At 13:00 we host a symposium on the topic of
“Technology’s Disruption of Music Composition”
Time: 12:30 – 18:00
Place. Room 002 (Oude Boteringestraat 34, Faculty of Arts)
Free of admission!
Registration via: email@example.com
“From the piano to the digital audio workstation, the latest technology has always had an influence on the artistic development and creative direction of composers and musicians. Leaps forward in technology have the potential to fundamentally alter the compositional process; to change the very way in which composers think about the music they are creating.
Similarly, changes in technology have shaped the development of the music industry from its inception. The arrival of new formats – sheet music, vinyl, CDs, MP3s, streaming – can lead to the creation of new power structures, as well as variously entrenching or destroying those that pre-existed.
Over a half-day program of events, the symposium will explore the ways in which recent technological advancements have disrupted both contemporary compositional processes, and the wider music industry. These ideas will be explored through a series of talks, panels and practical demonstrations.”
Yonatan Collier (Leeds Beckett University: FMPA)
Andre Arends (RuG: Faculty of Arts, Media and Culture)
“Today’s digital music is the result of a two-way relationship between hardware/software and the producer (mis)using it; at least this is the rhetoric of countless digital sound artists.[…] The stutter of malfunction has become part of an established musical language.” (Janne van Hanen)
“The Digital Revolution is over”, argued Nicholas Negroponte in 1998. A bold statement, as the real tsunami of electronic dance music was yet to come. The latest technology has always had an influence on the artistic development and creative direction of composers and musicians; the piano forte, the organ, the valve trumpet and horn, electric amplified instruments, synthesizers, and more recently invented musical interfaces like MIDI controllers and Gloves.
Is the digital revolution over? If so, what are the implications for creativity and artistry in the digital realm? And what directions will music and sound design take in the post-digital age?
12.30 Registration [OBS Room 002]
13.00 Keynote Speaker – Justin Morey (Leeds Beckett University) [OBS Room 002]
Justin Morey: “‘Glitch’ Boundaries Between EDM and EA Music: The Studio as a Creative Tool””
13.45 Changes Within the Music Industries – Discussion with Rob Schouw [OBS Room 002]
Discussion with Rob Schouw, former Managing Director of Sony Music; moderated by Dr. Kristin McGee (University of Groningen).
How has technology disrupted the music industry from both the artistic and industrial perspective? Rob Schouw will provide insight into the organization and business of Spotify such as how metadata are involved in playlists, rankings of artists, and the number of downloads and streams by users.
14.15 Coffee Break
14.30 Workshop I and II
Workshop I: Introductions by Yonatan Collier (interactive soundwalk)
Wokrshop II: Andre Arends (voice sampling and Ableton Live) [OBS 112]
15.30 Discussion with Maurits Boegman of Ableton Live
What are some of its advantages and disadvantages?
16.15 – 17.00 Panel Discussion on Technologies Disruption of the Music Industry
Moderated by Justin Morey (Ableton, Leeds)
17.30 Drinks and music
WORKSHOP I – Soundwalk
Workshop by Yonatan Collier PhD candidate School of Film, Music and Performance Leeds Beckett University. At the symposium Yonatan will be premiering one of his immersive musical pieces in a participatory workshop. Symposium attendees will have the opportunity to explore a composition that has been mapped over the streets of Groningen. Yonatan will introduce his research project, before inviting participants to experience the piece. To take part, please bring a Smartphone and headphones.
WORKSHOP II – The Deconstructed Voice
André Arends examines voice sampling and the deconstruction of speech. He reveals the interplay between the semantic and sonic meaning of speech.
Ableton Benelux provides laptops and PUSH’s with which participants can try out the software during this workshop.
Justin Morey (Leeds Beckett University, UK)
Justin has more than ten years’ experience as an independent studio owner, engineer and producer. His research interests include digital sampling, copyright, and creative practice in music production.
Justin set up and ran a recording studio in Shoreditch, East London from 1995 until 2003 when he relocated the studio to Sheffield. He worked as an engineer, programmer and producer for clients including Kathy Brown, Daisy Chainsaw, EMI Music Publishing, Flextech Television, Simon Napier-Bell, New Horizons, Pay As You Go, Pepe Deluxe, Sonic Boom, VNV Nation, Wiley and ZTT, as well as being a signed artist himself.
Since 2001 he has taught courses on music production and music technology at Community Music, London, Confetti Studios, Nottingham, Red Tape Studios, Sheffield and Leeds College of Music. Since 2004, he has held the position of Senior Lecturer at Leeds Beckett University, where his expertise lies in the music business, studio-based recording and production, and production analysis.
Maurits Boegman (Ableton, Berlin)
Rob Schouw (Sony Music, Knight Vision Records)
Andre Arends (University of Groningen)
André Arends is a professionally trained musician, saxophone player and composer of contemporary (classical) music and electronic music including electronic dance music. He works with Ableton’s Live 10 software. In 2012, he finished his Master’s in Theatre Studies at the University of Amsterdam. He studied the use of pre-recorded voices in Glenn Gould’s radio work The Idea of North. The impact of listening to a disembodied voice in different media has been his main interest.
Since September 2015, he is working on his PhD dissertation at the University of Groningen (Department of Arts, Culture and Media) titled Analyzing the Disembodied Voice in Electronic Music: a Post Phenomenological Approach.
Yonatan Collier (Leeds Beckett University, UK)
Yonatan Collier is currently working towards a practice-based PhD; an examination of how location based recording, musical performance and production can be used as tools for examining artistic practice, landscape and history. Alongside a written thesis, Yonatan will be composing and producing immersive, interactive musical pieces that will be laid over specific landscapes and ‘performed’ through location-aware Smartphone apps.