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Portrait of Dr Richard Glover Dr Richard Glover

r.glover@hud.ac.uk | 01484 471112



Biography

Richard Glover (b. 1981) grew up in Lichfield and studied at the University of Hertfordshire for his undergraduate degree in Electronic Music before moving to Huddersfield, where he gained a distinction for his MA in Music Composition. He completed his PhD with Bryn Harrison at Huddersfield, investigating perception and cognition within music of sustained tone textures.
He is currently working as a Research Fellow in the music department and teaching in composition and music technology.

Research & Scholarship

Areas of research include:

  • Experimental music
  • Minimalism and reductionism
  • Psychoacoustics, perception and cognition
  • Experimental approaches to notation
  • Microtonality and tuning systems
  • Minimal and process visual art

Richard divides his time between composing works which explore sustained tone environments and gradual pitch transformations, and writing and presenting on the conception, notation and perception of his own music and others both nationally and internationally. The main output of his research fellowship will be a book co-authored with Bryn Harrison and Monty Adkins on the experience of time in experimental musics.

As a composer, Richard has received many performances of his music worldwide, and has developed a particularly close relationship with the Huddersfield Contemporary Music Festival, having music performed there in 2004, 05, 07, 09 and 11. He has recently had music performed in the Composers Kitchen (Montreal), Ergodos Festival (Dublin), Seoul Computer Music Festival, MicroFest (Surrey) and Projektatelier Staab, Cologne. He was apprentice Composer-in-Residence with the BCMG 2007-8, which included a premiere of a new work in September 2008. His music has been performed by Rolf Hind and David Alberman, Quator Bozzini, Psappha, Smith Quartet, Scottish Ensemble, Jack Quartet, Goldberg Ensemble, Gemini, Apollo Saxophone Quartet and many others, and has received numerous broadcasts of his work on Radio 3.


The main output of his research fellowship will be a book co-authored with Bryn Harrison on the experience of time in experimental musics,and a portrait CD with the internationally-renowned Bozzini Quartet.


 

