You are warmly invited to the first BU Sonic Arts concert of 2023/24. Come and experience the magic of immersive, spatial music and sound!
We are delighted to welcome composer Jonty Harrsion, an inspirational and acclaimed figure in electroacoustic music. This is a rare opportunity to hear Harrison’s work projected on our multichannel loudspeaker system, here in Bournemouth University’s Screening Room, Poole Gateway Building, Talbot Campus. The programme will be a historical retrospective, charting his evolving compositional practice, moving from stereo to 8-channel, to extensive multichannel, and then to ambisonic sound. Jonty is Emeritus Professor of Composition and Electroacousitc Music at University of Birmingham.
Date: Thursday 7th December 2023
Location: Screening Room PG217, 2nd Floor, Poole Gateway Building, Talbot Campus
Admission is free but please book a ticket : https://www.eventbrite.co.uk/e/bu-sonic-arts-concert-featuring-jonty-harrison-tickets-760552030597?aff=oddtdtcreator
I was recently selected for two composer residencies in Sweden, first at Elektronmusik Studion (EMS), Stockholm (June 2023), and then at Studio Alpha, Visby International Centre for Composers (VICC), Visby, Sweden (September 2023). Both studios feature immersive multichannel surround sound systems of extremely high quality, enabling me to explore in-depth the compositional possibilities of spatial audio.
Studio 2 at EMS Stockholm
Studio Alpha at Visby International Centre for Composers
During these residencies I was able to focus on the use of ambisonic sound. Ambisonic sound is used in many areas of the creative industries, such as music and sound recording, music creation, cinema and TV sound design, and game audio. The format allows for spatial audio ‘environments’ to be created within a virtual listening space using computer software, positioning and moving individual sounds around the listening area. Most significantly, this spatial audio can then be decoded for any playback system – from binaural for earbuds, conventional stereo, and on to immersive audio systems of 64 loudspeakers or more, yet always retaining the composed spatial image.
This scalability of ambisonic sound makes it extremely flexible when presenting immersive audio work in different venues of different sizes, and with different loudspeaker layouts. At EMS, I was able to work using their 15.1 Genelec sound system, which features an array of ceiling loudspeakers, as shown in the photo.
These residencies gave me fantastic opportunities to commence composing new electroacoustic work whilst exploring the ambisonic technique in-depth, using a variety of software tools in different music studio environments.
Ambrose Seddon, Department of Creative Technology and EMERGE
You are warmly invited to our first loudspeaker orchestra concert of 2022-23 on Wednesday 7th December at 17.30! Come and experience the magic of immersive, spatial sonic art!
We are delighted to welcome Korean composer and sound artist Suk-Jun Kim. His music is published by ICMC, IMEB, SEAMUS, M&R, and Vox Regis, and has received a number of international awards, including Métamorphoses in 2000 and 2008, Concurso International de Música Electroacústica Såo Paulo in 2007, and Bourges International Competition in 2001.
Kim’s research focuses on sound studies, immersive sound, phenomenological approaches to electroacoustic music, space and place among others. Kim is professor and personal chair of Electroacoustic Music and Sound Art at the University of Aberdeen.
Venue: Sound Stage, Poole Gateway Building, Talbot Campus, Bournemouth University, BH12 5BB
Date/Time: Wednesday 7th December @17:30
Admission: free but please register on Eventbrite: https://tinyurl.com/2h6pyu4x
Organised by members of EMERGE and Creative Technology.
Please share with anyone you feel may be interested. Looking forward to seeing you there!
Thursday 30th March 2023 – Jonty Harrison + students from BA Music & Sound Production
Wednesday 3rd May 2023 – Louise Rossiter + students from BA Music & Sound Production
Last week Chilean composer and researcher Dr Felipe Otondo visited BU. Felipe, a Senior Lecturer at the Universidad Austral, Chile, gave a fascinating research seminar to the Creative Technology Department discussing his role in the Soundlapse Project.
