!!!!!!!!!!!! 1-2 March 2014 University of Manchester!

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1 1-2 March 2014 University of Manchester

2 MANTIS10YearsFestival,152March2014 MANTIS(ManchesterTheatreinSound)celebratesitsfirst10yearswith4concerts, featuringpioneeringcomposersfrancisdhomontandtrevorwishart,awardfwinning workscomposedinthestudiosattheuniversityofmanchestersince2004,and numerouspremieresofnewworksbystaffandstudentsbasedinthenovarsresearch Centre.Aspecialsoundinstallation,listeningroomandtalkbyTrevorWishartarealso nottobemissed Saturday1March,CosmoRodewaldConcertHall WineReception:17.30 Concert1:18.00F19.30Award&winning&works&from&Manchester&2004&7&13& Concert2:20.00F21.00Francis&Dhomont& Sunday2March,CosmoRodewaldConcertHall Trevor&Wishart:&The&Music&of&Speech.&16.30F17.30(G16,MartinHarrisCentre)& Concert3:18.00F19.30New&works&from&the&NOVARS&Research&Centre& Concert4:20.00F21.00Trevor&Wishart&and&KAIROS& SoundInstallationwords~signs~assemblagebyGavinOsborn 15.00F17.15(1March)and14.00F16.15(2March)FJohnCaskenTheatre(MartinHarris Centre) Listeningroomwithhighlightsofmusicfrom105yearsofMANTIS 12.30F17.30daily,G16,MartinHarrisCentre Support:NovarsResearchCentreandthedepartmentofMusic(Universityof Manchester)

3 Concert1, Saturday1March:AwardwinningworksfromManchester 2004:13 Public&Bodies&(2009) SamSalem Hypnagogic&Illusions&&(2006) TomScott Anima&Machina&(2006) DianaSalazar Vista&Points(2009) ManuellaBlackburn Metamorphosis&I&(2007) OliverCarman Gallivanting&&(2010) DonalSarsfield Buoy&(2011) DavidBerezan & PublicBodies(2009) SamSalem & Public&Bodies&waswrittenin alothashappenedsince.Therewerevariousthemes andideasbehindthepiece,butidontthinkthatanyofthemareimportantenoughto necessitateexcavation.however,thereareanumberofideaswithinthepieceitselfthat Istillfindinteresting:thevaguelyglitchyvocabulary(whichIamrevisitinginmycurrent work),thepresence(andhumanizinginfluence)ofthefemalevoice,thestrongand unapologeticuseofpulseandtheharmonic/melodicmaterialsthatwereborrowed& derivedfromasurreptitiouslyrecordedbusker.inmanyways,public&bodieswasmyfirst piece. HypnagogicIllusions(2006) TomScott Thispiecemarkstheconclusionofmyresearchintoauditoryphenomenaexperienced duringthehypnagogicmindstate. Thename hypnagogic derivesfromtwogreekwords,hypnos(sleep)andagogeus (conductor,orguide).thetermisusedtodescribetheinterludebetweenbeingawake andfallingasleep.thehypnagogicmindstateischaracterisedbyauditoryhallucinations whichoftenmanifestasroaringsounds,sustainedpitches,idiophonicnoises,aswellas otherbangsandexplosions.thisimaginedsoundmaterialcanalsobeinfluencedby real world sounds,aswellasourowninternalsoundse.g.breathing,snoring,thesoundof bloodcirculating,andourownheartbeat. Thispiececouldbedescribedasa trancefwalk,inwhichacharacterjourneysthrough diverseenvironmentswhilstinthehypnagogicmindstate.wehearwhatthecharacter hearsandexperiencesontwojourneys:one,fromthecitytothecountrysideonabus; andtwo,ametafdiegeticjourneyfromtheconscioustotheunconsciousmindofthe character.itisonthissecondjourneythatweexperienceahostofprimevalsounds,lost inthearchetypalforestofthemind. AnimaMachina(2006) DianaSalazar Inatechnologicalage,ourlivesarebecomingmoredependentonmachines,andthose machines are becoming increasingly smaller and more intelligent. This work is heavily influenced by the concept of tiny machines at the atomic level, and their ability to becomecapableofdecisionfmakingandselffreplication.

4 The work is underpinned by a changing flux between control, restraint and disorder. There are references to metal and machinery, although the original source material is likely to be very far removed from this perceived scale of material. Most source recordings were closely amplified small materials, (various gardening tools, parts of a bicycle mechanism, clocks, and a slinky spring), now given a magnified energy and greater mechanical status through processing. There is a mirroring of the potential qualitiesofmachinesattheatomiclevel,withkeyideasbeingtheimplicationsoffriction, surfacetensionandadarkinstabilityandunpredictability. VistaPoints(2009) ManuellaBlackburn AllmaterialsusedinVista&Pointsarederivedfromelectricguitarsounds.Oftenthe electricguitarsoundsareleftrawandthenlayeredwithprocessedmaterials.when thesesoundsinteract,therearepointsofcausality,conflictandturbulence.thiswork explorestheeffectofvaryingthedistancebetweensonicevents.whenconstructingthe piece,contrastsbetweenpressuredandvoluntarybehavioursbecameaprimaryfocus withtheaimofachievingmomentsofactivityandemptiness. Vista&Pointswasrealizedin2009attheElectroacousticMusicStudiosofTheUniversityof Manchester(England,UK)andpremieredonAugust8,2009duringthe4thSoundArt WorkshopoftheInternationalMusicAcademyattheOrfordArtsCentre(Orford, Québec).ThankstoCarlosLopezforprovidingtheelectricguitarsounds.VistaPointswas awardedfirstprizeatthe10thconcursointernacionaldecomposiçãoelectroacústica MúsicaViva2009(Lisbon,Portugal). MetamorphosisI(2007) OliverCarman AfreeadaptationofthestoryofPygmalion,thesculptorwhobecomessoobsessedwith hisworkthatitcomestolifeitriedtocreatethefeelofanobject/entitybeing shaped/formed.handstouchthesurface.isitreal?isitalive?arecreatorandcreation asone? Awarded2ndprizeatInternationalComputerMusicCompetition PierreSchaeffer 2007 Selection, Trivium category,concoursinternationauxdebourges2008. & Gallivanting(2010) DonalSarsfield & Thispieceisoneratherobliquewayofpointingtoasoundthatisheardeverywhere,but seldomnoticed.thepiecefeaturesthevoicesofmyfriendsirmacatalinaalvarezand AndrewPerfect. ThepoetictextsarefromLouisMacNeicesCodaandW.H.AudensFor&Friends&Only (usedwithpermissionofcurtisbrownny,anddickhymanestates,uk.) & GallivantingwasawardedjointfirstprizeintheConcoursInternationaldeMusique Bruitiste,LuigiRussoloFRossanaMaggia2011.

