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Programme • Question-And-Answer Session - Tom Williams (Chair) with Sarah Watts and Composers (Siegel, Maccann, and Whitcombe)

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Programme • Question-And-Answer Session - Tom Williams (Chair) with Sarah Watts and Composers (Siegel, Maccann, and Whitcombe) Schedule Saturday 5 December, 10:00 am – 9:30 pm 10:00 am – 10:15 am: Welcome • Welcome and introduction from Elizabeth Kelly & Duncan MacLeod (NottFAR, University of Nottingham) – via MS Teams 10:15 am – 11:00 am: Presentations Session 1 • Jia Cao (Durham University) - Combining elements from the ancient Chinese and contemporary art music worlds: some critical reflections on the hybridizing of compositional methods, aesthetics and playing techniques (paper presentation) • Sue Newsome (Sydney Conservatorium, University of Sydney) - The Genesis of Yggdrasil – The World Tree – a Concerto for Contrabass Clarinet and Wind Symphony by Cameron Lam (Demonstration) 11:00 am – 11:30 am: Presentations Session 1 Q&A • Question-and-answer session - Harriet Boyd-Bennett (chair) with Jia Cao and Sue Newsome 11:30 am – 12:30 pm: Presentations Session 2 • Bofan Ma (RNCM) - In Search of the in-between, and an embodied compositional practice (Paper Presentation) • Alfia Nakipbekova (University of Leeds) – Reading Khlebnikov for cello and tape (Demonstration) 12:30 pm – 1:00 pm: Presentations Session 2 Q&A • Question-and-answer session – Edmund Hunt (chair) with Bofan Ma and Alfia Nakipbekova 1:00 pm – 2:00 pm: Opening Concert • Sarah Watts (Sheffield University) & SCAW Duo perform: Memoriale II, Annachiara Gedda; Salamander, Wayne Siegel; Undulating Depths, Thomas Whitcombe; Leaks and Spills, Chris MacCann 2:00 pm – 2:30 pm: Opening Concert Q&A Symposium Programme • Question-and-answer session - Tom Williams (chair) with Sarah Watts and composers (Siegel, MacCann, and Whitcombe) 2 2:30 pm – 3:30 pm: Keynote Katie Adams (double bass) performing Great Blue Heron, Nicholas Fagnilli Sunday 6 December, 10:30 am – 7:30 pm • Simon Emmerson Composing for flutes and electronics 3:30 pm – 4:00 pm: Keynote Q&A 10:30 am – 11:30 am: Presentations Session 4 • Question-and-answer session - Duncan MacLeod with Simon Emmerson • Ilya Ziblat Shay (The Academy of Creative and Performing Arts (ACPA), Leiden University) - The Musical Work, Free Improvisation, and Live Electronics: Towards an 4:00 pm – 5:00 pm: Presentations Session 3 Integrated Musical Paradigm All (Paper Presentation) • Jenn Kirby (University of the West of Scotland) - Live Electronics: Performer Agency • Robert King (Durham University) - Five TENse Minutes, Robert King (Presentation) and Audience Reception (Paper Presentation) • René Mogenson (Royal Birmingham Conservatoire) - SomSwarm: Computational co- • Georgios Varoutsos (Queen’s University Belfast)- Peace Wall Belfast: Spatial Audio improvisation in music (Presentation) Representation of Divided Spaces and Soundwalks (Paper Presentation) • Sohrab Uduman & Miroslav Spasov (Keele University) - Idiosyncrasies out of the • Phil Tomsett - ‘Plightpath’ presentation (Short Presentation) darkness … - application of air pressure to control sound synthesis and processing in live acoustic composition (Paper Presentation) 11:30 am – 12:00 pm: Presentations Session 4 Q&A 5:00 pm – 5:30 pm: Presentations Session 3 Q&A • Question-and-answer session – Alan Chamberlain (chair) with Ilya Ziblat Shay, Jenn Kirby, Phil Tomsett and Georgios Varoutsos • Question-and-answer session - Xenia Pestova (chair) with René Mogensen, Sohrab Uduman, and Miroslav Spasov 12:00 pm – 1:00 pm: Recitals Session 2 5:30 pm – 6:30 pm: Recitals Session 1 • David Cotter (University of Cambridge) (guitar) - 2020 Vision: The Guitar and Virtual Reality (Lecture Recital) • Raymond Brien (clarinet) & Gavin Stewart (flute) - The Shape Distance, Mark Yates • Davide Sciacca (Royal Northern College of Music) (guitar) - Contemporary Recital – • Karen Bronson (bass clarinet) - Duet 4 1, Sage Bronson Sicilian Landscape (Lecture Recital) • James Wilson (flute) - la cupidité de soufflé, Sohrab Uduman 1:00 pm – 1:30 pm: Recitals Session 2 Q&A 6:30 pm – 7:00 pm: Recitals Session 1 Q&A • Question-and-answer session – Trevor Babb (chair) with David Cotter and Davide • Question-and-answer session – Jason Alder (chair) with Raymond Brien, Gavin Sciacca Stewart, Karen Bronson and James Wilson 1:30 pm – 2:30 pm: Acousmatic Concert 7:00 pm – 7:30 pm: BREAK • Crossing the Firth, Anselm McDonnell 7:30 pm – 8:30 pm: Evening Concert • Bunyi Sunyi, Fahmi Mursyid • Hauntology, H. P. McGowan Scott L. Miller (composer) & rarescale (Carla Rees, flutes; Sarah Watts, clarinets) • Interview, Han Geul Lee Performing SPRING 2020 AND SUMMER 2020, Scott L. Miller - a live networked • Tree Life Sands, Janet Oates with Alfie Crews performance • Quatre machines pour sauver le monde, Léa Boudreau • Do Androids Dream of Procedural Raindrops?, Sam Mitchell 8:30 pm – 9:30 pm: Deep Sounds concert • FYR, Zuriñe F Gerenabarrena John Kenny (trombone) & Antony Clare (piano) Performing Echoes, Annachiara 2:30 pm – 3:00 pm: Acousmatic Concert Q&A Gedda; Gotham Soliloquy, Ronald MacNiven; DR1, Dorian Kelly. • Question-and-answer session – John Young (chair) with acousmatic composers Cole Morrison (double Bass), Mark Knoop (piano) performing Transit, Sam Gooderham 3 4 3:00 pm – 4:00 pm: Presentations Session 5 • Tom Armstrong (University of Surrey) – Composing with Two Voices: Re-working Dance Maze with Help from Tom Johnson (Paper Presentation) Keynote • James Helgeson (Royal Holloway, University of London/Barenboim-Said Akademie (Berlin))– String Quartet no. 2: Meldebescheinigungen (Short Presentation) • Stephen Crowe – Dry Humping the Grove Dictionary Vol 2 (Short Presentation) • Kate Ledger (University of York), Angela Guyton, & James Redelinghuys – Three 2:30 pm – 4:00 pm, Saturday 5 December Refractions of a Body Etude? (Demonstration) Composing for Flutes & Electronics 4:00 pm – 4:30 pm: Presentations Session 5 Q&A In this talk I want to present a case study which highlights relationships– of performer • Question-and-answer session – Robert Adlington (chair) with Tom Armstrong, James to composer, human to machine, mechanical instrument to electronic process, timbre to Hegelson, Stephen Crowe and Kate Ledger melody ... all in the service of the musical listening. To understand and develop these relationships is artistic research. The Kingma flutes performed by Carla Rees were the starting 4:30 pm – 5:00 pm: BREAK point, more precisely their sound and capabilities. I summarise what I believe live electronics has added to my works over the years – what I call the ‘poetics of live electronics’ – most 5:00 pm – 6:00 pm: Roundtable especially metaphors of real world objects and processes. After initial observations following Carla’s performance of an earlier work of mine (Spirit of ’76), the studio recording is the first • All delegates site of the research followed by listening and analysis. For me the studio can be a focus of research for live performance, testing ideas and electronic processes. It is also a place of 6:00 pm – 6:30 pm: Pre-concert talk intensive interaction with the performer – what she says is (nearly) as important as what she does. My new work is almost always written for the performer first – not for some abstract • Simon Emmerson with Carla Rees and composers notion of ‘the music’. I sent Carla sounds and sketches for comment throughout the composition process. My (re)search slowly becomes focused on a single task – to relate vertical to horizontal - multiphonics to melodic modes or scales. The multiphonics are 6:30 pm – 7:30 pm: Closing Concert systematically analysed and transcribed and through combinations form timbres and scales. The live electronics is largely based on an 8-channel surround sound system designed to Carla Rees & rarescale Carla Rees (flutes) & Sarah Watts (clarinets) immerse the listener in different parts of the spectral development created by the four instruments. Listening based judgement combines with systematic approaches to patterning Programme: to generate the final score of Solo Flute Quartet. • Death of a Dove, Talia Erda • Sur la crête d'un enfer À contempler les fleurs, Jean-Patrick Besingrand Simon Emmerson studied at Cambridge University and City University London. • Desert Places, Florence Maunders Composer and writer on electronic music since the early 1970s, he is now Professor of Music, • Jingzhe, Kaiyi Kao Technology and Innovation at De Montfort University, Leicester. He founded the • Stratus, Michael Cryne electroacoustic music studio at City University London in 1975 where he remained until 2004. • Notturno, Marina Romani He was founder Secretary of the Electro-Acoustic Music Association of Great Britain (EMAS) • Pi Music, Marc Hyland in 1979 as well as later Board member of Sonic Arts Network (to 2004) and Sound and Music • Moment, David Bennett Thomas (2008-2013). He was Edgard Varese Visiting Professor at TU, Berlin (2009-10) and Visiting Professor and Composer at the Western Australian Academy of Performing Arts (Perth) in November 2016. Recent commissions include: GRM (Paris), Inventionen (Berlin), Sond-Arte Ensemble (Lisbon), BEAST (Birmingham) and for soloists Darragh Morgan (violin), Philip Mead (piano), Carla Rees (flute) and Heather Roche (clarinet). Recordings: Continuum, Sargasso. Writings include: The Language of Electroacoustic Music (1986), Living Electronic Music (2007), The Routledge Research Companion to Electronic Music (2018), coeditor Expanding the Horizon of Electroacoustic Music Analysis (CUP, 2016). Keynotes include: ACMC 2011 (Auckland), ICMC 2011 (Huddersfield), Music Science Technology 2012 (São Paulo), WOCMAT 2012 (Taiwan), Alternative Histories of Electronic Music 2016 (London). 5 6 Salamander, Wayne Siegel Concerts Salamander is a sequel
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