News from the Sonic Arts Network

Sonic Postcards Year Three

Sonic Postcards kicks off its third year with a full programme of work in Aberdeenshire and across the UK. Over the past two years our relationship with Aberdeenshire Council, through the Youth Music Initiative, has developed from strength to strength.  This term will see the creation of a teacher pack commissioned by Aberdeenshire Council which will available on the Sonic Postcards website shortly. Also, some Sonic Postcards will be performed as part of the Sound Festival 2006, North East Scotland’s Contemporary Music Festival, at Duff House, Banff, on the 7th November - more information to follow. Visit


James Tenney (1934-2006)

Composer and performer, James Tenney has died aged 72.

James Tenney was born in 1934 in Silver City, New Mexico, and grew up in Arizona and Colorado, where he received his early training as a pianist and composer. He attended the University of Denver, the Juilliard School of Music, Bennington College (bachelor's degree, 1958) and the University of Illinois (master's degree, 1961). His teachers and mentors have included Eduard Steuermann, Chou Wen-Chung, Lionel Nowak, Carl Ruggles, Lejaren Hiller, Kenneth Gaburo, Edgar Varese, Harry Partch and John Cage.

In American Music in the Twentieth Century, composer and music critic Kyle Gann wrote, "When John Cage, who studied with Schoenberg, was asked in 1989 whom he would study with if he were young today, he replied, 'James Tenney.'"

A performer as well as a composer and theorist, Tenney was co-founder and conductor of the Tone Roads Chamber Ensemble in New York City (1963-70). He was a pioneer in the field of electronic and computer music, working with Max Mathews and others at the Bell Telephone Laboratories in the early 1960s to develop programs for computer sound-generation and composition. He wrote works for a variety of media, both instrumental and electronic, many of them using alternative tuning systems.

James Tenney - Having Never Written a Note for Percussion (1971)

John Cage works performed by James Tenney Sonatas and Interludes for prepared piano and 4'33" at the SASSAS sound. concert archive

James Tenney interviewed on Kalvos & Damian's New Music Bazaar (click to listen)




8 September - 1 October
Marek Choloniewski
IMT, Unit 2/210 Cambridge Heath Rd, London

The first London exhibition of work by Polish composer Marek Choloniewski. At the heart of the exhibition will be Choloniewski's most recent installation of the interactive light and sound system 'dark&lightZone'. In addition to significant works by Choloniewski, Dark & Light Zone will include an ‘intervention’ by young Polish sound artist Wojciech Kosma. Choloniewski is a composer and author and director of the Electro-Acoustic Music Studio of the Krakow Academy of Music.

13 September
Charterhouse bar, 38 Charterhouse St, London, EC1

Sprawl returns after a short break and features Jodi Cave, a sound artist and experimental musician from the UK, currently residing in Paris. Vanishing Breed, formally of 'they came from the stars (i saw them)' will perform a 'one man, one guitar, one loops machine' show taking inspiration from African Soukous, Maringa and Palm Wine music and Segue.

8-17 September
Calgary, Canada

UK Artist Charlotte White takes her multi-channel sound installation 'Eternally Unfinished Attempt to Grasp Everything as it Happens (in only one language)' to Calgary, Canada as part of the Artcity festival; a festival of art, design and technology massed around the theme 'Truth & Lies'. Charlottes piece will be inside Eau Claire Market.

13 September
We're All Going To Die
Roundhouse, Chalk Farm Road, London NW1

A special fund-raising concert for Resonance FM's Aerial Appeal. Is it possible to have a clean death in a vacuum? We're All Going To Die is an operatic, radiophonic concatenation of space ephemera and near-Earth collision paranoia, hosted by Resonance104.4fm. It features The Bohman Brothers, Ken Hollings, Tom McCarthy, DJ Original Bear, the Resonance Radio Orchestra, DJ Rocket 88, Johny Trunk and Lembit Opik MP.

14 September
Silent Sound
St. George's Hall, William Brown St, Liverpool

In 1865, Victorian Spiritualists, The Davenport Brothers performed a séance on stage in the Small Concert Hall of the St. George's Hall, Liverpool. The brothers would invoke Spirits to create a cacophony of noise with a selection of musical instruments so as to amaze the congregated audience. Iain Forsyth & Jane Pollard's Silent Sound is a re-enactment not of The Davenports séances, but of the potential of belief inherent within the human mind.

15-16 September
Candid Arts Centre and Electrowerkz, 3 & 7 Torrens Street, London EC1

Netaudio '06 is London's first festival dedicated to free Internet music. It celebrates the creative output of netlabel activists and musicians with talks, workshops, showcases and parties.

16 September
Sonic Art Meeting Group
Leeds, UK

A forum for composers to present their music, participate in free-form improv sessions, or simply come along to listen and discuss ideas.

17 September
Koko, Camden, London

Only UK date for US duo Drew Daniels and MC Schmidt following the release of their new album 'The Rose Has Teeth In the Mouth Of A Beast'.

17 September
The Tobacco Factory, Raleigh Road, Bristol

Mixed-media ensemble ELEVEN bring their eclectic show of new music and visuals to Bristol's Tobacco Factory. Featuring newly-commissioned works by John Palmer and Matthew Wright and music by Roxburgh, Montague and Takemitsu. In addition, visuals, animations and film from Daniel Pope, Sam Steer and international artists. Pre- and post-show DJ sets from Rich Williams are accompanied by short films by local and international filmmakers.

