Current Research ProjectsPHD Students and Staff

WELCOME from Prof Neil Heyde

This magazine is a snapshot of the kind of research work wersquore engaged in at the Academy Rather than abstracts or detailed descriptions of our projects we felt it would be more useful to give an indication of the kinds of questions that motivate us If you would like to find out more about any of the individual projects ndash or the people driving them ndash please refer to the back page of this newsletter or write to postgradramacuk This is only a partial picture of what wersquore doing and you can find more by following the staff links on the research pages of the website

As you will see our work is primarily creative and artistic in approach whether or not it involves creating new material In different ways we are all seeking to reveal the kinds of knowledge that creative practice generates and we meet regularly to test ideas and get feedback One possible criterion for originality in research is defined formally in the Academyrsquos doctoral regulations as lsquoartistic insight at an appropriate levelrsquo Understanding what we mean by high-level artistry and revealing the nature and character of the insight it affords is central to the Academyrsquos core mission to enrich musical culture

Newsbull Congratulations to Dr Olivia Sham and Dr Zubin Kanga who passed their PhD vivas earlier this year

bull Laura Bowler is currently working on two new works for Manchester Camerata with which she is the 2013-14 Young Composer in Residence as part of Sound and Musicrsquos Embedded programme wwwlaurajbowlercouk

bull Recipient of a 2011 BASCA British Composer Award Richard Bullen received a second nomination in 2013 Richard is currently a core member of the LSO Soundhub Scheme httplsosoundhubcoukcomposers

bull Thanks to a successful Kickstarter campaign Carter Callison has secured funds enabling him to continue the development of his Scordatura Pedals for Double Bass wwwscordaturapedalscom

bull An-Ting Chang is founder and current co-artistic director of Concert Theatre a new company devoted to transforming the concert and theatre experiences through the interweaving of the two Their recent show lsquoThe Rite of Spring Romeo amp Julietrsquo supported by Arts Council England toured throughout the country at 17 venues httpconcerttheatreorguk

bull David Coonan is to be a featured composer of the RTEacute National Symphony Orchestra of Irelandrsquos 2015 Horizons Series which will see the premiere of his completed Sarcasms for orchestra alongside his 2011 violin concerto Traumlumerei wwwdavid-coonancom

bull Simon Cox is founder and artistic director of Septura a brass group taking music by the great composers and re-imaging it for the unique expressive qualities of the brass septet Set to record a series of 10 discs with the Naxos label their first recording is due for release in August 2014 httpsepturaorg bull RunTime the recently formed performance act led by composer Philip Dawson currently have an ensemble residency at Aldeburgh Music as part of the 2013-15 Open Space programme bull Sadie Fields along with her duo partner Jeremy Young has finished recording a disc of the complete Brahms Sonatas scheduled for release on Champs Hill Records in 2014 wwwsadiefieldscom bull Prof Neil Heyde is serving on the Research Excellence Framework (REF) 2014 Panel for Music Drama Dance and Performing Arts This panel is responsible for the qualitative assessment of music research across the country administered by the four UK higher education funding bodies

bull Recently signed to Composers Edition Ryan Latimer is currently Composer-in-Association with the Workers Union Ensemble His recent composition lsquoMoby Dickrsquo is to be recorded by NMC and premiered at the Huddersfield Contemporary Music Festival 2014 httpryanlatimercom

bull Zubin Kangarsquos recent concert project lsquoMorphosisrsquo showcased many of the works featured as part of his doctoral project including works by Michael Finnissy and George Benjamin It included the premiere of Patrick Nunnrsquos Morphosis involving electronics controlled by 3D sensors attached to the pianistrsquos hands wwwzubinkangacom

Research at the Academy

What is the Academyrsquos research degree programme

The doctoral programme is a research and development engine for the Academyrsquos taught programmes a collaborative environment for musicians to share and critique working practices and most importantly a framework for students to develop long-term projects that will drive personal and individual careers We only take on a small number of new projects each year but we are open to a very wide range of approaches ndash as you can see on the following pages There are three critical factors in our selection artistic level the specificity of the links between student and project and the extent to which the work could make a valuable contribution to our continually developing understanding of artistic research

What does it mean to be a lsquoresearchingrsquo musician

Researchers at the Academy are likely to work on and with primary sources and to explore the ways in which music is communicated A critical understanding of the context(s) for a project is vital but much of our research activity takes place in the practice room the rehearsal studio on stage at the composition desk and in discussions with other musicians Most doctoral students do not have the kind of one-to-one principal study lessons typical of taught degrees but work closely with at least one experienced supervisor who helps to manage and guide the project and who assists in organising the necessary support network We do provide one-to-one lesson support where appropriate to individual students or projects

Redefining Instruments

Through a series of interrelated projects Irsquom exploring the ways in which we understand the cello as an lsquoinstrumentrsquo The projects include editorial work on Faureacute and Debussy pieces an ongoing study of Pablo Casalsrsquo phenomenal artistry and technical innovations exploration of 19th-century virtuoso material and two projects built around new compositions that will include a performance and documentary film of a piece by Michael Finnissy to be performed on seven different cellos (from the Academyrsquos collection) and music written by Richard Beaudoin (Harvard) based on a micro-timing analysis of a Casals Bach recording

Prof Neil Heyde (staff)

How is the cello more than just a lsquotoolrsquo for playing music

What is a Zwischenfach

The term Zwischenfach is currently used to describe voices that are in between the vocal categories of soprano and mezzo-soprano Since clear voice categorisation is crucial for young singers entering the audition circuit I set out to investigate the challenges of singers who fall between the main recognised categories Research methods include score analysis auto-ethnography and interviews with reputable opera singers conductors and casting agents This process is informing the development of a disc of arias which will aim to capture my lsquooptimum repertoirersquo (Ger= in-between categories)

Adriana Festeu ndash Performance (Voice)

My research explores scordatura as a physical and theoretical phenomenon As a Bassist these insights have led to the development of Scordatura Pedals which allow bassists to change the pitch of their strings while playing and thus greatly expand the capabilities of the instrument Stemming from physical scordatura theoretical scordatura is a process I apply to existing works This process draws equivalencies between the notes of a passage and a theoretical model resulting in the transformation of various musical parameters

Carter Callison ndash Composition amp Performance (Double Bass)

How can performance concerns influence modern compositional thought

The Concert ExperienceHow can I create a performance style in which concert music is presented through a theatrical performance

How does the listener perceive the essence of a historical artifact when placed in a contemporary modern landscape

My PhD thesis explores the process of taking documents from the past and placing them in a new contemporary musical framework My interest lies in preserving the essence of these historical components and emphasizing their ancient character from a modern perspective With the technological aspects of digital-delay processing the exploitation of technology in an acoustic and electronic environment has informed my research I will attempt to juxtapose current and old materials naturally as if there was no chronological gap

Brian Mark ndash Composition

Can playfulness and self-satire benefit contemporary work

Playfulness and humour have important roles in my work not least for the promise of whizzing endorphins and free abdominal workouts but because such qualities often reveal parts of ourselves we might not otherwise care to acknowledge Our ability to recognise and ridicule our insecurities is a rare luxury afforded to us and in my opinion is not credited nearly as much as it should be Although there are a few gags or gimmicks in my work there is a playfulness that gently brings into contention those questions which deserve more critical attention

Ryan Latimer ndash Composition

Where are the boundaries of music-making

My current project a book about the 19th-century salon looks at ways in which salon culture offers a unique performance practice rather than a musical language This highlights the people places and concepts involved as important factors alongside repertoire I am also looking at ways in which cultural assumptions about gender informed salon practice

Dr Briony Cox-Williams (staff)

In the process of interweaving music with a dramatic piece music in Concert Theatre becomes another language expressed by the musicians spoken alongside the actors on the same stage The work is produced through a collaboration among musicians directors actors and designers My own role involves altering the experience of how these elements interact thus creating an original performing style

An-Ting Chang ndash Performance (Piano)

How can the lsquoperformance spacersquo become a central protagonist in new work

My compositions often make creative use of performance spaces in order to heighten perception of sound structure and the drama inherent in my musical material My recent work The House of Asteria was written for soprano four vertically separated quartets of clarinet and strings video and the entire building of LSO St Lukersquos The piece explores the dramatic interaction between ldquoonrdquo and ldquooffstagerdquo and seeks to establish an intense series of interrelationships between music text video lighting spatial choreography and architecture

