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From tape to typedef: compositional methods in electroacoustic music. 

January 30, 2013 – February 2, 2013  

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Concerts, workshops and papers and networking. Wednesday, Thursday, Friday, Saturday.

This is a unique opportunity to align the why more directly with the how. Participation including papers discussing the compositional process or case studies, pieces that engage deeply with sound art composition and workshops or round tables should use the conference submission pages.

External partners include the Journal of Music Technology and Education (Intellect Journals) and Empreintes DIGITALes. Invited guests include Andrew Lewis (Bangor), Pete Stollery (Aberdeen) and Leigh Landy (Leicester DMU)

We are enormously grateful to the Faculty of Arts and Humanities at the University of Sheffield for supporting this symposium.  

Symposium website - we strongly encourage you to register at a cost of minimum £1.00 for catering and concert numbers. We are limited to 100 people.

History.

  • Early 20th Century: composers bring found objects onto stage to augment their percussion
  • Post war: Tape machines and electronic instruments bring a 'new world of sounds'
  • Late 20th Century: Digital Audio revolutionises the way we make and consume audio
  • 21st Century: Computers bring us real time performance using portable devices

But..

The methods used to manipulate sound, our understanding of sound as a creative
object and our understanding of music has not actually moved on that much

Yet...

Clearly there have been huge changes over the past 60 years in music made with recorded sounds –
electroacoustic music as we call it – This symposium is a chance to:

  1. take stock of some of the similarities and differences in compositional practice over the years
  2. candidly ask 'How did you compose that?'
  3. listen to the future of electroacoustic music
  4. have a go at making music with sounds

Papers/talks

Academic papers (HRI) will:

  1. discuss how we teach electroacoustic music composition
  2. examine the gap between composer and listener
  3. present case studies of works
  4. 'talk technology'

Workshops

Workshops (Music Department Jessop Building) will:

  1. look at the University of Sheffield Sound Studios (usss) toolkit
  2. examine new software for schools called making music with sounds
  3. demonstrate the complex Birmingham ElectroAcoustic Sound Theatre toolkit

Concerts

Concerts (Lunchtimes and Evenings Wednesday, Thursday and Friday, Saturday lunchtime, Drama Studio Theatre) will present new electroacoustic works from around the world including premieres and special guests

If you are planning to come for a significant portion we kindly ask for a donation of £20 and if you
would be so kind as to register for housekeeping purposes, we would respectfully ask for a minimum donation of £1. Emphasis is upon knowledge through shared community so we hope many will be able to attend a significant majority of the event, either as participants or interested audience members.

Accommodation