Centre for Research in New Music CeReNeM Seminar and Workshop Schedule 2014–15
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Staﬀ Information
Prof Peter Ablinger PA Visiting Professor of Composition [email protected]
Prof Monty Adkins MA Professor of Experimental Electronic Music
Co-Director of CeReNeM [email protected]
Dr Mary Bellamy MB
Senior Lecturer in Composition
Composition Module Area Leader
[email protected]
Prof Aaron Cassidy AC Professor of Composition Research Coordinator, Music & Music Technology [email protected]
Prof Michael Clarke JMC Professor of Computer Composition [email protected]
Dr Alex Harker AH
Lecturer in Music Technology
Acting Studio Director 2014-15
[email protected]
Dr Bryn Harrison BH Reader in Music [email protected]
Prof Liza Lim LL Professor of Composition Co-Director of CeReNeM [email protected]
Dr Philip Thomas PT Reader in Performance Performance Module Area Leader [email protected]
Prof Pierre Alexandre Tremblay PAT Professor of Composition and Improvisation [email protected]
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General Introduction
The 2014-15 seminar/workshop series will feature the following four topic areas/strands:
Advanced Orchestration [PA, MA, AC, AH, LL] The Open Work [PA, MA, BH, PT] Approaches to Rhythm [AC, BH] Sources of Creativity [PA, MA, AC, LL]
These seminars and workshops are designed to provide supporting content to the independent research work of the
postgraduate students of CeReNeM. While they are not assessed classes, staff will generally require students to complete
reading and listening assignments in preparation for class meetings. (Assignment and preparation information will be given
via UniLearn.) These sessions will be held in a reasonably informal seminar format, with class discussion and informal
student-led presentations serving a central role.
Attendance at the seminars/workshops is expected of CeReNeM MA by Research students. PhD students are
strongly encouraged to participate in the sessions and may in some cases be required by their supervisors to attend. One
of the primary goals of the CeReNeM course structure is to encourage interaction between students of various disciplines
(performance, composition, computer music, sound art, improvisation, etc.) and various backgrounds and experience
levels, so the more student participation we have, the more rewarding the seminar sessions will be.
Seminar Topic Area Descriptions
Advanced Orchestration
Perhaps better titled ‘Conceptual Orchestration’, or perhaps ‘Orchestration through Technology’, this strand explores
orchestrational approaches that go well beyond those traditionally found in textbooks. The notion of what constitutes
orchestration will be much more flexible, examining concepts of layers, lines, presence, foreground/background, attention,
etc. The series begins with an objective study of instrument construction (shape, materials, etc.), mechanics
(mechanisms, fingerings, mouthpieces, mutes, etc.), acoustics (sound-production, resonance, etc.) and timbral/spectral
characteristics (including computer-assisted spectral analysis of all major orchestral instruments). The series also includes
several sessions on studio techniques and electronic music, sessions on issues of orchestration in mixed music, the use
of the concert hall as an orchestrational resource, and ecological models for orchestration.
The Open Work
An exploration of openness and indeterminacy in composition and performance, including an investigation of some recent
technological developments in open notation. This strand will also have a number of useful tie-ins with various concerts in
the Huddersfield Contemporary Music Festival, in particular those featuring Christian Wolff in celebration of his 80th
birthday.
Approaches to Rhythm
This seminar strand explores a wide range of technical and perceptual issues of rhythm, pulse, and meter across a variety
of styles, genres, and aesthetics. Some classes will address compositional methods and materials while others will
examine more abstract, subjective issues of the perception of rhythm, pulse, and speed.
Sources of Creativity
This strand is something of a grab bag of various influences and motivations for musical work, including external, nonmusical sources of inspiration. It includes discussions of intercultural aesthetics, the late work of Samuel Beckett,
psychogeography, and a reexamination of ‘The New’, among other diverse topics.
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Additional opportunities
Research Forum
The Research Forum meets fortnightly on Tuesdays from 4.30–6.00, alternating with the CeReNeM Colloquium. It
features lectures on a wide range of musical topics by departmental staff and by visiting scholars from a variety of
institutions in the UK and abroad.
There are also occasional guest lectures and masterclasses outside of the normal Research Forum schedule.
