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Sound Thought 2011 3rd - 5th February

Music: Action Across Distance


Performances Sound Thought 2011 Hello,

What are we doing here (?) in. conceiving of and programming this festival

Movement for Viola, Cello and Double Bass

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Euan Fulton Thursday/19.40-19.50/Arch 6

Intrigued by abrupt juxtapositions of highly dissimilar sections of music, the discrepancy between the composer’s use of form and structure is examined.

we. asked people to come together and share, considering the following: Music as ‘Action across Distance’ as a frame, this was intentionally (im) possibly ___________________ wide so people could propose to do anything they wanted while acknowledging that the result essentially will ‘move’ the initial intention to consider Sound as dialogue So, a Gathering a Look at Noise an engagement in research, of materials, means, site, writing, social relations… across distance what do we/will we share? Where does our questioning interact/intercept? Listen find postulate feel enveloped in silence in noise sit in a concert, stand in the dark share food, discuss heartbeat v .....beat It’s all very well putting on a concert Is that perhaps - a night away from telly? What use is making sound? Anything can be achieved What use is the study of this fucking around? Enjoy the festival S.T.

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Brought to you by Glasgow University postgraduate students and The Arches, Sound Thought is three days of diverse and groundbreaking work from celebrated composers, visual artists, dancers, contemporary theatre practitioners and film makers alongside a massive programme of multimedia presentations, discussions and workshops.

Treadmill Poets

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Oceanallover Thursday/19.55 – 21.55/Arch 5 A live performance in which live samples and music are mixed into spoken word, read and replayed using hamster wheel technology.

Tape Piece

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Jan Hendrickse and Rosalind Masson Thursday/20.15 – 20.45/Studio An exploration of the relationship between physical action, space and sound. Using adhesive tape as a static cultural presence, this installation piece is created before the audience, uniting process and product.

Live Set

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Usurper Thursday/21.20-21.45/Practice Room “Creating a sound nearly impossible to describe, Usurper combines obsessive metallic clunk, destroyed voices, broken horns and dropped marbles (?), into dense fields of activity.” - Rel Records

You Suffer, But Why?

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Xana Marwick Thursday/11.45-12.00, 16.20-16.40, 20.05-23.00/Arch 6 Inspired by a 1.3 second long Napalm Death track, the audience design, direct and perform their own play on the theme of Western suffering in this playful and personal one-on-one experience.

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Evening Concert

Saturday/19.30-21.50/Arch 3

String Quartet DAmplified Adam Campbell and Jodi Cave

and Electronics

Friday/19.30-19.45/Arch 6

Informed by the physical properties of the performance space and stripped bare of technique and ‘musicality’, the score for this new piece initiates a compelling dialogue between ensemble and architecture.

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DMustek Lauren Sarah Hayes and Christos Michalakos Friday/19.50-20.05/Arch 6

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This creative duo use prepared piano, percussion and found objects plucked, strummed, hit and then sliced, layered and reassembled to create altogether new sonic forms, repurposing John Cage for the digital era.

Testing 1, 2

Sean Williams Friday/20.50-21.05/Studio Looking at the dynamic possibilities of primitive electronic music, this solo piece transforms the sterile laboratory elements of early electronic equipment and the modern notion of DJing to create a vivid new world of sound.

D Shadowgraphs Guy Harries

Friday/21.15-21.30/Studio Shadowgraphs explores the ambiguity of a solitary walk in the woods. A personal interpretation of various forest narratives which will be performed using voice and live electronics.

School D Open Open School

Performance

Friday/21.30-22.20/Studio A response, result or consequence of the Glasgow Open School workshop.

D Drawing/Sounding Fusion

or Call and Response V Audio/Visual

Jenny Soep and Gavin Fort Saturday/19.00-19.25/Middle Bar

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Using different mediums and technologies, Jenny Soep further explores the possibilities of drawing music in this stimulating new experiment together with sound engineer and ‘audio wizard’ Gavin Fort.

