Lowell & New York

Traveling once more, and a very good experience and entry into the US via San Francisco. Nice people, if still very busy and slightly confusing . . .
Now completed the first leg of the tour, first to Lowell MA - beautiful little town north of Cambridge and Boston.
Caught up with the good folks of UMass Lowell Music and their wonderful hospitality. They run some terrific degree programs in music education, sound recording technology, music business and performance. Many thanks to Alex Ruthmann and John Shirley:

[A great night out at Boston's Lennox Hotel, w/ an amazing glass of 'The Balvenie']

Then on to New York to catch up with Nora Farrell (now teaching part of the year in our Bachelor of Music Technology program) and Bill Duckworth who's also now supervising some of our QCRC PhD candidates. Thanks for a delicious Thanksgivings Day dinner (that's pumpkin pie, clementines and roasted chestnuts . .!)
Or, as they also call it here – Turkey Day! Pics from the spectacular Macey's Thanksgivings Day Parade:

Flying out today, onward and upward to Montreal & McGill University's Schulich School of Music. Looking forward to it.

Overseas Itinerary Nov-Dec 2010

Just about to hop on a flight for the US. Very much looking forward to seeing old friends again, making new ones, and of course engaging in the various events.

21 Nov – 23 Nov
UMass Lowell, Massachusetts. www.uml.edu/College/arts_sciences/music. MOU follow-up, curriculum review. Prof Wil Moylan, Dr Alex Ruthmann, Dr Alan Williams

24 Nov – 27 Nov
New York. HDR supervision development, music technology history, practice-led research, and Thanksgiving Day. Monroe Street Music, Prof Bill Duckworth, Nora Farrell, Steve Newcomb, Prof Susan-Schmidt Horning.

27 Nov – 1 Dec
Montreal, McGill University www.mcgill.ca/music PentaCon benchmarking, collaboration.
Prof Don McLean. CIRMMT (Centre for Interdisciplinary Research in Music Media and Technology). www.cirmmt.mcgill.ca

2 Dec – 5 Dec
UK, Leeds Metropolitan. www.leedsmet.ac.uk/inn/index2.htm
Presenting paper on 'Remixing modernism' at the 6th International Art of Record Production Conference. www.artofrecordproduction.com/content/view/233/127.

5 Dec – 8 Dec
UK, Manchester. Royal Northern College of Music. www.rncm.ac.uk Research: www.rncm.ac.uk/content/blogsection/8/52/
Staff seminars, HDR development. Prof Jonty Stockdale, Professor Richard Wistreich, Dr Jane Ginsborg.

8 Dec – 11 Dec
London & Guildford, Kingston University. fass.kingston.ac.uk/schools/performance/music
Seminars, practice-led music research. Dr Frank Millward.

No doubt will blog more and send pics over the following weeks.

soundspace

Another new venture, this time with intercultural musicians, improvisation and a surround sound PA system from industry partners, Acoustic Technologies.

We had an interesting, fun gig recently at the Queensland Conservatorium courtyard (in the centre of the building) here in Brisbane on 3 Nov. 2010. Speakers and artists semi-obscured around the mini-rainforest here.

More about the soundspace concept, scores and pictures available at www29.griffith.edu.au/soundspace.

ISME Beijing 2010

A wonderful diversion. Last week we had the pleasure of presenting at and attending the International Music Education Society (ISME) 29th World Conference in Beijing.

Along with others from the Queensland Conservatorium Research Centre, myself and colleague Scott Harrison presented a research paper entitled, Reflecting on reflection-in-action: Supervising practice-based doctorates in music.

What an incredible – and gigantic city! The culture, the friendliness and the wonderful music and art will never be forgotten.

Below, here's a slideshow with images from around Beijing, from the conference & music underscore from the spectacular Chinese opening ceremony.

