Sean Williams (University of Edinburgh)
Performing shapes: studio performance practice in realising Stockhausen’s Studie II
What are the benefits of spending 200+ hours executing highly repetitive technical tasks using old-fashioned equipment in order to make a new version of a 3 minute long piece of electronic music from 60 years ago?
I give a brief account of my working methods calculating parameter values, fixing and calibrating machines, splicing tape, measuring dB values using 50s technology and discuss issues arising including the effects of large scale repetition of physical tasks; the difficulty of implementing seemingly straightforward technical instructions; the role, hierarchy and detectability of errors; the need for reflexive practice to adapt the results of technical processes to achieve the desired results.
I demonstrate the sonic implications of some of my decisions by comparing the dramatic differences in sound when different techniques are used, and show the scope for musical and aesthetic judgement – interpretation and performance practice – in a seemingly solely technical process.
Dr. Sean Williams is a Leverhulme Early Career research fellow in the Reid School of Music, University of Edinburgh, researching by practice the live and studio practices of early electronic music. He builds electronic instruments and performs with these in the ensembles Grey Area and the Monosynth Orchestra.
Corporeal cartography: navigating process in the development of an expressive system for dance, improvisation and sonic art
In recent years there has been increased interest in developing systems for interactive dance and music performance. This growth has been supported by sophisticated developments in motion capture technology as well as increased accessibility of wearable technologies and tracking devices. These developments facilitate the investigation and development of new approaches and theoretical developments in the relationship between the body and technology in terms of interactivity, mediation and embodiment.
This paper will present preliminary findings resulting from the authors’ own initial explorations into interactive and synesthetic relationships between sonic art and dance. Fundamental to this collaborative practice as research project is the repositioning of research focus from product to process. The paper will outline the authors’ approach to documentation of their creative process and examine how this contributes not only to the technical and artistic development of the work but may also reveal new paradigms.
Diana Salazar’s practice-led research examines spatial composition and interpretation in electronic music and associated issues of performance practice and cross-disciplinary discourse. Her compositional output includes fixed media work, work for instruments and electronics, cross-disciplinary collaborations, and improvised electronic laptop performance. Diana is a lecturer in Music at City University London.
Maria Salgado joined Kingston University as Senior Lecturer in Dance in 2009. She graduated in Ballet studies from The John Cranko School in Stuttgart, Germany. After her professional career (principal dancer at the Pfalztheater Kaiserslautern and at the Thuringer Staatsballet) Maria graduated with a Masters Degree from the University of Surrey (2007). Her research focuses on choreographic practices and the history and practice of Natural Movement (1920-1939). She has taught and presented her research internationally and currently serves as Chairman of the Regional Advisory Committee (London and Middlesex) of The Royal Academy of Dance.