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B(earth)

Yvon Bonenfant and Ludivine Allegue

These voice-videoworks explore texture, touch and timbre by yoking together the startling, soothing, intense and soaring extended vocal art of Bonenfant with the sensual brushwork and tenderly de-woven canvasses by Allegue.

Secretive Awareness Catriona Thomas

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Inspired by the concept of continuous movement, Thomas implies that the piece is a small part of a larger event; that it began, and continues, its journey in silence.

Journey No. 1 Graeme Brooks

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Journey No.1 for string quartet portrays a journey from a tonal harmonic sonority to a dissonant, bitty textured soundscape through the use of segmentation, intercutting and rhythmic repetitive process.

The Piece Unnamed

Christopher Hoddinott

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By disposing with titles, Hoddinott severes the music’s perception from the intention of the composer. The audience’s imagination shapes their experience of this electroacoustic sound diffusion performance.

String Quartet

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David Thomas Duncan Uniting maths and music, L-systems are used to determine harmonic, rhythmic and structural patterns. The result is textured with subtle gradations of colour.

Forms

10a

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Neil Davidson New composition by Glasgow’s favourite doctor Neil Davidson. Players directed like ships in the night, an obstacle of audience members. Longitude silences latitude in this motion-filled sound piece.

Dear Library

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Ben Knight and Euan Currie Inspired by a date sheet torn from a book and attacked with a pen, this sound poetry performance is a part of an ongoing collection of everyday detritus, marking a sporadic and anonymous correspondence within the community.

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Installations An Unpleasant Vagueness

Katie McCain Thursday/Friday/10.00-10.20/Saturday/13.00-13.20/Foyer

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Using two skeleton cassette mechanisms, one recording, another playing; both, inevitably, victims of their own death drive, this piece provokes the concepts of nostalgia, luddism and existential crisis.

Arrivals (listening point)

Carla Novi Thursday/Friday/10.00-22.00/Arch 6 Saturday/18:30-22:00/Middle Bar

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An exploration of the bewildered instant in which an individual arrives to a new place, exploring the fraction of a second in which the body and mind is disorientated by an unfamiliar space.

POSTFACE (listening point)

Iain Campbell F-W Thursday/10.00-23.00/Friday/10.00-20.00/Saturday/13.00-23.00/ Foyer

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POSTFACE is the installed recording of watching TV, shitting, spewing, shopping: benefits are taken into account as income.

The Secret Sounds of Spores

Yann Seznec and Patrick Hickey Thursday/10.00-13.40, 14.20-16.45, 19.00-23.00/ Friday/11.45-21.15/East Corridor Room Saturday/13:00-17:00, 19:00 - 21:30/

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Artist Yann Seznec and mycologist Patrick Hickey analyse the light patterns of spores in real time to create a stunning new composition revealing the depth, beauty and inherent artistry of fungi.

MAKE, BREAK AND GLITCH

Scrubber Fox and DJ Stuff Friday/11.45-20.00/Saturday/13.00-20.00/Foyer

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An installation created from obsolete and circuit bent consoles as well as cherished childhood instruments, constructing new, exciting and interesting sounds out of old and often discarded electronic products from previous decades.

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Workshops < Styrocymatic Todd Braylor Pleasants

Thursday/13.30-22.00/Friday/13.35-21.15/Saturday/13.35-21.15/ B2 In an attempt to bridge the gap between senses, Styrocymatic combines visual patterns on water with audible frequencies of undulating speakers in an installation using speakers from reclaimed styrofoam packaging and water.

Sculpture < Cymatic Calum Scott

Friday/13.45–21.15/Saturday/13.45-21.15/B3 With sheet metal, salt, a bow and vibrations of varying frequencies, the physical properties of sound are translated into a visible media through a kinetic sculpture made from cymatic plates.

Speak. < Sing. Leila Peacock

Sigh. Scream

Friday/Saturday/13.45-21.15/B4 An artist, whose voicebox is filmed as he recites a riddle, is put under considerable physical distress as we visually witness this intimate bodily organ previously always to be heard, never to be seen - in action.

