Sound Thought 2019 Brochure

SOU N D T HO UG H T S I GN A L FESTIVAL OF MUSIC AND SOUND RESEARCH, COMPOSITION, AND PERFORMANCE

CCA, GLASGOW FEBRUARY 15-17, 2019

SOUND

2 0 19

THO UGH T

FRIDAY, FEBRUARY 15 Launch Party with Floored | The Old Hairdresser’s | 7.30pm Evil Medvěd

Linda Buckley

Trudat Sound & Light

Richy Carey

Alessio Wagner

The Reverse Engineer

SATURDAY, FEBRUARY 16 Centre for Contemporary Arts Registration Foyer | 10am

Concert 2

Cinema | 5-6pm

Session 1

Cinema | 10.30-11.30am

Kate Steenhauer

Hedda

Patrick White

Brought in Gobstopper

JJ Riordan

Un-(Synthetic Hair)

Orhcestrating the Sonic Banale

Harry Gorski-Brown Nate Chivers

Reticence, Park, Flower

Scott Morrison + Ollie Hawker

The Owen Wilson Improvisations

Drinks Reception

Clubroom | 6pm

Nicole Ecke

Sound Map

Workshop

Jamie Macpherson

PAPER PRESENTATION PAPER PRESENTATION

Cinema | 11.30-12.30pm Producing Music: How It’s Done

SCREENING with Q&A

ACOUSMATIC WORK

IMPROVISED PERFORMANCE

IMPROVISED PERFORMANCE

Session 2

Cinema | 1-2.30pm

Fergus Hall

Making Connections PAPER PRESENTATION

Andrew Rae

What’s Going On Now?

Kevin Leomo

Scottish Young Composers Project PAPER PRESENTATION

Festival Dinner

Concert 1

Cinema | 3.00-4.15pm

Martin Disley

El Que Queda; Per Veure

Algorave

Clubroom | 9pm

AUDIOVISUAL WORK

Micah Nye

Ghosts Before Breakfast

J Simon van der Walt

TOPLAP 15th Anniversary

Ross Whyte

The Shelter

Linda Buckley

Stratus

Colin Frank, Pauline Shongov + Aaron Glasser

wax notes

PAPER PRESENTATION

AUDIOVISUAL WORK

INTERACTIVE INSTALLATION

7pm

LIVESTREAM

Claire Quigley

SCREENING with Q&A ACOUSMATIC WORK

AUDIOVISUAL WORK

FESTIVAL OF MUSIC AND SOUND RESEARCH, COMPOSITION, AND PERFORMANCE

F E S T I V A L

P R O G R A MM E

SATURDAY + SUNDAY, FEBRUARY 16-17 Listening Stations, CCA Foyer Eleni Ira-Panourgia

Web-canvas

Lynette Quek

*& interlooping

Lewis Collie

Ouroboros

INTERACTIVE INSTALLATION

AUDIOVISUAL INSTALLATION

Victoria Evans

(To the Beat of) The Silent Moon

Alexander Wright

obfuscation

SOUND INSTALLATION

SOUND INSTALLATION

AUDIOVISUAL INSTALLATION

SUNDAY, FEBRUARY 17 Centre for Contemporary Arts Installation Cinema | 12-1.30pm, 3-7pm Concert 3

Theatre | 7-8.30pm

Sonia Killmann

Ian Harvie + Lea Shaw

Mother, Father, Sister, Brother

Jeremi Korhonen

On a Frozen Lake

Louise Harris

Alocas

Paul Henry + Jacob Elkin

Different Signals

Martin Disley

Le Combat

Freiraum

AUDIOVISUAL INSTALLATION

Concert 1

Theatre | 12.30-1.30pm

Sophie Stone

Continuum

Laura Hundert

Trailblazer

Aidan Lochrin

RESISTOR

Workshop

IMMERSIVE INSTALLATION

PERFORMANCE

PERFORMANCE

Cinema | 2-3pm

Katerina Talianni Urban Conversations with + Roxana Karam Sound

Concert 2

Theatre | 3.15-4.15pm

Aimo Scampa + Oppalala Marco Gianturco PERFORMANCE Lewis Coenen-Rowe

I’m Sorry

Alison Beattie

Angle to the Sun

PERFORMANCE

PERFORMANCE

PERFORMANCE

PERFORMANCE

AUDIOVISUAL WORK

PERFORMANCE

PERFORMANCE

SOU N D T HO UG H T S I GN A L

SOUND THOUGHT 2019 FESTIVAL OF MUSIC AND SOUND RESEARCH, COMPOSITION, AND PERFORMANCE www.soundthought.co.uk

Since 2007, Sound Thought has been a regular event in Glasgow as a forum for showcasing the practice and research of postgraduates and artists engaging with music and sound in a collaborative and interdisciplinary environment in the heart of Glasgow’s vibrant arts community.

Run entirely voluntarily by a committee comprised of current and recent graduates from the University of Glasgow music subject area, Sound Thought is an annual festival that provides a unique platform for students, researchers, and practitioners to present their work to a diverse arts audience. Sound Thought has been hosted by the Centre for Contemporary Arts as part of the open source programming since 2014.

The theme, Signal, will be explored by presenting works contextualised by the following subthemes: Signs of change: Signalling new forms of expression in music and the arts; cultural trends Communication and protest: New methods of communication and collaboration in the face of adversity Analog and digital signals: Developments in technology and their integration into practice and research We believe that the relevance and need for Sound Thought is demonstrated by the enthusiasm and support that contributing participants and organisations have given us in the past. It is vital for postgraduate work to be showcased; Sound Thought provides this platform, with no similar event in Scotland.

Floored x Sound Thought 2019 Launch Party Sound Thought has partnered with Floored Music to host a launch party at The Old Hairdresser’s for a night of quadraphonic sound, audiovisual art, and futurist disco vibes.

FLOORED is a project from Dave House (The Reverse Engineer) and Charlie Knox (Trudat Sound & Light). They periodically release forward-thinking sound, music, and mixed-media work in digital and innovative physical editions.

Floored hosts irregular parties in Glasgow and Edinburgh that start strange and end with dancing. These are supported by a newly commissioned artwork and audio mix based on a loose theme.

Ground Floor

CCA Venue Map

Foyer

Welcome Desk Listening Stations/ Installations

Second Floor

First Floor

FRIDAY, FEB 15 | The Old Hairdresser’s | 7.30pm

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LAUNCH PARTY with FLOORED Evil Medvěd | Glasgow, Scotland

Evil Medvěd is a Glasgow-based live project, playing with grime, deep dubstep and mixing it up with elements of FM synthesis. https://soundcloud.com/fuse-by-vajpower/ep5-fusew-evil-medved https://soundcloud.com/huntleyspalmers/evil-medv-d-snails

Lichtspiel Opus: I Richy Carey | University of Glasgow | Glasgow, Scotland

Lichtspiel Opus: I is a rescoring of Walther Ruttmann’s seminal 1921 film, one of the earliest examples of 'visual music’ in the cannon. The original was performed with a score by Max Butting for string quintet, with Ruttmann himself playing cello at its premiere, and hand annotating the parts for moments of sound-image synchresis. However my own re-scoring of the film is written for a contemporary quintet, each referencing the dominant sound of various eras of visual music: The iPhone, in particular the Tenori-on, Bloom and modAxis apps that were used, are indicative of the post-millennial understanding of visual music, whereby form is created through direct visual engagement with the instrument. The digitally modeled ARP Odyssey Mk II synth is analogous with the mid 1970s-80s explorations into digital audiovisual synchrony. The guitar makes reference to the Visual Music of the early expanded cinema movement a la the Joshua Light Show, whilst the cello is a nod to that of the original Butting score, and Ruttman's own performance. The percussive instruments, speak nearby older or non-western notions of multi-modal arts, where canonical divisions between visual and sonic practices are less pronounced if not entirely unconstructed. Lichtspiel Opus I was awarded best composer at the BAFTA Scotland New Talent awards 2015.

Richy Carey is a composer. His work looks at the intersection of sound, moving image and language, often with a focus on materiality and collaboration. Recent projects include; Near by, forthcoming (2019); the TWIST (is that you’re just like me), Children’s Exhibition, Tramway, Glasgow (2018); Special Works School, with Bambitchell, Gallery TPW, Toronto (2018); On the waves of the air, there is dancing out there, for Carrie Skinner, Telfer Gallery, Glasgow International Festival (2018); Wondering Soul, with Alexander Storey Gordon, Radiophrenia Live-to-air, Centre for Contemporary Art, Glasgow (2017); and Memo to Spring, for Sarah Rose, Scottish National Galleries of Modern Art, Edinburgh (2017). Carey is a PhD researcher in film sound at the University of Glasgow and is the UNESCO City of Music artist-in-residence for Glasgow 2018.

Linda Buckley | Royal Conservatoire of Scotland | Glasgow, Scotland Linda Buckley is an Irish composer/performer based in Glasgow/Kinsale who has written extensively for orchestra, and has a particular interest in merging her classical training with the worlds of post punk, folk and ambient electronica. Her work has been described as “fantastically brutal, reminiscent of the glitch music of acts such as Autechre” (Liam Cagney, Composing the Island) and “engaging with an area of experience that new music is generally shy of, which, simplified and reduced to a single word, I’d call ecstasy” (Bob Gilmore, Journal of Music). Music for theatre includes work by Enda Walsh (Bedbound) and film by Pat Collins (Living in a Coded Land) and Tadhg O’Sullivan (Solas Céad Bliain). Awards include a Fulbright scholarship to NYU and the Frankfurt Visual Music Award 2011 (Silk Chroma). Recent and upcoming collaborations include work with Mmoths, arrangements from This Mortal Coil, remixes for Augustus and John, as well as performances by the BBC Symphony Orchestra, Icebreaker, Iarla O’Lionaird, Joby Burgess at the Barbican, Ensemble Mise-En and Crash Ensemble. Linda lectures in Composition at the Royal Conservatoire of Scotland, holds a PhD from Trinity College Dublin and was RTE lyric FM Composer in Residence 2011/13.

