News from the Sonic Arts Network

The Connectors

Sonic Arts Network and The Watershed Media Centre, Bristol present The Connectors from 12-18 September 2005.

A festival of electronic audio-visual performances, artist led software courses, masterclasses and specially curated screenings at the cutting edge of sound and image processing.

The Connectors Concert

A rare opportunity to witness a line up of today’s leading international audio-visual pioneers in performance at The Cube Microplex, Bristol, Saturday 17, 7.30 – 11.00.

Kurt Ralske
Brian O’Reilly and Andreas Schlegel
Jo Hyde
Yasser Rashid

Kurt Ralske

Film Screenings

Sunday 18 September, Watershed Media Centre

Exclusive artist curated film screenings curated by Kurt Ralske, Brian O'Reilly and Jo Hyde, featuring seminal classics and essential contemporary work in sound and moving image. Not to be missed.


Software Courses

Watershed Media Centre

Jo Hyde – Introducing Jitter 2 day course (Monday 12 & Wednesday 14 September, 9.30am – 5.00pm)

Yasser Rashid – Introducing Processing 2 day course (Tuesday 13 & Thursday 15, 9.30am – 5.00pm)

Brian O’Reilly – Two Evening Course (Tuesday 13 & Thursday 15 September, 6pm – 9pm)


Artist Masterclasses

Cinema 3, Watershed Media Centre

A series of public presentations in which international audio-visual artists talk about their work and the techniques involved in its production

Brian O’Reilly  – Friday 16 11am – 1pm
Kurt Ralske – Saturday 17 11am – 1pm
Andreas Schlegel  – Saturday 17 2pm-4pm

More details will follow shortly on the SAN website.



7 June - 31 July
Aureole - Katy Connor, Andrea Berry Sophie Hamar, Helena Gough
The New Art Gallery, Walsall

Aureole is a unique collaboration between a filmmaker, dancer, choreographer and composer. This multi-channel audiovisual installation explores notions of the self by re-imagining the personal experience of pregnancy. Features an eight channel soundscape.

29 June - 23 September
Hearing Voices
(sound/photo installation)
Brunei Gallery, University of London

Hearing Voices is a gallery installation by sound artist John Wynne that combines photography and sound to address issues of portraiture, identity and technology in a cross-cultural context. Wynne travelled to the Kalahari Desert in Botswana to record the voices of 8 speakers of highly endangered Khoisan ‘click-languages’. Large-scale photographs of the subjects taken by Denise Hawrysio have been mounted on special ‘flat loudspeakers’ so that the images themselves are the actual, physical source of the sounds, all of which have been derived from the voices of the people depicted.

21 June – 20 August
Sound Lines by Bill Fontana
(live sound sculpture)
Dark Neville Street (Dark Arches), Leeds

Bill Fontana will transform the labyrinthine Dark Arches of Leeds into a live sound sculpture –Sound Lines – for two months from 21 June 2005. Launched during Architecture Week, a specially designed loudspeaker system will emit the live sounds of the River Aire below and the Leeds City train station above as Fontana orchestrates an ever-changing composition transforming the space into an immense, brick-built acoustic instrument.

15 July
Vivid, Birmingham

A 2-hour concert of electroacoustic music by BEAST composers Alex Harker, Andrew Bourbon, Daniel Barreiro, Scott Wilson, Martin Clarke, Thomas Cahill-Jones, Jonty Harrison, Iain Armstrong, James Carpenter and Annie Mahtani.

16 July
Vivid, Birmingham

BEAST presents a 9-hour marathon of international electroacoustic music. Featuring British, French and Belgian performers on BEAST's multi-channel sound system. - in collaboration with Elektrophonie (France) and Musiques et Recherches (Belgium).

20-24  July
NFT, bfi IMAX and various other, London

A five day event, Optronica is a hybrid of film festival and music festival focusing on the convergence of visuals and music, opening with 3 nights of live AV performances at the bfi London IMAX; the World premiere of Plaid & Bob Jaroc's Greedy Baby, the UK premiere of DJ Spooky's solo film remix Rebirth of a Nation and an AV show from ex-Kraftwerk Karl Bartos.  A packed Friday and Saturday, with cinema screenings, talks, panel discussions and live performances at the National Film Theatre, where audiovisual acts including Skoltz_Kolgen and People Like Us play at Optronica Lab.  On the Friday night, there will be a live audiovisual performance by Addictive TV on the fly-tower of the National Theatre, with projections visible across the Thames, and a club night Optronica @ The Spitz.

July 22 - 24
Various, Manchester

International festival of electronic music and media arts packed with gigs, workshops, symposium and more.



