Sound Thought 20113rd - 5th February

Music: Action Across Distance

PerformancesMovement for Viola, Cello and Double Bass

Euan FultonThursday/19.40-19.50/Arch 6

Intrigued by abrupt juxtapositions of highly dissimilar sections of music, the discrepancy between the composer’s use of form and structure is examined.

Treadmill PoetsOceanallover

Thursday/19.55 – 21.55/Arch 5

A live performance in which live samples and music are mixed into spoken word, read and replayed using hamster wheel technology.

Tape PieceJan Hendrickse and Rosalind Masson

Thursday/20.15 – 20.45/Studio

An exploration of the relationship between physical action, space and sound. Using adhesive tape as a static cultural presence, this installation piece is created before

the audience, uniting process and product.

Live SetUsurper

Thursday/21.20-21.45/Practice Room

“Creating a sound nearly impossible to describe, Usurper combines obsessive metallic clunk, destroyed voices, broken horns and dropped marbles (?), into dense

fields of activity.” - Rel Records

You Suffer, But Why?Xana Marwick

Thursday/11.45-12.00, 16.20-16.40, 20.05-23.00/Arch 6

Inspired by a 1.3 second long Napalm Death track, the audience design, direct and perform their own play on the theme of Western suffering in this playful and

personal one-on-one experience.

Sound Thought 2011Hello,

What are we doing here (?)

in. conceiving of and programming this festival

we. asked people to come together and share, considering the following: Music as ‘Action across Distance’ as a frame, this was intentionally (im) possibly ___________________ wide

so people could propose to do anything they wanted while acknowledging that the resultessentiallywill ‘move’

the initial intentionto considerSound as dialogue

So,a Gatheringa Look at Noisean engagement in research, of materials, means, site, writing, social relations…

across distance what do we/will we share?Where does our questioning interact/intercept?Listen find postulate feel enveloped in silence in noise

sit in a concert, stand in the darkshare food, discussheartbeat v .....beat

It’s all very well putting on a concertIs that perhaps - a night away from telly?

What use is making sound? Anything can be achievedWhat use is the study of this fucking around?

Enjoy the festival

S.T.

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Brought to you by Glasgow University postgraduate studentsand The Arches, Sound Thought is three days of diverse and groundbreaking work from celebrated composers, visual artists, dancers, contemporary theatre practitioners and film makers alongside a massive programme of multimedia presentations, discussions and workshops.

Amplified String Quartet and ElectronicsAdam Campbell and Jodi CaveFriday/19.30-19.45/Arch 6

Informed by the physical properties of the performance space and stripped bare of technique and ‘musicality’, the score for this new piece initiates a compelling dialogue between ensemble and architecture.

MustekLauren Sarah Hayes and Christos MichalakosFriday/19.50-20.05/Arch 6

This creative duo use prepared piano, percussion and found objects plucked, strummed, hit and then sliced, layered and reassembled to create altogether new sonic forms, repurposing John Cage for the digital era.

Testing 1, 2Sean WilliamsFriday/20.50-21.05/Studio

Looking at the dynamic possibilities of primitive electronic music, this solo piece transforms the sterile laboratory elements of early electronic equipment and the modern notion of DJing to create a vivid new world of sound.

ShadowgraphsGuy HarriesFriday/21.15-21.30/Studio

Shadowgraphs explores the ambiguity of a solitary walk in the woods. A personal interpretation of various forest narratives which will be performed using voice and live electronics.

Open School PerformanceOpen SchoolFriday/21.30-22.20/Studio

A response, result or consequence of the Glasgow Open School workshop.

Drawing/Sounding or Call and Response V Audio/Visual FusionJenny Soep and Gavin FortSaturday/19.00-19.25/Middle Bar

Using different mediums and technologies, Jenny Soep further explores the pos-sibilities of drawing music in this stimulating new experiment together with sound engineer and ‘audio wizard’ Gavin Fort.