0_2 Alessio Wagner | University of Glasgow | Glasgow, Scotland

0_2 is an algorithmically-influenced, ambisonic, fixed-media piece by computer music artist, Alessio Wagner.

0_2 is part of a larger installation work exploring the binary nature of L-systems in systematic composition. This work is one in a series of compositions (that are currently being developed by Alessio Wagner) investigating the aesthetic dimensions of contorted mimetic responses to biological patterns in systematic composition.

Alessio is currently working on a PhD in computer music composition at the University of Glasgow with Professor Nick Fells. He previously studied sound production and electronic music composition at Edinburgh Napier University (attaining a 1st class BA honours degree in 2015) and electroacoustic algorithmic composition with Dr Michael Edwards at the University of Edinburgh (attaining an MSc degree with distinction for his final dissertation and project in 2016).

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7.30pm | The Old Hairdresser’s | FRIDAY, FEB 15

Charlie Knox (trudat sound & light) | Glasgow, Scotland Charlie is a composer, producer, and multimedia artist interested in creating new contexts for experimental sound practice. He is a founding member of the improvised music group The Semispecific Ensemble and performs live club experiments as trudat sound & light.

Charlie will be performing at Sound Thought 2019’s launch party in collaboration with Floored at the Old Hairdresser’s. For the show, he’ll make full use of the 4.4 d&b sound system with an improvised audiovisual set of spatial-rhythmic spasmodics.

Dave House (The Reverse Engineer) | Edinburgh, Scotland The Reverse Engineer is Edinburgh-based Dave House. He has just returned to the UK after a year in Berlin where, in addition to his own practice, he collaborated with jazz musicians and techno producers, the results of which shall be released soon. In 2012 he completed a Masters in Digital Composition and Performance at Edinburgh University where he explored improvisation, algorithms, sound art and the nature of listening; themes that continue to influence his music. In the past Dave has toured the bottom-right corner of the world gathering field recordings, making music in beach-front treehouses and jamming with talented folk from all over everywhere.

His dynamic live shows feature bespoke algorithmic and gestural performance systems hooked up to decks, drums, laptops, instruments and found objects. His influences are varied: techno, house, dub, reggae, IDM, Latin, afrobeat, jazz, drum & bass, electronica, ambient, drone, post-dubstep, dancing, the great outdoors, malfunctioning machinery, emergent systems, fractals... fade to abstract.

Dave is also a sonic artist and sound designer and a graphic designer.

CCA Foyer | INSTALLATIONS | FEB 16-17 Web-canvas Eleni-Ira Panourgia | University of Edinburgh | Edinburgh, Scotland

Web-canvas is an interactive web artwork that centers on simultaneous material transformation through participation. This work’s audio-visual aesthetic includes visual material in the form of a cut-up digitized monotype and sonic material as acoustic and electronic sound samples. Web-canvas encourages its audience to interact by replacing its parts and transforming both its visual and sonic components. The artist’s sonic interpretation of the visual work is shared with the user and can be played back, reset, erased and recreated according to their own aesthetic decisions. Web-canvas is then a work that shifts the aesthetic power over the outcome between artist and audience. The mode of interaction of this work allows the audience to compose the canvas visually or aurally, by manipulating its pieces, which in their turn will trigger changes in the sound of the work. The concurrent visual and sonic interaction of the audience with the canvas is considered as the work itself. The multi-dimensional mode of this practice supports the idea of how changing one element will affect the whole. How we are bonded with everything around us is symbolized by the way each piece of the canvas constantly depends on the state of a larger entity. Audience-participants are invited to make sense of their actions based on the simultaneous changes of sound-to-visual.

Eleni-Ira Panourgia is an artist working simultaneously with sculpture and sound, and a PhD candidate at Edinburgh College of Art, University of Edinburgh, as a scholar of the Onassis Foundation. Eleni-Ira’s work focuses on intersections of visual-spatial and temporal dimensions in a responsive and interactive way. Using action as compositional method in relation to materials and processes, her work is engaging with concepts of time, trace and causality. Eleni-Ira has participated in exhibitions and shows internationally, in venues such as Edinburgh International Festival, the Royal Scottish Academy of Art and Architecture, Talbot Rice Gallery, the International Theatre Universiade, Festival of Aeschylus, ENSBA Paris and M.F. Husain Art Gallery in New Delhi.

She is member of Greek Sculptors’ Association, the Chamber of Fine Arts of Greece and RAFT Research Group. She is co-founder and member of the editorial board of Airea: Arts and Interdisciplinary Research Journal.

FEB 16-17 | INSTALLATIONS | CCA Foyer

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(To the Beat of) The Silent Moon: a work in progress Victoria Evans | Glasgow School of Art (graduate) | Glasgow, Scotland

Sonification: The use of non-speech audio to perceptualise data.

Showing extracts of sonified data taken from tide tables for two Scottish coastlines and transposed through midi-software by the artist, this work in progress is part of a larger sound-image work, currently in the early stage of research, highlighting the moon’s tangible interaction with the earth and aiming to bring our attention to the inter-relatedness of the physical world. This early presentation at Sound Thought seeks to contribute to discussion around the process, merits and limitations of data sonification in art or science.

Interpretation of data through sonification has existed since the invention of the Geiger counter in 1908. The bleep of the hospital heart monitor is a familiar example. More recently, scientists have become interested in harnessing the pattern recognition skills of the human ear in more complex applications, such as filtering information from particle collisions at the Large Hadron Collider in Cern where the wealth of data can be overwhelming. Data sonification is gaining ground as an alternative to visual representation, arguably capable of revealing different properties, and providing an effective filter/ pattern recognition tool when analysing complex data, which may have exciting potential for visually impaired researchers. There is poetic potential too, where the value lies in sound’s ability to fire the imagination and stimulate thought rather than contribute to hard science. With this poetic potential in mind, listeners are invited to imagine what a conversation with the moon might sound like.

Victoria is a multi-media artist based in Glasgow, Scotland. She graduated with a Masters (Distinction) in Fine Art Practice from GSA in 2015. She has exhibited widely and attended residencies in both the UK and abroad and her work has been published in the Tracey Journal (Drawing as Research) and Interartive Magazine (Platform for Contemporary Art and Thought).

Prior to her artistic practice, Victoria built a successful career in Film and Television, reaching Executive Producer level at the BBC and securing network commissions, including multiple BAFTA winners. She continues to work as a freelance story consultant alongside her artistic practice and her expertise in structural analysis helps inform her current interest in non-linear and abstract narratives in sound and video art.

Her multi-media practice engages with time, inter-relatedness and decentred perspectives on reality, particularly where these concern the mutable nature of existence, exploring the questionable lines we draw between fact/fiction, virtual/real, natural/man-made, and self/other. She is inspired by philosophy, science, politics and literature.

Website: https://victoriaevans.space

*& interlooping Lynette Quek | University of York | York, England

*& creates itself by taking information from the current state of generative materials. It produces both visual and audio information, absorbs new and current information, re- interprets them, and creates new visual and audio information - making it a continuous loop within itself.

It is a ""2-channel"" video because of the split of the screen into two halves where different things are happening simultaneously. This centre split causes the visual attention to be split as well. It also represents the way the piece operates in a 2-way manner, taking in and putting out."

Lynette Quek is an audiovisual artist from Singapore, currently based in York (UK). Through various experiences, she has handled a range of projects from artiste liaison and stage planning, to sound design and computer-based performances, as well as audio recording, editing and mixing. She currently engages in projects that interact with sound, recording processes, and performance interactivity.

Emerging from a music and audio technology background, Lynette nurtured an interest in the Sonic Arts, combining audio and visual elements in her current works. Incarnations of her work include audiovisual installations, composition through sound manipulations, as well as cross-disciplinary performance on the computer - technology being an essential element. Her current work examines audio-visuality - the synchronisation and interaction between sound and visuals, challenging the notion of the heard and the unheard. She is also interested in exploring the integration of technology and musicians - examining the relationships between digital and physical elements. Through utilising accessible tools, she explores the variety of possibilities made possible through technology.

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CCA Foyer | INSTALLATIONS | FEB 16-17 obfuscation Alexander Wright | Royal Conservatoire of Scotland | Glasgow, Scotland

obfuscation examines how we consume information through an evolving soundscape accompanying synthesized speech. This soundscape is initially formed primarily of acoustic musical passages which are processed, distorted, and then nearly abandoned in favour of synthesized electronic material. Through synthesized voice recordings, differing perspectives, and even contradictory information, on a single story overlap each other as the piece progresses. Throughout, the synthesized voice gradually accelerates, illustrating the pace at which we are seemingly forced to consume information.

Alexander Wright is a composer, songwriter and multi-instrumentalist from Kitchener, Ontario, Canada. There he studied composition with Linda Catlin Smith, Colin Labadie, and holds an honours degree in music composition from Wilfrid Laurier University in Canada, having graduated with high distinction. He is currently enrolled at the Royal Conservatoire of Scotland, where he studies with David Fennessey. His work seeks to explore larger thematic ideas in smaller musical moments, and often takes inspiration from literature and nature. He has written for a variety of mediums and ensembles, including the tone poem Valkyrie’s Day Off, a commission from the Kitchener-Waterloo Youth Orchestra, and The Shape in Grove Park, a commission by the Okapi Duo for premiere in 2019. His work in electronic music is generally focused on either narrated acousmatic music, or in live electroacoustic improvisation with long-time collaborator Seth Climenhaga.

Things We Did in the War, his first large-scale music theatre work, was premiered at the Remnants Graduation Festival in 2018. He is currently working on his second large-scale music theatre work, entitled The Garden of Death. He is deeply invested in musical outreach, having worked in a variety of student-led educational and administrative positions, and has a special passion for bringing modern music to the broader community. He has worked with students of a variety of ages, in both the classroom and as an instructor for community student bands and music day camp.