Soundlpase is an interdisciplinary research initiative funded by the Chilean National Agency for Research and Development, which seeks to highlight the acoustical heritage of wetlands in the south of Chile, and studies these ecosystems‘ unique soundscapes through field recording techniques. As an outcome of the project’s periodic documentation of the “Parque Urbano El Bosque” wetland soundscapes in Valdivia, in 2021 eight sound artists, including BU’s Ambrose Seddon, were commissioned to compose works using these field recordings, available as an album through the Gruenrekorder label.
Along with the research seminar, on Thursday 24th March we hosted a concert of the commissioned works, in the Soundstage, Poole Gateway Building. This was our first loudspeaker concert in this new space, and it was fantastic to be able to finally set up our loudspeaker system and present immersive sound works in our new facilities.
The audience was a mixture of UG students from the BA Music & Sound Production, as well as BU staff, and members of the public. Some of the students assisted with the concert set up, gaining valuable experience of immersive audio systems for live concert performance whilst also meeting and chatting with Felipe.
BU Sonic Arts presents an immersive multichannel concert of works from the Soundlapse Project, featuring works by Aki Pasoulas, Alejandro Albornoz, Brona Martin, Francisco Lopez, Pete Stollery, Rob Mackay and BU’s Ambrose Seddon.
The Soundlapse Project (2019-22) is an interdisciplinary research initiative funded in 2019 by the Chilean National Agency for Research and Development. It seeks to highlight the acoustical heritage of wetlands in the south of Chile.
The project brought together artists, acousticians, biologists and computer scientists with the aim of studying these ecosystems’ unique soundscapes. As an outcome of the project’s periodic documentation of the “Parque Urbano El Bosque” wetland soundscapes in Valdivia, in 2021 eight sound artists were commissioned to compose works using these field recordings.
Date: Thursday 24th March 2022 at 1700
Venue: The Sound Stage, Poole Gateway Building, Talbot Campus
Admission free but please book a ticket! https://www.eventbrite.com/e/bu-sonic-arts-presents-works-from-the-soundlapse-project-chile-tickets-292077861747
More information about the project at: www.soundlapse.net
Earlier this year I was invited to take part in the Soundlapse project. The composition that I created as part of the project has just been released on Gruenrekorder, a German label focusing on field recording and soundscape composition.
The Soundlapse project (2019-22) is an interdisciplinary research initiative funded in 2019 by the Chilean National Agency for Research and Development. It seeks to highlight the acoustical heritage of wetlands in the south of Chile. The project brought together artists, acousticians, biologists and computer scientists with the aim of studying these ecosystems’ unique soundscapes. As an outcome of the project’s periodic documentation of the “Parque Urbano El Bosque” wetland soundscapes in Valdivia, in 2021 eight sound artists were commissioned to compose works using these field recordings.
The album of compositions is available to listen to here – free mp3 version: https://www.gruenrekorder.de/?page_id=18999
There will be a concert of these works here at BU in March 2022.
Our first concert of 2021 takes place on Thursday 18th November. You are invited to come and experience the magic of immersive spatial music and sound!
Venue: Screening Room PG217, Poole Gateway Building, Talbot Campus, Bournemouth University, BH12 5BB
Date/Time: Thursday 18th November 2021 at 5.30pm
Duration: 1 hour (approx)
My music was programmed at two international electroacoustic music festivals this summer. Fleeting Strands (2011) appeared at the New York City Electroacoustic Music Festival (NYCEMF) 2021 in June, this year taking pace online due to the pandemic.
It’s great to see this older composition of mine continuing to be programmed. It is composed from sound recordings made whilst visiting the coasts of Norfolk and Devon. Occasionally the sources are revealed (the sea, rocks, cave ambiences, boatyards, church bells, an open fire), but the music is really concerned with the different spaces encountered on a journey of transformed realities and shifting perspectives.
And in August a more recent composition, Traces of Play (2017), was performed at the prestigious Futura Festival 2021 in Crest, France. Futura is one of the major festivals of electroacoustic music in Europe, and it was an honour to have my music included on the programme.