Evening ConcertSaturday/19.30-21.50/Arch 3

B(earth)Yvon Bonenfant and Ludivine Allegue

These voice-videoworks explore texture, touch and timbre by yoking together the startling, soothing, intense and soaring extended vocal art of Bonenfant with the

sensual brushwork and tenderly de-woven canvasses by Allegue.

Secretive Awareness Catriona Thomas

Inspired by the concept of continuous movement, Thomas implies that the piece is a small part of a larger event; that it began, and continues, its journey in silence.

Journey No. 1 Graeme Brooks

Journey No.1 for string quartet portrays a journey from a tonal harmonic sonority to a dissonant, bitty textured soundscape through the use of segmentation,

intercutting and rhythmic repetitive process.

The Piece UnnamedChristopher Hoddinott

By disposing with titles, Hoddinott severes the music’s perception from the intention of the composer. The audience’s imagination shapes their experience of this

electroacoustic sound diffusion performance.

String QuartetDavid Thomas Duncan

Uniting maths and music, L-systems are used to determine harmonic, rhythmicand structural patterns. The result is textured with subtle gradations of colour.

Forms 10aNeil Davidson

New composition by Glasgow’s favourite doctor Neil Davidson. Players directed like ships in the night, an obstacle of audience members. Longitude silences

latitude in this motion-filled sound piece.

Dear LibraryBen Knight and Euan Currie

Inspired by a date sheet torn from a book and attacked with a pen, this sound poetry performance is a part of an ongoing collection of everyday detritus, marking

a sporadic and anonymous correspondence within the community.

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An Unpleasant VaguenessKatie McCain

Thursday/Friday/10.00-10.20/Saturday/13.00-13.20/Foyer

Using two skeleton cassette mechanisms, one recording, another playing; both, inevitably, victims of their own death drive, this piece provokes the concepts of

nostalgia, luddism and existential crisis.

Arrivals (listening point)Carla Novi

Thursday/Friday/10.00-22.00/Arch 6Saturday/18:30-22:00/Middle Bar

An exploration of the bewildered instant in which an individual arrives to a new place, exploring the fraction of a second in which the body and mind is

disorientated by an unfamiliar space.

POSTFACE (listening point)Iain Campbell F-W

Thursday/10.00-23.00/Friday/10.00-20.00/Saturday/13.00-23.00/Foyer

POSTFACE is the installed recording of watching TV, shitting, spewing, shopping: benefits are taken into account as income.

The Secret Sounds of SporesYann Seznec and Patrick Hickey

Thursday/10.00-13.40, 14.20-16.45, 19.00-23.00/Friday/11.45-21.15/East Corridor RoomSaturday/13:00-17:00, 19:00 - 21:30/

Artist Yann Seznec and mycologist Patrick Hickey analyse the light patterns of spores in real time to create a stunning new composition revealing the depth,

beauty and inherent artistry of fungi.

MAKE, BREAK AND GLITCHScrubber Fox and DJ Stuff

Friday/11.45-20.00/Saturday/13.00-20.00/Foyer

An installation created from obsolete and circuit bent consoles as well as cherished childhood instruments, constructing new, exciting and interesting sounds out of old

and often discarded electronic products from previous decades.

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StyrocymaticTodd Braylor PleasantsThursday/13.30-22.00/Friday/13.35-21.15/Saturday/13.35-21.15/B2

In an attempt to bridge the gap between senses, Styrocymatic combines visual patterns on water with audible frequencies of undulating speakers in an installation using speakers from reclaimed styrofoam packaging and water.

Cymatic SculptureCalum ScottFriday/13.45–21.15/Saturday/13.45-21.15/B3

With sheet metal, salt, a bow and vibrations of varying frequencies, the physical properties of sound are translated into a visible media through a kinetic sculpture made from cymatic plates.

Sing. Speak. Sigh. ScreamLeila PeacockFriday/Saturday/13.45-21.15/B4

An artist, whose voicebox is filmed as he recites a riddle, is put under considerable physical distress as we visually witness this intimate bodily organ - previously always to be heard, never to be seen - in action.

