Thursday 15 January, 11:00 am - Ó Riada Hall, Music Building, UCC
Fiachra O'Corragain, Hollas Longton, Mary O'Brien and Conal Ryan more details
Thursday 22 January, 11:00 am - Ó Riada Hall, Music Building, UCC
Using meteorological phenomena as a springboard for composing solos with live electronics
Franco/American composer and clarinetist Carol Robinson is particularly interested in sound, expression, and communication. Equally at ease in the classical, contemporary or experimental realms, she performs in major concert halls and festivals the world over, collaborating with choreographers, video artists, photographers, and musicians from diverce horizons. She has received commissions to compose for concert installations, radio, dance and film. Her works have been released on the PLUSH, AYLER, SHIIIN and Expérience de vol labels, and recorded by Radio France, the Hessicherundfunk, Sarlandisherundfunk, National Lithuanian Radio, and ARTE. Her monograph recordings include music by Scelsi, Feldman, Nono, and Berio for MODE, as well as classical, alternative rock and improvised music for various labels. more details
Thursday 29 January, 11:00 am - Ó Riada Hall, Music Building, UCC
Is Early Music White?
Melanie Marshall is a musicologist at UCC with research and teaching interests in gender, sexuality and eroticism in music, and music of early modern Italy. Recent publications include a chapter on fictional women voicing resistance in Sexualities, Textualities, Art and Music in Early Modern Italy (Ashgate, 2014), co-edited by Melanie with Linda L. Carroll and Katherine A. McIver, and ‘Consuming Gaga,’ in a volume that Melanie co-edited with Martin Iddon: Lady Gaga and Popular Music: Performing Gender, Fashion and Culture (Routledge, 2014). She has an article on purity in early music forthcoming in Women and Music: A Journal of Gender and Culture, and a chapter on masculinity at the court of Ferrara will be published in the new year in Eroticism in Early Modern Music, ed. Bonnie Blackburn and Laurie Stras (Ashgate).
Thursday 05 February, 11:00 am - Ó Riada Hall, Music Building, UCC Dancing in the Fields: Imagined Landscapes and Virtual Locality in Indigenous Andean Music Videos
The move from analogue audio cassette to digital VCD (Video Compact Disc) in around 2003, as a primary format for recorded music, marked a remarkable shift for music production and consumption in the Bolivian Andes. This cheap digital technology both opened up new markets among low-income indigenous people, and enabled music entrepreneurs from such groups to create their own music video productions. It quickly became almost unthinkable to produce a music recording without video images – a radical shift in music’s ontology. This presentation explores the character of these images, reflecting on continuities and contrasts with well-established music video conventions in Europe and North America. In particular, it focuses on the tendency of Andean music videos…more details
Thursday 12 February, 11:00 am - Ó Riada Hall, Music Building, UCC A Different Tune - Traditional Musician and Composer
Niall Vallely has been working at composing traditional-style tunes since the early 1990s. As well as recording these on his own albums, his tunes have been recorded by leading acts such as Lunasa, KAN, Michael McGoldrick, John Mc Cusker, Allan Kelly and Scottish acts the Poozies, Daimh, Gabe McVarish and Duncan Chisholm as well as bands from Europe, Asia and the US, while some of them have become ‘standards’ in sessions throughout the world. In more recent years he has been expanding the scope of his compositions to embrace larger scale forms and instrumentation. The Singing Stream written for four sets of Uilleann Pipes was commissioned by the William Kennedy Piping Festival and had performances in 2002 and 2003. Major works since then have included Flight-Imeacht – a 20-minute piece for traditional…more details
Thursday 19 February, 11:00 am - Ó Riada Hall, Music Building, UCC The African Musical Work?
