Title: ‘Instrumental vs. Electroacoustic: Remixing Contemporary Classical Music’

Location: The University of Sheffield

Date: Thursday 7th April 2016

It is tempting to view compositional practice as an art of two halves. In one
half, practice involves the production of musical scores, which are variously
realized through acts of instrumental performance and interpretation. In the
other half, practice involves the use of music technologies allowing composers
to record, synthesise, manipulate and construct musical materials in the
compositional studio. ‘Instrumental vs. Electroacoustic: Remixing Contemporary
Classical Music’, will foreground recent developments in creative practice,
seeking to connect composers within both communities to stimulate critical and
reflective debate. In order to focus the discussion, a cross-over case-study
will be introduced and presented; a compositional cluster (Dr Adam Stansbie, The
University of Sheffield; Dr Robert Bentall, Leeds College of Music; Andy Reeman;
Dr Ben Gaunt) recently attempted to bridge the gap between forms of
compositional practice. Gaunt’s trio 16th Century Horror (for flute, oboe,
piano) was professionally recorded before it being offered as source materials
for the remaining composers, each of whom employed various technologies, scores
and other compositional tools and techniques to create their own works. 16th
Century Horror will be performed (alongside the remixes) by London-based
ensemble, Rarescale.

Additionally, the following early career researchers will present papers at the
conference:

Dr. Robert Bentall
Eve Harrison
Dr. Andrew Hill
Piers Tattersall
James Whittle