Publications and Other Research Outputs

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The notion of a ‘late style’ seems somewhat irrelevant within his oevre, as the only differences have been in the varying technologies used to create the ‘Niblock sound’. The paper will briefly outline his creative approach, but will largely focus upon how the composer views his own lineage from early experiments in the 60s through to recent commissions, and how, by remaining fixed upon a distinctly singular approach into his later years, his music receives more performances and wider dissemination now than at any previous point in his career. His orchestral commissions of the last decade are discussed as simply extensions of his approach, rather than as separate creative strands, and the manner in which Niblock has embraced changing technology in his later years is described, along with how that technology has been subsumed into his singular approach. The paper also discusses Niblock’s single-minded approach in relation to the standard compositional teaching centred upon personal development and evolution, and seeks to question whether the approach of artists such as Niblock, who seek not to expand the nature of their output but simply to continue it, shouldn’t be seen more clearly as a route for younger creative artists to follow rather than avoid. 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This chapter also demonstrates the overall refinement in my compositional approach which took place throughout the doctoral course: my gradual shift towards simpler processes, indeterminacy in notation, and extended note-duration. Less successful aspects of these pieces are also considered in the context of this evolution, along with those aspects which were retained and employed in future pieces. 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I will examine the diverse sustained tone pitch structures and notational procedures, explaining what role I want my notation to serve, and how the experimental performance tradition has directed the evolution in my notation through recent years. Interlaced throughout the paper will be many audio examples for clear contextualisation. I will initially discuss why I was drawn to using sustained tone textures in my own music, and describe how the use of transformational pitch processes creates indeterminate clusters resulting in various acoustic phenomena. I describe how these sustained tone designs initially began as tablature, moving through the use of quarter-tones, until now largely being described in textual formats. The paper explores how these indeterminate pitch clusters create a particular sonic identity, along with further explanation as to how the listener's perceptual grouping mechanisms process the music's vibrant surface layer. I will also briefly look at how these mechanisms affect our temporal perception of the music, contrasting this with the sustained tone textures of Phill Niblock and Peter Adriaansz. I then discuss two string quartets which utilise similar gradual harmonic processes, but involving the superimposition of a just intonation tuning system. The use of this tuning system is explored, discussing its particular acoustic relevance to the pitch processes involved. Finally, I will look at two recent pieces for keyboard, which use tunings from 12 - 24 tone equal temperament in simple harmonic processes. The manner in which these pieces contrast with previous work is explored through use of notation and the specificity of sounding result. However, similarities relating to gradual transformation are discussed, evidencing the compositional thread running through all the works discussed, despite their surface differences. 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'16269', 'producers_name_given' => undef, 'thesis_type' => undef, 'projects' => undef, 'lastmod_year' => '2014', 'data_type' => undef, 'gscholar_datestamp_minute' => undef, 'editors_name_given' => undef, 'isbn' => '9781409435495', 'include_in_cv' => 'yes', 'editors_name_family' => undef, 'lastmod_month' => '5', 'event_dates' => undef, 'fulltimestamp' => '20130800', 'learning_level' => undef, 'conductors_name_lineage' => undef, 'pages' => '458', 'source' => undef, 'lastmod_hour' => '12', 'number' => undef, 'rev_number' => '12', 'edit_lock_user' => '3483', 'series' => undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Richard', 'exhibitors_name_lineage' => undef, 'divisions' => 'mh', 'institution' => undef, 'subjects' => 'M1', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '54', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => undef, 'importid' => undef, 'status_changed_day' => '11', 'datestamp_day' => '11', 'abstract' => 'The adoption of both recording technology and electronically generated sounds has led to new explorations of ideas initially conceived for acoustic instruments, and has itself generated radically pioneering concepts. The chapter identifies and explores the various progressive uses of technology since the rise of minimalism in the 1960s, and how technology has helped shaped the notion of similarity and repetition in prominent minimalist composers' approaches. The paradox of how technology has become a dominant feature for certain composers, yet steered others towards a focus on acoustic instruments (which provide a more humanistic quality) with technology acting in a supporting role, is discussed throughout. An example of the different consequences technology has had is exemplified in the experiences of La Monte Young and Steve Reich. Whilst Young's instrumental work with the Theatre of Eternal Music led to the electronically-generated sine tones of the Dream House, Reich's experiences with tape loops and the Phase Shifting Pulse Gate encouraged him to return to working with acoustic instruments. His gradual transition from an interest in technology within the performance context to a dissatisfaction is explored, and how the technologies of later works rendered a stronger sense of humanity because of this. Repetitive minimalism relies heavily on the well-documented early studio experiments of Reich and Terry Riley with tape loops in both Europe and the US. The chapter investigates the various influences between them, and how two composers who are all too often grouped together held significantly differing approaches to the use of technology in their music. Other areas which tend to be more neglected are also discussed within the chapter, such as James Tenney's early process-based work with tape and computer compositions which parallels mainstream minimalist music in simplicity of structures designed to focus perception upon surface detail. The pioneering work involving technology in live performance from Alvin Lucier is also examined in relation to simplicity in process, alongside more recent work from Chiyoko Szlavnics and Peter Adriaansz. Sustained tone minimalism since Young has developed significantly with the use of electronic means; amplification, the introduction of sine tone manipulation, synthesisers and software development have all enabled composers who are interested in gradual parametric change to gain superior control over their material. The music of Charlemagne Palestine, Phill Niblock, and Eliane Radigue is discussed in detail, in relation to the composers’ various employment of technology, their outlooks on its performative capabilities and its evolving influence over their compositional approach. Recent trends in minimalist electronic music are also explored, with artists such as Richard Chartier, Ryoji Ikeda and snd providing a focal point for discussion on the capabilities of digital processing. As well as outlining the capabilities of the new technologies, importance is given to how these technologies enable artists to develop on compositional concepts which have existed since the beginnings of minimalism.The tendencies towards extreme sparsity, use of digital silence and finer creative control over surface detail show how these artists’ work operates from within a minimalist lineage, but also expands the conceptual and experiential possibilities of recent digital technologies. 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This paper presents three recent pieces of mine, Gradual Music, Corradiation and in tones, and elucidates on the aforementioned influences whilst also discussing links between with other, less well known composers active today operating within a reductionist approach. As well as looking at the compositional construction of this music, I will discuss the perceptual consequences for the listener which form a significant part of my compositional process. After discussing why I employ sustained tone textures, I will describe the transformational pitch processes in my music, along with related issues of closure. The distinctive identity of these processes is situated amongst other approaches from the wider minimalist field, such as the austere constructs of Rytis Mažulis and the interweaving pitch parabolas of Peter Adriaansz. The non-transformational pitch structures from my installation in tones are examined, and their lack of closure is contrasted with the more teleological processes from the other pieces. The microtonal pitch clusters in my music create a particular identity which I will explore, along with further explanation as to how the listener's perceptual grouping mechanisms process the music's vibrant surface layer. I will also briefly look at how these mechanisms affect our temporal perception of the music, contrasting this with the sustained tone textures of Phill Niblock and Alvin Lucier. My choices of homogenous instrumental forces are discussed, examining how monochromatic ensembles enhance the perceptual effects which I aim to create in my music. I will also