18 September
The Canteen Media and Arts Centre, Barrow-in-Furness, Cumbria

Theremin player Pamelia Kurstin plays Barrow as part of her UK tour. She has appeared and recorded with David Byrne, Foetus, Cibo Matto, Bela Fleck, Matthew Sweet, various members of Polar Bear, Liam Noble, Otto Lechner, Barbez & loads of others. She's played everywhere from CBGB's to the Royal Festival Hall and this will be her first solo UK tour. She is currently working on a solo CD for John Zorn's Tzadik label.

20 September Onwards
Artist Review Series: Immersivity, Art, Architecture, Sound and Ecology
(Artist Review)
Goldsmiths College, London

Transdisciplinary presentations facilitating critical exchange and review through an informal and supportive atmosphere; and guided by specific research interests. General research areas are: live art and mixed media performance; landscape & interactive architecture and sustainability; critical studies and philosophy; biophysics, acoustics, ecology and sound art. The guest review presenters invited are drawn from these backgrounds and disciplines. The aims of the artist review meetings are both to support the development of researchers or practitioners, through the sharing and review of recent practice including work-in-progress.

21 September
Prepared Nord
The Space, 269 West Ferry Rd. E14

Free improvisation from Norway featuring Else Olsen S. playing prepared piano, Sigyn Fossnes playing prepared violin, Martin Aaserud playing prepared guitar and Andre Castro using laptop.

24 September
Jem Finer: Score for a Hole in the Ground
King's Wood, Challock, Kent, TN25 4AR

Jem Finer launches 'Score for a Hole in the Ground', winner of the £50,000 PRSF New Music Award. The site specific work features a large steel horn amplifying the sounds of water, striking bells and percussion from the seven metre hole below. Bring your wellies!

28 September - 8 October
Phases: The Music of Steve Reich
Barbican, London

A festival celebrating Steve Reich's 70th birthday including free events, concerts, dance, lectures and more.

17 October & 19-22 October
Touch 25
Bedford Arms, London / Sightsonic, York

Two UK events to celebrate Touch's 25th anniversary. The first features Fennesz, CM von Hausswolff, Philip Jeck at the Bedford Arms, London with the other event at York's Sightsonic (19-22 October) and featuring Rosy Parlane, Philip Jeck and Fennesz (20 October), Ryoji Ikeda, Biosphere (21 October).

12-15 October
(dance / installation)
Siobhan Davies Studios, 85 St George's Road, London

SeaUnSea, a collaboration between choreographer Carol Brown, architect Mette Ramsgard Thomsen and composer Alistair MacDonald, is an interactive installation for performers and audience in a constantly evolving audio and visual field. Set under the wave-like ceiling of the Siobhan Davies Studio, the movements of audience and performers impact on the environment. The event will run in cycles during which time visitors are invited to play in the installation, watch the performance, then once again inhabit the space.

13 - 15 October
Instal 06
The Arches, Glasgow, 235 Argyle Street

The latest instalment of this annual underground music festival is here again. Featuring Keiji Haino + Tony Conrad, The Bohman Brothers, Maryanne Amacher, Blood Stereo + Ludo Mich and many more. On Friday and Saturday night an extra stage will be built and feature young underground acts from Scotland and the UK.

26-29 October
Liverpool City Centre

Four days of interventions, occurrences and happenings that punctuate the shifting landscape of the city centre. Liverpool Live will trace, re-examine, interrupt and ultimately re-energise the routes, buildings and landmarks of the changing city. Through performative walks, radio interventions, guided tours and sited performances the artists invite you to look again at Liverpool.


Karlheinz Stockhausen
Mixtur (2003)

Salzburg Festival. 30 August 2020

Stockhausen composed Mixtur in 1964. It is scored for 5 orchestral groups, sine wave oscillators and ring modulators. It is one of the first pieces, if not the first piece, composed for orchestra and live electronics. During the early performances it was discovered that it was extremely difficult to balance the dynamic forces of a full symphony orchestra with the electronics. In 1967 Stockhausen revised the piece and scaled down the orchestral forces and it is this version that has been performed throughout the world since then.

Microphones collect the sounds of each orchestral group – percussion, woodwind, brass, pizzicato strings and arco (bowed) strings –  and the mixed signal from each group, apart from the percussion, is fed into a ring-modulator. This is an early analogue device, invented for use in telecommunications, that modulates one signal with another. The sound of the Daleks is made using a ring-modulator that combines an actors voice with a fixed low frequency sine wave. In Mixtur it is the sound of instruments – solo and in groups – that is modulated by sine waves the frequency of which change, very precisely, to produce the most incredible sounds – sustained metallic swoops, glissandos screeching from the highest high to the lowest low, pulsing signals like a thousand bristling shortwaves or robots trashing a can factory.

It’s difficult to imagine how Stockhausen had the idea to make this piece. How did he know what it would sound like? He might have been able to work occasionally with individual instrumentalists and a ring modulator, experimenting with possibilities and noting the results. And occasionally he may have had two or three musicians in the studio. But it must have been near impossible to imagine a whole orchestra, divided into five groups, four of which are being ring modulated to produce sounds that nobody had heard before …. ever. To put all this together, invent a way of notating it and make it work must have been like flying to the moon. Maybe that era of the late 60s, when people were flying to the moon, was marked by a true pioneering spirit; a time of journeying into unexplored territory. Stockhausen was certainly doing this in music.

