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.
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Lewis Jones
London Metropolitan University
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