**Apologies for cross-posting**
Notation for Improvisors:
Conference Supported by the Institute for Musical Research (IMR)
9th February 2019, Senate House, London
Deadline for abstracts: 1st December, 2018
Existing studies of innovative musical notation and performer collaboration overlap, yet their interface, or mutual influence, remains unexplored. This event will explore notation that enables collaborative processes through its realisation in performance extending from printed media into include audio, video, and digital media and practices such as conduction, live video and audio as notation, and para-notation (the marks commonly made by performers on scores). It will examine the spaces and regions in which collaboration and notation cross-over and mutually influence, change, determine, and restrict each other and argues for a more fluid, or dynamic space for notation. Practice-based research exploring dynamic notation and/or multi-media for improvising performers across disciplines, through composition and performance will also be welcomed.
Contributions are invited and encouraged from scholars and practitioners in music and further afield. Dialogue between scholarship, practice and praxis, and between disciplines through inter- and cross-disciplinary work is particularly of interest. ‘Traditional’ conference paper presentations (20 minutes + questions) are possible, alongside presentations in alternative formats involving performance, multi-media or participation. If the latter, full details of what will be needed and what will be provided should be submitted alongside the proposal.
Topics for presentations might include:
•Improvisation and collaboration: Is it possible for notational practices within multi-media to make collaborative processes visible through composition
•Documentation: How might practitioners document and explore collaborative responses to contemporary notation involving practitioners with different disciplinary backgrounds and levels of expertise?
•Possibilities and limitations: How might the possibilities and limitations of notation be explored and expressed within notation itself?
•Legacy: What might be meaningful methods of documenting the processes and practices of practice research in this area to ensure the longevity of its knowledge claims beyond the moment of practice?
Please submit:
a 300 word abstract
an indication of the format and duration of the presentation
a list of any technical or other requirements in order to present the research
to [log in to unmask]
Deadline: 1 December 2018
Keynote Speaker: Professor Matt Wright
We are delighted to announce that Matt Wright (Canterbury Christ Church University) will be our keynote speaker for this event.
Professor Wright works as a composer, improviser and sound artist at the edges of concert and club culture, his output stretching from scores for early music ensembles and contemporary chamber groups to digital improvisation, experimental hip hop and turntablism, website installations, and large events combining DJs, new music performers and digital media. As a performer he works with turntables, laptops and surround sound installations to create post-DJ, multichannel music embracing hip hop, avant garde and freely improvised traditions.
He works closely with Evan Parker in their live/studio project Trance Map and Trance Map+ (featuring guests such as Toma Gouband, Peter Evans, Spring Heel Jack and Mark Nauseef); with Ensemble Klang in The Hague (including the albums ‘Music at the Edge of Collapse’ and 'Cold Highlife'), with the Brussels-based Bl!ndman ensemble and composer Eric Sleichim (including NETWORK, directed by Ivo van Hove and starring Bryan Cranston, as well as Beyond/Behind with soprano Claron McFadden); with Champ D'Action in Antwerp (including the LABO international arts residency); with The Six Tones in Stockhom and Hanoi; with Ensemble Offspring in Sydney; with CEPROMusic in Mexico City and as guest with the Alexander Hawkins Ensemble (on the record 'Unit[e]'), as well as experimental duo projects with Keir Neuringer, Roger Redgate, Robert Stillman and Panos Ghikas.
Matt is a Professor of Composition and Sonic Art at Canterbury Christ Church University. He studied Composition with Richard Steinitz and with Christopher Fox at the University of Huddersfield; with Louis Andriessen, Martijn Padding and Richard Ayres at The Royal Conservatory of the Netherlands and with Roger Redgate at Goldsmiths College, London. He also had formative lessons and workshop experience with Steve Reich, Steve Martland, Howard Skempton and Wajahat Kahn. www.matt-wright.co.uk
GRANTS FOR EARLY CAREER RESEARCHERS
Five small grants are on offer for Early Career Researchers if traveling from outside London, and subject to the distance traveled. If you are interested in receiving one of these grants, please indicate this on your proposal, or email Alistair Zaldua directly. Priority for these grants will be given to researchers who propose a paper, and more grants than five may be awarded if finances allow.
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