publications

book chapters

Luzar, R. (2016) ‘Turning Around the Written Mark, Opening From A Weight of Thought’, in Giunta, C. and Janus, A. Eds., Nancy and Visual Culture. Edinburgh: Edinburgh University Press.

Saunders, J (2021) ‘Group behaviours as music’ in Timmers, R., Bailes, F., and Deffern, H., (eds) Together in music: participation, co-ordination, and creativity in ensembles. Oxford: Oxford University Press.

journal articles

Graham, C. (2020). ‘Failure’. Document (s) 1: Symptom (s), Hypothesis (s), Manifest (s), pp.

Herrema, R. and Alarcón, X.(2017) ‘Pauline Oliveros: a Shared Resonance’, Organised Sound, 22(1), pp. 7-10. DOI: https://doi.org/10.1017/S1355771817000036

Herrema, R. (2020) ‘Code as Prosthesis’, International Journal of Creative Media Research, 3(April).

Lash, Dominic, and James Saunders (2016) ‘AFTER #[Unassigned]: An Interview with James Saunders’, Tempo, 70 (276): 5–21. DOI: https://doi.org/10.1017/S0040298215000947.

Luzar, R. (2017) ‘Rethinking The Graphic Trace in Performative Drawing’, Theatre and Performance Design, 3(1), pp. 50-67.

Flavel, S., and Luzar, R. (2019) ‘Tracing The Dao: Reflections on the application of Daoist theory of action in contemporary drawing practice’, Drawing: Research, Theory, Practice, 4(1), pp. 50-67.

Luzar, R. (2020) ‘Performative Problems’, Drawing: Research, Theory, Practice, 5(1), pp. 29-41.

Luzar, R. (2021) ‘The Drawing Bureau: an overview with notes toward an event’, Black Book: Drawing and Sketching, 2, pp. 28-35.

Moorehouse, A. (2023). WHERE ARE WE GOING? AND WHAT HAVE WE DONE? Tempo, 77(305), 7-16. doi:10.1017/S0040298223000050

Moorehouse, A., Matthews, H., & Maia, O. (2023). Post-sonic Perspectives on Socially Engaged Compositional Practices: Composing ‘after sound’ and beyond music. Organised Sound, 28(1), 88-96. doi:10.1017/S135577182200005X

Peles, G. (2017) ‘Austausch und gemeinsame Nutzung von Ideen’ Translated by J. Ullmann, MusikTexte 152 (February). pp.29-35.

Penton, M. (2017) ‘But What I Really Want to Do is Direct!’, New Music Box. Available at: https://nmbx.newmusicusa.org/but-what-i-really-want-to-do-is-direct (Accessed: 25 March 2021).

Penton, M. (2017) ‘The Making of Digital Medusa’, Question Journal. Available at: https://www.questionjournal.com/single-post/2017/12/04/The-Making-of-Digital-Medusa (Accessed: 25 March 2021).

Penton, M. (2017) ‘Vocality, Space, and Mediated Works’ in ‘Perspectives’, Body, Space & Technology, 17(1), pp. 177–218. Available at:  https://www.bstjournal.com/articles/10.16995/bst.301 (Accessed: 25 March 2021).

Penton, M. (2019) ‘Many Micro Worlds’, 21st Century Music Practice Research Network. Available at: http://www.c21mp.org/practice-research-publications/misha-penton/ (Accessed: 25 March 2021)

Rowley, C. (2018). The Intimate Score: Prioritising performer experience in Community of Objects. Question Journal, 9 January. Available at: https://www.questionjournal.com/single-post/2018/01/09/THE-INTIMATE-SCORE-PRIORITISING-PERFORMER-EXPERIENCE-IN-COMMUNITY-OF-OBJECTS. (Accessed: 25 March 2021)

Saunders, J. (2016) ‘No Mapping’, MusikTexte 149 (May).

Saunders, J. (2022). ‘What’s the Point? Balancing Purpose and Play in Rule-based Compositions’, Contemporary Music Review, DOI: 10.1080/07494467.2022.2080466

Simpson, Elliot, and Jorge Grundman (2023). ‘“Animated Sound”: An Application of Digital Technologies and Open Scores in Interdisciplinary Collaboration and Education’. Journal of Music, Technology & Education 15 (1): 57–74. https://doi.org/10.1386/jmte_00046_1.

conference papers

Rowley, C. (2020). ‘As if unobserved: Experiments towards a publicly visible composition practice’, Experience::Music::Experiment seminar on Pragmatism and Artistic Research. Orpheus Instituut, Ghent, 14 February.

Rowley, C. and Spear, J. (2019) ‘Composer, Performer, Composer-Performer: The collective as a nurturing environment for developing artist identity’, The Classical Musician in the 21st Century. University of Cambridge, 23 May.

Rowley, C. and Spear, J. (2019). ‘Bastard Assignments: The collaborative studio and the “creative acreage”’, Collaborations Are More Refreshing Than New Socks. Royal Conservatoire Antwerp, 4 December. Available at: https://www.academia.edu/41361013/Bastard_Assignments_The_collaborative_studio_and_the_creative_acreage (Accessed: 25 March 2021).

