London Metropolitan University


Music and Technology Research Seminar


Summer Term 2003-2004



Open to all staff, students and visitors - please bring these events to the attention of all who might be interested. Further information from Lewis Jones:; tel. 020 7320 1841.


Seminars are usually on Tuesdays, from 5.15 to 6.30, in the ILRC Seminar Room (approached via the second-floor Library entrance), London Metropolitan University, 41-71 Commercial Road, London E1 1LA. Each presentation usually lasts approximately one hour and is followed by questions and discussion.


18 May           Danuta Mirka

Playing with meter. Metric strategies in Haydn's and Mozart's string quartets


Chamber music of the late 18th century, represented by string quartets of Haydn and Mozart, engages its listener by manipulating his expectations. It can thus be thought of as a game played by the composers with their audiences by means of sophisticated compositional strategies (surprise, ambiguity, obscurity, reinterpretation). One aspect of this game is meter.  In order to analyze metric strategies of Haydn and Mozart, it is Necessary to reconstruct the "historical listener" of the 18th century. This can be done through a fusion of the historical music theory of the time with the contemporary listener-oriented cognitive approaches.


8 June             John Was and Aaron Watson (Monumental Research Organisation)

Instruments of ritual: Stone Age monuments and sound


Recent archaeological investigations recognise that Neolithic (4000-2000 BC) monumental structures like Stonehenge were not houses, fortifications or factories, but were probably settings for ritualistic events. Sound-making within them would have been integral to events that blurred the boundaries between the everyday and the supernatural. Given archaeological evidence indicating that Neolithic people were sensitive to their environment, it is unlikely that the marked acoustical properties of these structures would have gone unnoticed. Indeed, Neolithic monuments were effectively a new auditory technology, offering a range of acoustic effects not previously available. The talk focuses on the role of this technology in ritual musical accompaniment, examining how monuments would modify sounds through reflection, refraction, diffraction, interference and absorption and how these effects might have contributed to the musical experiences within. 


15 June           Daniel Schachter (National University of Lanus, Argentina)

"Sound-Image: New models for an interactive discourse in concert –

 The “Sonoimagenes” festivals"


Daniel Schachter, KEY NOTE guest at the Sound Arts Network conference 2004 held in Leicester (June10th -13th) will be talking about his own concepts about composition, interactive techniques and integration of the moving image in the work of art. All this also will be referred to his successful Festival “Sonoimagenes” held yearly in Argentina (Buenos Aires) since 2000.


21 June           7 p.m.  Room 100 :


Daniel  Schachter (National University of Lanús, Argentina) and

Javier A. Garavaglia (London Metropolitan University)



Daniel  Schachter

·         “…la distancia…” Nº 3 of  Espejos Virtuales” (1994)  (Commande INA.GRM)  - acousmatic

·         "Tiempo Quebrado"  (Sin Tiempo I)    (1993)    - acousmatic


Javier A. Garavaglia

·       Ableitungen des Konzepts der Wiederholung (2003/04)

                 for viola and Max/MSP  (Javier A. Garavaglia, viola)


Daniel  Schachter

·       LuzazuL     (1998/1999)    - acousmatic

·       Efecto Tango  (2001-2003)   - acousmatic