Richard Bullen ndash Composition

Pho

to K

evin

Lei

ghto

n

Performance practices and traditionsSo you want to be a great violinist

Since the age of eight or nine I have been obsessed by early recording of violinists like Heifetz Szigeti and Ferras I was lucky enough to study with musicians including Gyoumlrgy Pauk Ivry Gitlis and Ferenc Rados who fuelled my interest in the great traditions of the past and Irsquom now continuing this exploration By learning all of Bartoacutekrsquos violin works and using this learning process as a model Irsquom exploring my relationship to tradition pedagogy learning and to changes in music making during the last hundred years

Sadie Fields ndash Performance (Violin)

Can historical recordings offer a doormdashnot merely a windowmdashto the past

My research project centres on the interpretative aesthetic of the pianist Moriz Rosenthal whose formative influences included Karol Mikuli Franz Liszt and Anton Rubinstein Through a study of his recordings and those of other pianists who studied with the same figures this project explores Rosenthalrsquos art and its relation to leading nineteenth century interpretative traditions

Otis Beasley ndash Performance (Piano)

ldquoThe players and the composer have the little black marks on paper which we call notation whereas the listeners only have their ears and that is the true way of listening to music not with the eye but with the earrdquo ndash L Stokowski

Irsquom investigating the performance aesthetic of the conductor Leopold Stokowski examining the ways in which his practices and principles can be practically implemented so as to enrich todayrsquos performers and general musical culture

Margaret Dziekonski ndash Performance (Violin)

Maria Curcio was one of the most sought-after piano teachers of the Twentieth Century but what was it about her teaching that earned her this status

Like many influential pedagogues very little is documented concerning the content of Maria Curciorsquos teaching Credited as the teacher of such pianists as Martha Argerich Radu Lupu Mitsuko Uchida and Pierre-Laurent Aimard I became intrigued to discover more about her as a pianist and teacher Through interviewing and working with her former pupils I hope to build an enduring picture of her approach This process is proving highly influential in the development of my own playing and teaching

Jack Lambert ndash Performance (Piano)

Changing perspectives

How can brass musicians be given the chance to play chamber music by the great composers

I am attempting to address this issue by producing a series of transcriptions for brass septet During this process I aim to explore and incorporate methods of notating performance practices relevant to the works being transcribed in a manner suitable for brass instruments for example the natural shape and phrasing which is inherent to choral music due to the text Further work will be undertaken on the lsquointrinsicrsquo nature of the brass septet and whetherhow this can be activated in my arrangements

Simon Cox ndash Performance (Trumpet)

What is lsquosurfacersquo in music Does music have depth

My work explores definitions and functions of musical texture with a particular focus on notions of ldquosurfacerdquo and ldquoaural perspectiverdquo This has involved considering the qualities of what would normally be deemed foreground- or background-type materials and then presenting these materials in ways that undermine traditional aural hierarchies In my piece for large symphony orchestra Silent Roads it led to the fundamental structural idea for the piece a gradual surface-change from isolated pitches to layered chords

Laurie Bamon ndash Composition

How can spatialized auditory experiences precipitate new compositional ideas

My project is based around four works including one for violin solo electro-acoustics and ensemble where sound is mixed from all sides of the concert hall Combinations of timbral identities from different instrumental forces are combined with complex electronic sounds which are spatially distributed The aim is to alter the perspective of sound where the listener is immersed in sound and where the auditory journey can be approached from a multitude of angles

Ivor Bonnici ndash Composition

How can traditional modes of performance be challenged so that an established composerrsquos oeuvre is heard afresh

My interest led me to explore new ways of presenting virtuoso pianist-composer Franz Lisztrsquos solo piano music using nineteenth-century instruments (eg the RAM Museumrsquos 1840 Eacuterard grand piano) and an innovative approach to programme design in both my six-recital series and in my studio recording

Olivia Sham ndash Performance (Piano)

What is the significance of Holocaust Music within a larger context of 20th Century Modernism

Holocaust Music can be broadly defined as music written by Jewish composers interned in Nazi camps during the Second World War But as a body of repertoire what is its place and significance within a larger context of 20th century Modernism and the complex issues of national and cultural identity As a cellist my research aims to explore the way string players of Central and Eastern Europe would have performed music written in the 1920s-1940s My project focuses on interpretation and programming of this music from a performerrsquos perspective to enable a three dimensional picture of this wonderful repertoire

Rebecca Herman ndash Performance (Cello)

Collaboration and ProcessCan observing composer-performer collaboration from the inside offer new insights into this process

I documented forty two of my own collaborations on solo piano works with composers including George Benjamin Michael Finnissy David Gorton and David Young Ten of these were selected for detailed case studies allowing me to observe the catalysts that shaped these collaborations including virtuosity graphic notation differences in age and long-term relationships

Zubin Kanga ndash Performance (Piano)

lsquoCutting out the Middlemanrsquo Anon c1967

If I were to embrace business talk this phrase may as well be my artistic slogan My research surrounds the creation and development of a web-based body of work and performance act titled RunTime This research aims to challenge notions of control in artistic forums and explore how a contemporary band can function beyond conventional methods and design the emphasis on guerrilla music making in the digital age

Philip Dawson ndash Composition

Through the analysis of stylistically varied scores and through interviewing composers and conductors I aim to explore modern orchestral technique I hope to come to an under-standing of orchestral writing that will subsequently allow me to incorporate in my own compositions orchestral sonorities and instrumental techniques that would otherwise be deemed beyond the realms of possibility within a modern orchestral rehearsal schedule

Gerardo Gozzi ndash Composition

In a world of limited rehearsal time how can composers push the boundaries of orchestral technique

What do we mean by lsquocreative resistancersquo and how might it help us to understand the distributed nature of the musical work

This project explores the instinct of composers and performers to work lsquoagainstrsquo their materials an instinct that gets written into notation as well as being vital for its activation It grapples particularly with the intersections between hardware ndash manuscripts editions and instruments ndash as especially productive sites of resistance It is a collaborative project between staff and students

Dr Sarah Callis (staff)

What can be revealed at the meeting points of composition improvisation and collaboration

My compositionally-driven research is concerned with the between-spaces in musical practice alternative tuning systems new instruments and techniques virtuosity and the limits of performance technique performer freedoms and constraint choose-your-own-adventure music the laundering of stolen materials Central to these explorations is the importance of collaboration with (risk-loving) performers and the study of the economies of musical production and process

Dr David Gorton (staff)

How can I reimagine the theatrical in music

MaterialInteractions

Is it meaningless to draw connections to the past

Through a sort of lsquorecyclingrsquo my work tries to render afresh ideas from the past in such a way as they may resonate in contemporary contexts ndash their clear articulation in sound being a definite research aim In my recent orchestral Sarcasms connections to Prokofievrsquos identically named pieces suggest music seemingly innocuous on the surface yet with perhaps darker implications underneath The expressive duality of this Soviet-era model served as precedent for how a composer might deal with current societal pressures

David Coonan ndash Composition

My last three pieces incorporate theatrical elements and build on my experience of working in opera Skin Deep a satirical operetta set in a plastic surgery clinic in Switzerland consists of a variety of solo choral and orchestral numbers Rumpelstiltskin is conceived as a sequence of dance movements based upon events in the fairy tale with gesture and action - part dance part dramatic movement - closely related to the rhythm and structure of the composition Flesh and Blood a dramatic scene for the concert hall scored for mezzo soprano baritone and large orchestra sets a specially commissioned text by Howard Barker

David Sawer (staff)

Irsquove just started work on a commission for the Esprit Orchestra in Toronto for their 1415 season This project is a collaboration with British artist Stephen Vince who is making a series of paintings and sculptures that will be a response to my new piece His work will form an exhibition at Waddingtonrsquos Toronto Gallery that will coincide with the premiere of my piece

Philip Cashian (staff)

How is dancing like playing an instrument

My Academy research is centred on the physicality of instrumental performance in chamber music ndash a relatively new direction in contemporary composition that is being investigated in different ways by a number of younger generation composers such as Simon Steen-Andersen Aaron Cassidy or Neil Luck I focus specifically on relating instrumental performance to choreography often deriving musical material from choreographic movements