5 Buoy(2011) DavidBerezan Buoy&exploresthesoundworldsandenvironmentsofseabuoys,manyofwhichhave bells,gongsorwhistlesthatsoundinresponsetothemotionofthesea.thediverse characteristicsofbuoys,usedtoaidseanavigationaswellasscientificresearchof maritimeweather,ecologyandoceanography,informthesoniclanguageandgrammar developedinthepiece.surgesofmaterialsphrasedaccordingtooceanwaveactionand underlyingpulsatinganddroningpitchedmaterials(alludingtothetransmittedsignals frombuoys)createstrongthematicthreadsthroughtheworkandprovideaframework ofnavigationthroughrealfworldglimpses(wavesandbells)andcontrastingabstract soundworlds. Buoywasrealizedduringperiodsofresidencyintheelectroacousticmusicstudiosatthe VisbyInternationalCentreforComposers(VICC,Sweden)andEMSinStockholm (Sweden),andwaspremieredonMarch19,2011duringtheconcertAkusmatiskMagiat thekulturkioskenoftheinstitutetfördigitalakonstarter(idka)ingävle(sweden).buoy wasawardedtheprizeintheconcursointernacionaldecomposiçãoelectroacústica MúsicaViva(Lisbon,Portugal2012).

6 Concert2,Saturday1March :FrancisDhomont Drôles&d oiseaux( ) Premières&traces&du&Choucas(2006) Le&travail&du&rêve( ) Vol&darondes(octophonic)( ) Drôlesd oiseaux( ) Commission:FrenchState(MusicOffice),GMEB Premiere:June2,1985,FestivalSynthèse(Bourges,Cher,France) ToFrançoiseBarrière,ChristianClozier,JeanFClaudeLeduc,andValiaandPatrick Lemoine TwentyFnineyearsafterIcomposedthispurelyelectronicwork theonlyoneiever produced Iexhumeit,asacuriosity.InvitedtocomposeaworkbytheGroupede musiqueexpérimentaledebourges(gmeb),idecidedthatasaguidingprincipleiwould limitmyselftotheuseofmaterialgeneratedbyoscillatorsandothermodulesofthe highfqualityanaloguesynthesizerfromthecharybdestudioandtoveryfewprocessing.i thenaddedanumberofelementsproducedatthegroupedemusiqueexpérimentalede Marseille(GMEM)withthefirstversionoftheSynclavier. Butamorepoeticimagewasguidingme,thatoftheforestasamagicalsymbolofour unconscious.thiswasmyfirstforayintothe deepforest thatihadalreadybeen thinkingabout;initafewremindersofthatfirsteffortcanstillbefound. HereiswhatIfeltaboutit: Today[artists]revealtherelativityofvisiblethings;they expresstheirbeliefthatthevisibleisonlyanisolatedaspectinrelationtotheuniverseas awhole,andthatother,invisibletruthsaretheoverridingfactors. PaulKlee,Berlin, 1920 HerearetracesofluxurianceanddreamFlikeexoticism,abestiaryoftheimaginationthat doesnothideitskinshipwithfrançoisbayle strois&rêves&d oiseau,rogercochini s Lullaby,andIvoMalec sbizarra.itisthefantasyfuniverseofthecomicstrip,orthe fantasticoneoffairytales(inwhichnomenaceisexcluded):thefantasmaticlandscape ofsigns. [Englishtranslation:TomCarter] Drôles&d oiseaux(strangebirds)wasrealizedinthegmebstudiosandinthecomposer s studioin1985f86andpremieredon2june1985aspartofsynthèse,thefestival internationaldemusiqueélectroacoustiquedebourges(france).itwascommissionedby thefrenchstate(musicoffice)andthegroupedemusiqueexpérimentaledebourges (GMEB).Theversionheardherewasreworkedandabridgedinthecomposer sstudioin 2001.

7 PremièrestracesduChoucas(2006) Commission:Réseauxdesartsmédiatiques,withsupportfromtheCCA, Musiques&Recherches Premiere:October21,2006,L Espaceduson M&R,ThéâtreMarni(Brussels, Belgium) TocomposerHansTutschkuandourfriendship Premières&traces&du&Choucas[FirstTracesoftheJackdaw]isasecondpreliminarywork forle&cri&du&choucas,alongworkinprogressaboutfranzkafka sworld,works,and character. Kavka istheczechwordfor jackdaw ( choucas infrench),akindofcrowwhose imageadornedthestorefrontofhermannkafka,franzsfather.thetitlecamefromthe stronganimalsymbolicsfoundintheworksofkafka:adeep,solitary,neverfempathic, oftenfmutedcryonecanhearineachoneofhisnovelsandtales,evenintheslightest fragmentarystory.asforthecapitalcattributedto Choucas inmytitle,itconfirmsthe presenceofapropernoun. NotextyetinthesePremières&traces&du&Choucas,butyouwillfindsonicresearchonand animpressionisticapproachtothekafkaianthemeshighlightedinthewritingsofmarthe Robert. [Englishtranslation:FrançoisCouture,iF09] Premières&traces&du&Choucaswasrealizedin2006inthecomposer sstudioinavignon (France)andwasfirstpremieredonOctober21,2006duringthe13thInternational AcousmaticFestivalL Espaceduson(Brussels,Belgium),thenonNovember2,2006 thecomposer s80thanniversary duringtheakousma(3)festivalatmonumentf National sstudiohydrofquébecinmontréal.premières&traces&du&choucaswascof commissionedbyréseauxdesartsmédiatiqueswithsupportfromthecanadacouncil forthearts(cca),andmusiques&recherches(belgium).premières&traces&du&choucas& wasawardedthepubicprizeatthe7thconcursointernacionaldemúsicaeletroacústica desãopaulo(cimesp 07,Brazil)andwasfinalistinthe PremiereoftheYear atthe 11thPrixOpus2007F08oftheConseilquébécoisdelamusique(CQM). Letravaildurêve( ) Commission:InaFGRM Premiere:July30,2009,25eFestivaldeRadioFranceetMontpellierLanguedocF Roussillon,SallePasteur LeCorum(Montpellier,Hérault,France) Le&travail&du&rêve(TheWorkofDreams)isthefourthautonomouspreliminaryworkfor Le&cri&du&Choucas,alongworkinprogressaboutFranzKafka sworld,works,and character.