discuss why the manner in which the ensemble interacts has gradually come to play a greater role in my approach; by considering the relative effectiveness of approaches taken in previous works, I consider why certain routes are deemed more successful for future compositions. The performance tradition of minimalist sustained music throughout the past fifty years is discussed and used to contextualise my own particular demands from performers. Finally, I will present the various notational methods from the three pieces, particularly with regard to influences from experimental minimalist composition through my use of text in scores. I explain what role I want my notation to serve, and the how minimalist performance tradition has directed the evolution in my notation through recent years.', 'creators_id' => 'r.glover@hud.ac.uk', 'contributors_name_lineage' => undef, 'userid' => '1729', 'patent_applicant' => undef, 'monograph_type' => undef, 'datestamp_minute' => '48', 'lyricists_name_family' => undef, 'sword_slug' => undef, 'id_number' => undef, 'volume' => undef, 'gscholar_datestamp_month' => undef, 'conductors_id' => undef, 'suggestions' => undef, 'referencetext' => undef, 'date_year' => '2011', 'status_changed_hour' => '11', 'gscholar_cluster' => undef, 'producers_name_family' => undef }, '13265' => { 'funders' => undef, 'conductors_name_family' => undef, 'num_pieces' => undef, 'department' => undef, 'contributors_id' => undef, 'gscholar_datestamp_second' => undef, 'keywords' => undef, 'lyricists_name_lineage' => undef, 'lyricists_id' => undef, 'edit_lock_since' => '1355239225', 'creatorlist' => { '0' => { 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undef, 'importid' => undef, 'status_changed_day' => '13', 'datestamp_day' => '13', 'abstract' => 'Violin with Clarinet and Piano Richard Glover Programme note This piece has a reduced range of material, focussing on the relationship between sounds in close proximity to each other, and the acoustic phenomena which arise from this environment. The clarinet plays microtonal variants of the piano's tempered notes, and the violin very slowly glissandos between the two. Violin with Clarinet and Piano was written for the Gemini Ensemble and premiered on 5 January 2008 at the RMA Research Students' conference at the University of Surrey. Duration c. 5'', 'creators_id' => 'r.glover@hud.ac.uk', 'contributors_name_lineage' => undef, 'userid' => '1729', 'patent_applicant' => undef, 'monograph_type' => undef, 'datestamp_minute' => '42', 'lyricists_name_family' => undef, 'sword_slug' => undef, 'id_number' => undef, 'volume' => undef, 'gscholar_datestamp_month' => undef, 'conductors_id' => undef, 'suggestions' => undef, 'referencetext' => undef, 'date_year' => '2008', 'status_changed_hour' => '11', 'gscholar_cluster' => undef, 'producers_name_family' => undef }, '16268' => { 'funders' => undef, 'conductors_name_family' => undef, 'num_pieces' => undef, 'department' => undef, 'contributors_id' => undef, 'gscholar_datestamp_second' => undef, 'keywords' => undef, 'lyricists_name_lineage' => undef, 'lyricists_id' => undef, 'edit_lock_since' => '1355243852', 'creatorlist' => { '0' => { 'creators_name_lineage' => '', 'creators_name_family' => 'Glover', 'eprintid' => '16268', 'creators_name_honourific' => '', 'pos' => '0', 'creators_name_given' => 'Richard', 'creators_id' => 'r.glover@hud.ac.uk' } }, 'exhibitors_id' => undef, 'latitude' => undef, 'replacedby' => undef, 'status_changed_month' => '12', 'editors_name_honourific' => undef, 'admin_note' => undef, 'event_title' => 'Second International Conference on Minimalist Music ', 'date_type' => 'submitted', 'pres_type' => 'paper', 'longitude' => undef, 'creators_name_honourific' => '', 'include_in_hebci' => 'no', 'producers_name_honourific' => undef, 'scopus_citation_count' => undef, 'datestamp_year' => '2012', 'fileinfo' => '/style/images/fileicons/application_pdf.png;/16268/3/GloverDec12Niblock_paper.pdf|/style/images/fileicons/application_msword.png;/16268/1/Niblock_paper.doc', 'status_changed_second' => '19', 'exhibitors_name_honourific' => undef, 'editors_id' => undef, 'title' => 'Phill Niblock and identity in reductionism', 'corp_creators' => undef, 'contributors_name_given' => undef, 'alt_title' => undef, 'contributors_name_family' => undef, 'sponsors' => undef, 'output_media' => undef, 'editors_name_lineage' => undef, 'dir' => 'disk0/00/01/62/68', 'overlay_journal_id' => undef, 'gscholar_datestamp_year' => undef, 'ispublished' => 'pub', 'item_issues_count' => '1', 'conductors_name_given' => undef, 'sword_depositor' => undef, 'full_text_status' => 'restricted', 'lastmod_minute' => '47', 'refereed' => 'TRUE', 'contact_email' => 'r.glover@hud.ac.uk', 'copyright_holders' => undef, 'date_day' => undef, 'gscholar_impact' => undef, 'official_url' => undef, 'succeeds' => undef, 'datestamp_month' => '12', 'commentary' => undef, 'lastmod_day' => '11', 'publisher' => undef, 'pagerange' => undef, 'include_in_pedagogical' => 'no', 'task_purpose' => undef, 'status_changed_year' => '2012', 'book_title' => undef, 'thesis_name' => undef, 'event_location' => 'University of Missouri, Kansas, USA', 'type' => 'conference_item', 'publication' => undef, 'lastmod_second' => '19', 'place_of_pub' => undef, 'contributors_name_honourific' => undef, 'gscholar_datestamp_day' => undef, 'issn' => undef, 'datestamp_hour' => '16', 'exhibitors_name_given' => undef, 'creators_name_family' => 'Glover', 'composition_type' => undef, 'producers_id' => undef, 'datestamp_second' => '19', 'note' => undef, 'edit_lock_until' => '0', 'editor_note' => undef, 'pedagogic_type' => undef, 'date_month' => 9, 'rights' => undef, 'contributors_type' => undef, 'scopus_id' => undef, 'eprintid' => '16268', 'producers_name_given' => undef, 'thesis_type' => undef, 'projects' => undef, 'lastmod_year' => '2012', 'data_type' => undef, 'gscholar_datestamp_minute' => undef, 'editors_name_given' => undef, 'isbn' => undef, 'include_in_cv' => 'yes', 'editors_name_family' => undef, 'lastmod_month' => '12', 'event_dates' => '2nd-6th September 2009', 'fulltimestamp' => '20090900', 'learning_level' => undef, 'conductors_name_lineage' => undef, 'pages' => undef, 'source' => undef, 'lastmod_hour' => '16', 'number' => undef, 'rev_number' => '13', 'edit_lock_user' => '6', 'series' => undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Richard', 'exhibitors_name_lineage' => undef, 'divisions' => 'mh', 'institution' => undef, 'subjects' => 'M1', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '47', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => 'conference', 'importid' => undef, 'status_changed_day' => '11', 'datestamp_day' => '11', 'abstract' => 'American experimental composer Phill Niblock is a pioneer of drone music, influencing generations of younger artists and directing the Experimental Intermedia foundation. However, despite many regular performances of his music internationally, he remains an artist relatively unknown outside of the minimal music world. This paper aims to introduce Niblock's music and, through investigation of the music's compositional processes and resultant soundworld, explore why Niblock is often omitted from the dominant minimal canon. Focussing on Niblock's output in both the acoustic and instrument-and-tape domains, the paper will explore different compositional techniques undertaken to produce a similar resultant sonic environment. Both strategies employ relatively pure tones from the instruments (whether performed live in concert or recorded in the studio) which could be recreated easily via synthesis; the paper explores what implications live instruments have on the realisation and perception of such drone music, and how this characterises Niblock's music from other drone composers. Through detailed study of selected pieces, Niblock's use of compositional devices such as layered glissandi and transforming clusters will be discussed, exploring how teleological concepts and gestalt perceptual processing can create hierarchical formal constructs within the overall musical experience. While some scholars have called into doubt Reich's claim in Music as a Gradual Process that ensuing acoustic phenomena in the sound form a cogent part of the compositional intent, the paper discusses how Niblock's aims are clearly directed towards creating environments from which acoustic phenomena arise and can be directly experienced by the listener. The paper also discusses the implications of Niblock's audio editing techniques and draws parallels with the work and phenomenological philosophies of earlier so-called Minimalist visual artists, looking at how these aspects of Niblock's creative process serve to delineate his approach to that of other systematic composers. Using information theory and memory recall models, it is shown how Niblock's music works within a world of large-scale predictability, but on a micro level operates with high entropy. These results are dependent on acoustic space, specific intensity level, position of the listener and other physical factors. Aiding this level of uncertainty is the absence of specific tuning systems or discernible numerical or frequential patterns in the music. The paper explores this approach, which remains significantly different from the more systematic compositional methods used by other composers within the minimalist tradition. The paper draws conclusions regarding the unique compositional approach forged by Niblock, resulting in a characteristic soundworld with a singular identity. While there is a distinct lack of scholarly writings on Niblock - and indeed other drone artists such as Palestine and Radigue - future avenues for exploration are discussed to illuminate more the qualities and implications of this most experiential of musics. 