Seminar | Caoimhe Doyle & Jean McGrath 20th November

Wednesday November 20th, 2013

3.00pm Computer Science Auditorium (CSG-01)

This seminar is a real demonstration and explanation of how cinematic and game sound effects are made. We get a brief and engaging sweep through the history of Foley, highlighting some of the best examples. We get a full demonstration of a live Foley session, where the soundtrack is built, action by action and layer by layer, finishing with a screening of the final result. There may be opportunities for participants to contribute to the soundtrack!

The seminar is essential for all students in Music Technology, Interactive Media, Digital Media Design, Music Media and Performance Technology and Computer Games Development. Others are, of course, welcome, subject to available seats.

Caoimhe Doyle is an internationally renowned Foley artist. She joined Ardmore Sound in 1997 and continues to work at home and abroad and has been a Foley artist on a variety of Hollywood movies including Knocked Up, Eastern Promises and The Men Who Stare at Goats. In 2011 Caoimhe was nominated for an EMMY Award for Best Sound Effects & Foley, and won an MPSE Golden Reel Award, for her Foley work on Games of Thrones Series 1. http://www.imdb.com/name/nm0236304/

Jean McGrath is an award winning Foley and ADR mixer. She has mixed Foley and ADR on many feature films and TV productions, her most recent credits include Peter Jackson’s The Lovely Bones and The Hobbit, Rodrigo Garcia’s Albert Nobbs and HBO’s Game of Thrones Series 1. Jean was nominated with the rest of the sound crew for an EMMY, and won an MPSE Award, for Best Sound Effects for Games of Thrones Series 1.
http://www.imdb.com/name/nm1642539/

DAWN: Concert & Exhibition

Exhibition Opening: 6pm, Tuesday 3rd September, Computer Science Building.

Concert: 7pm, Tuesday 3rd September, Irish Chamber Orchestra Building.

Admission Free.

Exhibition Continues: 4th and 5th September, 11am to 5pm.

Locations: See campus map

The annual DAWN exhibition and concert showcase new works developed by students on the masters’ programmes in Interactive Media and Music Technology at the University of Limerick. The focus on the creative application of digital technology across a diversity of topics, which both these programmes explore, is reflected in the range of projects that make up this year’s exhibition.


 

Further Information: www.dawn.ul.ie

Seminar & Concert wt Christopher Williams | 13th February


Seminar: Wednesday February 13th, 2013

3.00pm Computer Science Auditorium (CSG-01)


Bass Playing in the Wild: making music with instruments and field recordings

This presentation will introduce three very different recent projects that integrate my own contrabass playing in combination with other instruments and environmental recordings:

1) Arcanum 17, a multimedia composition for contrabass, microtonal tuba, conch, voices, and field recordings after André Breton’s book of the same name, set in Charlie Morrow’s True 3D immersive sound environment. www.arcanum17.wordpress.com

2) BERLIN QUELQUE PART, an audiovisual project with members of the phonographie collective Ouie/Dire and contrabass clarinettist Chris Heenan. http://ouiedire.com/creations/berlin-quelque-part/

3) Groundwave Rondo, a semi-improvised piece for solo contrabass with stereo playback of AM radio feedback recorded on trains throughout Europe, to be performed at my concert in Limerick.

Discussion will focus on both the practical and conceptual aspects of creating pieces that extend the compositional world to variables of social, acoustic, and electromagnetic environments.


Concert: Wednesday February 13th, 2013

8.00pm ICO performance space

The concert will include solo pieces for bass and bass with electronics. Composers include Christopher Williams, Jeffrey Treviño, Kerry Hagan and Yoav Pasovsky. It will take place in the main space of the Irish Chamber Orchestra building at 8pm.

Kor, Yaov Pasovsky
Groundwave Rondo, Christopher Williams
(bass), Kerry Hagan


Bio
Christopher Williams is a Berlin/ Barcelona-based composer, bassist, and organizer originally from San Diego (California), where he he studied at the University of California with Chaya Czernowin, Bertram Turetzky, Charles Curtis, and others. Additional teachers include John Rahn, Erik Ulman, and Mark Dresser.