CeReNeM Colloquium
The CeReNeM Colloquium meets fortnightly from 4.30–6.00, alternating with the Research Forum. It is an opportunity for
students to present their work in composition/performance/etc. to their peers in an informal setting. Each Colloquium
meeting will typically feature the work of a PhD student (90 minutes) or two Masters students (roughly 40 minutes each),
with informal presentations of scores/recordings interspersed with discussion/questions.
The Colloquium also provides a critical opportunity to disseminate information about upcoming concerts, workshops,
etc., and is occasionally used to discuss larger professional/career concerns (opportunities for summer programmes,
advice on job or residency applications, etc.). Attendance for CeReNeM students on the MA by Research route is
required, and PhD students are expected to attend the sessions whenever possible.
Concerts/Performance Workshops
The 2014-15 academic year features an exciting series of concerts and workshops hosted by CeReNeM and will again
include numerous visiting soloists and ensembles of international renown. As in previous years, each of the visiting artists
will perform pieces by CeReNeM’s postgraduate Composition students alongside works by more established composers.
Additionally, many of the guest performers will be available to offer coaching sessions for our Contemporary Music
Performance students and will give workshops and reading sessions for undergraduate composers.
SMIC Seminars and Workshops
The Sound Music Image Collaboration research centre (SMIC) is both separate from CeReNeM yet complementary to it
within the Music department. SMIC welcomes all research interests that involve film, video, sound and music technology,
and computer music composition. For 2014-15 SMIC will meet weekly on Wednesdays at 16.15-17.45 in CAM G/04.
Interested students please contact Dr Julio d’Escriván ([email protected]).
edges ensemble
You are ALL welcome to join the edges ensemble this year. The edges ensemble is available for all students on music and
music technology courses, undergraduate and postgraduate. We meet on Fridays 11.15-1.15 in Phipps Hall. The
edges ensemble performs a potent mixture of text scores, graphic scores, quasi-notated scores and improvisation.
Members perform traditional and non-traditional instruments alike, acoustic and amplified, pitched and noise-based, big
and small, ranging from cello and clarinet to conches and clicks. Over the past few years we have performed regularly in
Huddersfield venues, as well as in Sheffield and London. We have also featured on a number of CDs on the ‘another
timbre’ label. This term we will be working toward a concert at the Huddersfield Contemporary Music Festival, featuring
early works by the English Experimental School. The only rule is - you can only be in it if you want to be in it. If you don't
like it don't stay in it! But you're very very welcome to come a give it a try.
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University Research Funding for Postgraduate Students
Information about the application process for the university’s extensive research funding opportunities for postgraduate
students—including the Conference Presentation Fund (up to £500 per year to support travel and accommodation costs
for conferences or performances) and the Researcher Development Fund (up to £2500 per year, including special
earmarked funds for activities with international scope)—can be found on the Graduate Centre website at http://
www.hud.ac.uk/gradcentre/fundsandprizes/researcherdevelopmentfund/
For additional information about the application process or additional funding opportunities for postgraduate researchers,
contact Aaron Cassidy (Research Coordinator for Music/Music Technology) or Dan McIntyre (Director of Graduate
Education, School of Music, Humanities & Media).
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CeReNeM Schedule 2014–15 !