8 Inpsychoanalyticalterms,theworkofdreamsdescribesthedevelopmentprocessofthe imagespopulatingoursleepandtheirtricks:associations,distortions,displacements, condensations,adreamworldsyntaxthatsharescommonalitieswithkafka sstyle: My talentforportrayingmydreamlikeinnerlifehasthrustallothermattersintothe background[ ] (Diaries1910F1923:August6,1914,Kafka).Here,mymusicwriting drawsinspirationfromtheunexpectedfigures,associations,andmetamorphosesof theserhetorics,hidingunderillusoryincoherencethedisguiseddiscourseofthebeing s depths. [Englishtranslation:FrançoisCouture,viF09] Le&travail&du&rêvewasrealizedin2009inthecomposer sstudioinavignon(france)and premieredonjuly30,2009duringthe25thfestivalderadiofranceetmontpellier LanguedocFRoussillonattheSallePasteurofLeCoruminMontpellier(France).Anew (2010)versionwaspremieredonJuly30,2010duringtheInventionen2010festivalat thestelisabethfkircheinberlin(germany).itwascommissionedbytheinafgrm. Voldarondes(octophonic)( ) Commission:Musiques&Recherches Premiere:November21,1999,L Espaceduson M&R,XLThéâtreduGrand Midi(Brussels,Belgium) ToAnnetteVandeGorne Provence.Asummerevening,thewindowopenwideontheslowlydarkeningsky. Throughthisdeep,blemishlessblue,theflightofswallows:astrident,constantly changingfeedingdance.thedeliciousnightcontinuestofall.therearethesoundsofthe villagepreparingforthenightfestival;theechoesreachme.ajetbeginsitsdescentinto Marignanne.Howsimpleitallis Itisamomentofpure,contemplativehappiness,barelydisturbedbyafewfamiliar cares,whicharequicklychasedaway.ithinkofverlaine s Theskyabovetheroof,so blue,socalm Thisismusicofmemory:connotative,certainly,butnotrepresentational.Itevokesand continuesapreviouswork,drôles&d oiseaux(1985f86),whichprovidedsomeofthe materialforit. Thespace,too,belongstomemory. [Englishtranslation:TomCarter] Vol&d Arondes(FlightofSwallows)wasrealizedintheMétamorphosesd Orphée multichannelstudio(ohain,belgium)andpremieredon21november1999duringthe 6thInternationalAcousmaticFestivalL EspacedusonintheXLThéâtreduGrandMidi (Brussels,Belgium).ItwascommissionedbyMusiques&Recherches.TherevisedeightF

9 trackversion(2001)waspremieredon15december2001atespacegoinmontréalas partoftherienàvoir(10)concertseriespresentedbyréseaux. Programmenotescredit:electrocd.com/en/bio/dhomont_fr/

10 Concert3,Sunday2March :NewWorksbyNOVARScomposers Weaving&rust(2013F2014) DanielBarreiro Superposition&of&two&Opposites(2013) RosaliaSoriaLuz& Interstellar&Whispers(2014) NikkiSheth Glitches&/&Trajectories(2014) DannySaul Myth&III(2014) HarukaHirayama Autumn&(2014) JamesWynne Moorings(2014) DavidBerezan Allworksarepremiereperformances. Weavingrust( ) DanielBarreiro Asewingmachine,arustyoven,cymbals Threadsinterlaced,gesturesthatmakethefabric... Texturesbuildingupfromrust Weaving& rust was composed in the Electroacoustic Music Studios (Novars Research Centre)atTheUniversityofManchesteraspartofapostFdoctoralresearchsponsoredby thebraziliangovernment(throughcnpq). SuperpositionoftwoOpposites(2013) RosaliaSoriaLuz This piece is inspired by the image Superposition of Two Opposite Twisting Light Modes, from the laboratories of quantum scientists at the University of Vienna. The image is colour decomposed, reprocessed and then sonified. The composition explores the superposition of recorded materials of percussive nature and oscillating synthetic wavesindifferentspacecontextstoevokecalmenvironments. InterstellarWhispers(2014) NikkiSheth Asthetitleofthepiecesuggests,theoriginalrecordingsarevocalsamplesfrom countertenorvocalistrogerhany.onlyseventinyfragmentsoftherecordingstaken wereusedinthefinalversionofthepiece,creatingthethreemainsections.eachof whichbeginswiththeoriginalrecordingsandthendevelopsandexpandsthesounds withtheuseoftexturallayeringandtheexplorationoftheintrinsicsoundqualities withintherecordings. Themainfocusofthepiecewastoinvestigatetheuseofspaceasacompositionaltool. Thisincludedcircumspace,distalspace,gesturalspace,sourceFbondedsectionswith causalgestures,panoramicspace,microphonespaceandspectralspace. The final outcome of the piece is an ethereal five minutes that uses electronic manipulationofthehumanvoicetoinspirethelistenersimaginationandcreateaunique electroacousticcomposition.