Monograph

It all began when in my 2009 university performance evaluation rounds, a senior colleague suggested that it might be time for me to think about a ‘monograph’, (I guess considered de rigeur for someone who is a professor in the university ecology). That usually means,

. . . In order to gain respect within the academic community and tenure at a major university, an academic must publish monographs over the course of his or her life. These scholarly treatises provide evidence that the academic is carrying out research in the field and analyzing already published information. A monograph usually brings new light to the subject, and it may contain breakthrough research. It also further refines the academic specialty of the author, and establishes the author as an authority on the topic. [Wisegeek]

. . . It is by definition a single document that forms a complete text in itself. An author may therefore declare his own work to be a monograph by intent, or a reader or critic might define a given text as a monograph for the purpose of analysis. Normally it is used for a work intended to be a complete and detailed exposition of a substantial subject at a level more advanced than that of a textbook. [Wikipedia]

However, like many ‘artists in the academy’, I once did very different professional work before joining the university later in life, transitioning from what they now call a ‘portfolio career’ in music. That is, freelancing around musical performance genres, recording sessions, teaching and composition /production commissions. It was this background that invited my first masterclass in film sound track work at an Australian music conservatorium, later to be augmented by the teaching of classes and eventually a tenured position in 1996.

After working for some 25 years in a often cut-throat industry, I was quickly taken by higher education, the idea of ‘knowledge transfer’, and the new young musicians eager to learn.

Also similar to many of my contemporaries, I found myself drifting further and further away from practicing musicianship, simply because of academic demands – the PhD, grants, administration, strategic planning, email work flow, etc. Odd too, in the light of so much talk and gathering of ‘research equivalent outputs’ right across the university sector in Australia – From the so-called Strand Report, Research in the Creative Arts of 1998, to failed Cat J & H research collections, to the Howard government’s Research Quality Framework (RQF), to the now first Excellence in Research for Australia (ERA) collection in 2010 (mirroring the UK’s RAE rankings, in place for many years now).

Despite these initiatives and chasing the idea of ‘practice-based research’, many academic artists struggle to keep up the chops and/or significant ‘alternate’ research outputs (artworks, new music, films etc), given the high teaching and administration demands of the variously ever-interconnected, ‘flexible’, policy-driven, compliance-oriented, document-oriented modern university life. Perhaps easier for some (like myself) to produce and count journal articles and conference papers – in writing, and/or immerse myself in collaborations producing albums for academic colleagues. [See my publications].

Not that I’m complaining. To the contrary, working in the university sector over the last 15 years has also taught me a lot about reflection, analysis and research; about challenging my assumptions and intellect. Here then, again recalling my colleague’s suggestion to ‘think about a monograph’, I want to consider more about the shape for such an undertaking:

mon·o·graph   [mon-uh-graf, -grahf] –noun
1. a treatise on a particular subject, as a biographical study or study of the works of one artist.
2. a highly detailed and thoroughly documented study or paper written about a limited area of a subject or field of inquiry: scholarly monographs on medieval pigments.
3. an account of a single thing or class of things, as of a species of organism.
[Dictionary.com]

I want to flesh out some of what is emerging as a plan for the next 18 months or so. But broadly, as way to fuse and re-examine my music in the light of the intervening 15 years of experience, and to think about the project in terms of a range of practice-led research products, one end point being the production of an original album of music entitled Monograph.

Next blog entry, I think I should back up a little and give a little run-down on The Story so Far, which bought me to this point.

Winter in Manhattan . .

Back at work in sunny Brisbane now . . after spending some snow time in Manhattan late Jan /Feb.

We loved the snow, being so rare in Australia. Problem is, a good thing can go a little too far sometimes: turns out we got snowed in – what the New Yorkers are calling the 'Blizzard of 2010" - they made celebratory hats and everything! Took us another five days to get a flight out, and got home just in time for those start of year 'working retreats' . . .

However, the extra days did allow me time to argue with myself some more, and finally relent to pick up a gorgeous private stock PRS 513 from the amazing people at Rudy's Soho (ask for Marco if you're there).

