SPEEC (Symposium on the Performance of Experimental and Electronic Composition)

SPEEC – Symposium for Performance of Electronic and Experimental Composition: “Building an Instrument”
Friday 6th –Saturday 7th January 2012, Faculty of Music, Oxford University
www.music.ox.ac.uk/speec

Call for papers and presentations from composers, performers and researchers
SPEEC is an interdisciplinary forum for composers, performers, and musicologists, to examine new developments in experimental music and how this is manifested in electronic and instrumental contexts. An overarching theme to the symposium is the concept of “building an instrument” and the contrasting ways in which this can be interpreted literally and theoretically.

SPEEC will feature an exciting line-up of keynote contributions and presentations from:
Professor Eric Clarke (University of Oxford), speaking on issues in creative performance practice
Professor Leigh Landy (de Montfort University), talking about his own experience of creative practice in electroacoustic music
Dr Trevor Wishart, presenting on his methods for working with the voice in the electroacoustic domain
Dr Sam Hayden (Durham University), speaking about his work for e-violin and computer
Dr Christopher Fox (Brunel University), speaking about ideas of indeterminacy and the “grain” of the instrument
Dr Matthew Shlomowitz, talking about his recent work Popular Contexts for sampler and piano
Shelley James (Royal College of Art), presenting her glass sculpture instrument designs

With performances by accomplished new music performers:
Mieko Kanno performing music by Hayden on electric violin and electronics
– Pianist Mark Knoop performing music by Shlomowitz and Ablinger

The SPEEC committee now invites proposals for papers and/or presentations at SPEEC addressing (but not limited to) the following:

• The creation of new instruments/performance techniques and their wider implications
• Performance practice in experimental music
• Issues arising in the aesthetics of contemporary composition
• Solutions for technological and technical challenges to compositional aims
• Responses in musical analysis/theory to experimental and electronic composition

Initial proposals should take the form of an abstract of no more than 500 words and should be received electronically by Friday 14h October. Papers/presentations will normally be scheduled for 20 minutes with 10 minutes for questions, though variations on this format will be considered if appropriate. A full programme will be released by the end of November, with registration open prior.

Abstracts and any other inquiries should be sent to speec@music.ox.ac.uk

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