11 Glitches/Trajectories(2014) DannySaul Thispiece,asthetitlesuggests,exploresaudiofaults(digital glitches )andspace (specificallytrajectoriesofsound),asarticulatedthroughan8fchannelimage.ichoseto workwithsequencesofsoundcontainingdigitalfaults,whichiachievedthrough subvertingtheuseofseveralcomputerprocessesandtransformationtools.sequences wereproducedbyapplyingdifferent,unorthodoxprocessestothesamesound materials,fromwhichicreatedtexturalandgesturalvariations,allowingthelistenerto identifythatboththetextural(trajectorial)andgestural(glitch)materialisfromthe samefamilyofsourcesounds,albeitbehavingdifferently. DenisSmalley sspectromorphologicalterminologyisfoundtobesuitableindiscussing thepiece;focusthroughoutisonbehaviourandmotion&and&growth&processes.earlier sectionscontainadegreeorimitativeandreactionarybehaviour(active&/&instability,& emergence&/&disappearance&and&empty&/&fill).later,trajectorialsoundmaterialsexplore reaction,&interaction,andgrowthprocessessuchasagglomeration&/&dissipation.&& Theworkmovesthroughseveralstages,focusinginitiallyonnoiseFbasedsections.Some materialshavebeenstylisedtoreferenceearlier(dareisaycruder),electroacoustic productiontechniques,andasthepieceunfoldsthesoundqualitybecomesmore refined.listeningtoschaeffer searlyexperiments,grmworkssuchasákosrózmann s Images&of&the&Dream&and&Death(1978),andParmegiani sclassicworkcapture&éphémère (1967),IfindthatIamdrawn,inpart,towhatIperceivetobeatimeFstampedsound qualityintheserecordings;audioproductionwhich,whilstbeinghighlysophisticatedat thetime,nowseemsmorerawingeneralsoundquality.whilstthismaybetheresultof tapesaturationandearlyrecordingtechnologiesandtechniques,somesoundtypesin Glitches&/&Trajectoriesattempttomimicthesequalities,beingsomewhatdistortedand lowerinresolution;puristsmaybeappalledtodiscoverthatmymaterialsareentirely digitalandhavenotbeendevelopedusing(norhavetheybeentransferredto),tapeat anystage.equallythelistenermaydisagreewiththenotionthatmymaterialsbearany sonicresemblancetocertainqualitiesfoundinearlymusique&concrète&styles. Manyoftheearlysoundmaterialsdevelopedweresubduedandtexturalinnature (dronebased),howeverasthepiecegrew,thematerialsbecamemoreabrasive,andi foundthelinesbetweentextureandgesturewerebecomingincreasinglyblurred.ihave attemptedtoemphasisethisnotionthroughthestructuringofthefinalextendedsection whichappliesbehaviouralvariationstogesturalsoundmaterials(withafocuson perspectivalspace,changesinspectralresolutionandspatialtrajectories),andmaybe perceivedasequalpartstextureandgesture. MythIII(2014) HarukaHirayama Myth is a composition which& consists of three independent movements sharing source materials which have a focus on the transposition and exploration of sound texture acrossalternativecompositionalforces.myth&i&isforaccordion,flute,bassoon,celloand percussion, Myth& II is for fixed media stereo and Myth& III& is for a live multimedia work with electronics and acoustic instruments. Although each movement has its own sonic identity and instrumentation, Myth should be performed as a single composition to sonicallymaximizeitstexturalcontrast.

12 Originally,&Myth&IisinformedbythepaintingtheWitchesSabbathbyFranciscodeGoya anditwascommissionedandpremieredbychaotic.moebiusin2012.itissaidthatthe motifofwitchessabbathisbaseduponwitchfhuntingstorieswrittenbydramatist LeandroMoratín.Goyatriedtodrawthedangerofignoranceinhispaintingjustas peoplesignorancenurturedthehuntofinnocentwomenasiftheywerewitches,which ledtofataldestination;namely,themonsterinhispicturemaybeappearedfromthe sleepofreason.asacomposerifoundanalogiesbetweengoya swarningsandtoday s newformsofignorance.forinstance,aroundthefoolishmythofnuclearpowerbeing safeasasourceofenergyinjapan,despiteitisknownasahighlyseismiccountry. Certainlypeopleknewthatitwasterriblydangerousbutinventedfablestohelpkeep theircollectivemindsawayfromtroubles However,thenuclearpowermythhasbeen disintegratingsincefukushima snucleardisasterin2011. Autumn(2014) JamesWynne Autumnisconcernedwiththetransitionalnatureoftheseason,goingfromaperiodof highenergyandactivitytoatimeoflowenergyandwaiting. Moorings(2014) DavidBerezan Mooringsisthesecondpieceinmyseriesofworksthatexploresmaritimesoundworlds. The first, Buoy&(2011), was concerned with sounds, environments and concepts arising fromseabuoys.moorings,ontheotherhand,developsamusicandsoundworldoutof thesoundsofmaritimevesselsmooringrings,lines(orhawsers)andchains,aswellas thesoundsofboathullsmovingagainstthedifferentkindsofbumpersfoundalongside docks and piers, boat engines and the interaction of water in, around and underneath harbour berths and vessels. All sound material usedin the work was recorded in Visby Harbour(Gotland,Sweden)in2012andtheworkwascompletedintheelectroacoustic music studios at the Visby International Centre for Composers(VICC, Sweden), EMS in Stockholm (Sweden) and University of Manchester (UK). Special thanks to Manuella Blackburnforherassistancewiththerecordings.

13 Concert4,Sunday2March :TrevorWishartandKAIROS ENCOUNTERSINTHEREPUBLICOFHEAVEN TrevorWishart ::Allthecoloursofspeech:: Acts1and2(2011) Encounters brings together everyday stories told by adults and children with the possibilitiesofsoundftransformationofferedbythecomputer.the8fchannelsoundf surroundworkbeginswiththesoundofthewind,formedfromtensofthousandsof human voices, and gradually unfolds the stories of fishermen, farmers and cityf dwellersinthenortheastofengland,accompaniedbyimaginarymusicalinstruments derived directly from the speaking voices we hear. As each story subsides we encounter a sea of human voices organised in unusual ways F speech that waltzes, speech that harmonises with other speakers, clouds of speech that circle the audience. In the finale of each movement, the colours of the voices are abstracted anddevelopedinapurelymusicalfashion,culminatingwithspeechtransforminginto song. TrevorWishartcollectedrecordingsfromhomes,schools,andmeetingFplacesinthe NorthEastofEngland,anddevelopedthesoftwaretomakethispiecepossible,while in residence at the University of Durham(2006F2009). The piece was completed on January 1st 2011, and received its world premiere at the SAGE, Gateshead, and its LondonpremiereatKing sinmay2011.act1waspremieredattheelisabethkirchein BerlininJuly2010. ACT1 Voicewind TheFisherman stale Children sstoriesi SpeechWaltzing TheBudgie TheBellydancer Finale ACT2 TeensGossip TheDancer stale CloudsofSpeech TravellingButcher Children sstoriesii Finale KAIROS(2014) GroupImprovisation Kairos(aGreektermmeaningtherightmoment)wasthedepartmentselectroacoustic ensemblefrom2005f2007.itsexistencesawavarietyofexpressions:improvising

14 concertensemble(appearingatmajorsonicartsfestivals),installations(usingthe verticalityofthefoyerspace,forexample),&amultimediatheatreworkincollaboration withdrama. Thisreunionbringstogethermembersoftheoriginalensemble,withaburgeoningnew groupheadedbyharukahirayama. Tonightsperformanceisbasedaroundsoundsenttousfrom4000milesaway,where foundingmemberalexisguneratneresidesinnorthamerica,aswellasdistanceintime F10yearsofMANTISmemories...