Elo Masing ndash Composition

Can the study of theatre impact on the creation of music

Irsquom exploring Antonin Artaudrsquos manifesto for a ldquoTheatre of Crueltyrdquo and how it can serve as a catalyst for my own work Irsquove been exploring his methods through several case studies including work for Size Zero Opera (an Opera company I founded in 2007) Currently Irsquom working on a music theatre adaption of The Spurt of Blood to be directed by Sue Dunderdale (RADA Head of Directing) In addition to Artaud Irsquom looking at other approaches to theatre including those of Grotowski and Stanislawksi

Laura Bowler ndash Composition

How might a visual artist respond to my music

lsquoQue

denr

aharsquo

a p

erfo

rman

ce b

y A

kler

iah

at T

he Q

ueen

rsquos H

ouse

Cou

rtes

y R

oyal

Mus

eum

s G

reen

wic

h P

hoto

Jas

on W

en

Laurie Bamon web wwwpianostorywordpresscomlaurie-bamon mail lbamonramacuk Otis Beasley mail obeasleyramacuk Ivor Bonnici mail ibonniciramacukLaura Bowler web wwwlaurajbowlercouk wwwsizezerooperacom mail lbowlerramacuk Richard Bullen web wwwlsosoundhubcoukprofilebullenrichard wwwrichardbullencomposerwordpresscom mail rbullenramacuk Carter Callison web wwwcartercallisoncom wwwscordaturapedalscom mail ccallisonramacuk David Coonan web wwwdavid-coonancom mail dcoonanramacuk Simon Cox web wwwsepturaorg mail simoncoxtrumpetgmailcom An-Ting Chang web wwwconcerttheatreorguk mail antingpigyahoocomtw Philip Dawson web wwwphil-dawsoncom mail pdawsonramacuk Margaret Dziekonski mail postgradramacukAdriana Festeu web wwwadrianafesteucom mail afesteuramacuk Sadie Fields web wwwsadiefieldscom mail sfieldsramacuk Rebecca Herman web wwwrebeccahermancom mail rhermanramacuk Zubin Kanga web wwwzubinkangacom mail zkangaramacuk Gerrardo Gozzi web wwwsoundcloudcomgerardogozzi mail ggozziramacuk Jack Lambert mail jacklambertramacuk Ryan Latimer web wwwryanlatimercom mail rlatimerramacuk Brian Mark web wwwbrianjmarkcom mail bmarkramacuk Elo Masing web wwwsoundcloudcomelo-masing wwwmasingsmusingswordpresscom mail emasingramacuk Olivia Sham web wwwoliviashamcom mail oshamramacuk

For research staff profiles visit the RAM website at wwwramacukfind-people (filter lsquoresearch programmesrsquo)

Researcher Contacts and Profiles

Contact us

Royal Academy of MusicMarylebone RoadLondonNW1 5HT

tel 020 7873 7373

wwwramacukwwwfacebookcomroyalacademyofmusicwwwtwittercomRoyalAcadMusic

If you would like any more information about the projects in this newsletter write to us at postgradramacuk

If you are interested in undertaking a PhD at the Academy please refer to our website wwwramacukprogrammes-of-study

The Concert ExperienceHow can I create a performance style in which concert music is presented through a theatrical performance

How does the listener perceive the essence of a historical artifact when placed in a contemporary modern landscape

My PhD thesis explores the process of taking documents from the past and placing them in a new contemporary musical framework My interest lies in preserving the essence of these historical components and emphasizing their ancient character from a modern perspective With the technological aspects of digital-delay processing the exploitation of technology in an acoustic and electronic environment has informed my research I will attempt to juxtapose current and old materials naturally as if there was no chronological gap

Brian Mark ndash Composition

Can playfulness and self-satire benefit contemporary work

Playfulness and humour have important roles in my work not least for the promise of whizzing endorphins and free abdominal workouts but because such qualities often reveal parts of ourselves we might not otherwise care to acknowledge Our ability to recognise and ridicule our insecurities is a rare luxury afforded to us and in my opinion is not credited nearly as much as it should be Although there are a few gags or gimmicks in my work there is a playfulness that gently brings into contention those questions which deserve more critical attention

Ryan Latimer ndash Composition

Where are the boundaries of music-making

My current project a book about the 19th-century salon looks at ways in which salon culture offers a unique performance practice rather than a musical language This highlights the people places and concepts involved as important factors alongside repertoire I am also looking at ways in which cultural assumptions about gender informed salon practice

Dr Briony Cox-Williams (staff)

In the process of interweaving music with a dramatic piece music in Concert Theatre becomes another language expressed by the musicians spoken alongside the actors on the same stage The work is produced through a collaboration among musicians directors actors and designers My own role involves altering the experience of how these elements interact thus creating an original performing style

An-Ting Chang ndash Performance (Piano)

How can the lsquoperformance spacersquo become a central protagonist in new work

My compositions often make creative use of performance spaces in order to heighten perception of sound structure and the drama inherent in my musical material My recent work The House of Asteria was written for soprano four vertically separated quartets of clarinet and strings video and the entire building of LSO St Lukersquos The piece explores the dramatic interaction between ldquoonrdquo and ldquooffstagerdquo and seeks to establish an intense series of interrelationships between music text video lighting spatial choreography and architecture

Richard Bullen ndash Composition

Pho

to K

evin

Lei

ghto

n

Performance practices and traditionsSo you want to be a great violinist

Since the age of eight or nine I have been obsessed by early recording of violinists like Heifetz Szigeti and Ferras I was lucky enough to study with musicians including Gyoumlrgy Pauk Ivry Gitlis and Ferenc Rados who fuelled my interest in the great traditions of the past and Irsquom now continuing this exploration By learning all of Bartoacutekrsquos violin works and using this learning process as a model Irsquom exploring my relationship to tradition pedagogy learning and to changes in music making during the last hundred years

Sadie Fields ndash Performance (Violin)

Can historical recordings offer a doormdashnot merely a windowmdashto the past

My research project centres on the interpretative aesthetic of the pianist Moriz Rosenthal whose formative influences included Karol Mikuli Franz Liszt and Anton Rubinstein Through a study of his recordings and those of other pianists who studied with the same figures this project explores Rosenthalrsquos art and its relation to leading nineteenth century interpretative traditions

Otis Beasley ndash Performance (Piano)

ldquoThe players and the composer have the little black marks on paper which we call notation whereas the listeners only have their ears and that is the true way of listening to music not with the eye but with the earrdquo ndash L Stokowski

Irsquom investigating the performance aesthetic of the conductor Leopold Stokowski examining the ways in which his practices and principles can be practically implemented so as to enrich todayrsquos performers and general musical culture

Margaret Dziekonski ndash Performance (Violin)

Maria Curcio was one of the most sought-after piano teachers of the Twentieth Century but what was it about her teaching that earned her this status

Like many influential pedagogues very little is documented concerning the content of Maria Curciorsquos teaching Credited as the teacher of such pianists as Martha Argerich Radu Lupu Mitsuko Uchida and Pierre-Laurent Aimard I became intrigued to discover more about her as a pianist and teacher Through interviewing and working with her former pupils I hope to build an enduring picture of her approach This process is proving highly influential in the development of my own playing and teaching

Jack Lambert ndash Performance (Piano)

Changing perspectives

How can brass musicians be given the chance to play chamber music by the great composers

I am attempting to address this issue by producing a series of transcriptions for brass septet During this process I aim to explore and incorporate methods of notating performance practices relevant to the works being transcribed in a manner suitable for brass instruments for example the natural shape and phrasing which is inherent to choral music due to the text Further work will be undertaken on the lsquointrinsicrsquo nature of the brass septet and whetherhow this can be activated in my arrangements

Simon Cox ndash Performance (Trumpet)

What is lsquosurfacersquo in music Does music have depth

My work explores definitions and functions of musical texture with a particular focus on notions of ldquosurfacerdquo and ldquoaural perspectiverdquo This has involved considering the qualities of what would normally be deemed foreground- or background-type materials and then presenting these materials in ways that undermine traditional aural hierarchies In my piece for large symphony orchestra Silent Roads it led to the fundamental structural idea for the piece a gradual surface-change from isolated pitches to layered chords

Laurie Bamon ndash Composition

How can spatialized auditory experiences precipitate new compositional ideas

My project is based around four works including one for violin solo electro-acoustics and ensemble where sound is mixed from all sides of the concert hall Combinations of timbral identities from different instrumental forces are combined with complex electronic sounds which are spatially distributed The aim is to alter the perspective of sound where the listener is immersed in sound and where the auditory journey can be approached from a multitude of angles

