Open Scores Lab at summer conferences

Lab members Matthew Sergeant, Louis d’Heudieres and James Saunders have presented papers at three international conferences so far this summer. James’s paper ‘What’s the point? Balancing purpose and play in rule-based compositions’ was given at the Performing Indeterminacy conference at University of Leeds on 30 June, followed by a performance of his piece sometimes we do what you say, but occasionally we don’t. Matthew presented his paper ‘Queered orientation(s): Re-imagining the taxonomy and interrelation of musical materials in The Velvet Rage (2017)’ at the MuSA 2017 conference in Karlsruhe. Louis chaired a session on Ephemeral Scores and the Work-Concept at the RMA Music and Philosophy Study Group conference at King’s College London on 13 July, which included a paper on his Laughter Studies series.

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LAB 17: Laura Bowler, Harry Matthews, Alex Mah

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Wednesday 3 October, 12-4pm (CM.107) The first lab of the year features a visit from composer-performer Laura Bowler, who will talk about extremes and autobiography in her work. In the second half of the lab, Alex Mah and Harry Matthews report back from the KLANGRAUM and CAMP summer schools that they attended this year, and will […]

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Vassilis Chatzimakris at SMI-ICTM Ireland conference

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Vassilis Chatzimakris is presenting a new paper on interfacial scores at the Annual Plenary Conference of the Society for Musicology in Ireland (SMI) on 28 May, which will be online via Zoom. Vassilis’s paper ‘Activity, Time and Space in the Composition and Performance of Interfacial Scores’ will outline his recent work on interfaciality and interdisciplinary performance, […]

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Lab 40: Liza Lim – Musical chimeras: on ecological thinking and symbiotic effects in ‘Sex Magic’ (2020)’, aka making scores that prioritise the contact noise between performer and instrument, and how structure follows sensation

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Wednesday 26 January, 12-2pm (online via Minerva) Lim’s Sex Magic was premiered by American flutist Claire Chase on Dec 18 2020 and livestreamed from The Kitchen in New York. It is a 50-minute work for contrabass flute, electronics and an installation of kinetic percussion, about the sacred erotic in women’s history. Please see links for […]

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