Saunders, J (2015) ‘Heuristic models for decision making in rule-based compositions’, in Ginsborg, J., Lamont, A., Phillips, M. and Bramley, S., (eds), Proceedings of the Ninth Triennial Conference of the European Society for the Cognitive Sciences of Music, 17 – 22 August 2015, Manchester, UK. Royal Northern College of Music, Manchester, pp. 715-719.

Saunders, J. (2015) ‘I tell you what to do: autonomy, control and play in game compositions’. Authorship in Music RMA Conference. Oxford University, 7 March.

Saunders, J. (2017) ‘Rules and Goals in Game Compositions’, Ludo2017. Bath Spa University. Available at: http://www.james-saunders.com/rules-and-goals-in-game-compositions/ (Accessed: 25 March 2021).

Spear, J. and Rowley, C. (2019) ‘Bastard Assignments: Returning to normal, From Authorship and Spectatorship to Usership in Music. Orpheus Institute, Ghent, 21 February.

interviews

Penton, M. (2020). ‘Q&A with visiting artist Misha Penton’. Interview with Misha Penton. Milieux, Concordia University, Montreal, Canada, 16 March. Available at: https://milieux.concordia.ca/qa-with-visiting-artist-misha-penton (Accessed 25 March 2021).

Penton, M. (2020). ‘Welcome to the world of Misha Penton’s micro operas: the composer uses the landscape of urban Houston as the inspiration for her short-form musical ideas’. Interview with Misha Penton. Interviewed by Lawrence Elizabeth Knox for The Houston Chronicle. Available at: https://preview.houstonchronicle.com/classical/welcome-to-the-world-of-misha-penton-s-micro-15469184 (Accessed: 25.03.21)

Parkinson, T., and Saunders, J. (2017). Interview with James Saunders and Tim Parkinson. Interviewed by Kerry Andrew for Hear and Now Live, BBC Radio 3, 14 October.

Saunders, J. (2018). Interview with James Saunders. Interviewed by Robert Adlington for Transit Festival, Leuven, 14 October.

Saunders, J. (2018). Interview with James Saunders and Brian Ferneyhough. Interviewed by Bernhard Gunther for Wien Modern, 23 November.

Saunders, J. (2018). Interview with James Saunders. Interviewed by Marie-Therese Rudolph for Ö1, [broadcast] 27 November.

Saunders, J. (2019). Panel discussion with Sylvia Lim, Cassandra Miller, Janet Oates, and James Saunders. Interviewed by James Weeks, Milton Court, Guildhall School of Music and Drama, London, 22 March.

presentations

Herrema, R. (2016). Libpd: mobile audio programming for the rest of us [talk]. Artful Spark 2: Immersive Sound, Google Campus London, 14 January.

Herrema, R. (2017). Code as Prosthesis [talk]. Creative Data Club, Sound and Music, Ace Hotel, Shoreditch, London, 19 May.

Herrema, R. (2017). Algorithmic Composition [masterclass].
Guildhall School of Music & Drama, The Barbican, London, 16 & 30 June.

Herrema, R. (2017). Infinity: an experiment in user-centred poiesis [talk]. Journal of Media Practice and MeCCSA Practice Network Annual Symposium, The Media Convergence Research Centre, Bath Spa University, 8 June.

Herrema, R. (2018). Developing audio-based iOS apps using libpd [talk]. NSLondon January Meet-up, Thomson Reuters, London, 28 January.

Herrema, R. (2018). Trespass [talk]. We Make Stuff: Play and Multiplatform, Media Convergence Research Centre, Burdall’s Yard, Bath, 6 February.

Herrema, R. (2018). Code as Prosthesis [talk]. Creative Computing Centre, Bath Spa University, 24 April.

Herrema, R. (2020). Coding Tranquillity [online presentation].
Sound Walk September 2020: Seeking Tranquillity, walklistencreate.org, 24 September.

Peles, G. (2020). Imagined Music Workshop [workshop]. The Young Israel Philharmonic Orchestra, The Jerusalem Music Centre, 4 October.

PhDs

The following PhDs were completed by lab members from Bath Spa, from students co-registered with University of Southampton (funded by the AHRC DTP), and visiting researchers from outside the UK:

Dorrell, R (2018) Approaches to integrating improvisation into notated big band compositions. PhD thesis, Bath Spa University.

Graham, C. (2022). WORLDS. METAPHORS. ICONS. Staging the Creative Process as Steps to Worlding. PhD thesis, University of Southampton.

d’Heudieres, L. (2020). Scores in Time: Exploring the use of Sound as a Medium for Notation in Musical Composition. PhD thesis, Bath Spa University.

Maia, O. (2021) Developing a vigilant musical practice. PhD thesis, Bath Spa University.

Nickel, L. (2017).Living scores: a portfolio of orally-transmitted experimental music compositions. PhD thesis, Bath Spa University.

Penton, M (2021) Vocality as / in Composition: solo and collaborative creation of new postopera works. PhD thesis, Bath Spa University.

Porfiriadis, A. (2016). Towards a collective/participatory approach to composition and performance: applications of collective improvisation and verbal/graphic notation in composition for music ensembles. PhD thesis, Bath Spa University.

Simpson, E. (2023). The Possibility of Change: Performance practice in and beyond open scores. PhD thesis, Universidad Politécnica de Madrid.