Ivor Bonnici ndash Composition

How can traditional modes of performance be challenged so that an established composerrsquos oeuvre is heard afresh

My interest led me to explore new ways of presenting virtuoso pianist-composer Franz Lisztrsquos solo piano music using nineteenth-century instruments (eg the RAM Museumrsquos 1840 Eacuterard grand piano) and an innovative approach to programme design in both my six-recital series and in my studio recording

Olivia Sham ndash Performance (Piano)

What is the significance of Holocaust Music within a larger context of 20th Century Modernism

Holocaust Music can be broadly defined as music written by Jewish composers interned in Nazi camps during the Second World War But as a body of repertoire what is its place and significance within a larger context of 20th century Modernism and the complex issues of national and cultural identity As a cellist my research aims to explore the way string players of Central and Eastern Europe would have performed music written in the 1920s-1940s My project focuses on interpretation and programming of this music from a performerrsquos perspective to enable a three dimensional picture of this wonderful repertoire

Rebecca Herman ndash Performance (Cello)

Collaboration and ProcessCan observing composer-performer collaboration from the inside offer new insights into this process

I documented forty two of my own collaborations on solo piano works with composers including George Benjamin Michael Finnissy David Gorton and David Young Ten of these were selected for detailed case studies allowing me to observe the catalysts that shaped these collaborations including virtuosity graphic notation differences in age and long-term relationships

Zubin Kanga ndash Performance (Piano)

lsquoCutting out the Middlemanrsquo Anon c1967

If I were to embrace business talk this phrase may as well be my artistic slogan My research surrounds the creation and development of a web-based body of work and performance act titled RunTime This research aims to challenge notions of control in artistic forums and explore how a contemporary band can function beyond conventional methods and design the emphasis on guerrilla music making in the digital age

Philip Dawson ndash Composition

Through the analysis of stylistically varied scores and through interviewing composers and conductors I aim to explore modern orchestral technique I hope to come to an under-standing of orchestral writing that will subsequently allow me to incorporate in my own compositions orchestral sonorities and instrumental techniques that would otherwise be deemed beyond the realms of possibility within a modern orchestral rehearsal schedule

Gerardo Gozzi ndash Composition

In a world of limited rehearsal time how can composers push the boundaries of orchestral technique

What do we mean by lsquocreative resistancersquo and how might it help us to understand the distributed nature of the musical work

This project explores the instinct of composers and performers to work lsquoagainstrsquo their materials an instinct that gets written into notation as well as being vital for its activation It grapples particularly with the intersections between hardware ndash manuscripts editions and instruments ndash as especially productive sites of resistance It is a collaborative project between staff and students

Dr Sarah Callis (staff)

What can be revealed at the meeting points of composition improvisation and collaboration

My compositionally-driven research is concerned with the between-spaces in musical practice alternative tuning systems new instruments and techniques virtuosity and the limits of performance technique performer freedoms and constraint choose-your-own-adventure music the laundering of stolen materials Central to these explorations is the importance of collaboration with (risk-loving) performers and the study of the economies of musical production and process

Dr David Gorton (staff)

How can I reimagine the theatrical in music

MaterialInteractions

Is it meaningless to draw connections to the past

Through a sort of lsquorecyclingrsquo my work tries to render afresh ideas from the past in such a way as they may resonate in contemporary contexts ndash their clear articulation in sound being a definite research aim In my recent orchestral Sarcasms connections to Prokofievrsquos identically named pieces suggest music seemingly innocuous on the surface yet with perhaps darker implications underneath The expressive duality of this Soviet-era model served as precedent for how a composer might deal with current societal pressures

David Coonan ndash Composition

My last three pieces incorporate theatrical elements and build on my experience of working in opera Skin Deep a satirical operetta set in a plastic surgery clinic in Switzerland consists of a variety of solo choral and orchestral numbers Rumpelstiltskin is conceived as a sequence of dance movements based upon events in the fairy tale with gesture and action - part dance part dramatic movement - closely related to the rhythm and structure of the composition Flesh and Blood a dramatic scene for the concert hall scored for mezzo soprano baritone and large orchestra sets a specially commissioned text by Howard Barker

David Sawer (staff)

Irsquove just started work on a commission for the Esprit Orchestra in Toronto for their 1415 season This project is a collaboration with British artist Stephen Vince who is making a series of paintings and sculptures that will be a response to my new piece His work will form an exhibition at Waddingtonrsquos Toronto Gallery that will coincide with the premiere of my piece

Philip Cashian (staff)

How is dancing like playing an instrument

My Academy research is centred on the physicality of instrumental performance in chamber music ndash a relatively new direction in contemporary composition that is being investigated in different ways by a number of younger generation composers such as Simon Steen-Andersen Aaron Cassidy or Neil Luck I focus specifically on relating instrumental performance to choreography often deriving musical material from choreographic movements

Elo Masing ndash Composition

Can the study of theatre impact on the creation of music

Irsquom exploring Antonin Artaudrsquos manifesto for a ldquoTheatre of Crueltyrdquo and how it can serve as a catalyst for my own work Irsquove been exploring his methods through several case studies including work for Size Zero Opera (an Opera company I founded in 2007) Currently Irsquom working on a music theatre adaption of The Spurt of Blood to be directed by Sue Dunderdale (RADA Head of Directing) In addition to Artaud Irsquom looking at other approaches to theatre including those of Grotowski and Stanislawksi

Laura Bowler ndash Composition

How might a visual artist respond to my music

lsquoQue

denr

aharsquo

a p

erfo

rman

ce b

y A

kler

iah

at T

he Q

ueen

rsquos H

ouse

Cou

rtes

y R

oyal

Mus

eum

s G

reen

wic

h P

hoto

Jas

on W

en

Laurie Bamon web wwwpianostorywordpresscomlaurie-bamon mail lbamonramacuk Otis Beasley mail obeasleyramacuk Ivor Bonnici mail ibonniciramacukLaura Bowler web wwwlaurajbowlercouk wwwsizezerooperacom mail lbowlerramacuk Richard Bullen web wwwlsosoundhubcoukprofilebullenrichard wwwrichardbullencomposerwordpresscom mail rbullenramacuk Carter Callison web wwwcartercallisoncom wwwscordaturapedalscom mail ccallisonramacuk David Coonan web wwwdavid-coonancom mail dcoonanramacuk Simon Cox web wwwsepturaorg mail simoncoxtrumpetgmailcom An-Ting Chang web wwwconcerttheatreorguk mail antingpigyahoocomtw Philip Dawson web wwwphil-dawsoncom mail pdawsonramacuk Margaret Dziekonski mail postgradramacukAdriana Festeu web wwwadrianafesteucom mail afesteuramacuk Sadie Fields web wwwsadiefieldscom mail sfieldsramacuk Rebecca Herman web wwwrebeccahermancom mail rhermanramacuk Zubin Kanga web wwwzubinkangacom mail zkangaramacuk Gerrardo Gozzi web wwwsoundcloudcomgerardogozzi mail ggozziramacuk Jack Lambert mail jacklambertramacuk Ryan Latimer web wwwryanlatimercom mail rlatimerramacuk Brian Mark web wwwbrianjmarkcom mail bmarkramacuk Elo Masing web wwwsoundcloudcomelo-masing wwwmasingsmusingswordpresscom mail emasingramacuk Olivia Sham web wwwoliviashamcom mail oshamramacuk

For research staff profiles visit the RAM website at wwwramacukfind-people (filter lsquoresearch programmesrsquo)

Researcher Contacts and Profiles

Contact us

Royal Academy of MusicMarylebone RoadLondonNW1 5HT

tel 020 7873 7373

wwwramacukwwwfacebookcomroyalacademyofmusicwwwtwittercomRoyalAcadMusic

If you would like any more information about the projects in this newsletter write to us at postgradramacuk

If you are interested in undertaking a PhD at the Academy please refer to our website wwwramacukprogrammes-of-study

Performance practices and traditionsSo you want to be a great violinist

Since the age of eight or nine I have been obsessed by early recording of violinists like Heifetz Szigeti and Ferras I was lucky enough to study with musicians including Gyoumlrgy Pauk Ivry Gitlis and Ferenc Rados who fuelled my interest in the great traditions of the past and Irsquom now continuing this exploration By learning all of Bartoacutekrsquos violin works and using this learning process as a model Irsquom exploring my relationship to tradition pedagogy learning and to changes in music making during the last hundred years

Sadie Fields ndash Performance (Violin)

