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Embodiment
Experiment
A two-day seminar: 10th - 11th May
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The Department of Music at the University of York has a long-standing interest in practicebased research, whether in social contexts as with its MA degree in Community Music, in the extensive research undertaken by PhD composers, or its new PhD in performance by portfolio, established three years ago and recently graduating its first PhD.
The present two-day seminar, "Embodiment íÊ Experiment", brings together expertise from both institutions. We are also delighted to welcome our distinguished keynote speaker, Professor Rolf lnge God4v, and an additional researcher, Jan Schacher, from another of the Orpheus lnstitute's partner institutions, Kunst Universitát Graz. This is the second York-ORCiM seminar - the first took place a year ago - and forms part of the ongoing collaboration between the institutions.
The seminar aims to explore the relationship between two observations: firstly, that experimentation is inherent to artistic practice and to the processes of music making; secondly, that composition, improvisation, performance and listening are all embodied practices. We wish to examine the ways in which experimental approaches to music making can reveal the embodied character of musical exchange and perception, articulating significant aspects of tacit knowledge.
Wílliam Brooks & Catheríne Laws (co-conveners)
Mdtthew Lawson
(ad ministrator)
Tuesday l0th May Events are in the Rymer Auditorium unless otherwise stated. 1330
- Coffee and Welcome
1400
-
r
Three Presentatio ns. Choir: Kathleen Coessens KVSwalk_SOLO (Juan Parra)
to research the possibilities and limitations of physicality and embodied musicality in computer music performance. The musical structure is centered around the KVSwalk-SOLO aíms
metaphoric imaginary, as well as sonic derivatives of the Karman Vortex Street phenomena. For its ensemble version, a set of 'high-order parameters' were defined for each performer,
favouring timbre variation and texture density control over pitch and articulation variety. KVSwalk-SOIO is a solo computer version of a piece commissioned by the Orpheus lnstitute in Gent and the lnternational Music Council premiered by the ORciM ensemble and Chris Chafe (CCRMA) the Orpheus Research Centre in Music Festival on September 16, 20j.0. The Solo version features a mixed setup consisting of an analog/digital sound-generation engine and a custom controller that demands from its performer to use physical gestures derived from a variety of 'traditional' musical instruments.
Juan Parra Cancino (b. Chile, 1979)
Studied Composition in the Catholic University of Chile and Sonology at The Royal Conservatory of The Hague (NL). As a guitarist he was part of several ensembles related to Guitar Craft, a school founded by Robert Fripp. He collaborates regularly with artists like Frances Marie Uitti, Richard Craig, KLANG and lnsomnio Ensembles. parra is founder and active member of The Electronic Hammer, a Computer and percussion Music Ensemble devoted to the creation and promotion of new music and Wiregriot, a voice and electronics duo that seeks to reconstruct the repertoíre for thís format. He is currently a phD candidate of the Leiden University(NL) and the Orpheus lnstitute (BE) focused on performance practice in Computer Music, supported by the Prins Bernhard Cultuur Fonds, and the lnstitute of Sonology (NL). Since October 2008, he has been appointed as associate researcher for the orpheus lnstitute Research center in Music (oRciM).
One Step Beyond: Fínding Theatre in Music; how pieces suggest their theatricsl content vio means of theír performonce (Morag Galloway)
lwill be discussing a work in progress, lnvisibte Hand.fhis piece is for string quartet and dancer, and the composition process has been placed on hold whilst the dancer engages with the idea behind the piece to generate appropriate material and vocabulary. Ïhis compositional hiatus will enable workshop time to experiment and explore ways in which the dancer and the movements embodied in the string players performances will interact with one another. This interaction will then be used to shape and re-involve the ínitial musical material. ln this session
Morag Galloway Morag Galloway is a part-time PhD student studying composition at the University of York with Roger Marsh. Her area of interest focuses on the 'space' between music and theatre,
and her pieces explore collaboration and multi-media approaches as well. Morag is a parttime Lecturer in Composition at Leeds College of Music, as well as a professional director and photographer. For more information see moraggalloway.com. Sounded Gestures ond Enocted Sounds
(Catherine Laws/Bill Brooks/Damien Harron) Musicians make physical gestures in playing their instruments; so much is obvious. Some gestures are practical, resulting in sounds: a hand depressing a key, a beater striking a gong. Others are communicative (a cue given to colleagues); some are theatrical (the head thrown
back in excitement). The study of these behaviours is of much interest to researchers interested in the embodiment of musicianship, in practice-based and practice-enhancing research. Taxonomies of gesture are being developed and applied; particularly useful is the preliminary work done by GodOy and Leman in Musical Gestures: Sound, Movement and Meaning (Routledge 2009). 'sounded gestures and enacted sounds' will apply and extend
their work, investigating the relationships between physical and sonic gesture in the music of a piano-percussion duo and applying the results in performative and compositional contexts. ln particular, the research will be informed by a series of composed etudes which take physical (rather than sonic) gesture as the starting point, but with an understanding of the specific correlations and divergences between gestural and sound content. The intent is to examine composition as choreography, but a choreography in which the intimate relation between the physical and the sonic is embedded. Today's presentation is very much a preliminary report on the research project described above. The first three phases of work have entailed: (1) preliminary readings into and conversations about the conceptual framework; (2) two days of intensive work at the
lnstitute of Electronic Music and Acoustic (lEM) at the University of Graz, Austria; (3) the creation of the first of a projected series of etudes, which receives its first performance tonight. The conceptual basis for the work will be addressed in short presentations by Catherine Laws and William Brooks; Catherine and Damien Harron will then summarize the work conducted at lËM; and finally all three presenters will discuss the first etude from the perspectives of composer and performer.
