Christopher Fox: Catalogue irraisonnée [sic] in Dublin with Elizabeth Hilliard

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CULTURE NIGHT 2014: FRIDAY 19th SEPTEMBER
Royal Hibernian Academy Gallery
Elizabeth Hilliard: Catalogue Irraisoné (for solo, unaccompanied voice)
8pm – 8.50pm: Gallagher Gallery I

Elizabeth Hilliard is a soprano from Dublin. She sings a wide range of repertoire: from oratorio, song, chamber music to contemporary classical. She brings a dramatic quality and emotional intensity to her performance of solo, chamber and vocal ensemble music.

Christopher Fox’s Catalogue Irraisoné is a series of twelve pieces for solo voice (the mis-spelling in the title of the work is deliberate), based on a multilingual collection of texts, all of them introductions to different sites. These include a Catalan guide to the architecture of Barcelona, the Michelin guide to Corsica, a Dutch text on the Rembrandthuis in Amsterdam, an essay on Rachel Whiteread’s (now destroyed) ‘House’, and a welcome from the president of Romania addressed to the delegates of the 1999 World Music Days in Bucharest.

OFF THE PAGE: The UK’s only literary festival dedicated to contemporary sound and music

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Friday 26 September, 8-10pm, £10

Saturday 27 September, 11am-11pm, £20

Sunday 28 September, noon-5.30pm, £8

Three day festival pass: £30

Hosted by The Wire magazine in collaboration with Qu Junktions and Arnolfini, Off The Page is a literary festival focussing on contemporary sound and music. The talks and presentations will cover a number of contemporary music matters, from the history of recording to the mechanics of sound systems and the aesthetics of Industrial culture, while the conversations will illuminate the thinking of key contemporary musicians and commentators.

Below is an overview of the jam-packed weekend. Find out all the details here -> Off the Page.

Friday 26 September, 8-10pm

An Audience with Robert Wyatt (pictured): In Conversation with Marcus O’Dair 

Saturday 27 September, 11am-11pm

Mark Fisher

Another Grey World: The Secret Sadness of the 21st Century

Richard King with Mike Darby and Pinch

A Record Shop, Roots & Bristol Culture

Sarah Angliss

Visceral Music: The Corporeal Origins of Electronic Sound

David Keenan

Crime Calls for Night: A Phenomenology of Transgression in Industrial Music

An Audience With Carla Bozulich: In Conversation with Frances Morgan

An Audience with Paul Gilroy: In Conversation with Tony Herrington

Julian Henriques with David Fisher (Papa Roots Sound System)

The Sound System Unplugged

11pm-3am at The Cube:

Off The Page aftershow party

Sunday 28 September

Noon-1pm at the Louisiana:

The Wire 2014 pub quiz 

2pm-6pm at Arnolfini:

Film screening

A Spell To Ward Off The Darkness

Dean Blunt

“Black Metal”: A Reading

Eric Isaacson

A Cosmic and Earthly History of Recorded Music According to Mississippi Records

7pm-11pm at The Cube:

Off The Page closing concert:

Marisa Anderson + Lori Goldston + Dragging An Ox Through Water

Revitalising Early Twentieth-Century German Opera with Nicholas Attfield at the British Academy

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Revitalising Early Twentieth-Century German Opera

Prince Philip Room, RSA House,

8 John Adam St, London, WC2N 6EZ

Wednesday 17 September 2014, 9:30am-6pm

This is a one-day early career networking event sponsored by the British Academy. Its aim is to bring together scholars and practitioners with research interests in the field of German opera from c.1900-1935. Particular attention will be given to historiographical problems and staging issues (past and present) relating to the works of key operatic composers of the period, including Korngold, Pfitzner, Schreker, and Strauss. There will also be a session devoted to Schoenberg’s ‘unfinished masterpiece’ Moses und Aron, in light of its current WNO revival.

Registration is free of charge and includes lunch and refreshments, but places are limited. If you are interested in attending, and for further details, please contact Nicholas Attfield (Brunel University) at nicholas.attfield@brunel.ac.uk by no later than 8 September 2014. Travel expenses within the UK will be considered for early career scholars and postgraduate students who wish to attend.

Programme

9:30am Registration begins

10:00am Introduction

Nick Attfield (Brunel University)

10:15am Panel 1

Chair: Hugo Shirley

Ben Winters (Open University), ‘“Venedig in Wien”? Korngold’s Violanta and the Masking of Identities’

Roger Allen (University of Oxford), ‘A kind of musical Oswald Spengler?: Wilhelm Furtwängler, Pfitzner’s Palestrina and the Decline of the West

Mark Berry (Royal Holloway), ‘Representation and Modernism in Schoenberg’s Moses und Aron

Philip White (Bayreuther Festspiele), ‘Schoenberg’s Moses als Wille und Vorstellung: the Practicalities of Realisation’

12:15pm Refreshments

12:30pm Janine Ortiz (Staatsschauspiel Dresden), ‘Staging Schreker’s Operas’

1:00pm Lunch (Romney Room)

