Day 1: 28/01/2009
14:00 CAMG/01 Martyn Ware: open lecture on Ware’s Composition, Production and 3D Audio Software
16:30 SPIRAL Martyn Ware demonstrates his 3D Audio spatialisation software
17:30 Phipps Concert Hall Pre-Concert Talk – John Richards
18:00 Atrium Derrick Archer: sound installation – kHsCl25
19:30 Phipps Concert Hall Print Music, Dolls Meat, Expanding n and others – John Richards

Day 2: 29/01/2009
17:30 Phipps Concert Hall Pre-Concert Talk – Helena Gough
18:00 Atrium Derrick Archer: sound installation – Atlstfin
19:30 Phipps Concert Hall fragile.flicker.fragment – Helena Gough

Day 3: 30/01/2009
17:30 Phipps Concert Hall Pre-Concert Talk – Joseph Hyde
18:00 Atrium Derrick Archer: sound installation – Da3
19:30 Phipps Concert Hall Sight Sound Surrounded – Joseph Hyde

Day 4: 31/01/2009
10:00 CAMG/01 Max/MSP Powerusers Symposium 2009
17:30 Phipps Concert Hall Pre-Concert Talk – Lawrence Casserley and Jeffrey Morgan
18:00 Atrium Derrick Archer: sound installation – Sxc5pl2
19:30 Phipps Concert Hall Expanded Sounds – Casserley + Morgan

Day 5: 01/02/2009
09:00 Phipps Concert Hall Diffusion Masterclass
17:30 Phipps Concert Hall Pre-Concert Talk – Monty Adkins
18:00 Atrium Derrick Archer: sound installation – Garrigue
19:30 Phipps Concert Hall Acousmatic Visions – Monty Adkins

Day 6: 05/03/2009
20:00 Phipps Concert Hall Barry Truax

Day 7: 06/03/2009
20:00 Phipps Concert Hall Sarah Nicolls Presents Interactivity

Silent Noisy Music – Wilhem Latchoumia / Crank

Pierre Malbos – Shanghai 304L
For Piano Baschet-Malbos (PBM) and tape
The PBM, is using musical properties of metal, specially stainless steel referenced by industry as 304 L. The tape is using sounds recorded in China during a tour in 2005. Historically and aesthetically, it takes all its sense to associate the concretes sounds of the PBM with electro-acoustics sounds. It’s a free and consonant dialog between two differents ways but moved by the same aspirations and issued from the same roots: Pierre Schaeffer.

At the cross-point of sculpture and musical instrument making, the Piano Baschet-Malbos is a unique work born from the acoustical and aesthetic explorations of French instrument makers and artists Bernard and Francois Baschet in the 1950s. In 2000, they have paired up with piano maker Pierre Malbos to resuscitate and improve the instrument.

Christopher Fox – Hand-cranked Haiku
Part of: Crank – Musicbox Interlude I

John Lely – Box Music
Part of: Crank – Musicbox Interlude I

Pierre Alexandre Tremblay – New Work
Part of: Crank – Musicbox Interlude I

James Saunders – #251108-1
The piece #251108 is a version of my ongoing modular composition #[unassigned]. The piece is flexible in its construction, with each version being formed by a combination of newly composed and pre-existing modules. Each version is different, composed for a specific performance, and normally only performed once.

Nick Williams – little digger
Part of: Crank – Musicbox Interlude II

Paul Whitty – New Work
Part of: Crank – Musicbox Interlude II

Pierre Malbos – P en dehors
Part of: Crank – Musicbox Interlude II

Tim Parkinson – three music boxes
Part of: Crank – Musicbox Interlude II

Pierre Alexandre Tremblay – Le tombeau des fondeurs
(The Tomb of the Casters)
To Messiaen, Stravinsky, Varèse, and other casters

The bell caster knows what he is doing: he has a clear idea of a sound, and despite the elements that are against him, he will know how to mix the alloy, to cast the form, and to refine the rough to give it the sonic aura dreamed of, where timbre and pitch are one. He will also give to humanity an eternal inheritance. Because once tuned, the bell will keep forever the imprint of its caster, of dazzling beauty, of radiating power, but not without a hint of melancholy, especially when heard at distance, through the fog… How to resist to this mermaid’s call? Should we not trust this goddesses’ chant to avoid a shipwreck? Let us pay them a tribute, and try to outlast them!