Catherine Laws is a musicologist and a pianist specialising Ăn contemporary music. She is a lecturer in Music at the University of York, and a SenĂor Research Fellow at the Orpheus Research Centre in Music, Ghent. For ORCiM, she is currently working on practice-based research projects on the performance of Morton Feldman's late piano music, processes of composer-performer collaboration, and the relationship between physical and sonic gesture. Her other primary research focuses on the relationship between music and language,
particularly the musicality of the work of Samuel Beckett and composers' responses to his texts.
William Brooks is Professor at the University of York and also Emeritus Associate Professor at the University of lllinois. He has been a Senior Research Fellow at ORCiM since 2009 and is also head of the Editorial Board for ORC|M publications. ln addition to the present work on gesture, his recent contributions to discourse at Orpheus and York have included a paper on the essential characteristics of experiment in music; several papers, presentations, and performances of or relating to work by John Cage; and an recent and ongoing project in collaboration with Stefan Óstersjó and the digital ensemble Trembling Aeroplanes.
1545
- Coffee
L615
-
o
Break
Keynote Presentation
lmages of sound, postures ond trajectories ín music (Rolf lnge eodoy) Chqir: Cotherine Laws One intriguing issue in musical composition, improvisation and performance is how images
of musical sound are generated and/or recalled in our minds. We have seen various works in the field of musical imagery that try to address this question, and recently it has become clear that musical imagery in many cases is closely linked with imagery for music-related actions. This suggests that it could be a good idea to try to explore the nature and use of motor imagery in musical contexts, and in our current research we try to do so by a more systematic study of postures and movement trajectories in music-related actions, i.e. in both sound-producing actions and sound-accompanying actions such as in dance or various kinds of spontaneous movements to music. We try to look at how what we call key-postures in music-related actions, meaning the shape and positíon of the sound-producing or sound-accompanying effectors (fingers, hands, arms, torso, other body parts) at certain salient moments in time such as at various accents or other peaks, can serve as orientation points as well as triggers for images of musical sound and music-related actions. Between such key-postures, there are continuous
movement and sound trajectories that encompass many prominent musical features. With this model we believe we can combine the continuous nature of sound and motion with discontinuous, chunked, or 'snapshot' type images of sound and motion, inspired by Pierre Schaeffer's ideas on the sonic object. ln my talk, I will present background material for this model of musical imagery by key-postures and trajectories,
as
well as some of our current
work in this area. Rolf lnge Goddy is Professor at the Department of Musicology, University of Oslo. His main area of research is phenomenological and cognitive approaches to music theory, presently
with a focus
on
the links between images of human movement and the experience of
musicalsound.
