One of my recent music compositions has just been awarded 2nd prize in the Klang! International Competition of Electroacoustic Composition 2019, Montpellier, France. The list of finalists included many highly-regarded composers, so it was an honour and achievement to have my work selected and awarded during this year’s competition.
The Klang! competition is well established within the field, and the jury this year featured many highly respected practitioners, including Annette Van de Gorne, Jonty Harrison and Denis Smalley.
The awarded work, Traces of Play, is a 4-channel ‘surround sound’ composition, which received it’s concert premiere in France in June 2017, and was recently performed at BEAST FEaST 2019, an international electroacoustic music festival taking place at the University of Birmingham on 2–4 May 2019. At this festival I spatialised this composition over the 64-channel loudspeaker system known as BEAST (Birmingham Electroacoustic Sound Theatre), in a programme including works by many highly-respected international artists.
The Museum of Ecoacoustic Phenomena takes place this weekend (10am-4pm, May 4–5) at the BNSS, and is a commissioned event for the Bournemouth Emerging Arts Fringe.
A collaboration between BU, Goldsmiths, BNSS and electricbackroom, there will be installations, a soundwalk, wireless headphone concerts, and a talk on ecoacoustics by BU’s Prof Adrian Newton on Saturday 4th May at 2.30pm.
More details can be found here: http://www.b-e-a-f.co.uk/museum-of-ecoacoustic-phenomena-adrian-newton-marcus-leadley-david-rogers-ambrose-seddon/
To participate in the soundwalk, please book here: https://tinyurl.com/y5abc4fo
We are delighted to announce that David Berezan (University of Manchester) will be joining us for a concert of multichannel electroacoustic in the Allsebrook LT on Wednesday 27th March at 7pm. All are welcome!
David will be playing a programme including some of his own work as well as that of electroacoustic composer Manuella Blackburn (Liverpool Hope University).
Admission is free but please register here: https://www.eventbrite.com/e/bu-loudspeaker-orchestra-concert-featuring-music-by-david-berezan-and-manuella-blackburn-tickets-59062063221
David Berezan is Professor in Electroacoustic Music Composition at The University of Manchester (UK), where he has acted, since 2003, as Director of the Electroacoustic Music Studios and MANTIS (Manchester Theatre in Sound).
Since 2000 he has primarily composed acousmatic music, though he has also composed and performed solo and ensemble live-electronics works. He is a practitioner and proponent of sound diffusion performance and the interpretation of fixed-media work.
Manuella Blackburn is an electroacoustic music composer who specializes in acousmatic music creation. However, she also has composed for instruments and electronics, laptop ensemble improvisations, and music for dance.
Her music has been performed at concerts, festivals, conferences and gallery exhibitions in Argentina, Belgium, Brazil, Canada, Chile, Costa Rica, Cuba, France, Germany, Italy, Japan, Korea, Mexico, Portugal, Spain, Sweden, and the USA.
We are delighted to announce that Dr Úna Monaghan will be joining us for a concert of music for harp and electronics in the Allsebrook LT on Wednesday 30th January 2019, at 7pm. All welcome!
Admission is free but please book a seat. https://www.eventbrite.com/e/music-for-harp-and-electronics-with-una-monaghan-at-bu-tickets-55018378451
Úna Monaghan is a harper, composer, researcher and sound artist from Belfast. She is the Rosamund Harding Research Fellow in Music at Newnham College, University of Cambridge.
Her research examines the intersections between Irish traditional music, experimental music practices, improvisation and interactive technologies. She performs with harp and electronics. Her recent work has combined traditional music with bronze sculpture, sound art and movement sensors. Her compositions have been presented on BBC and RTÉ television and radio, in theatre productions, and at international festivals and conferences, such as the International Computer Music Conference, the New York Electroacoustic Music Festival, and at the Onassis Cultural Centre, Athens.
This autumn I have been fortunate to have had my music played in international concerts and festivals in Bangor, Brussels, and Beijing.
My composition ‘Traces of Play’ featured in the Musicacoustica Festival, Beijing, on 26th October, and was peer reviewed and selected by the British Electroacoustic Network to represent the UK at this international festival. Musicacoustica is run by CIME (International Confederation for Electroacoustic Music), and it was an honour to be selected and included in this concert.
On Wednesday 24th October the same composition was a finalist in the Métamorphoses International Acousmatic Music Composition competition, which is part of the L’Espace du Son festival run by Musiques et Recherches, Belgium. This is one of the most esteemed competitions in the field, so it was amazing to be selected as a finalist and to be able to attend the festival.