Scott McLaughlin – Study for Penrose
Part of: Crank – Musicbox Interlude III

Paul Newland – pattern
Part of: Crank – Musicbox Interlude III

James Saunders – #251108-2
Part of: Crank – Musicbox Interlude III
The piece #251108 is a version of my ongoing modular composition #[unassigned]. The piece is flexible in its construction, with each version being formed by a combination of newly composed and pre-existing modules. Each version is different, composed for a specific performance, and normally only performed once.

Nick Williams – Ut, Re, Mi, Fa, So, La
Ut, Re, Mi, Fa, So, La was written in 2008 for Wilhem Latchoumia, at the invitation of Pierre Alexandre Tremblay. The piano-baschet struck me as belonging to the family of keyboard istruments that aren’t pianos; although the rods are hammered, the limited pitch range and dynamic spectrum seemed to me to relate it more to instruments like spinets and virginals. So my piece refers to the keyboard fantasias of Sweelink and John Bull which use an ascending and descending hexachord as a cantus firmus, which fits in with my recent use of ‘unstable’ scales as primary material.

Print Music, Dolls Meat, Expanding n and others – John Richards

John Richards & guests perform a number of pieces that explore a range of interactive environments. An electric wig, hair dryer, candles, meat mincer and expanding foam are all used to coerce and manipulate a range of DIY electronics into a sound generating frenzy. The performance also includes the creation of unique ink prints from a copper touch controller. The ridiculous and the improbable collide in a world of electronic voodoo.

fragile.flicker.fragment – Helena Gough

Helena Gough – Solo
A two-part solo set of densities, fermentations and micro-events. A combination of improvised elements and composed moments.

The Huddersfield Experimental Laptop Orchestra (HELO) looks to explore laptop performance, composition, improvisation and ensemble playing. Using a diverse mix of hardware and software HELO is predominately concerned with sound and just enjoys playing.

Sight Sound Surrounded – Joseph Hyde

Joseph Hyde – Zeotrope
Zoetrope is a dangerous and perverse experiment in alchemy. Machines are pushed until they break, sound is pressurised and overheated until it bubbles over into light. It is an object made from technological detritus – howling feedback, power spikes, white noise and video snow; the blank blue screen, flickering slightly. This raw material was melted and moulded until it at last took on a new sheen of artifice, but its original character keeps on breaking through. It explores issues around the relationship between people and machines, and questions perceptions of the ‘perfection’ of technology. It is about use and misuse; abuse, breakdown.

Joseph Hyde – subliminalTV
subliminalTV is an ongoing project based primarily around live audiovisual performance with – mostly – original sound and video. I have developed my own software, AViator, which allows me to link audio and video (and other things) together in odd ways, and all live. With subliminalTV I’m trying to do something very different to most DJ/VJ sets I’ve seen – I’m deliberately avoiding flashy 3D visualisations etc. and going for a very lo-fi, ancient kind of look.

Joseph Hyde – Nekyia
This was a collaboration with Alaric Sumner, writer and performer, who very sadly and suddenly died shortly after it was completed. This documented version (incorporating his performance) is dedicated to him. Here’s what we wrote about the piece: The ‘nekyia’ is a night sea journey, a descent into the underworld or into the belly of a sea monster, and a meeting with the dead. It is a myth which occurs in many cultures in different forms and symbolises the struggle towards spiritual or psychological revelation and transformation. Nekyia is a work for speaker, singer, electroacoustic music and video. It could be read as a study of the ‘nekyia’ myth itself or a descent into psychological depths (the dreamworld). Formally, it might be considered an exploration of the sonic elements of text (the relationship between sound and language and the sound in language). However, it is also a piece which aims to resist unification, keeping all its different themes in dynamic motion.

