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: l.jones@londonmet.ac.uk; 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.
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 :
ELECTROACOUSTIC
MUSIC CONCERT with works by
Daniel Schachter (National University of Lanús,
Argentina) and
Javier A. Garavaglia (London Metropolitan University)
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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
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