15 MANTIS March 2014 Listening Room Works Room G16 Martin Harris Centre for Music and Drama PLAYLIST: Constantin Popp: Triptych (8-ch) Hayley Hedges: Freezing Point (2-ch) Andrew Garbett: Dream Landscape (2-ch) Lee Fraser: Aerial Vapours (2-ch) Tom Scott: Projection of Dream (A-V, 2-ch) Sam Salem: Poor But Sexy in Berlin (2-ch) Oliver Carman: Saxy (2-ch) David Berezan: Galungan (8-ch) Mark Pilkington: Birth (A-V, 2-ch) Rosalia Soria: 4-Dreams (5.1-ch) Richard Scott: Resonating Bodies (2-ch) Manuella Blackburn: Cajón (2-ch) Arthur Phillips: Drips (2-ch) Nikki Sheth: Golden Hour (2-ch) Brona Martin: A Bit Closer to Home (8-ch) Danny Saul: (piece sent to Nacho) Ignacio Pecino: Singularity (5.1-ch) Ricardo Climent: Sonic Tsunami 2 ch (2003)

16 SoundInstallation:words~signs~assemblage words~signs~assemblagetakesitsthemesfromitsvenue,exploringideascontainedin thenaming&purposeofthejohncaskenlecturetheatre,&whetherthisspare academicspacecanbetranslatedintoacreativeworkbyusingitasasourcefor transformedtext,visuals,&sound. Theworkevolvesfromasimpleexplorationofthevenuesname: Lecture:bothtoread&anoraldiscourse Theatre:aplaceforviewing,tosee,watch,observe JohnCasken,whosenamealsomarksthespace,wasmyPhDsupervisor2002F2007.He kindlyagreedtodonatesomeharmonicmaterialwhichihavesubjectedtovarious transformations,providingakindofauralbackcloth.thevocalmaterialheardisatextof myowngeneratedfromraidingac19thlectureseriesongrammar. Finally,thenotionoftheAcademy,itsoriginsinPlatosoraldiscourseinthesacredolive grovethroughtophilipwhalen: Idonotputdowntheacademybuthaveassumedits functioninmyownperson,andinthestrictestsenseoftheword academy;awalking groveoftrees Conceived&createdbyGavinOsborn MaterialsrealisedbyGavinOsborn&ElizabethDitmanson

17 Biographies Daniel Barreiro (Brazil, 1974) composes mostly in the electroacoustic domain. He was awardedaprizeandamentioninthebourges&competition&2006,firstprizeexfaequoin themetamorphoses&competition&2006&wasafinalistinthevi&cimesp&2005.someofhis workshavebeenincludedincdsreleasedinfrance,belgiumandmexicoandpresented in concerts, festivals and conferences in several countries in Europe, the Americas and Australia. He was an active member of BEAST from 2003 to 2006 and holds a PhD in ElectroacousticCompositionfromThe&University&of&Birmingham&(UK),wherehestudied withjontyharrison,sponsoredbythebraziliangovernmentthroughcapes&foundation. HeisaLecturerinMusicattheFederalUniversityofUberlandiaFUFU(Brazil),wherehe is a member of the Music Technology Research Group (NUMUT) and of the MAMUT improvisationgroup.heiscurrentlyonleavefromufutocarryoutresearchactivitiesas a Visiting Academic (postfdoc) at The University of Manchester (NOVARS Research Centre) sponsored by the Brazilian Ministry of Science, Technology and Innovation (throughcnpq). DavidBerezan:AftercompletingaBAinHistory(1988)attheUniversityofCalgary,a DiplomainComposition(1996)atGrantMacEwanCollege(Edmonton)andaMMusin Composition(2000)attheUniversityofCalgary,DavidBerezanmovedtotheUKand completedaphdinelectroacousticcomposition(2003)attheuniversityofbirmingham (UK).In2012hewasappointedProfessorinElectroacousticMusicCompositionatThe UniversityofManchester(UK),wherehehasacted,since2003,asDirectorofthe ElectroacousticMusicStudiosandMANTIS(ManchesterTheatreinSound).Berezanhas beenawardedinthemusicviva(portugal,2012),bourges(france,2002),luigirussolo (Italy,2002),RadioMagyar(Hungary,2001),SãoPaulo(Brazil,2003, 05),L espacedu son(belgium,2002)andjttp(canada,2000)competitions.hehasworkedinresidence inthestudiosoftheuniversityofcalgary(canada,2011),universitédemontréal (Québec,2011),CMMAS(Mexico,2011),EMS(Sweden,2011, 12),VICC(Sweden,2011, 12),TheBanffCentreoftheArts(Canada,2000, 07),ZKM sinstitutfürmusikund Akustik(Germany,2007),InaFGRM(France,2007),IMEB(France,2007),ESB(Switzerland, 2005),andTamagawaUniversity(Japan,2007). ManuellaBlackburnisanelectroacousticmusiccomposerwhospecializesinacousmatic musiccreation.however,shealsohascomposedforinstrumentsandelectronics,laptop ensembleimprovisations,andmusicfordance.shestudiedmusicattheuniversityof Manchester(England,UK),followedbyaMastersinElectroacousticCompositionwith DavidBerezan.ShebecameamemberofManchesterTheatreinSound(MANTIS)in2006 andcompletedaphdattheuniversityofmanchesterwithricardoclimentin2010.she hasworkedinresidenceinthestudiosofmisomusic(lisbon,portugal),ems(stockholm, Sweden),AtlanticCentrefortheArts(Florida,USA),andKunitachiCollegeofMusic (Tokyo,Japan).Hermusichasbeenperformedatconcerts,festivals,conferencesand galleryexhibitionsinargentina,belgium,brazil,canada,chile,costarica,cuba,france, Germany,Italy,Japan,Korea,Mexico,Portugal,Spain,Sweden,andtheUSA.Shehas receivedanumberofinternationalawardsandprizesforheracousmaticmusicincluding: GrandPrizeintheDigitalArtAwards(Fujisawa,Japan,2007),FirstPrizeinthe7thand 10thConcursoInternacionaldeComposiçãoElectroacústicaMúsicaViva(Lisbon, Portugal,2006, 09),3rdPrizeintheDiffusionCompetition(Ireland,2008),PublicPrizein theconcursointernacionaldecomposiçãoeletroacústica(cemjko,brazil,2007)and

