117,924 research outputs found
Diapason: Music for Organ and Electronics
No full textDiapason: New Music for Organ and Electronics presents music that has been commissioned and curated by Lauren Redhead from 2010-2014. In 2014 she, and Alistair Zaldua, toured a programme of music, co-produced by Sound and Music, for Organ+Electronics in the UK. This CD presents the highlights of that tour, and the results of collaborations between the organist and the composers: the music explores many facets of the possibilities for the combination, including fixed media sound and live electronics; explorations of space and acoustics; considerations of the history and tuning of the organ; and music with possibilities for performer flexibility and improvisation. Each composer takes a unique, but related, approach to the organ as an instrument, considering its sonic and acoustic, properties, and this is also reflected in the wide variety of approaches to electronic sound in the works. Whilst the combination of organ+electronics will not be a familiar one to all listeners, this CD offers 8 new perspectives on the organ that will nevertheless offer moments of familiarity
Notation as Process: Interpretation of Open Scores and the ‘Journey Form’
Get PDFThe performances which inform this discussion of graphic, text, and open notation took place between 2010 and 2014, and primarily from February to May 2014. Since 2010 I have commissioned and performed twenty new works for the organ, and for the organ and fixed media or organ and live electronics, with a special focus on scores which contain some element of open notation. In addition to new commissions I have also performed a number of works suitable for organ (and electronics) which have been composed during this time, primarily by British composers. This has allowed me to become highly involved in the process of the creation of the music from the point of the commission to the performance, including the possibility of discussion with the composers before the composition of the work, collaboration during its composition and in preparation for the performances, and ongoing evaluation throughout the process. The nature of organ performance is that radical differences in instrumental sound, construction, and concert space and acoustic are experienced from location to location and this has encouraged constant re-evaluation of the music and its performance as the music has travelled; this aspect of the experience of performing these pieces has encouraged further reflection, and it is from these experiences and this reflection that this discussion draws its information. Although the individual process of preparation and interpretation of open notation may be seen to be personal and individual from performer to performer, I wish to address the ways in which repeated performances of open scores reveal something about the compositions themselves and the interpretative process of engaging with the notation. It is the contention of this chapter that interpretation, in the context of this notation, is not a singular and linear process which begins when the performer first comes into contact with the score and ends with the performance, but an ongoing and iterative process, and a process which involves the composer, performer, and the score at every instance. This discussion will, then, seek to address the ‘work concept’ in the case of music, and to define the ‘work’ as a proces
A Common Method? Distributed Creativity in Composition and/as Practice Research
Get PDFThis chapter examines compositional agency, practice research, and collaboration in some recent projects. It employs a socio-semiotic model, derived from Actor Network Theory (ANT) and similar to that taken by Rosalind Krauss in her exploration of Sculpture in the Expanded Field, to demonstrate and explore the collaborative and other relationships in these projects. This reflection intends to show how the multiple roles that I, and others, enact in collaborative projects overlap, and considers which relationships and contexts have been most fruitful to my practice research. I have worked as a composer in all of these situations, although my research as a whole also comprises “traditional” (written) research and performance, which also intersect with these projects. While the labels “musicologist”, “composer”, “performer”, or “improviser” might easily be applied to individuals at various points during the projects described, this chapter contends that these describe aspects of those individuals at a particular time, but should not necessarily be used to divide the practices of individuals into discrete sets of activity. This observation has implications for the expectations of individuals when they collaborate, as I will discuss
Notation as process: interpreting open scores and the ‘journey form’
No full textThe performances which inform this discussion of graphic, text, and open notation took place between 2010 and 2014, and primarily from February to May 2014. Since 2010 I have commissioned and performed twenty new works for the organ, and for the organ and fixed media or organ and live electronics, with a special focus on scores which contain some element of open notation. In addition to new commissions I have also performed a number of works suitable for organ (and electronics) which have been composed during this time, primarily by British composers. This has allowed me to become highly involved in the process of the creation of the music from the point of the commission to the performance, including the possibility of discussion with the composers before the composition of the work, collaboration during its composition and in preparation for the performances, and ongoing evaluation throughout the process. The nature of organ performance is that radical differences in instrumental sound, construction, and concert space and acoustic are experienced from location to location and this has encouraged constant re-evaluation of the music and its performance as the music has travelled; this aspect of the experience of performing these pieces has encouraged further reflection, and it is from these experiences and this reflection that this discussion draws its information. Although the individual process of preparation and interpretation of open notation may be seen to be personal and individual from performer to performer, I wish to address the ways in which repeated performances of open scores reveal something about the compositions themselves and the interpretative process of engaging with the notation.1 It is the contention of this chapter that interpretation, in the context of this notation, is not a singular and linear process which begins when the performer first comes into contact with the score and ends with the performance, but an ongoing and iterative process, and a process which involves the composer, performer, and the score at every instance. This discussion will, then, seek to address the ‘work concept’ in the case of music, and to define the ‘work’ as a process
Collaborative and Distributed Processing in Contemporary Music-Making: Overview
Get PDFIntroduction to the book of the same titll
Ijereja - Music as an interative process performance lecture
No full textPerformance lecture given by Dr Lauren Redhead at the Sidney Cooper Gallery, Canterbury. Tuesday 3 May 2016. Part of a series of events organised by the Centre for Practice Based Research in the Arts, Canterbury Christ Church University, to celebrate the first 100 years of Dada
hearmleoþ-gieddunga: performance at Summit Salford, 26.09.19
No full textIn this performance, the music of the album 'hearmleoþ-gieddunga' is reimagined as a continuous work by Lauren Redhead (voice, electronics) and Alistair Zaldua (violin). The performance was created with an audio-visual component derived from the musical scores
[dis]Located Space[s] (Rob Canning)
No full textA recording of the piece [dis]Located Space[s] (Rob Canning) for organ and electronics. Organ, voice and small wind instruments performed by Lauren Redhead. Live electronics performed by the composer
Practice Research: Accessibility and Reproducibility Enhancing searchability: archiving practice research
No full textOverview
This workshop will deal with some of the challenges and issues involved with documenting and archiving practice research. Some of the questions this panel will aim to address include:
How can we ensure that practice research is fully searchable and visible in the public domain?
Are university repositories able to host the research findings of practice research projects run within, or in collaboration with, universities in the UK?
What kinds of practices can we design and share that allow for the most effective and efficient means of sharing the research findings of work in this area?
How do we consider the ways in which disciplinary differences warrant different considerations in devising systems (technological or otherwise) for archiving and disseminating practice research?
Panellists
Chair: Professor Mark d’Inverno, Goldsmiths, University of London
Professor Oriana Baddeley, Former Dean of Research, University of the Arts London
Dr Lauren Redhead, Senion Lecturer in Music, Goldsmiths, University of London
Professor Bambo Soyinka, Professor of Story, Bath Spa University
Dr Scott McLaughlin, Lecturer in Composition and Music Technology, Leeds University
Dr James Bulley, artist and composer, co-author of Bulley-Şahin reports on practice research for Research England (2021
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