The underlying structural principle of the piece was invented by Stockhausen and is known as ‘Moment’ form. The work is made up of individual units which are “self sufficient”, tiny pieces in themselves, which then combine to make the whole work. In Mixtur there are 20 ‘moments’ and there is some flexibility built into their combination. The piece can be played forwards, from moment 1 through to 20, or backwards (retrograde) from 20 to 1 and some moments may be exchanged with others. Within some ‘moments’, of the original piece, orchestral players are obliged to choose exactly what they play from a selection of material written in the part. There are some elements of chance here, there is some indeterminacy. And it is these elements that Stockhausen has revised in this new realization. Mixtur (2003) has no indeterminacy, all the parts are completely written out, the players no longer have any obligation to make choices.

The world premiere of the new version was scheduled to take place at the Salzburg Festival on 30 August, Stockhausen himself was to conduct. As I was traveling to the airport, on my way to Salzburg, I got a phone call to say that Stockhausen was unable to conduct because of an attack of sciatica. He had rehearsed the orchestra in Berlin but conducting in Salzburg was impossible, he couldn’t leave home. Naturally, this was extremely disappointing. A once-in-a-lifetime experience simply evaporated.

Salzburg was grey. The Alps towered above low cloud. Drizzle soaked everything. The concert venue was the ‘Lehrbauhof’ – the Building College – which was miles out of town. Stockhausen had invited me to attend rehearsals so I arrived at the venue in the middle of the morning having trudged through the suburbs in the rain. It was a dull looking place, nestled into the foot of the mountains. Inside, students were building – walls and things. It looked like a tidy building site, not a venue for an orchestral concert. But tucked away from the construction activity was the college hall and here the orchestra were rehearsing, each separate section dressed in bright coloured shirts – the brass in red, woodwind in blue, arco strings in yellow, pizzicato strings in lime green and percussion in a kind of mauve, although the one percussionist wore red. There was no doubting which section was which.

The sound was fantastic. This hall worked very well. Just the right size. I sat in the middle of the auditorium and the balance was wonderful. The electronics and the orchestra made one sound which sat in the room perfectly. I was able to move my head just a fraction and pick out detail from the rear speakers. If I focused towards the front the rears melded into the mix. All very clear. Rehearsals finished at lunchtime and I took the bus back into town.

I arrived early for the concert. Festival stewards dressed in dark coats with polished brass buttons looked like toytown railway porters but they gave the occasion an air of solemnity. The audience looked like aging professors, or would be aging professors, with their wives dressed straight out of Country Casuals. These were the good burghers of Salzburg and what they liked was Mozart and plenty of it.

The forwards version – ‘Vorwärtsversion – was played first. Extremely precise. Very clear defined pauses between some ‘moments’. This was something new because the 1967 score clearly states “without pauses between the moments”. The balance and the sound were as they had been in rehearsal, absolutely perfect. These players knew exactly what they were doing. This is what comes of six 3 hour rehearsals. In the UK an orchestra would be lucky to get two rehearsals. The final note, a high C, (‘moment’ 20 is called ‘High C’) was held and held and held, ring modulated sidebands swirling and swirling. And then there was silence. The aging professors didn’t know what to do. What on earth was that? Had the piece finished? Do we applaud? The silence stretched out. I began applauding enthusiastically. Several claps echoed around before the audience sluggishly joined in.

A few polite, wide-eyed socialites gathered around the mixing desk in the interval, asking questions, desperate to make sense of what they'd just heard. Music from outer-space madam, and right here is the spaceship! After the interval we heard the backwards version - ‘Rückwärtsversion'. Again, every sound was in its right place, the timbres rich and deep. Rounded basses and hard rattling bassoons, glissandos that felt like they had just swooped off the Alps, electronics like signals from a radio telescope jammed on an alien life form. The applause was a little more confident. The professors’ bewilderment had been temporarily suspended.

When I stepped outside the rain had stopped. On the last bus back into town no one spoke. We rattled through the suburbs, big wooden houses set in their own grounds. The driver squeezed us through a tiny gap in the ancient city walls, back into the land of powdered wigs and red velvet. I wondered what the other passengers were thinking. Maybe one or two of them had secretly enjoyed it, but no doubt most of them would be returning home to tuck up in bed with a nice cup of cocoa and their Mozart teddy bear. Safe and sound. But please, not for them, the sound of today’s music.

Reviewed by Robert Worby


The Prince's Trust: Funding Available for Community Projects

The Big Boost is an awards programme aimed at encouraging more young people in England to run their own community projects. The Prince's Trust is currently offering a number of cash awards of up to £1000 for 14-16 year olds living in London from our target groups.

The Prince's Trust work with young people who are facing barriers in their lives: educational underachievers*, offenders and ex-offenders and those in and leaving care. An eligible project may be a one off event or activity, or something longer-term, so long as it will enable the young people to develop their skills and has a positive impact on the wider community.

Eligible projects will be those that have a beneficial impact on the local community and provide learning opportunities for the young people involved. Any applications will be considered as long as there is direct involvement from the young people. Examples of past projects include:

* cultural awareness event
* creating mural/graffiti wall/sculpture
* open mic night promoting dangers of drugs
* setting up a girls' football club
* anti-bullying film
* bicycle recycling scheme
* "tea party" for elderly members of community

If you'd like to know more or to be sent an application pack please contact Corrina Trevail at The Prince's Trust: or call 020 7382 5175. Alternatively if you would like further information about the youth charity please visit or call 0800 842 842.

The Big Boost is funded by the Big Lottery Fund and is part of their Young People's Fund, Grants to Individuals programme, which aims to offer more opportunities to young people and help them improve local communities. The Big Boost programme is run in partnership by UnLtd, The Prince's Trust, Changemakers and The Scarman Trust.