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Term 1
GUEST RESIDENCY: Clarence Barlow 27-30 September
27 September Lecture: Music Derived from Language 3.15 p.m. (CAM G/05)
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Open Discussion: Institutions, Institutionalization 5.00 p.m. (CAM G/05)
28 September Open Discussion: "Grammatical" Microtonality
11.45 p.m. (CAM G/05)
Lecture: Music Based on Harmonicity 3.15 p.m. (CAM G/05)
Listening Session 8.00 p.m. (Phipps Hall)
29 September Open Discussion: Technoaesthetics and the Player Piano
11.45 p.m. (CAM G/04)
Lecture: Music Derived from Visuals 3.15 p.m. (CAM G/04)
Open Discussion: from Concept to Concert 5.00 p.m. (CAM G/04)
30 September Open Discussion: Follow-up, Wrap-up
11.45 p.m. (CAM G/04)
week 1
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30 September Induction/Introductions 2.30 – 4.00 (CAM G/01)
AC et al. Postgraduate Welcome Reception
4.30 (CAM G/01)
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week 2
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7 October
Advanced Orchestration Introduction to Orchestration through Spectral Analysis – an objective
approach to timbre and the combination of instruments
AC 10.15 – 12.05 (CAM G/03) The Open Work Performing Indeterminacy1
Indeterminacy Overview – the indeterminacy of notation 2.15 – 4.05 (CAM G/03)
PT Colloquium 4.30 – 6.00 (CAM G/01) 9 October
CONCERT: Seth Woods cello 1.15 p.m. (St Paul’s Hall)
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week 3
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14 October
Advanced Orchestration Strings
10.15 – 12.05 (CAM G/03) AC The Open Work Performing Indeterminacy2
Cage, Indeterminacy and Repeatability 2.15 – 4.05 (CAM G/03)
PT Research Forum: Prof Monty Adkins University of Huddersfield Nodalism and Creative Practice 4.30 – 6.00 (CAM G/01)
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week 4
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21 October
Guest Lecture Dr Sever Tipei, Professor of Music, University of Illinois
A Unified Approach to Composition and Sound Design 10.15 – 12.05 (CAM G/03) MA Advanced Orchestration Winds
2.15 – 4.05 (CAM G/03) AC Colloquium 4.30 – 6.00 (CAM G/01)
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week 5
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26 October
WORKSHOP: Introduction to the HISS AH 10.00 a.m. – 6.30 p.m. (Phipps Hall) A hands-on introductory workshop on how to plan a concert with the equipment of the Huddersfield
Immersive Sound System (HISS), from the preparation phase to the concert, through preproduction
questions, booking, setup, soundcheck, recording, etc. Strongly recommended to anyone who wants to
work with electronics and/or book the HISS to organise concerts.
28 October
Advanced Orchestration Brass
10.15 – 12.05 (CAM G/03) AC The Open Work Composing Indeterminacy 2.15 – 4.05 (CAM G/03)
BH Research Forum: Dr Paula Higgins Sexual Dissidence and Queer Lineage in Rufus Wainwright's ‘Going to a Town’ 4.30 – 6.00 (CAM G/01)
week 6
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4 November
Advanced Orchestration What the environment can teach us about orchestration:
acoustic niche theory, ecology and orchestration 10.15 – 12.05 (CAM G/03) LL The Open Work Performing Indeterminacy3
Feldman & Cardew — Who is free? The sounds or me? 2.15 – 4.05 (CAM G/03)
PT Research Forum: Dr Bob Gilmore Orpheus Institute, Ghent
Claude Vivier: the dyad and the spectral 4.30 – 6.00 (CAM G/01)
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11 November
week 7
Advanced Orchestration Orchestration ‘Clinic’
Bring works in progress 10.15 – 12.05 (CAM G/03) LL The Open Work Performing Indeterminacy4
Christian Wolff and the Ethics of Indeterminacy 2.15 – 4.05 (CAM G/03)
PT Colloquium 4.30 – 6.00 (CAM G/01)
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week 8
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18 November
GUEST LECTURE: Petr Kotik 10.15 – 12.05 (CAM G/01) Petr Kotik discusses his experiences working with some of the most significant and influential figures of
twentieth century music, as a conductor and flautist. He will also discuss his programme for the opening
concert of hcmf 2014, and his own compositions.