1745
-
Leisure time and wine
1830
-
Buffet dinner
2000
-
Evening Concert by york students)
a
Threeway (Hans Roels
a
KVSwa I k_SO LO (Juan Pa rra)
a
Troces (Jan Schacher)
a
Ash Dome (Jon Hughes)
a
lnterval and transfer to Sir jack Lyons Concert Hall (tbc) Le corps à corps (Georges Aperghis / performed by Damien Harron) Prelude (Bill Brooks / performed by catherine Laws and Damien Harron)
a
a
/ performed
Wednesday l1th May
0930
-
Two Presentations. Chair: WÍtliom Brooks The performance of hyperpolyphonic music - a conflíct zone
sound (Hans Roels)
between gesture and
ln my research as a composer and performer I develop a performance practice in which players focus mainly on their own actions and sounds while perceiving actions and sounds from other performers on a lower consciousness level as if they were further away. Active interaction with other performers happens only sporadically in this kind of performance practice. The music that is composed in this research consequently allows a lot of temporal and stylistic freedom to the voices or layers. This results in what I have labelled 'hyperpolyphonic' music.
ln this presentation I claim that gestures and movements in hyperpolyphonic music are a source of confusion that sígnificantly hinders the synchronization of the different parts that are being played simultaneously. This claim is based on artistic and systematic experiments that were performed by the author with groups of 3 or 4 musicians. The artistic experiments consist of two compositions; the first one uses visual gestures and the second one auditory earmarks to synchronize the four players. The reactions from the
performers and the amount of rehearsal time spent on synchronization indicate that the performance comfort is higher if the interaction between the players is based on auditory information. ln the composition where the synchronization was realized by visual cues the body movements carried contradictory tempo information and a lot of rehearsal time was necessarily spent on the synchronization of the different parts.
ln the systematic experiments a trio played works with predefined constraints (on rhythm, tempo and pitch). ln one part of the experiment the performers were visible for each other, in another part they were invisible. The data from these experiments were obtained by audio and video recordings together with an Optitrack motion capturing device. The data were analysed using Music lnformation Retrieval methods and statistics in order to detect tempo instability, rhythmic irregularity and the amount of entrainment between the players. The results clearly indicate that the tempo instability and rhythmic irregularity are higher in the sessions where the performers are visible to each other' Hans Roels studied piano and composition and during the 15 years that he was active as a professional composer his works were played in several European countries. Between 2001and 2008 he was responsible for the concert programming in the Logos Foundation, a centre for experimental audio arts. Since October 2008 he is working on a Ph.D. in the University College Ghent (Belgium). Since 201-0 he also works as a researcher in the Orpheus Research Centre in Music (ORC|M) in Ghent' More info:www.hansroels.be
e
'Traces' (Jan Schacher)
a piece for wearable sensors and electronic sounds. The sounds are captured, shaped, displaced and transformed by the interpretation of traces of movements and gestures in a bodycentric space. ĂŻhe performer navigates a mental space where the Traces is
instrument, with its sounds and transformation processes is layed out. One of the goals of the piece is
to explore embodied interaction with an abstract musical
instrument through empty-handed and open-air hand and arm movements. By deliberately stepping away from traditional ways of playing electronic music instruments through mixing desks, keyboards or mice the affordances of abstract movements for musical performance become apparent. The combination of visible actions and gestures with directly or abstractly linked sounds creates mental images both in the performer and the audience. Movements,
actions and gestures are perceived as something akin to a sign language. The signs and gestures evoke dance, music conducting or even martial arts, yet exist in a domain of their own. The sounds range from directly captured breathing and vocal sounds to instrumental raw materials transformed and rendered abstract through a variety of processes related to movements and gestures. On stage the physical presence of the performer presents the only point of focus. No other elements are visible, thus emphasising the invisible nature of the electronic instruments and opening the perceptual space for body expression' Jan Schacher - The Swiss double bass player, composer and digital artist ian Schacher has been active in electronic and exploratory music, in jazz, contemporary music, performance
and installation art as well as writing music for chamber-ensembles, theatre and film. His main focus is on works combining digital sound and images, abstract graphics and gestural performance in the field of electronic music and in mixed-media projects for the stage and in installations. Jan Schacher has been invited as artist and lecturer to numerous cultural and academĂc institutions and has presented installations in galleries and performances in clubs and at festivals such as the RĂŠsonance Festival in Paris, the Sonar Festival in Barcelona, the Transmediale Festival in Berlin, the Holland Festival in Amsterdam, the Edinburgh Festival, the Singapore Arts Festival and many other venues throughout Europe, North America,
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Australia and Asia. ln addition to his artĂstic work, Jan Schacher is also an Associate Researcher at the lnstitute for Computer Music and Sound Technology of the Zurich University of the Arts. He holds a Masters in DigitalArts from the Pompeu Fabra Universitat.