* Less than Key Stage 3 at Level 5 or 5-14 Level E in Maths/English/ Welsh/ Gaelic, regularly (more than once a fortnight) truanting at school, excluded or suspended from school

Corrina Trevail | Group Awards Project Manager | The Prince's Trust | 3rd Floor, Tribute House | 120 Moorgate | London | EC2M 6TS | T: 020 7382 5175

Want to know more about Group Awards?

New Workshop leader Website launched

Workshop Network is a vibrant agency for freelance creative arts workshop leaders. Workshop Network was started with support from The Princes Trust.

Workshop Network is a brand new agency launching on 06.09.06 to provide a dual-service within the creative arts workshop industry. Workshop Network is a Midlands based agency running on a national scale with immediate effect. Workshop Network was created to supply artists with a guaranteed 'stamp of approval' giving the client ultimate confidence in secure and vetted workshop leaders. Within one easy to use website, arts, educational or public sector organisations will be able to search for freelance creative workshop leaders. Workshop Network is an easy way to book the creative artists you need. Start by finding the type of workshop you are interested in. You can search geographically or choose the style of the workshop you want. It's all here from drama, dance and visual arts through mix-media, music workshops and even some of the more peripheral art forms.

All artists represented on the site have been enhanced CRB checked, two references will be taken per artist; and all are checked for public liability insurance.

On the site after filtering to your personalised results from the artist search page, you will find artist profiles. In fact you will find displayed the most relevant artists and their profiles. Artists details which include; previous work experience in their chosen field, a synopsis of their workshop styles and delivery plus a geographical listing of the areas they generally work in, although nearly all artists will be prepared to work beyond these boundaries should the appointment be suitable.

So organisations can book our artists secure in the knowledge that we only represent checked, vetted and experienced workshop leaders.

Workshop Network will promote registered and security checked artists on a national scale. Raising their profile through extensive marketing and advertising strategies Workshop Network is here to get them working.

If you require any further information at all do not hesitate to contact:

Gary Cicinskas
Business Development Manager
Workshop Network
Mercury House
Email -

Performers/Artists/Musicians Wanted

Performers/artists/musicians (male & female) needed for re-enactment of infamous Einstürzende Neubauten gig originally performed at the ICA, 3/1/84. Comprising members of EN and other musicians it was titled Concerto for Voice & Machinery as the performance was centred around the use of industrial machinery/tools, some singing, destruction of various raw materials and ultimately, the theatre stage.

Interested artistes should be comfortable with live, on-stage performance, physical activity as similar tools etc will be used such as cement-mixers, road-drills and chainsaws and although no traditional musical knowledge and conventional instrument playing required, a sense of timing and rhythm is essential. An interest in experimental music/theatre performance would be beneficial as well as knowledge of the original performance.

Auditions will take place in October leading towards the re-enactment performance in Feb 07 at the ICA, London.

For further enquiries, please call Jo Mitchell on 020 8519 5215 or 07726 747939

Audio Producers, Scriptwriters and Musicians Required


Moors for the Future (MFF) invites expressions of interest and quotations from creatively minded people/organisations for one, two or all of the following:

* To write a script for a 25 minute long (approximately) audio guided walk (AudioTrail) on the Peak District moors.
* To produce a 25 minute long (approximately) audio guided walk (Audio Trail) on the Peak District moors.
* To produce 3 moorland inspired pieces of music to be used as backing music for the audio trails project


The three original agreed principle objectives of the Moors for the Future Project

Objective 1 - to restore and conserve moorland sites most damaged from access and recreational pressures

Objective 2 - to enhance visitors and local peoples experience of moorland heritage and encourage greater care

Objective 3 - to establish as learning centre

Technological advances in recent years have meant that traditional methods of interpretation (boards and leaflets) are now not the only viable means of communicating with local communities and visitors.

Audio is a powerful communicating tool that conjures images and feelings in the listener and with the advent of MP3 technology and the fast download speeds of the internet, audio files can be accessed and listened to at ease from anywhere in the world. In addition, sales of MP3 players, mobile phones and iPods accelerates every quarter means these personal music players are owned by millions of people.

Data accumulated from the Moors for the Future 'visitor attitude surveys' conducted between 2004 and 2006 illustrated that while visitors do not want to see an extended programme of guided walks they did want access to more self guided trails.

Audio Trails (MP3 led guided walks) are an unobtrusive method of enabling visitors to see through the eyes of those who have worked, lived and played and the moors and enable them to discover hidden secrets at their own pace and leisure time. This resulting promotion of understanding, engenders respect for the environment in a subtle, but informative way.

During Easter 2006, MFF launched five pilot MP3 lead guided walks. The files are free to download from the MFF website ( ) and enable people to undertake moorland walks at their own leisure, whilst still benefiting from the knowledge of an expert. The walks inspire and build confidence in new and existing visitors through the promotion of consistent messages and factual evidence into how the National Park has been shaped.

The five pilot walks were scripted and narrated by volunteers and produced in-house. They have proved popular and MFF want to extend the number of walks to at least 13 by the end of 2008. In particular the walks are seen as a good method of introducing new audiences to the moors and as a result, the majority of new audio trails will concentrate on shorter (2-3 mile) circular walks that are both accessible and not to intimidating (e.g. not on the long distance trails on the high moors).

The pilot walks featured the voice of just one person and we would like to develop new trails that are more creative and evocative. The scope for this development is vast and MFF would like to engage creative people in developing individual audio trails that will entertain, educate and inspire visitors to the moors, to respect and enjoy these special places.