Advanced Orchestration Timbral transformation, overlapping, masking, hyper-instruments
2.15 – 4.05 (CAM G/03)
Research Forum: Dr Geoﬀrey Cox University of Huddersfield Planting Sounds: re-framing the acoustic environment in Tree People, the story of the Colne Valley Tree Society 4.30 – 6.00 (CAM G/01)
20 November
Colloquium Kee Yong Chong & Clara Maïda (PhD by Publication) 2.00 – 5.00 (CAM G/05)
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week 9 >> hcmf//
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21 -30 Nov
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Huddersfield Contemporary Music Festival
AC week 10
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1 December
WORKSHOP: Mark Knoop piano & Aisha Orazbayeva violin
11.15 – 1.45 (CAM G/16)
CONCERT: Mark Knoop piano & Aisha Orazbayeva violin 7.30 p.m. (St Paul’s Hall)
Research Plan Due MAR/MPhil/PhD Year 1 – full-time only [all Progression Monitoring dates below are for October starters]
2 December
The Open Work Oulipian models and aspects of constraint/restraint
10.15 – 12.05 (CAM G/03) BH Advanced Orchestration DSP101-01: Dynamics and Delays Reconsidered
2.15 – 4.05 (CAM G/03)
AH BH Research Forum: Seth Josel Innovations in Contemporary Guitar Technique 4.30 – 6.00 (CAM G/01)
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week 11
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9 December
The Open Work How to Escape the Work
10.15 – 12.05 (CAM G/03) Advanced Orchestration Phonetics as a Model for the Acoustic Exploration and Mapping of Timbre
2.15 – 4.05 (CAM G/03)
PA AH Colloquium 4.30 – 6.00 (CAM G/01)
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week 12
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16 December
Advanced Orchestration Qualifying Parameters
10.15 – 12.05 (CAM G/03) PA The Open Work Open Scores, Open Works: Technologies of Open Form and Notation 2.15 – 4.05 (CAM G/03)
MA Research Forum: Dr Philip Thomas University of Huddersfield Pursuing a performance practice of experimental and post-experimental music 4.30 – 6.00 (CAM G/01)
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Winter Holiday
Term 2
13 January
MA Progression Meeting required for all CeReNeM MA by Research students
2.15 – 4.15 (CAM G/04)
AC et al. Colloquium 4.30 – 6.00 (CAM G/01) !
week 13
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20 January
Approaches to Rhythm Constructing Gesture: speed, rhythm, morphology (local shape)
10.15 – 12.05 (CAM G/03) AC Advanced Orchestration The Studio as Instrument?: notions of workflow in the studio 2.15 – 4.05 (CAM G/03)
AH Research Forum: Prof Eduardo Miranda Plymouth University Musical Creativity and Scientific Development with Music Neurotechnology 4.30 – 6.00 (CAM G/01) !
week 14
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27 January
Approaches to Rhythm Constructing Phrases: pulse, meter, trajectory/stasis (global shape)
10.15 – 12.05 (CAM G/03)
AC Advanced Orchestration Space and Depth in the Studio and the Concert Hall
2.15 – 4.05 (CAM G/03)
AH Colloquium 4.30 – 6.00 (CAM G/01)
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week 15
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3 February
Sources of Creativity The Influence of Art on Compositional Practice and Sonic Art
10.15 – 12.05 (CAM G/03) Advanced Orchestration Computers in the Concert Hall
2.15 – 4.05 (CAM G/03)
MA MA/AH Research Forum: Dr Katherine Butler St John's College, University of Oxford From Orpheus the Musical Founder of a Civilization to Orpheus the Ballad Seller: Changing Perceptions
of Myth and the Powers of Music in Seventeenth-Century England 4.30 – 6.00 (CAM G/01) 5 February
CONCERT: Ellen Fallowfield cello & Steven Menotti trombone
7:30pm (St Paul’s Hall)
6 February
WORKSHOP: Ellen Fallowfield cello & Steven Menotti trombone
11.15 – 1.15 (CAM G/01)
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BH week 16
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10 February
Sources of Creativity Non-rhetorical and Syntactical Approaches in Samuel Beckett's late prose work
10.15 – 12.05 (CAM G/03) BH Advanced Orchestration Spectromorphology in Practice: electronically manipulating time and audio spectra
2.15 – 4.05 (CAM G/03)
AH Research Forum: Prof John Bryan University of Huddersfield
A Peripatetic Music Tutor in Tudor England: Thomas Whythorne and the art of teaching ‘yong beginners’ 4.30 – 6.00 (CAM G/01)
12 February
CONCERT: Juliet Fraser soprano & Maxime Echardour percussion
7:30pm (St Paul’s Hall)
13 February
WORKSHOP: Juliet Fraser soprano & Maxime Echardour percussion
11.15 – 1.15 (CAM G/01) BH !
