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MUSICOLOGY-ALL  January 2016

MUSICOLOGY-ALL January 2016

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Subject:

Classical Music Hyper-Production and Practice As Research Online Conference

From:

Simon Zagorski-Thomas <[log in to unmask]>

Reply-To:

Simon Zagorski-Thomas <[log in to unmask]>

Date:

Tue, 26 Jan 2016 22:52:20 +0000

Content-Type:

text/plain

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The online Classical Music Hyper Production Conference is currently underway at http://cmhp-conference.com
The AHRC Hyper Production project has been exploring the creative possibilities of using the processing and recording technologies of popular music record production in recorded classical music and similar types of processing and surround sound in concert performance. You can hear some examples at: Debussy<http://cmhp-conference.com/index.php/examples/debussy-prelude>, Haydn<http://cmhp-conference.com/index.php/examples/haydn-sonata>, Palestrina<http://cmhp-conference.com/index.php/examples/palestrina-motet>
There are discussion threads on several topics (see below) and you can contact [log in to unmask]<mailto:[log in to unmask]> if you would like to contribute to one or more of the blogs or you can self-register<http://cmhp-conference.com/index.php/register> on the website if you just want to ask a question of make a comment.
The panel themes are:
The online panels would be:
1. How does the sound of the record production affect the commercial prospects of a recording?
2. How do more adventurous approaches to record production affect the notion of the 'text' in classical music?
3. How should classical music students be encouraged to engage more actively with recording as a creative practice?
4. How should producers, engineers, performers and composers be exploring the creative potential of recording classical music

In addition there would also be two additional streams on Practice As Research
1. How can we create a more level playing field for comparing Practice As Research with 'traditional' forms of research?
2. What does a good Practice As Research output look like?

In addition, on the weekend of 30th and 31st Jan there is a ‘live’ conference at the University of West London in Ealing where there will be several panel discussions plus two concerts: on Sat 30th at 14:30 there will be a demonstration of some of the recording and surround sound techniques we’ve been using with music by Debussy, Ravel and Haydn (Emilie Capulet - piano; Andrew Bourbon, Greg Smith and Simon Zagorski-Thomas - technology). On Sunday 31st at 12:00 there will be two very different performances of Shostkovich’s String Quartet No.8. The first will be an acoustic performance directed by John Landor which will involve the physical enactment of thematic elements by the players moving around the stage. The second will be performed on electric instruments and will be processed through a range of twenty guitar effects levels and amplified through the surround sound system in the hall. The concerts and the conference panels are all free - to register email: [log in to unmask]<mailto:[log in to unmask]>

Contributors include: Martin Anderson (Toccata Classics Records, UK), Arved Ashby (Ohio State University, USA), Philip Auslander (Georgia Institute of Technology, USA), Daniel Barolsky (Beloit College, USA), Joe Bennett (The Boston Conservatory, USA), Ken Blair (Sound Engineer, UK), Andrew Bourbon (London College of Music, UWL, UK), Emilie Capulet (London College of Music, UWL, UK), Amy Blier-Carruthers (Royal Academy of Music), Andrew Blake (Winchester University, UK), Experience Bryon (Royal Central School of Speech and Drama, UK), Martha de Francisco (McGill University and Record Producer, Canada), Stephen Emmerson (Queensland Conservatorium, Australia), Ambrose Field (University of York, UK), Robert Fink (UCLA, USA), Andrew Halifax (Sound Engineer, UK), Jan Olof Gullo (Stockholm Royal College of Music, Sweden), Robert Hugill (Blogger, Planet Hugill, UK), Kristen Kreider (Royal Holloway College, UK), J. Meryl Krieger (University of Indiana, USA), John Landor (Music Director, LMA Orchestra), Todd Landor (Musical Concepts and Alto Distribution), Dan Leech-Wilkinson (Kings College London, UK), Theresa Leonard (Banff Centre, Canada), Morten Michelsen (University  of Copenhagen, Denmark), Dominic Murcott (Trinity Laban, UK), Ian Pace (City University, UK), John Rink (University of Cambridge, UK), Jez Wells (York, UK), Frances Wilson (Blogger, Cross-Eyed Pianist, UK),  Simon Zagorski-Thomas (London College of Music, UWL, UK), Xuefeng Zhou (Southwest University, China)

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