Can historical recordings offer a doormdashnot merely a windowmdashto the past

My research project centres on the interpretative aesthetic of the pianist Moriz Rosenthal whose formative influences included Karol Mikuli Franz Liszt and Anton Rubinstein Through a study of his recordings and those of other pianists who studied with the same figures this project explores Rosenthalrsquos art and its relation to leading nineteenth century interpretative traditions

Otis Beasley ndash Performance (Piano)

ldquoThe players and the composer have the little black marks on paper which we call notation whereas the listeners only have their ears and that is the true way of listening to music not with the eye but with the earrdquo ndash L Stokowski

Irsquom investigating the performance aesthetic of the conductor Leopold Stokowski examining the ways in which his practices and principles can be practically implemented so as to enrich todayrsquos performers and general musical culture

Margaret Dziekonski ndash Performance (Violin)

Maria Curcio was one of the most sought-after piano teachers of the Twentieth Century but what was it about her teaching that earned her this status

Like many influential pedagogues very little is documented concerning the content of Maria Curciorsquos teaching Credited as the teacher of such pianists as Martha Argerich Radu Lupu Mitsuko Uchida and Pierre-Laurent Aimard I became intrigued to discover more about her as a pianist and teacher Through interviewing and working with her former pupils I hope to build an enduring picture of her approach This process is proving highly influential in the development of my own playing and teaching

Jack Lambert ndash Performance (Piano)

Changing perspectives

How can brass musicians be given the chance to play chamber music by the great composers

I am attempting to address this issue by producing a series of transcriptions for brass septet During this process I aim to explore and incorporate methods of notating performance practices relevant to the works being transcribed in a manner suitable for brass instruments for example the natural shape and phrasing which is inherent to choral music due to the text Further work will be undertaken on the lsquointrinsicrsquo nature of the brass septet and whetherhow this can be activated in my arrangements

Simon Cox ndash Performance (Trumpet)

What is lsquosurfacersquo in music Does music have depth

My work explores definitions and functions of musical texture with a particular focus on notions of ldquosurfacerdquo and ldquoaural perspectiverdquo This has involved considering the qualities of what would normally be deemed foreground- or background-type materials and then presenting these materials in ways that undermine traditional aural hierarchies In my piece for large symphony orchestra Silent Roads it led to the fundamental structural idea for the piece a gradual surface-change from isolated pitches to layered chords

Laurie Bamon ndash Composition

How can spatialized auditory experiences precipitate new compositional ideas

My project is based around four works including one for violin solo electro-acoustics and ensemble where sound is mixed from all sides of the concert hall Combinations of timbral identities from different instrumental forces are combined with complex electronic sounds which are spatially distributed The aim is to alter the perspective of sound where the listener is immersed in sound and where the auditory journey can be approached from a multitude of angles

Ivor Bonnici ndash Composition

How can traditional modes of performance be challenged so that an established composerrsquos oeuvre is heard afresh

My interest led me to explore new ways of presenting virtuoso pianist-composer Franz Lisztrsquos solo piano music using nineteenth-century instruments (eg the RAM Museumrsquos 1840 Eacuterard grand piano) and an innovative approach to programme design in both my six-recital series and in my studio recording

Olivia Sham ndash Performance (Piano)

What is the significance of Holocaust Music within a larger context of 20th Century Modernism

Holocaust Music can be broadly defined as music written by Jewish composers interned in Nazi camps during the Second World War But as a body of repertoire what is its place and significance within a larger context of 20th century Modernism and the complex issues of national and cultural identity As a cellist my research aims to explore the way string players of Central and Eastern Europe would have performed music written in the 1920s-1940s My project focuses on interpretation and programming of this music from a performerrsquos perspective to enable a three dimensional picture of this wonderful repertoire

Rebecca Herman ndash Performance (Cello)

Collaboration and ProcessCan observing composer-performer collaboration from the inside offer new insights into this process

I documented forty two of my own collaborations on solo piano works with composers including George Benjamin Michael Finnissy David Gorton and David Young Ten of these were selected for detailed case studies allowing me to observe the catalysts that shaped these collaborations including virtuosity graphic notation differences in age and long-term relationships

Zubin Kanga ndash Performance (Piano)

lsquoCutting out the Middlemanrsquo Anon c1967

If I were to embrace business talk this phrase may as well be my artistic slogan My research surrounds the creation and development of a web-based body of work and performance act titled RunTime This research aims to challenge notions of control in artistic forums and explore how a contemporary band can function beyond conventional methods and design the emphasis on guerrilla music making in the digital age

Philip Dawson ndash Composition

Through the analysis of stylistically varied scores and through interviewing composers and conductors I aim to explore modern orchestral technique I hope to come to an under-standing of orchestral writing that will subsequently allow me to incorporate in my own compositions orchestral sonorities and instrumental techniques that would otherwise be deemed beyond the realms of possibility within a modern orchestral rehearsal schedule

Gerardo Gozzi ndash Composition

In a world of limited rehearsal time how can composers push the boundaries of orchestral technique

What do we mean by lsquocreative resistancersquo and how might it help us to understand the distributed nature of the musical work

This project explores the instinct of composers and performers to work lsquoagainstrsquo their materials an instinct that gets written into notation as well as being vital for its activation It grapples particularly with the intersections between hardware ndash manuscripts editions and instruments ndash as especially productive sites of resistance It is a collaborative project between staff and students

Dr Sarah Callis (staff)

What can be revealed at the meeting points of composition improvisation and collaboration

My compositionally-driven research is concerned with the between-spaces in musical practice alternative tuning systems new instruments and techniques virtuosity and the limits of performance technique performer freedoms and constraint choose-your-own-adventure music the laundering of stolen materials Central to these explorations is the importance of collaboration with (risk-loving) performers and the study of the economies of musical production and process

Dr David Gorton (staff)

How can I reimagine the theatrical in music

MaterialInteractions

Is it meaningless to draw connections to the past

Through a sort of lsquorecyclingrsquo my work tries to render afresh ideas from the past in such a way as they may resonate in contemporary contexts ndash their clear articulation in sound being a definite research aim In my recent orchestral Sarcasms connections to Prokofievrsquos identically named pieces suggest music seemingly innocuous on the surface yet with perhaps darker implications underneath The expressive duality of this Soviet-era model served as precedent for how a composer might deal with current societal pressures

David Coonan ndash Composition

My last three pieces incorporate theatrical elements and build on my experience of working in opera Skin Deep a satirical operetta set in a plastic surgery clinic in Switzerland consists of a variety of solo choral and orchestral numbers Rumpelstiltskin is conceived as a sequence of dance movements based upon events in the fairy tale with gesture and action - part dance part dramatic movement - closely related to the rhythm and structure of the composition Flesh and Blood a dramatic scene for the concert hall scored for mezzo soprano baritone and large orchestra sets a specially commissioned text by Howard Barker

David Sawer (staff)

Irsquove just started work on a commission for the Esprit Orchestra in Toronto for their 1415 season This project is a collaboration with British artist Stephen Vince who is making a series of paintings and sculptures that will be a response to my new piece His work will form an exhibition at Waddingtonrsquos Toronto Gallery that will coincide with the premiere of my piece

Philip Cashian (staff)

How is dancing like playing an instrument

My Academy research is centred on the physicality of instrumental performance in chamber music ndash a relatively new direction in contemporary composition that is being investigated in different ways by a number of younger generation composers such as Simon Steen-Andersen Aaron Cassidy or Neil Luck I focus specifically on relating instrumental performance to choreography often deriving musical material from choreographic movements

Elo Masing ndash Composition

Can the study of theatre impact on the creation of music

Irsquom exploring Antonin Artaudrsquos manifesto for a ldquoTheatre of Crueltyrdquo and how it can serve as a catalyst for my own work Irsquove been exploring his methods through several case studies including work for Size Zero Opera (an Opera company I founded in 2007) Currently Irsquom working on a music theatre adaption of The Spurt of Blood to be directed by Sue Dunderdale (RADA Head of Directing) In addition to Artaud Irsquom looking at other approaches to theatre including those of Grotowski and Stanislawksi