Ouroboros Lewis Collie | Glasgow, Scotland

Ouroboros is an audiovisual work, based on the principles of change through a recursive process, which explores the concept of identity as a transient state. Conceptual inspiration was initially derived from Alvin Lucier’s ‘I am Sitting in a Room’ and William Basinski’s ‘The Disintegration Loops,’ both works utilize a recursive process in order to gradually alter an initial excerpt of audio over time. The piece’s title and the mobius strips that are fundamental to its visual component are allusions to a similar recursive, ‘disintegrative,’ process causing Ouroboros’ evolution. Such compositions constructed through recursive processes present interesting allegories to philosophical considerations concerning identity. Heracleitis’ claim that “you cannot step twice into the same stream” (Fowler 1970: 67) was an early reflection on the ephemeral nature of identity and seems particularly relevant.

Joe Tangari, referring specifically to Basinski’s works, gives an evocative comparison between the recursion common to both pieces and the recurring biological processes in all life forms that pave the way between their physical apex and their expiration, it was this sense of ephemeral identity that I wished to capture. (Tangari 2004) The sonic material may appear from one looped iteration to the next to change very little, but comparison over larger intervals of time allow the change to become much more perceptible.

Based in Glasgow, Lewis Collie is an Audio-Visual artist who primarily works with found- sound, tape loops, digital and analogue processes, and generative algorithms. His work often takes inspiration from studies in modern philosophy; exploring themes of mind, identity, relation and ethics amongst others.

SATURDAY, FEB 16 | Session 1, Cinema | 10.30am-11.30am

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Brought In Gobstopper Patrick White | Slade School of Fine Art, UCL | Glasgow, Scotland

I propose to talk about and exhibit my work Brought in Gobstopper (2017). The work comprises audio, in the form of a five minute cut-up of stream-of-consciousness whispering, from which the title is taken; and text, which is derived from poetic collaboration with workers from Amazon's Mechanical Turk, and is acid-etched into stainless steel plates, using a font derived from the handwriting of the philosopher Thomas Metzinger. These plates form the panels (or stators) of an electrostatic loudspeaker (ESL), from which the sound issues. ESL design principles have fostered a pleasing mix of high-end consumer manifestations and a strong self-build scene that has existed for many decades, each attracted to their exemplary sonic clarity. Accordingly, they can be purchased for sums in the tens of thousands of pounds, or be made by the DIY enthusiast for next to nothing. I will show how my instantiation of an ESL design has helped to create an artwork about presence, labour, and the existence of the self, both in its content and means of production. I will exhibit the artwork itself and talk through how its aspects combine and influence each other to push the work in different directions.

These interlinking aspects include Renku poetry, the phenomenology of the anechoic chamber, neuro-philosophical notions, the voice of a sensorily deprived person, affective labour, the 'artificial artificial intelligence' of contemporary micro-task services, modernist literature, and a Buddhist Om chant from Youtube. The work is from a contemporary art context, and my talk would be fairly descriptive rather than propositional, but aims to allude to the connections and meanings I see within it and any wider import it may have.

If asked to express the concerns of his work in a dozen syllables or less, Patrick would write 'my received status as a rational animal'. We are, however, not asking. Instead, we suggest that Patrick is a person, one that likes thinking about the rationality of selfhood and the sensible. Why? Exactly. Attempts are made, by him, to unravel these by example, using perceptible means. Recent work seems to reveal the bodily detritus blanketing a technological error message (Something's Not Right, 2018); has explored the wandering of stars from an uninhabitable point of view (Views From Nowhere, 2018); and looked at the link between the self, artificial intelligence and affective labour (Brought In Gobstopper, 2017). Patrick lives and works in Glasgow and London and is currently Teaching Fellow in Fine Art Media at the Slade School of Fine Art, UCL.

Orchestrating the Sonic Banale JJ Riordan | Irish World Academy, University of Limerick | Limerick, Ireland

Orchestrating the Sonic Banale: Utilising Computer Based D.A.W.s to Manipulate the Sounds of Everyday Objects, Places and Spaces to Compose Musical Works.

At the end of the day, sound is vibration. It is my belief that anything that vibrates, or anything that can be made to vibrate, or sound, can be manipulated and formed into a sonically viable sound source for musical composition.

Over the last three years, I have composed audio-visual works that focus on this core belief in using everyday objects and spaces as my musical ‘building blocks’ of composition. My instruments so far have included a pug, water glasses, the University College Cork Music Department building, toys, my parent’s farm, etc. etc. In presenting these compositions through video, I show my sound sources and ‘playing’ thereof, whilst maintaining a certain ambiguity as to how my sound sources became a musically viable material. But how have I managed to turn my surroundings into musically potential artefacts? Through the use of computer-based Digital Audio Workstations, or D.A.W.s.These programmes have allowed me to capture sounds and manipulate their pitch, timbre, length and tone, into sounds that I require for compositional work. In these programmes, the everyday sounds that I capture become palettes of sonic potential. I believe that this compositional style signals a new form of expression in music, judging from the feedback that I have received thus far on this compositional journey. In 2016, one of my compositions, featuring a pug went viral – amassing over 8.4 million plays, through social media accounts and is my belief that this success was achieved through challenging more conventional forms of composition.

My name is JJ Riordan and I am a performer, composer and music teacher based in Cork, Ireland. I studied for my Bachelors in Music and Masters in Ethnomusicology in University College Cork and, starting in September 2019, I will begin my PhD at the Irish World Academy of Music and Dance at the University of Limerick. Having invested the majority of my time in my Undergraduate degree and Masters degree in aspects of Javanese Gamelan and the cultures and theoretical aspects thereof, my PhD beckons a new journey of exploration into computer-based composition and creative practices… As a composer, my compositional output ranges from creating music using my environment, everyday items and the world around me, to contemporary pieces for the Javanese Gamelan percussion ensemble. My inspiration comes from a number of people - notably Mel Mercier, Lou Harrison, and Andrew Huang, my homeland in Kerry and nature. My main performance output lies within the Irish Gamelan Orchestra – a group led by Prof. Mel Mercier of the Irish World Academy of Music and Dance, University of Limerick.

The Irish Gamelan Orchestra’s musical output has centred almost entirely on collaborative approaches to Javanese Gamelan with featured artists. Such artists have included Fiona Shaw, Iarlaith O’Lionaird, Kathleen Turner, Kate Ellis, the West Cork Ukulele Orchestra, Nick Roth, Colin Dunne and many more…

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11.30am-12.30pm | Workshop, Cinema | SATURDAY, FEB 16 Producing Music: How It’s Done Jamie Macpherson | Glasgow, Scotland

Producing Music: How it’s Done is a workshop based around how songs are written, recorded, mixed and produced; from the perspective of a musician and a sound engineer. This workshop will look at the process of making a song you’d hear in the charts, travelling from its basest melody, to recording and producing a fully published track. It will also give participants the opportunity to record and produce their own song, explore how time-domain effects such as reverb and delay are used to enhance tracks, and how synthesisers can be used to elevate instruments and produce some incredible effects!

Jamie has experience working in the music industry from both running sound at live events and studio recording and mixing; along with a history of volunteering to operate sound systems at events and venues. She has worked with studios to mix and master several albums and record many bands. She has also travelled around the UK and Ireland to help with crewing and running concerts of varying sizes. Jamie wishes to continue to produce music in both live and studio settings, she is passionate about the impact music has in peoples’ lives and wants to be a part of that process. She feels strongly about helping to capture music and share it with people. Jamie is Sound Thought’s tech manager.

Jamie is passionate about Music Technology and is experienced and enthusiastic about designing and engineering new technology to improve the recording and reproduction of sound. She intends to continue to further education to get a degree in Electronics and Music. Currently she hopes to be able to improve digital audio technology for live events, and to work on integrating that into mainstream venues and studios. She is also experienced with Foley Work and Sound Design for film and TV with a focus on using DAWs and synthesisers to create sound effects. She regularly uses this experience to produce SFX, mainly for Sci-Fi genres, with projects on Star Wars and The Lord of the Rings.

1-2.30pm | Session 2, Cinema | SATURDAY, FEB 16 Making Connections: the influence of Scottish traditional music in contemporary Scottish jazz

Fergus Hall | Royal Conservatoire of Scotland | Glasgow, Scotland

Scottish traditional music manifests itself not only within a traditional music context but also within the music of many Scottish musical artists that span a myriad of styles and backgrounds. One of the most fascinating areas of intersection occurs when traditional music and contemporary Scottish jazz come together to create music that is engaging and distinctive. By examining the music of a number of Scottish jazz artists as well as utilising interview material from three of these artists, this article examines how Scottish traditional music can merge so effectively within Scottish jazz music and what effect this has upon the listener. In addition to this, the role of the music scene in which this occurs will also be considered as this provides context for musical connections to be made by musicians. This study reveals the importance that musical interaction across musical styles can have within the creation on new, distinctive music. By examining these musical connections at a local level, musicians and listeners alike can gain a greater understanding of these musical processes and why they are important within the wider context of musical practice.

Fergus Hall is a composer, musician and improviser from the west of Scotland who graduated from the University of Glasgow with a Bachelor’s degree in music with honours of the first class. While studying Fergus was awarded the Muriel Thorne Hague Memorial Prize for distinction in academic work and performance and the Goudie for overall excellence in his final year. At the end of the 2016-17 academic year, Fergus was awarded a Carnegie Trust Vacation Scholarship to research relations in the performance practices of choral, jazz and Scottish traditional music. Fergus is currently continuing his compositional studies at the Royal Conservatoire of Scotland. As a composer Fergus has composed for choirs, orchestras and chamber ensembles as well has having scored a number of short films. He prides himself on his diverse output having written a range of stylistic works from a large secular oratorio in collaboration with Scottish author Alexander McCall Smith in 2016 to an abstract site-specific work for the Glasgow botanic gardens in 2017 which was performed live in the Kibble Palace in Glasgow.

Fergus is one half of the improvising duo Long Green Jaws with artist and cellist, Sarah McWhinney. Together they create immersive improvised performances that explore the ebb and flow of natural phenomena using violin, cello, live vocals, hydrophone and improvised projected visuals.