2:00pm Panel 2

Chair: Mark Berry 

Hugo Shirley (Oxford Brookes), ‘Fixing Time: Nostalgia and the City in Der Rosenkavalier

Matthew Werley (University of Cambridge), ‘“Wirbelwind und trocknen Kot”: Richard Strauss and the Discourse of Austrian Interwar Festival Culture’

Marc Brooks (University of Vienna), ‘Return to Monsalvat: Strauss’s “Re-sacralization” of the Grail Music from Parsifal in the Final Scene of Arabella

Carolin Rindfleisch (University of Oxford), ‘Instrumental forms in Alban Berg’s Wozzeck: Between music and drama, structure and metaphor’

4:00pm Refreshments

4:15pm Keynote address: Peter Franklin (University of Oxford), ‘Lowering the operatic brow? Big tunes, catastrophes, crowd scenes and windows’

5:00pm Drinks reception

 

Distractfold in Le Bruit de la Musique with some bruit by John Croft

affiche-2014-6_webIf you really need a reason to visit France, here you go… Le Bruit de la Musique (The Noise of the Music… or Music Noise) is a festival held right in the very middle of France this August 22-24. This year’s program is full of great events including a concert by Distractfold Ensemble performing Trio by John Croft. You can see the full program and other information by clicking here -> Festival.

NSS puts Music at Brunel in top for London

news-headlineThe annual National Student Survey results for 2014 have placed Music at Brunel as the top department in London for student satisfaction with 98% of students satisfied with the quality of Brunel’s Music and Sonic Arts programmes.

This performance ranks Brunel as the 2nd best university in the country for overall satisfaction in Music.

Head of the Department of Arts and Humanities, Professor Tom Betteridge said “We are extremely pleased with these results. The high satisfaction ratings reflect the hard work our staff have put in over the last year to continually improve the student experience”

 

Study Music at Brunel… the video(s)

Discover more about studying music at Brunel University London. Members of the music teaching staff describe our four undergraduate music programmes:

 

BA Music  BMus Sonic Arts BMus Composition BMus Performance

An existential installment of Riley Notes: What Do You Do?

_MG_8500Colin Riley reflects on “being composer” today: This may sound a little dramatic, but in truth, for today’s self-published, independent composers, the admin list is endless; making websites, keeping them up to date, getting performers interested in your work, alternative paid jobs such as teaching (and all the spread-sheets that go with this), putting on performances, attending performances, logging all works and performances for your royalties, self-promotion (general getting out and about at concerts and conferences, emails, newsletters, soundclouds, facebook, twitter), recording, forming record labels, administering record labels, organising performance groups, funding applications, and then, more funding applications… Click here to read the entire post and peruse other Riley Notes here.

Ed McKeon on the British Composer Awards – calling Sonic Artists and Composers of all colours…

Carl Faia:

If much of the public sees the new music world as fifty shades of grey – but without the turn on – how can we change the story?

Originally posted on The Sampler Blog:

british composers awardsIf much of the public sees the new music world as fifty shades of grey – but without the turn on – how can we change the story?

When people say they “don’t like new music”, it’s usually because they haven’t heard – or better, experienced – much of it, and that lack of exposure makes it easier to lump it all together as something strange and uncomfortable. It’s a frustratingly familiar story, as if ‘new music’ is an institutionally-controlled and critically-policed scene from the early ‘70s that hasn’t ‘grown up’ and continues to disdain non-specialist audiences. “Oy, Lloyd Weber, I’m warnin’ you son, do that again an’ I’ll…!” (Yes, I still get a buzz when I hear the theme tune to The Sweeney.)

We don’t have many occasions or platforms from which to shout out about the diversity of new music that’s being made now. The British Composer…

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British Academy Sponsored Career Networking Event: Revitalising Early Twentieth-Century German Opera

 Untitled

Revitalising Early Twentieth-Century German Opera

Prince Philip Room, RSA House,

8 John Adam St, London, WC2N 6EZ

Wednesday 17 September 2014, 9:30am-6pm

This is a one-day early career networking event sponsored by the British Academy. Its aim is to bring together scholars and practitioners with research interests in the field of German opera from c.1900-1935. Particular attention will be given to historiographical problems and staging issues (past and present) relating to the works of key operatic composers of the period, including Korngold, Pfitzner, Schreker, and Strauss. There will also be a session devoted to Schoenberg’s ‘unfinished masterpiece’ Moses und Aron, in light of its current WNO revival.

The keynote address will be given by Professor Peter Franklin (University of Oxford). Other speakers include Dr Mark Berry (Royal Holloway), Dr Roger Allen (University of Oxford), Dr Ben Winters (Open University), and Philip White (Asst Chorus Master, Bayreuther Festspiele).

Registration is free of charge and includes lunch and refreshments, but places are limited. If you are interested in attending, and for a full programme and further details, please contact Dr Nicholas Attfield (Brunel University) at nicholas.attfield@brunel.ac.uk by no later than 8 September 2014. Travel expenses within the UK will be considered for early career scholars and postgraduate students who wish to attend.

 

MooV: I Dream Beside you

From Here… enjoy!

