publications

The publications listed below have been authored by lab members since its formation in 2016.

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.

Rowley, C. (2021) ‘As If Unobserved: Experiments towards a publicly visible composition practice’, in Brooks, W. (ed.) Experience Music Experiment: Pragmatism and Artistic Research. Ghent: Orpheus Institute (Orpheus Institute Series).

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 into the German by J. Ullmann, in MusikTexte 152, pp. 20–26. [english version]

Peles, G., Adler, Y. (2025) “Learning from Game Live Streaming: A Model for Networked Music Performance”, in Computer Music Journal, vol. 47, no. 4, pp. 64–89. [https://doi.org/10.1162/COMJ_a_00698] [pre-publication version].

Peles, G., Adler, Y. (2023) “Game Live Streaming as a Model for Networked Music Performance”, in Proceedings of the International Computer Music Conference, The Chinese University of Hong Kong, Shenzhen, China, pp. 138–145. [proceedings] [video]

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)

Rowley, C. and Spear, J. (2023) ‘Schedule Meeting: Keeping it live in Bastard Assignments’ Lockdown Jams’, Journal of Music, Health, and Wellbeing, (Special issue, Autumn 2021, ’Musicking Through COVID-19: Challenges, Adaptations, and New Practices’). Available at: https://www.musichealthandwellbeing.co.uk/musickingthroughcovid19 (Accessed 31 October 2025)

Saunders, J. (2024) “Perfect information: Scores as self-evident processes,” in P. Kocher (ed.) Proceedings of the international conference on technologies for music notation and representation – TENOR’24. Zurich, Switzerland: Zurich University of the Arts, pp. 53–57. Available at: https://www.tenor-conference.org/proceedings/2024/07_TENOR2024_Saunders.pdf

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

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

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. (2025) “Taskmasters and purposeless instructions: make-work as a compositional frame,” in. 61st Royal Musical Association Annual Conference, University of Southampton. Available at: https://www.james-saunders.com/taskmasters-and-purposeless-instructions-make-work-as-a-compositional-frame/

Saunders, J. (2022) “Participatory decision-making as compositional process”, Rethinking Participatory Processes through Music, University of Huddersfield. Available at: https://musicdemocracystudydays.wordpress.com/cfp-2021-coming-soon/.

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).

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.

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. (2025) Music Technology Facing the Future – How? (with Yuval Adler), ContComp, Department of Music, Haifa University, Israel. 18 May

Peles, G. (2024). Music Technology: What Is It and Who Is It Good For? (with Yuval Adler), Composition Seminar, The Buchmann-Mehta School of Music, Tel Aviv University, Israel. 10 December.

Peles, G. (2024). Composition Beyond “Pieces”, Composition Seminar, The Buchmann-Mehta School of Music, Tel Aviv University, Israel. 8 February

Peles, G. (2023). Ludified Notation, Sound Skills (MA Sound), Bath School of Music and Performing Arts, Bath Spa University, United Kingdom. 23 November

Peles, G. (2023). ScoreCraft Intro, Browser Sound: Location Sharing, Kultur Kiosk (and online), Stuttgart, Germany. 22 July

Peles, G., Adler, Y., (2023) “ScoreCraft: Fall”, presented at Audio Mostly, Edinburgh Napier University, United Kingdom. [video]

Peles, G. (2023) “On Ludified Notation and ScoreCraft”, presented at SPIEL! Games as Critical Practice, FHNW, Basel, Switzerland. [video]

Peles, G. (2022) ScoreCraft, Skript und Prozess: Methoden künstlerischer Praxis und Forschung (MA SP Music and Research), FHNW, Musik-Akademie Basel, Switzerland. 1 June

Peles, G. (2022). ScoreCraft: Experimental Music Game Environment, ContComp, Department of Music, Haifa University, Israel. 24 May.

Peles, G. (2022) “ScoreCraft: Green Scroll”, presented at New Mimesis: simulation, models, metaphors and data in music, co-hosted by Orpheus Institute and Canterbury Christ Church University, Canterbury, United Kingdom. [video]

Peles, G. (2021) “ScoreCraft”, presented at the 8th Music as/and Process Conference: Networked Collaborative Processes, University of Wolverhampton, United Kingdom. [video]

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.