Music/Audio Technician Vacancy
Technician - Music, Technology and Innovation
De Montfort University, Leicester

An exciting and varied post working within the subject areas of sound recording, digital composition and technology-centred performance work, the post-holder will offer technical support to students and staff as well as maintenance of the facilities.

Preferably qualified to degree or HND standard (or similar), you should be familiar with a range of professional music technology software and Macintosh computer systems.

Closing date is 6 July 2020

£15,699 - £19,613 per annum pay award pending

Full details available at
Please Quote Ref: 3692


Huddersfield Contemporary Music Festival: 18 - 27 November 2020

Hub Shorts 2005

Hcmf are looking for groups of up to 6 performers to provide a maximum of 20 minutes of music in the Festival Hub between 11am and 12.30pm each day during the Festival. The Festival Hub is a large marquee in the centre of Huddersfield, which provides a meeting point for Festival attendees (including performers, composers, members of the media and music publishers / promoters) to meet, eat, drink and browse the Festival music shop. It also holds a fully licensed bar and catering facility and provides a venue for many pre-performance talks. This year in particular, hcmf has expressed its commitment to Hub Shorts by including it in the main Festival programme and more steps than ever have been taken this year in order to ensure good audience attendance and integration into the main Festival.

Proposals are welcomed from all types of performers, including all genres of music, and works can be especially composed or existing pieces. Previous performers have subsequently had music written for them by composers in the audience and performance in Hub Shorts did indeed generate additional performance opportunities for at least two of last year's groups. There are no age limits.

For more information please contact: Helen Blythe, hcmf, University of Huddersfield, Department of Music, Huddersfield, HD1 3DH UK
Tel: 01484 425082


Closing date for entries: Monday 1 August 2020


Closing date: 5th August 2005

Based in the Department of Music and shared with the Humanities Advanced Technology and Information Institute, this is a key post aimed at developing and supporting the use of information and communication technology in music teaching and research. Job responsibilities come under three main headings: research support; lab management, administration and development; and teaching support. The postholder will provide technical support specific to music.

The Department has extensive high-quality audio and computing facilities. These comprise: four Mac-based Electroacoustic Studios with Digidesign audio hardware; two Mac-based audio workstation labs; an undergraduate PC cluster; a PC cluster for postgraduates and researchers; and a number of web and ftp servers running Linux. Applications include ProTools, Logic, Cubase, Finale and Sibelius, Max/MSP, PD/GEM, Csound and more.

The Department is a thriving environment for research and teaching across a wide range of areas including electroacoustic and acoustic composition, music technology, historical and cultural musicology, and Scottish music.

For further details, please see:

Department of Music:



Sound/Music & Lighting Designer

Project Timescale: July 2005 to May 2006 (About eight weeks work in total)

The new emerging artist will be offered a fee of £2400 plus travel expenses during the placement.

Deadline of application: 15 July Friday 5pm
Interview: 25 July Monday

An exciting and challenging opportunity is now open to a newly graduated emerging artist who is innovative and creative and working in music/sound and lighting. The work placement will give you an opportunity to develop your skills as well as gain experience working in the area of new media and live theatre. The project is based at the Albany in Deptford, a combined performance space and digital media centre and is supported by the National Theatre's Department of Education and Training, Art of Regeneration and NESTA.

This placement will provide you with the opportunity to take part in a number of workshop activities in the coming year. You will be working in partnership with other emerging artists, theatre professionals and young people, to develop a new integrated learning model for new media and performance. The new emerging artist will be required to have CRB checked.

Person Specification:
Have experience in sound/music and lighting design.
Have a passion for and experience of working in live theatre.
Have a great interest in new media.
Be able to work as part of a cross-disciplinary team.
Be able to undertake project planning, development and evaluation and workshop development.
Enjoy working with young people to engage them in process and develop their skills.
Enjoy a new challenge and working outside the conventional theatre setting.

The successful applicant will be required to have CRB checked, and attend two days media training, on 31st July and 1st August 2005; and commit two weeks' Summer Arts College workshops with the young people (8th-19th August 2005)

To find out more details of the project, please visit
To submit your application, please send: Your CV and Statement of interest (no more than 300 words) to:
Li E Chen, Email:
Tel: 07786438661 Fax: 02077341074


Contemporary Music Review (Routledge)
Call for papers: The body/technology–instrument/technology paradigm.
We invite papers from writers reflecting on sound in relation to the body/technology; from anyone who attempts to define and/or critically examine threshold conditions of instrument and performer; writers who are keen to challenge con- or discontinuities of instrument and performer, be it in the form of laptop improvisation, interactive sound environments, 3d cave installations, sonic architecture, or other performance situations.