And on Tuesday 20th November my music featured in the Electroacoustic WALES concert at Theatre Bryn Terfel, Pontio, Bangor, Wales, alongside works by esteemed composers Prof David Berezan and Prof Andrew Lewis. Again, it was an honour to be involved and invited to perform, and we look forward to welcoming David Berezan for a concert here at BU on 27th March 2019.
On Wednesday 17th October special guest Dr Owen Green (University of Huddersfield) joined us for a concert of multi-channel, surround-sound music in the Allsebrook Lecture Theatre. Owen diffused a range of fixed-media musical work from the University of Huddersfield during the first half, beginning with Dr Alex Harker’s guitar-derived Fractures, then on to Dr Elena Hidalgo’s Origen, and concluding with Professor Pierre Alexandre Tremblay’s mesmerising asinglewordisneverenough1.
After a short interval we heard two works featuring performances from Owen – Neither the Time nor the Energy (2015, revised 2018, live, for cardboard and truculent electronics), and an improvised duo featuring bowed cardboard box (Owen Green) and cello (Laura Reid). It was a rich and varied programme, and our thanks go to Owen Green for his inspiring performance and excellent musical selections. Once again, student volunteers from our BSc Music & Sound Production Technology provided crucial help rigging the loudspeaker system. Thanks to all who attended!
This concert was supported by Creative Technology and EMERGE.
I recently presented my multichannel electroacoustic composition ‘Traces of Play’ in two international concerts. The first was at the esteemed music computing conference SMC 2018 (Sound and Music Computing) in Limassol, Cyprus. The programme featured a range of music encompassing fixed media, instruments + electronics, improvised, and mixed media works. Held in Limassol’s Rialto Theatre, this was the first ever multichannel loudspeaker concert to be staged in Cyprus. It was an honour to be involved.
The second concert was at the NYCEMF 2018 (New York City Electroacoustic Music Festival). The festival programme, scheduled over a number of days at the Abrons Arts Centre, New York, featured many established names alongside emerging artists, and this was a great opportunity to share and promote BU practice-based research. As well as diffusing (spatialising) my own work, I presented music on behalf of two composers: Antonino Chiaramonte, a doctoral researcher in the Faculty of Media and Communication here at BU; and David Berezan, Professor of Composition at the University of Manchester.
If you would like to experience surround-sound electroacoustic music in concert, we have four experimental music concerts running this year as part of the University Music programme. The first takes place on Wednesday 17th October at 7pm in the Allsebrook Lecture Theatre, Talbot Campus, and features Owen Green from the University of Huddersfield. Owen’s research focuses on improvising and composing with computers.
A recent music composition created by Dr Ambrose Seddon (Creative Technology; EMERGE) has been awarded 2nd prize in the 11th Destellos Competition of Electroacoustic Composition and Video-music, Argentina.
The Destellos competition is one of the most well-established international competitions within the field of electroacoustic music, and has links with various institutions around the world. The 2nd prize was granted by GRM, France; Musiques & Recherches, Belgium; Motus, France; and Fundación Phonos, Spain. The awarded work, Traces of Play, is a 4-channel ‘surround sound’ composition, which received it’s premier in June 2017, and was performed here at BU in the Loudspeaker Orchestra Concert on 28th February 2018.
The final BU Loudspeaker Orchestra concert of this academic year took place in the Student Hall, Talbot Campus on Wednesday 2nd May 2018. This concert featured a range of electroacoustic music including work from undergraduate students, postgraduate researchers and staff at BU. The concert was a great opportunity for students, researchers and staff to collaborate on and co-create a live music event, and to present their music in a professional context.
Students from the BSc Music and Sound Production Technology course (Creative Technology) contributed a range of high-quality compositions. Many of these pieces were composed from field recordings; some from Bournemouth and Poole, some from London, and others from locations as far afield as Pune, India. The students also rigged the loudspeaker system, and then took part in a diffusion workshop (co-delivered by Ambrose Seddon and Panos Amelides, Creative Technology), learning and rehearsing some fundamental concepts for live multi-channel sound spatialisation in preparation for the concert. The programme also featured music from FMC PGR composer Antonino Chiaramonte and BU lecturer and composer Ambrose Seddon.
The sun setting over the Talbot campus buildings made for a fitting backdrop to the concert. Thanks to all who attended!
