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Contemporary Music Centre – Preview new 8 Channel works by Neil O Connor

Neil O’Connor recently attended a two-week composer residency at the Conservatory of Music, Seia in Portugal. The residency was funded by the Arts Council and the Dublin-based composer worked on a number of 8 channel electro-acoustic pieces during his time there. He spoke to CMC about the residency.

Read more here – https://www.cmc.ie/news/150917/neil-oconnor-attended-arts-council-funded-composer-residency-portugal

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Lightmoves – Festival of Screendance – 2-5th November 2017

Lightmoves presents feature screenings, short films, invited works and open submissions, as well as a Screendance Lab and Symposium with some of the most respected figures in the field. The Light Moves Screendance Symposium encourages artistic and scholarly exchange, debate and discussion in screendance and related disciplines including performance, dance, film, visual arts, sound/music and text.

Lightmoves is curated by DMARC faculty Jürgen Simpson and Mary Wycherley and produced by Dance Limerick, in partnership with DMARC (Digital Media and Arts Research Centre) at University of Limerick. The festival is supported by the Arts Council, Limerick City and County Council and the JP McManus Fund.

More info here – http://www.lightmoves.ie/

Talk & Concert: Miller Puckette

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DMARC welcome Professor Miller Puckette for a talk and concert on April 3rd, details below.

 

Talk: Limitations of Computers as Musical Tools
Professor Miller Puckette
3-4pm, CSG01 Computer Science Building, University of Limerick, Monday, April 3rd
Free and open to the public.

 

Concert: Hocket Pagan
Miller Puckette and Kerry Hagan
8-9pm, Ormston House, 9-10 Patrick Street, April 3rd
Open to the public. Free admission

 

Talk Details
Theoretically, a computer can generate any sound that a loudspeaker can emit. But anyone who has tried to use a computer to realize a piece of music has learned that there is always a gulf between the desired outcome and what we can actually get.  The problem is in part the still-primitive state of the software we use to get music out of computers.  Existing software paradigms such as DAWs, notation editors, and real-time performance systems are based on particular sets of assumptions about how music is or should be made.  A careful look at these assumptions, and the limitations they impose on our efforts to make better computer music software, offers some clues as to what we might want to try next.


Concert Details
Miller Puckette and Kerry Hagan present Hocket Pagan, an evening of live music for instruments, interfaces and electronics. Over the last few years, Puckette and Hagan have been working together to develop live performance systems for computer, electronics, interfaces and instruments. This concert will showcase new works by the duo. One featured work is “Hack Lumps”, premiered recently in New York City. This performance will be the European premiere.

Bio: 
Miller Puckette obtained a B.S. in Mathematics from MIT (1980) and Ph. D. in Mathematics from Harvard (1986) where he was a Putnam Fellow. He was a member of MIT’s Media Lab from its inception until 1987, and then a researcher at IRCAM (l’Institut de Recherche et de Coordination Musique/Acoustique), founded by composer and conductor Pierre Boulez. At IRCAM he wrote Max, a widely used computer music software environment, released commercially by Opcode Systems in 1990 and now available from Cycling74.com .

Puckette joined the music department of the University of California, San Diego in 1994, where he is now professor. From 2000 to 2011 he was Associate Director of UCSD’s Center for Research in Computing and the Arts (CRCA).

He is currently developing Pure Data (“Pd”), an open-source real-time multimedia arts programming environment. Puckette has collaborated with many artists and musicians, including Philippe Manoury (whose Sonus ex Machina cycle was the first major work to use Max), and Rand Steiger, Vibeke Sorensen, and Juliana Snapper. Since 2004 he has performed with the Convolution Brothers. In 2008 Puckette received the SEAMUS Lifetime Achievement Award.

Questions or more information, contact Kerry Hagan, email hidden; JavaScript is required

Talk: Spatial Audio and Live Performance Systems Design

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POSTPONED

Friday February 10th 4pm
Computer Science Auditorium (CSG-01)

Dr Graham’s Talk has been rescheduled to Wednesday 22nd Feb at 3pm. Apologies for any inconvenience.

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Richard Graham will present his most recent performance system for multichannel guitar and his ambisonics library for Pd and Max/MSP. Graham will also discuss his general approach to performance systems design, with a specific focus on feature extraction, mapping strategies, and the application of physical models for spatialization in VR.

Short Bio:
Richard Graham is a guitarist and computer musician from Northern Ireland. He has performed across the U.S., Asia, U.K., and Europe, including festivals and conferences such as Celtronic and the International Symposium on Electronic Art. He has composed music for British and American television, recorded live sessions for BBC radio, and his music has been authored for the popular video game, Rock Band.

Seminar | International Film Composer Patrick Cassidy

Patrick Cassidy

Thursday April 27th 1.30pm
Computer Science Auditorium (CSG-01)

The CSIS Department at the University of Limerick is delighted to welcome one of our most distinguished alumni back to the campus on Thursday, 28 April.

International Composer, Patrick Cassidy will deliver a special seminar on the theme of “Music Composition For Film”.