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'rev_number' => '9', 'edit_lock_user' => '3483', 'series' => undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Richard', 'exhibitors_name_lineage' => undef, 'divisions' => 'mh', 'institution' => undef, 'subjects' => 'M1', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '53', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => 'conference', 'importid' => undef, 'status_changed_day' => '5', 'datestamp_day' => '5', 'abstract' => 'American experimental composer Phill Niblock is a pioneer of drone music, influencing generations of younger artists and directing the Experimental Intermedia foundation. However, despite many regular performances of his music internationally, he remains an artist relatively unknown outside of the minimal music world. This paper aims to introduce Niblock’s music and, through investigation of the music’s compositional processes and resultant soundworld, explore why Niblock is often omitted from the dominant minimal canon. Focussing on Niblock’s output in both the acoustic and instrument-and-tape domains, the paper will explore different compositional techniques undertaken to produce a similar resultant sonic environment. Both strategies employ relatively pure tones from the instruments (whether performed live in concert or recorded in the studio) which could be recreated easily via synthesis; the paper explores what implications live instruments have on the realisation and perception of such drone music, and how this charaterises Niblock’s music from other drone composers. Through detailed study of selected pieces, Niblock’s use of compositional devices such as layered glissandi and transforming clusters will be discussed, exploring how teleological concepts and gestalt perceptual processing can create hierarchical formal constructs within the overall musical experience. While some scholars have called into doubt Reich’s claim in Music as a Gradual Process that ensuing acoustic phenomena in the sound form a cogent part of the compositional intent, the paper discusses how Niblock’s aims are clearly directed towards creating environments from which acoustic phenomena arise and can be directly experienced by the listener. The paper also discusses the implications of Niblock’s audio editing techniques and draws parallels with the work and phenomenological philosophies of earlier so-called Minimalist visual artists, looking at how these aspects of Niblock’s creative process serve to delineate his approach to that of other systematic composers. 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The paper aims to understand how and why grid structures are used in contemporary notational practice, to discover differences in the approach to their employment, and how they can influence composer’s decision making. Some of the first instances of grid structures in western experimental music scores are seen in Morton Feldman’s graph pieces from the Projection and Intersection series (1951-3). Feldman’s notions of framing material (in his own words, he is not “creating music, it’s already there”) underpin his use of grids, and this provides an analytical approach for the study of scores by more recent composers. Examples from scores by Michael Pisaro, Phill Niblock, John Lely, and the author’s own recent music are reviewed for their individual use of grid structures. In particular, the manner in which grid structures can be used to encompass many parameters, or to focus on one specific parametric variation, is considered. From this, the paper explores what can be conveyed by the use of a grid in the main body of the score. By including what the composers themselves say about their own use of grids, and related comments from performers, the paper establishes a scholarly insight into the interpretive decisions of musicians prompted by the use of grid structures. To understand further the communicative aspects of grid structures and their use in creative formats, the nature of grids in the visual arts will be discussed. The work of artists such as Agnes Martin, François Morollet, James Hugonin and Hanne Darboven will be presented to identify connections with the use of grids in music notation, and how these are interpreted by the observer. The viewpoints of graphic designers such as Mark Boulton are also included to consider the wide-ranging capabilities of grid structures, providing avenues for further creativity in all areas of musical activity. 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Each piece uses only sustained tones performed by instrumentalists who are doing all they can to retain the parameters of their note fixed. Scores, where they exist, project only stability. The grid below in Figure 1 is the composer's score from Five More String Quartets (1993), where the players are directed to match each tone as it is played through their headphones; the austerity of the frequency chart suggests the immobility of these sustained tones. The intense dynamic of each tone in a piece does not alter throughout the piece, only with variations in density. There is little to no transformation in the timbral quality of the instrument as natural timbral envelopes are removed, and these tones are heard continuously throughout a piece: rhythm, as denoted by sound framing silence, does not feature in Niblock's music.', 'creators_id' => 'r.glover@hud.ac.uk', 'contributors_name_lineage' => undef, 'userid' => '1729', 'patent_applicant' => undef, 'monograph_type' => undef, 'datestamp_minute' => '20', 'lyricists_name_family' => undef, 'sword_slug' => undef, 'id_number' => undef, 'volume' => undef, 'gscholar_datestamp_month' => undef, 'conductors_id' => undef, 'suggestions' => undef, 'referencetext' => undef, 'date_year' => '2013', 'status_changed_hour' => '11', 'gscholar_cluster' => undef, 'producers_name_family' => undef }, '15623' => { 'funders' => undef, 'conductors_name_family' => undef, 'num_pieces' => undef, 'department' => undef, 'contributors_id' => undef, 'gscholar_datestamp_second' => undef, 'keywords' => undef, 'lyricists_name_lineage' => undef, 'lyricists_id' => undef, 'edit_lock_since' => '1355243494', 'creatorlist' => { '0' => { 'creators_name_lineage' => '', 'creators_name_family' => 'Glover', 'eprintid' => '15623', 'creators_name_honourific' => '', 'pos' => '0', 'creators_name_given' => 'Richard', 'creators_id' => 'r.glover@hud.ac.uk' } }, 'exhibitors_id' => undef, 'latitude' => undef, 'replacedby' => undef, 'status_changed_month' => '12', 'editors_name_honourific' => undef, 'admin_note' => undef, 'event_title' => 'ICMPC-ESCOM 2012 Joint Conference', 'date_type' => 'completed', 'pres_type' => 'poster', 'longitude' => undef, 'creators_name_honourific' => '', 'include_in_hebci' => 'no', 'producers_name_honourific' => undef, 'scopus_citation_count' => undef, 'datestamp_year' => '2012', 'fileinfo' => '/style/images/fileicons/application_pdf.png;/15623/1/Richard_Glover%2DICMPC%2DESCOM_poster.pdf', 'status_changed_second' => '49', 'exhibitors_name_honourific' => undef, 'editors_id' => undef, 'title' => 'The experience of sustained tone music', 'corp_creators' => undef, 'contributors_name_given' => undef, 'alt_title' => undef, 'contributors_name_family' => undef, 'sponsors' => undef, 'output_media' => undef, 'editors_name_lineage' => undef, 'dir' => 'disk0/00/01/56/23', 'overlay_journal_id' => undef, 'gscholar_datestamp_year' => undef, 'ispublished' => 'pub', 'item_issues_count' => '2', 'conductors_name_given' => undef, 'sword_depositor' => undef, 'full_text_status' => 'public', 'lastmod_minute' => '36', 'refereed' => 'TRUE', 'contact_email' => 'r.glover@hud.ac.uk', 'copyright_holders' => undef, 'date_day' => undef, 'gscholar_impact' => undef, 'official_url' => undef, 'succeeds' => undef, 'datestamp_month' => '12', 'commentary' => undef, 'lastmod_day' => '11', 'publisher' => undef, 'pagerange' => undef, 'include_in_pedagogical' => 'no', 'task_purpose' => undef, 'status_changed_year' => '2012', 'book_title' => undef, 'thesis_name' => undef, 'event_location' => 'Aristotle University of Thessaloniki', 'type' => 'conference_item', 'publication' => undef, 'lastmod_second' => '49', 'place_of_pub' => undef, 'contributors_name_honourific' => undef, 'gscholar_datestamp_day' => undef, 'issn' => undef, 'datestamp_hour' => '16', 'exhibitors_name_given' => undef, 'creators_name_family' => 'Glover', 'composition_type' => undef, 'producers_id' => undef, 'datestamp_second' => '49', 'note' => undef, 'edit_lock_until' => '0', 'editor_note' => undef, 'pedagogic_type' => undef, 'date_month' => 7, 'rights' => undef, 'contributors_type' => undef, 'scopus_id' => undef, 'eprintid' => '15623', 'producers_name_given' => undef, 'thesis_type' => undef, 'projects' => undef, 'lastmod_year' => '2012', 'data_type' => undef, 'gscholar_datestamp_minute' => undef, 'editors_name_given' => undef, 'isbn' => undef, 'include_in_cv' => 'yes', 'editors_name_family' => undef, 'lastmod_month' => '12', 'event_dates' => '23-28 July 2012', 'fulltimestamp' => '20120700', 'learning_level' => undef, 'conductors_name_lineage' => undef, 'pages' => undef, 'source' => undef, 'lastmod_hour' => '16', 'number' => undef, 'rev_number' => '13', 'edit_lock_user' => '6', 'series' => undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Richard', 'exhibitors_name_lineage' => undef, 'divisions' => 'mh', 'institution' => undef, 'subjects' => 'BF', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '36', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => 'conference', 'importid' => undef, 'status_changed_day' => '11', 'datestamp_day' => '11', 'abstract' => 'This study will discuss a cognitive approach to the experience of experimental sustained tone music, using recent compositions by Phill Niblock, Alvin Lucier and myself as source material. After initially outlining the kinds of harmonic