image Simone Tarsitani
2016–11–21. Paper. Slowness now: a reflective critical approach to composing with hybrid music technologies. Part of SOUND WORK / Composition as Critical Technical Practice Orpheus Research Seminar 2016. 21–23 November 2016, Orpheus Insituut, Ghent, Belgium.
2016–05–28. Paper and demonstration, with Kevin Flanagan (saxophone). A Case Study in Live Notation for Interactive Music Performance. Part of TENOR2016 (Second International Conference on Technologies for Music Notation and Representation). Anglia Ruskin University, Cambridge.
2016–05–13. Digital Demonstration, with Drew Milne and Barry Byford. Lichen Beacons. Part of CoDE Conference 2016, Anglia Ruskin University, Cambridge.
2016–04–23. Performance. Wicken Panorama (2016), for improvising ensemble with mobile electronics. With Eddie Prévost, percussion, Cheryl Frances-Hoad, ’cello, William Crosby, guitar and Anglia Ruskin University Creative Music Technology students. Part of concert Hoadley, Hall & Brown featuring artist-in-residence Fredrik Olofsson. Music Recital Hall, Helmore Building, Anglia Ruskin University, East Road, Cambridge, CB1 1P, 19:30.
2016–04–16. Paper. A case study in electronic music collaboration: unpicking divisions of labour in the work of Peter Zinovieff with Harrison Birtwistle. Part of International conference Alternative Histories of Electronic Music. 14–16 April, Science Museum, London.
2016–03–05. Lichen Beacons: a sound art installation using Raspberry Pi and Bluetooth beacons Presentation on the Lichen Beacons project, with Drew Milne and Barry Byford. Part of the Raspberry Pi’s 4th Birthday Party celebrations. Computer Laboratory, University of Cambridge, 11am.
2015–07–18. Paper with Mark Colyvan. Musical and Mathematical Notations as Models. Part of the Royal Musical Association fifth annual Conference of the Music and Philosophy Study Group. 17–18th July, King’s College London.
2015–07–13. Workshop with Hester Reeve. Slow coding, slow doing, slow listening, slow performance workshop. Part of the first International Conference on Live Coding. 13–15th July 2015, University of Leeds.
2015–04–17. Performance. Untiled #1 (2015), for ’cello, electric guitar and electronics. Part of concert “Hoadley, Hall and Brown”, with Richard Hoadley and Nicholas Brown. Mumford Theatre, Cambridge, 1pm.
2014–09–04. Paper (Hall and Blackwell). Sharing digital performance notation with the audience. Proceedings of the 9th Conference on Interdisciplinary Musicology – CIM14 , Staatliches Institut für Musikforschung, Berlin, Germany. Conference paper and slides available on the writing page.
2014–10–24. Paper. Shared visions?: historical and present day challenges for composers working with technology. Part of the BIBAC 2014 conference, Faculty of Education, University of Cambridge.
2014–09–26. Paper. Live digital notations for collaborative music performance. Part of the Live Coding and Collaboration symposium, University of Birmingham. Symposium paper and slides available on the Writing page.
2014–04–04. Performance: All the Chords and Others (rev. 2014), version for computer electronics, controller, 3D visuals and instrument. With Kevin Flanagan, soprano saxophone. Part of the lunchtime concert series, Anglia Ruskin University. Mumford Theatre, 13:15, free entry.
2013–10–19. Paper. A Notational Tool for Sharing Electronic Music Performance. Part of Notation in Contemporary Music: Composition, Performance, Improvisation. October 18–20, Goldsmiths, University of London.
2013–05–11. Symposium. EMSAR: Electronic and Computer Music Symposium. Including Peter Zinovieff 80th birthday evening concert with ambisonic diffusion by Tom Hall. Anglia Ruskin University. EMSAR website