Patrick Cassidy was first honoured by the University of Limerick in 2007 when he received a UL Alumni Award for his contribution to Arts & Culture. Patrick graduated from UL with a BSc in Applied Mathematics in 1985 and left Ireland in 1999 to pursue his music career in Los Angeles. In 2015, he was honoured at the inaugural Richard Harris International Film Festival, held in Limerick, with the Outstanding Talent Award. The award-winning Composer is increasingly spending time in Ireland and among his recent works was the score for RTE’s ‘1916 The Irish Rebellion’ and the much-lauded ‘Mise Eire’, a hauntingly beautiful and moving arrangement of Pearse’s poem. Later this month, Patrick will be a key contributor to the GAA’s ‘Laochra’ spectacle at Croke Park to commemorate the centenary of the 1916 Rising. This is the first time Patrick has returned to the campus to share his experiences and he will be a guest of the CSIS Department and the UL Alumni Association.

The Seminar will take place from 1.30pm to 3pm on Thursday, 28 April in Room CSG-01, CSIS Building, University of Limerick.

*** Booking is essential so – please register here

Seminar: Alex Wilson

Wednesday February 17th 3.00pm
Computer Science Auditorium (CSG-01)

Alex Wilson is currently a PhD student at the University of Salford’s Acoustics Research Centre, investigating the perception of quality in sound recordings, focussing on the production of popular music. This research focuses on the mechanics and psychoacoustics of audio engineering, specifically the task of mix-engineering, addressing three fundamental questions:

· What does mix-engineering involve?
· What makes a good mix?
· How can good mixes be generated automatically?

He obtained a B.Sc in Experimental Physics from NUI Maynooth in 2008 and a B.Eng in Audio Technology from University of Salford in 2013. During this time, twelve months were spent as an R&D engineer at Sennheiser GmbH, in Hannover, Germany, and, more recently, six months as a visiting researcher at the Centre for Digital Music at Queen Mary University of London. He maintains interests in digital audio processing, psychoacoustics and the art of record production.

Abstract
To further the development of intelligent music production tools, towards generating mixes that would realistically be created by a human mix-engineer, and enjoyed by a listener, it is important to understand what kind of mixes are typically created by human mix-engineers. What can be achieved by mixing? How different can mixes be from one another? How much do different mix-engineers differ from one another?

1501 audio samples were gathered, representing the alternate mixes of 10 songs. We have investigated the distribution of low level audio signal features, over mixes of each song and the entire dataset. Quantitative analysis reveals that mix-engineers mostly vary the perceived “loudness”, “brightness” and “width” of the mix. Typical ranges for these dimensions have been determined. By plotting the full set of mixes in a low-dimensional space, it is observed that it is possible to mix any of the songs considered to have the general loudness/brightness/width characteristics of another.

This novel research can impact a number of theoretical and practical problems. In addition to intelligent audio production, the work has implications for audio education and for the field of music information retrieval, towards improved algorithms for tasks such as tempo estimation, artist identification and genre classification.

Light Moves Festival of Screendance – 19-22 November

A collaboration between Dance Limerick and DMARC, CSIS Dept., Light Moves festival of screendance 2015 takes place at Dance Limerick from 19-22 November and follows the highly successful Limerick City of Culture inaugural event last year. The festival includes a two-day symposium, workshops and film screenings and this year is host to a significant exhibition of installation works at LSAD in collaboration with Carriageworks Australia. The festival is supported by The Arts Council and Limerick City & County Council with additional support and collaboration provided by AIB, The Hunt Museum, LSAD, ICO and The Limerick Chamber. More information available at: lightmoves.ie

Air India [redacted]

Air India [redacted] – an opera by composer Jürgen Simpson and librettist Renée Sarojini Saklikar – 6th to 11th November

In 1985, the bombing of Air India Flight 182 resulted in a Boeing 747 crashing off the coast of West Cork killing 329 people. Thirty years later, an Irish-Canadian artistic collaboration responding to the tragedy and its fallout has resulted in an opera entitled “Air India [redacted]”. The opera significantly features the work of two artists associated with the University of Limerick: Composer Jürgen Simpson (DMARC, CSIS Dept.) and visual artist John Galvin (2013 PhD Graduate, DMARC) as well as award winning Canadian poet Renée Sarojini Saklikar, Vancouver based ‘Turning Point Ensemble’ and Irish director Tom Creed. The opera received substantial media attention throughout Canada and Ireland and was funded by The Banff Centre, British Columbia Arts Council, Culture Ireland, Canada Council for the Arts and the Vancouver Foundation. Presented in Vancouver as part of the 50th Anniversary celebrations of Simon Fraser University.

Seminar: Ed Devane

Wednesday September 23rd 3.00pm
Computer Science Auditorium (CSG-01)

Ed Devane is a sound artist currently based in Limerick. Ed’s work covers a variety of activities including electronic music production, free improvisation, musical instrument design, audio-visual installation, educational workshops and video art. A resolutely experimental approach underpins all of Devane’s creative endeavours.

Ed will present a selection of his recent music and installations and give a demonstration of his percussion sound design processes using effect feedback and sampling in Ableton Live.

Simon Fraser University 50th Anniversary Celebration Concert features works by Jürgen Simpson

Simon Fraser University Vancouver’ 9th Sept. 50th Anniversary concert focused on a collaboration between DMARC member Jürgen Simpson and Canadian poet Renée Sarojini Saklikar. The concert featured one of Canada’s foremost interpreters of contemporary music, soprano Heather Pawsey and Vancouver’s Turning Point Ensemble with conductor Owen Underhill. The works performed were extracts from the forthcoming operatic scale work “Air India [redacted]” which will be premiered at SFU’s Fei & Milton Wong Experimental Theatre from November 6th to 11th. Air India [Redacted] explore issues of silence and longing in the 30th year since the bombing of Air India Flight 182 off the coast of Ireland, Canada’s worst act of aviation terror.