Southbank Centre: New Music Biennial

new-music-biennial-logo-18.06.14_4NEW MUSIC BIENNIAL
Friday 4 July 2014 – Sunday 6 July 2014
A weekend of free concerts, workshops and new music.
New talent; bite-sized pieces.

Over the course of one festival weekend enjoy all 20 commissions. New Music Biennial includes a work featuring 20 pianos from around the world and a piece for community choirs inspired by African heritage.

A PRS for Music Foundation initiative, New Music Biennial provides a platform for talented composers, performers and organisations who push the boundaries of new music in the UK.

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Matt London: SPEAK NOW

31c6043d3d7cd8d0-bwBrunel Music PhD composition student, Matt London, just received a review on his album SPEAK NOW, music for tenor saxophone. You can read the review here -> CASS Magazine album review by Kenneth Morris.  The reviewer ends with “Awesome sounds – beautifully played.” What else do you need?

 

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BEAM@NIME on Monday… and beyond…

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Brunel Electronic and Analogue Music Festival (BEAM) will be at the New Interfaces for Musical Expression Conference (NIME) this year. Sarah Nicolls Kingdom, Artistic Director and Brunel Senior Lecturer, has been working all year with Atau Tanaka, this year’s NIME chair, to present an event packed with amazing projects from all over the world. click on the links within this post to find out more information on BEAM, NIME and the special events happening at the 14th International Conference from 30 June – 4 July in London.

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From the source: BEAM is collaborating with NIME, the New Interfaces for Musical Expression conference, to present BEAM@NIME 2014. Invited artists compliment the NIME programme through performances and installations, linking academic research to club nights, and connecting gig-goers, musicians, technologists and researchers. BEAM@NIME provides a portal to a world where technologies are used in creative, strange and wonderful ways to enhance and extend human bodies and the music they make. There are performances and interactive installations on the Goldsmiths’ campus and in nearby Fordham Park and club nights in Corsica Studios, XOYO and the Amersham Arms.

Third Ear Symposium at Southbank Centre

 

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Third Ear (Ed McKeon and Julia Haferkorn) are at it again… this time they bring you the Third Ear Symposium at Southbank Centre coming July 4th. Info and links below.

The Dark Arts? Media, Culture & Spin

An international line-up of music promoters, programmers, producers, curators, funders, artists and composers join together for a day of talks and discussions to consider the changing relationship between the arts and the media.

Programme and Speakers

Session 1
The Arts, Media, and the Digital Environment


This will focus on arts organisation setting up their own media channels, publishing their own news and broadcasting their own content.

Speakers to include:

  • Matthew Caines, Editor, Guardian Culture Professionals Network
  • Chris ShipmanDigital Content Producer, Royal Opera House
  • Juha van ’t Zelfde, Artistic Director, Lighthouse, the digital culture agency
  • Lee Etherington, Creative Director, Tusk Music

Session 2
Fragmentation: Arts, Media and the Economy

As the media industries develop new business models, content provision has become ‘democratised’ and the professional role of arts journalism is being eroded. What are the challenges, and what are the opportunities?

Speakers to include:

  • Prof Jane Chapman, Professor of Communications, University of Lincoln
  • Lindsey Clarke, Editor, londonist.com
  • Amanda Holloway, Editor, Sinfini Music
  • further speakers to be announced

Session 3
Metrocentricity – the ‘centre’ and the ‘margins’

With most of the ‘national’ media and arts organisations based in London, how do we connect with arts stories beyond the capital, and how might we value regional and specialist media. In this digital age, is geography still so important?

Speakers to include:

  • Jonty Claypole, Head of Arts, BBC
  • Nick Sherrard, Head of Development, Digital and Communications, Sound and Music
  • Helen Stallard, Helen Stallard PR
  • Jane Burton, Creative Director, Tate

During lunch we will hold 15-minute group PR surgeries with Helen Stallard, and short group workshops on creating your own media platform with Natalie Kane, Lighthouse.

Click here for booking -> Southbank Centre

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Why Do the Heathen Rage?

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That’s not a question but the name of the new album from The Soft Pink Truth (aka Drew Daniel from experimental electronica duo Matmos) on the Thrill Jockey label. The album features appearances from Antony Hegarty (Antony and the Johnsons), Terence Hannum (Locrian), Jenn Wasner (Wye Oak), M.C. Schmidt (Matmos), and Owen Gaertner (Horse Lords).

Here’s the thing: The album takes songs by Venom, Beherit, Sarcofago, Sargeist, Darkthrone, An, Mayhem, Hellhammer, and Impaled Northern Moonforest (for those confused lost souls, these are all Heavy ‘Black’ Metal bands) and presents them as addictive house and techno anthems.

Why talk about this here? Apart from the classically inspired work of  the duo Matmos (with references to Pierre Schaeffer and Stockhausen), this “solo” album features many guest performances including the whispered vocals from London based free improviser/composer and Brunel Professor, Jennifer Walshe, in the vogue-ball inspired rethinking of Darkthrone’s “Beholding the Throne of Might”.  More info and to buy the album go here -> The Soft Pink Truth.