1030
-
Discussion
L100
-
Coffee Break
1130
-Three Presentations.
e
Chair: Aine Sheil
There is olways more than meets the ear
-
embodied negotiation and association
in performonce (Kathleen Coessens) "There is always more than meets the eye, and perception can never outrun itself or exhaust thepossibilities of what it perceives..." (Merleau-Ponty) .
"Music only has meaning when it points beyond its own structure to other structures and relationships that is, to realities and possibilities around us and within us." (Lachenmann
Iee4)
-
This lecture will explore the conflation of music, culture and subjectivity at the level of the musician's - corporeal/embodied - acts and expressions. We will consider both a semiotic perspective which takes into account the position of the performer beyond the score and a phenomenologically informed, experience related account. Music of the late 20th century
questioned in the first place the traditional intra-musical aspects concerning composition and analysis. At the same time, timid approaches challenged also the traditional artistic habitus and the traditional instrumental techniques. While discourse about cultural position and reaction are embedded in historical and musical analysis discourses, the scores interfere profoundly with the performer's embodiment, her/his artistic habitus and her/his personal experiential corporeality. I will focus on the fracture between socially acquired artistic habitus (Bourdieu, Mauss, Foucault) and extra-traditionally elements related to performance present in the scores of different contemporary composers - Gyorgy Kurtag and Helmut Lachenman and how this fracture urges for an experimental approach by the performer. By considering examples in the writings and compositions of these musicians, I want to explore from the point of view of the performer how contradictions and - explicit as well as implicit - body-related indications question culturally acquired schemata and subjective embodiment - both the own physical (artistic) corporeality and the personal embodied sedimentation and memory. This performer's point of view will involve a consideration of both the societal and the individual, the objective and the subjective, the semiotic and the phenomenological, theory and practice. The body as a natural system of symbolizing will
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to cope with cultural instructions and influences. The performer needs to negotiate between these elements. The examples drawn from practice will question the body in have
performa nce from d ifferent perspectives:
1. the body as a díscourse or text (the inscription by culture and education, the aesthetic disposítíon, the cultural norms and the academic/artistic discipline)
2. the body as expression and meaning (the communication of emotion, imagination; the relation between synaesthetic and kinaesthetic means of expression) 3. the body as object or system (the mechanism of the body, the nature and location of human agency; movement and the corporeal space)
Kathleen Coessens' research is situated at the crossings of science and art, human creativity and cultural representations, looked at from an embodied, epistemological and philosophical point of view. She graduated in piano and chamber music at the Conservatory of Brussels and the Ecole Cortot at París; at the Vrije Universiteit Brussels, she studied philosophy, sociology and psychology. with her thesis, The human being os o cartogropher - coping with the olreody epistemized world. A reworked publication will follow in 2010 as The Human Being
She was awarded her doctorate in 2003
as o Cortogropher. She is professor and post-doctoral researcher at the Vrije Universiteit Brussel (VUB, Centre for Logic and Philosophy of Science), senior researcher at the orpheus Research Centre in Music, Ghent, and guest-professor at the Conservatory (Artesis Hogeschool), Antwerpen. She teaches 'semiotics', 'sociology of artistic practice' and 'arts and performance culture'. She recently published The Artistic Turn - q Monifesto (2009, Leuven University Press) with Darla Crispin and Anne Douglas.
t
'Jdzz is where you
Íind it': embodying jozz on
BBC
terevísion, 1946-66
(Jenny Doctor!
Between the late 1940s and the mid-1960s, a number of jazz series were specifically choreographed for BBC television. Programmes such as Jazz is Where you Find lt, Jazz Session and Jozz 625 were created in terms of a particular jazz culture that represented British interests and audiences of the day. How did the creators organize and plan their filming of these televisual programmes in order to frame and embody improvisatory practices in music as encountered in iazz? Filming improvisation then was almost oxymoronic, given the encumbrance of cameras and other equipment, the restricted shot possibilities and the limitations of live transmissions. Looking at stage plans, camera scripts and other papers that survive at the BBC written archives in conjunction with extant audio-visual recordings, I will explore the stated stylistic aims of the producers in terms of filmic possibilities of the time. Several significant questions materialize from this process, which I approach answering using the lens of philip
Auslander's concepts
of
mediatized liveness. Just what did the BBC accomplish through audiovisual transmissions of live iazz in performance? How did the BBC go about embodying jazz performance, from both the point of view of the studio audience and the audience beyond the eye of the camera?