He has musicked with Derek Bailey, LaMonte Young’s Theatre of Eternal Music, Mary Oliver and Rozemarie Heggen, trigger ensemble für aktuelle musik, Hans W. Koch, Tom Djll and Matt Ingalls, Barbara Held, Charles Curtis, ensemble chronophonie, Maggie Nicols, NOISE Ensemble, visual artist Tanja Smit, and dancers Martin Sonderkamp and Justin Morrison; has recorded for the Incus, Steady Beat, and Eclipse record labels; has written articles for Open Space and The Improvisor; and has received scholarships and prizes from the University of California, the Darmstadt Summer Courses, the Arts Council of Catalunya and the Festival Acanthes composers’ workshop.

Recent projects include participation in Possibility of Action: the life of the score, a collective exhibition of musical scores at the Barcelona Museum of Contemporary Art; a premiere of works by composer Benjamin Carson at Columbia University; a monthlong stay at Hotel Pupik, an international artists’ residency at Schloss Schrattenberg, Austria; the premiere broadcast of The Hispaniola: a webradio play for flutist on VPRO Radio 6 (Holland); and organizing the Festivalet d’Hivern, an annual festival of improvised and experimental music in Barcelona.

Christopher is a member of Associació Musical l’Embut and the Metro i Mig Cycle Club, the Institute for Intermediate Studies, and a Maker’s Mark Embassador.

www.nauchristopher.thenthis.org

“Williams knows how to create a dialogue with his sonic environment in which he actually manages to say musical things – something few improvisors, outside Lol Coxhill, are rarely capable of.”

– Ben Watson, critic and author of Derek Bailey and the Story of Free Improvisation.

Seminar | DMARC PhD Candidates 21st November

Wednesday November 21st, 2012

3.00pm Computer Science Auditorium (CSG-01)

For this week’s seminar two of our PhD candidates will present an overview of their research. On wednesday 21st of November both Malachy Ronan and John Galvin will present their work.

John Galvin
John Galvin is undertaking a PhD by practice. His research is centred around the creation of “spatial montages” – these are digital video artifacts created from layers of video, photography and self-generated paintings.

In producing these artifacts his research explores the hybrid , “photo-filmic” media that result from the layering of photographic and moving-image materials and the condensation of the differing temporalities that these media represent, within a single, enframed work.

Seminar Marco Capelli | 14th November

Wednesday November 14th, 2012

3.00pm Computer Science Auditorium (CSG-01)


After completing many years of demanding music studies (first at Conservatorio di S. Cecilia in Rome and then in the Konzert-Klasse at the Musik Akademie in Basel with Oscar Ghiglia), Marco Cappelli has lead an extraordinary artistic path, becoming familiar both with rigorous written music as well with free improvisation languages.

The diversity of Marco’s performances is due to a fascinating array of collaborations (Anthony Coleman, Michel Godard, Butch Morris, Franco Piersanti, Jim Pugliese, Enrico Rava, Marc Ribot, Elliott Sharp, Giovanni Sollima, Markus Stockhausen, Cristina Zavalloni and more) and regularly as guest in important classical and contemporary music series (Teatro Massimo di Palermo, Associazione A. Scarlatti di Napoli, Ravenna Festival, Festival Traiettorie di Parma, Cinque passi nel ’900 al Teatro Lirico di Cagliari, Guggenheim Museum in New York, Italian Academy at Columbia University New York, Salzburg Festival, Ruhr Triennale…) as well in jazz and avantgarde music festivals (Saalfelden Jazz Festival – Austria, Pomigliano Jazz – Italy, Grim in Marseille – France, Barnsdall Theatre in Los Angeles, Tonic in New York, OutPut Festival in Amsterdam…) both as a soloist and in ensemble settings.

Among the founders of the acclaimed Italian contemporary music group “Ensemble Dissonanzen” , Marco Cappelli currently lives in New York, where he is involved with the contemporary and avantgarde music scene.
He is Guitar Professor at Conservatory “Vincenzo Bellini” in Palermo and Music Associate at Columbia University in New York. More over he has been Sharon Isbin’s assistant at the Aspen Music Festival and School ’06 (Colorado), and guest professor at Julliard School in New York (2004), Cal Poly Pomona (Los Angeles: 2003,2005,2006), University of Guadalajara (Mexico: 2004, 2007).

