University of Sheffield Sound Studios (USSS) -Studio Report (original) (raw)
Related papers
Studio Report: Music Research Centre, Department Of Music, University Of York
2005
The Sir Jack Lyons Music Research Centre (mrc) opened in April 2004 as a new addition to the Department of Music at the University of York. This paper describes the concept and design of the Centre, its development and facilities. The mrc was created to provide high quality acoustic spaces for practice based research, technical research and postgraduate training in contemporary applications of technology in music.
Studio Report – Sydney Conservatorium of Music, University of Sydney
2006
This report will give an overview of current activities in music technology at the Sydney Conservatorium of Music. Electroacoustic composition is a principal focus of the composition degree at the Conservatorium, and music technology is integral to the learning and teaching and research in music education, performance and musicology. 2006 saw the first enrolments in Creative Sound Production, which aims to provide students with the aesthetic as well as technical foundations of sound recording.
Studio Report - Sydney Conservatorium of Music
2006
This report will give an overview of current activities in music technology at the Sydney Conservatorium of Music. Electroacoustic composition is a principal focus of the composition degree at the Conservatorium, and music technology is integral to the learning and teaching and research in music education, performance and musicology. 2006 saw the first enrolments in Creative Sound Production, which aims to provide students with the aesthetic as well as technical foundations of sound recording.
CALL FOR REGISTRATION: The 12th UPM International Colloquium for Music Research (ICMus19)
With an anticipation to invite stimulating ideas in academic content and also the sustainable mechanism of the academic event in the long run, the the Department of Music with the support of Faculty of Human Ecology, Universiti Putra Malaysia warmly welcome you to gather in the 12th UPM International Colloquium for Music Resaearch (ICMus19), which will takes place in Kuala Lumpur - Serdang from October 31 till November 2, 2019. Numerous local and international academicians will present their papers as research outcomes of broad topics in music and also music-related fields, despite scholarly discussions by 2 invited keynote speakers, namely Prof. Dr. Yu Hui from Yunnan University, China, and Mr. Eddin Khoo, the Director-Founder of Pusaka, Malaysia. Scholarly discussions and presentations are to revolve the main theme of "Music and the Cosmos", while scholarship of novel research frameworks, methodologies, analysis and interpretation of the topic on music studies in line with the wide coverage of the sub-themes of this colloquium as highlighted below: 1. Interpreting an organised sound in a world-system: A world-system, in the general sense, has established or been establishing cultural, social, economic, political and techno spheres. The expression from music practices in the system delivers to the spheres a defining landscape illustrated with senses, order, reasoning and ideas that reflect the kind of the world the music exists. In this context, we question how an organised sound can be linked to the world it is meant to belong to, and how the carriers of the music practice connect themselves to the world, the universe, or the cosmos. Within this universal view, we encourage discussions on the scientific, cultural, or philosophical observation on the music in macrocosmos or microcosmos and its nature or reasons in existence, or on an intellectual discourse of a typical system as observed in such an organised sound. The discussion can also stretch into connecting ideas in organised sounds, as well as interpretations of interconnectivity of things with music or sound in a world-system. 2. Cosmopolitanism as a way of knowing about music: In the narratives of musicological scholarship, frameworks based of facts on obligatory affiliations, such as culture and nation in particular, are difficult to avoid or refrain from. However, from cosmos to cosmopolitanism with ‘localisation’, ‘globalisation’ and ‘glocalisation’ of music practices in mind, we look into the alternatives in the narratives of music across the dimension of space or time that embrace views of cosmopolitanism as a way of knowing about music. How is the knowledge on certain music practices constructed through the world view of carriers and practitioners with the status of ‘world citizen’? How does the approach of decolonisation influence ways of knowing music scientifically and artistically? And how difficult is it to achieve this notion? We welcome discussions on methodological strategies or a reconstruction of scholarship frameworks in light of the idea of cosmopolitanism. 3. Musicking in the digital age: Humans claim to have been advancing into a ‘new’, digital age when almost every single act in life involves a digital element. Living in a digital world and time, modern people seem to be universally driven with the phenomenal idea of ‘digitalisation’, and musicking in this age and time seems no different. When almost everything about music is digitalised, how obscure have all geographical boundaries in the world become? And what impact does time still have on music and the act of musicking? From electronica, electrophones, electroacoustic enhancements, digital workstations to the act of digital documentation of the musicking process including the application of computer-mediated communication and ‘cloud’ computing tools, we would like to hear about the research findings in light of a seemingly new and unchartered puzzle on the problematisation of the subject matter. 4. New Research: Any music- or sound-related investigations, projects, new findings of individual research or interdisciplinary fields within the broad area of ‘new research’ are welcomed. Please continue reading the attached document for methods of registration, fee payment and other linked activities of this colloquium. Any queries, please contact icmus.upm@gmail.com.