< Substratum Alison Clifford and Graeme Truslove Thursday/21.45-22.45/Studio

Combining audio and visuals to explore the space between abstract sound and image, computer algorithims, sampling and digital montage processes are used to create an entirely immersive experience.

< Oct

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Richard McMaster and Tom Marshallsay Friday/20.05-21.00/Practice Room Using stethoscopes, speakers and a group of hearts beating in unsion, the accepted dialogue between performance and the listener is reversed, and your reaction to variables outwith your body dictate how the piece will play.

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John Williamson

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Thursday/16.15-17.45/Practice Room

University of Glasgow lecturer and manager of Belle and Sebastian will lead a workshop about working with and without the music industry

Sound and Moving Image Research Group (SMIRG)

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Thursday/16.45-18.00/Arch 6

This group promotes critical and practical enquiry into the interaction of sound and moving image in audio-visual texts. Join this workshop and engage with the group to offer your own opinions on the subject.

Dr.Drew Hammond

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Friday/13.45-15.00/Studio

Composition workshop with Glasgow University’s Drew Hammond.

Glasgow Open School

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Friday/15.30-17.30/Studio A fascinating, circular and ever-revolving discussion brought to you from the open school. Outcomes will be the basis for the Open School evening performance


Thursday/10.15-11.45/Arch 6 Marcello Messina, University of Leeds Unified by Separatism: Claims for Political Independence in Protest - Songs from Sicily, Corsica and Scotland A small number of case studies from two of the main islands of the Mediterranean (Sicily and Corsica) and from a very important Atlantic region/country (Scotland). Luciana Câmara, University of Glasgow

Music and subjectivity in 17th-century free-style harpsichord music: autonomy, changeability and self-expression The aim of this paper is to present conclusions on the relationship between the 17th-century free-style repertoire for the harpsichord and the concept of subjectivity in Early Modern Europe. Emma Webster, University of Glasgow

‘Loyal to those people till the day I die’: Collabora-

tion and competition within live music promotion at a local, national, and international level

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The paper is based on ethnographic research in Glasgow, Bristol and Sheffield carried out between 2008 and 2010.

Sound and Industry

Thursday/12.00-13.30/Arch 6 Kenny Barr, University of Glasgow

Composers’ Rights and the Celestial Jukebox This paper examines the value of composers’ copyright when their work is used by music streaming services that utilise the Celestial Jukebox. Christopher Hoddinott, University of Kent

Music in the age of digital reproduction This paper investigates how digital reproduction impinges on art and music and how both tend towards the intangible during the age of digital reproduction. Kenneth Forbes, University of Glasgow Second Album Syndrome: Meme, Myth or Market and Media Manifestation?

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Second album syndrome is the perceived condition relating to commercial and creative pressures experienced by the artist at the time of their second album release.

Sound and the Listener

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Sound and Society

Thursday/14.30-16.00/Arch 6

Ben Dunn, RSAMD

Signed Sound: Audible Community Sound in performance as a site for the discourse and interrogation of community

Language functions as a distinction of culture where the sign is denoted value in relation to its worth relative to the other signs which function within the same system of culture; meaning is constantly measured and contested as the language is put to use. Chloe Panayides, City University, London

Exploring the self as a phenomenological being Subjectified by the ‘other’ through its Foucauldian confessions, there is an implicit threat to the survival of the individual in Joachim Ernst Berendt’s supposition that ‘You never listen to me’ has become standard reproach within human relationships. Robert Fulford, Royal Northern College of Music

Hearing-Impaired Musicians’ use and experience of Hearing Aid Technology We know that musicality exists independently of hearing. However, practicing music with a hearing impairment poses real challenges for the musician, a significant factor being the effect of hearing aid technology on the users’ auditory perception and experience of music.

Sound and its Classification

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Presentations

Friday/10.30-12.00/Arch 6

Dr. Anne Desler: University of Glasgow The reception (or lack thereof) of Queen in Popular Music Studies

Rocking The Fans, Not The Scholars:

Queen are conspicuously absent in academic research on popular music. This paper will analyse the reasons for this phenomenon by exploring the development of the canon of music within the field of popular music. Lauren Redhead, University of Leeds

Green Angel: Music (Words, and Actions) Across Distance Green Angel is a work of operatic noh theatre written by composer Lauren Redhead and librettist Adam Strickson. The work largely addresses the problem of integrating the genres of opera and noh theatre in order to create a successful contemporary work accessible to Western audiences .

