The Study of Musical Experiences: Perception and Diversity

NOV 28 – DEC 1 — BERGEN, NORWAY

We are delighted to announce our Autumn Course, which will run from November 28th-December 1st 2017 at the University of Bergen. The event is organized by the Grieg Research School in Interdisciplinary Music Studies (Western Norway).

The theme for this course is “The Study of Musical Experiences: Perception and Diversity”. More info available here. Continue reading “The Study of Musical Experiences: Perception and Diversity”

Sounds Between: a one-day festival exploring interdisciplinary encounters in music composition

Wednesday 7th December PATS Studio 1 and Ivy Arts Centre, University of Surrey, 10.15 – 9pm. Tickets are free but advance booking is recommended http://www.surrey.ac.uk/arts/music/sounds-between

’Sounds Between’ focuses on the places where music and other disciplines interact. Four specially commissioned works from squib-box, Jamie Hamliton/Dom Czapski, Jan Lee and Rodrigo Camacho/Sara Rodriguez explore a broad terrain of ideas: the perception of meaning and mass media, the strange attractions of digital avatars, how dancers become musicians in order to ‘play’ a space, and the formation of cultural identity in London’s Hatcham (New Cross).

Surrounding these premieres are contributions from leading artists, researchers and industry figures: Susanna Eastburn (Chief Executive of Sound and Music) leads a panel discussion on drivers and obstacles to interdisciplinary work in music composition, Jason Freeman shows how online networks can enable realtime, participatory music making, and Matteo Fargion and Jonathan Burrows perform work from their extensive back catalogue of sound/movement pieces. A workshop from Michael Picknett exploring theatrical devising techniques in composition and an installation by Scott Mc Laughlin (as well as plenty of opportunities for networking) complete the day.

‘Sounds Between’ is presented by Music Composition as Interdisciplinary Practice. MCIP is an AHRC-funded research network of artists, artistic researchers and scholars. Over the past year we have been commissioning, sharing and reflecting on music composition as a nexus of different disciplines. We have held a one-day seminar at Oxford Brookes University and a two-day symposium at the University of York. Through these events and through artists’ documentation of the commissioned pieces we have looked for insights into how such approaches to composition reflect different kinds of interdisciplinarity, how interdisciplinarity is facilitated ‘on the ground’ and how understandings of creativity might contribute to and be re-evaluated by the study of such work. ‘Sounds Between’ brings the practice that has underpinned the network into wider public view. The diversity within the programme reflects the phenomenon we are studying; it will appeal to those interested in experimental music, performance, multimedia, installation, dance and theatre practices, or simply curious to hear and see a snapshot of composers working between disciplines today.

Historical Performance: Theory, Practice, and Interdisciplinarity

Historical Performance: Theory, Practice, and Interdisciplinarity  /  May 20-22
at the Indiana University Jacobs School of Music (Bloomington, Indiana)
Please follow the link below for further information and a program:
Speakers from nine countries will deliver 47 presentations. Selected proceedings will launch the new annual journal, Historical Performance, published by Indiana University Press.
There is no registration fee, although we ask that those planning to attend make their intentions known in advance via the following email address: hpi@indiana.edu

[original CFP follows]

Conference: “Historical Performance: Theory, Practice, and Interdisciplinarity”
*Call-for-papers deadline: February 15, 2016*
Conference dates: May 20-22, 2016
Venue: Indiana University Jacobs School of Music
Keynote address: John Butt, University of Glasgow


This three-day conference will bring together leading scholar-practitioners to examine and anticipate key issues of historical performance in the twenty-first century. Especially welcome are presentations offering research generative of new insights into performance procedures. Scholars whose work extends beyond the field of music are encouraged to contribute. Results and proceedings will launch a new annual peer-reviewed journal, Historical Performance, published by Indiana University Press.

Music, Composition, Interdisciplinarity: states of play

Oxford Brookes University, UK. Thursday 28th January 2016

We invite delegates to a one-day seminar at Oxford Brookes University hosted by Music Composition as Interdisciplinary Practice, a recently established research network of practitioners and academics funded by the AHRC.

Contemporary practices in music appear to be increasingly foregrounding interdisciplinary approaches either from individual artists or collaborators. Compositional activity in all its guises – sonic art, notation-based instrumental music, the myriad forms of electronic music, music in the theatre, dance, film and so on – presents a field of practice where disciplines can connect in various ways, sometimes overlapping, sometimes bridging divides, sometimes integrating. Work of this type interests established and emerging artists alike, from Michael Gordon’s recent City Symphonies to projects by collectives such as squib-box and London Topophobia. Such work gives rise to a number of questions: how are the composer and the act of composing redefined in this context; can interdisciplinary work be facilitated/led and, if so, how; what is the role of technology; is the notion of interdisciplinarity one that concerns artists who work outside the academy; what kinds of new interdisciplines are emerging?

The seminar will address these questions from different perspectives and through different activities: we will hear from leaders of arts organisations and academic units, artists and artist-researchers; activities will include panel discussions, a workshop and a keynote address. A plenary session will draw out emerging themes from the day but we are keen to involve delegates throughout in order to increase our awareness of the state of play amongst artists/musicians working between disciplines. Delegates will play a vital role in extending the size of the network and the breadth of practice and theory it is able to encompass.

Participants include composers Helen Chadwick and Eduardo Miranda, sound artists Cathy Lane and Paul Whitty, Susanna Eastburn (Chief Executive, Sound and Music), Vanessa Read (Executive Director, PRS for Music Foundation) and Rebecca Hoyle (Professor of Applied Mathematics at the University of Southampton and former director of the interdisciplinary MILES programme at the University of Surrey). Music Composition as Interdisciplinary Practice is a collaboration between Surrey, York and Oxford Brookes universities and is run jointly by Tom Armstrong and Ambrose Field.

We invite practitioners (both freelance and working from universities), academics, arts administrators (particularly with small and medium sized organisations), promoters, curators, arts funders and educators. As the first event in the network’s schedule of activities the seminar can help shape its direction and generate exciting possibilities for future work.

Timetable

09.30 registration

10.00 welcome by Tom Armstrong

10.15 panel session: leading/facilitating interdisciplinarity

11.45 workshop: vocal theatre techniques

13.15 lunch

14.15 panel session: interdisciplinary practices – states of play

15.00 keynote: Professor Cathy Lane (University of the Arts London, Director of CRISAP)

16.15 plenary session

There is no registration fee, lunch and refreshments will be provided. If you would like to attend please email Tom Armstrong (the principal investigator) at t.armstrong@surrey.ac.uk by Thursday 14th January together with your full name, area of activity/interest, institutional affiliation (if relevant) and any special dietary requirements.