SubstratumAlison Clifford and Graeme TrusloveThursday/21.45-22.45/Studio

Combining audio and visuals to explore the space between abstract sound and image, computer algorithims, sampling and digital montage processes are used to create an entirely immersive experience.

Oct 160Richard McMaster and Tom MarshallsayFriday/20.05-21.00/Practice Room

Using stethoscopes, speakers and a group of hearts beating in unsion, the accepted dialogue between performance and the listener is reversed, and your reaction to variables outwith your body dictate how the piece will play.

John WilliamsonThursday/16.15-17.45/Practice Room

University of Glasgow lecturer and manager of Belle and Sebastian will lead a workshop about working with and without the music industry

Sound and Moving Image Research Group (SMIRG)Thursday/16.45-18.00/Arch 6

This group promotes critical and practical enquiry into the interaction of sound and moving image in audio-visual texts. Join this workshop and engage with the group

to offer your own opinions on the subject.

Dr.Drew HammondFriday/13.45-15.00/Studio

Composition workshop with Glasgow University’s Drew Hammond.

Glasgow Open SchoolFriday/15.30-17.30/Studio

A fascinating, circular and ever-revolving discussion brought to you from the open school. Outcomes will be the basis for the Open School evening performance

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Sound and SocietyThursday/10.15-11.45/Arch 6

Marcello Messina, University of LeedsUnified by Separatism: Claims for Political Independence in Protest - Songs from Sicily, Corsica and Scotland A small number of case studies from two of the main islands of the Mediterranean (Sicily and Corsica) and from a very important Atlantic region/country (Scotland).

Luciana Câmara, University of Glasgow Music and subjectivity in 17th-century free-style harp-sichord music: autonomy, changeability and self-expression

The aim of this paper is to present conclusions on the relationship between the 17th-century free-style repertoire for the harpsichord and the concept of subjectivity in Early Modern Europe.

Emma Webster, University of Glasgow‘Loyal to those people till the day I die’: Collabora-tion and competition within live music promotion at a local, national, and international level The paper is based on ethnographic research in Glasgow, Bristol and Sheffield car-ried out between 2008 and 2010.

Sound and IndustryThursday/12.00-13.30/Arch 6

Kenny Barr, University of GlasgowComposers’ Rights and the Celestial Jukebox

This paper examines the value of composers’ copyright when their work is used by music streaming services that utilise the Celestial Jukebox.

Christopher Hoddinott, University of KentMusic in the age of digital reproduction

This paper investigates how digital reproduction impinges on art and music and how both tend towards the intangible during the age of digital reproduction.

Kenneth Forbes, University of GlasgowSecond Album Syndrome: Meme, Myth or Market and Media Mani-festation?

Second album syndrome is the perceived condition relating to commercial and cre-ative pressures experienced by the artist at the time of their second album release.

Sound and the ListenerThursday/14.30-16.00/Arch 6

Ben Dunn, RSAMDSigned Sound: Audible Community Sound in performance as a

site for the discourse and interrogation of community

Language functions as a distinction of culture where the sign is denoted value in relation to its worth relative to the other signs which function within the same system of culture; meaning is constantly measured and contested as the language is put to

use.

Chloe Panayides, City University, LondonExploring the self as a phenomenological being

Subjectified by the ‘other’ through its Foucauldian confessions, there is an implicit threat to the survival of the individual in Joachim Ernst Berendt’s supposition that

‘You never listen to me’ has become standard reproach within human relationships.

Robert Fulford, Royal Northern College of MusicHearing-Impaired Musicians’ use and experience of

Hearing Aid Technology

We know that musicality exists independently of hearing. However, practicing music with a hearing impairment poses real challenges for the musician, a significant

factor being the effect of hearing aid technology on the users’ auditory perception and experience of music.

Sound and its ClassificationFriday/10.30-12.00/Arch 6

Dr. Anne Desler: University of GlasgowRocking The Fans, Not The Scholars: The reception (or

lack thereof) of Queen in Popular Music Studies

Queen are conspicuously absent in academic research on popular music. This paper will analyse the reasons for this phenomenon by exploring the development

of the canon of music within the field of popular music.