transformation and global pitch structure involved in these pieces, the aural nature of sustained tones is discussed whereupon listeners are directed towards the activity within the surface layer of the sound. This activity is described in detail, comprehensively surveying the myriad acoustic and psychoacoustic phenomena prevalent. The paper then draws upon gestalt grouping mechanisms to describe how this surface activity is interpreted by the cognitive process. The notion of resulting articulations within sections is explored, and consequently what this means in terms of stability and instability for the listener, including considerations of temporality. The manner in which this process feeds into the compositional procedure for these composers is then explored, looking specifically at pitch structures employed, how indeterminacy in sustained tone composition affects the cognition process and why these composers have a tendency towards writing for acoustic instruments rather than electronic sources. This study provides further strategies into how we might analyse sustained tone music, directing discussion towards the sounding experience and cognitive comprehension of the listener rather than solely from the score. This understanding can open up further avenues of research for composers, performers and interdisciplinary theorists. ', 'creators_id' => 'r.glover@hud.ac.uk', 'contributors_name_lineage' => undef, 'userid' => '1729', 'patent_applicant' => undef, 'monograph_type' => undef, 'datestamp_minute' => '36', 'lyricists_name_family' => undef, 'sword_slug' => undef, 'id_number' => undef, 'volume' => undef, 'gscholar_datestamp_month' => undef, 'conductors_id' => undef, 'suggestions' => undef, 'referencetext' => undef, 'date_year' => '2012', 'status_changed_hour' => '16', 'gscholar_cluster' => undef, 'producers_name_family' => undef }, '18850' => { 'funders' => undef, 'conductors_name_family' => undef, 'num_pieces' => undef, 'department' => undef, 'contributors_id' => undef, 'gscholar_datestamp_second' => undef, 'keywords' => undef, 'lyricists_name_lineage' => undef, 'lyricists_id' => undef, 'edit_lock_since' => '1381335659', 'creatorlist' => { '1' => { 'creators_name_lineage' => '', 'creators_name_family' => 'Harrison', 'eprintid' => '18850', 'creators_name_honourific' => '', 'pos' => '1', 'creators_name_given' => 'Bryn', 'creators_id' => 'b.d.harrison@hud.ac.uk' }, '0' => { 'creators_name_lineage' => '', 'creators_name_family' => 'Glover', 'eprintid' => '18850', 'creators_name_honourific' => '', 'pos' => '0', 'creators_name_given' => 'Richard', 'creators_id' => 'r.glover@hud.ac.uk' } }, 'exhibitors_id' => undef, 'latitude' => undef, 'replacedby' => undef, 'status_changed_month' => '10', 'editors_name_honourific' => undef, 'admin_note' => undef, 'event_title' => 'Philosophy and Music Conference: Time Theories and Music', 'date_type' => 'published', 'pres_type' => 'paper', 'longitude' => undef, 'creators_name_honourific' => '', 'include_in_hebci' => 'no', 'producers_name_honourific' => undef, 'scopus_citation_count' => undef, 'datestamp_year' => '2013', 'fileinfo' => '/style/images/fileicons/application_pdf.png;/18850/2/Phenomenology_and_temporality_paper.pdf', 'status_changed_second' => '4', 'exhibitors_name_honourific' => undef, 'editors_id' => undef, 'title' => 'Phenomenology and temporality in the composition of experimental minimal music ', 'corp_creators' => undef, 'contributors_name_given' => undef, 'alt_title' => undef, 'contributors_name_family' => undef, 'sponsors' => undef, 'output_media' => undef, 'editors_name_lineage' => undef, 'dir' => 'disk0/00/01/88/50', 'overlay_journal_id' => undef, 'gscholar_datestamp_year' => undef, 'ispublished' => 'pub', 'item_issues_count' => '1', 'conductors_name_given' => undef, 'sword_depositor' => undef, 'full_text_status' => 'public', 'lastmod_minute' => '22', 'refereed' => undef, 'contact_email' => undef, 'copyright_holders' => undef, 'date_day' => 16, 'gscholar_impact' => undef, 'official_url' => 'http://conferences.ionio.gr/ccpm12/download.php?f=ccpm12_glover_harrison.pdf', 'succeeds' => undef, 'datestamp_month' => '10', 'commentary' => undef, 'lastmod_day' => '9', 'publisher' => undef, 'pagerange' => undef, 'include_in_pedagogical' => 'no', 'task_purpose' => undef, 'status_changed_year' => '2013', 'book_title' => undef, 'thesis_name' => undef, 'event_location' => 'Ionian University, Corfu, Greece', 'type' => 'conference_item', 'publication' => undef, 'lastmod_second' => '4', 'place_of_pub' => undef, 'contributors_name_honourific' => undef, 'gscholar_datestamp_day' => undef, 'issn' => undef, 'datestamp_hour' => '16', 'exhibitors_name_given' => undef, 'creators_name_family' => 'Glover', 'composition_type' => undef, 'producers_id' => undef, 'datestamp_second' => '4', 'note' => undef, 'edit_lock_until' => '0', 'editor_note' => undef, 'pedagogic_type' => undef, 'date_month' => 4, 'rights' => undef, 'contributors_type' => undef, 'scopus_id' => undef, 'eprintid' => '18850', 'producers_name_given' => undef, 'thesis_type' => undef, 'projects' => undef, 'lastmod_year' => '2013', 'data_type' => undef, 'gscholar_datestamp_minute' => undef, 'editors_name_given' => undef, 'isbn' => undef, 'include_in_cv' => 'yes', 'editors_name_family' => undef, 'lastmod_month' => '10', 'event_dates' => '27-29 April 2012', 'fulltimestamp' => '20130416', 'learning_level' => undef, 'conductors_name_lineage' => undef, 'pages' => undef, 'source' => undef, 'lastmod_hour' => '16', 'number' => undef, 'rev_number' => '11', 'edit_lock_user' => '3494', 'series' => undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Richard', 'exhibitors_name_lineage' => undef, 'divisions' => 'mh', 'institution' => undef, 'subjects' => 'B1', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '22', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => 'conference', 'importid' => undef, 'status_changed_day' => '9', 'datestamp_day' => '9', 'abstract' => 'The paper’s authors are composers operating within the field of experimental music. Their music is created from the use of limited materials placed into repetitive structures involving cyclic pitch patterns and sustained tone textures. This reductive approach to composition provides a fertile area for discussions of temporality, as the music functions outside of standard teleological narrative structures thereby prompting more varied subjective temporal experiences for listeners. The paper will take as its starting point the experience of the listener, rather than the musical score, enhancing discussions from Thomas Clifton’s Music as Heard.1 This angle is particularly relevant when discussing minimal works, as the score does not (and is not intended to) give an indication to what the auditory experience will be, it simply acts as what pianist Philip Thomas describes as a ‘prescription for action’ for the performers.2 Drawing particularly upon work on the temporal experience by Merleau-Ponty (after Husserl), the paper discusses how phenomenological approaches can provide effective insight into the experience of sustained tone and repetitive music. By discussing notions of retention and protention, the two composers will explore how this permeates their compositional approach, particularly in relation to the use of repetition, examining the different types of musical materials used by the composers and how this affects the temporalities experienced upon performance. Points of similarity and variance between the two outlooks are explored in detail, providing an in-depth discussion as to how attitudes towards temporality can result in nuanced differences in output. Fundamental essences are clarified and discussed in relation to other composers’ work, and in particular American composer James Tenney’s work in applying a phenomenological model upon the listening experience is considered alongside the central discussion. The results of this investigation provide both clear artistic statements on the role of phenomenological thought in the creative process, and also tentative starting points for further discussion on experiential temporalities in minimal and experimental musics.', 'creators_id' => 'r.glover@hud.ac.uk', 'contributors_name_lineage' => undef, 'userid' => '1729', 'patent_applicant' => undef, 'monograph_type' => undef, 'datestamp_minute' => '22', 'lyricists_name_family' => undef, 'sword_slug' => undef, 'id_number' => undef, 'volume' => undef, 'gscholar_datestamp_month' => undef, 'conductors_id' => undef, 'suggestions' => undef, 'referencetext' => undef, 'date_year' => '2013', 'status_changed_hour' => '16', 'gscholar_cluster' => undef, 'producers_name_family' => undef }, '16274' => { 'funders' => undef, 'conductors_name_family' => undef, 'num_pieces' => undef, 'department' => undef, 'contributors_id' => undef, 'gscholar_datestamp_second' => undef, 'keywords' => undef, 'lyricists_name_lineage' => undef, 'lyricists_id' => undef, 'edit_lock_since' => '1355398091', 'creatorlist' => { '0' => { 'creators_name_lineage' => '', 'creators_name_family' => 'Glover', 'eprintid' => '16274', 'creators_name_honourific' => '', 'pos' => '0', 'creators_name_given' => 'Richard', 'creators_id' => 'r.glover@hud.ac.uk' } }, 'exhibitors_id' => undef, 'latitude' => undef, 'replacedby' => undef, 'status_changed_month' => '12', 'editors_name_honourific' => undef, 'admin_note' => undef, 'event_title' => undef, 'date_type' => 'completed', 'pres_type' => undef, 'longitude' => undef, 'creators_name_honourific' => '', 'include_in_hebci' => 'no', 'producers_name_honourific' => undef, 'scopus_citation_count' => undef, 'datestamp_year' => '2012', 'fileinfo' => '/style/images/fileicons/application_pdf.png;/16274/1/Corradiation.pdf', 'status_changed_second' => '46', 'exhibitors_name_honourific' => undef, 'editors_id' => undef, 'title' => 'Corradiation', 