This newsletter is a platform for MA and PhD students at the Centre for Research in New Music (CeReNeM), University of Huddersfield, to share information about their recent activities.
In 2018 the CeReNeM postgraduate community has been involved in a wide range of activities, both on campus and beyond, with concerts, commissions, performances, lectures, publications, residencies, and presentations in Germany, France, Italy, the Netherlands, Colombia, the USA, Belgium, South Korea, Canada, Portugal, Denmark, Thailand, Sweden, Switzerland, and across the UK.
Many congratulations to Cassandra Miller and Mira Benjamin, both in the final stages of the PhD submission and exam process, for their new academic appointments starting this autumn. Cassandra was named Associate Head of Composition (Undergrad) at the Guildhall School of Music and Drama, and Mira was named Lecturer in Performance at Goldsmiths, University of London. From 2014–17, Cassandra held the Jonathan Harvey PhD Scholarship and Mira held the Duncan Druce PhD Scholarship at CeReNeM.
The full list of academic appointments, major residencies, and postdoctoral fellowships for CeReNeM alumni can be found here.
PhD Scholarship Recipients
We are excited to announce the recipients of four ERC-funded scholarships starting October 2018. These recipients will be working closely with the IRiMaS and FluCoMa research projects over the next four years.
Cristina Ghirardini is working on the IRiMaS ethnomusicology case study and will be supervised by both CeReNeM’s Michael Clarke and Jonathan Stock at the University College Cork. Her research deals with Italian musical instruments and traditional music, especially from Northern and Central Italy. Within the IRiMaS project she is working on research entitled “Improvised poetry in ottava rima in Central Italy”. Cristina graduated in 2002 from the University of Bologna, with a thesis on the musical instruments of the Museo Ettore Guatelli in Ozzano Taro (Parma). In 2007 she received her PhD at the University of Torino with a dissertation on the sources of the Gabinetto armonico (Rome, 1722), a treatise on musical instruments by the Jesuit scholar Filippo Bonanni. Since 2008 she has been the sound archivist of the Centro per il dialetto romagnolo founded by the Fondazione Casa di Oriani of Ravenna, where she has digitised and catalogued field recordings done in Romagna by ethnomusicologists, linguists and ethnographers especially in the 1970s and 1980s. Since 2009 she has collaborated with the press office of Ravenna Festival. She was lecturer in history and technology of wind instruments at the Conservatory of Cesena from 2005–13, and in 2014 she held a one-year postdoctoral research fellowship from the University of Firenze for an ethnographic investigation of the living practices of improvised poetry. In 2018 she received a grant from the University of Torino as a member of the project Sound Archives and Musical Instrument Collections.
Laurens van der Wee is working on the IRiMaS contemporary music case study and will be supervised by CeReNeM’s Michael Clarke and Robert Adlington. Laurens van der Wee earned a Master of Music in Composition and a Bachelor of Arts and Technology with Honours in Audio Design in 2011 and 2009 respectively, both at HKU Utrecht University of the Arts in The Netherlands. Since graduation Laurens has created work ranging from free improvisation to a smartphone app and audio-visual performance to music for dance. A paper about an alternative version of the software for Pierre Boulez’s Anthèmes 2 was presented at the ICMC in 2016, and his creative work has been presented at ICMC ’08 and ’09, SMC ’09 and ’10 and in the Computer Music Journal.
Maria Donohue will be working on the IRiMaS improvisation case study and will be supervised by CeReNeM’s Michael Clarke and Amanda Bailey at Bath Spa University. Maria has performed numerous concerts in the USA at Carnegie Hall, Lincoln Center, and the Brooklyn College Of Music, and has given recitals at the Edinburgh Fringe festival, participated in events with the Royal Conservatoire of Scotland, and composed, directed, and performed in a show designed for people with severe and multiple learning and physical disabilities. She previously studied at Fiorello H. Laguardia High School in Manhattan famous for its representation in the Fame movies.