Lauren Redhead, University of LeedsGreen Angel: Music (Words, and Actions) Across Distance

Green Angel is a work of operatic noh theatre written by composer Lauren Redhead and librettist Adam Strickson. The work largely addresses the problem of

integrating the genres of opera and noh theatre in order to create a successful contemporary work accessible to Western audiences .

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Markee Rambo-Hood, University of GlasgowPostdramatic Musicalization and Wilsonian Theatre

Discussion of Hans-Thies Lehmann’s book Postdramatic Theatre is occupied by the dichotomy presented between postdramatic and dramatic theatre. The audience contract established in the introduction of Glass and Wilson’s Einstein on the Beach will be discussed looking at its use of the voice and the singing body.

Sound and CultureFriday/12.15-13.45/Arch 6

Jessica Quinones, University of Huddersfield The Argentine Sounds of Sex, Sadness and Society

Exploring practices of renovación in Astor Piazzolla’s 6 Tango Etudes for solo flute.

Jo Clements, The University of Glasgow“Rescued from oblivion” – artefacts as a symbol of their wider culture: the case of eighteenth-century Scot-land.

This paper argues that much eighteenth-century writing on “ancient” Scottish songs suggests a sense of the broken artefact as a symbol of a culture surviving trials.

Neil Cooper Hey! Hey! What’s that sound?

Sunday morning cartoons may not be the most obvious channel for discovering sound art, yet the recent UK TV residency of mid-twentieth century folk hero Gerald McBoing Boing is as good a starting point as any…

Lauren Sarah HayesFeedback-Assisted Performance

Friday/14.45-15.15/Arch 6

Examining a method of performance, where feedback introduced to the performer’s hands offers information about the musical content, Lauren Hayes will present

compositional and strategies used in her performance of Mustek.

Sound, Performance and the InstrumentSaturday/13:15-15:05/Studio

Jayne Norrie, Director of JCN Arts & EventsMusic scores as visual art: New roles and challenges for

the performer.

Developments during the latter 20th and 21st century has led to composers utilising new methods to convey their intensions via symbols, drawings and texts.

The new methods of composer notation have led to considerable changes in role of the performer.

Leila PeacockOut of the Dark

Berlin-based artist Leila Peacock explores the by turns isolating, uncomfortable and exhilarating effect of being surrounded by strangers in total darkness…by severing

the greediest of all the senses – sight.

Ian Quinn, University of DurhamSamuel Barber and the Organ.

This paper focuses on the organ works of Samuel Barber, including three recently discovered pieces which have now also been published.

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THURSDAYArch 6 Foyer

Practice Room

(B2)

EC Search Room

Sound and Society

[10:15–11:45]

z :Paper/Presentation <:Installation

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Sound and Industry

[12:00–13:30]

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Sound and theListener

[14:30–16:00]

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Movement for Viola, Cello

and Double Bass[19:40–19:50]

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Treadmill Poets[19.55 – 21.55]

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Arrivals(Listening Point)[10:00–22:00]

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Workshop(John Williamson)

[16:15–17:45]

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Styrocymatic[13:30–22:00]

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Workshop(SMIRG)

[16.45 - 18.00]

±

An Unpleasant Vagueness

[10:00–10:20]

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POSTFACE(Listening Point)[10:00–23:00]

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The Secret Sounds of

Spores[10:00–13:40][14.20-16.45][19.00-23.00]

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12 hrs

14 hrs

16 hrs

18 hrs

20 hrs

22 hrs

FRIDAYArch 6

Sound and its

classification[10:30–12:00]

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Sound and Culture

[12:15–13:45]

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FeedbackAssisted

Performance[14:45–15:15]

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Amplified String Quartet

and Electronics[19:30–19:45]

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Mustek[19:50–20:05]

oD

Studio

Workshop(Open School) [15:30–17:30]

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Workshop(Drew Hammond)

[13:45–15:00]