Artists are invited to quote for one, two or all three of the contracts cited below. In total, MFF are looking to award a minimum of 4 contracts (at least one of each).

Audio Trail Script

A scriptwriter (or similar) is required to produce a script for an Audio Trail. The route is likely to be between 2 and 7 miles long, but the scriptwriter will be writing 2-3 minute segments for approximately 8 points of interest along the route, however MFF are open to alternative methods of delivery of the audio.

The exact route and theme will be agreed once the contractor has been appointed, but it is anticipated the route will begin and end at a public transport interchange (typically a train station on the Hope Valley Line) and involve at least one point of interest in or adjacent to a town/village. The Audio Trail will be light-hearted, informative and entertaining in approach, but deliver key behavioural messages that will be discussed in consultation with MFF.

Interaction and involvement with the local community for the development of the script will be welcomed.

On completion, the script will be recorded by voice over artists (both professional and amateur dependant on the script) and you are invited to quote for this work (both day rate and anticipated recording time) in addition, if you so choose. The script will be recorded, edited and produced by MFF and then posted onto the MFF website where it will be freely available to use.

Audio Trail Production

A total budget of upto £2000 (exc VAT) is available for artist(s) to produce a completed Audio Trail that is ready for use by the public.

The route is likely to be between 2 and 7 miles long, but the consultant will be producing 2-3 minute segments for approximately 8 points of interest along the route, however MFF are open to alternative methods of delivery of the audio. The exact route and theme will be agreed once the contractor has been appointed, but it is anticipated the route will begin and end at a public transport interchange (typically a train station on the Hope Valley Line) and involve at least one point of interest in or adjacent to a town/village. The Audio Trail will be light-hearted, informative and entertaining in approach, but deliver key behavioural messages that will be discussed in consultation with MFF.

Interaction and involvement with the local community for the development of the script will be welcomed.

The completed files will then be posted onto the MFF website by staff, where it will be freely available to use.

Audio Trail moorland inspired music

MFF is looking for artists to produce 3 moorland inspired pieces of music (minimum 3 minutes in length) that will be used as backing music and create atmosphere on future Audio Trails. It is envisaged the tracks will explore different themes e.g. wildlife, folklore, conflict (the fight for open access) and living in the moorland landscape, and will be an important backdrop to the trails.

4. Project Deliverables

Audio Trail Script

The successful consultant will be required to produce a script and recording plan (if separate) in MS Word

Audio Trail Production

The successful consultant will be required to produce one completed Audio Trail that is ready for use by the public. The following will be supplied:

* Audio Trail files in MP3 and WAV format
* Original recordings that comprise the Audio Trail files in WAV format (e.g. interviews, soundscapes, music)
* Script in MS Word

Audio Trail moorland inspired music

The successful consultant will be required to produce 3 completed pieces of music. The following will be supplied:

* Files in MP3 and WAV format (if lyrics are included then an instrumental version must also be supplied)
* Original recordings that comprise the music files in WAV format (e.g. interviews, soundscapes)

In all instances the copyright and other like intellectual property rights in all documents and files prepared on behalf of the client by the consultant will remain with MFF.

5. Timescales

Contracts will be awarded to successful consultants within 2 weeks of the submission deadline.

Audio Trail Script

Consultants will be required to produce the completed script before 16th February 2007 and a draft script at least 2 weeks prior to this date (2nd February 2007).

Audio Trail Production

Consultants will be required to produce the completed Audio Trail files before 16th March and a draft at least 3 weeks prior to this date (23rd February 2007). Audio Trail moorland inspired music Consultants will be required to produce the final pieces of music before 2 February 2021 and a draft at least 3 weeks prior to this date (12th January 2007).

The deadline for submission of all quotes is 15th September 2006.

6. Quotation submission

Please provide a detailed breakdown of your costs and clearly indicate what you are quoting for (e.g. Audio Trail Script)

In addition, a maximum of one side of A4 outlining your proposal, including your approach and the people you intend to involve, should accompany your quote.

Submitting previous examples of relevant work with the quotation is also encouraged.

Please submit quotes to or to the address below

Many thanks

Dan Boys
Moor Care Project Officer
Moors for the Future
Office 01629 816582 Mob 07795 328473

The Moorland Centre
Hope Valley
S33 7ZA

Working together for the Peak District National Park
- a special environment
- a welcoming place at the heart of the nation
- vibrant communities and a thriving economy

Business Skills for Artists

Autumn 2006 Workshops 20 & 27 October, 3 November, Oval House Theatre, 10am - 2pm

A series of workshops for artists of all disciplines (theatre, fine art, music, dance, photography, design etc.) who wish to update their business skills to further their careers.

Nordic Nomad Workshops have a unique holistic approach and create a non-threatening, supportive environment. This allows us to make a lot of progress in relatively little time. All participants will receive plenty of individual attention, aiming to uncover and address the root of any current business problems.

You can book for either the whole course or any of the separate components: Selling Yourself without Selling your Soul; Confidence in Presentation; 'Deal or No Deal'.

Workshops are priced at £30 (£25 concs, £70 for all 3). To book, send a cheque (payable to Tanja Raaste) and your contact details to: Nordic Nomad Productions, 65B Kingsmead Road SW2 3HZ. Your place will be guaranteed on receipt of payment and confirmation will be sent to you.

For more information see, or contact: Tanja at 07980 619 165 /

Administrator Wanted

For a small radio project (unpaid)
2 months.
Based in North London.

To send cvs to

Call for Work

We invite sonic artworks for the second annual Unsafe Festival, which will be held on Friday 10th and Saturday 11th November at Lighthouse in Poole, Dorset. There will be a film show and short performance on the Friday, and Saturday will involve workshops, performances, installations and seminars.

