Programme
Wednesday, 5 March
12.00 Registration & Coffee
13.00 Welcome Speeches
13.15-14.45
Session 1: Exploring Structural Concepts (Neill/Hoey Theatre)
Chair: Evangelia Rigaki (Trinity College Dublin)
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Melodic Appropriations for Melodic Line, Laptop and Orchestra
Brian Lock (Royal Holloway, University of London), Mary Karen Clardy
(University of North Texas, Dallas)
Contrast Based on Topical Meaning in Coelho de Souza’s The Book of Sounds
Rodolfo Coelho de Souza (University of São Paulo)
Main Tendencies in Traditional Piano Music Created by Saint-Petersburg
Composers since the Turn of the Millennium
Marina Chernaya (Herzen State Pedagogical University of Russia, St Petersburg)
Session 2: Inspiration and Engagement with the Past (Meeting Room)
Chair: Orla Flanagan (Trinity College Dublin)
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Bíonn dhá insint ar scéal agus dhá leagan déag ar amhrán (There are two sides
to a story and twelve arrangements for a song): Reinterpreting Irish Literary
Traditions through Contemporary Choral Music
Laura Prichard (Northeastern University, Boston USA)
• Contemporary Choral Music: Composing for Non-Professional Choirs
Silvia Maria Pires Cabrera Berg (University of São Paulo)
• Transcription as Means; Sarcasms No.1 ‘Romance’, a Case Study
David Coonan (Royal Academy of Music, London)
Session 3: Reflecting on the Compositional Process (The Printing House Hall)
Chair: Donnacha Dennehy (Trinity College Dublin)
• A Composer’s Laboratory: Experimentalism in Albumleaves for Trumpet and
String Quartet
Tom Armstrong (University of Surrey)
• The Art of Sonification
Rose Dodd (University of Huddersfield)
• Oxalufã: Strategies of Symbolic Representation in Music
Luís Cláudio Pires Seixas (Salvador City)
14.45-15.15
Coffee Break
15.15-16.45
Session 4: Extended Techniques and Beyond (Neill/Hoey Theatre)
Chair: Brian Lock (Royal Holloway, University of London)
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Sequenza for Bass Guitar: Exploring the Role of the Bass Guitar in
Contemporary Art Music
Simon Lesley (Birmingham City University)
Musica_efemera: Interaction and Instability in the Contemporary
Performance
Felipe Merker Castellani (University of Campinas, São Paulo), Alexandre Zamith,
Alessandra Lucia Bochio (University of São Paulo)
Session 5: Music Responding to Music (Meeting Room)
Chair: Mark Fitzgerald (DIT Conservatory of Music and Drama)
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Materiality and the Everyday as Sonic Memory
Diana Salazar (City University London)
‘La Mémoire Musicale’: Pierre Boulez’s Remembrance of Bruno Maderna
Brent Wetters (Tufts University and Providence College)
Musical Composition as an Ephemeral Centre in a Rhizomatic World – the
Case of C.-S. Mahnkopf’s Kurtág Cycle (2001)
Klaas Coulembier (University of Leuven)
Session 6: Music and Society (The Printing House Hall)
Chair: Kevin O’Connell (Royal Irish Academy of Music)
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Music as an Activist Movement
Dorone Paris (UCC)
• Disability and Contemporary Compositions
Anna Benedikt (University of Music and performing Arts Graz)
• Ascendency of the ‘New Music Festival’: An Examination of its Role in the
Advancement of Composers and their Music
Nathanael May (Missouri Western State University)
16.45-17.15
Coffee Break
17.15-18.45
Session 7: Experimenting with Tuning and Scales (Neill/Hoey Theatre)
Chair: Ryan Molloy (NUI Maynooth)
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Playing with the Dark Arts – Composing with Heterodyning Frequencies