8
t
Mobility os an enabling condition of artistic experímentatíon (Anne Douglas)
An earlier paper on interval (Douglas 20L0) focused on the paradox of movement, such as walking that is simultaneously continuous and discrete. The breaks and pauses in continuity provide opportunities for creativity to intervene and change direction, to vary patterns. By utilising artistíc languages of sign and symbol, such as notation, we understand the body's movements while it is moving. This related paper will focus on another aspect of movement i.e. mobility between our inner and outer selves. This mobility, I argue, can be viewed as an enabling condition in the construction of
a certain kind of knowledge in relation to art. - knowledge with rather ïhan knowledge obout (Shotter 2005). Knowledge with is achieved through experimentation with the body working in
the world. Knowledge obout poses conflicted experience as a problem to be solved
and
explained by finding an agency that is responsible.
"Both in the case of perception and in that of buililing a skill, a person must actively meet his environment in such a way that he co-ordinates his outgoing nervous impulses with those that are coming in. As a result the structure of his environment is, as it were, gradually incorporated into his outgoing impulses so that he learns how to meet his environment with the right kind of response" (Bohm in Shotter 2005). ln art, managing our inner and outer selves in ways that produce the 'right kind of response' is a recognised skill. ln making art and in artistic research, we seek to grasp through experimentation
what is real in life by looking, observing, reflecting and associating. Our inner predisposition to move and be moved mentally and emotionally, to be active and to participate, arguably produces the conditions for change and transformation. Klee articulated mobility in its simplest, most essential forms by experimenting
with line. Goethe located the individual in the world as 'the most sensitive research instrument', arguing that 'every object, well perceived, opens up a new organ of perception within us'. Working with the knowledge of their processes of experimentation, I reflect on a visual example: a body of drawing within the project Calendor Voriations (2010-11). I explore the emergence of new work through simple processes of making marks as the most direct expression of my body's gestures and variability. Challenging habituated modes of drawing, I trace development, working with Kaprow's 1971. Calendor 'score as poem'. The score acts as a means of entering into the aesthetic imagination of another artist, much as a performing musician might engage with a musical score. lt also articulates a process of mobilising my own inner resources in an intense experience of the physical and social world in which I happen to find myself. The traces that are left are not concerned with knowing about i.e. re-presenting Kaprow's world in California as art historian turned radical experimental artist, although these facts inform my understanding. lnstead the score catalyses a focus and set of actions in which my inner and outer worlds come together intensely and experimentally for a period of time within a method which informs a different understanding, one closer to Shotter's articulation as a knowing with. The paper
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concludes
that what is created in the process is 'infected', 'shaped' by others, transitory,
developmental while also part of a continuity.
Prof Anne Douglas is a visual artist and director of the On the Edge research programme at Grays School of Art, Robert Gordon University, Aberdeen. She ís also a Senior Fellow at the Orpheus Centre of Research in Music (2007-11l'. Her research focuses on the dynamic role of the artist in the public sphere through a range of issues including artistic leadership; contemporary art and remote and rural cultures; the aesthetics and ethics of working in public. She coauthored 'The Artistic Turn - A Monifesto', Leuven UP 2009 with Kathleen Coessens and Darla Crispin.
L300
-
Lunch
1400
-
Two Presentations. Chair: Jenny Doctor
t
From Globokar's Toucher to the eye-tracking cutting edge devices, o survey of the evolution of body percussion within the Western culture (Enrico Bertelli)
This particular genre has settled in a unique space within the Western Classical Contemporary repertoire, a crossbreed between the folk based body percussion culture and composed pieces for music theatre. Since the early Seventies, composers have seen the percussionist as the most versatile among performers, always ready to reconsider his "job description" and very accommodating towards the weirdest requests. Percussion scores started showing primitive choreology, Sprechstimme and a growing interest in the human body as a primary source for sound.