Submissions are invited on the theme of UNSAFE. We are interested in receiving sound works that take risks artistically, aesthetically, philosophically, sonically, even physically. Works that should carry a health warning, that ignore safety margins, that lie outside the comfort zone. Works that challenge the listener but also the sound artist. Works that may be radical, unusual, subversive, awkward, exciting but above all, interesting.

All submissions that are received will be featured in a sonic art event within the main festival, and will be diffused on a multi-speaker system. Works should be submitted on stereo audio CD (only, please) to Adrian Newton, 71 Hayes Lane, Colehill, Wimborne, Dorset, BH21 2JD, to arrive not later than October 31st 2006. Please include an email contact address, brief biographical information and details of the piece suitable for inclusion in programme notes. Please make sure that the CD is clearly labeled and enclose an SAE if you would like it returned. While adventurous pieces are welcomed, please respect the fact that they will be performed using a high-quality speaker system, which we would still like to be functional at the end of the event.

Adrian Newton (

Call for Musicians (Acoustic and Digital Instrumentalists) and Composers

We are doing a survey on people's relationship with their instruments and tools. It is a comparative study of the differences between acoustic and digital instruments from the perspective of usability or ergonomics. Amongst many other things, we are interested in the experience of playing or composing for the different instruments, but also people's views on how the instrument/tool affects the musical ideas and what can be played/composed.

Please help us to get an understanding of these issues by filling out the following survey:

We will of course present our findings when processed with a research paper and online presentations.

Thanks in advance.

the ixi team

Call for Radio Art Works

New Adventures in Sound Art's Deep Wireless Call for radio art works on the theme Trans-X deadline for submission Sept 30th, 2006.

Trans = from, across, beyond, through
X = unknown quantity.

( or (http://

Make your own theme by adding a word to replace the X and create a piece for radio that reflects it.

New Adventures in Sound Art invites submissions of any duration less than 60 minutes in length that reflects the theme TRANS-X, makes use of original sound sources in interesting and innovative ways and are suitable for radio broadcast. Note there will be a special category called Radio Art Interventions on the same theme for pieces one minute in length.

Pieces will be selected for broadcast within Canada and on several international radio stations in May 2007 as part of the Deep Wireless festival of radio and transmission art. Deep Wireless celebrates radio as a creative and artistic medium for cultural expression.

The International submissions will be considered for inclusion in the following:

-The Deep Wireless 4 radio art compilation CD
-The radio art interventions (1 minute pieces played guerilla-style on radio stations during the Deep Wireless festival)
-The Radio Art Salon (a listening gallery of radio art works exhibited for the month of May
- A small number of Canadian artists will be chosen from the submissions to be part of the Deep Wireless Commissioning Programme in 2007 with residencies at Charles Street Video in Toronto.

Please download the form on the web-site and include a completed form
with your submission.

Nadene Thériault-Copeland

Managing Director
New Adventures in Sound Art

Call for Submissions

Girls on Film multimedia event are calling for submissions. Following our fantastic event in July (to celebrate our first birthday), Girls on Film have one more event up their sleeves before the end of the year.

And we want your submissions!

Not content with putting on just another film night, the Girls on Film events showcase work by women artists of all kinds, filmmakers, musicians, DJs, visual artists, photographers, painters, dancers, performance artists, actors, poets, whatever you can think of that is made by women or promotes women, from around the UK and beyond.

So, email for more information and a submission form, and get that work coming in.

The deadline for submissions is 14 October 2006. If you have previously submitted work, please note that due to the large number of submissions we receive, we can now only consider your work for two consecutive events before needing to resubmit.

The event begins on 15 November 2020 at 7:30 PM at Night and Day, Manchester.

Call for Proposals

Call for Proposals for an intensive multi-disciplinary art event at The Whitechapel Gallery on the 17th November 2006 7pm - 11pm.

Looking for:

** Surround sound work - live or pre recorded
** Live soundtrack to film
** Video art / short films
** Installations
** or surprise me with something

Please don't apply as a band or just to do a music set

Proposals to be emailed to
Videos can be attached as quicktime movies. Deadline 24th September 2006

Call for Projects


Deadline 20 Oct. 2006

After a successful first edition, the STRP festival, which took place in Eindhoven, Netherlands at the end of March 2006, is launching a call for projects for its next edition, which will be taking in late April of 2007.

The focus of the festival is the common ground created at the intersection between art, popular culture and technology. The first edition which welcomed over 10,000 visitors, and received very positive attention from the press, made use of performances, installations, lectures, films, etcetera in order to convey this crossroads.

STRP takes place on Strijp-S, the 'holy' ground of the forbidden city of Philips, where in the 20th century numerous technological innovations were made which changed the world. A place where Einstein once worked, the first complete electronic music album was created and the collaboration between le Courboisier and Varese resulted in one of the most interesting amalgamations between art and technology, Le Poeme Electronique for the World Expo in Brussels (1958).


STRP is looking for projects, installations, or proposals that concern themselves with interactive art, robotics and/or Live Cinema (in the live cinema category we are looking for projects that rely on both performance and technology in order to become an audio-visual whole). All of the above in a context in which the artistic side is furthered by technology. This year we will also be paying special attention to projects, which involve light in their concept, composition, and/or execution.