18 HonoraryMentionsintheCentroMexicanoparalaMúsicaylasArtesSonoras(CMMAS) competition(morelia,mexico,2008)andintheconcursointernacionaldemúsica EletroacústicadeSãoPaulo(CIMESP 07,Brazil).SheiscurrentlyalecturerinMusicat LiverpoolHopeUniversity(England,UK). OliverCarmanisacomposerbasedintheNorthWestofEngland.Hecompletedhisfirst degreeinmusicattheuniversityofsheffieldin1998andamastersinelectroacoustic compositionin2004.hewasawardedaphdinelectrofacousticcompositionfromthe UniversityofManchesterin2011,wherehewasanactivememberofMANTIS (ManchesterTheatreinSound).HeisnowlecturerinMusicTechnologyattheUniversity ofliverpool.oliversprimaryoutputisacousmatic;musiccomposedinthestudioand performedintheconcerthallthroughmultipleloudspeakers.healsocomposesmixed musicforliveinstrumentsandelectroacousticsoundaswellashavingresearchinterests insounddiffusion,laptopimprovisation,thevisualrepresentationofelectroacoustic musicandthemusicoffrancisdhomont.hisworkisregularlyperformedthroughoutthe UKandinternationally,andhasalsobeenrecognisedatseveralinternational competitionsincluding;imeb(bourges)2007/2008(prixresidence,selectiontriuvium category),internationalelectroacousticcompetition"pierreschaeffer2007(2ndprize), DiffusionCompositionCompetition2010(3rdPrize),LimerickandDestellosCompetition 2012/2013(selection). FrancisDhomontstudiedunderGinetteWaldmeier,CharlesKoechlinandNadia Boulanger.Inthelate40 s,inparis(france),heintuitivelydiscoveredwithmagneticwire whatpierreschaefferwouldlatercall musiqueconcrète andconsequentlyconducted solitaryexperimentswiththemusicalpossibilitiesofsoundrecording.later,leaving behindinstrumentalwriting,hededicatedhimselfexclusivelytoelectroacoustic composition.anardentproponentofacousmatics,hiswork(since1963)iscomprised exclusivelyofworksfortapebearingwitnesstohiscontinuedinterestinmorphological interplayandambiguitiesbetweensoundandtheimagesitmaycreate.theconseildes artsetdeslettresduquébechasawardedhimaprestigiouscarreergrant.in1999,he wasawardedfivefirstprizesforfourofhisrecentworksatinternationalcompetition (Brazil,Spain,Italy,HungaryandCzechRepublic).In1997,asthewinneroftheCanada CouncilfortheArts VictorMartynLynchFStauntonAward,hewasalsosupportedbythe DAADforaresidenceinBerlin(Germany).FiveFtimewinnerattheBourgesInternational ElectroacousticMusicCompetition(France) themagisteriumprizein1988 and2nd PrizeatPrixArsElectronica1992(Linz,Austria),hehasreceivednumerousother awards.heistheeditorofspecialissuespublishedbymusiques&recherches(belgium) andofélectroacoustiquequébec:l essor(québecelectroacoustics:theexpansion) for Circuit(Montréal).MusicalcoeditoroftheDictionnairedesartsmédiatiques(published byuqam),heisalsolecturerandhasproducedmanyradioprogramsforradiofcanada andradioffrance.in1978f2005,hehasdividedhistimebetweenfranceandquébec, wherehehastaughtattheuniversitédemontréalfrom1980to 96.Sincethefallof 2004helivesinAvignon(France)andregularlypresentshisworksinFranceandabroad. Greattraveller,heparticipatesinseveraljuries.HeisanAssociateComposerofthe CanadianMusicCentre(CMC,1989)andaFoundingMember(1986)andHonorary Member(1989)oftheCanadianElectroacousticCommunity(CEC).InOctober2007, UniversitédeMontréalawardedhimahonoriscausadoctorate.Heisthepresidentof thecollectivelesacousmonautesinmarseille(france)and Ehrenpatron (honour