Back at the Queensland Conservatorium in Australia, we're now bustling the new year arrival of hundreds of new students. The research higher degree cohort is just growing exponentially - wonderful people with great ideas, in Masters, M.Phil, PhD and our Doctor of Musical Arts. Much new staff work also planned for our research centre, a couple of new albums out, and a new podcast series called 'Behind the Music'.

From the promo:

Behind the Music presents intimate insights from leading musicians into what happens ‘behind the scenes’ as they prepare their art. In music performance, technology, composition, education and research, creative activities are often a response to musical questions arising directly from their artistic practice. These presentations offer a valuable opportunity to reveal a range of creative processes as artists share their personal approaches to such issues.

http://www29.griffith.edu.au/rss/imersd_podcasts.xml

Enjoy.

digital arts conference season

Lots of travel and interesting events over the last couple of weeks. I visited the very spooky Sydney College of the Arts (University of Sydney) for a PhD seminar.

Once a mental institution, now houses academic artists and designers (!) - very beautiful historic building, wonderful artwork and artists, but I'm positive its haunted. 'Nuff said.

Back to Brisbane next, to present a paper 'Authority 3.0' at the fourth annual international CreateWorld 2009 conference on Brisbane's beautiful South Bank.

A great turn out again, with artists from all over the country, from New Zealand and the US. This time, with a new AUC CreateWorld blogsite and well as CreateWorld09 on Twitter.

On the Tuesday (1 Dec), one of the CreateWorld keynotes featured an iChat hook-up to New York with Bill Duckworth and Nora Farrell, talking about their latest Sonic Babylon project and new iPhone app:

Right after the CreateWorld conference, I flew back to Sydney again on 4 Dec to present at the ICoMCS2 conference (that's the second International Conference on Music Communication Science), at the University of New South Wales.

My paper was about a recent album recording project 'Foreign objects & the art of interpretation'. Overall, the conference presented fascinating interdisciplinary collection of people, from psychology, music, education and science.

Xmas soon. Best wishes to everyone for the holiday season.

QCRC videos

Here's a nice little widget from vimeo, for all of our Queensland Conservatorium Research Centre (QCRC) videos.

The long drive to Melbourne & back

Just back from Melbourne, a 1700k driving trip either way from Brisbane (!). Beautiful weather, wonderful Saab 93 cabrio, and glorious country – some pictures from the trip are available on MobileMe.

The main reason for the long drive was to show our visitors from New York, Bill Duckworth and Nora Farrell around the country – especially the outback and some wonderful towns on the slow drive back to Brisbane, including Rutherglen, Katoomba and Bellingen.

In Melbourne, we stayed in the glorious Paramount Apartments overlooking the city.

Bill Duckworth gave lectures about his work at RMIT and at VCAM (Victorian College of the Arts & Music, UniMelb). Here's a video of his lecture from VCAM's cross media workshop (to VCAM's Mark Pollard – thanks so much for the hospitality!):



We also went to SIAL (RMIT's Spatial Information Architecture Laboratory) where Bill also delivered a lecture, but also got to tour their facilities with Lawrence Harvey. Of note was their wonderful studio 'pod', a purpose-built room-within-a-room that looks incredible:

Lawrence and Bill – inside The Pod.

Bill & Nora out front

Thanks to Lawrence, Bill, Nora, Jenny, Glyn, Margaret, John, Mark, Sue, Ian – and the Saab – for a great trip and wonderful memories of Melbourne and the Australian outback.

Sonic Bablyon

We welcome back to Brisbane, New Yorker internet music pioneers William Duckworth and Nora Farrel who were with us for the iOrpheus project in 1997.



This time, they're here to inaugurate a multi-year project titled Sonic Babylon, an art project planting gardens of sound around the world; invisible gardens hanging in the air and heard on mobile devices when visitors pass through.