What’s Going on Now? - A study of young people making music acros Scotland Andrew Rae | Royal Conservatoire of Scotland | Glasgow, Scotland

Andrew Rae, the researcher for the ‘What’s Going On Now?’ project, is set to give a debriefing of the national youth music report which is to be published by the Scottish Government in March 2019.

Andrew Rae is a post-graduate from the University of Glasgow (M.Litt, Music Industries) and performance graduate from the University of Liverpool (BA Music & Popular Music). He is the researcher for the What’s Going On Now? project currently being undertaken at the Royal Conservatoire of Scotland and Creative Scotland.

He has experience in marketing for artists and record companies and has produced tracks and music videos for a variety of artists based in Liverpool and Glasgow. He has an interest in electroacoustic music. Andrew has been a member of the Sound Thought Committee since 2017 and is currently vice-chair.

SATURDAY, FEB 16 | Session 2, Cinema | 1-2.30pm

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Scottish Young Composers Project Kevin Leomo | University of Glasgow | Glasgow, Scotland

Kevin will present an overview of the Scottish Young Composers Project, a multifaceted initiative supporting the development of skills in music composition for students in secondary schools. Central to this is a free year-long course which allows students who are able to travel to the University of Glasgow on a fortnightly basis on Friday evenings for mentoring sessions, with an emphasis on students developing their individual voices whilst teaching a repertoire that is inclusive and contemporary. Throughout the year, students receive seminars and tutorials covering a variety of topics and skills, where they work towards the development of a composition for small ensemble. During the course, students have the opportunity to have their music workshopped by performance students at the University of Glasgow. Beyond developing specific skills in composition, students will take away from this course an enhanced awareness of repertoire and enjoyment of listening and creating. The project has been designed by Dr. Jane Stanley, Senior Lecturer in Music and Head of Subject at the University of Glasgow, and Kevin Leomo.

Kevin Leomo is a Scottish-Filipino composer based in Glasgow who writes primarily for acoustic instrumental forces.

His works have been performed by Psappha Ensemble, Ensemble Okeanos, Ensemble Móbile, Neave Trio, Society for New Korean Music, TaiHei Ensemble, Glasgow New Music Expedition, and The Hermes Experiment.

Kevin holds an MMus in composition from the University of Glasgow, completed under the supervision of Professor Bill Sweeney and Dr. Jane Stanley. He is currently undertaking doctoral studies with Dr. Jane Stanley and Dr. Drew Hammond, with his research focussing on aspects of cross-cultural composition. Kevin has a keen interest in music education and has completed projects at primary and secondary school level. He participated in Enterprise Music Scotland’s Train and Sustain 2018 programme, where he delivered a composition education project engaging with Scottish poetry, and currently works as a graduate teaching assistant for the senior honours course Composition in the Classroom.

The promotion of postgraduate practice and research in music is also important to Kevin. He has held the position of Sound Thought committee chair since 2016. In this role, he has facilitated the premiere of eight new compositions

by Glasgow New Music Expedition and provided the platform for over two hundred delegates from twenty-three countries around the world to present their work. www.kevinleomo.com | www.sycp.gla.ac.arts.uk

SATURDAY, FEB 16 | Concert 1, Cinema | 3-4.15pm El Que Queda; Per Veure (What Remains; To Be Seen) Martin Disley | Edinburgh, Scotland

El Que Queda; Per Veure is a fixed media AV work. It was commissioned by the MUHBA gallery in Barcelona and in collaboration with Universitat Pompeu Fabra and Bauhaus University, Weimar. Students from Barcelona were asked to make works related to physical spaces in Barcelona and Spanish Fascism. Our counterparts in Weimar were given a similar brief but to considered Nazism and the Weimar locality instead.

This work is a sonification of the visible remains of the bombardment of Barcelona ordered by Franco in Plaça de Sant Felip Neri. As well as devastating the community and claiming some 32 lives, the bombing left a lasting imprint on the facade of the building in the form of the pot-marked scarring that defines this square.

The fascist government would later fabricate an alternative history of the square. That the damage was the result of firing squad executions by the anarchists who ran the city at the time; unfortunately, this myth seems to have a lot of staying power, even amongst the citizens of Barcelona themselves. By using the shrapnel scarring of the buildings as the material of composition and explicitly reciting the historical reality I am attempting to help alloy the two in public consciousness.

The score for the composition was generated through taking an image of the facade into photoshop and tracing out the impact wounds. The resulting image was then translated into MIDI, edited and then synthesised.The visual accompaniment is a play on a “score following” video- visualisations of a manuscript that follow a recording of the composition. By scrolling across the actual image of the of the walls of the square, I am invoking quite literally the technique by which the composition is generated, and placing it in its political and historical context.

Martin Disley (born 1994) is a composer and new media artist based in Edinburgh, Scotland. Since graduating from the University of Edinburgh (2017) and Universitat Pompeu Fabra, Barcelona (2018) he has continued to pursue interdisciplinary practice including composition, installation and new media projects. Exhibitions and collaborations have already taken his work to Germany, Spain and The Gambia, amongst other locations. Most recently, he has been interning under composers Ben Frost and Valgeir Sigurðsson in Iceland.

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3-4.15pm | Concert 1, Cinema | SATURDAY, FEB 16 Ghosts Before Breakfast Micah Nye | Glasgow, Scotland

‘Ghosts Before Breakfast’ is a Dadaist silent film from 1927, directed by Hans Richter. It was one of the first films to pioneer the use of stop-motion animation and considered so subversive and ground breaking at the time, the Nazis destroyed all known copies of the original soundtrack. With this in mind, I have chosen to recreate an extended sound dub for this sequence, incorporating modern sound design and foley techniques, along with a fully composed soundtrack for analog synthesizer and drum machine. The intent of this is to showcase the profound influence and effect that the Dadaist movement has had on popular music and culture as a whole. The reimagined soundtrack was entirely composed and produced using DIY techniques borrowed heavily from the Berlin school (krautrock movement), synth-pop and post-punk of the early 1980’s. The juxtaposition of images from the interwar period with digital ‘musique concrete’, vintage electronic composition and sound design straight from early 1970’s BBC Radiophonic Workshop experiments, gives this updated look at Richter’s work a decidedly hauntological and ‘occultist’ feel. The composer wishes to shine a light on the relationship that analogue signal has had with the supernatural throughout history (Thomas Edison’s Dial-a-Ghost experiments, Alexander Graham Bell’s belief that the telegram could communicate with the dead), examining the ‘ghosts’ and artefacts that are inherent within analog audio technology. This work aims to highlight and pay homage to the development and progression of electronic music throughout the 20th century, from early Futurist experiments (the Art of Noise manifesto), post-war musique concrete (Pierre Shaeffer), Karlheinz Stockhausen, the Berlin school and on to contemporary post-modern digital soundscapes. What role does electronic music and art hold in modern urban society? How can it be used to challenge and subvert it? By revisiting Hans Richter’s Ghosts Before Breakfast (1927), the viewer is invited to learn from a time in history that echoes and resonates with the modern day. It demonstrates how artists from the Weimar period used the primitive, limited creative tools at their disposal to create ground breaking art, and how they shook up the establishment of the day so much, it attempted to erase them from history. Perhaps most of all, this work demonstrates the power of art for survival.

Micah Nye is a composer and producer that holds a fascination with the unseen world. He currently studies Bsc Audio Engineering (hons) at University of Highlands and Islands and plants to go on and study M.Des Sound for the Moving Image next year at the Glasgow School of Art. In the past, he has hosted his own show Night Lunch on Subcity Radio, collaborated on recordings at the Green Door Studio (including the elusive Flamingo Club), worked on cross-continental projects with musicians from Tafi Atome, Ghana and continues to spend time developing and honing his craft. He seeks to bridge the gap between music and art, creating a brighter, alternative future while empowering communities and young people. He wishes to continue seeking new opportunities and multi-media collaborations within the creative community and is open to experimentation and new ideas.

The Shelter Ross Whyte + Shane Strachan + Kate Steenhauer | Aberdeen, Scotland

The Shelter, combines drawing in Japanese ink and a multi-voiced verbatim performance to reflect contemporary life around city-centre bus shelters in Aberdeen. It was originally developed by Visual Artist Kate Steenhauer and Creative Writer Shane Strachan as a theatre show. This show was supported by Aberdeen Performing Arts, and performed at the Lemon Tree in April 2018. The Shelter has begun further development with Composer Ross Whyte for a new performance as part of Just Start Here Festival in March 2019 supported by National Theatre of Scotland.

Sound and sight give different perspectives on the city’s bus shelters through a gradual accumulation of Japanese ink brush strokes in the hands of Steenhauer and repeated extracts of (ever-growing) conversations (the Scots language and its plurality of accents) performed by Strachan, underpinned by the music and soundscapes rendered by Whyte.

The Shelter is a safe space from the world of the streets beyond; it is a communal space where strangers are more likely to speak and interact, and where friends share confessions; it is a soapbox for real-life characters to exchange monologues, diatribes and political rants.

This screening combines new projected images of drawing with ambient city soundscapes and verbatim spoken word to evoke various encounters of The Shelter.

Kate Steenhauer is a visual artist with live drawing at the root of her work. Through National Theatre of Scotland, she developed an interdisciplinary approach involving live drawing in Japanese ink unfolding on a screen through a projector and interacting with a narrative on a live stage. Multiple interdisciplinary collaborations have put this into practice: Opera Holland Park, where she captured Conductor Matthew Kofi Waldren during a Puccini production; and Hedda, a dialogue of dance, sound and Japanese ink drawings in collaboration with Choreographer Newland and Sound Artist Suk-Jun Kim, supported by Creative Scotland, and performed at Aberdeen May Festival 2018.on the malfunctioning of the human body and mind in different stages of life.

Shane Strachan primarily writes about the Northeast of Scotland and how it relates to the wider world. Since completing a PhD in Creative Writing at the University of Aberdeen, his work has been published in New Writing Scotland, Gutter, Northwords Now and various other national magazines and anthologies. He has also had work staged as part of the National Theatre of Scotland’s Granite project and for Paines Plough’s Come to Where I’m From series.

