CeReNeM Presents: Rethinking the History of Technology-based Music

From 9 - 11 June 2022, the University of Huddersfield's Centre for Research in New Music (CeReNeM) will host the conference: ‘Rethinking the History of Technology-based Music’.

As Modernist thinking, evident in concrete, electronic and computer music from their inception, has been challenged by the post-acousmatic, neo-modern situation today, conceptual approaches and the use of sound to point to situations and events outside of itself have become more the rule than the exception in new musical practices, providing context, identity and often intent. These factors, alongside pluralistic, ecological, feminist and de-colonization agendas that question who determined the canon, who has been listening, to what and to whom make it timely for us to question, re-evaluate and rethink the history of technology-based music.

This conference takes place on Teams and Webinar links will be shared for each day separately via email.

Find an outline of the schedule and speakers below. Specific timings and instructions will be shared via email.

Day 1: Thursday 9 June, 09:00 - 16:00

Monty Adkins, Jøran Rudi: Welcome

Andrew Knight Hill: Convergence Potential in Parallel Praxis: Electroacoustic Music and Sound Design  

Joseph Hyde: Tracing Music Technology to its Interdisciplinary Roots

KEYNOTE Simon Waters: Observations and entanglements: The early stages of the analogue-digital shift in music’s infrastructure and organisation

*break*

Arild Boman: Antinomies of Net/Satellite Communication: Strategies of Musical Interaction

Hans Kretz: Networked performance as a space for collective creation and student engagement

*lunch*

Rose Dodd: Shifting modalities in electronic-based and instrumental notated music: Sketching an alternative approach to their historiography, to include contemporary instrumental performative practices, outlier aesthetic resistance, and posthuman intentionality within the black box performance space.

Leila Adu-Gilmore: Critical Sonic Practice: Inclusive Research through Global Electronic Music

Amit Dinesh Patel: Exploring Cultural Diversity in Experimental Sound 

*break*

Philipp Ahner: Didactic changes in sound compositions with synthesizer apps

Day 2: Friday 10 June, 09:00 - 16:00

Per Magnus Lindborg: Re-scaling Beethoven: very long, very short

Treya Nash: An Analytical approach to voice processing and the carefully constructed sound world in Alice Shields’ Apocalypse.

Irine Røsnes: Tracing ecosystemic virtuosity in performance of Simon Emmerson’s Stringscape (2010) for violin and electronics

*break*

Annie Jamieson: The expanding fields, practices and histories of technology-based music

Dylan Burchett: Theatrical Objects: Towards a Relationally-Defined Organology

Nemanja Radivojevic, Damian Keller, Victor Lazzarini: Issues of Ubimus Archaeology: Creative Processes in Risset’s Little Boy

*lunch*

Simon Crab: Exploring the mystical origins of Electronic Music

Tomoya Matsuura, Kazuhiro Jo, Akihiro Kubota: Towards a Civil Engineering of Music, a critical perspective on cultural and the military use of the computer for music

Marcel Zaes Sagesser: Rethinking Drum Machine Histories: Mechanical Time Grids as a Cultural Logic

*break*

Manuella Blackburn, Paul Harkins: Finding the female users: A feminist historiography of the Fairlight CMI

Fulya Ucanok: Electroacoustic Composition Process as a Process of Com-position

Day 3: Saturday 11 June, 09:00 - 15:00

Ulf Holbrook, Jøran Rudi: The expanding fields, practices and histories of technology-based music

Giovanni Onorato, Riccardo Ancona: Raise the Curtain, A critical perspective on the idea of Post-Acousmatic

KEYNOTE Linda OKeefe: Representing Alternative Histories of Sound in the Arts

*break*

Jaehoon Choi: Max - Expansion From a Programming Paradigm to a Distributed Lab

Neil O Connor: Reconnections: Electroacoustic Music & Modular Synthesis Revival

Manoli Moriaty: Upsetting the controls: controllerist practice in electroacoustic music performance

*break*

Brenda Hutchinson: Socially engaged art reflects ‘an interest in producing effects and affect in the world rather than focusing on the form itself.’

Angela McArthur, Brona Martin, Emma Margetson, Nikki Sheth: Women in Spatial Sound - Working with the IKO Loudspeaker

Notto Thelle, Bernt-Isak Werstad: Co-Creative Spaces

Monty Adkins, Jøran Rudi: Closing