Laura Bowler ndash Composition

How might a visual artist respond to my music

lsquoQue

denr

aharsquo

a p

erfo

rman

ce b

y A

kler

iah

at T

he Q

ueen

rsquos H

ouse

Cou

rtes

y R

oyal

Mus

eum

s G

reen

wic

h P

hoto

Jas

on W

en

Laurie Bamon web wwwpianostorywordpresscomlaurie-bamon mail lbamonramacuk Otis Beasley mail obeasleyramacuk Ivor Bonnici mail ibonniciramacukLaura Bowler web wwwlaurajbowlercouk wwwsizezerooperacom mail lbowlerramacuk Richard Bullen web wwwlsosoundhubcoukprofilebullenrichard wwwrichardbullencomposerwordpresscom mail rbullenramacuk Carter Callison web wwwcartercallisoncom wwwscordaturapedalscom mail ccallisonramacuk David Coonan web wwwdavid-coonancom mail dcoonanramacuk Simon Cox web wwwsepturaorg mail simoncoxtrumpetgmailcom An-Ting Chang web wwwconcerttheatreorguk mail antingpigyahoocomtw Philip Dawson web wwwphil-dawsoncom mail pdawsonramacuk Margaret Dziekonski mail postgradramacukAdriana Festeu web wwwadrianafesteucom mail afesteuramacuk Sadie Fields web wwwsadiefieldscom mail sfieldsramacuk Rebecca Herman web wwwrebeccahermancom mail rhermanramacuk Zubin Kanga web wwwzubinkangacom mail zkangaramacuk Gerrardo Gozzi web wwwsoundcloudcomgerardogozzi mail ggozziramacuk Jack Lambert mail jacklambertramacuk Ryan Latimer web wwwryanlatimercom mail rlatimerramacuk Brian Mark web wwwbrianjmarkcom mail bmarkramacuk Elo Masing web wwwsoundcloudcomelo-masing wwwmasingsmusingswordpresscom mail emasingramacuk Olivia Sham web wwwoliviashamcom mail oshamramacuk

For research staff profiles visit the RAM website at wwwramacukfind-people (filter lsquoresearch programmesrsquo)

Researcher Contacts and Profiles

Contact us

Royal Academy of MusicMarylebone RoadLondonNW1 5HT

tel 020 7873 7373

wwwramacukwwwfacebookcomroyalacademyofmusicwwwtwittercomRoyalAcadMusic

If you would like any more information about the projects in this newsletter write to us at postgradramacuk

If you are interested in undertaking a PhD at the Academy please refer to our website wwwramacukprogrammes-of-study

Changing perspectives

How can brass musicians be given the chance to play chamber music by the great composers

I am attempting to address this issue by producing a series of transcriptions for brass septet During this process I aim to explore and incorporate methods of notating performance practices relevant to the works being transcribed in a manner suitable for brass instruments for example the natural shape and phrasing which is inherent to choral music due to the text Further work will be undertaken on the lsquointrinsicrsquo nature of the brass septet and whetherhow this can be activated in my arrangements

Simon Cox ndash Performance (Trumpet)

What is lsquosurfacersquo in music Does music have depth

My work explores definitions and functions of musical texture with a particular focus on notions of ldquosurfacerdquo and ldquoaural perspectiverdquo This has involved considering the qualities of what would normally be deemed foreground- or background-type materials and then presenting these materials in ways that undermine traditional aural hierarchies In my piece for large symphony orchestra Silent Roads it led to the fundamental structural idea for the piece a gradual surface-change from isolated pitches to layered chords

Laurie Bamon ndash Composition

How can spatialized auditory experiences precipitate new compositional ideas

My project is based around four works including one for violin solo electro-acoustics and ensemble where sound is mixed from all sides of the concert hall Combinations of timbral identities from different instrumental forces are combined with complex electronic sounds which are spatially distributed The aim is to alter the perspective of sound where the listener is immersed in sound and where the auditory journey can be approached from a multitude of angles

Ivor Bonnici ndash Composition

How can traditional modes of performance be challenged so that an established composerrsquos oeuvre is heard afresh

My interest led me to explore new ways of presenting virtuoso pianist-composer Franz Lisztrsquos solo piano music using nineteenth-century instruments (eg the RAM Museumrsquos 1840 Eacuterard grand piano) and an innovative approach to programme design in both my six-recital series and in my studio recording

Olivia Sham ndash Performance (Piano)

What is the significance of Holocaust Music within a larger context of 20th Century Modernism

Holocaust Music can be broadly defined as music written by Jewish composers interned in Nazi camps during the Second World War But as a body of repertoire what is its place and significance within a larger context of 20th century Modernism and the complex issues of national and cultural identity As a cellist my research aims to explore the way string players of Central and Eastern Europe would have performed music written in the 1920s-1940s My project focuses on interpretation and programming of this music from a performerrsquos perspective to enable a three dimensional picture of this wonderful repertoire

Rebecca Herman ndash Performance (Cello)

Collaboration and ProcessCan observing composer-performer collaboration from the inside offer new insights into this process

I documented forty two of my own collaborations on solo piano works with composers including George Benjamin Michael Finnissy David Gorton and David Young Ten of these were selected for detailed case studies allowing me to observe the catalysts that shaped these collaborations including virtuosity graphic notation differences in age and long-term relationships

Zubin Kanga ndash Performance (Piano)

lsquoCutting out the Middlemanrsquo Anon c1967

If I were to embrace business talk this phrase may as well be my artistic slogan My research surrounds the creation and development of a web-based body of work and performance act titled RunTime This research aims to challenge notions of control in artistic forums and explore how a contemporary band can function beyond conventional methods and design the emphasis on guerrilla music making in the digital age

Philip Dawson ndash Composition

Through the analysis of stylistically varied scores and through interviewing composers and conductors I aim to explore modern orchestral technique I hope to come to an under-standing of orchestral writing that will subsequently allow me to incorporate in my own compositions orchestral sonorities and instrumental techniques that would otherwise be deemed beyond the realms of possibility within a modern orchestral rehearsal schedule

Gerardo Gozzi ndash Composition

In a world of limited rehearsal time how can composers push the boundaries of orchestral technique

What do we mean by lsquocreative resistancersquo and how might it help us to understand the distributed nature of the musical work

This project explores the instinct of composers and performers to work lsquoagainstrsquo their materials an instinct that gets written into notation as well as being vital for its activation It grapples particularly with the intersections between hardware ndash manuscripts editions and instruments ndash as especially productive sites of resistance It is a collaborative project between staff and students

Dr Sarah Callis (staff)

What can be revealed at the meeting points of composition improvisation and collaboration

My compositionally-driven research is concerned with the between-spaces in musical practice alternative tuning systems new instruments and techniques virtuosity and the limits of performance technique performer freedoms and constraint choose-your-own-adventure music the laundering of stolen materials Central to these explorations is the importance of collaboration with (risk-loving) performers and the study of the economies of musical production and process

Dr David Gorton (staff)

How can I reimagine the theatrical in music

MaterialInteractions

Is it meaningless to draw connections to the past

Through a sort of lsquorecyclingrsquo my work tries to render afresh ideas from the past in such a way as they may resonate in contemporary contexts ndash their clear articulation in sound being a definite research aim In my recent orchestral Sarcasms connections to Prokofievrsquos identically named pieces suggest music seemingly innocuous on the surface yet with perhaps darker implications underneath The expressive duality of this Soviet-era model served as precedent for how a composer might deal with current societal pressures

David Coonan ndash Composition

My last three pieces incorporate theatrical elements and build on my experience of working in opera Skin Deep a satirical operetta set in a plastic surgery clinic in Switzerland consists of a variety of solo choral and orchestral numbers Rumpelstiltskin is conceived as a sequence of dance movements based upon events in the fairy tale with gesture and action - part dance part dramatic movement - closely related to the rhythm and structure of the composition Flesh and Blood a dramatic scene for the concert hall scored for mezzo soprano baritone and large orchestra sets a specially commissioned text by Howard Barker

David Sawer (staff)

Irsquove just started work on a commission for the Esprit Orchestra in Toronto for their 1415 season This project is a collaboration with British artist Stephen Vince who is making a series of paintings and sculptures that will be a response to my new piece His work will form an exhibition at Waddingtonrsquos Toronto Gallery that will coincide with the premiere of my piece

Philip Cashian (staff)

How is dancing like playing an instrument

My Academy research is centred on the physicality of instrumental performance in chamber music ndash a relatively new direction in contemporary composition that is being investigated in different ways by a number of younger generation composers such as Simon Steen-Andersen Aaron Cassidy or Neil Luck I focus specifically on relating instrumental performance to choreography often deriving musical material from choreographic movements