Ross Whyte is a Glasgow-based composer, sound artist, and arranger. In 2012 he completed a practice-based PhD in Musical Composition at the University of Aberdeen where his field of research was concerned with impermanence in audio-visual intermedia and headphone-specific composition. His compositional output often includes collaborations with artists of disciplines different from his own, including dance, theatre, film, and the digital arts.

SATURDAY, FEB 16 | Concert 1, Cinema | 3-4.15pm

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Stratus Linda Buckley | Royal Conservatoire of Scotland | Glasgow, Scotland

This plays with the notion of sound perception and our ability to discern timbrally between acoustically sourced or digitally generated sound signals. Most of the source material for the piece is derived from a single trombone glissando, and while being generated from a sound of acoustic origin, the sonic result is often unapologetically ‘electronic’.

The title refers to a stratus cloud, which are often quite dense, multi-layered, hazy and saturated. I wanted to feel as though within the centre of a cloud, drifting, morphing - at times isolating individual droplets while being immersed in a saturation of mist and colour.

The work is from 2006 and also displays a compositional approach which proved fruitful and exciting at the time, that of recording long improvisations in Max/MSP and then later using this as malleable material to form the basis of new work, choosing, editing, structuring and layering after that initial ‘flow state’ stage. It also connects to an energy of that time which emerged through my own performances as part of the Berlin noise scene.

Linda Buckley is an Irish composer/performer based in Glasgow/Kinsale who has written extensively for orchestra, and has a particular interest in merging her classical training with the worlds of post punk, folk and ambient electronica. Her work has been described as “fantastically brutal, reminiscent of the glitch music of acts such as Autechre” (Liam Cagney, Composing the Island) and “engaging with an area of experience that new music is generally shy of, which, simplified and reduced to a single word, I’d call ecstasy” (Bob Gilmore, Journal of Music). Music for theatre includes work by Enda Walsh (Bedbound) and film by Pat Collins (Living in a Coded Land) and Tadhg O’Sullivan (Solas Céad Bliain). Awards include a Fulbright scholarship to NYU and the Frankfurt Visual Music Award 2011 (Silk Chroma). Recent and upcoming collaborations include work with Mmoths, arrangements from This Mortal Coil, remixes for Augustus and John, as well as performances by the BBC Symphony Orchestra, Icebreaker, Iarla O’Lionaird, Joby Burgess at the Barbican, Ensemble Mise-En and Crash Ensemble. Linda lectures in Composition at the Royal Conservatoire of Scotland, holds a PhD from Trinity College Dublin and was RTE lyric FM Composer in Residence 2011/13.

wax notes

Aaron Glasser + Pauline Shongov + Colin Frank | University of Huddersfield | Huddersfield, England

"wax notes" (2018) revisits the Stewart Park Pavilion in Ithaca, NY as the memory of a space that once harboured a prolific silent-era film studio, the Whartons Studio, to investigate materiality, historiography, performativity, and the spectacle of the moving image — one that generates, forgets, and salvages that which remains.16mm film footage and audio field recordings were made of the studio, now a city owned storage unit, during both inactive times and of a performance spectacle specially presented there. These documents were then treated through analogue and digital manipulations. The transient actions of performance and history intertwine with digital memory, one that becomes laden with artifacts from multifarious stages of translation.

Aaron Glasser (USA) is a filmmaker and academic currently living in Charlottesville, Virginia. He splits his time between researching spontaneous thought at the University of Virginia and exploring creative intuitions and impulses, using mediums such as film, painting, sound, and installation. He is also active in curating experimental and independent cinema for local audiences.

Filmography: wax notes (2018, short) a portrait in the noise (2017, short) dorveille (2016, short) samsa (2015, short) mentality (2015, short) Pauline Shongov (USA) is an artist/filmmaker and PhD candidate in Film and Visual Studies at Harvard University. Her practice investigates the relationship between silent film, new media, expanded cinema, and the archive. Her work has been exhibited in several solo and group shows nationally, and previously screened at the Ivy Film Festival and various independent venues.

Filmography: wax notes (2018, short) annotations (2018, short) object memories (2017, short) (parenthesis) (2016) moloko (2014, short) Colin Frank (CAN/UK) experiments with sound, electronics, theatre, and percussive instruments. In attempting to blur delineations between composer, performer, improviser, and technician his practice perpetually mutates: narrowly focusing then sprawling chaotically. He is, however, interested in excess, pushing the body to physical extremes, barely controllable instruments, and rich, raw noises. Currently he is pursuing a doctorate on experimental performer's changing roles at the University of Huddersfield.

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5-6pm | Concert 2, Cinema | SATURDAY, FEB 16 Hedda Kate Steenhauer + Imogene Newland + Suk-Jun Kim | Aberdeen, Scotland

Hedda is a multi-disciplinary and multi-platform experience in which a unique dialogue is created between movement, sound and Japanese ink drawings unfolding live on a screen through a projector. This collaboration is with Dancer/Choreographer Imogene Newland and Sound Artist Suk-Jun Kim, with 72-year old Anne Steenhauer-Randall appearing as guest performer. The dialogue focuses on malfunctioning of human body and mind in different stages of life. The work was supported by the National Lottery through Creative Scotland’s Open Project Fund and by a residency program through City Moves Dance Agency and performed as part of the May Festival University of Aberdeen 2018.

The fluidity of Japanese ink lends itself very well for capturing the essence of a pose, or mirroring motion, as well as introducing characters and background for the dancer to interact with and respond to. The colour and marks that are created in Japanese ink are unique – mixed with the constant movement of the visual image, sometimes coming clear, sometimes more abstract, but always radiating inherent beauty. Not only does the interface between drawing and movement appear by capturing flowing lines and distinct gestures that the dancer creates, but also by the added layer of choreographic scoring through which movement is mapped.

All of these motions and colours are further explored in sound through its gestural, textural and timbral permutations that would resemble to support, or contrast to question the visual and somatic discourses.

Having developed the piece for theatre, we are keen to exhibit a recording of the live drawing, dance and sound as a looping projection in Sound Thought 2019. The project is a striking fusion between traditional skills (such as figure drawing), contemporary elements and technology (such as sonification through drawing and movement, and projection) – creating an exciting experience with a unique perspective that aims to leave a lasting appreciation.

Kate Steenhauer is a fine artist with live drawing at the root of her work. Through National Theatre of Scotland’s One Day to Play (2017), she developed an interdisciplinary approach involving live drawing in Japanese ink unfolding on a screen through a projector and interacting with a narrative on a live stage. Multiple interdisciplinary collaborations have put this into practice. At Opera Holland Park, she collaborated with Conductor Matthew Kofi Waldren, who she captured in Japanese ink alongside the City of London Sinfonia during a Puccini production, earning her the Visual Artist Award Aberdeen City 2018. The Shelter is an interdisciplinary collaboration combining live drawing in Japanese ink and a multi-voiced verbatim performance to reflect contemporary life around city-centre bus shelters in Aberdeen. This theatre show, supported by National Theatre of Scotland and Aberdeen Performing Arts, was performed at the Lemon Tree in April 2018. The individual scenes of the show have been transformed into award-winning audio-visual installations.

Imogene Newland’s work has previously examined the relationship between sound and the body through observation and choreographic re-appropriation of a musician’s physical gestures. This new work will extend her previous research with musicians onto a drawing body by observation of the visual artists’ gesture and how this might create a choreographic dialogue with her own moving body.

Suk-Jun Kim’s sound compositions and installations have investigated the emergence of memory and place/site through sound. Often driven by the challenges of technology, sites, memory, and time, he sees collaborating with dancers and visual artists as an opportunity to explore and expose conditions in which sound loses its normative roles and assumes those of a shape-shifter."

Un-(Synethetic Hair) Harry Gorski-Brown | Royal Conservatoire of Scotland | Glasgow, Scotland

This piece is an ever evolving trio of violin, cello and double bass. Based on and composed using improvisation made on the instruments separately, the piece begins with clear acoustic sound interweaving themselves, before gradually changing and distorting themselves to become more digital and processed against each other.

I am a musician living and studying in Glasgow.

SATURDAY, FEB 16 | Concert 2, Cinema | 5-6pm

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Reticence, Park, Flower Nate Chivers | Royal Northern College of Music | Manchester, England

These three pieces are part of my exploration of the nuances and quirks of the electric guitar. It being a “naturally" amplified instrument, it allows for normally inaudible or sounds too quiet to hear to be heard. Many of these sounds are unstable, where if my hands move a couple of millimeters too much or not enough, the sound would be unsuccessful. By linking together these unstable sounds, we can create different types of music and these three are an example of what can be done .

Nate Chivers is a 1st year PhD Research student in composition at Royal Northern College of Music in Manchester, UK where he is supervised by Mauricio Pauly and David Horne. He did his undergrad at Berklee College of Music in Boston, MA, USA and his masters at RCNM. His works have been performed by Kinetic Manchester, BBC Singers, members Royal Scottish National Orchestra, COMA/Psappha, Music Theatre Wales, Alea III, and the Esterhazy String Quartet, among others. He is also an active electric guitarist who has performed with VIRTUALREALITY and in Darmstadt, as well as various solo concerts.

Coming from a Rock, Pop, and Jazz background, he seeks to combine these disciplines with classical compositional training, in an organic manner. The mistakes of rock and jazz, mixed in with the precision of notated music is what he is exploring. His research is based on information density in a composition going from strict notation to free improvisation.

The Owen Wilson Improvisations Scott Morrison + Ollie Hawker | University of Glasgow (alumni) | Glasgow, Scotland

The Owen Wilson Improvisations take as their subject fragments of speech by the eponymous American actor. Recontextualised with lever-harp, alto saxophone and MaxMSP accompaniment, the Improvisations create distinct, miniature soundworlds that extend and manipulate the sentiments of Wilson’s original statements. Taken from promotional interviews and press releases, these initially fleeting and flippant remarks are transformed and expanded into something wholly different when subjected to repetitive processes mantras that flicker between the humorous and the emotive, the banal and the profound.