'corp_creators' => undef, 'contributors_name_given' => undef, 'alt_title' => undef, 'contributors_name_family' => undef, 'sponsors' => undef, 'output_media' => 'Score, concert', 'editors_name_lineage' => undef, 'dir' => 'disk0/00/01/62/74', 'overlay_journal_id' => undef, 'gscholar_datestamp_year' => undef, 'ispublished' => 'unpub', 'item_issues_count' => '0', 'conductors_name_given' => undef, 'sword_depositor' => undef, 'full_text_status' => 'public', 'lastmod_minute' => '39', 'refereed' => undef, 'contact_email' => 'r.glover@hud.ac.uk', 'copyright_holders' => undef, 'date_day' => 9, 'gscholar_impact' => undef, 'official_url' => undef, 'succeeds' => undef, 'datestamp_month' => '12', 'commentary' => undef, 'lastmod_day' => '13', 'publisher' => undef, 'pagerange' => undef, 'include_in_pedagogical' => 'no', 'task_purpose' => undef, 'status_changed_year' => '2012', 'book_title' => undef, 'thesis_name' => undef, 'event_location' => undef, 'type' => 'composition', 'publication' => undef, 'lastmod_second' => '46', 'place_of_pub' => undef, 'contributors_name_honourific' => undef, 'gscholar_datestamp_day' => undef, 'issn' => undef, 'datestamp_hour' => '11', 'exhibitors_name_given' => undef, 'creators_name_family' => 'Glover', 'composition_type' => 'Small ensemble', 'producers_id' => undef, 'datestamp_second' => '46', 'note' => undef, 'edit_lock_until' => '0', 'editor_note' => undef, 'pedagogic_type' => undef, 'date_month' => 3, 'rights' => undef, 'contributors_type' => undef, 'scopus_id' => undef, 'eprintid' => '16274', 'producers_name_given' => undef, 'thesis_type' => undef, 'projects' => undef, 'lastmod_year' => '2012', 'data_type' => undef, 'gscholar_datestamp_minute' => undef, 'editors_name_given' => undef, 'isbn' => undef, 'include_in_cv' => 'yes', 'editors_name_family' => undef, 'lastmod_month' => '12', 'event_dates' => undef, 'fulltimestamp' => '20100309', 'learning_level' => undef, 'conductors_name_lineage' => undef, 'pages' => undef, 'source' => undef, 'lastmod_hour' => '11', 'number' => undef, 'rev_number' => '9', 'edit_lock_user' => '6', 'series' => undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Richard', 'exhibitors_name_lineage' => undef, 'divisions' => 'mh', 'institution' => undef, 'subjects' => 'M1', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '39', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => undef, 'importid' => undef, 'status_changed_day' => '13', 'datestamp_day' => '13', 'abstract' => 'Corradiation for four singers (SATB) Programme note Corradiation: a conjunction or concentration of rays in one point. Conjunction: the act of conjoining. The rays, in this instance, are the individual lines of the singers. Thanks to Laura for help with the IPA. Corradiation was written for the Exaudi vocal ensemble and premiered on 9 March 2010 in St. Paul's Hall, Huddersfield. 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pitch is not a common aspect of many text scores, but my own interest in composing precise pitch processes – alongside a drive towards communicating a non-interventionist performative approach – has led to my recent scores incorporating the use of text alongside (or absorbing) specific pitch instructions in various notational formats. The paper will consider this co-existence of indeterminacy and exactness (as Michael Pisaro describes it), and will outline two aspects of precision relating to pitch: the specifying of exact pitches (including various numerical and symbolic approaches towards microtonality), and that of specifying pitch relationships that are often without recourse to starting pitches. Both aspects are discussed in the light of my own music and that of others such as Pisaro, James Tenney, Chiyoko Slavnics, Phill Niblock and Joe Kudirka. 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undef, 'date_month' => 5, 'rights' => undef, 'contributors_type' => undef, 'scopus_id' => undef, 'eprintid' => '17676', 'producers_name_given' => undef, 'thesis_type' => undef, 'projects' => undef, 'lastmod_year' => '2013', 'data_type' => undef, 'gscholar_datestamp_minute' => undef, 'editors_name_given' => undef, 'isbn' => undef, 'include_in_cv' => 'yes', 'editors_name_family' => undef, 'lastmod_month' => '8', 'event_dates' => undef, 'fulltimestamp' => '20130500', 'learning_level' => undef, 'conductors_name_lineage' => undef, 'pages' => undef, 'source' => undef, 'lastmod_hour' => '6', 'number' => undef, 'rev_number' => '21', 'edit_lock_user' => '3494', 'series' => undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Richard', 'exhibitors_name_lineage' => undef, 'divisions' => 'mh', 'institution' => undef, 'subjects' => 'M1', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '10', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => undef, 'importid' => undef, 'status_changed_day' => '30', 'datestamp_day' => '30', 'abstract' => '1. A painter of figures in rooms (2012), Aaron Cassidy (b.1976) 2. Nakedness (2012), James Weeks (b.1978) 3. eight voices (2011), Bryn Harrison (b.1969) 4. – 9. from Jandl Songs (2007-), Stephen Chase (b.1973) 10. Harmonizing (Artificial Environment no.7) (2011-12), Joanna Bailie (b.1973) 11. Corradiation (2010), Richard Glover (b.1981) 12. lorem ipsum (2007), Claudia Molitor (b.1974) EXAUDI ensemble There is no more revealing a medium in music than the human voice. Coming from deep inside the body, carried on the breath, acquiring resonance in the head, shaped and channeled through the same mouth and lips through which we speak and with which we kiss – this sound, not filtered through wood, metal or gut, cannot be separated from the human being that made it. By the time it leaves the body, it is intrinsically, inextricably personal.', 'creators_id' => 'r.glover@hud.ac.uk', 'contributors_name_lineage' => undef, 'userid' => '3494', 'patent_applicant' => undef, 'monograph_type' => undef, 'datestamp_minute' => '10', 'lyricists_name_family' => undef, 'sword_slug' => undef, 'id_number' => undef, 'volume' => undef, 'gscholar_datestamp_month' => undef, 'conductors_id' => undef, 'suggestions' => undef, 'referencetext' => undef, 'date_year' => '2013', 'status_changed_hour' => '8', 'gscholar_cluster' => undef, 'producers_name_family' => undef }, '13258' => { 'funders' => undef, 'conductors_name_family' => undef, 'num_pieces' => undef, 'department' => undef, 'contributors_id' => undef, 'gscholar_datestamp_second' => undef, 'keywords' => undef, 'lyricists_name_lineage' => undef, 'lyricists_id' => undef, 'edit_lock_since' => '1333614965', 'creatorlist' => { '0' => { 'creators_name_lineage' => '', 'creators_name_family' => 'Glover', 'eprintid' => '13258', 'creators_name_honourific' => '', 'pos' => '0', 'creators_name_given' => 'Richard', 'creators_id' => 'r.glover@hud.ac.uk' } }, 'exhibitors_id' => undef, 'latitude' => undef, 'replacedby' => undef, 'status_changed_month' => '4', 'editors_name_honourific' => undef, 'admin_note' => undef, 'event_title' => 'Music and Numbers Conference 2010', 'date_type' => 'published', 'pres_type' => 'paper', 'longitude' => undef, 'creators_name_honourific' => '', 'include_in_hebci' => 'no', 'producers_name_honourific' => undef, 'scopus_citation_count' => undef, 'datestamp_year' => '2012', 'fileinfo' => '', 'status_changed_second' => '56', 'exhibitors_name_honourific' => undef, 'editors_id' => undef, 'title' => 'The use of numerals in experimental notation', 'corp_creators' => undef, 'contributors_name_given' => undef, 'alt_title' => undef, 'contributors_name_family' => undef, 'sponsors' => undef, 'output_media' => undef, 'editors_name_lineage' => undef, 'dir' => 'disk0/00/01/32/58', 'overlay_journal_id' => undef, 'gscholar_datestamp_year' => undef, 'ispublished' => 'pub', 'item_issues_count' => '0', 'conductors_name_given' => undef, 'sword_depositor' => undef, 'full_text_status' => 'none', 'lastmod_minute' => '39', 'refereed' => undef, 'contact_email' => 'r.glover@hud.ac.uk', 'copyright_holders' => undef, 'date_day' => undef, 'gscholar_impact' => undef, 'official_url' => 'http://www.cccumusicandnumbers.org.uk/7.html', 'succeeds' => undef, 'datestamp_month' => '4', 'commentary' => undef, 'lastmod_day' => '5', 'publisher' => undef, 'pagerange' => '22', 'include_in_pedagogical' => 'no', 'task_purpose' => undef, 'status_changed_year' => '2012', 'book_title' => undef, 'thesis_name' => undef, 'event_location' => 'Canterbury Christ Church, UK', 'type' => 'conference_item', 'publication' => undef, 'lastmod_second' => '56', 'place_of_pub' => undef, 'contributors_name_honourific' => undef, 'gscholar_datestamp_day' => undef, 'issn' => undef, 'datestamp_hour' => '8', 'exhibitors_name_given' => undef, 'creators_name_family' => 'Glover', 'composition_type' => undef, 'producers_id' => undef, 'datestamp_second' => '56', 'note' => undef, 'edit_lock_until' => '0', 'editor_note' => undef, 'pedagogic_type' => undef, 'date_month' => 5, 'rights' => undef, 'contributors_type' => undef, 'scopus_id' => undef, 'eprintid' => '13258', 'producers_name_given' => undef, 'thesis_type' => undef, 'projects' => undef, 'lastmod_year' => '2012', 'data_type' => undef, 'gscholar_datestamp_minute' => undef, 'editors_name_given' => undef, 'isbn' => undef, 'include_in_cv' => 'yes', 'editors_name_family' => undef, 'lastmod_month' => '4', 'event_dates' => '14th-15th May 2010', 'fulltimestamp' => '20100500', 'learning_level' => undef, 'conductors_name_lineage' => undef, 'pages' => undef, 'source' => undef, 'lastmod_hour' => '8', 'number' => undef, 'rev_number' => '6', 'edit_lock_user' => '6', 'series' => undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Richard', 'exhibitors_name_lineage' => undef, 'divisions' => 'mh', 'institution' => undef, 'subjects' => 'M1', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '39', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => 'conference', 'importid' => undef, 'status_changed_day' => '5', 