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DTSTART;TZID=Europe/London:20260302T173000
DTEND;TZID=Europe/London:20260302T183000
DTSTAMP:20261104T084210Z
CREATED:20261103T092634Z
LAST-MODIFIED:20261104T084210Z
UID:45-1772472600-1772476200@music.salford.ac.uk
SUMMARY:Liquidation as Quotation: Adventures in Folk Music and Deconstructive Compositional Technique
DESCRIPTION:Successfully integrating abstract issues of inspiration and creative motivation with concrete musical technique is essential for any composer. Referencing my points of musical inspiration\, folk music in particular\, necessitates a recompositional technique which allows these materials to be developed and explored more flexibly than through arrangement or simple quotation alone. Arnold Schoenberg’s concept of motivic liquidation provided me with a starting point to achieve this. Exploring this idea in new contexts and with reimagined interpretations allows me to ‘recompose’ the ideas which inspire me just as much as the process of recomposing the music itself. \nSpeaker\nDr Tim Johnston\nComposer and early career researcher making music which crosses stylistic boundaries between Anglo–Welsh folk music\, popular music\, and contemporary Classical repertoire. He studied his PhD at Cardiff University\, under the supervision of Dr Robert Fokkens and Dr Carlo Cenciarelli\, and is now based at the University of Salford where he teaches composition and arranging. \nRespondent\nProfessor Alan Williams\nComposer and writer on contemporary music and culture\, and Professor of Collaborative Composition at the University of Salford. He studied at the Universities of Edinburgh and Manchester and at the Liszt Academy\, Budapest. His music has been performed by world leading ensembles such as the BBC Philharmonic\, the BBC Singers\, the Philharmonia\, MDR Radio Choir\, and Psappha\, and has been broadcast on BBC Radio 3\, MDR (Germany)\, NEC (Brazil) and Bartók Rádió (Hungary). In 2016 he created a score for Val McDermid’s adaptation of The Kraken Wakens\, broadcast on BBC Radio 4 in 2016\, and in 2017 he wrote the ‘world’s first Northern opera’ with poet Ian McMillan. In 2023 he created Healing Tales\, a collaborative composition with NHS workers in Bolton telling the story of their experience of the COVID pandemic\, and this led him to develop the Listening Composer method of collaborative composition.
URL:https://music.salford.ac.uk/event/liquidation-as-quotation-adventures-in-folk-music-and-deconstructive-compositional-technique/
LOCATION:Atrium – New Adelphi\, New Adelphi Building\, University Road\, Salford\, M5 4BR\, United Kingdom
CATEGORIES:Research,Salford Seminars in Sound and Music
ATTACH;FMTTYPE=image/jpeg:https://music.salford.ac.uk/wp-content/uploads/sites/267/2026/11/salford-seminars-in-sound-and-music.jpg
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DTSTART;TZID=Europe/London:20260330T173000
DTEND;TZID=Europe/London:20260330T183000
DTSTAMP:20261104T084101Z
CREATED:20261103T091207Z
LAST-MODIFIED:20261104T084101Z
UID:39-1774891800-1774895400@music.salford.ac.uk
SUMMARY:Machine Aesthetics in Live Music: Performance\, Improvisation\, Recording
DESCRIPTION:Join Alex Stevenson (Leeds Beckett University)\, Brendan Williams (University of Salford) and Dave Fortune (University of Salford) as they discuss machine aesthetics in contemporary popular music practice from multiple perspectives. The panellists consider how production technologies have influenced instrumental performance and the cyclical reciprocity of how these performances are presented in a contemporary recorded context. The discussion will also consider emerging electronic music improvisation practice in the Greater Manchester region. \nSpeakers\nAlex Stevenson\nCourse Director for postgraduate courses in Music and Sound\, in the Leeds School of Arts. He has published and presented on topics related to UK Hip Hop\, Popular Music Education\, Mixing Practice\, Music Performance and Electronic Music. He is currently undertaking a PhD at the University of Oslo entitled ‘Machine Aesthetics in Popular Music Performance’. \nDr Brendan Williams\nAssociate Professor in music technology in the School of Arts\, Media and Creative Technology at UoS. His text–based outputs currently focus on two distinct areas of practice. Working with acoustic ensembles he explores emerging spatialisation techniques within both live and recorded contemporary classical music. In the field of popular music\, Williams writes on the contemporary use of saturation techniques in drum kit recording and presentation. \nDave Fortune\nAcademic at the University of Salford\, where he teaches various disciplines within the field of music technology\, including his main specialisms which are composition\, production and live performance of electronic music. Dave’s research and creative practice explores the innovative use of various technologies and practices within in these domains. Dave co–runs the Bring Machines music event where participants take part in live jam sessions using various electronic instruments. This event is the focus of Dave’s most recent research output “Bring Machines: Observations and Proposed Frameworks for Improvised Electronic Music Performance”\, which he presented at the 2025 Innovation in Music Conference\, and which will be published later in 2026 by Routledge.
URL:https://music.salford.ac.uk/event/machine-aesthetics-in-live-music-performance-improvisation-recording/
LOCATION:Atrium – New Adelphi\, New Adelphi Building\, University Road\, Salford\, M5 4BR\, United Kingdom
CATEGORIES:Research,Salford Seminars in Sound and Music
ATTACH;FMTTYPE=image/jpeg:https://music.salford.ac.uk/wp-content/uploads/sites/267/2026/11/salford-seminars-in-sound-and-music.jpg
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