Taking the form of two contrasting movements, the works mix meditative, repetitive harmonies on the harp and saxophone with linear electronic processes, mixing live and sampled sounds, vocal and instrumental.

Samples of Wilson’s voice are broken down then gradually and cumulatively rebuilt in a random order by MaxMSP processes to reform full statements, the process of which brings out the curiously musical nature of the actor’s speech, and hidden overtones in the meaning of his words. Eventually these processes are applied to live-recorded samples of harp and saxophone, blurring the distinctions between live and recorded, acoustic and digital, in the same way that the fragments of Wilson’s speech dissolve the barrier between bathos and pathos.

Though following a loose pre-determined structure, both the electronic processes and the human decisions involved in the piece are different every time, ensuring each performance is unique.

Ollie Hawker is a composer/musician based in Glasgow, who graduated from the University of Glasgow in 2017 with an MA in Music. His work is often collaborative and uses Max MSP to combine 'doggedly determined' process-based composition with live improvisation. He has exhibited his own composition-performances at various venues and festivals in Scotland including Sound Thought, Radiophrenia, Hidden Door and Glasgow Open House Art Festival.

Scott Crawford Morrison is a composer & performer based in Glasgow. He graduated with an MA in English Literature & Music from the University of Glasgow in 2015. His works have been performed by Happenings Collective & at LEAF Gallery, Manchester. He is currently Manager of Development & Projects with Scottish Ensemble, the UK’s leading string-orchestra, a Trustee of Glasgow Zine Library, and co-founder of Più, a bi-monthly café-concert series dedicated to providing a platform for classical and ambient performances in relaxed and accessible environments.

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6pm | Drinks Reception, Clubroom | SATURDAY, FEB 16 Sound Map Nicole Ecke | University of Glasgow | Glasgow, Scotland

I’m in the midst of creating a physical sound map/ light Theremin of various locations in Glasgow and some surrounding areas. I am particularly interested in sound mapping and liked the idea of a physical and technical representation of one where one can use their own body to signal/start/stop it from playing.

The piece is meant to be a juxtaposition of technology and “natural” soundscape. I wanted to fully immerse myself in various environments (some in nature, others indoors, some involving machines, or people) and then present them in a very technology-heavy manner (using arduinos, LDRs, etc.). I collected recordings from each place I visited and chose approximately four minutes of my favorite elements from each.

My project features four places in Glasgow (Cathedral, Kelvingrove Park, City Centre, Glasgow Central Station), two in Edinburgh (Christmas markets, Castle), one in Loch Lomond, and one in Balmaha. Each of the eight light dependent resistors I used represents a different location. They will trigger the audio files to play when I place my hand over them covering a certain range of light and as I remove even more light, the second audio file will be triggered to play. Finally, when the photoresistor is almost entirely shielded from light the last audio file of recording of rain will play. I chose the rain as I felt it was an accurate representation of Scotland and the weather here no matter where the location.

I am currently obtaining a Sound Design & Audio Visual Practice masters at University of Glasgow. I’m originally from New York and am particularly interested in acoustic ecology, sound mapping, and environmental sound recording.

9-10pm | Alograve, Clubroom | SATURDAY, FEB 16 Algorave J Simon van der Walt + Claire Quigley | Royal Conservatoire of Scotland | Glasgow, Scotland Let’s have an algorave at Sound Thought!

‘Algorave’ is a kind of livecoding: a practice where creative artists who work with computer code perform live, often producing music and/or visuals, with the audience able to watch the evolution of the code on a projected screen. In an algorave, the particular aim is to produce beat-driven music and/or visuals for dancing. It's an expression of joy: of being so entranced with the possibilities of the digital that we want to dance to it.

This (short) algorave will feature J Simon van der Walt (aka tedthetrumpet) and Claire Quigley, and will be streamed live on as part of the celebrations of fifteen years of the TOPLAP livecoding community.

Dr J Simon van der Walt is a composer, teacher, and performer. Over the course of his career has created a varied body of work, ranging from score-based composition to installation, sound art, performance, and devised musiktheater. His chief current preoccupations are Indonesian gamelan music, livecoding, and the reconstructing of the career of his fictional alter ego Edward ‘Teddy’ Edwards, unsung hero of British light music electronica. He is Head of MMus Programmes at the Royal Conservatoire of Scotland. jsimonvanderwalt.com Dr Claire Quigley enjoys helping people realise they can use coding as a tool to make their ideas real, be creative and have fun. Since 2012 she has worked with organisations including Glasgow Science Centre, CoderDojo Scotland, and the BBC to create enjoyable digital learning experiences. She is currently a part-time lecturer at the Royal Conservatoire of Scotland working with student music teachers on ways to include digital making in their teaching. www.clairequigley.net

SUNDAY, FEB 17 | Installation, Cinema | 12-1.30pm, 3-7pm

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Freiraum Sonia Killman | University of Glasgow | Glasgow, Scotland

Freiraum in German literally means free room. I have chosen this title, because I like to work with space in my compositions. All sounds, all resonances should leave enough time to be explored by the listener if desired. The sounds I have used for this piece are recorded and created by myself (some are melodic or percussive and some are simply field recordings, such as stones being moved). I adapted this concept of space in the visuals as well. Generated by max/MSP, the particle system reacts accordingly to the amplitude of the sounds. Each track is played back at random and controls a different parameter of the system (speed, life, force, etc.) When the particles react to the music, they make use of what seems to be endless space around them. When the particle leave the screen, we are under the impression that they continue existing, even outside of what we can perceive.This notion of endlessness is also reflected in the installation: The visuals produce a signal, which is then fed back into the particle system (manipulating a different parameter, such as the force of the vector field).

The image therefore reacts to itself, creating a spiral of endless possibilities. Since the tracks are also all played back at random, we will never see the same thing twice.The piece explores new ways in which music can be created (note the use of effects and synthesis) and how technology can, through a series of unrelated sounds, create a sort of separate universe for us to explore. Freiraum aims to give the listener the freedom of interpretation. What might this endless space mean for you?

I am a composer and sound artist from Belgium and am in my final year of Music at Glasgow University. Although I have only really discovered my passion for sound art in the last two years, I have spent a lot of my time researching and finding new ways to explore sound. As I listened to artists such as Daisuke Tanabe and Four Tet, I became more interested in merging musical sounds with field recordings. Last year I worked together with many other sound artists at a residential in Catalonia and gathered field recordings for collaborative pieces. Our works included live performances and installations. When composing, I am heavily influenced by Nils Frahm’s Solo album, as I am fascinated by the “articulaton” and behaviour of a sound more so than its source.

Outside of being a sound artist I also play jazz saxophone and am working towards merging my compositional and performance practice in the future.

SUNDAY, FEB 17 | Concert 1, Theatre | 12.30-1.30pm Continuum Sophie Stone | Canterbury Christ Church University | Canterbury, England

Continuum (2017-2018) is a 90-minute immersive installation for clarinet, flute, two string instruments, tam-tam and fixed media. The work was premiered by Splinter Cell (Alison Holford, James Widden, Heledd Wright and Tom Jackson) at the Wintersound Festival 2018. The fixed media part of the installation involves manipulated recordings of each instrument, and the sound source is not always distinguishable. The score combines traditional, graphic and text notation, and must be completed before each performance using a selection of given instructions for sustained sounds, dynamics and instrumental technique. Each performance is unique due to a differing score and indeterminate performance instructions.

This installation of Continuum uses recordings taken from the premiere. The use of performance recordings creates a displacement of time, space and place. For example, the installation will include environmental sounds from the original performance. During a performance, one focuses on the sounds of the fixed media and live performers. But, during a representation the listener is transported to the original performance space, and the environmental sounds are brought to light. Continuum comprises quiet and subtle changes of sustained sounds to create an immersive experience for the listener. The installation involves a more concentrated type of listening where the listener may focus on the complexity of seemingly simplistic sounds.

The audience can be surrounded by the ethereal and glacial sounds in a multi-channel installation of the work.

Sophie Stone is a composer of experimental music and is currently studying for a practice research PhD at Canterbury Christ Church University with Dr Lauren Redhead and Prof Matt Wright. Her research explores extended duration music and the performance situations, compositional strategies and the uses and types of silence that surround it. Sophie’s recent projects include a solo organ work titled Amalgamations (2016), “As Sure as Time…” (2016-?), an ongoing series for spoken voices, and Continuum (2017-2018), an electroacoustic 90-minute immersive installation. Her work has been presented in concerts, as installations and at conferences across the UK. In 2018, New Sound: International Journal of Music published a co-authored article by Sophie, Dr Steve Gisby, Dr Alistair Zaldua and Dr Lauren Redhead on ‘Performing Temporal Processes’, which was presented at the Royal Musical Association Annual Conference at the University of Liverpool in 2017.

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12.30-1.30pm | Concert 1, Theatre | SUNDAY, FEB 17 Trailblazer for Clarinet and Electronics (World Premiere commission by Nick Fife) Laura Hundert | Royal Conservatoire of Scotland | Glasgow, Scotland

I participated in a music festival last summer in New York called the Mostly Modern Festival. On the last day, Nick Fife, one of the composer participates, proposed that he would write a piece for anyone that wanted one – his only constraint was that it would have to be under 10 minutes as then he would be able to complete more pieces for people. I met with him and all he asked was what I wanted the instrumentation to be. I had heard a piece he wrote for string quartet and electronics earlier in the festival and was intrigued so I asked for clarinet and electronics. By the end of the day, I received the score! I feel as though this story shows how the music world has changed in that it is almost completely about who you meet. In terms of the music connecting to the “Signs of Change” theme I think this piece shows an interesting look at minimalism as well as the combination of an acoustic instrument with a backing track.