In 1997 South African musicologist Sallyann Goodall presented a paper on ‘Herding the Sacred Cows In New Pastures’, describing how ethno/musicology in post-apartheid South Africa could help to bring ‘other’ world musics into university curricula alongside the (then) entrenched canon of Western classical music and masterworks. Amalgamating the claims of competing ‘-ologies- - studying music as both ‘work’ and ‘performance culture’ - was part of her argument for moving the sacred cow, WCM into a new space alongside ‘other’ cows, where all were treated as newcomers and none were sacrosanct. More recently, African traditional music, popular music and choral music have emerged out of post-apartheid discourse as new kinds of sacred cows in South Africa, raising questions around what constitutes an ‘African musical work’. Christine Lucia will present two compositions by African composer Joshua Pulumo Mohapeloa from her current critical…more details
Thursday 26 February, 11:00 am - Boole Library Funding opportunities for Early Stage Researchers in Music and the Performing Arts (The Research Skills Room, Boole Library)
Allen White is the Research Support Officer for the College of Arts, Celtic Studies and Social Sciences (since Sept 2012). In this role he helps academic and research staff develop applications to different national and international funders alongside developing research strategy and capacity in the College. He has worked on successive research projects funded by Marie Curie (2006-2009) and NORFACE (2010-2012) in the area of migrations studies, children and families. Prior to this he worked as a lecturer in the University of Wales, Lampeter and Nottingham Trent University. He is the author of over 20 peer-reviewed publications [including 11 articles, 3 co-authored/edited books, 3 co-edited special issues and 4 book chapters] over 2008-14 and the generation…more details
Thursday 05 March, 11:00 am - Ó Riada Hall, Music Building, UCC Music and the Posthuman Ear: Towards a Critique
In response to the growth of media technologies, and their role in inflecting our natural sensory experience of the world, the discourse of Posthumanism has arisen as an intellectual and cultural movement that believes in improving the human condition through applied reason and an embrace of new technologies. It encompasses a growing collection of ideas concerning human-technology relations shared between the literary humanities, computer science, and the bio-medical sciences. One of its premises is that the biological process of human evolution will be complemented and eventually overtaken by advances in genetic, wearable and implantable technologies that artificially expedite the evolutionary process.
The discourse of Posthumanism has rarely been applied to music. This paper considers its relevance for musical listening in the context of cochlea implants and…more details
Thursday 12 March, 11:00 am - Ó Riada Hall, Music Building, UCC Finding/Improvising/Composing
Anthony Kelly and David Stalling have been collaborating on a series of sound and visual works since 2003. Their collaboration encompasses works in multiple forms and media. Using found materials and improvisation as frequent points of departure, they create sound and audiovisual compositions ranging from small-scale interventions to immersive, multi-sensory installations, which combine field recordings, live sound, objects and still/moving images. Kelly and Stalling also perform live improvisations, as a duo as well as with others, such as The Quiet Club, Strange Attractor, Barbara Lüneburg, David Toop, Stephen Vitiello, and Alessandro Bosetti, amongst others. Some of their recent performances include Just Listening, LSAD Gallery Limerick; the i-and-e festival 2011, Dublin; Sonic Vigil, Triskel Christchurch, Cork; Hilltown New Music Festival 2011, Visual in Carlow; Soundwave 2, Sirius Arts Centre, Cobh and Kaleidoscope at The Odessa Club.
Thursday 19 March, 11:00 am - Ó Riada Hall, Music Building, UCC Enhancing Audience Engagement in Live Concerts through Deepening Access to Performers and Composers
For a number of years, a group of staff at the Guildhall School of Music & Drama have been experimenting with the potentialities of deepening the connection between those on stage and those in the audience through the use of "enriching" processes which extend outside the space-time boundaries of the live concert itself. These have included audience attendance at rehearsals, participation in "meet the composer/performer" pre-sessions, and post-concert feedback sessions where audiences are invited to articulate their experiences for the benefit of the musicians and each other.
Some examples of this work will be described, together with the exploratory and evaluative research on their impact. This will include an account of…more details