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MERSENNE  2006

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Subject:

Music and Technology Research Seminar, London Metropolitan University, Autumn Term 2006-2007: meetings in December

From:

Lewis Jones <[log in to unmask]>

Reply-To:

Lewis Jones <[log in to unmask]>

Date:

Fri, 1 Dec 2006 20:49:12 +0000

Content-Type:

text/plain

Parts/Attachments:

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Please fins below details of the meetings in December of the London 
Metropolitan University Music and Technology Research Seminar.  All are 
welcome to attend.


Monday 4 December: Sound Art and Creative Technology: A One-day 
Conference and Concert of Electroacoustic Music around the work by Larry 
Austin

CONFERENCE (Room CR100)
1:00 to 2:00 John Young (De Montfort University): Sound Design and Sonic 
Imagery:  A discussion of the use of the use of digital audio processing 
tools to transform sound, with a view to the way this can influence the 
perception of sound sources and the referential and connotative 
dimensions of music.
2:15 to 3:15 Thomas Gerwin (Berlin): Positionen - Setting and aesthetic 
basis, means and spirit of the use of loudspeakers in different projects 
like ‘Berlin Loudspeaker Orchestra’, the work group ‘Soundscape No. X’, 
and the concert series ‘KlangWelten’.
3:45 to 4:45 Larry Austin (Texas): An illustrated discussion of recent 
works, including Williams [re]Mix[ed], art is self-alteration is Cage 
is, and Les Flutes de Pan: Hommage a Debussy...
6:15 - 8:00 CONCERT (The Parker Room, Ground floor),
John Young - Tongue
Larry Austin - art is self-alteration is Cage is
Thomas Gerwin - Feuer Werk 17
Larry Austin - Djuro's Tree
Larry Austin - Williams [re]Mix[ed] (1997-2001), based on Cage's 
"Williams Mix"
Larry Austin - Les Flutes de Pan: Hommage a Debussy (2005-6), for flute 
and  octophonic computer music, with Robert MacKay (University of Hull, 
Scarborough), flute and piccolo
For full details please see separate notice or contact Lewis Jones 
([log in to unmask]) or Javier Garavaglia 
([log in to unmask])


Tuesday 5 December (CR310): Rob MacDonald (University of Edinburgh): 
Understanding undercutting: how the shapes of toneholes affect the 
acoustics of woodwind instruments.

Undercutting has been practiced by makers of woodwind instruments for 
centuries.  A skilled craftsman can shape the junction between a 
tonehole and the bore of an instrument to alter significantly the 
characteristics of a note played using that hole. While undercutting is 
widely and effectively used, a full acoustical understanding is still 
developing. The effects of undercutting are not detectable in acoustical 
measurements made at low sound levels but rely instead on processes that 
are more apparent when an instrument is played loudly. This seminar will 
survey the various   to efforts to understand and quantify these 
processes before focusing on current experiments which allow us to 
visualise the flow of air around a tonehole over the timescale of a 
millisecond. In the course of the talk we will hopefully answer the 
following questions: Why, when playing a woodwind instrument, can I feel 
a strong flow of air with my finger outside an open tonehole, while when 
I just blow down the instrument the flow is much weaker and most of the 
air seems to travel down to the bell?  What limits how loudly I can play 
a woodwind instrument?


Monday 11 December, 5.15 (CR310): Jose Antonio Martin Salinas: The Conic 
Bellophone

Inspired on the instrument making developments of the early 
twentieth-century composers Julián Carrillo and Harry Partch, a new 
bellophone has been designed and constructed using an original bell made 
by deforming thick steel sheet into a conical shape. The instrument is 
in 96-tone equal temperament: seven additional notes have been placed 
between each semitone of the tempered scale in order to allow glissandi, 
timbral composition and a wide range of microtonal tunings.  The 
construction of this bellophone is the result of an interactive process 
between instrument design and musical composition.  The development 
process will be explained, with reference to the influences on the 
instrument, and the whole 96-tone instrument (G3-G4) will be presented 
for the first time.  Examples of compositions for the bellophone will be 
presented in computer-generated sampled versions, showing how the 
composition process has developed while the instrument was being 
constructed.  The instrument will be played to show its timbral 
properties and its techniques, and there will be an opportunity for the 
audience to ask questions or try the instrument itself.


The London Metropolitan University Music and Technology Research Seminar 
exists for the study of all aspects of the history and use of musical 
instruments, and of the relationship of music and technology.   Seminars 
are usually from 5.15 to 6.45, in the ILRC Seminar Room (room 310, 
approached via the second-floor Library entrance), London Metropolitan 
University, 41-71 Commercial Road, London E1 1LA.  Each presentation 
lasts approximately one hour and is followed by questions and 
discussion.  Open to all staff, students and visitors: please bring 
these events to the attention of all who might be interested.

Further information from Lewis Jones: [log in to unmask]; tel. 020 
7320 1841.


-- 
===============================
Lewis Jones
London Metropolitan University
===============================

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