Joseph Hyde – End Transmission

Expanded Sounds – Casserley + Morgan

Scott McLaughlin – Nano (Vertical)
Nano is concerned with forms that arise from the repetition and variation of a single musical object. In its first incarnation, the piece was for a solo acoustic instrument playing monophonic descending lines, where each line is a unique instance of the text score (each line is generated the same way but must be different from preceding lines). But in writing about the piece for my PhD it occurred to me that it would be just the same piece if the material were arranged as a series of chords rather than lines. This new version, premiered tonight, uses Max/MSP to process the live player off-stage and turn the lines into chords.

Lawrence Casserley + Jeffrey Morgan
Lawrence Casserley and Jeffrey Morgan began working together as a duo in 2006. In May 2007 they made a tour in northern Germany, and recorded their first duo CD, Room 2 Room, which is due out on Konnex in autumn 2008. The duo combines the rich and varied textures of Morgan’s sax sound with the transformational possibilities of Casserley’s real time computer processing. All the sounds produced by both players stem from the sax, with Casserley using only sounds captured in real time as the source material for his transformations, creating a deep and intricate fusion of the two sound worlds.

Acousmatic Visions – Monty Adkins

Geoff Cox – Exorcise
I wasn’t having a very good time when I wrote this. It is in two sections separated by a brief pause.

Monty Adkins – Five Panels
monty adkins – electric guitar, organ, sound processing
pierre alexandre tremblay – bass guitar

panel no.1 (to luke) 08’59
panel no.2 (to ethan) 09’51
panel no.3 (to annis) 07’32
panel no.4 (to rose) 09’44
panel no.5 (to finn) 10’11

Five Panels is a series of abstract electronic pieces based on the paintings of Mark Rothko. The pieces seek to explore a limited palette of sounds focussing on their spatial and musical interplay rather than sound processing techniques. Each work is concerned with drawing the listener into the sonic environment rather than leading them through a gesture filled musical space.

Barry Truax

Ben Wilson – Sediment
8 channels tape

Adam Jansch – Vortex
“Imagine a particle in a vortex. You are that particle.”

Vortex is Adam Jansch’s first multi-channel sound work, written for an equidistant ring of eight speakers. It was the third of three pieces submitted for the main portfolio of his Composition (Studio) MMus programme at Goldsmiths College. The sound world of Vortex was created from a one-take recording of electric guitar loops built up using a Boss DD-6 delay pedal. This was sent through a process in which eight streams of the guitar material had equitemporal delays applied, which linearly ramped down to zero over the course of the piece. The result of this multi-phasic process, when each stream is sent to an individual speaker, is an intense sonic experience, as the speakers’ outputs go in and out of phase, finally fusing and collapsing together in a maelstrom of sound.

Barry Truax – Riverrun
re-mix for 8-channels

Riverrun (originally composed in 1986) creates a sound environment in which stasis and flux, solidity and movement co-exist in a dynamic balance. The corresponding metaphor is that of a river, always moving yet seemingly permanent. From the smallest rivulet to the fullest force of its mass, a river is formed from a collection of countless droplets and sources. So too with the sound in this composition which bases itself on the smallest possible ‘unit’ of sound in order to create larger textures and masses. The title is the first word in James Joyce’s Finnegan’s Wake.

The fundamental paradox of granular synthesis (the technique used to create this work) – that the enormously rich and powerful textures it produces result from its being based on the most ‘trivial’ grains of sound – suggested a metaphoric relation to the river whose power is based on the accumulation of countless ‘powerless’ droplets of water. The opening section of the work portrays that accumulation, as individual ‘droplets’ of sound gradually multiply into a powerful broadband texture. The piece, I find, also captures some of the awe one feels in the presence of the overpowering force of such a body of water, whether in a perturbed or calm state, and as such it seems to create a different mode of listening than does conventional instrumental or electroacoustic music.

