|Director, Centre for Digital Music School of Electronic Engineering & Computer Science Queen Mary University of London Analysing Digital Music|
|University of New South Wales Preference, Emotion and Music|
University of Virginia:
1Department of Music, 2Department of Psychology
Musical Necklaces: The Art and Science of Temporal Organization
In this joint talk, cognitive scientist Michael Kubovy will talk about his research on competing organizational principles that govern the perceived downbeat in ambiguous metrical patterns. These circular patterns, which mathematicians call necklaces, are fundamental to rhythmic organization in many types of music. Composer Judith Shatin will discuss how these kinds of ambiguous patterns play out in a series of her compositions in which rhythmic ambiguity is a focal element.
|Universiti Teknologi MARA, Malaysia Musical Learning through Listening: Comparing Western and non-Western Approaches|
|The University of Durham, Department of Music Imagery, movement and listeners' construction of meaning in North Indian classical music.|
The University of Melbourne,
Department of Music
Reconstructing the Familiar:
The Relationship between Creative Process and Perception within My Recent Music
A respondant (TBA) will reply to Prof Pollard's remarks from the listeners' perspective.
|The University of Edinburgh John Levy (1910-1976): Religious Exploration and Musical Quests in the East|
|Symposium on Consonance and Dissonance in Theory, Practice and Science Convened by Prof Richard Parncutt, Centre for Systematic Musicology. University of Graz, and Prof Graham Hair, Science and Music Research Group, University of Glasgow|
|University of Cambridge From lullabies to laments: Rites of passage in Uzbek female communities|
|Anglia Ruskin University Unaligning Diatonicism: Listening and Composing around Post-atonal Tonality|
Independent Composer, California
Seizing the moment: rate of change as a key parameter towards
holding listener attention
As a composer interested in the trance-inducing possibilities offered by repetitive structures, I frequently consider questions of how much repetition and at what pace should my music unfold? Used effectively, repetition is a device that can lure listeners into investing greater attention, rewarded by a heightened awareness that results from re-experiencing musical material. Inducing trance involves not only capturing listener attention, but holding it intently. The listener’s mind, however, is a sophisticated if slightly restless instrument, constantly seeking stimuli and shifting awareness between a set of perceptions. In a repetition-based framework, pace and pattern recognizability are key parameters. Too slow a pace or too recognizable a pattern structure and the unfolding becomes predictable; tending to reduce listener attention. Too fast a pace and too unrecognizable a pattern structure and the unfolding becomes time-bound, reducing trance potential. The solution I have found lies in stepping back from, objectifying, the creative process, in an attempt to hear the music purely as a listener might. It involves developing a self-critical faculty that is perhaps akin to the role of an editor. I discuss these ideas in the context of the composition, revision, and performance of my triptych for three female voices: The Gentle, The Well, and The Joyous.
|Demonstration: Recent Machine-based Approaches to Performance-Tracking. 1Conservatorio della svizzera italiana 2University of Glasgow This session will be open to the General Public.|
Cornelius Cardew 75th Aniversary Symposium
Convened by composer Michael Chant
Followed by a recital consisting principally of selected late piano works (1978–1981) by Cardew:
Programme to include Selah by Judith Shatin (Virgina), Triptych by Nicky Hind (California) and other new works.
|Arrival, travel and maps|
|Call for Papers|
Held concurrently with CIM11
|Call for Papers|
Workshop on International Cross-Disciplinary Research Collaboration in Science and Music, and its Impact on Teaching and Practice, to be held concurrently with CIM11
|Call for Participation|