The application forms are available in
PDF format -
RTF format -

To find out more about the 2006 edition of the festival, including a full line-up, press-releases and photographs please take a look at:

If you have further questions please contact us at

Call for Works

1st International Electroacoustic Composition Contest - CMJKO 2006

Deadline 30 September 2020

CEMJKO Music and Art Week 06 - 10 November 2020

For more info:

MusicBRUT Call for Musicians

After the success of the launch event a new call for musicians and performers to submit materials and proposals for performance at the second evening of musicBRUT, a new record label developing a roster of outsider and visionary musicians. The label is looking for musicians and artists working on the margins of musical culture and genres to perform at BAC, London on Saturday 7th October 2006. We are actively seeking work outside the areas of avant-garde and improvisatory music, searching for expression and beauty beyond traditional, experimental forms. The focus of this second event is that of non-electronic performances with the emphasis on acoustic sound generation, although this is by no means exclusive and all submissions are welcome.

Many of those we seek to engage with may not have access to this information. Please recommend performers who may be working in this unclassifiable and unpredictable area and feel free to forward this email to individuals and organisations who might have an interest or input into this venture. In addition, we are especially keen to pursue contacts regarding musical creativity within, or associated with, the mental health care system, so would ask any of you with links in this field to please forward this information, thank you. There will be limited funds available to assist with travel and expenses but not accommodation for the event.

All previous submission to musicBRUT are kept on file so please do not resend information. Thank you to all those who have already submitted materials and apologies to those we have not been in direct contact with, we are a fledgling label with limited resources. All existing submissions will be reviewed for this second event.

Please reply or send materials on any format to the following:
Mark Webber / musicBRUT
151 B Mount Pleasant Lane
E5 9JG
United Kingdom

Contact only please do not send sound or image files via email:
Mark Webber at

Performers at musicBRUT have included:
Sjaak van de Bent
The Schizos
Baby Grand
Hugh Metcalfe and Matt Scott
Horse Hospital Radio (live)
Christian Wright

Recordings Wanted

Birmingham Central Library's Music Department will shortly be starting a dedicated section to local bands and performers. All genres wanted. If you would like your album to be stocked, please can you send 2 copies (1 for reference, 1 for lending) to:

Jonathan Goodwin
Creative Insight
Central Library
Chamberlain Square
B3 3HQ

Submissions for consideration must be the finished product (no demos, please) and be clearly marked with your name and contact details (on inlay card, NOT written on the CD). Albums must conform to a recognised standard for inclusion in the collection (i.e. full track listings, sleeves, studio-quality sound, etc).

Should you require further information, please contact Jonathan Goodwin on 0121 464 4216

EAR-plugged Festival of Electro-acoustic Music

EAR ( is organising 'EAR-plugged', a two-day festival of electro-acoustic music in The Printing House, Trinity College, Dublin, 20-21 October 2006. The festival will feature audio-visual works, 'tape' music, live electronic music, mixed works and pieces selected
from our 'Call for Works'.

Call for Works

We invite composers of any age or nationality to submit works for consideration for inclusion in the EAR-plugged festival programme.

We are seeking works for 'tape' or live electronics with any combination of saxophone (alto, tenor or baritone), cello, or double bass. Submissions must include at least one of the prescribed instruments and either a 'tape' or live electronic part.

For festival details and submission guidelines, please see:

Live Algorithms for Music (LAM) Conference 2006
18th-19th December 2006 at Goldsmiths College, London, UK.

Live Algorithms are machine partners in real-time music performance. Autonomous, yet creative, these computer systems enhance human music making. LAM is an EPSRC sponsored research network - a statement of the LAM objectives can be found at

Plenary talk by Professor George Lewis, Columbia University

Contributions in the form of short papers and works for performance are invited.

Papers can address any aspect of the LAM agenda. Topics may include, but are not limited by, the following:

  • embodiment
  • human-computer interface
  • natural algorithms (evolutionary, neural, swarms, cellular automata..)
  • unconventional computation
  • brain/computer interface
  • AI and philosophical foundations of interaction
  • machine consciousness
  • codification of performance
  • computational creativity
  • real time music analysis and synthesis

Accepted works will be performed in a special concert featuring George Lewis and friends

Please submit 500 word abstracts and/or proposals for performance to Tim Blackwell and Michael Young by October 27, 2006.

Notification: November 10, 2020


Deadline for receipt December 20, 2020 (5 PM, EST)

Western art music has existed for a relatively short time in Japan and it is only since the 1950's, countering Japan's rush to adopt all that is Western, that some composers, led by Yuasa (b.1929), Mayuzumi (1929-97), Takemitsu (1930-96), and Ichiyanagi (b.1933), began to move away from stylistic modeling of nineteenth-century European forms and twentieth-century dodecaphony towards a more individualistic approach. Concerned with reflecting philosophical and musical elements from their own culture, they began to discover and develop their own music. The music of these artists reflects a new global confluence of multiple cultures - a powerful cross-fertilisation of aesthetics and musical characteristics from both East and West. The music is reflective of a variety of aspects of contemporary Japanese and Western societies, while at the same time deeply rooted in a traditional culture that has evolved over many years.

UMBC will host a three-day symposium of performances, lecture-recitals, panel discussions, and paper presentations on topics that concern Japanese music from the widest possible range of disciplines and expertise. A performance and roundtable is also being planned at the Freer Gallery (National Museum of Asian Art, Smithsonian Institute) in Washington, DC.