Elo Masing ndash Composition

Can the study of theatre impact on the creation of music

Irsquom exploring Antonin Artaudrsquos manifesto for a ldquoTheatre of Crueltyrdquo and how it can serve as a catalyst for my own work Irsquove been exploring his methods through several case studies including work for Size Zero Opera (an Opera company I founded in 2007) Currently Irsquom working on a music theatre adaption of The Spurt of Blood to be directed by Sue Dunderdale (RADA Head of Directing) In addition to Artaud Irsquom looking at other approaches to theatre including those of Grotowski and Stanislawksi

Laura Bowler ndash Composition

How might a visual artist respond to my music

lsquoQue

denr

aharsquo

a p

erfo

rman

ce b

y A

kler

iah

at T

he Q

ueen

rsquos H

ouse

Cou

rtes

y R

oyal

Mus

eum

s G

reen

wic

h P

hoto

Jas

on W

en

Laurie Bamon web wwwpianostorywordpresscomlaurie-bamon mail lbamonramacuk Otis Beasley mail obeasleyramacuk Ivor Bonnici mail ibonniciramacukLaura Bowler web wwwlaurajbowlercouk wwwsizezerooperacom mail lbowlerramacuk Richard Bullen web wwwlsosoundhubcoukprofilebullenrichard wwwrichardbullencomposerwordpresscom mail rbullenramacuk Carter Callison web wwwcartercallisoncom wwwscordaturapedalscom mail ccallisonramacuk David Coonan web wwwdavid-coonancom mail dcoonanramacuk Simon Cox web wwwsepturaorg mail simoncoxtrumpetgmailcom An-Ting Chang web wwwconcerttheatreorguk mail antingpigyahoocomtw Philip Dawson web wwwphil-dawsoncom mail pdawsonramacuk Margaret Dziekonski mail postgradramacukAdriana Festeu web wwwadrianafesteucom mail afesteuramacuk Sadie Fields web wwwsadiefieldscom mail sfieldsramacuk Rebecca Herman web wwwrebeccahermancom mail rhermanramacuk Zubin Kanga web wwwzubinkangacom mail zkangaramacuk Gerrardo Gozzi web wwwsoundcloudcomgerardogozzi mail ggozziramacuk Jack Lambert mail jacklambertramacuk Ryan Latimer web wwwryanlatimercom mail rlatimerramacuk Brian Mark web wwwbrianjmarkcom mail bmarkramacuk Elo Masing web wwwsoundcloudcomelo-masing wwwmasingsmusingswordpresscom mail emasingramacuk Olivia Sham web wwwoliviashamcom mail oshamramacuk

For research staff profiles visit the RAM website at wwwramacukfind-people (filter lsquoresearch programmesrsquo)

Researcher Contacts and Profiles

Contact us

Royal Academy of MusicMarylebone RoadLondonNW1 5HT

tel 020 7873 7373

wwwramacukwwwfacebookcomroyalacademyofmusicwwwtwittercomRoyalAcadMusic

If you would like any more information about the projects in this newsletter write to us at postgradramacuk

If you are interested in undertaking a PhD at the Academy please refer to our website wwwramacukprogrammes-of-study

Collaboration and ProcessCan observing composer-performer collaboration from the inside offer new insights into this process

I documented forty two of my own collaborations on solo piano works with composers including George Benjamin Michael Finnissy David Gorton and David Young Ten of these were selected for detailed case studies allowing me to observe the catalysts that shaped these collaborations including virtuosity graphic notation differences in age and long-term relationships

Zubin Kanga ndash Performance (Piano)

lsquoCutting out the Middlemanrsquo Anon c1967

If I were to embrace business talk this phrase may as well be my artistic slogan My research surrounds the creation and development of a web-based body of work and performance act titled RunTime This research aims to challenge notions of control in artistic forums and explore how a contemporary band can function beyond conventional methods and design the emphasis on guerrilla music making in the digital age

Philip Dawson ndash Composition

Through the analysis of stylistically varied scores and through interviewing composers and conductors I aim to explore modern orchestral technique I hope to come to an under-standing of orchestral writing that will subsequently allow me to incorporate in my own compositions orchestral sonorities and instrumental techniques that would otherwise be deemed beyond the realms of possibility within a modern orchestral rehearsal schedule

Gerardo Gozzi ndash Composition

In a world of limited rehearsal time how can composers push the boundaries of orchestral technique

What do we mean by lsquocreative resistancersquo and how might it help us to understand the distributed nature of the musical work

This project explores the instinct of composers and performers to work lsquoagainstrsquo their materials an instinct that gets written into notation as well as being vital for its activation It grapples particularly with the intersections between hardware ndash manuscripts editions and instruments ndash as especially productive sites of resistance It is a collaborative project between staff and students

Dr Sarah Callis (staff)

What can be revealed at the meeting points of composition improvisation and collaboration

My compositionally-driven research is concerned with the between-spaces in musical practice alternative tuning systems new instruments and techniques virtuosity and the limits of performance technique performer freedoms and constraint choose-your-own-adventure music the laundering of stolen materials Central to these explorations is the importance of collaboration with (risk-loving) performers and the study of the economies of musical production and process

Dr David Gorton (staff)

How can I reimagine the theatrical in music

MaterialInteractions

Is it meaningless to draw connections to the past

Through a sort of lsquorecyclingrsquo my work tries to render afresh ideas from the past in such a way as they may resonate in contemporary contexts ndash their clear articulation in sound being a definite research aim In my recent orchestral Sarcasms connections to Prokofievrsquos identically named pieces suggest music seemingly innocuous on the surface yet with perhaps darker implications underneath The expressive duality of this Soviet-era model served as precedent for how a composer might deal with current societal pressures

David Coonan ndash Composition

My last three pieces incorporate theatrical elements and build on my experience of working in opera Skin Deep a satirical operetta set in a plastic surgery clinic in Switzerland consists of a variety of solo choral and orchestral numbers Rumpelstiltskin is conceived as a sequence of dance movements based upon events in the fairy tale with gesture and action - part dance part dramatic movement - closely related to the rhythm and structure of the composition Flesh and Blood a dramatic scene for the concert hall scored for mezzo soprano baritone and large orchestra sets a specially commissioned text by Howard Barker

David Sawer (staff)

Irsquove just started work on a commission for the Esprit Orchestra in Toronto for their 1415 season This project is a collaboration with British artist Stephen Vince who is making a series of paintings and sculptures that will be a response to my new piece His work will form an exhibition at Waddingtonrsquos Toronto Gallery that will coincide with the premiere of my piece

Philip Cashian (staff)

How is dancing like playing an instrument

My Academy research is centred on the physicality of instrumental performance in chamber music ndash a relatively new direction in contemporary composition that is being investigated in different ways by a number of younger generation composers such as Simon Steen-Andersen Aaron Cassidy or Neil Luck I focus specifically on relating instrumental performance to choreography often deriving musical material from choreographic movements

Elo Masing ndash Composition

Can the study of theatre impact on the creation of music

Irsquom exploring Antonin Artaudrsquos manifesto for a ldquoTheatre of Crueltyrdquo and how it can serve as a catalyst for my own work Irsquove been exploring his methods through several case studies including work for Size Zero Opera (an Opera company I founded in 2007) Currently Irsquom working on a music theatre adaption of The Spurt of Blood to be directed by Sue Dunderdale (RADA Head of Directing) In addition to Artaud Irsquom looking at other approaches to theatre including those of Grotowski and Stanislawksi