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Testing 1, 2[20:50–21:05]

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Shadowgraphs [21:15–21:30]

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Open School Showing

[21:30–22:20]

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Practice Room

Oct 160[20:05–21:00]

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Foyer

An Unpleasant Vagueness

[10:00–10:20]

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MAKE, BREAK AND GLITCH[11:45–20:00]

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POSTFACE(Listening Point) [10:00–20:00]

< (B2)

(B3)

(B4)

E.C. Room

Styrocymatic[13:35–21:15]

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Cymatic Sculpture

[13.45 – 21.15]

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Sing. Speak. Sigh. Scream(Film Loop)

[13:45–21:15]

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The Secret Sounds of Spores

[11:45–21:15]

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Studio

South Cloakroom

Tape Piece[20.15 – 20.45]

You Suffer, But Why?

[11:45–12:00][16:20–16:40][20:05–23:00]

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Substratum[21:45–22:45]

Userper Live Set

[21:20–21:45]

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Arch 5

Arrivals(Listening Point)[10:00–22:00]

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13 hrs

15 hrs

17 hrs

19 hrs

21 hrs

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SATURDAYStudio

Sound, Performance

and the Instrument

[13:15–15:05]

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Panel Discussion

[15:30–17:00]

Arch 3

EveningConcert

[19:30– 22:00]

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Foyer

Middle Bar

An Unpleasant Vagueness

[13:00–13:20]

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POSTFACE(Listening Point)[13:00–23:00]

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MAKE, BREAK AND GLITCH[13:00–20:00]

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Drawing/Sounding

or Call andResponse V Audio /

Visual Fusion[19:00–19:25]

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Everyone is warmly invited to dinner at Stereo from 5-7pm

(More information on following page)

(B2)

(B3)

Styrocymatic[13.35-21.15]

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Cymatic Sculpture

[13:45–21:15]

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(B4)

Sing. Speak. Sigh. Scream(Film Loop)

[13:45–21:15]

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Arrivals(Listening Point)[18:30 - 22:00]

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E.C. Room

The Secret Sounds of Spores

[13:00–17:00][19:00-21:30]

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Additional Musicians:

The Viridian QuartetLamond Gillespie - violin

Dan Paterson - violinEmma Peebles - viola

Peter Nicholson - cello

Sound Thought 2011:

Iain Campbell, Ryan Collins, LJ Dodd, Paul Henry, Anna Hodgart, Christopher Hutchings,

Markee Rambo-Hood, Liene Rozite.

Thank you to:

Will Potts, Robert Watson, Jill Smith, Nick Fells, Martin Cloonan, Drew Hammond, The University of Glasgow, The Arches staff,

Collaborative Research Training Initiative, all composers/performers/researchers.

Dancing about Architecture?

Saturday/15.30-17.00/Studio

Panel Discussion with Björn Heile, Barry Esson, Ben Knight, Markee Rambo-Hood, Yvon Bonenfant, Yann Seznec.

To what extent does the discipline we use to frame our practice dictate its outcomes? What use are various headings for our practice and research? What limits might they set on the possibilities of our work? What problems are raised by the authority of the word in research and discussion.

Join Us

Sound Thought festival dinner

Saturday/17:00-19:00/Stereo

All festival participants and ticket holders are invited to Dinner in Stereo from 17:00 - 19:00 on Saturday before the evening concert.The full Stereo menu will be available at this excellent and reasonably priced local cafe/bar (dishes from £3.50 - £9.00 approx)Please email soundthought@gmail.com to confirm attendance or just turn up on the day.

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Sound Thought 2011

Music: Action Across Distance

3rd – 5th FebruaryThurs-Fri: from 10am // Sat: from 13.00 Festival Pass: £20/£15 // Day Pass:£8/£6

soundthought2011.blogspot.comwww.gla.ac.uk/departments/music

The Arches253 Argyle Street

GlasgowG2 8DL

www.thearches.co.uk

Design/Annie Rickard Straus/2011

ROYAL MUSICAL ASSOCIATION

RMA