In an era in which technology has impacted immensely on ways in which instrumental music is being performed, indeed in which the role of the instrument, if not notions of the instrument itself, have become radically altered, we want to examine the instrument’s position as well as the role of the performer.

The body/technology – instrument/technology coupling or decoupling is something that can be, and needs to be explored from various angles. Such discussion invariably leads us to think about what we consider an instrument to be in technologically mediated environments, in particular if we keep in mind that the word’s origin suggests notions of “instruction” (from Latin: instruere): who instructs or who/what is instructed by whom?

• Do we see the instrument as extension, retraction or subversion of the body?
• Is the instrument one that brings the body into existence, or one that denies bodily existence?
• What are the implications of technological environments on the instrument-performer relation?
• Does the body become re-figured and re-inscribed by technology?
These are only a few of the questions that may arise; other exploratory paths that elucidate aspects of the body/technology–instrument/technology paradigms are highly encouraged.

For this discussion papers may rejoice in the liminal, the erotic, or the incestuous, they may celebrate touch, if not the self-touch, and may move beyond notions of the instrument as extension of the body in performance.

Papers from disciplines as varied as music, philosophy, anthropology, sociology, biology, informatics or architecture will be of interest.

Abstracts of around 300 words should be sent to the guest editor by the 31st of July 2005.
Full papers will be due at the end of September 2005. 
Please note:
Papers are accepted only in English. 

Submission of a paper to this journal will be taken to imply that it represents original work not previously published, that it is not being considered elsewhere for publication, and that if accepted for publication it will not be published elsewhere in the same form, in any language, without the consent of the editors and publishers.

All queries should be directed to:
Franziska Schroeder
Guest Editor
Contemporary Music Review:


RMA Research Students‚ Conference, 4-7 January 2006
University of Leeds, School of Music

The RMA Research Students Conference is open to postgraduates studying in the UK or abroad.  It offers the opportunity for students to present research in a friendly and supportive atmosphere.  Alongside social events, skills training sessions, and concerts, the programme will include:

- two keynote speakers ˆ Professor Richard Rastall (University of Leeds) and Dr Julian Johnson (University of Oxford)
- parallel sessions of student papers
- composition workshops
- performance workshops
- lecture/recitals
- roundtable sessions on music and queer theory, and music and diaspora

For full details, visit the conference website:


Postgraduate students are invited to submit proposals for papers (20 minutes), lecture/recitals (30 minutes), or poster presentations, on any area of musical research.  Student composers may present papers discussing their own work, and we welcome presentations that are interdisciplinary in nature.  Proposals should not exceed 200 words in length.

Scores and electroacoustic compositions may be submitted for inclusion in the following workshops:

Electroacoustic compositions:

Electroacoustic works are invited for recorded media to be performed on up to twelve speakers, including stereo works for diffusion, multi-channel works, and works that include visuals.  All audio work should be submitted on DAT or Audio CD; multi-channel works on Data CD (aif or wav files) or ADAT HD-24 (removable drive); audio-visual work on DVD.  Works should be no more than 10 minutes in duration, recorded at 44.1Khz, and should be accompanied by a programme note of up to 100 words.

Ensemble compositions:

Scores are invited for the following ensemble: flute (doubling piccolo), clarinet in B flat, percussion (one player), and electric bass.  Works should last 3-5 minutes.  In the first instance, please send one score (no parts required) which should be neatly handwritten or computer printed.  A programme note (of not more than 100 words) should also be included.  Selected compositions will be performed by FOCAM (University of Leeds) and discussed in a workshop (see  Percussion parts can be written for standard orchestral percussion instruments and/or African drums.  For any unusual requirements, contact Dr Mic Spencer (

A call for compositions for solo brass instrument will be circulated at a later date.

Please send proposals and compositions (with name, institutional affiliation, and full contact details) to:

RMA Research Students‚ Conference
School of Music
University of Leeds


Requests for further details should also be sent to this address

Closing dates:
- compositions ˆ Friday, 18 November 2020
- all other proposals ˆ Friday 2 December 2020


DMRN SUMMER CONFERENCE 2005, 23 - 24 JULY 2005. Glasgow, Scotland


The DMRN Summer Conference 2005 takes place on the weekend of 23-24th July at the University of Glasgow. The conference aims to promote the work of young researchers and composers based in the UK by emphasising both musical performance and music based research. The conference programme includes:

* Two days of presentations from young researchers within the UK
* A concert with electroacoustic and live electronics pieces
* Keynote presentations from David Mellor and Prof. Geraint Wiggins
* A Civic Reception at the Glasgow City Chambers
* A Fork Buffet at the GOMA (Gallery of Modern Art)

The registration deadline for the DMRN Summer Conference is Tuesday 19th July 2005. Registration forms are available at

Registration fees are as follows:
Standard £45
Young Researcher £25
Economy £35

Further details, including a full conference programme, information on locations and accommodation can be found at the conference website

Most Significant Bytes 2005 Call for Works

Most Significant Bytes Multimedia Concert seeks electronic multimedia works for the 2005 concert.  MSB seeks primarily video and sound compositions in which sound plays a crucial role (please no short narrative films).  Some electronic sound-only compositions will be also be considered.  For the 2005 season MSB will not accept works for live performers and electronics.  Submission guidelines can be found on the MSB website at:

Note: MSB is not accepting guest artists applications for the 2005 season.


Radio Territories

Where does radio leave us, and what future does it point to?

The legacy of radio and the arts has spawned forms of radical culture, from early Modernist notions of the “Wireless Imagination” and its subsequent vernacular tongues to Acoustic Ecology’s call for “Radical Radio” based on removing the DJ, transmission and broadcast media upsets and redistributes understandings of place, corporeality, social exchange, and the politics of information. Such instances of radicality find their counter-balance within public broadcasting, whose support of public services and cultural programming generates other forms of unique broadcasting. The relationship between sub-cultural radio and public broadcasting is at the heart of Radio Territories, as questions of culture, politics, and technology are brought to the fore. While literature and theories on and about radio have appeared intermittently, the current initiatives around digital streaming, web-radio, and podcasting demands a contemporary measuring of the radiophonic and subsequent burgeoning of new cultural forms. To address radio in the present, Radio Territories seeks to open the book on its historical, medial, and aesthetical status.

We invite proposals by theorists, artists, engineers, Djs, and historians which pursue a critical assessment and activation of the contemporary radio dial. Critical and creative essays will be coupled with artistic and audio projects so as to locate the territories of radio and its ever-expanding and deepening reach. While radio through the Modern period stitched together an electronic network by expanding outward, digital radio finally fulfils Marshal McLuhan’s global idea of the “extended nervous system” by networking individual lives on a cellular level. Radio is no longer out there, in the ether, but totally inside, as individual transmissions that nonetheless speak from within a crowded room.

An abstract of 300 words should be submitted no later than August 15th. Final articles are due November 15th. We also encourage the submission of art and audio projects that expose the performative nature of radio. Radio Territories will contain an accompanying CD.

Abstracts and correspondence should be directed to the editors at:
Erik Granly Jensen –
Brandon LaBelle –

Various - CMCD


Musique Concrete is music created using already existing recorded sounds – particularly magnetic tape. Earnest experimentation with tape recordings as an audio source for composition began in the late 1940s. The ability to manipulate recordings meant that classical composers could begin to alter the structure of sound itself, rather than limit their activities to directing the manner in which sound is produced by musicians “in the real world.” How radically this idea affected the way that composers began to consider sound itself is apparent throughout this recording, especially in works like “A Quiet Gathering” by Steve Moore, in which recorded environmental sounds provide the entire musical basis for the work.

Using Eric Satie’s ballet of the same name, John Oswald’s “Parade” is a cube-factor compression of Satie’s 16-minute ballet of the same name. Oswald has added keyboard, guitars, alto sax and a baby to the compressed, cut, and spliced rendition of “Parade.” Satie’s original included typewriters, gunshots, wheels of fortune and sirens; this 1986 appropriation retains the original’s playfulness and experimentation, and builds on the historical basis that it provides to make something wholly new. It’s important to feature Oswald in any release connected with musique concrete. His essay “Plunderphonics, or Audio Piracy as a Compositional Prerogative” and his invention of the term “Plunderphonics” have been significant contributions to the ongoing discussions on authorship and copyright that surround compositions that utilise recordings as part of their material.

Second on CMCD comes George Katzer’s “Aide Memoire.” Katzer describes this work as “a monstrous collage of phrases, slogans, march music, mass cries, all cut from original sound documents of the nazi period and put together to form seven nightmares, between which the sleeper can find no rest.” The most chilling moments exist in the section where Katzer has layered an ancient Jewish song, the sound of gas, and a Misere of his own composition, sung by children. Other sections include nazi propaganda broadcasts and speeches from nazi leaders. A chilling testimony to the horrors of the holocaust, the piece also serves as an important musical document, literally, an aid to memory.