Marco has recorded three solo guitar cds : “Fantasia per Ensemble” and “Yun Mu”for the for the Italian label TDS, and EGP (Extreme Guitar Project: Music from Downtown New York) for the prestigiuos American label Mode Records. Mode Records also published two cds by Ensemble Dissonanzen, where Cappelli is involved in G. Petrassi’s and H.W. Henze’schamber Music.
In 2006-2007 Marco Cappelli also published “Los Angeles Tapes” (with Andrea Centazzo and Kato Hideki) for Ictus Records, and signed his debut on John Zorn’s Tzadik, taking part in duo with Jim Pugliese on the CD “Pushy Blueness” by Anthony Coleman.
In 2008 the Italian jazz label Itinera released the first cd of Marco’s band IDR – Italian Doc Remix.

Seminar Léon McCarthy | 31st October

Wednesday October 31st, 2012

3.00pm Computer Science Auditorium (CSG-01)

Using subjective audience feedback on the experience of a live audiovisual performance – an audiovisual performance & research presentation

Léon McCarthy, lecturer here in DMARC in Digital Video Art, will present a live audiovisual performance for the first time in Limerick. Following this, he will ask the audience to partake in a short survey and then discuss his current methods in seeking to enrich the experience of live audiovisuals

Léon’s PhD research is seeking to enrich the experience of live audiovisuals, for both performers and audience members alike. Towards this end, it appears hiw research needs to address 3 concerns:
· Gain a practical understanding of the ontology of the live experience
· Design systems that facilitate real-time observation of audiences
· Design flexible performance prototypes that facilitate deviation during performance, deviation that is in response to the audience context that is arising

Currently in the early stages of his PhD, he is investigating the manner in which individual experience arise and howcontent, gesture & context help shape individual and group perceptions. Today’s performance is one in a series, which uses post-performance survey to learn of the individual experiences that have arisen. Analyzing subjective response toward bettering his practice has proven challenging. Léon will discuss the approaches he has taken, approaches that could prove useful to artists of any medium investigating the nature of the art experience.

A live stream of the performance and presentation can be viewed here.

Seminar Dan Barry | 24th October

Wednesday October 24th, 2012

3.00pm Computer Science Auditorium (CSG-01)


Dan Barry is a software developer and entrepreneur specialising in Digital Signal Processing for Audio. In 2010 he co-founded and developed Riffstation (www.riffstation.com) where he is currently the CEO. In 2011, he co-founded and developed technology for 45Sound www.45sound.com . He is also the founder, manager and lead researcher in the Audio Research Group based in the Department Electrical Engineering Systems at The Dublin Institute of Technology. Audio DSP is the primary focus of Dan’s development work. Some particular areas of interest include the following: Sound Source Separation, Automatic Music Transcription Systems, Noise Reduction and general speech and musical audio transformations. In 2004 a patent was taken out on Dan’s sound source separation technology which was licensed to Sony and has been used in Singstar (PS3) ever since.
Dan has always been heavily involved in music production and performance too. Since 1996, he has played in numerous groups in hundreds of shows, toured the USA and Europe, released several records and produced and mastered several records for others also. He owns too many guitars for one person.

http://twitter.com/riffstation
http://facebook.com/riffstation
http://www.youtube.com/riffstation

Seminar 10th October | Ciarán Ó Tuairisc

Wednesday October 10th, 2012

3.00pm Computer Science Auditorium (CSG-01)


Head of Audio Department Ciarán began working as location sound recordist and sound mixer and became Telegael’s senior sound mixer in 1993. He has worked as sound mixer on many documentary and drama programmes and has directed the dubbing of many animation and live action series. Ciarán was appointed Head of Post production Sound in 1999 where he manages a large and creative team of audio specialists from sound-design, voice record and Foley through to final mix.