Jacob Hart will be working as part of the FluCoMa project and will be supervised by Frédéric Dufeu, Owen Green, and Pierre Alexandre Tremblay. Jacob’s research centres around tracking the creative process of techno-fluent composers with the goal of acquiring a better understanding of the contemporary ear. Before this, he studied at Université Rennes 2, France, and completed his Master’s research dissertation in 2017 under the supervision of Antoine Bonnet, where he was also a Teaching Assistant in Computer Music.
In March, a new piece of Lawrence’s, Set of four, was premiered by Plus Minus ensemble (Mark Knoop, Tom Pauwels, Kasia Ziminska, and Serge Vuille) at City University in London. A studio recording of the piece has also been recently made with CeReNeM students Colin Frank and Irine Røsnes, available here. In April, the violin solo Habitual was performed in its final version in Cologne at a concert given by Sarah Saviet and Carl Rosman. Further performances are slated for Amsterdam and London this autumn, as well as a studio recording next year. In June, Gregor Forbes gave a performance of For piano (singing) in Glasgow, the companion to For piano (dancing) which was premiered by Philip Thomas in January. Lawrence’s review of London Contemporary Music Festival has also recently appeared in the most recent edition of Tempo.
In September, Quatuor Bozzini will perform Carrying at Klangforum Schwaz in Austria, alongside Cassandra Miller’s About Bach. The Bozzinis are also performing at Gaudeaumus Muziekweek, Utrecht, where Lawrence is shortlisted. The full, live version of While we are both will be performed by Ensemble Insomnio, alongside a new piece for Slagwerk Den Haag. A new piece will be performed in October by Ensemble x.y in London, and Jessica Aszodi performs While we are both in Belfast in November.
Oli Larkin was recently awarded the 2018 FAUST award, a prestigious €2000 prize for software developed around the FAUST programming language. The award was for his work updating the iPlug C++ audio plug-in framework (with Creative Coding Lab director Alex Harker) and was adjudicated by experts from institutions such as IRCAM, CCRMA (Stanford) and GRAME. Oli also presented a paper on FAUST support in iPlug2 at the first International FAUST Conference in Mainz, Germany, in June, and in September he presented a paper at the Web Audio Conference in Berlin on iPlug2. iPlug2 offers many enhancements and adds support for building web-audio modules, a new format for web-audio plug-ins that Oli was involved in developing.
Later this year he will present at the Roli Audio Developers Conference (ADC) in London.
Over the summer period, Oli worked in Phipps Recital Hall with the HISS (Huddersfield Immersive Sound System) rigged in a cube shape for high order ambisonics. Seven composers visited Huddersfield to work with Oli’s experimental 3D audio sound synthesis software during a three-day residency. The feedback from the residencies forms part of Oli’s research and will guide future iterations of the software.
In April, Hakan had the premiere of his piece Beton (2018) for female voice with sound objects, four clarinets, and electronics at the Academy of Arts in Berlin. With this commissioned piece he finished his one year Artist residency at the Academy. In March, Hakan’s piece Shrouded for soprano saxophone was premiered by Joshua Hyde at St. Pauls Hall. In May, he published an article titled “Siegeszug der Unterhaltungsmusik – Manieristische Tendenzen in der zeitgenössischen Kunstmusik” (“Triumph of Popular Music – Mannerist Tendencies in Contemporary Art Music”, MusikTexte 157).
In August, he participated at the Kalv Festival Academy in Sweden, where his piece Precious Liquids (2017) was performed by Ensemble Norbotten NEO and where he gave a lecture on his music. In October, his piece Karōshi (2018) for female voice and sound objects will be premiered at the Aussichten concert series of the NEOS-Music Foundation in Tolstefanz, Germany. For November, he is invited as a keynote speaker to the Basler Forum für Musikästhetik to discuss the topic of mannerism with philosophers, musicologists, and composers.
Kathryn Williams will perform PIXERCISE in the University of Huddersfield Sports Hall as part of hcmf// shorts on 19 November 2018. As the title implies, PIXERCISE is a collision between piccolo performance practise and exercise (in this case, high intensity interval training). The piece is an ongoing creative collaborative response to numerous shared concerns with USA-based Australian-Taiwanese composer Annie Hui-Hsin Hsieh. These include perceptions of perfectionism in classical music performance and cultural norms regarding the female body in music and in exercise.
