A streaming version of MTI²'s Prof. Bret Battey’s “Three Breaths in Empty Space” will be part of Festival Visiones Sonoras, hosted by MTI² partner-institution CMMAS (Centro Mexicano para la Música y las Artes Sonoras), 23-25 September, 2020:
MTI²'s Anna Xambó in "Taking the Temperature: Crisis, Curating, and Musical Diversity"
There will be a launch event at Ultima Festival in Oslo this week Friday, September 11 at 3pm, for the open access book "Taking the Temperature: Crisis, Curating, and Musical Diversity", which features an interview with MTI²'s Anna Xambó, talking about her experiences during her time as a chair of the organisation WoNoMute.
Launch event: https://www.ultima.no/en/events/110920_context_samtale-og-boklansering
Order or download the book here: https://on-curating.org/book/taking-the-temperature-crisis-curating-and-musical-diversity.html
"We view this current crisis as creating an opening for contemporary music to finally escape its toxic relationship with tradition, quality and a white, European bourgeois aesthetic and embrace the many newly-made musics that exist in this world." (extract from Editorial by Brandon Farnsworth, Anna Jakobsson, Vanessa Massera)
Now out: Organisd Sound issue on 'Time in Electroacoustic Music'
The latest issue of the Cambridge University Press journal Organised Sound is now out, on the theme of 'Time in Electroacoustic Music':
https://www.cambridge.org/core/journals/organised-sound/issue/1370A3BD3D3A0CB1B656F2654D8F5511
The issue is co-edited by MTI²'s Prof. Kevin Dahan, and includes two articles by MTI² members - Kevin Dahan's 'A Temporal Framework for Electroacoustic Music Exploration', and James Andean's 'Rhythm in Acousmatic Music' - as well as an article by an MTI alumnus: Michael Gatt's 'Memory, Expectation and the Temporal Flux of Acousmatic Music'.
New book chapter by MTI²'s Leigh Landy
A new book chapter by MTI²'s Leigh Landy has recently been published:
https://mitpress.mit.edu/books/between-tracks
The chapter, titled 'Hildegard Westerkamp’s Beneath the Forest Floor (1992)', appears in 'Between the Tracks: Musicians on Selected Electronic Music, edited by Miller Puckette and Kerry L. Hagan and released by the MIT Press on August 12th 2020.
"This collection of writings on electronic music goes outside the canon to analyze influential works by under-recognized musicians. The contributors, many of whom are composers and performers themselves, offer their unsung musical heroes the sort of in-depth examinations usually reserved for more well-known composers and works. They analyze music from around the world and across genders, race, nationality, and age, discussing works that range from soundscapes of rushing water and resonating pipes to compositions by algorithm. Subjects include the collaboration of performer and composer, as seen in the work of Anne La Berge, Luciano Berio and Cathy Berberian, and others; the choice by Asian composers Zhang Xiaofu and Unsuk Chin to embrace (or not) Eastern themes and styles; and how technologies used by composers created the sound of the works, as exemplified by Bülent Arel's use of voltage-control components as compositional tools and Charles Dodge's resynthesizing of the human voice."
MTI's Sam Topley among Workshop Prize winners @ NIME2020!
MTI² postgrad and adjunct Sam Topley is one of the winners of the Workshop Prize at the NIME 2020 conference, for their project '10,000 Musical Instruments for a Semi-Connected World':
This year’s ‘New Interfaces for Musical Expression’ conference was hosted online by the Royal Birmingham Conservatoire.
Topley collaborated with 8 artist/researchers from universities around the U.K. and Europe, to co-author and facilitate a workshop for the conference participants. The aim was to design and catalogue 10,000 absurd and fictional musical instruments, as a playful and unconventional approach to advancing the debate around the complex, interdisciplinary and multifaceted nature of contemporary musical instruments.
Topley's contributions included a “Build Your Own Lockdown Organ” – a handmade musical instrument constructed out of panic-bought toilet roll tubes – and a “Carpet Sample(r)” - a stain resistant and bleach cleanable textile interface, made out of a carpet sample book.
Dave Holland's 'First Rituals' finalist @ Città di Udine
MTI² alumnus & adjunct Dave Holland was selected as one of the finalists for this year's Città di Udine competition, in the 'Electroacoustic Music' category, for his work 'First Rituals’:
EARS is back!