Ian Percy (Liverpool Hope University)
A Major Seventh is not a Minor Second; Eleven Does not Equal One: an
Alternative Way of Categorising and Generating Harmony for Composition
John Gormley (Royal Conservatoire of Scotland)
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Experimental Composition in Bohlen–Pierce Tuning
Todd Harrop (Hochschule für Musik und Theater Hamburg)
Session 8: Visual Aspects of the Compositional Process (Meeting Room)
Chair: Emile Wennekes (Utrecht University)
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Phonetic Variables and Compositional Strategy in Ignota
Bryan Christian (Duke University)
Visuality and Compositional Methodology: Drawings and Musical Writing as
Stages of the Creative Process in two Examples by Brazilian Composers
Alexandre Remuzzi Ficagna, Tadeu Moraes Taffarello (Universidade Estadual de
Londrina)
With Feeling: Strategies in Graphic Notation
Rob Casey (Queen’s University Belfast)
Session 9: Opera (The Printing House Hall)
Chair: Evangelia Rigaki (Trinity College Dublin)
• Setting Up Chairs: My Chamber Opera The Chairs and the New Music Theater
Kevin Zhang (University of California)
• Invisible People (A Radio Opera)
Yvette Janine Jackson (University of California, San Diego)
• Mozart as a Means of Postmodern Critique – Bernhard Lang’s I Hate Mozart
(2006)
Christine Dysers (University of Leuven)
Thursday, 6 March
9.30-11.00
Session 10: Sonic and Spatial Objects (Neill/Hoey Theatre)
Chair: Brian Lock (Royal Holloway, University of London)
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Spiral Musical Time in Luigi Antonio Irlandini’s Metagon
Luigi Antonio Irlandini (Universidade do Estado de Santa Catarina)
Music and Architecture – Towards a Shared Approach
Diogo Alvim (Queen's University Belfast)
Where different Media, Time-Spaces and Cultures Meet: Tan Dun’s The Map,
Emile Wennekes (Utrecht University)
Session 11: Cultural Discourses in Music (Meeting Room)
Chair: Evangelia Rigaki (Trinity College Dublin)
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Bridging the Gaps. Some Incidental Remarks about Giulio Castagnoli’s Work,
Nicola Davico (Conservatorio Statale di Musica “G. Verdi”, Torino)
The Flying Carpet. Costin Miereanu and the World of Poly-Artistic
Imagination,
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Oana Andreica (“Gheorghe Dima” Music Academy Cluj-Napoca)
Can We Talk? The Benefits of Speaking in Multiple Musical Languages
Jennifer Kelly (Lafayette College)
11.00-11.30 Coffee Break
11.30-13.00
Session 12: Spectral Aspects (Neill/Hoey Theatre)
Chair: Donnacha Dennehy (Trinity College Dublin)
• Clashing Harmonic Systems in Haas’s Blumenstück and in vain
Robert Hasegawa (McGill University)
Spectral Modes and Modal Spectra: Compositional Techniques on Interactive
Combinations of Two Contrasting Sonic Environments
Manos Panayiotakis (Heraklion)
• Composing with Noise: Extended Techniques and Spectral Analysis
Ivan Eiji Simurra (State University of Campinas, Brazil), Igor Leão Maia (King's
College London)
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Session 13: Expectation and Reception (Meeting Room)
Chair: Evangelia Rigaki (Trinity College Dublin)
• Public and Private Listening Habits – a Word in Your Ear
Roger Doyle (Trinity College Dublin)
• The Composer’s Art in an Age of Digital Mediation
Nicholas G. Brown (University of East Anglia)
• Composing for Musical Robots
Scott Barton (Worcester Polytechnic Institute)
13.00-14.30 Lunch
14.30-15.30
Keynote Speech: Raymond Deane (Neill/Hoey Theatre)
"Ruins and tasteless leftovers.”