Barry Truax – Temple
8-channels tape

Temple is a soundscape composition composed of choral voices that takes place in the reverberant cathedral of San Bartolomeo, in Busetto, Italy. However, lacking any specific Christian reference, the work can be heard as a spiritual voyage in an imaginary temple whose acoustic properties not only reverberate the choral voices but reflect them back as ghostly after-images that suggest an inner space of vast dimensions. Original voice recordings by counter-tenor David Garfinkle, alto Sue McGowan, and bass Derrick Christian.

Barry Truax – The Shaman Ascending
8-channels tape

The Shaman Ascending evokes the imagery of a traditional shaman figure chanting in the quest for spiritual ecstasy. However, in this case, the listener is placed inside of a circle of loudspeakers with the vocal utterances swirling around at high rates of speed and timbral development. The work proceeds in increasing stages of complexity as the shaman ascends towards a higher spiritual state.

The work and its title are inspired by a pair of Canadian Inuit sculptures by John Terriak with collectively the same name, as well as Inuit throat singing. All of the vocal material heard in the piece is derived from recording of the Vancouver bass singer Derrick Christian. The Shaman Ascending was commissioned by the ZKM, Karlsruhe, Germany and premiered there in February 2005.

Sarah Nicolls Presents Interactivity

Larry Goves – My Name is Peter Stillman. That is not my real name.
This piece was inspired by Paul Auster’s New York Trilogy and is written for amplified piano, distortion pedal and midi keyboard controlling samples. The movements are:
Popular Mysteries*The Two William Wilsons cancelled each other out*He could run for a hundred years and still he would arrive just as the doors were closing.*Mush food in the hush dark room*Once there was time only to write three sentences.*Wimble click crumble chaw beloo. Clack clack dedrack. Numb noise, flacklemuch, chewmanna.*I see hope everywhere, even in the dark.

Federico Reuben – On Violence
This composition attempts to explore the aesthetics of violence and reflect on different manifestations of violence. It is also inspired by Slovenian philosopher Slavoj Zizek’s ideas about violence. Zizek categorizes violence into two main types: subjective and objective violence. Subjective violence is clearly identifiable by an agent, for example acts of terror or crime, and it is perceived as a clear interruption of the normal state of things. On the other hand, objective violence is violence that is inherent in societal fabric and it is hard for the advantaged classes or countries to see and experience.

What Zizek argues is that objective violence is inherent within the social “balance” and it is objective violence which triggers acts of subjective violence. Furthermore, Zizek identifies two types of objective violence: symbolic and systematic violence. Systematic violence is manifested through our economic and political systems that – in order to give the impression of a normal and smooth running of things – exert systematic violence on large groups of people. Symbolic violence is related to and included within systematic violence but it is specific to violence expressed through language and other symbolic systems (like music). Zizek goes further to argue that the forms of symbolic violence are actually based on and manifested by the symbolic systems as such.

On Violence is a work-in-progress written for Sarah Nicolls for her interactive electronics project. It will ultimately use an algorithmic score, fed from the computer with varying permutations of the music generated live in performance.

Pierre Alexandre Tremblay – Un clou, son marteau, et le béton
to Sarah

‘Telle est la vie des hommes, quelques joies très vite effacées par d’inoubliables chagrins… Il n’est pas nécessaire de le dire aux enfants…’

Marcel Pagnol, Le château de ma mère

Bull fighting disgusted me by principle, until I actually attended to a corrida : the smell of sweat, dust and blood, the cheers and the music, moreover the beauty of the ritual touched me deeply. And then, the bull in the arena as an allegory of life: ones enters, is stirred up by the throes of destiny until ones only possible end…