The ElectroAcoustic Resource Site (EARS) is back online!
http://ears.huma-num.fr/index.html?fbclid=IwAR0r-klWRnD7aZaq-BQatMphooVt4ndOseTWJtPbuE3Gla1fy6cIOFTgvso
The EARS site, which was coordinated by MTI and went online in 2002, is the most important online research and educational resource in the field of electroacoustic music. Unfortunately it was brought down by a cyberattack, but (with our special thanks to IReMus (Paris) and in particular Pierre Couprie and Thomas Bottini), we are happy to report that is now back in action!
"The ElectroAcoustic Resource Site (EARS) project has been established to provide resources for those wishing to conduct research in the area of electroacoustic music studies. The EARS site takes the form of a structured Internet portal supported by extensive bibliographical tools. To aid the greater understanding of the opportunities offered by these radical forms of sound organisation, as well as their cultural impact, the project cites (or links directly to) texts, titles, abstracts, images, audio and audio-visual files and other relevant formats.
The project strives to conceive of electroacoustic music in its widest possible sense, acknowledges the interdisciplinary nature of the field, and aspires to the greatest possible breadth and inclusiveness. In the future it is hoped that there will be a form of automated information retrieval to aid in keeping the site’s bibliography up to date.
EARS received its first funding in 2001 and went online for the first time (English initial glossary and index only) in 2002. The project was originally co-ordinated at De Montfort University’s Music, Technology and Innovation Research Group (now Music, Technology and Innovation – Institute for Sonic Creativity (MTI2), Leicester, UK) by Leigh Landy and Simon Atkinson in collaboration with the project’s Associated Researcher, Ricardo Dal Farra, and the Research Fellows, Rob Weale and Pierre Couprie. EARS was originally supported by an internation consortium consisting of Rosemary Mountain, Marc Battier, Joel Chadabe, Martin Supper and Kenneth Fields. Its glossary translations were made by Pierre Couprie (French), Ricardo Dal Farra (Spanish), Laura Zattra (Italian) and Martin Supper (German).
It has been placed on a new platform in 2020 after surviving a cyber-attack. The platform uses Sherlock which is an engineering-research project in digital humanities bringing together different disciplines Its objective is to develop a web environment for the publication and semantic annotation of data & documentary sources to assist researchers in the constitution, confrontation & dissemination of their analytical & critical work. We would like to thank IReMus (Paris) for its support, in particular Pierre Couprie and Thomas Bottini for porting the site."
http://ears.huma-num.fr/index.html?fbclid=IwAR0r-klWRnD7aZaq-BQatMphooVt4ndOseTWJtPbuE3Gla1fy6cIOFTgvso
The EARS site, which was coordinated by MTI and went online in 2002, is the most important online research and educational resource in the field of electroacoustic music. Unfortunately it was brought down by a cyberattack, but (with our special thanks to IReMus (Paris) and in particular Pierre Couprie and Thomas Bottini), we are happy to report that is now back in action!
The project strives to conceive of electroacoustic music in its widest possible sense, acknowledges the interdisciplinary nature of the field, and aspires to the greatest possible breadth and inclusiveness. In the future it is hoped that there will be a form of automated information retrieval to aid in keeping the site’s bibliography up to date.
EARS received its first funding in 2001 and went online for the first time (English initial glossary and index only) in 2002. The project was originally co-ordinated at De Montfort University’s Music, Technology and Innovation Research Group (now Music, Technology and Innovation – Institute for Sonic Creativity (MTI2), Leicester, UK) by Leigh Landy and Simon Atkinson in collaboration with the project’s Associated Researcher, Ricardo Dal Farra, and the Research Fellows, Rob Weale and Pierre Couprie. EARS was originally supported by an internation consortium consisting of Rosemary Mountain, Marc Battier, Joel Chadabe, Martin Supper and Kenneth Fields. Its glossary translations were made by Pierre Couprie (French), Ricardo Dal Farra (Spanish), Laura Zattra (Italian) and Martin Supper (German).
It has been placed on a new platform in 2020 after surviving a cyber-attack. The platform uses Sherlock which is an engineering-research project in digital humanities bringing together different disciplines Its objective is to develop a web environment for the publication and semantic annotation of data & documentary sources to assist researchers in the constitution, confrontation & dissemination of their analytical & critical work. We would like to thank IReMus (Paris) for its support, in particular Pierre Couprie and Thomas Bottini for porting the site."
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