follows performances of the work by the Symphonieorchester des Bayerischen Rundfunks in Munich and West Australian Symphony Orchestra in Perth last year.
She discusses the work in a journal article for Darmstädter Beiträge zur Neuen Musik (2012): ‘In the case of my filtering of Australian Aboriginal aesthetic concepts, I find a way of thinking about structure that is akin to the complex organisation of natural forces like weather, a structure made up of microclimates and dynamical systems in which ideas or hidden forms of knowledge precipitate at different levels. A surface is not a static plane but part of a shifting system which registers ripple effects, shimmering and turbulence patterns from the movement of forces below. In exploring these layered shifting structures, I have particularly focussed on the materiality of sound and the notion of friction as action of repetition as a way of both uncovering and covering up patterns.’
Dr Pierre Alexandre Tremblay is guest speaker/performer at INTER/actions, a symposium on interactive electronic music held at Bangor University’s School of Music on 10-12 April. He will be presenting on modes of interaction as highlighted in his solo practice and his chamber mixed music. Tremblay’s piece For Ever Now Soon an End has been selected for concert performance on April 17th, as part of the Supercollider Symposium that is held this year in London.
De type inconnu (Pierre Alexandre Tremblay and Sylvain Pohu, guitars and laptops) will be promoting their debut album released last year with CeReNeM’s help on a European tour playing in Birmingham on May 5, London on the 6th, Amsterdam on the 8th, Lyon on the 9th and Brussels on the 10th. They will then head for Canada where they have been invited at the prestigious Festival international de musique actuelle de Victoriaville for a gig on May 20th.
NEOS records have just released a portrait disc of Dr Aaron Cassidy‘s work entitled The Crutch of Memory (NEOS 11201) with performances by the ELISION Ensemble recorded in the wonderful acoustic of the Sendesaal of Radio Bremen. The CD contains eight works written between 1999 and 2009 and documents Cassidy’s research into instrumental mechanism and extended tablature notation.
Colin Holter in his review of the disc for New Music Box says: ‘We could call Cassidy’s approach—those proliferating and always-changing approaches, rather—”extreme,” but that would be unfairly reductive: Not only (contra Cassidy’s critics) has their “extremeness” never been the point, but to label them “extreme” suggests that they occupy some remote point on a single historicist continuum of performed deconstruction… A listen through The Crutch of Memory, whose pieces show not only Cassidy’s growth as a composer but also the surprising multivalence of his pieces’ deliberately unstable material, will quickly dispel that prejudice. Cassidy’s work is a valuable contribution to an ongoing (and itself rhizomatic) project: to fracture the sedimented object-semblance of musical practices.’
Pierre Alexandre will present this album on March 2 in the very intimate setting of Salon Bruit in Berlin, a production of the N.K. Project. The following day, he conducts an advanced MaxMSP workshop on the convolution suite developed with his HISS lab. More details on this suite of objects (HISSTools impulse response toolbox) coded by Alex Harker is available here.
Also in March, Pierre Alexandre is invited to be guest speaker at the Radio Jazz Research Conference, during the Burghausen Jazz Festival, 15-17 March. His talk, entitled ‘Splice, or blurred boundaries in Post-Free-Jazz practice: studio/stage, electro/acoustic, composition/improvisation’, will explore the line between real-time and differed-time considering the studio as a fully-fledged composition instrument, and the stage as an electroacoustic lab. He dissects the practice of his post-free-jazz quartet Splice to illustrate how a new generation of composers is working with a kind of ‘portable random access’ to musics of all styles and periods. Splice will be performing in the Spring with dates in Manchester and Huddersfield (21 & 22 March), then at dBâle festival, Basel (2 June) before the quartet goes into the studio to record their second album.
Dr Richard Glover (CeReNeM research fellow) is giving the SONIC workshops at the School of Art in Mulhouse, France in early February. He will be presenting his own research and working with participants in creating new pieces for public presentation. There will also be a portrait concert of his music in Besançon on Friday 11 February.
His chapter in the forthcoming book on American minimalist Phill Niblock (edited by Yvan Etienne and published by les presses du réel) is also included in the February issue of German new music magazine MusikTexte. Alongside his editorship of the next issue of the CeReNeM journal which focusses on temporalities in experimental and minimal musics, Richard Glover and Dr Bryn Harrison will be giving a paper at the Music and Philosophy conference ‘Time Theories and Music‘ (April 27-29) at the Ionian University, Corfu.