Also this term, Kathryn will perform a substantial set from the Coming Up for Air collection in the Kammer Klang series at Café Oto on 4 December. Coming Up for Air is a commissioning and performance project which limits pieces to a single breath. So far, Kathryn has an ever-growing collection of well over 100 pieces.
Manuel Contreras Vázquez
Manuel has published his first monographic CD and DVD, thanks to the support of the Chilean Government and other institutions in Spain, Italy and Finland. The CD Escorzos (“Foreshortenings”) contains chamber and orchestral works composed between 2008 and 2016 and performed by ensembles and soloists in Chile, France, Germany and Italy. The DVD Moebius is a video of his first chamber Opera, together with a short documentary about the creative process and the subject of the project: immigration.
In June, Manuel was selected by the composition commission program of the Ernst von Siemens Musikstiftung in Germany. The new work will be written for the Ensemble Contemporáneo in a project that also involved composers Miguel Farías and Francisco Concha.
In early August, Manuel was in his native Chile to participate in the 8th International Composers meeting, organized by the Pontificia Universidad Catóica de Chile and the Taller de Música Contemporanea ensemble, where he presented a lecture about his chamber opera Moebius.
After closing the spring season of her series Performance+Talk Sessions in June with a performance featuring pieces for prepared violin/bow and violin with performative electronics (with Gilles Doneux), the summer continued with exciting new beginnings.
On 6th July Dejana launched the Call for Scores 2018, commissioning pieces for her research Temporality of the Impossible. NADA: Act 1, a project in collaboration with film, sculpture, performance and installation artist Jasmina Cibic for which Dejana contributed with creation and performance on the instrument/sound installation for the video work of Cibic, featured in the exhibition Toward a Concrete Utopia: Architecture in Yugoslavia, 1948–1980. The exhibition runs from 15 July 2018 to 13 January 2019 at MOMA, New York.
In the second part of July, Dejana took part in the Darmstädter Ferienkurse 2018. She gave two performances related to her research, Temporality of the Impossible, with pieces by Wojtek Blecharz (Phenotype), Aaron Cassidy (“the green is where”), Samuel Cedillo (Monologo I: Laja del Tiempo), Clara Iannotta (Dead wasps in a jam jar I), Dmitri Kourliandski (prePositions), Keeril Makan (Mu) and Robert Wannamaker (violin). Further performances during the Ferienkurse included her participation in the concert “Contemporary Insight”, where she played Zachary Seely’s Personal Gravity, as well as presenting the project Docu_Presenc by Solomiya Moroz, where she played Moroz’s Artefacts of Presence for violin, live electronics, motion sensor and video. She also presented a Yuta Bandoh’s Untitled [fantastic] in the concert of Graeme Jennings’s violin studio concert. Besides solo violin works, Dejana played in the chamber session—together with Carlos Cordeiro (clarinet), Churen Li (piano) and Chris Pidcock (cello), she performed Niklas Lindberg’s Cross Section approx. 1:250. She was also part of the ViolinObo studio led by Cathy Milliken and Graeme Jennings. For the studio’s final concert Dejana played the world premiere of Alberto Carretero’s Ondeggiando for oboe and violin, with Mei Kamikawa. On the last day of Darmstädter Ferienkurse, Colin Frank (percussion) and Dejana gave a performance, “REFLECTIONS AND RUMBLINGS”, featuring pieces by CeReNeM MA student Thomas Weidemann (Beneath and Cut Out, for bass drum and violin) and Sarah Hennies (Psalm 2, for snare drum). Dejana was also one of the selected participants to give an intervention in the conference “Finding Democracy in Music”, organised by Robert Adlington and Liza Lim.
