Sound Junction 2009: June 5th and 6th
University of Sheffield Drama Studio
Shearwood Road. Sheffield. S10 2TD (map)
Special Guest: François Bayle François Bayle has been at the forefront of acousmatic music for over 40 years. He was the director of the Groupe de Recherches Musicales from 1966 until 1997.
5th June, 18:00. Concert I - 'The Soundhouse'
A concert of work from users of the Soundhouse, the department's flagship studio and composition suite.
This concert will feature music by undergraduate and postgraduate students. More and more composers are taking advantage of freely available open source software to create new, exciting sound-worlds. All new work will be diffused over a 24 channel computer-controlled spatialisation system.
5th June, 20:00. Concert II - François Bayle
Programme:
- Erosphère /2 : Eros bleu - La fin du bruit - 17' - four channel (1980 / revision 2009 - création)
- Erosphère /3 : Eros noir - Toupie dans le ciel - 23' four channel (1980 / revision 2009 - création)
- L'Expérience Acoustique 5/6 : Métaphore + Lignes et points, Journal - 17' four channel + video (1966 / 71) with images by Piotr Kamler
- Univers nerveux, in memoriam K. Stockhausen - octophonic - 22' (2005 / 07) - 1st audition
Extract from Toupie dans le ciel (2:00 mp3)
Bayle's music has a lightness of touch and a sense of space that quickly transports you to new worlds.
6th June, 12:00. Soundhouse opening event with François Bayle
Enjoy a glass of wine and come and have a look around the new studios.
6th June, 13:00. Concert III - 'International'
To include works by:
- Robert Dow - Burnt Umber (2002) stereo
- Erdem Helvacioglu - Blank Mirror (2008) stereo
- Hans Tutschku - Distance liquide (2007) 8 channel
- Christian Zanesi - Profil-Désir (1988) stereo
- Pete Batchelor - Kaleidoscope: Fissure (2006) 8 channel
- Adrian Moore - Surface (2008) 7.1
Sound Junction concludes with the very latest in contemporary electroacoustic music and a 'classic' by Christian Zanesi, who worked alongside François Bayle for many years at the GRM. These pieces were selected because they present really plausible sonic environments, often highly immersive, where the imagination is left to its own devices.