Occuring from July to September 2009, these gardens include the Queensland Conservatorium Research Centre's Media Gardens in Queensland (Cairns, Noosa, and South Bank), The National Film and Sound Archive's Permanent Sound Garden and National Sound Day 2009 in Canberra, and a Sound Garden Happening at the Apple Store in Melbourne (tbc, September).


Tweets at timecurve (Bill), hypnotone (Nora) and sonicbablyon.

APAR (Artistic Practice as Research) Projects

A couple of ongoing projects at the QCRC (Queensland Conservatorium Research Centre) here in Brisbane. Both form part of the work within the Centre's 'Artistic Practice as Research' cluster.

The Art of Interpretation
A collaboration between Stephen Emmerson (pianist) and Paul Draper (sound producer), this excerpt from Schoenberg’s 3 Piano Pieces Op. 11 draws upon on various interpretive strategies including analysis, reflection, and the use of Schoenberg’s paintings to highlight certain aspects of the performance and recording. The project is based on the premise that a recording is not ‘music’ itself, rather, is a virtual artefact through which an interpretation can be manipulated and enhanced through deliberate interference in the recording and post-production processes.



The piano itself was tracked using some sixteen microphones spaced at different positions throughout the hall which enabled ‘multiple perspectives’ to be attained, then in post-production was 'vertically arranged' and through the use of Digital Signal Processing (DSP) in ways similar to that of orchestration. In contrast to the usual practice where classical piano recordings maintain a single sound and perspective, this project explores the ways in the researcher's interpretation of the music can be expanded and communicated through these manipulations of the sound recordings.

Foreign Objects
This is an excerpt from the new album 'Foreign Objects' by Vanessa Tomlinson and Erik Griswold aka 'Clocked Out', presenting new compositions that pay homage to two giants of contemporary music: Terry Riley, the master of expanded space, and Morton Feldman, the master of intricate patterns.



Produced by Paul Draper, after spending a week of recording in the IMERSD studios the project then moved directly into a live concert event in the Ian Hangar Recital Hall to premier the works, and where these performances were also recorded remotely in IMERSD. The final results are arrangements, edits and integrated sound productions that combine both environments, where the musicians extend the sound landscape of the keyboard through prepared piano to the world of ‘found object’ percussion. Mixing bowls meld into cardboard preparations, roofing tiles into buzzing screws, toy piano into miniature bells.

The QCRC also maintains a Vimeo Group at vimeo.com/groups/qcrc/videos

Musical Futures

Sunday, 10 May 2009 saw a host of performances of asian musics at Brisbane South Bank. Entitled 'Musical Futures', this launch was part of a Queensland Conservatorium Research Centre initiative set up to support the outcomes of a five year international research project, Sustainable futures for music cultures: Towards an ecology of musical diversity.

Prof Huib Schippers (Director, Queensland Conservatorium Research Centre)

The project is funded by the Australian Research Council and involves ten partners across Australia, Europe and the US, including the International Music Council founded by UNESCO in 1946. It aims to increase understanding of the mechanisms of musical sustainability by closely examining ten different music cultures: how musicians interact with communities,how the music industry and governments affect musical life, as well as underlying values and attitudes. It will deliver an online resource, freely accessible to everyone in the world, to assist in improving the chances of survival and success for music cultures.

Here's a couple of videos, shot on the Sunday:

Asia-pacific musical performances, including Gamelan, Kathak dance, Indian ragas, Korean, Vietnamese and Fusion musics

Prof Huib Schippers (Director, QCRC) and Dr Richard Letts (President, International Music Council)

For more about the Musical Futures Foundation, contact l.flenady@griffith.edu.au

Kodak Zi6

We've just purchased a couple of Kodak Zi6s for our research centre at the Queensland Conservatorium. Terrific little unit that shoots in HD, directly to SD-Ram in H.264 format.

Comes with software for Windows, records .movs and so can also be easily used in Apple iPhoto or iMovie. USB flip out allows easy direct transfer to computer and on to web. In this case I've created a Vimeo group at http://vimeo.com/groups/qcrc

'The cast' of our recent Musical Futures events.