19 patron)oftheorganizationklangprojekteweimar(germany).henowfocuseson compositionandtheory. HarukaHirayamastudiedcompositionandcomputermusicandreceivedB.A./M.A. degreesfromkunitachicollegeofmusic(tokyo).currentlysheispursuingherphdin ElectroacousticcompositionatNOVARSResearchCentre,theUniversityofManchester. ShewasawardedtheResidencePrizeatthe32ndInternationalCompetitionof ElectroacousticMusicandSonicArt(Bourges,France)andthePaulineOliverousPrizeat thesearchfornewmusiccompetitionbyiawm(usa)in2012.hermusical compositionshavebeenalsoselectedatnumerousinternationalfestivalsand conferences.herresearchinterestsincludecreationofinteractive/multimediamusicand electroacousticcompositions. RosaliaSoriaLuz.BorninMexicoin1979,studiedcompositionatthe"Conservatoriode lasrosas"inmoreliamichoacán,mexico,withjavierálvarezfuentesandjuansebastián Lach.ShealsocompletedaMScinElectronicsEngineeringatMichoacánStateUniversity UMSNHinMexicoin2010.In2012shereceivedthePDSawardsscholarshiptostudyat NOVARS Research Centre at the University of Manchester, supervised by Dr. Ricardo Climent. Her research is focused on composition using State Space models for sonificationandinteractivepieces. GavinOsbornisacomposer,soundartist&flautistbasedintheUK.Hisoutputspans conventionalchamberworks,devisedworksforensembles,openfform,graphic&semif graphicworks,textworks,electroacousticpieceswith&withoutinstruments,& installations.asacomposerfperformer,heoftenworksincollaboationwithotherartists fromawidevarietyofbackgrounds,includingperformanceart,visualart,&dance. RecentcollaborationsincludewithchoreographerCharlotteSpencer&dancersonher projectthe&nature&of&things,&withdancerjenniferflynncrawford&artistlisagortonon hisownproject...tracery&web&of&movements&tracery,&&withliveartpractitionermichael MayhewonMechanical&Air.Appearancesincludethefollowingfestivals&venues: Sonorities,MANTIS,YorkLateMusic,ManchesterInternationalFestival,Futuresonic, INTER/actions,ICMC,IFIMPac,IDAF,&KingsPlace.HeisalsocoFdirectorofTrioAtem, withwhomhehascommissionedover20newworksfromcomposers. DianaSalazarisaScottishFbornandLondonFbasedcomposerandsoundartist.Herwork ranges from acousmatic fixed media to music for instruments with live electronics, installation and crossfdisciplinary collaborations. Following undergraduate and Masters studies at the Royal Scottish Academy of Music and Drama in Glasgow she went on to study for a Ph.D. at the University of Manchester (UK), funded by a UK Arts and HumanitiesResearchCouncilScholarship.Oncompletingherdoctoratesheworkedasa Lecturer, then Senior Lecturer in Music Technology at Kingston University in London, where she was cofdirector of Kingston University Digital Arts Collective(KUDAC). Since 2013shehasbeenaLecturerinMusicatCityUniversityLondon.Herworkshavebeen performedthroughouttheukandinternationally,withbroadcastsonswedishnational Radio, Radio France, and BBC Radio 3 and recognition in competitions such as CIMESP (International Electroacoustic Contest of São Paulo), the Bourges Competition of ElectroacousticMusic,SCRIME,L Espace&du&SonDiffusionCompetition,Prix&Destellosand Música& Viva. Selected works have been released on the Studio PANaroma, Discparc, SCRIME,DriftStationandElektramusiclabels.

20 SamSalem(b.1982)currentlyresidesinManchester(UK),wherehecompletedaMUSM inelectroacousticmusiccompositionin2007andaphdincompositionin2011atthe UniversityofManchester.Hisworkisfocusseduponthesoundsofurbanenvironments: eachofhispiecesfocusesuponaspecificgeographicallocation.hismusicaspiresto illuminateandexplorethehiddenmusicalityandbeautyofhisgeographicalsubjects,as wellashisownrelationshiptohisenvironmentasbothasourceofinspirationand musicalmaterial.hehasundertakenanumberofcreationresidenciesatinstitutions aroundtheworld,includingems(stockholm,2013f14),lamuseencircuit(paris,2012f 13),TechnischeUniversität(Berlin,2012),STEIM(Amsterdam,2011F12)andMusiqueet Recherches(Ohain,2011).Hehasalsobeennominatedandawardedinanumberof internationalcompositioncompetitions,including:concourslucferrari(2012,winner), LuigiRussoloCompetition(2012,AudienceAward),Metamorphoses(2012,Nomination), CompetitionDestellos(2012,Nomination),JoensuuSoundscapeCompositionContest (2011,ThirdPrize),11thMusicaVivaCompositionCompetition(2010,FirstPrizeexF aequo)andmusicanova(2010,honorarymention).samiscofdirectorofthe DistractfoldEnsembleandcurrentlyteachesatLeedsCollegeofMusic. DonalSarsfieldiscurrentlyfinishinghisPhDinElectroacousticCompositionatthe UniversityofManchester. DannySaulisanelectroacousticcomposerfromManchester,UK.Hisinterestsare acousmaticcomposition,space,sounddiffusion,andimprovisation.asaperformerhis involvementinavarietyofexperimentalprojectsoverthepastfewyearshaveincludeda numberofcollaborations,performancesandrecordingswithnotablecontemporary experimentalmusiciansincludingbenfrost(performingmusicfor6guitars,aticeland Airwaves,Reykjavik),Machinefabriek,GregHaines,JasperTX,Xela(TypeRecordings), andsimonscott.dannyhasplayedthroughouttheuk,europe,u.s.aandjapan.heruns theexperimentalrecordlabelwhiteboxrecordings,andhastodatereleasedtwosolo albums,harsh,&final.(whitebox,2009),andkinison& &Goldthwait(HibernateRecordings, 2010).In2012DannywasawardedtheDegreeofMasterofMusicwithDistinctionin ElectroacousticComposition(UniversityofManchester).HeiscurrentlypursuingaPhD underthesupervisionofprofessordavidberezanatthenovarsresearchcentrefor ElectroacousticComposition,UniversityofManchester.Danny sresearchisfundedby thearts&humanitiesresearchcouncil,uk. TomScottstudiedpianoatChethamsSchoolofMusicbeforestudyingonthejoint courseattheroyalnortherncollegeofmusic(rncm)andattheuniversityof Manchester,wherehegainedafirstclasshonoursdegreeinmusicandalsowonthe MusicalesPrize,theShirleyCattarallAwardforpiano,theHargreavesAcademicPrize, theproctorfgreggprizeforperformanceandthesirthomasbeechammedalfor outstandingachievement.hecompletedamastersdegreeinelectroacoustic composition(supportedbya2003prsfoundationscholarship)inwhichhereceiveda distinction.hecompletedhisphdinelectroacousticcompositionattheuniversityof Manchester(supportedbyAHRCfunding).Asacomposer,Tomsworkrangesfrom instrumentalworkstoacousmaticcompositionsandaudio/visualworks.hewasawarded themusiques&recherchesresidencyprizeinmetamorphoses2006(belgium)andhis film"theprojectionofdreams"(2007)wasscreenedattheexposuresfilmfestival.his workhasbeenperformedatfestivalsinbelgium,mexico,spainandgermany.tom