On Wednesday 28th February 2018 guest composer Dr Annie Mahtani, University of Birmingham and Birmingham Electroacoustic Sound Theatre (BEAST), joined us for a concert of multi-channel, surround-sound music for Loudspeaker Orchestra in the Allsebrook Lecture Theatre. Organised by Ambrose Seddon (EMERGE; Creative Technology), the varied programme featured works from BEAST and BU composers.
Annie Mahtani presented and diffused three of her own multi-channel compositions (Inversions; Past Links; Aeolian) along with works by fellow BEAST composers James Carpenter (Pent-Up) and Nikki Sheth (Orford Ness). Ambrose Seddon diffused his recent multi-channel electroacoustic work Traces of Play while Panos Amelidis (EMERGE; Creative Technology and pictured sound-checking) diffused two compositions: Bird Train and Cracks.
Student volunteers from our BSc Music & Sound Production Technology provided crucial help rigging the loudspeaker system – they also gained invaluable insights into novel surround-sound loudspeaker configurations.
Thanks to all who attended and persevered despite the cold conditions!
On Wednesday 1st November 2017 guest artists Alice Edridge, Chris Kiefer, Thomas Gardner and Laura Reid featured alongside BU’s Tom Davis for a concert of music for cello and electronics in the Allsebrook Lecture Theatre, Talbot Campus.
Organised by Dr Ambrose Seddon (Creative Technology; EMERGE), the programme included The Feral Cello performance system developed by Tom Davis (Creative Technology; EMERGE), for which composer/cellist Laura Reid has created a new work, Gemmeleg (2017). Tom’s system incorporates machine listening and actuated feedback to alter the response of an acoustic cello in real time during a performance.
Thomas Gardner (London College of Communication) performed his work Lipsync (2006), for cellist, lips, and 6 channel live electronics. His composition explores various levels of synchronisation between action and speech, poetic idea and sonic image, acousmatic sound and live instrumental performance.
Finally, Alice Eldridge and Chris Kiefer (University of Sussex) performed with modified cellos featuring transducers, sensors, loudspeakers and electronic controllers mounted onto and into the bodies of their instruments. Audience members had the opportunity to get close to the modified cellos after the concert and talk with all the composers and performers.
On 2nd June 2017 Ambrose Seddon (Creative Technology, EMERGE) premiered his new electroacoustic composition Traces of Play at the Klang! Électroacoustique music festival in Montpellier, France. The festival took place over five nights at Opéra Orchestre National Montpellier.
Ambrose’s work was programmed and performed alongside many respected composers from the field of electroacoustic music. The composition was created for 4 channels of audio and was spatialised (diffused) live in concert over the 58-channel Klang! ‘acousmonium’ (loudspeaker system).
Initial work on the composition was carried out during two short residencies at Elektronmusic Studion (EMS), Stockholm with support from Creative Technology.
Ambrose Seddon is a lecturer in Music and Audio Technology at BU.
Dr Ambrose Seddon’s musical work ‘Fleeting Strands’ was recently included in the programme at BEAST FEAST 2017, an international electroacoustic music festival taking place at the University of Birmingham, 27-29 April 2017.
Ambrose ‘diffused’ (spatialised) his composition over the 64-channel loudspeaker system known as BEAST (Birmingham Electroacoustic Sound Theatre), in a programme including works by many highly-respected international artists. More information can be found here: http://preview.tinyurl.com/jvkj7q5
Ambrose is a lecturer in Music and Audio Technology at BU (Creative Technology, Sci Tech) and a member of EMERGE.
A new Cambridge University Press book Expanding the horizon of electroacoustic music analysis includes chapters by EMERGE members Dr Panos Amelides and Dr Ambrose Seddon.
Published on 7th April, this edited collection presents a state-of-the-art overview of analysis methods for electroacoustic music in this rapidly developing field. The book explains the needs of differing electroacoustic genres and puts forward a template for the analysis of electroacoustic music. It also discusses the latest ideas in the field and the challenges associated with new technologies.
Ambrose’s and Panos’s chapters appear in the final section of the book, which demonstrates new analytical methods in action. Ambrose’s chapter focuses on the analysis of Andrew Lewis’s Penmon Point, whilst Panos’s chapter, co-authored with Prof Andrew Hugill (Bath Spa University), explores audio-only computer games, focusing on Papa Sangre.
More details are available here: www.cambridge.org/9781107118324