Projects

Leadership in New Music and Audio Technology (URF Grant 2015-17)

As a result of a 3-year grant from the University Research Fund (URF) at the University of Huddersfield, the Centre for Research in New Music will initiate an International Research Network with a group of leading universities and institutes and carry out a high profile programme of research collaborations. The network supports opportunities for research exchange and partnership in various areas of new music, including composition, performance, music technology, improvisation, new sonic media, and musicology. Read more

Current projects

kagel1.jpg New Music Theatre in Europe: Transformations Between 1955-1975 (Professor Robert Adlington)
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Democracy in Music (Prof Robert Adlington)

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ELISON at 30

As part of the 30th anniversary celebrations of the ELISION Ensemble, Professor Liza Lim and Professor Aaron Cassidy have written major new works that bring together guest soloists—the Chinese sheng expert Wu Wei in Lim’s How Forests Think, and leading trumpet improvisor Peter Evans in Cassidy’s The wreck of former boundaries—with the virtuosic, innovative talents of the musicians of ELISION.

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Bozzini +

Bozzini + brings together Montréal’s celebrated Quatour Bozzini with Scottish fiddler, now based in Norway, Sarah-Jane Summers and University of Huddersfield’s Professor of Performance, pianist Philip Thomas. The Quartet have had a long and fruitful relationship with Huddersfield, as regular performers at the internationally-renowned Huddersfield Contemporary Music Festival, as well as, in recent years, performing with Philip Thomas in concerts in Canada in Italy. This project develops that partnership by featuring new works by three composers based at the University of Huddersfield: Monty Adkins, Mary Bellamy and Bryn Harrison.

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Cage and the Concert for Piano and Orchestra

The Concert for Piano and Orchestra by John Cage is widely regarded as a seminal work, not just within Cage’s own output but in the context of twentieth-century music and techniques. This AHRC-funded, three-year project explores the historical context of the work, undertakes close analytical examination of the notations, and takes in approaches to performance, both historical and contemporary. 

TaCEM: Technology and Creativity in Electroacoustic Music (Professor Michael Clarke)

How far has new technology affected the ways in which particular musical works are shaped and structured? To what extent has the use of technology been guided by particular aesthetic or creative principles?

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Material translation, distributed creativity, collaboration (Prof. Liza Lim)

This project looks at the role of material translation, intuition and empathy in provoking innovation and new ‘thinking tools’ in music composition. The research aims to shift the view of a structure of creative exchange apportioned or pre-determined via a role towards an understanding of collaboration as the current that carries the participants into an intertwining world of practice in which materials themselves become the tools of perception.

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The Electronic Music of Roberto Gerhard (Professor Monty Adkins)

Research into hitherto unknown works from the archive of the Catalonian composer Roberto Gerhard is leading to a gradual revision of our understanding of British electronic music during the period 1945–1970 and its relationship to its European counterparts.

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Pragmatic Concerns in Mixed Music (Professor Pierre Alexandre Tremblay)

Professor Pierre Alexandre Tremblay, is a practitioner of mixed music working in multiple roles as a composer, performer, curator and technician together with numerous collaborators. He focuses his research on trying to understand and facilitate the cross-pollinating practices of the contemporary techno-fluid generation.

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The HISSTools (Dr Alex Harker and Prof. Pierre Alexandre Tremblay)

Part of the larger framework provided by the Huddersfield Immersive Sound System (the HISS), the project aims to create powerful, yet lightweight, modular and accessible tools to address specific issues related to the composition, performance and presentation of electronic music.

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Hearing is the work (Professor Peter Ablinger)

‘Sounds are not sounds! They are here to distract the intellect and to soothe the senses. Not once is hearing 'hearing': hearing is that which creates me.’ Peter Ablinger’s work questions the nature of sound, time, and space (the components usually thought central to music), and his findings have jeopardized and made dubious conventions usually thought irrefutable. These insights pertain to repetition and monotony, reduction and redundancy, density and entropy.

Noise In And As Music (Dr Aaron Einbond and Dr Aaron Cassidy)

One hundred years after Luigi Russolo’s ‘The Art of Noises’, noise is a more compelling and urgent topic than ever. This project focuses in particular on the role of noise as musical material—as form, as sound, as notation or interface, as a medium for listening, as provocation, as data.

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The Stratified Voice: experimental vocal composition (Dr Aaron Cassidy)

How can we rethink the voice as instrument? Dr Cassidy’s project investigates vocal techniques that emerge out of a separation and stratification of the various physiological components of sound production in the voice in order to arrive at new expressive means.

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Temporality and experimental music (Dr Bryn Harrison & Dr Richard Glover)

How do we hear over different spans of time and what happens when the temporal framework for listening is radically extended?

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Creative processes and collaboration (Dr Mary Bellamy)

Creative processes and collaboration: how can these can be negotiated and fostered between composers and performers? and what subsequent influences does collaboration have on the musical fabric of a work; what insights are gained through empirical studies?

Past projects

Performance Practice of Indeterminate Music (Dr Phillip Thomas)

Performing the body (Professor Liza Lim, Dr Aaron Cassidy, Dr Bryn Harrison, Dr Mary Bellamy)

 

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