Posts By / aseddon

BU composer’s music in concert in Bangor, Brussels and Beijing

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.

‘Traces of Play’ in concert at SMC 2018 and NYCEMF 2018

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.

Music of Creative Technology lecturer receives international prize

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.

Dr Ambrose Seddon premieres new composition at Klang! Électroacoustique festival 2017, Montpellier, France

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.

 

BU Composer at BEAST FEAST 2017 Music Festival

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.

Electroacoustic music analysis: new publications from Dr Ambrose Seddon and Dr Panos Amelides

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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