Lutz Glandien’s “Es Lebe” is a ponderous “dialogue between live instruments and pre-recorded tape.” Both parts are meticulously notated and demonstrate the greater degree of control afforded to a composer when recorded sound is used in performance. The piece is a progression through the efforts of the tape and the tuba player to develop a mutual language. The difficulties inherent in using live performer and recorded sound are eloquently related here.

In Steve Moore’s “A Quiet Gathering” field recordings form the basis for a fascinating exploration of environmental sound. Analysing his library of field recordings, Moore grouped the sounds into sonic categories such as “thick textures, light textures, clap-like sounds,” and began arranging the sounds “as musical events.” Moore relates in the CD notes how this process undoubtedly altered his aural perception of the environment and mentions “the abuse of recorded music” and “our saturation with it,” echoing the sentiments of Oswald in his essay, who says “listening to pop music isn’t a matter of choice. Asked for or not, we’re bombarded with it.” While Oswald’s approach to this situation is to appropriate and reinvent the aural environment in terms of the recorded music that fills it, Moore’s is to utilise the sounds which are drowned out by recorded music. There are even moments of silence in Moore’s composition. Proof that they do in fact exist.

Jaroslav Krcek’s “Sonaty Slavickove” comes with free instructions. Reading like the sonic equivalent of a knitting pattern, these notes evoke the physicality of manipulating tape by hand and invert the usual composer/audience relationship by casually making the means of creation available and accessible to the listener. The piece has processed the human voice to a point where it is barely recognisable. A haunting, layered choir of manipulated voice recordings recall bells, singing… even birds.

Last on this release comes Richard Trythall’s “Ommagio a Jerry Lee Lewis.” Taking Lewis’ performance of “Whole lotta Shakin’ Goin’ on” as its musical basis, Trythall subjects the recordings to a wide variety of classic tape studio manipulations. He likens this process to cubism; the re-presentation of a familiar object from many different angles. 

This re-release of ReR’s “Classic Concrete, electroacoustic and electronic works” offers a very thorough representation of the breadth of activity taking place under the loose banner of “musique concrete.” Political, philosophical, intellectual, amusing, poignant and haunting, this collection serves as both a historical document and an album rich with the possibilities of sound itself as compositional material.

Reviewed by Felicity Ford
Felicity Ford is a sound-artist and writer. Her most beloved possession is her shiny, red accordion, but her advancement on this instrument is hampered by a frequent desire to play with the internet instead of practising arpeggios.



Deep Listening DL29-2004

As the blurb tells us Scott Smallwood's album ELECTROTHERAPY is a based on close range recordings of early twentieth century electrical devices. This is an interesting lead into the work, with photos of strange looking devices accompanying the CD, like the Sectorless Wimshurst Machine. All this creates a heightened sense of what we are about to listen to. It allows our childhood feelings of awe for the laboratories of Dr. Frankenstein and the console of the Tardis to seep into this recording.

On the whole the sounds are excellent, Smallwood's use of sustained recording with subtle intervention is a great example of letting the subject speak for itself. There are times however when elements of Smallwood's composition skills enter on tracks such as 'Sunkraft' and 'Ropiquet'. These are frankly awful and ruin most of the atmosphere of the tracks. Not being sure exactly how much the composer has done in the tracks that sound like he has done nothing but record, it is difficult to work out why these sudden out of place sequenced elements arise. They are obviously an attempt to compose using a vaguely dance framework with the sounds, but one that seems entirely unnecessary. The mistake of over-composing is an easy one to fall into, take for example Frans de Waard's review in Vital Weekly of the same album. He states that particularly in the tracks 'Sun Kraft' and 'Roquipet'

"Smallwood creates zombie-like techno music, more electric than Pan Sonic. Especially in these two tracks, Smallwood shows us the potential of creating 'music' out of 'noise' - and I see even possibilities of a remix project there."

No. a remix project would be a terrible idea, it would mean all those wonderful sounds being chopped into insipid post-techno sequences and smothered with miserable 'dub delay'. The raw sounding tracks such as 'Haliwell' or particularly 'Energex' are so good at hypnotising the listener with slow simple crossfades and layers. One becomes engaged in the slightest transitions of these machines as their motors or powering are changed. Truly a deep listening experience. Best of all is this charged energy that the recordings convey, the sense that you are listening to ENERGY, to something usually so invisible to every day life. It is maybe only by re-visiting this ancient machinery that can we recapture a sense of awe in something so mundane as electricity.

Reviewed by Mark Mclaren
Mark Mclaren works with sound and text. He produces a show on Resonance FM called 'Down With the Chairman'.