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Discussion of Hans-Thies Lehmann’s book Postdramatic Theatre is occupied by the dichotomy presented between postdramatic and dramatic theatre. The audience contract established in the introduction of Glass and Wilson’s Einstein on the Beach will be discussed looking at its use of the voice and the singing body.

Sound and Culture

Friday/12.15-13.45/Arch 6 Jessica Quinones, University of Huddersfield

The Argentine Sounds of Sex, Sadness and Society Exploring practices of renovación in Astor Piazzolla’s 6 Tango Etudes for solo flute. Jo Clements, The University of Glasgow

“Rescued from oblivion” – artefacts as a symbol of their wider culture: the case of eighteenth-century Scot-

land.

This paper argues that much eighteenth-century writing on “ancient” Scottish songs suggests a sense of the broken artefact as a symbol of a culture surviving trials. Neil Cooper

Hey! Hey! What’s that sound? Sunday morning cartoons may not be the most obvious channel for discovering sound art, yet the recent UK TV residency of mid-twentieth century folk hero Gerald McBoing Boing is as good a starting point as any…

Lauren Sarah Hayes

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Postdramatic Musicalization and Wilsonian Theatre

Feedback-Assisted Performance Friday/14.45-15.15/Arch 6

Examining a method of performance, where feedback introduced to the performer’s hands offers information about the musical content, Lauren Hayes will present compositional and strategies used in her performance of Mustek.

Sound, Performance and the Instrument

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Markee Rambo-Hood, University of Glasgow

Saturday/13:15-15:05/Studio

Jayne Norrie, Director of JCN Arts & Events

Music scores as visual art: New roles and challenges for

the performer.

Developments during the latter 20th and 21st century has led to composers utilising new methods to convey their intensions via symbols, drawings and texts. The new methods of composer notation have led to considerable changes in role of the performer. Leila Peacock

Out of the Dark

Berlin-based artist Leila Peacock explores the by turns isolating, uncomfortable and exhilarating effect of being surrounded by strangers in total darkness…by severing the greediest of all the senses – sight. Ian Quinn, University of Durham

Samuel Barber and the Organ.

This paper focuses on the organ works of Samuel Barber, including three recently discovered pieces which have now also been published.


THURSDAY z

12 hrs

Sound and Industry [12:00–13:30]

< An Unpleasant Vagueness [10:00–10:20]

< POSTFACE (Listening Point) [10:00–23:00]

z

±

Practice Room

Workshop (SMIRG) [16.45 - 18.00]

The Secret Sounds of Spores [10:00–13:40] [14.20-16.45] [19.00-23.00]

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Sound and its classification [10:30–12:00]

Sound and Culture [12:15–13:45]

Feedback Assisted Performance [14:45–15:15]

Foyer

FRIDAY Studio

<

<

An Unpleasant Vagueness [10:00–10:20]

<

(B2)

POSTFACE (Listening Point) [10:00–20:00]

< MAKE, BREAK AND GLITCH [11:45–20:00]

<

±

Workshop (Drew Hammond) [13:45–15:00]

± Workshop (Open School) [15:30–17:30]

D Treadmill Poets [19.55 – 21.55]

D

Userper Live Set [21:20–21:45]

< Arrivals (Listening Point) [10:00–22:00]

Styrocymatic [13:35–21:15]

(B3)

<

Cymatic Sculpture [13.45 – 21.15]

(B4)

<

Sing. Speak. Sigh. Scream (Film Loop) [13:45–21:15]

D Studio

Arch 5

E.C. Room

The Secret Sounds of Spores [11:45–21:15]

±

Workshop (John Williamson) [16:15–17:45]

Movement for Viola, Cello and Double Bass [19:40–19:50]

Arch 6

EC Search Room

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18 hrs

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Tape Piece [20.15 – 20.45]