Laura Hundert (b. 1996 in Boston, Massachusetts) is a clarinetist who is passionate about exploring all styles of music and building a more inclusive and accessible community of the arts. As a dedicated soloist and chamber musician, Laura has already received numerous awards and honors. Most recently, she was awarded the 2018 Young Artist Award at the Zodiac Music Academy and Festival in Valdeblore, France. In 2016 Laura won the Contemporary Performance Competition at the Cortona Sessions for New Music in Cortona, Italy, the prize for which was a commissioned piece for clarinet. During her four years at the Eastman School of Music, Laura was a member of a celebrated woodwind quintet that was selected to perform in the Eastman Honors Chamber Music Recital in December 2016 and May 2017, as well as in master classes with the Cambini Winds and the Berlin Philharmonic Wind Quintet. Laura holds a Bachelor of Music in Clarinet Performance with a Performer’s Certificate from the Eastman School of Music, where she graduated with High Distinction and was awarded the Anne T. Cummins Prize in Humanities. She is currently earning her Master of Music in Clarinet Performance at the Royal Conservatoire of Scotland under the tutelage of John Cushing. Her primary teachers have been Kenneth Grant, Luiz Coelho, and Louis Gangale. When she is not playing clarinet, Laura enjoys drinking red wine and cuddling with cats.

RESISTOR Aidan Lochrin | University of Glasgow | Glasgow, Scotland

RESISTOR is a 3-part semi-improvisatory work that attempts to convey the use of electrical circuitry components through sound. It is an exploration into the kinds of sounds that might be conceived between wires and soldered metal. The three movements are each based on a different electrical component – CAPACITOR, RESISTOR, and TRANSISTOR – and each try to capture the essence of their respective roles within circuitry. A vivid sound world is brought to life through the blend of traditional instruments and synthesisers.

Aidan Lochrin is a composer, performer, and sound artist based in and around Glasgow. His works often centre on a more abstract concept of sound as imagery, incorporating modern sonorities and techniques with a blend of more traditional methods. His work ranges from instrumental performance to electronic computer-based music to audiovisual installations, with influences from contemporary classical and jazz, to folk music and experimental electronica. Now nearing the end of his final year studying Music at the University of Glasgow, he has worked with many talented musicians – from amateur to professional –including the Royal Scottish National Orchestra to realise some of his works, as well as occasionally collaborating with other composers. He has had work premiered at international festivals such as the Edinburgh International Harp Festival.

2-3pm | Workshop, Cinema | SUNDAY, FEB 17 Urban Conversations with Sound Katerina Talianni + Roxana Karam | University of Edinburgh | Edinburgh, Scotland

Reflecting on the idea of sound data as signals this workshop invites participants to develop creative responses to data contexts of the neighborhood around CCA in Glasgow. The outcome of this workshop will be the production of a multimodal kind of story that represents the various layers of perception and experience of urban space based on data and sound.

Katerina Talianni is a PhD candidate at the Edinburgh College of Art. She submitted her PhD to the Reid School of Music in December 2018. Katerina’s research interrogates the urban environment through the filter of the sonic to explore the significance of sound in society. Her main research focus is on the interactions between sound art and the public space, and how these construct acoustic city spaces where sound art audiences may form acoustic communities.

Roxana Karam is an architect and designer based in Edinburgh, United Kingdom. She submitted her PhD in the School of Architecture and Landscape Architecture at the University of Edinburgh in January 2019. Roxana has been active as an interdisciplinary design researcher in the field of Data-driven technologies in architecture. Her approach to architecture as a creative practice is both top-down and bottom-up. Her main research focus is on contemporary architectural propositions, and she is keen on reviewing design processes and methodologies within the scope of urban informatics, data-driven innovations and biology/nature. She questions the spatial articulation through the interdisciplinary knowledge of architecture, technology, and biosemiotics.

SUNDAY, FEB 17 | Concert 2, Theatre | 3.15-4.15pm

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Oppalala Aimo Scampa + Marco Gianturco | Academy of Music and Sound | Glasgow, Scotland

‘Oppalala’ is an Ambient/Drone/Electronic duo formed by Aimo Scampa (samples, synths) and Marco Gianturco (guitars, FXs). The project is based on extreme audio processing and over layering of sounds. Oppalala' is an Italian Onomatopoeia that express unexpected events. Their aim is to create a constant tonal interaction between the instruments through feedback mixing techniques, and to use already existing musical material and develop it in a completely different way (giving to it a new meaning) to produce clouds/swells of sound. They work with textures, and they look for the unpredictable.

Aimo Scampa is a half Italian and half French Electronic Music Composer. He studied Classical and Jazz piano, drums, jazz composition, and arrangement, at the Music Conservatory “Jacopo Tomadini”, in Udine, Italy. Since 2007, he has been exploring ambient/drone/break/hip-hop/punk territories. For composing he mainly use hardware machines like samplers, drum machines, modular synthesizers, and effects. He is currently studying sound production in Glasgow.

Marco Gianturco, born in Galatina, the core of Salento (south Italy). Here he grew up surrounded by the sound of orchestras, religious chants, the pulsing pizzica (traditional tambourine folk music) and the spirit of dancehall.

His main instrument is guitar, but his instrumental background goes from trombone to acoustic synthesis. At the age of 19 his path leads him to Glasgow where is continuing his studies, currently at AMS.

I’m Sorry Lewis Coenen-Rowe | University of Glasgow | Glasgow, Scotland

‘I'm Sorry’ is a piece for voice and ensemble where the speaker continuously struggles to enunciate the words of the title, becoming increasingly emotionally highly-strung, while the music of the ensemble gradually diminishes and decays. The speaker concludes the piece by apologising for something that they are genuinely sorry for. Over the course of 10 minutes the speaker through various means struggles to enunciate the words of the phrase ‘I’m sorry’, while the rest of the ensemble endlessly repeat the same two harmonies, which undergo a gradual process of augmentation and compression into the lowest possible octave. Near the end of the piece, the speaker finally manages to say ‘I’m sorry’ by which point the harmony is almost entirely static, having shifted in emphasis onto timbre and resonance. The speaker finishes by apologising for something that they are genuinely sorry for. This is not to be announced before the performance. The piece thus provides a reflective space to offer a considered apology, stretching out the couple of seconds that apologising normally takes into a lengthy musical moment that seeks to express how powerful, complex, and difficult those couple of seconds can be.

I am a composer of primarily opera and chamber music, having written and performed three operas, Collision (2016), The Storm (2017), and Last Thursday (2018) as well as vocal music and incidental music for theatre.

I am particularly interested in ways of writing music that is complex and critical but simultaneously accessible to non-specialists. I am currently a Teaching Assistant at Glasgow University music department.

My compositional studies began with a music BA, with Dr Deborah Pritchard at University College, Oxford, followed by an AHRC-funded MSt with Profs Robert Saxton and Martyn Harry at St Hilda's College, Oxford, and an LAHP-funded PhD at King's College London, with Profs Silvina Milstein and George Benjamin. I have worked with the Oxford Philomusica, the BBC Singers, the New Music Players , Ensemble ANIMA, the Cavaleri Quartet, Mark Simpson, Jonathan Powell and Richard Casey, as well as a great deal of student musicians.

As a composer I am interested in the possibilities of multimedia, referentiality and other devices by which music can relate to a wider socio-cultural context. In particular, I am intrigued by tropes of irony and seriousness in music and how the distinction between these can easily be destabilised to darkly comic effect.

Furthermore, I am concerned by issues of immediacy and expression in the perception of contemporary classical music, issues that I explored during my PhD from psychological and philosophical perspectives.

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3.15-4.15pm | Concert 2, Theatre | SUNDAY, FEB 17 Angle to the Sun Alison Beattie | University of Glasgow | Glasgow, Scotland

Angle to the Sun is a piece for chamber group consisting of flute, clarinet, bass clarinet, horn and cello played against a 5.1 soundscape backdrop. The soundscape has been constructed using manipulated field recordings of bees, birdsong and other natural sounds. The perturbation of formants within the recorded materials together with spacialisation has been carried out to induce in the listener’s mind imagery associated with the Syrian conflict, including allusions to gunfire and aircraft. Starting with low pitched instrumental melody blending with bee recordings, this progresses via gradually increasing pitch and microtonal complexity along four different natural harmonic series. The origin of each series represents the four chemical bases of human DNA and the expansion outwards and upwards as a metaphor that we all arise from the same origins. The slowly diverging pitch intervals and increasing atonality signals the apparent current trends towards isolationist politics and the horrors perpetrated as a result.

Irresistibly drawn by the pull of music, Alison Beattie left a career in Chemistry, to embark on the long journey towards becoming a Composer and Sonic Artist. Alison recently submitted her portfolio for Masters in Composition (MMus), by research, at the University of Glasgow. Her area of study combined writing for acoustic instruments with field recordings exploiting the spectral properties of both sound worlds. She was delighted to be supported by Dr Drew Hammond and Professor Nick Fells in these respective areas. Alison believes music to be a powerful medium for raising awareness of political issues and breaking down barriers and bringing people together from different sectors of society including age, race and political views. She continues to play saxophone in numerous community bands, orchestras and ensembles and is one of five volunteer directors for “Music for People”, a summer school which offers a vast range of playing, singing and composing opportunities for adult learners. She is joined in this performance by Karen Clayton – Flute, Jan Winder – Bb Clarinet and Cameron McCulloch – Bass Clarinet. The soundscape features Steven Millar – Horn and Jane MacDiarmid - Cello.

7-8.30pm | Concert 3, Theatre | SUNDAY, FEB 17 Mother, Father, Sister, Brother Iain Harvie + Lea Shaw | Royal Conservatoire of Scotland | Glasgow, Scotland

This will be a solo vocal performance by Lea Shaw of a piece written by Iain Harvie. An integral part of the piece will be projected live video of the performer that will be manipulated in real-time. The vocal performance will be of text that has been generated algorithmically from James Hogg’s classic novel The Private Memoirs and Confessions of a Justified Sinner. The textual materials for this work have been created by compiling concordances of commonly occurring words in Hogg’s novel using the Python programming language and is part of a larger research project that is considering ways to create performance materials from the text of Hogg’s novel that are not primarily based in the narrative structure of the book. The performance will be built from text fragments of every occurrence of significant words in the book threaded together over a simple, repeating musical structure.

