Autobiography and Invention: Towards a Critical Understanding of Identity, Dialogue and Resistance in Improvised Musics

In this article I will argue that acts of improvisation are not productively understood in opposition to other practices which form our wider musical culture. Improvisation might be better understood as both rooted in, but not limited by, personal and cultural memory. Improvisational activities are legible to the performer and audience through a shared understanding of social norms, but only become a singular instance of improvisation through unique performative actions. This tension between experience and invention is played out in a dialogue between performer and listener, demanding a response that crucially takes the form of self-articulation, or autobiography. Finally, I contend that it is from this position that improvisation offers the possibility to transgress established personal and cultural identities.

Network[ed] Listening – towards a de-centering of beings

In this paper, I question modes of listening in network music performance environments, and specifically draw on my experience as a performer listening in these scenarios. I situate network listening within the context of current music making, and refer to changes in compositional practices that draw specific attention to listening. I argue that some of these compositional developments play a determining role in articulating a new discourse of listening. Eric Satie's concept of Furniture Music, Schaeffer's ideas on reduced listening, Oliveros' deep listening practices as well as digital music platforms all serve to show a development towards a proliferation in listening experiences. I expand this narrative to listening practices in network performance environments, and identify a specific bodily fragility in listening in and to the network. This fragile state of listening and de-centered kind of performative being allow me to draw parallels to the Japanese art form Butoh and Elaine Scarry's metaphor of beauty. My own performance experiences, set within the context of several critical texts, allow me to see network[ed] listening as an ideal corporeal state, which offers a rethinking of linear conceptions of the other and a subject's own relation with her world. Ultimately, network[ed] listening posits listening as a corporeal and multi-dimensional experience that is continuously being re-shaped by technological, socio-political and cultural concerns.

Using Noise Techniques to Destabilize Composition and Improvisation

A description of the uses of computer-generated noise in my instrumental scores and guided improvisations.

Touching at a Distance: Resistance, Tactility, Proxemics and the Development of a Hybrid Virtual/Physical Performance System

This is a paper about resistance and affordance as they relate to music-making in the most extended sense, and perhaps about empathy if this is understood as a capacity to ‘read’ the resistances and affordances of objects, bodies, people and environments. It proceeds from a set of broad working assumptions which inform one individual’s musical practice, via a description a musical-instrument making project which is a hybrid of physical and virtual elements and is designed to test those assumptions, to a speculative finale in which it is suggested that musicking might, in some circumstances, be regarded in itself as a form of resistance. It moves from the intimate and personal, through what might be regarded as local concerns to more global observation, prefiguring the structure of the performance system it describes: the Virtual-Physical Feedback flute

Engendering Hope: A person-centred reflection on technology and gender

This paper examines instances of recent musical and artistic works and asks to what extent it makes sense to regard certain practices and technologies as gendered. It looks at a number of strategies for making, suggesting that male gender stereotypes are as prevalent and unhelpful (to practitioners) as female ones. It looks at aspects of the working environments of practitioners to determine whether changes in such conditions might alleviate the gender mismatch in enrolment in higher education courses featuring ubiquitous technologies. The paper identifies historical precedents for technology gendering in which readings of such gendering have shifted radically, suggesting they offer scope for optimism in our longer-term reading of the gendered-ness of current practices. The paper also touches on the extent to which a ‘research’ ethos––the foregrounding of the essential human attributes of inquisitiveness and empathy––may contribute to our capacity to tell better, less binary stories of otherness in all its forms.

AfterImage:for baroque flute and fixed media

Commissioned by Sonic Arts Network and Huddersfield Contemporary Music Festival with funds from ACGB for Eleanor Dawson (flute)

Fictions

Work in three movements for chamber ensemble of flute (d piccolo, alto flute), clarinet (d bass clarinet), violin, cello, piano written for Stony Brook Contemporary Music Players, Stony Brook University NY USA

Cidade Museu

Through the concept of sonic resonance, the project Cidade Museu – Museum City explores five derelict or transitional spaces in the city of Viseu. The activation and capture of these spaces develops an audio- visual memory that reflects architectures, stories and experiences, while creating a sense of place through sounds and images.

The project brings together musicians with a background in contemporary music, electroacoustic music and improvisation and a visual artist focusing on photography and video.

Each member of the collective explores the selected spaces in order to activate them with the help of their respective instruments and through sound projection in an iterative process in which the source of activation gradually gives way to the characteristics of each space, their resonances and acoustic characteristics. The museum city (a nickname for the city of Viseu), in this performance, exposes the contrast between the grandeur and multi-faceted architecture of Viseu’s Cathedral with spaces that spread throughout the city waiting for a new future.

The performance in the Cathedral (Sé) is characterised by a trio ensemble, an eight channel sound system and video projecting audio recordings and images made in each of the five spaces. The audience is invited to explore the relations between the various buildings and their stories while being immersed in their resonances and visual projections.

The performance explores the following spaces in Viseu: the old Orfeão (music hall), an old wine cellar, a mansion home to the national road services, a house with its grounds in Rua Silva Gaio and an old slaughterhouse.

Tullis Rennie's Muscle Memory: Listening to the Act of Listening

This paper explores a recent, broadly 'electroacoustic', fixed medium composition by Tullis Rennie, which uses his background in ethnographic fieldwork to explore (in this case through auto-ethnography) modes of listening, and the role of technologies in mediating this listening. Muscle Memory: A conversation about jazz, with Graham South (trumpet) (2014) begins to answer questions about how one work can comment on and analyse or critique another through its own agency as music, bringing composition and ethnography together in fruitful collision, and illuminating the human capacity to manipulate and be manipulated by musical activity. The paper uses the piece to test the extent to which four functions, identified by Simon Frith (1987. Towards an aesthetic of popular music. In R. Leppert & S. McClary (Eds.), Music and society (pp. 133-49). Cambridge: Cambridge University Press) as crucial to the meaningfulness of popular music may, in the context of ubiquitously technologised music, have broader application than he originally intended.

Italian Canzone d'autore and Greek Entechno tragoudi: a comparative overview

‘Canzone d’autore’ is the name that a vast community of Italian music critics, authors, per-formers, producers agreed upon in the mid-1970s, to describe the Italian singer-songwriter genre. Singer-songwriters, who had been missing from Italian popular music – with very few exceptions – until the late 1950s, had become increasingly popular after 1958, and were dubbed ‘cantautori’ in 1960. The term, which propagated to Spain, Catalonia, and Latin Amer-ica, is still in use, but ‘canzone d’autore’ superseded it as a genre label, highlighting the con-nections between authorship and artistic value, implied in the already established notion of ‘Cinéma d’auteur’ from which it was derived.

The expression ‘entechno laiko tragoudi’ (‘art-folk song’) was coined in Greece by Mikis The-odorakis in the 1950s, to describe a new music genre combining the urban-folk musical idi-om with lyrics coming from high-art poetry. Although the origins of the genre are tied to the work of composers like Theodorakis and Hatzidakis who did not perform as singers, from the 1970s onwards entechno became the privileged field of new generations of Greek singer-songwriters. Dropping ‘laiko’ (folk) from its label, entechno expanded its musical influences outside the urban-folk repertory and transformed into the more all-encompassing contempo-rary ‘art song’.