Three composers of international stature from Japan will participate in the symposium. They represent a generation born after 1960 - composers who were pupils of Yuasa, Miyoshi, Ikebe, Noda, and Kondo. Hiroyuki Itoh, a winner of international composition prizes in Europe and Japan (including the prestigious Akutagawa Award), has been commissioned and has had work performed by major ensembles including the New Japan Philharmonic, the Nieuw Ensemble, and the Arditti Quartet; Hiroyuki Yamamoto, whose works have been performed at Forum '91 (Montreal), Gaudeamus Music Week '94 (Holland), and ISCM World Music Days (2000 in Luxembourg and 2001 in Yokohama), has received prizes for his work, including the Japan Music Competition, Toru Takemitsu Composition Award, and Akutagawa Award; and Shirotomo Aizawa; the winner of an Ataka Prize and composition prize from the National Theater in Japan. He has studied composition in Tokyo, Berlin, and Vienna, and conducting with Seiji Ozawa, among others.

Performances during the symposium will include a broad range of works for different genres (solo instrument, chamber music, choral, traditional instruments) by a number of composers, including premieres of works by Itoh, Yamamoto, and Aizawa. The performers for these concerts will include faculty and students of the UMBC Department of Music, and guest musicians from the Baltimore/Washington DC area and other international new music centres.

This symposium is the sixth in a series of events since 1992 to address Japanese and other Asian music, organised by Tanosaki and Richards. Visit the websites of the other five to view programs, abstracts, papers, and lecture transcriptions Music of Japan Today 2003 (; Asian Music in America: A Confluence of Two Worlds (; and Music of Japan Today: Tradition and Innovation I (1992), II (1994), and III (1997) (


**Call for Paper proposals -

In addition to topics that address cross-fertilization of aesthetics and musical characteristics (Japan and other ), and the music and ideas of the featured composers, the Committee is especially interested in paper proposals that address the roles/functions of sound (music) in Japanese culture. See the Music of Japan 2007 website for further information.

**Call for Lecture/Recitals

30 minutes. CD of performance and short abstract (200 words).

**Call for Scores -

Composers of any nationality are invited to submit a score(s) for a performance at Music of Japan Today 2007. Submitted music should have some connection to the theme of the symposium (tradition and innovation in music of Japan): this connection could be the use of traditional Japanese music and/or aesthetic principles; or/and the nationality of the composer (Japanese,Japanese-American, etc.). Recordings are also welcomed as supplemental material, if available.

1) scores should be written for any combination of the following players:

flute/piccolo/alto flute/bass flute
clarinet/bass clarinet

2) scores must be accompanied by a one-paragraph description of how the music is connected to the theme of the symposium

3) all submitted scores will be retained in the Japanese music library in the UMBC Music Department

**Call for Computer/Tape music

For a concert of Japanese composers please submit recording, program notes, and short composer bio

**Competition for Performers-

The review committee welcomes a CD submission by performers for a performance of a work by a Japanese composer. See the Music of Japan 2007 website for further information. A list of works by the featured composers can be found at the websites below:

Hiroyuki Itoh -
Hiroyuki Yamamoto -
Shirotomo Aizawa (to be posted in late August on the Music of Japan 2007 website)

All submissions should be sent to the Directors:

Dr. Kazuko Tanosaki & Professor E. Michael Richards
Department of Music University of Maryland, Baltimore County
1000 Hilltop Circle
Baltimore, MD 21250

phone 410-455-3064
fax 410-455-1181



Yannis Kyriakides

Yannis Kyriakides founded and runs the Unsounds CD label, which specialises in ‘innovative electronic new music’ and on which this album is released. He focuses much of his work on combining traditional performance practices with digital media. Wordless is a suite of electronic sound portraits based on interview recordings from the BNA-BBOT archives in Brussels. Kyriakides currently lives and works in Amsterdam with his wife and son.

It was with a jaundiced eye that I read the press release for this album: “Words from the interviews are edited out to leave only the hesitations, breathing, emotional reactions and environmental sounds”. Not that it’s a bad idea or anything, but I’ve heard this before, and it usually sounds like lots of very slightly different colours of silence, strung together with a few coughs. So, I was pleasantly surprised when I heard this…

First off, this is a collection of very perceptive electronic soundscapes, interacting with ‘silences’, rather than the disparate collection of gaps and hesitations I had been expecting. The couching musical material is sharp and beautifully produced, bearing the hallmark of an experienced electroacoustic composer. Secondly, Kyriakides doesn’t simply string together silences; he captures the slips, laughs, coughs and general parapraxis of natural conversation, weaving them into a tapestry of finely rendered character snapshots.

The personality of each interviewee is reflected in the musical structures surrounding their silences. These are often abstract, but highly articulate and sympathetic, demonstrating a focus on the human element, as opposed to the electronic. Track five, Tea (the action centres on the interviewee slurping a cup of tea), is particularly nice, conveying whimsy and rather twee human foibles. Artist conveys fervour, excitement and productivity, with just a hint of naughtiness. Indeed, the overall effect is that of a happy album and of genuinely nice interviewees. There is a distinct sense of openness and honesty in the recordings, which is mirrored in the electronica.

The electronic element of this album is exquisite, dovetailing perfectly with the soulful and expressive archive recordings. Kyriakides manages to ‘read’ each interview such that the recordings and the electronics tell their own story, which corresponds with the interview material – detailed on the inlay. Aside from one shaky moment during track 11, where the audio manipulation seems a little overly apparent, every track carries with it a distinct feeling and a unique intensity, giving the impression that some very careful selection of material went into the making of this album.

We have here a ‘pauses’ album that actually does justice to the concept. This really is a fine piece of work that can be just as easily contemplated as it can be used as a piece of background art. Nice work, Yannis - I’d probably buy this.

Reviewed by Andrew Fletcher