Live video of Lea’s performance of this material will be manipulated and distorted in real time. The re-presentation of Lea’s performance on screen, literally ‘beside herself’, can be seen as symbolic of the descent into delusion and ultimately into psychosis of the central character of Hogg’s novel. But it is also intended as a metaphor for the modern psychosis of ‘selfie’ culture. This work and the research that it has come from is an attempt to re-frame and re-present Hogg’s remarkable novel and the ideas within it as stage works for contemporary audiences.

Hailing from Denver, Colorado, Lea Shaw is an award-winning Mezzo Soprano in the second year of her Masters studies at the RCS under the tutelage of Helen Lawson, having received a BMus with Honours of the First Class from the RCS in 2017. A diverse performer, she has performed nationally and internationally in concerts, opera, and oratorio in venues from Glasgow with Scottish Opera and the Concert Halls, and the Edinburgh International Festival, to Orkney, Portugal, and this past summer, in France, where she made her international festival debut at the En Blanc Et Noir Festival in Lagrasse. Her most recent projects culminated in a performance of Schoenberg's Pierrot Lunaire, to great acclaim. Lea is gratefully supported in her studies and development by the RCS Trust, Help Musicians UK, and is the recipient of the Goldman Award and the 2018 Silver Medal from the Musicians' Company.

A native of Glasgow, Iain Harvie returned to the city in 2017 to embark on a composition focused DPerf at the RCS where he is exploring ways of creating material from James Hogg’s novel The Private Memoirs and Confessions of a Justified Sinner that will locate Hogg’s work in a contemporary mutli-media performance environment. After spending two decades as a working musician and writer, he found himself lured towards new, more esoteric artistic pursuits and graduated from Oxford Brookes University in 2014with a first class honours degree in music. He went on to complete a Masters in composition at Guildhall winning the Tracey Chadwell prize for composition in 2015.

SUNDAY, FEB 17 | Concert 3, Theatre | 7-8.30pm

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Alocas Louise Harris | University of Glasgow | Glasgow, Scotland

Alocas is one of a series of works for Expanded Audiovisual Format (EAF); an ongoing exploration involving pieces that are concerned, in both composition and exhibition, with moving away from a single-screen, two-speaker format. The work is intended to be exhibited in a small, very dark space, creating an immersive environment in which the audioviewer is completely enveloped by both the sonic and visual structures formed in the work. The pitched material in the work is generated algorithmically, then subsequently sculpted and intervened with using both chance and rules-based procedures.

The intention, within the confined exhibition space, is that the work both look and sound entirely different dependent on whereabouts in the space one is situated, and indeed that it look and sound different depending on the acoustics and configuration of the space itself. The audio and video should be very large in comparison to the audience, allowing audioviewers to engage with the sonic and visual structure and audiovisual variations in minute detail.

Louise Harris is an electronic and audiovisual composer, and a Lecturer in Sonic and Audiovisual Practices at The University of Glasgow. She specialises in the creation and exploration of audiovisual relationships utilising electronic music, recorded sound and computer-generated visual environments. Louise’s work encompasses fixed media, live performance and large-scale installation pieces, with a recent research strand specifically addressing Expanded Audiovisual Formats (EAF). Her work has been performed and exhibited nationally and internationally, and recent commissions include 30-minute radio art works for Stazione di Topolo and RadioArts. Louise was awarded the World Prize at the Electroacoustic Competition Musica Viva (2011) and in 2016, her piece pletten was awarded first prize at the 2016 Fresh Minds Festival. In 2017, her solo exhibition, Auroculis, opened the Alchemy Film and Arts Hub in Hawick, UK and in 2018 she was commissioned by Cryptic and The Lighthouse to create Visaurihelix, a site-specific, interactive audiovisual installation for the Mackintosh Tower as part of the Mackintosh 150 celebrations.

On a Frozen Lake Jeremi Korhonen | University of Glasgow | Glasgow, Scotland

On a Frozen Lake is a part of a series of pieces where I explore the relationships between important places in my life and the sounds that characterise them. This particular piece is entirely composed of sounds gathered or found from my grandparents’ home in rural Finland. The source sounds range from field recordings to sounds from old records gathering dust in the attic.

The piece attempts to create an abstracted sonic representation of the experience of visiting the place mid-winter, with its snow coated evergreens, silent forests and valued memories.

Originating from Helsinki, I am currently MSc student of Sound Design and Audiovisual Practice at the University of Glasgow. My past as a guitarist got me interested in exploring digital means of music production, and I have been on that road ever since. What I am particularly interested in in sound and music production is how different aesthetic properties of sounds and their combinations can elicit varied emotions and feelings in listeners.

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7-8.30pm | Concert 3, Theatre | SUNDAY, FEB 17 Different Signals Paul Michael Henry + Jacob Elkin | Glasgow, Scotland + Brooklyn, New York

Glasgow based contemporary and butoh dancer Paul Michael Henry will collaborate with myself on a newly choreographed solo performance of an electronic work. The work, Different Signals, was composed using the audio coding software Supercollider to create a unique sonic synthesis for each performance. Each pitch has a distinct timbral and spatial identity, chosen through weighted probability, which gives shape to the environment. Recordings of people and unidentifiable sounds punctuate the piece throughout.

My last work written for butoh, Until I become nothing, was presented in two performances during festival En Chair et en Son in Paris, France by afro-butoh dancer Tebby Ramasike. This is part of an ongoing collaboration process combining butoh dance with acousmatic composition. The unique spatial and aesthetic considerations of the two art forms make them extremely compatible for performance.

Paul Michael Henry is a Scottish performance artist, dancer and musician. His work is informed by Butoh dance, punk rock and ritual, and is performed all over the world. Recent projects include a tour of the United States with Laughter at Being Crushed, touring as a Butoh dancer in France and Japan, the premiere of new performance Mammy at CCA Glasgow, and a new film exploring high rates of male suicide in Scotland and globally called SMITE ME NOW. His themes are political, social & spiritual, dealing with love, neglect of the body, destruction of the environment and atrophy of the soul in consumerist society. www.paulmichaelhenry.com

Jacob Elkin is a trombonist, composer and educator based in Brooklyn, New York. His electronic music has been featured in the Lüneburg New Electronic Music Festival ’15-’16 and FIGMENT art installation NYC ’17. In September, his atmospheric work Dreamscape was broadcast on The Cutty Strange radio segment on WGXC. Recent performances of his work also include Kyiv Contemporary Music Days Electroacoustic Festival in Kyiv, Ukraine, SHE LIVES Chamber Composition Workshop in Budapest, Hungary and Festival Días de Música Electroacúsica in Seia, Portugal. His acousmatic work, Unrequited has been selected for performance in 16 channels at NYCEMF, 24 channels at Cubefest ’18 at Virginia Tech and stereo performance at WOCMAT, Taiwan. Mr. Elkin has completed artist residencies at La Macina di San Cresci, Florence, Italy, Arts, Letters and Numbers Albany, NY, En Chair et en Son Festival, Paris, France in electronic composition for Butoh dance and University of London SOAS Gamelan and electronics. Mr. Elkin’s piece Things that might have been for improviser and live-electronics won third prize in the Electrobrass Conference at Brooklyn College in November ‘18. As a freelance trombonist, Mr. Elkin is an advocate for new music in both chamber and solo settings. In 2017, he performed as soloist for New York Composer’s Circle, Make Music New York and the Variousound Sessions. Mr Elkin has premiered works with Mimesis Ensemble, Contemporaneous, Mise-en Scene, NYMF, David Taylor and the New York Trombone Consort and many others.

Jacob Elkin is on faculty at the United Nations International S!chool as brass instructor.

Le Combat Martin Disley | Edinburgh, Scotland

Characterised by swirling turbulent drones punctuated by throbbing percussion and melodic interludes, the Le Combat project draws aesthetically from both current ‘deconstructed club’ trends and the minimalism of tape pioneers La Monte Young, Basinski, Nilblock and Hassel. In this performance the instruments on stage will not sound directly, but rather act as controllers. The performance is conducted and structured from a laptop, by patching the instrument signals to different components for the players to control. Through this unique interaction I hope to play with some of the popular misconceptions about the character of “analog” and “digital” and the transience of both states in the process of creating/recording and performing/projecting music.

By having improvisers manipulate digital sounds via analog devices (their instruments), this work challenges the social perception of the terms “analog” and “digital”. As the players analog audio signal never reaches the audience, their presence is simply symbolic of the ‘analog’ state. Here then, the performance will communicate the socially constructed artifice of the analog state through visual metaphor without their necessarily being any analog audio signals present.

Martin Disley (born 1994) is a composer and new media artist based in Edinburgh, Scotland. Since graduating from the University of Edinburgh (2017) and Universitat Pompeu Fabra, Barcelona (2018) he has continued to pursue interdisciplinary practice including composition, installation and new media projects. Exhibitions and collaborations have already taken his work to Germany, Spain and The Gambia, amongst other locations. Most recently, he has been interning under composers Ben Frost and Valgeir Sigurðsson in Iceland.

SOUND THOUGHT Sound Thought is an annual festival of music and sound research, composition, and performance run by postgraduate students from the University of Glasgow. Sound Thought presents a unique opportunity for postgraduate researchers by providing them with a platform to present their research in a collaborative, interdisciplinary environment alongside the work of contemporary practitioners.

The Committee would like to thank: Alex Misick, Kenny Christie, CCA staff and duty managers, Charlie Knox and Floored, Joanne Williamson, Daisy Alexander, Marita Sakkoula, Yexa Asuaje, Abby Bayani, and festival volunteers.

Funding generously provided by the University of Glasgow Chancellor’s Fund and College of Arts Collaborative Research Award.

Brochure designed by: Kevin Leomo

Sound Thought 2019 Committee: Kevin Leomo, Committee Chair Andrew Rae, Deputy Chair Alessio Wagner Fergus Hall Jamie Macpherson

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