Event / Conference – Activating Inclusive Sound Spaces

Huddersfield July 8th – 9th 2017

A significant amount of data (on festivals, labels and clubs, union membership, academic conference attendance, and course application) concretely demonstrates that our music and sound industries are predominantly male and ethnically homogeneous (white). Research has shown how assumptions are made about who is associated with digital music and sound production practices, raising fundamental questions about how our environments and communities influence and shape them and our industries.

This weekend invites critical discourse on the activation of sound spaces in relation to gender, race, culture and identity. We seek to listen carefully to voices other than our own; to understand other experiences, activate safer spaces, create inclusive environments and collaborate on informed action. In particular we need to amplify the voices of people creating and producing independently without institutional support, to understand their perspectives and their views about how circumstance shapes practice.

This event is hosting performances, sound installations, short position papers and critical scholarly works that explore how industrial, non-industrial and individual music/sonic practices appropriate and shapes sound and technology.

 

Visit the post for more.

Source: Activating Inclusive Sound Spaces

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Event News -CALL FOR PAPERS & WORKS – SOUND AND MUSIC IN DOCUMENTARY FILMS — DESARTSONNANTS – SONOS//FAIRE

International Symposium Sound and Music in Documentary Film 23-24 February 2017 The University of Huddersfield, Queensgate, Huddersfield, UK Early film was dominated by ‘actualities’, short silent films that delighted viewers with their simple representation of everyday things and events. They are the first examples of what was to become the documentary. As the medium evolved, […]

via CALL FOR PAPERS & WORKS – SOUND AND MUSIC IN DOCUMENTARY FILMS — DESARTSONNANTS – SONOS//FAIRE

NEWS – Éliane Radigue International Conference, CFP

laura zattra

I am pleased to share with you this Call for Papers I just received from Marc Battier, professor at IReMus / Université Paris-Sorbonne.

COLLOQUE INTERNATIONAL ÉLIANE RADIGUE
 
Le colloque international Éliane Radigue a l’ambition de réaliser un panorama de l’œuvre de la pionnière de la musique électroacoustique française Éliane Radigue et d’inciter à la recherche sur les femmes compositrices du XXe et XXIe siècle. Le colloque est organisé par le CReIM (Cercle de recherche interdisciplinaire sur les musiciennes), le GEMM (Genre, Musique et Musiciennes) qui cherche à encourager les recherches sur les femmes dans le rôle de musiciennes, compositrices ou musicologues, l’IEC (Institut Emilie du Châtelet), ainsi que par l’IReMus (Institut de recherche en musicologie) et l’École doctorale Concepts et langages (ED V).
eliane-radigue
L’intérêt particulier pour la musique d’Eliane Radigue est dû au fait qu’elle est l’unique compositrice française de sa génération qui puisse être considérée comme une des pionnières majeures de…

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EVENT NEWS – Introducing our new commissioned artists for DD Day 2016

Electronic Music in Britain in the 1950s and 60s: James Mooney and Monty Adkins in Conversation

So, I began with thoughts of focussing on Experimental Electronic Music and like most went down the route of the standard history that everyone charts.
As some of you by now will realise, although I do post a lot about the well known electronic artists, genres and histories, I also try to give those well under the radar a space to get their music heard or the genre a wider audience. This includes trying to bring to attention the scene in the rest of the world.
I had heard about Hugh Davies and his catalogue of ‘alternative electronic history’ but until today had not had a chance to explore further. So glad I did !
As I knew in my heart, there was and still is an alternative electronic music scene and one where many artists are quietly creating music unknown or ignored.
This is why I am reblogging this article as part of the Experimental Season, as many of the themes are still so relevant today and why Hugh Davies’ work is still vital as a challenge to the traditional historical theory.
Listening to the Soundcloud discussion is recommended as it gives an insight into roles of Daphne Oram ad Delia Derbyshire in the development of British electronic music and technology. Some interesting questions and answers.

Here is the original overview of the concert and presentation on Daphne Oram and Delia Derbyshire –

https://hughdaviesproject.wordpress.com/2015/02/19/daphne-oram-and-delia-derbyshire-electric-spring-festival-18-feb-2015/

Hugh Davies Project

In February 2015, a concert of tape music works by Delia Derbyshire and Daphne Oram was staged as part of the Electric Spring Festival at University of Huddersfield. The concert was preceded by a public conversation between the curator of the concert, Dr James Mooney, and one of the festival’s artistic directors, Prof Monty Adkins. A complete recording of this pre-concert discussion is now available via SoundCloud: click here.

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The conversation addressed the context of electronic music in Britain in the 1950s and 60s and included discussion of Hugh Davies, his self-built instruments and – in particular – his International Electronic Music Catalog. The tools and techniques of electronic music production in the 50s and 60s were discussed, as was the institutional context of the BBC Radiophonic Workshop, where both Derbyshire and Oram worked.

While simultaneously extolling the challenges and contingencies of archival research, Mooney and Adkins discussed the work of some of the key figures in British electronic…

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