Performance & Improvisation – Page 2

The Politics of Resonance

Posted on 2nd February 20159th May 2019 by Pia Palme (University of Huddersfield)

‘GIB SIE WIEDER’ is a series of two political compositions, dedicated to exceptional performers Garth Knox (viola d’amore) and Rhodri Davies (harp). In this project, the central focus is on resonance in both a musical and wider socio-cultural sense. Finding the term closely correlated to the construction of gender, I direct my inner ear to the hidden background noises of the organisation of society. As a woman and composer, I perceive aural patterns of individual and political significance.

Reinventing Harmony in Splintered Echoes (2014)

Posted on 2nd February 20159th May 2019 by Paulina Sundin & Monty Adkins (University of Huddersfield)

This paper discusses the new harmonic possibilities enabled through the implementation of Sethares’ theory of the dissonance curve in MAX and its use in a live electronic composition Splintered Echoes with Monty Adkins (composer), Jonny Axelsson (composer and percussionist) and Adrian Gierakowski (programmer).

The Handless Watch: On composing and performing ‘Flutter Echoes’

Posted on 1st March 20139th May 2019 by Richard Beaudoin (Harvard University) & Neil Heyde (Royal Academy of Music)

Étude d’un prélude II – Flutter echoes for string quartet is one of the first works to be based on the transcription, into standard notation, of millisecond-faithful micro-temporal data; the work was composed in 2009, premièred in 2010 and recorded in 2011. This article provides a first-hand account of its inception by the composer, Richard Beaudoin, and one of its first performers, Neil Heyde, cellist of the Kreutzer Quartet. The micro-temporal data was collected using the Lucerne Audio Recording Analyzer [LARA], a powerful software developed by the acoustic researchers Dr Olivier Senn and Lorenz Kilchenmann of the Hochschule Lucerne, Switzerland. The object of their analysis, and the source work behind Flutter echoes, is Martha Argerich’s 1975 Deutsche Grammophon recording of Chopin’s Prelude in E minor, Op. 28, no. 4.