Great for interviews, PhD projects, ethnographies, etc.

Inside Music

New public lecture series commences this year at the Con. Entitled Inside Music, these intimate presentations by Conservatorium lecturers and guest artists invite the audience to explore what happens ‘behind the scenes’ as musicians prepare prepare their work. From 11 Mar 2009 in the Queensland Conservatorium's Ian Hanger Recital Hall, comes these thoughts from Gerardo Dirié:


Gerardo Dirié is currently Head of Music Studies at the Queensland Conservatorium in Brisbane, Australia.

He has been active in bringing Latin American music to a wider audience, not only through his work as composer and educator, but also as Assistant Director of Indiana University's Latin American Music Center, first under the direction of Venezuelan composer Ricardo Lorenz, and currently directed by Venezuelan conductor Dr. Carmen Téllez. He assists orchestras, soloists, ensembles and scholars from around the world in programming and studying Latin American music. For more about Gerardo and contact information, see www.gerardodirie.net

And so to 2009 . .

Just back from some leave spent in beautiful New Zealand.

Some more pics here at mobile me, New Zealand North Island: Bay of Islands, Auckland, Napier, Gisborne, Rotrua, Copthorne.

Upcoming concerts calendar:

Greatly looking forward to Jeff Beck touring Australia after a very long absence. He's in Brisbane next week (29 January), accompanied by wonderful musicians, Vinnie Colaiuta on drums, David Sancious on keyboards and the sensational young Australian bassist, Tal Wilkenfeld.



In February, Grammy Award winning pianist-composer-bandleader Chick Corea and guitarist John McLaughlin tour Australia and New Zealand - joining forces for the first time, I believe, since they were both members of Miles Davis’ Bitches Brew era band over forty years ago. Playing music with Kenny Garrett, Christian McBride and Vinne Colaiuta, the Chick Corea and John McLaughlin Five Peace Band should be amazing. Unfortunately, not coming to Brisbane, but at the Sydney Opera house, on 20 February.



Have a good year, everyone!

Music for the banal . .

Great to be back in Brisbane, and back in the recording studio (IMERSD) once again, following the first half of the year writing, teaching & travelling. This time, working with Con resident percussionist and musician extraodinaire, Dr Vanessa Tomlinson.

These studio sessions were originally intended to be somewhat of a 'warm up' for an album and a concert in September with Vanessa's pianist/composer partner Erik Griswold in their Clocked Out Duo. However, they've now taken on a life of their own, with some stunning improvisations from Vanessa. Look out for a new solo album in the near future, perhaps a parallel SAC-D release because this stuff is just made for surround.

The major work is  a 40-odd minute piece that features Vanessa using all kinds of 'ordinary objects' to make the most extraordinary sounds, rhythms and timbres. Entitled Music for the Banal, the Obvious, the Everyday, this piece moves in and out of all kinds of perspectives and harmonics - sandpaper, kitchen bowls, clay tiles, rice and bottlers, all played with a variety of sticks, mallets and techniques.

On a second, as yet untitled piece, Vanessa goes to work with water and percussion.

When we started, there were all kinds of ideas for post-production and re-interpretation in the mix. However, now its seems more like Vanessa borrows much from the electro-acoustic tradition yet performs this live. Therefore we've mic'd and recorded from a whole range of perspectives and sense that the final mix will involve more about changing perspectives in the performer's mind, and in re-interpreting this in a 'performance mix' of the piece.

Here's a few teasers. First , a section from a performance on everyday metal kitchen bowls (good for beating eggs, but also, for great percussion . . .)

Then there's playing on a whole range of trinkets: tiles, clay pot, bottles:

And finally, a small gong played in a tub of water:

Also great to see a number of student friends here: thanks to James Tonkin who has been working with us in terms of tracking the work as an ethnographic exercise. See if we can't understand a little more about the studio creative process and evolution. Also thanks to (recent PhD completion!) David Carter, who's ears and ideas are just outstanding.