15.30-16.00 Coffee Break
16.00-17.30
Session 14: Determining Musical Styles (Neill/Hoey Theatre)
Chair: Simon Trezise (Trinity College Dublin)
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On the Instrumentation of IRON MAIDEN´s Songs from the Album The Final
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Frontier (2010)
Charris Efthimiou (University of Music and Performing Arts Graz)
Life as Music or Music as Life: “Open Works” in New York – from John Cage
to John Zorn
Oksana Nesterenko (Stony Brook University)
Ways of Making People Move: Composing through the Live Generation of
Musical Scores
Richard Hoadley (Anglia Ruskin University)
Session 15: Far-Eastern Influences (The Printing House Hall)
Chair: Wolfgang Marx (University College Dublin)
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Composing for Gamelan: A New Resource for New Music in Dublin
Peter Moran (University College Dublin)
Contemporary Writing Using Korean Traditional Vocal Techniques
Jae Hyeok Jang (Moody Bible Institute)
Ananda Sukarlan’s Tembang Puitik (Poetic Songs) – A Musicalization of
Indonesian Poetry
Olivia Evelin Sundari (Kyoto City University of Fine Arts)
17.30 Aperitif (Long Room Hub, Ideas Room)
18.00 Conference Dinner (The 1592 Restaurant)
Friday, 7 March
9.00-10.30
Session 16: Composing and Performing (Neill/Hoey Theatre)
Chair: Danijela Kulezic-Wilson (University College Cork)
• Embodied Composition: Composing for Physical Performers
Paul Alan Barker (The Royal Central School of Speech & Drama)
• Dublin Sound Lab, ‘Composition as Performance’
Fergal Dowling, Michael Quinn (Dublin)
• Twenty First Century Improvisation: Freedom and Restraint. The Duality
within Artistic Practice of the Performer-Composer. An Australian Perspective
Fiona Burnett (University of Melbourne)
Session 17: Composer – Performer – Listener: Issues of Communication (Meeting
Room)
Chair: Nathanel May (Missouri Western State University)
• ‘From deibide nguilbnech ndialtach to ochtfhoclach’: Early Medieval Text in
Contemporary Composition
Edmund Hunt (Birmingham Conservatoire)
• Whose Intentions?—Reconsidering the Idea of a ‘Historically-Informed
Performance’ through Rzewski’s De Profundis
Jeff Manchur (Bowling Green State University)
• The Past Frames the Composer Frames the Past
Piers Hellawell (Queen’s University Belfast)
Session 18: Improvisation I (Boydell Room)
Chair: Simon Trezise (Trinity College Dublin)
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‘Sense of Place’ – Pianist Mary Dullea Discusses Recent Works for Solo Piano
by Northern Irish Composer Simon Mawhinney and South African Composer
Robert Fokkens
Mary Dullea (University of Sheffield)
• Vocal Improvisation and Vocal Composition
Jacqui Rutten (Belgrave, Australia)
• Aural Transmission in Contemporary Music – New Approaches to
Improvisation
Ryan Molloy (NUI Maynooth)
10.30-11.00 Coffee Break
11.00-12.30
Session 19: Electroacoustic Music (Neill/Hoey Theatre)
Chair: Mark Fitzgerald (DIT Conservatory of Music and Drama)
• For a New Electroacoustic Music: Eloquence and Communicability
Jorge Antunes (Universidade de Brasília)
• Dart (2011)
Tom Williams (Coventry University)
Session 20: Film Music (Meeting Room)
Chair: Kevin O’Connell (Royal Irish Academy of Music)
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‘Composed’ Sound Design: Film’s Path to Embracing the Music of the 21st
Century
Danijela Kulezic-Wilson (University College Cork)
The Roman World: Are we Still Hearing it like We Used to?
Carl Alexander Vincent (Leeds College of Music)
Session 21: Improvisation II (Boydell Room)
Chair: Piers Hellawell (Queen’s University Belfast)
• Improvisation 2.0: Trojan Encounters
Robert Vincs (University of Melbourne)
• Unreal-time Performance: Gestural Material as a Composed Interface for
Improvisation
Panos Ghikas (Canterbury Christ Church University), Jennifer Walshe (Brunel
University)
• In Free Improvisation, Sound and Body
Rogerio Costa (University of São
Paulo)
13.05-14.00 Earth Dances, Performance & Analysis with Sir Harrison Birtwistle
(National Concert Hall)
14.30-15.30 Keynote Discussion with Sir Harrison Birtwistle and Evangelia
Rigaki
(National Concert Hall)