One of the most vital feedback systems that has been embedded in musicians for centuries is that of physical response. In the same way that auditory information is available and used throughout a performance, a musician will continuously reassess their playing by making use of not only their specialised sensorimotor skills, but also the tangible feedback that is relayed to them through the body of the instrument. This paper discusses approaches to the development of an augmented instrument, namely the hybrid piano, which focuses on the notion of performance as perceptually guided action. While the acoustic component of the sound energy of the augmented instrument is created within the real-world interactions between hammers, resonating strings, and the soundboard, the digital sonic events cannot be located in a similar palpable source. By exploring notions of multimodality and haptic feedback, the ongoing processes of human action and perception within instrumental performance can be maintained for the player, whilst arguably, also enhancing the experience for the listener.
LLEAPP (Laboratory for Laptop and Electronic Audio Performance Practice) came home in April 2013, with some changes to the format of the event, most notably the employment of a Musical Director (the excellent Jan Hendrickse), and the decision to stage two performance events, the first being an introductory showcase, and the second inspired by The Odyssey.
Thanks to ECA Devolved Researchers Fund, Inspace and Lucy Kendra
More information at http://lleapp.blogspot.co.uk/
It gives us great pleasure to announce two new PhDs were born in 2012.
Sean Williams was the first ever student to graduate from our PhD in Creative Music Practice . Supervised by Martin Parker and Simon Frith, the research “Electronic music instrument practice and the mechanisms of influence between technical design, performance practice and composition“, included detailed case studies of both King Tubby’s and Stockahusen’s music, methods and technologies alongside a portfolio of original practice that ranged from analogue tape music composition, through to a recording of a short work for wax cylinder. Sean is now a Leverhulme scholar attached to the Reid School of Music here in Edinburgh.
Vangelis Lympouridis‘ PhD was produced collaboration with the SPECKLED Computing Group in Informatics and was supervised by Martin Parker and D.K. Arvind. Vangelis’ thesis included a portfolio of experimental work with dancers, yoga practitioners and a Flamenco dancer along with a written submission explored in detail “Design Strategies for Whole Body Interactive Performance Systems“. Vangelis is now based in the US working at the University of South California, based at the Interactive Media Division in the School of Cinematic Arts.
We teamed up with the Red Note Ensemble for a special edition of Noisy Nights at the Jam House, Edinburgh. The Inventor Composer Coaction was a long-term project, designed to facilitate collaboration between composers and developers of bespoke digital or electronic instruments, for the creation of new music. We paired seven postgraduate composers from the University of Edinburgh (Jessica Aslan, Lauren Sarah Hayes, Stuart MacRae, Christos Michalakos, Shiori Usui, Harry Whalley & Richard Worth) with seven new digital instruments, designed by Marco Donnarumma (University of Edinburgh), Oli Larkin (University of Leeds), John Matthias (University of Plymouth), Adam Place (Bristol), Diemo Schwarz (IRCAM, Paris) & Ed Wright (University of Bangor). Details of the project at: www.inventorcomposer.net
Original article: http://seismograf.org/artikel/klaverets-tunge-tradition
Click here for a crude translation if your Danish isn’t up to scratch!
Dialogues Festival and fiennes.org present Tom Challenger’s Ma (Loop Records) | NeWt (F-IRE Collective) | TR-I/O-FON. Elliptical sabar-influenced broken grooves and brave new world synth scapes | byzantine boppish melodies | fractured dub bricollage.
Facebook event page:
More details and audio etc will be posted on http://www.dialogues-festival.org/2012/Ma
New publication: Hayes, L & Michalakos, C.
in Organised Sound, Volume 17, Networked Electroacoustic Music. Cambridge University Press.
The Xth Sense (XS), has been awarded the first prize at the Guthman New Musical Instrument Competition as “the world’s most innovative new musical instrument.”
The XS is a novel, biophysical wearable technology for musical performance and responsive milieux being developed by Marco Donnarumma at the SLE, Sound Lab Edinburgh. It consists of a free and open framework of hardware and software that reacts and interacts with the vibrations of muscle tissue.
The GNMIC is an annual event to find the world’s best new ideas in musicality, design, and engineering.
It takes place at Georgia Tech Center for Music Technology, Atlanta, US.
This critically acclaimed event seeks to provide a fertile platform for the advancement of the studies on New Musical Interfaces for Musical Expression (NIME)
The Xth Sense is a free and open project; release for public use is scheduled in April 2012.
Please, visit this webpage for further information.
Sean Williams has been awarded funding by the DAAD for three months research in Germany in 2012 on the electronic instruments and sound projection equipment used by the Stockhausen Ensemble from 1964 to 1975.
Christos Michalakos and Lauren Sarah Hayes will give the lunchtime concert in the Sonic Lab, SARC, Queen’s University Belfast, 23rd February 2011. Details to follow!