week 17 >> reading week
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17 February
Colloquium 4.30 – 6.00 (CAM G/01)
18-22 Feb
Electric Spring 2015 Monolake (Robert Henke), Delia Derbyshire, Daphne Oran, Roberto Gerhard, Ben Potts, Olivier Pasquet,
Diego Castro, Aaron Cassidy. MaxMsp Symposium and sound spatialisation workshop. www.electricspring.co.uk
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week 18
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24 February
Approaches to Rhythm Use of additive rhythm in Karel Goeyvaerts’ Litanie I
10.15 – 12.15 (CAM G/03) BH Sources of Creativity Reinventing Harmony in Electronic Music
2.15 – 4.05 (CAM G/03)
MA Colloquium 4.30 – 6.00 (CAM G/01)
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week 19
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2 March
CONCERT: Nancy Ruﬀer flute 7:30pm (St Paul’s Hall)
3 March
WORKSHOP: Nancy Ruﬀer flute
10.15 – 12.15 (CAM G/03) BH Sources of Creativity Text(s) and Translation(s) 2.15 – 4.05 (CAM G/03)
AC Research Forum: Dr Kevin Donnelly University of Southampton
A Psychopathology of the Film Soundtrack 4.30 – 6.00 (CAM G/01) !
week 20
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10 March
Sources of Creativity Knots, Miniatures and Models: how do external representations help us amplify and extend our thinking in music?
10.15 – 12.15 (CAM G/03)
LL Approaches to Rhythm Applications of Brian Ferneyhough's ‘Rhythm and Duration as a Compositional Resource’
2.15 - 4.05 (CAM G/03)
BH Colloquium Guest Lecture: Martin Scheuregger British Music Collection Embedded Composer 4.30 – 6.00 (CAM G/01) !
week 21
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16 March
CONCERT: Peter Veale oboe 7.30 p.m. (St Paul’s Hall)
17 March
WORKSHOP: Peter Veale oboe
10.15 – 12.05 (CAM G/03) AC COMPOSITION MASTERCLASS: Matthew Shlomowitz 2.15 – 4.05 (CAM G/03)
AC Research Forum Dr Matthew Shlomowitz University of Southampton Music Sans Frontières 4.30 – 6.00 (CAM G/01)
19 March
CONCERT: Tracensemble Peyee Chen, soprano; Alba Bru, flute; Diego Castro, guitar 1.15 p.m. (St Paul’s Hall)
CONCERT: Percussion Ensemble 7.30 p.m. (St Paul’s Hall)
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week 22
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24 March
Sources of Creativity On the New 10.15 – 12.05 (CAM G/03) Sources of Creativity An Interactive Aural Approach to Music Analysis
2.15 – 4.05 (CAM G/03)
PA JMC Colloquium 4.30 – 6.00 (CAM G/01)
25 March
Inaugural Professorial Lecture: Prof Aaron Cassidy Imagining a Non-Geometrical Rhythm
time/venue tbc
Spring Holiday
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week 23
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21 April
Sources of Creativity A sense of place: sonic art and psychogeography 10.45 – 12.35 (CAM G/05)
MA Approaches to Rhythm Velocity, Pulse, and the Perception of Speed: Morton Feldman’s Patterns in a Chromatic Field, a case study
2.15 – 4.05 (CAM G/03)
AC Research Forum: Prof Rachel Cowgill University of Huddersfield
Filling the Void: Theosophy, Modernity, and the Rituals of Armistice Day in the Reception of John Foulds’s A World Requiem 4.30 – 6.00 (CAM G/01)
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week 24
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28 April
Sources of Creativity Tree of Codes opera: three years of work comes to completion
10.15 – 12.05 (CAM G/03) Approaches to Rhythm Student Presentations 2.15 – 4.05 (CAM G/03)
LL AC/BH/LL Colloquium 4.30 – 6.00 (CAM G/01)
Summer Term
12 May
MA by Research Year-end research presentations submission of portfolio work-in-progress 2.15 – 4.05 (CAM G/03)
AC et al. Colloquium 4.30 – 6.00 (CAM G/01)
1 June
Progression Report due PhD – full-time year 1 & 2; PhD – part-time year 2 & 4
Research Plan due MPhil & PhD – part-time year 1
1 August
Notification of Intention to Submit Thesis for Examination (or Application to Enrol for
Submission Pending) due
MAR – full-time, and year 2 part-time PhD – full-time year 3; PhD – part-time year 6
Thesis draft due MAR – full-time, and year 2 part-time
30 September Thesis Submission Final Deadline MAR – full-time; part-time year 2 MPhil – full-time; part-time year 2 PhD – full-time year 3; part-time year 6