August took Dejana to Switzerland, where she was one of the mentors of a summer camp led by Julien Annoni (WeSpoke) and organised by Coordination Jeune Public. During this week of experimenting and exploratory music making with the children participating in the camp, Dejana created one of the five cubes, mets ta likette, featured in the final spectacle (available here). Starting September, Dejana will continue with the Performance+Talk Session Series. The Autumn season will include further performances of Temporality of the Impossible repertoire in Brussels, Antwerp and Huddersfield, as well as performances with the LAPS ensemble.
On June 11, Solomiya Moroz presented a lecture/performance at AV Body Symposium hosted by Ben Spatz and the University of Huddersfield Drama Department. She presented her research in composition with audiovisual embodiment where Colin Frank, Ilona Krawczyk, and Cristina Fuentes, fellow researchers from the University of Huddersfield, also participated. In July, Solomiya participated in Darmstadt Ferienkurse, taking part in the Composing with the Archive workshop led by Kirsten Reese. There she presented DNA problems, a 7-min piece based on materials from the IMD archives, critically questioning gender and the notion of the ‘female aesthetic’ in contemporary music as discussed in the past forums (1980s) of Darmstadt Ferienkurse. On September 7, the final version of Arrows That Remain for string quartet and electronics will be premiered at the Gaudeamus Muziekweek in Utrecht, Holland. The piece was written for the Bozzini String Quartet and developed as part of the Composer’s Kitchen 2018 programme, taking place in Montreal, Canada and Utrecht, Holland. Recently, Solomiya has been selected as part of PIVOT professional mentorship programme hosted by the Canadian League of Composers and the Canadian Music Centre. As a result, Solomiya will be writing a piece for Continuum Contemporary Music Ensemble, which will be presented in March 2019.
David Velez Rodriguez
David’s new album, The things that objects can tell us about ourselves, is a recordings-based composition released on CD by London label Flaming Pines. This piece is a musical exploration of the filmmaking Foley technique recorded in a sculpture studio in France, where David aimed to create a series of fictional catastrophic situations by improvising with a number of discarded objects. In July at Iklectik (London), he premiered Raw matter, a four-piece concert based on two very dissimilar actions: cooking and the destruction of found objects, along with a laptop performance using field recordings, sine waves and voice samples taken from interviews realised as part of his research. He also exhibited the installation Patacones & San Bei Ji chicken on “Auditium” in Medellín. The installation is based on the sounds produced in the home preparation of these two recipes from Colombia and Taiwan.
The FRAC des Pays de la Loire Museum in France acquired for their collection the 6-channel installation Une Affaire De Friction Et De Gravite that David produced during the residency program curated by Alejandro Martín Maldonado.
“Through the participation of the sound artist David Vélez, the question of gravity takes an acoustic turn that accounts for the sound potential of the pieces presented in the exhibition. Thus David meticulously captured the sounds of living together with the other resident artists, from their workshop open to the public, to their intimacy in the main room, the kitchen, where they shared meals and discussions for two and a half months”. (Museum catalogue)
On October 11th he will perform at Cafe OTO together with Huddersfield alumna Ching-Fang Wu, in which she will cook a series of traditional Taiwanese recipes while David will be live mixing the sounds using a number of microphones, hydrophones and piezos, and performing with sine waves and sounds made with field recordings captured in Thai, Colombian and Jamaican kitchens in the UK.
Marco is currently working on the composition of a work for piano and electronics, based on motives from Montenegro and dedicated to the pianist Maria Skender, who will premiere it in November at the Fruchtkasten Museum in Stuttgart, Germany. He is also completing Magnificat for choir, schola, two organs, percussion and electronics, commissioned by the Cathedral of St. Eberhardt (Stuttgart). At the same time, he is a tutor for the Studio for Electronic Music at the University of Music of Stuttgart, assisting Prof. Marco Stroppa leading group exercises on computer-assisted composition and sound synthesis.