'datestamp_day' => '5', 'abstract' => 'This paper will discuss the use of numerals in experimental music notation, investigating how they signify more than just a mathematical object but help to convey particular attitudes towards performance to the interpreter. One facet of certain strands in experimental composition is that of the music existing ‘in and of itself’ (Manfred Werder): no external agent is represented through the compositional process, and much care is taken to convey this phenomenological approach to sound production within the musical score. Many of these pieces rely on simple counting processes, following number patterns and the use of repetition to generate material; what becomes apparent about the way these pieces are notated, is that all text instructions are stated initially, thereby leaving the main body of the score as numerical schemata only. How does this ‘numeral-only’ approach affect the strategy of the performer? Does the abstract nature of individual numbers communicate something extra-mathematical to the reader, something that would bring about a particular approach to performance? The varied use of numerals in scores will be discussed; Christian Wolff's score for Edges places a ‘3’ amongst many contrasting other symbols, in a seemingly provocative act for the 3 to be interpreted in a range ways. A list of numbers (something I have explored in some of my own compositions) indicates a single continuum through which to carefully proceed, and the grid of numbers, such as that found in Phill Niblock's Five More String Quartets and Michael Pisaro's pi, ensures the performer immediately perceives each single numeral’s position amongst the others, removing any unique individual characteristics. Pisaro has described the ‘necessary complement’ between precision of number and indeterminacy of language in notation (Pisaro, 2009: 36). The paper will investigate this notion further, examining the relationship between text instructions with varying levels of indeterminacy and ambiguity, supporting a numeral-only score. The role of the performer is discussed, building upon pianist Philip Thomas’s ‘noninterventionist’ model for performance. This approach exists ‘without reference to any external stylistic code’ so as to ‘focus upon the production of sound within the parameters of the score’ (Thomas, 2009: 91). This model is applied to various numerical-based scores, and along with a study of relevant recordings, the non-interventionist ideal is propounded with regard to the use of numerals as communication of intention. The younger generation are represented by Taylan Susam, Joseph Kudirka and John Lely, and the paper explores whether there is any notable progressive lineage in the manner in which numerals as carriers of content in-and-of-themselves are employed by younger composers. The relationship between indeterminacy of language and the heightened accuracy offered by numerals is explored further within their music, and the friction between the two concepts emerging from these scores provides an avenue for both performative and compositional research, opening up various creative possibilities for the future.', 'creators_id' => 'r.glover@hud.ac.uk', 'contributors_name_lineage' => undef, 'userid' => '6', 'patent_applicant' => undef, 'monograph_type' => undef, 'datestamp_minute' => '39', 'lyricists_name_family' => undef, 'sword_slug' => undef, 'id_number' => undef, 'volume' => undef, 'gscholar_datestamp_month' => undef, 'conductors_id' => undef, 'suggestions' => undef, 'referencetext' => undef, 'date_year' => '2010', 'status_changed_hour' => '8', 'gscholar_cluster' => undef, 'producers_name_family' => undef }, '18951' => { 'funders' => undef, 'conductors_name_family' => undef, 'num_pieces' => undef, 'department' => undef, 'contributors_id' => undef, 'gscholar_datestamp_second' => undef, 'keywords' => undef, 'lyricists_name_lineage' => undef, 'lyricists_id' => undef, 'edit_lock_since' => '1383047665', 'creatorlist' => { '1' => { 'creators_name_lineage' => '', 'creators_name_family' => 'Harrison', 'eprintid' => '18951', 'creators_name_honourific' => '', 'pos' => '1', 'creators_name_given' => 'Bryn', 'creators_id' => 'b.d.harrison@hud.ac.uk' }, '0' => { 'creators_name_lineage' => '', 'creators_name_family' => 'Glover', 'eprintid' => '18951', 'creators_name_honourific' => '', 'pos' => '0', 'creators_name_given' => 'Richard', 'creators_id' => 'r.glover@hud.ac.uk' } }, 'exhibitors_id' => undef, 'latitude' => undef, 'replacedby' => undef, 'status_changed_month' => '10', 'editors_name_honourific' => undef, 'admin_note' => 'Author restricted 23/10/13', 'event_title' => 'Time and Trace: 15th Triennial Conference of the International Society for the Study of Time', 'date_type' => undef, 'pres_type' => 'paper', 'longitude' => undef, 'creators_name_honourific' => '', 'include_in_hebci' => 'no', 'producers_name_honourific' => undef, 'scopus_citation_count' => undef, 'datestamp_year' => '2013', 'fileinfo' => '/style/images/fileicons/application_pdf.png;/18951/1/Memory_and_trace_in_minimal_experimental_music.pdf', 'status_changed_second' => '30', 'exhibitors_name_honourific' => undef, 'editors_id' => undef, 'title' => 'Memory and trace in minimal experimental music', 'corp_creators' => undef, 'contributors_name_given' => undef, 'alt_title' => undef, 'contributors_name_family' => undef, 'sponsors' => undef, 'output_media' => undef, 'editors_name_lineage' => undef, 'dir' => 'disk0/00/01/89/51', 'overlay_journal_id' => undef, 'gscholar_datestamp_year' => undef, 'ispublished' => 'unpub', 'item_issues_count' => '0', 'conductors_name_given' => undef, 'sword_depositor' => undef, 'full_text_status' => 'restricted', 'lastmod_minute' => '4', 'refereed' => undef, 'contact_email' => 'r.glover@hud.ac.uk', 'copyright_holders' => undef, 'date_day' => undef, 'gscholar_impact' => undef, 'official_url' => 'http://www.studyoftime.org/ContentPage.aspx?ID=18', 'succeeds' => undef, 'datestamp_month' => '10', 'commentary' => undef, 'lastmod_day' => '29', 'publisher' => undef, 'pagerange' => undef, 'include_in_pedagogical' => 'no', 'task_purpose' => undef, 'status_changed_year' => '2013', 'book_title' => undef, 'thesis_name' => undef, 'event_location' => 'Orthodox Academy of Crete, Greece', 'type' => 'conference_item', 'publication' => undef, 'lastmod_second' => '30', 'place_of_pub' => undef, 'contributors_name_honourific' => undef, 'gscholar_datestamp_day' => undef, 'issn' => undef, 'datestamp_hour' => '12', 'exhibitors_name_given' => undef, 'creators_name_family' => 'Glover', 'composition_type' => undef, 'producers_id' => undef, 'datestamp_second' => '30', 'note' => undef, 'edit_lock_until' => '0', 'editor_note' => undef, 'pedagogic_type' => undef, 'date_month' => 6, 'rights' => undef, 'contributors_type' => undef, 'scopus_id' => undef, 'eprintid' => '18951', 'producers_name_given' => undef, 'thesis_type' => undef, 'projects' => undef, 'lastmod_year' => '2013', 'data_type' => undef, 'gscholar_datestamp_minute' => undef, 'editors_name_given' => undef, 'isbn' => undef, 'include_in_cv' => 'yes', 'editors_name_family' => undef, 'lastmod_month' => '10', 'event_dates' => '30 June - 6 July 2013', 'fulltimestamp' => '20130600', 'learning_level' => undef, 'conductors_name_lineage' => undef, 'pages' => undef, 'source' => undef, 'lastmod_hour' => '12', 'number' => undef, 'rev_number' => '10', 'edit_lock_user' => '6', 'series' => undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Richard', 'exhibitors_name_lineage' => undef, 'divisions' => 'mh', 'institution' => undef, 'subjects' => 'M1', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '4', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => 'conference', 'importid' => undef, 'status_changed_day' => '29', 'datestamp_day' => '29', 'abstract' => 'This paper will discuss notions of memory and trace in minimal experimental music, where the lack of clear auditory reference points results in musical experience which is far less differentiated or segregated than other musics. This conflicts with traditional concepts of ‘linearity’, and provides a fertile area for exploration and discussion in terms of memory retention, and how this affects the temporal experience. The American music theorist Jonathan Kramer employed the term ‘vertical music’ in his 1988 book ‘The Time of Music’ to describe this music which is ‘necessarily unchanging in most of its dimensions’. Vertical music ‘results in a single present stretched out into an enormous duration, a potentially infinite ‘now’ that nevertheless feels like an instant’, and therefore generates an undifferentiated memory-stream. The paper will present audio examples of repetitive and sustained music, both of which can give rise to what Kramer terms an ‘extended present’. The paper argues that there are in fact myriad avenues of temporal experience resulting from this music, due to the smaller-scale surface fluctuations audible within it upon deeper listening. Memory and trace are not meaningless terms in this scenario, but have a significant role to play in the experience of this music due to these fluctuations; we experience memory in a manner alternative to more traditional gestural musical languages, one suggesting a more lateral network of similar yet differentiated experiences. Husserl’s usage of the term abschattungen, a shadow, nuance or afterimage, provides the framework in which these ideas are discussed, and issues of retention relating to memory and traced are fully explored. The results of this investigation provide both tentative starting points for further discussion on experiential temporalities in minimal and experimental musics, and possible avenues for further work in the creation of new music and other temporal arts. 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2013