21 currentlylecturesinelectroacousticcompositionattheroyalnortherncollegeofmusic (RNCM).Asapianist,Tommadehisconcertodebutattheageof17withtheHallé orchestraatmanchestersbridgewaterhallplayingprokovievspianoconcertono.1.he hashadconcertoengagementswithchethamssymphonyorchestraandtherncm StringOrchestra,withperformancesatTheBridgewaterHall,theRNCM,andatThe LichfieldFestival.TomhasrecentlycompletedaUKtourasguestsolopianistwithEnglish NationalBallet,playingRhapsodyinBlueoverfortytimesintheirproductionof"Strictly Gershwin".Hisextensiveandwiderangingperformancecareerhasledtoperformances throughouttheukandeurope.hisplayinghasbeenfeaturedontvdocumentariesfor GranadaandBBCTelevision,aswellasonmanyBBCradiobroadcasts.Tomregularly appearsasapianistwiththehalléandthebbcphilharmonicorchestras. NikkiShethisacomposerandmusicianwhocompletedaBAinMusicfrom2009F2012at OxfordBrookesUniversityandQueenslandUniversityofTechnology,Brisbane.Hermain focuswasonvisualmusicandelectroacousticcomposition,workingbothindividuallyand alsobeinginvolvedincollaborativeprojectswithotherstudentsonthecourse.with experienceusingpuredata,adobeauditionandlogicpro,sheexperimentedwithsound, leadingtothecreationofsoundscapeandaudiovisualworks.shehasalsoexploredthe areasofexpandedcinemaandhardwarehacking,goingontopursueafuturein ElectroacousticComposition,specificallyfocusingoninteractiveworksandacousmatic compositionasamastersstudentinelectroacousticcompositionattheuniversityof Manchester. TrevorWishart:(b1946)Composer/performerfromtheNorthofEnglandspecialisingin soundmetamorphosis,andconstructingthesoftwaretomakeitpossible(soundloom/ CDP).HehaslivedandworkedascomposerFinFresidenceinAustralia,Canada,Germany, Holland,Sweden,andtheUSA.Hecreatesmusicwithhisownvoice,forprofessional groups,orinimaginaryworldsconjuredupinthestudio.hisaestheticandtechnical ideasaredescribedinthebooksonsonicart,audibledesignandsoundcomposition (2012).HismostwellFknownworksincludeTheVOXCycle,RedBird,TonguesOfFire, TwoWomen,Imago&andGlobalalia,andpieceshavebeencommissionedbytheParis Biennale,MassachussetsCouncilfortheArtsandHumanities,theDAADinBerlin,the FrenchMinistryofCultureandtheBBCProms.In2008hewasawardedtheGigaFHerz Grandprizeforhislife swork.between2006and2010hewascomposerfinfresidencein thenortheastofengland(basedatdurhamuniversity)creatingthesoundfsurround DigitalOperaEncountersintheRepublicofHeaven,andduring2011,ArtistinResidence attheuniversityofoxford.heiscurrentlyworkingonaprojecttotransform astronomicalandmathematicaldataintomusicalmaterial.hehasalsobeeninvolvedin community,environmentalandeducationalprojects,andhissoundsfunbooksof musicalgameswasrepublishedinjapanese.forfurtherinformationconsult JamesWynnestudiedcompositionatCoventryUniversitywherehebecameinterested inexperimentalandcomputermusic,creatingworksusingchaoticalgorithmsincluding an audiofvisual installation at the Herbert Art Gallery. He is currently studying electroacousticcompositionattheuniversityofmanchester snovarsresearchcentre.

22 MANTIS(ManchesterTheatreinSound) Since2004, MANTIS (David Berezan, Director) has biannually presented concerts of music and sound, featuring compositions and performances enhanced by the use of new technology and digital media. MANTIS combines a broad array of sonic events, which range from the live diffusion of acousmatic works on a 56Floudspeaker sound system(usingtheuniquemantissystem),toliveinstrumentalandelectronicsevents involvinglargeensemblegroupsonstage(themantisbattleofgesturesandtextures for voice, acoustic instruments and electronics). A key aspiration of MANTIS is to promote,disseminateandperformnewworksfromelectroacousticcomposersbasedat TheUniversityofManchester. Concerts normally take place at the Martin Harris Centre at the University of Manchester, but we have also taken festival events to a number of venues in Manchester and the Northwest, such as the Victoria Baths and the Whitworth Art Gallery. We also contribute to our local musical scene by having regular smallerfscale concerts at The Greenroom, Nexus Arts Cafe and more recently at MadLab, in the NorthernQuarter(runbyourstudentsattheUniversityofManchester).Acentralfocus ofmantiscomposersresearchisexperimentationwithindifferentacousticspacesand withnewaudiences.mantisconcertshavetakenplaceinsalford,lancaster,valencia (Spain)andLiverpool. Inthepast,MANTIShasrunthefestivalincollaborationwithSonicArtsNetworkEXPO, LICAinLancaster,theNorthWalesMusicExchangeConference,DigitalMediaValencia, IDKAFSweden, NKFBerlin, empreintes DIGITALes and performers: Esther Lamneck (clarinet), Elizabeth McNutt (flute), Neil Heyde, BBC Singers (with LICA), Kairos ElectronicEnsemble,ChristophedeBezenac(Saxophone),ChristionSebille(Computer), Adam Melvin (saxophone), David Lewis (Percussion), Tom McKinney (Guitar), Iñigo Ibaibarriaga(Saxophones), Idoia Zabaleta(dance), Luo ChaoFyun(Pipa) and Chen WaiF kai(taifchiimproviser),trioatemandpsappha. Since2004,theMANTISfestivalhashostedmanycomposersandguestartistsincluding JontyHarrison,FrancisDhomont,AnnetteVandeGorne,PeteStollery,RajmilFischman, DenisSmalley,JohnYoung,AndrewLewis,BarryTruax,AdrianMooreandmanyothers.

23 NOVARSResearchCentre WorkundertakenbytheNOVARSResearch Centre based in the Studios has consistently achieved the highest success and international profile, sustaining a high level of esteem for the Studios. Research specialisms include Acousmatic Composition, Machine Musicianship and Interactivity, Sound Spatialisation and Diffusion, Performance and Technology andsoundfart. Formoreinformation: Thank5you: MANTIScrewandvolunteers NOVARSResearchCentre MusicFSchoolofArts,HistoriesandCultures MartinHarrisCentreTechnicalstaff(AndyDavison,KarlSpencerandDanPower)and EventsTeam ZochonisTrust Novars Research Centre