lf the MlDl revolution províded us with electronic drum kits and tuned percussions - let's not forget Kraftwerk's earlier experiments * it also generated the drum suits. Exceptionally popular both in Experimental and Pop music, Anderson's (1986) Fleetwood's (1987) prototypes are the forefathers of hi-tech machinery that extended, to infinite, the body percussion capabilities. Enrico Bertelli: Deeply interested in Contemporary Music, with a special emphasis on the Percussion music repertory. A rich background mixes the theoretical preparation achieved through university, with the instrumental skills gained through intense studies at the Conservatoire and at the various master classes. Works closely with composers, investigating the possibilities of percussion instruments and trying to push the conventional boundaries as in the UUCMS project for percussion and live electronics. Firmly convinced of the importance of an informed performance, constantly approaches every piece both as a performer and as a musicologist. This duality helps achieve a better understanding of the music and enables communicating with the audience with sounds and words. Studied in Venice (BA), Verona (Perc. Diploma), Cardiff (Erasmus & MA), York (PhD candidate). Follows master classes with Ensemble Recherche and Modern and all the Percussive Arts Society ltaly meetings. Recent performances include: residency at L'Arsenale Atelier 2010 (Trevíso - ltaly), New Music New Media in
sb
-.-
-
.---ËAE 10 Ë--4&
Aldeburgh and at Kings Place - London, X-Musíc (venice), sensorium Festival (Dublin, york), Darmstadt lnternational Musíc School, Universities of York, Huddersfield, Leeds, Hertfordshire, Padova (ltaly), Late Music Festival (York), Festival omaggio a (Acqui Terme - ttaly), Luigi Nono Festival (Trieste, ltaly), computer Art Festival 2009 (Padova, ttaly), Transart resiival (Bozen Italy), Klangspuren Festival (Schwaz, Austria), lnternational Ensemble Modern Akademie lEMA09 (lnnsbruck, Austria), Leeds Metropolitan University, Napier's University (Edinburgh) Collaboration with composers Martin Matalon (lRCAM), Johannes Maria Staud (Austria), Stephen Davismoon (England), Dinu Ghezzo (NYU), Northern school of contemporary Dance (NScD - Leeds), AIAF - Asolo lnternational Art-Film Festival (Asolo ITA), Libera Uníversidad de Madrid (SPA), Sonic Fusion Festival (Edínburgh - Sco), Cardiff Collective New Music Ensemble, second Prize concorso del Teatro Filarmonico di Verona (rrALy).
r
Ash Dome
-
composítion ss qn embodied process (Jon Hughes)
Communication through donce can be both artistic ond personally tronsformotive. I interpret embodied memories into donce: the weight of my heort when a friend moves awoy; or the lightness and warmth of my husbond' s breath on my cheek as he sleeps; my mother, s honds grocefully attending to me. I creote the donce by identifying the inner impulses and motching oppropriote efforts ond movement quolities with them. The embodiment through movement
of something personally
tragic can be transformed into o contracting torso, spirating downword movements, ond heoviness. Conversely, meaningful donce con olso come about if I arbitrorily move using different weight, shope, time, qnd spoce quolities. t equate this improvisotional form of dance to verbol brainstorming, where verbal ossociations eticit ideas. Movement of this type owokens my body os knower and enables me to transform the movement into ddnce through elicited images, sensotions, and thoughts. ! This paper will be a follow up to a video showing of Ash Dome (7:30pm, Tuesday 10th May,
Rymer Auditorium), a new dance piece created in collaboration with simon Birch (movement artist and head of performance studies at NSCD) and commissioned by the Northern school of contemporary Dance in March 2011. Ash Dome was created in response to the work of the British Sculpture David Nash. one of Nash's'growing pieces,, Ash Dome is a ring of ash trees plantedin 1977 by Nash in Welsh woodland, carefully manipulated for over 30 years to grow into a dome. This work creates both a resonant sculptural form and a meditative physical space. I see here a connectíon with the dance performance and rehearsal space, a focal point in both tíme and space where the body is allowed freedom of expression, and where the full dynamic range of movement and physical expression is permitted. Working ín this place has been a valuable source of inspiration for me as a composer, and I will be attempting to communicate why by exploring relationships between my compositional process and dance, and by looking at composition as an embodied process.
Ion
Hughes is a composer based in york. He is currently in his first year of a phD in composition at the University of york with professor william Brooks, supported by the Sir Jack Lyons Research Scholarship. Recent work includes Ash Dome (2011) and Timeliners (20711 with movement artist Simon Birch, The Women of Trachis, a dance drama for
1
Betty Block and Judith Lee Kissell. The Dance: Essence of Embodimenf. Journal of Theoretical Medicine and Bioethics, V ol 22.
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Javanese Gamelan and electronics performed
in York 2010, and Kumo No Uta for solo shakuhachi and electronics (2009). At present he is working on Arts Council supported project with Simon Birch, Terrarium, and an installation for two dancers to be performed at various locations in the not too distant future. ln May 201L he is developing a new piece with the dancer Anthony Middleton (Ballet Boyz) as part of a weeklong residency at Yorkshire Dance in Leeds.
1500
-
Final Discussion and Conclusion
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12