Glover, R. and Harrison, B. (2013) Overcoming Form: reflections on immersive listening . Huddersfield: University of Huddersfield Press. ISBN 978-1-86218-120-5

Glover, R (2013) Logical Harmonies [Audio]

Glover, R (2013) ‘Minimalism, Technology and Electronic Music’. In: Ashgate Research Companion to Minimalist and Post-Minimalist Music. : Ashgate. pp. 161-180. ISBN 9781409435495

Glover, R. and Harrison, B. (2013) ‘Memory and trace in minimal experimental music’. In: Time and Trace: 15th Triennial Conference of the International Society for the Study of Time, 30 June - 6 July 2013, Orthodox Academy of Crete, Greece

Cassidy, A., Weeks, J., Harrison, B., Chase, S., Bailie, J., Glover, R. and Molitor, C. (2013) Exposure [Audio]

Glover, R. and Harrison, B. (2013) ‘Phenomenology and temporality in the composition of experimental minimal music ’. In: Philosophy and Music Conference: Time Theories and Music, 27-29 April 2012, Ionian University, Corfu, Greece

Glover, R (2013) ‘The use of grid structures in contemporary notational practice’. In: Time Stands Still: Notation in Musical Practice, 5-6 April 2013, Wesleyan University, Connecticut, USA

Glover, R (2013) ‘Approaches to microtonality in my own music’. In: EUROMicroFest, 2-3 Feb 2013, Kunsthochschule für Medien, Köln

Glover, R (2013) ‘Phill Niblock: Identity through instability’. In: Phill Niblock: Working Title. Dijon, France: Les presses du réel. . ISBN 9782840664239

2012

Glover, R (2012) ‘Sustained Tones and the Auditory ExperienceLeonardo Music Journal , 22 (22), pp. 56-57. ISSN 0961-1215

Glover, R (2012) ‘Phill Niblock through the Ages’. In: MuGI conference on 'Gender, Musical Creativity and Age', 6th - 7th October 2012, University of Huddersfied

Glover, R (2012) ‘The Experience of Sustained Tone Music’. In: Proceedings of the 12th International Conference on Music Perception and Cognition (ICMPC) and 8th Triennial Conference of the European Society for the Cognitive Sciences of Music (ESCOM). : European Society for the Cognitive Sciences of Music (ESCOM). . ISBN 960-99854-1-7

Glover, R (2012) ‘The experience of sustained tone music’. In: ICMPC-ESCOM 2012 Joint Conference, 23-28 July 2012, Aristotle University of Thessaloniki

Glover, R (2012) ‘The experience of sustained tone music’. In: ICMPC-ESCOM Book of Abstracts. Thessaloniki: Aristotle University of Thessaloniki. pp. 122-123. ISBN 960998451-7

Glover, R (2012) ‘Phenomenology and temporality in the composition of experimental minimal music’. In: Philosophy and Music Conference: Time Theories and Music, 27th-29th April 2012, Ionian University, Corfu, Greece

Glover, R (2012) Portrait concert [Performance] (Unpublished)

Glover, R (2012) ‘Phill Niblock: Identity through instabilityMusikTexte , 132. ISSN 0178-8884

2011

Glover, R (2011) ‘Influences of sustained tone minimalism in my recent music’. In: Third International Conference on Music and Minimalism, 12th-15th October 2011, Katholieke Universiteit Leuven, Belgium

Glover, R (2011) ‘Influence of sustained tone minimalism in my recent music’. In: Third International Conference on Music and Minimalism, 12th-15th October 2011, Katholieke Universiteit Leuven, Belgium

Glover, R (2011) ‘The evolution of notation in sustained tone music’. In: INTIME2011 Symposium Interrogations into Music Experimentation Experimental Approaches: new insights into performance and composition, 24th-25th September 2011, Coventry, UK

Glover, R (2011) ‘Pitch specificity in text scores’. In: Word Event: a verbal notation symposium, 21st September 2011, Bath, UK

2010

Glover, R (2010) Seventh Inversions [Composition]

Glover, R (2010) Music of Sustained Tones Doctoral thesis, University of Huddersfield.

Glover, R (2010) ‘The compositional use of numerals in music notation’. In: Music and numbers 2010 conference proceedings. . Canterbury, UK: Canterbury Christchurch University. . ISBN ISBN 978-1-899253-76-0

Glover, R (2010) ‘The use of numerals in experimental notation’. In: Music and Numbers Conference 2010, 14th-15th May 2010, Canterbury Christ Church, UK , p. 22

Glover, R (2010) Corradiation [Composition]

Glover, R (2010) ‘The Compositional Use of Numerals in Music Notation’. In: Off the Staves: Writing Music Before and After Conventional Notation, 26th-27th March 2010, Bangor, Wales

Glover, R (2010) ‘Michael Pisaro’s pi and numerical representationCeReNeM Journal (1).

2009

Glover, R (2009) Gradual music [Composition]

Glover, R (2009) ‘Phill Niblock and identity in reductionism’. In: Second International Conference on Minimalist Music , 2nd-6th September 2009, University of Missouri, Kansas, USA

Glover, R (2009) ‘Phill Niblock and identity in reductionism’. In: Second International Conference on Minimalist Music , 2nd-6th September 2009, University of Missouri, Kansas, USA

Glover, R (2009) Lithosphere [Composition]

Glover, R (2009) Lithosphere, for quarter-tone trumpet, eighth-tone trumpet and quarter-tone horn [Composition]

Glover, R (2009) Malkans [Composition]

2008

Glover, R (2008) Virtual fusion [Composition]

Glover, R (2008) Sound unbroken [Composition]

Glover, R (2008) Violin with Clarinet and Piano [Composition]

2007

Glover, R (2007) Loose Change [Composition]

Glover, R (2007) Black Space [Composition]

Glover, R (2007) Spiral chaotic [Composition]

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