Words

Book Chapters:

The Methodology Mythology: reconsidering compositional practice in acousmatic music – Music and Sound Art: Composition, Performance, Philosophy. Cambridge Scholars Publishing: Cambridge.

Beyond the Fixity Fallacy: rethinking the work-concept in an age of electronic music – Music and Sonic Art: Practices and Theories. Cambridge Scholars Publishing. 2017

Between Plasticity and Performance: an Introduction to Acousmatic Art – Digital Art Critcism, Taiwan. Dec 2012

Journal Papers:

Musical Works, Recordings and their Digitisations: new philosophical types – Svensk tidskrift for musikforskning: Swedish Journal of Music research. Forthcoming.

Degrees of Determinacy: classifying acousmatic works in an age of sound diffusionMusimédiane Vol 9. Paris. Forthcoming.

The Acousmatic Sound Sculpture: an ontological account of works, performances and the centrality of space – Sound Spaces and Audiovisual Spaces: CreaAtion, Representation and Design. Universidad Autónoma de Madrid. 2014

Between Plasticity and Performance: an ontological account of electroacoustic music – the Journal of the Korean Electro-Acoustic Music Society KEAMS, Seoul. 2013

Tracking Production Strategies: identifying compositional methods in electroacoustic music – the Journal of Music, Technology and Education, 2013

Materialising Time and Space in Acousmatic Music – L’Espace du Son III, 2011

Sounds, Agents, Works and Listeners: a Model of Computer Music Performance – Journal of Music, Technology and Education, 2011

Through Thick and Thin: the Ontology of Tape Music – Journal of Music and Meaning, 2010

Information Computer Technology (ICT) for Music Composition and Seamless Performance Interfaces – Rvista Electronica de Musicological, 2009

PhD Thesis:

The Acousmatic Musical Performance: an ontological investigation. Available to download HERE

Edited Journals:

Special Edition of the Journal for Music, Technology and Education, guest edited by Adam Stansbie and Adrian Moore. Dec 2013

Book Reviews:

Review of “Soundweaving: Writings on Improvisation” by Franziska Schroeder, Mícheál Ó hAodha, In, the Journal of Music, Technology and Education, Published 2015

Review of “NO PICNIC: explorations in art and research: ed Cheeseman, M”. In No Picnic, published 2014

Review of “Musical Creativities in Practice” by Pamela Burnard”. In, the Journal of Music, Technology and Education, Published 2013

Recent Talks:

Invited Speaker at Aesthetics of Computer Music: changes in the nature and reception of music, The University of Leeds, 7th Nov 2017

Composing the Plastic City: a reflection on methods, motivations and meanings, Sound + Environment 2017, University of Hull, 29th June – 4th July 2017

Composing Acousmatic Music,  CMMAS, Morelia, Mexico, Tuesday 21st July 2016

Performing Music, Performing Culture: bridging the cleavage between forms of practice (Adam Stanovic and Inja Stanovic), MUSICULT, Istanbul, Turkey, 18th May 2016

Round Table: Instrumental vs. Electroacoustic: Remixing Contemporary Classical Music, Institute of Musical Research Event, The University of Sheffield, 7th April 2016

Round Table: Acousmatic Music in the UK, Musique et Recherches, Belgium 24th February 2016

The Imaginary Museum of Electroacoustic Works, International Confederation for Electroacoustic Music CIME/ICEM, Lisbon, Portugal, 2 – 4 Oct 2015

The Mythological Method: reconsidering compositional practice in acousmatic music, Sixth International Symposium on Music/Sonic Art: Practices and Theories, Karlsruhe, Germany, 23 – 25 June 2015

Corrective and Expressive Diffusion: interpreting acousmatic works in performance, International Festival for Innovations in Music Production and Composition (iFIMPaC), Leeds College of Music, 13th March 2015

Upholding Authorship: rethinking the work-concept in light of contemporary compositional practice, RMA Study day: Authorship, The University of Oxford, 7th March 2015

Keynote Speaker at Terra Incognita: exploring practice-as-research, The University of Sheffield, 12th June 2014

The Sonic Art Type: A Conception of Works, Performances and Interpretations, International Symposium on Music/Sonic Art: Practices and Theories, Karlsruhe, Germany, 26-29 June, 2014

Plasticity and Performance, plastiCities Symposium as part of the ‘in the city’ festival, Sheffield, 3rd June 2014

Between Plasticity and Performance: an ontological  account of electroacoustic music, Korean ElectroAcoustic Music Society, KEAMS 2013, Seoul, Korea

What is the ‘Work’?: an ontological account of acousmatic works and performances, EMS 2013, Lisbon, Portugal

Concrete or Concrète?: an ontological account of acousmatic music, MuSA2013, Karlsruhe, Germany

Beyond Plasticity and Performance: space-time relations in electroacoustic music,  Espacios Sonoros 2013, Madrid, Spain

Abstract and Abstracted, Concrete and Concrete: the ontology of musique concrete and the future of the acousmatique – Philosophy Department, University of Leeds 2012

Composing Escapade: Materials and Methods, Tools and Techniques – Department of Music, University of Leeds 2012

Composing Escapade: Materials and Methods, Tools and Techniques – Conservatorium van Amsterdam 2011

Diffusion Terms and Techniques – Guest Lecture/Workshop – Edge Hill University 2010

Performance Escapade; a Case-study on Acousmatic Musical Performance, SoundingOut5, Bournemouth University, Bournemouth, UK,

Sounds, Works, Agents and Listeners; A Model of Acousmatic Musical Performance, FIMPaC, Leeds College of Music, Leeds, UK, 2010

Space-time Relations in Acousmatic Music, Sonic Artist in Wales Conference, Royal Welsh College of Music and Drama, Wales, UK, 2010

Structures of Consciousness: The Phenomenology of Space in Acousmatic Music, L’Espace du Son, Musique et Recherché, Belgium, 2010

Through Thick and Thin: The Ontology of Tape Music, Scarborough Sonic Arts Research Conference, Scarborough University, UK, 2009

 

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