CALL FOR PROPOSALS: The 12th UPM International Colloquium for Music Research (ICMus19)
2019
Announcing the Call for Proposals for the 12th UPM International Colloquium for Music Research (ICMus19) to be held at Universiti Putra Malaysia, Kuala Lumpur – Serdang, Malaysia on 31 October - 2 November 2019. This year, we warmly invite local and international academicians to gather in Kuala Lumpur and dedicate their papers and audiovisual works which will be presented and discussed as research outcomes of broad topics in music and also music-related fields. Keynote Speakers: Yu Hui Professor, Yunnan University, China Eddin KHOO Director-Founder, PUSAKA, Malaysia We welcome panel and individual paper proposals, as well as proposals of acoustic/ electroacoustic/ audiovisual work, that allows discussions and presentations revolving the main theme of "Music and the Cosmos". Exploration into the designated sub-themes below is highly encouraged: 1. Interpreting an organised sound in a world-system: A world-system, in the general sense, has established or been establishing cultural, social, economic, political and techno spheres. The expression from music practices in the system delivers to the spheres a defining landscape illustrated with senses, order, reasoning and ideas that reflect the kind of the world the music exists. In this context, we question how an organised sound can be linked to the world it is meant to belong to, and how the carriers of the music practice connect themselves to the world, the universe, or the cosmos. Within this universal view, we encourage discussions on the scientific, cultural, or philosophical observation on the music in macrocosmos or microcosmos and its nature or reasons in existence, or on an intellectual discourse of a typical system as observed in such an organised sound. The discussion can also stretch into connecting ideas in organised sounds, as well as interpretations of interconnectivity of things with music or sound in a world-system. 2. Cosmopolitanism as a way of knowing about music: In the narratives of musicological scholarship, frameworks based of facts on obligatory affiliations, such as culture and nation in particular, are difficult to avoid or refrain from. However, from cosmos to cosmopolitanism with ‘localisation’, ‘globalisation’ and ‘glocalisation’ of music practices in mind, we look into the alternatives in the narratives of music across the dimension of space or time that embrace views of cosmopolitanism as a way of knowing about music. How is the knowledge on certain music practices constructed through the world view of carriers and practitioners with the status of ‘world citizen’? How does the approach of decolonisation influence ways of knowing music scientifically and artistically? And how difficult is it to achieve this notion? We welcome discussions on methodological strategies or a reconstruction of scholarship frameworks in light of the idea of cosmopolitanism. 3. Musicking in the digital age: Humans claim to have been advancing into a ‘new’, digital age when almost every single act in life involves a digital element. Living in a digital world and time, modern people seem to be universally driven with the phenomenal idea of ‘digitalisation’, and musicking in this age and time seems no different. When almost everything about music is digitalised, how obscure have all geographical boundaries in the world become? And what impact does time still have on music and the act of musicking? From electronica, electrophones, electroacoustic enhancements, digital workstations to the act of digital documentation of the musicking process including the application of computer-mediated communication and ‘cloud’ computing tools, we would like to hear about the research findings in light of a seemingly new and unchartered puzzle on the problematisation of the subject matter. 4. New Research: Any music- or sound-related investigations, projects, new findings of individual research or interdisciplinary fields within the broad area of ‘new research’ are welcomed. We encourage scholarship of novel research frameworks, methodologies, analysis and interpretation of the topic on music studies in line with the wide coverage of the theme of this colloquium. Limit of abstract length: max. 250 words (individual paper or compositional work)/ max. 300 words (panel proposal) The DEADLINE of proposal submission has been extended to July 15, 2019, 23:59 (UTC+8), and the notification of proposal acceptance will be announced via email by August 15, 2019. All proposals should be submitted via email in a word document attachment to icmus.upm@gmail.com. Please find in the attachment for submission criteria, instructions of submission, fees details and other related information.
2013
The computer music studios of the composition department at Hanyang University in Seoul, Korea have recently been linked to a newly-created autonomous organization called CREAMA: the Center for Research in Electro-Acoustic Music and Audio. Over the past handful of years the Hanyang University’s studios have been active both nationally and internationally in the realms of electronic and computer music pedagogy, research, creation and performance, and the new connection with CREAMA will help continue to develop these activities and promote their visibility outside the confines of the university. Nonetheless, the studios and the university’s computer music degree program (recently expanded to encompass both undergraduate and doctoral-level students) are both closely associated with the activities of the center.
The western conservatory tradition requires substantial study in European music history, theory, counterpoint, and orchestration in order to provide the necessary qualifications to pursue composition. This process favors imitation as a means of gaining a practical understanding of historical forms. Because it is rooted in the practice of European music, this course of study excludes a serious investigation of other traditions that may play a central role in one's cultural identity. The degree to which this forms barriers for young composers from Asia is a particular concern of mine. I advocate for a shift in priorities that raises the profile of Asian cultural practices as a vital part of becoming a composer. My paper refers to writings by Chou Wen-chung, who wrote persuasively on this topic, and by José Maceda, whose inquiries into Southeast Asian music unc 1 overed a rich terrain. I use my own work as an example of how the study of one's particular heritage can help inform a personal creative voice. My intent is not to suggest models, but rather to suggest possible paths that better suit those of us from Asian backgrounds so that we can take advantage of the richness this provides. Abstract 1 Distinguished Professor, University of California, San Diego and Presidential Fellow: Senior Composer in Residence, 8 Chapman University