In May 2018 Marco performed together with the Japanese Soprano Chisa Tangaki on a concert tour in Northeast Italy on period pipe organs, presenting Early Music works and modern Lieder for organ and voice. On 12 October he will premiere in Savorgnano, Italy, work by Di Zhao, a young composer from Xinghai, China. For November, he has been invited to hold a workshop on classic and contemporary techniques on the organ at the Silpakorn University of Bangkok, where he will also perform two organ concerts, the first with traditional repertoire and the second featuring his interpretation of John Cage’s Organ2/ASLSP. ALEA Associazione Laboratorio Espressioni Artistiche released the CD Incontri 2017 with Marco’s electroacoustic works in a joint project with the Brazilian composer Daniel Quaranta.
In August, Eva was invited to premiere her piece Metopia Data Dust at International Computer Music Conference (ICMC 2018) in Daegu, South Korea. The theme of this year’s ICMC was Preserve–Engage–Advance, and for this theme Eva recorded samples of Buchla and Serge analog synthesizers during a winter break residency at Elektronmusikstudion (EMS) in Stockholm, using Music Information Retrieval algorithms written in Python to slice samples to generate sonic dust for the composition, a way to find new approaches to work with old musical instruments.
Eva has been invited to participate in the Work of Art in the Age of Artificial Intelligence workshop, which takes place at Victoria & Albert Museum in London, 22–23 September, and is part of the exhibition The Future Starts Here in the London Design Festival.
In April 2018 together with Distractfold Ensemble, Linda worked again with the composers of the Harvard Group for New Music. The group then travelled to Montréal to give a presentation with Hanna Hartman at CCRMIT, as well as performing at the No Hay Banda concert series. Other activities have included a presentation at Bath Spa University (with Mauricio Pauly), performances at the Royal Academy of Spain in Rome, and collaborative work with Mauricio Pauly at the Civitella Ranieri in Italy.
Linda keeps working on a few long-term collaborations, among others with Katherine Young and Sam Salem, for which there aren’t any official logs, yet they are as important to her practice as any visible public events.
Andrew Leslie Hooker
In March, Andrew Leslie Hooker recorded and performed a new piece written for no-input mixing board (NIMB) entitled LikeDustBlownAcrossTheSkin at the Exemption from Meaning composers’ residency in Aberystwyth along with Toshimaru Nakamura (JPN), Rhodri Davies (UK) and others. This led to the ongoing development of a much larger project based upon the philosophical relationship between NIMB and Butoh dance methodologies involving choreographers Melissa Pasut (USA), Sayoko Onishi (JPN) and contrabassist Emmanuel Fleitz (FRA), as well as Nakamura and Davies.
Over the last few months, as well as performing a set of solo NIMB improvisations at NAWR in Swansea, recording no-input duets with flautist Manuel Zurria (ITA) and contrabassist Aleksander Gabrys (POL) as part of his PhD research, performing new works on a regular basis with Anoikis Contemporary Dance and preparing a CD release of electroacoustic/no-input compositions for Entr’acte, Andrew has written an essay entitled “Where Lost Bodies Roam”, an aesthetic and performative interpretation of sacred place as an inter-dimensional zone of communion via the practice of ecstatic meditation and no-input composition, for an anthology curated by Sacred Places (Cartographies of Belonging), a Liverpool Hope University Research Cluster, to be published by Palgrave Macmillan in 2018.
Jung In Jung
Jung In presented her short paper “Bridging Abstract Sound and Dance Ideas with Technology: Interactive Dance Composition as Practice-Based Research” at the International Conference on Live Interfaces 2018 held at Casa da Música in Porto, Portugal, in June. The paper summarises her PhD research and gives examples of her practical works such as Locus, which was performed with two collaborating dancers at Electric Spring in 2016.
From 10–17 August she had a short artist residency at ARoS museum in Aarhus, Denmark, with her art collective Flux Factory from New York City. The collective was invited to use the atelier space at the museum during August and September so that the audience can be engaged closely by walking into the artists’ work environment. During this residency, Jung In decided to try out something different outside of her usual practice. As a result, she created a fun social application using Max for the museum’s Wednesday evening event. Inspired by dating apps, her app asked some questions to the user and found the best match from the collective members as a way of introducing the artists.