Laura Bowler ndash Composition

How might a visual artist respond to my music

lsquoQue

denr

aharsquo

a p

erfo

rman

ce b

y A

kler

iah

at T

he Q

ueen

rsquos H

ouse

Cou

rtes

y R

oyal

Mus

eum

s G

reen

wic

h P

hoto

Jas

on W

en

Laurie Bamon web wwwpianostorywordpresscomlaurie-bamon mail lbamonramacuk Otis Beasley mail obeasleyramacuk Ivor Bonnici mail ibonniciramacukLaura Bowler web wwwlaurajbowlercouk wwwsizezerooperacom mail lbowlerramacuk Richard Bullen web wwwlsosoundhubcoukprofilebullenrichard wwwrichardbullencomposerwordpresscom mail rbullenramacuk Carter Callison web wwwcartercallisoncom wwwscordaturapedalscom mail ccallisonramacuk David Coonan web wwwdavid-coonancom mail dcoonanramacuk Simon Cox web wwwsepturaorg mail simoncoxtrumpetgmailcom An-Ting Chang web wwwconcerttheatreorguk mail antingpigyahoocomtw Philip Dawson web wwwphil-dawsoncom mail pdawsonramacuk Margaret Dziekonski mail postgradramacukAdriana Festeu web wwwadrianafesteucom mail afesteuramacuk Sadie Fields web wwwsadiefieldscom mail sfieldsramacuk Rebecca Herman web wwwrebeccahermancom mail rhermanramacuk Zubin Kanga web wwwzubinkangacom mail zkangaramacuk Gerrardo Gozzi web wwwsoundcloudcomgerardogozzi mail ggozziramacuk Jack Lambert mail jacklambertramacuk Ryan Latimer web wwwryanlatimercom mail rlatimerramacuk Brian Mark web wwwbrianjmarkcom mail bmarkramacuk Elo Masing web wwwsoundcloudcomelo-masing wwwmasingsmusingswordpresscom mail emasingramacuk Olivia Sham web wwwoliviashamcom mail oshamramacuk

For research staff profiles visit the RAM website at wwwramacukfind-people (filter lsquoresearch programmesrsquo)

Researcher Contacts and Profiles

Contact us

Royal Academy of MusicMarylebone RoadLondonNW1 5HT

tel 020 7873 7373

wwwramacukwwwfacebookcomroyalacademyofmusicwwwtwittercomRoyalAcadMusic

If you would like any more information about the projects in this newsletter write to us at postgradramacuk

If you are interested in undertaking a PhD at the Academy please refer to our website wwwramacukprogrammes-of-study

How can I reimagine the theatrical in music

MaterialInteractions

Is it meaningless to draw connections to the past

Through a sort of lsquorecyclingrsquo my work tries to render afresh ideas from the past in such a way as they may resonate in contemporary contexts ndash their clear articulation in sound being a definite research aim In my recent orchestral Sarcasms connections to Prokofievrsquos identically named pieces suggest music seemingly innocuous on the surface yet with perhaps darker implications underneath The expressive duality of this Soviet-era model served as precedent for how a composer might deal with current societal pressures

David Coonan ndash Composition

My last three pieces incorporate theatrical elements and build on my experience of working in opera Skin Deep a satirical operetta set in a plastic surgery clinic in Switzerland consists of a variety of solo choral and orchestral numbers Rumpelstiltskin is conceived as a sequence of dance movements based upon events in the fairy tale with gesture and action - part dance part dramatic movement - closely related to the rhythm and structure of the composition Flesh and Blood a dramatic scene for the concert hall scored for mezzo soprano baritone and large orchestra sets a specially commissioned text by Howard Barker

David Sawer (staff)

Irsquove just started work on a commission for the Esprit Orchestra in Toronto for their 1415 season This project is a collaboration with British artist Stephen Vince who is making a series of paintings and sculptures that will be a response to my new piece His work will form an exhibition at Waddingtonrsquos Toronto Gallery that will coincide with the premiere of my piece

Philip Cashian (staff)

How is dancing like playing an instrument

My Academy research is centred on the physicality of instrumental performance in chamber music ndash a relatively new direction in contemporary composition that is being investigated in different ways by a number of younger generation composers such as Simon Steen-Andersen Aaron Cassidy or Neil Luck I focus specifically on relating instrumental performance to choreography often deriving musical material from choreographic movements

Elo Masing ndash Composition

Can the study of theatre impact on the creation of music

Irsquom exploring Antonin Artaudrsquos manifesto for a ldquoTheatre of Crueltyrdquo and how it can serve as a catalyst for my own work Irsquove been exploring his methods through several case studies including work for Size Zero Opera (an Opera company I founded in 2007) Currently Irsquom working on a music theatre adaption of The Spurt of Blood to be directed by Sue Dunderdale (RADA Head of Directing) In addition to Artaud Irsquom looking at other approaches to theatre including those of Grotowski and Stanislawksi

Laura Bowler ndash Composition

How might a visual artist respond to my music

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Laurie Bamon web wwwpianostorywordpresscomlaurie-bamon mail lbamonramacuk Otis Beasley mail obeasleyramacuk Ivor Bonnici mail ibonniciramacukLaura Bowler web wwwlaurajbowlercouk wwwsizezerooperacom mail lbowlerramacuk Richard Bullen web wwwlsosoundhubcoukprofilebullenrichard wwwrichardbullencomposerwordpresscom mail rbullenramacuk Carter Callison web wwwcartercallisoncom wwwscordaturapedalscom mail ccallisonramacuk David Coonan web wwwdavid-coonancom mail dcoonanramacuk Simon Cox web wwwsepturaorg mail simoncoxtrumpetgmailcom An-Ting Chang web wwwconcerttheatreorguk mail antingpigyahoocomtw Philip Dawson web wwwphil-dawsoncom mail pdawsonramacuk Margaret Dziekonski mail postgradramacukAdriana Festeu web wwwadrianafesteucom mail afesteuramacuk Sadie Fields web wwwsadiefieldscom mail sfieldsramacuk Rebecca Herman web wwwrebeccahermancom mail rhermanramacuk Zubin Kanga web wwwzubinkangacom mail zkangaramacuk Gerrardo Gozzi web wwwsoundcloudcomgerardogozzi mail ggozziramacuk Jack Lambert mail jacklambertramacuk Ryan Latimer web wwwryanlatimercom mail rlatimerramacuk Brian Mark web wwwbrianjmarkcom mail bmarkramacuk Elo Masing web wwwsoundcloudcomelo-masing wwwmasingsmusingswordpresscom mail emasingramacuk Olivia Sham web wwwoliviashamcom mail oshamramacuk

For research staff profiles visit the RAM website at wwwramacukfind-people (filter lsquoresearch programmesrsquo)

Researcher Contacts and Profiles

Contact us

Royal Academy of MusicMarylebone RoadLondonNW1 5HT

tel 020 7873 7373

wwwramacukwwwfacebookcomroyalacademyofmusicwwwtwittercomRoyalAcadMusic

If you would like any more information about the projects in this newsletter write to us at postgradramacuk

If you are interested in undertaking a PhD at the Academy please refer to our website wwwramacukprogrammes-of-study

Laurie Bamon web wwwpianostorywordpresscomlaurie-bamon mail lbamonramacuk Otis Beasley mail obeasleyramacuk Ivor Bonnici mail ibonniciramacukLaura Bowler web wwwlaurajbowlercouk wwwsizezerooperacom mail lbowlerramacuk Richard Bullen web wwwlsosoundhubcoukprofilebullenrichard wwwrichardbullencomposerwordpresscom mail rbullenramacuk Carter Callison web wwwcartercallisoncom wwwscordaturapedalscom mail ccallisonramacuk David Coonan web wwwdavid-coonancom mail dcoonanramacuk Simon Cox web wwwsepturaorg mail simoncoxtrumpetgmailcom An-Ting Chang web wwwconcerttheatreorguk mail antingpigyahoocomtw Philip Dawson web wwwphil-dawsoncom mail pdawsonramacuk Margaret Dziekonski mail postgradramacukAdriana Festeu web wwwadrianafesteucom mail afesteuramacuk Sadie Fields web wwwsadiefieldscom mail sfieldsramacuk Rebecca Herman web wwwrebeccahermancom mail rhermanramacuk Zubin Kanga web wwwzubinkangacom mail zkangaramacuk Gerrardo Gozzi web wwwsoundcloudcomgerardogozzi mail ggozziramacuk Jack Lambert mail jacklambertramacuk Ryan Latimer web wwwryanlatimercom mail rlatimerramacuk Brian Mark web wwwbrianjmarkcom mail bmarkramacuk Elo Masing web wwwsoundcloudcomelo-masing wwwmasingsmusingswordpresscom mail emasingramacuk Olivia Sham web wwwoliviashamcom mail oshamramacuk

For research staff profiles visit the RAM website at wwwramacukfind-people (filter lsquoresearch programmesrsquo)

Researcher Contacts and Profiles

Contact us

Royal Academy of MusicMarylebone RoadLondonNW1 5HT

tel 020 7873 7373

wwwramacukwwwfacebookcomroyalacademyofmusicwwwtwittercomRoyalAcadMusic

If you would like any more information about the projects in this newsletter write to us at postgradramacuk

If you are interested in undertaking a PhD at the Academy please refer to our website wwwramacukprogrammes-of-study