< Substratum [21:45–22:45]

Amplified String Quartet and Electronics [19:30–19:45]

D o

Mustek [19:50–20:05]

<

Arrivals (Listening Point) [10:00–22:00]

D

Testing 1, 2 [20:50–21:05]

Practice Room

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Oct 160 [20:05–21:00]

:Paper/Presentation

<:Installation

10 hrs

12 hrs

14 hrs

16 hrs

18 hrs

20 hrs

D Shadowgraphs [21:15–21:30]

D

Open School Showing [21:30–22:20]

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22 hrs

<

Sound and the Listener [14:30–16:00]

16 hrs

20 hrs

D You Suffer, But Why? [11:45–12:00] [16:20–16:40] [20:05–23:00] Styrocymatic [13:30–22:00]

14 hrs

South Cloakroom

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Sound and Society [10:15–11:45]

(B2)

z

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10 hrs

Foyer

z

Arch 6

D:Performance/Composition ±:Workshop

22 hrs


SATURDAY Studio

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13 hrs

Sound, Performance and the Instrument [13:15–15:05]

E.C. Room

< The Secret Sounds of Spores [13:00–17:00] [19:00-21:30]

Foyer

<

An Unpleasant Vagueness [13:00–13:20]

< POSTFACE (Listening Point) [13:00–23:00]

15 hrs

< MAKE, BREAK AND GLITCH [13:00–20:00]

± Panel

17 hrs

Discussion [15:30–17:00]

19 hrs

<

Styrocymatic [13.35-21.15]

(B3)

<

Cymatic Sculpture [13:45–21:15]

(B4)

<

Sing. Speak. Sigh. Scream (Film Loop) [13:45–21:15]

Arch 3

D

Evening Concert [19:30– 22:00]

21 hrs

(B2)

Middle Bar

D

Drawing/ Sounding or Call and Response V Audio / Visual Fusion [19:00–19:25]

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Arrivals (Listening Point) [18:30 - 22:00]

Everyone is warmly invited to dinner at Stereo from 5-7pm (More information on following page)

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D:Performance/Composition ±:Workshop :Paper/Presentation <:Installation


Join Us Dancing about Architecture?

Additional Musicians:

Saturday/15.30-17.00/Studio Panel Discussion with Björn Heile, Barry Esson, Ben Knight, Markee Rambo-Hood, Yvon Bonenfant, Yann Seznec. To what extent does the discipline we use to frame our practice dictate its outcomes? What use are various headings for our practice and research? What limits might they set on the possibilities of our work? What problems are raised by the authority of the word in research and discussion.

The Viridian Quartet Lamond Gillespie - violin Dan Paterson - violin Emma Peebles - viola Peter Nicholson - cello Sound Thought 2011: Iain Campbell, Ryan Collins, LJ Dodd, Paul Henry, Anna Hodgart, Christopher Hutchings, Markee Rambo-Hood, Liene Rozite. Thank you to:

Sound Thought festival dinner

Will Potts, Robert Watson, Jill Smith, Nick Fells, Martin Cloonan, Drew Hammond, The University of Glasgow, The Arches staff, Collaborative Research Training Initiative, all composers/performers/researchers.

Saturday/17:00-19:00/Stereo All festival participants and ticket holders are invited to Dinner in Stereo from 17:00 - 19:00 on Saturday before the evening concert. The full Stereo menu will be available at this excellent and reasonably priced local cafe/bar (dishes from £3.50 - £9.00 approx) Please email soundthought@gmail.com to confirm attendance or just turn up on the day.

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Sound Thought 2011 Music: Action Across Distance 3rd – 5th February Thurs-Fri: from 10am // Sat: from 13.00 Festival Pass: £20/£15 // Day Pass:£8/£6 soundthought2011.blogspot.com www.gla.ac.uk/departments/music The Arches 253 Argyle Street Glasgow G2 8DL www.thearches.co.uk

RMA ROYAL MUSICAL ASSOCIATION

Design/Annie Rickard Straus/2011

Sound Thought event brochure  

ST event brochure

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