Since its formation in 1988, Telegael has established an international reputation as a leading provider of production facilities and services for the television and film industry.

Telegael’s slate of productions encompass more than 40 projects for the global television market amounting to more than 500 hours of programming. These projects include two-time Emmy Award winning series Tutenstein for PorchLight Entertainment and Discovery Kids, Hero-108 for Moonscoop and Cartoon Network , Skunk Fu for Cartoon Saloon and Super-RTL/BBC and three-time IFTA winner Aifric, the tween live action series which has been translated into 7 different languages. Telegael recently produced the animated and live-action musical series Groove High for Disney. Telegael projects are broadcast in 130 territories world-wide and in 30 languages.

Seminar September 26th, 2012 | Stuart James

Wednesday September 26th, 2012

3.00pm Computer Science Auditorium (CSG-01)






From Autonomous to Performative Timbral Spatialisation
Timbral spatialisation is one such process that requires the independent control of potentially thousands of parameters (Torchia, et al., 2003). Current research on controlling timbral spatialisation has focused either on automated generative systems, or suggested that to design trajectories in software is to write every movement line by line (Normandeau, 2009). This research approaches this problem using multidimensional lookup tables for timbral spatialisation, enabling the performative control of large numbers of parameter sets associated with software. This methodology also allows for compact interactive mapping possibilities for a physical controller, and may also be effectively mapped gesturally. By simplifying the control methodology, it opens up the possibility for the performer to control multiple systems simultaneously, including approaches to 3D timbral spatialisation involving the zenith plane.

Biography – Stuart James
After graduating in jazz piano performance and classical music composition in 2000, Stuart completed a Masters in Creative Arts in 2005 researching correlations between sound and video. As a composer Stuart has had commissions from Tetrafide Percussion, the Australian Broadcasting Commission, and has had his work performed by the Tasmanian Symphony Orchestra, WA Symphony New Music Ensemble, and Michael Kieran Harvey. Stuart’s compositions have ranged from traditional notated scores through to varied approaches in aleatoric writing and improvisation. As a performer Stuart has remained active as a pianist, drummer, percussionist, and laptop musician. He has performed with ensembles Cloud Orchestra, King Wasabi, the Johannes Luebbers Dectet, and in early in 2012 toured with Decibel performing in Belgium, Germany, and Italy. Stuart is active as a music engraver and has contributed to several publications, notably a book on the music and life of Australian composer Peggy Glanville-Hicks by Victoria Rogers through Ashgate publishers. Stuart currently also manages The Soundfield Studio, a commercial production, mixing, and mastering facility in Western Australia, and has most recently been involved with mixing and/or mastering for artists including ShockOne, The Shallows, The Substance, and Sororal, a feature film score by Chris De Groot. In recent years Stuart has also been involved as a lecturer in music technology at the West
Australian Academy of Performing Arts. He has also a PhD candidate researching realtime approaches to controlling timbral spatialisation.

Workshop: Ailís Ni Ríain (composer)



Wednesday September 12th, 2012





Born in Cork, the international prize-winning classical composer and published playwright Ailís Ní Ríain aims to produce work which challenges, provokes and engages. She is particularly interested in cross-discipline collaboration, new writing for performance, concert music,sound installation, opera, music-theatre and presenting contemporary music in diverse spaces including the public realm.  Her music has been broadcast on BBC Radio 3 ‘The Verb’ & ‘Hear and Now’, BBC 4′s The Today Programme and Woman’s Hour, RTÉ Lyric FM and RTÉ One in addition to a documentary for Channel 4′s Big Art project.  She received her Purcell Room, Southbank debut in 2007 and her Carnegie Hall debut in 2008. Ailís Ní Ríain describes herself as ‘a conceptual composer,’ for whom the concept for the music-based theatrical or site-specific experience comes first––everything else has to comply with that vision. Ailís composes for a variety of media, which often result in ‘Music-based Experiences.’ Key to this is collaborative work and facilitating others in contributing within a devising environment (not unlike the modus operandi of theatre). This seminar will consider the Composer of the 21st Century as someone who facilitates their work in a ground up way, devising collaboratively with other musicians and artists.