Forum for Innovation in Music Production and Composition (FIMPaC) (FIMPaC 2010)
Venue: The Venue
|Event Date/Time: May 20, 2010||End Date/Time: May 21, 2010|
|Registration Date: May 19, 2010|
In Association with: Journal for Music, Technology and Education
Venue: Leeds College of Music: The Venue
Date: Thu, 20 May, 2010 - Fri, 21 May, 2010
Booking form: http://www.lcm.ac.uk/research-conference/FIMPaC.htm
Jazzie B (Soul II Soul) will present insights to the commercial music industry from a personal perspective and will be available to talk to delegates.
David Toop will open the second day of the conference with a paper entitled 'It's After the End of the World - Don't You Know That Yet? (with apologies to Sun Ra): Ghosts, Cyborgs, Straw Dogs and the potential of sound.'
Julian Brooks â€“ PhD researcher (University of Huddersfield) 'Who plays the mixing desk and why titles matter'.
Dr Martin Blain (Manchester Metropolitan University) 'Laptop performance project (MMUIe): issues in performance practice, composition and improvisation â€“ a case study'.
Adam Stansbie (Leeds Metropolitan University) 'Sounds, works, agents and listeners; a model of acousmatic musical performance'.
Chris Ruffoni 'Can avant-rock speak the same language as experimental music?'
Dr Robert Wilsmore (York St John University) 'The demons and the divine: unfixing replication in the pedagogy of music'.
Jon Aveyard (University of Central Lancashire) 'Spatial and subjective points-of-audition in binaural recordings'.
Robert Ratcliffe (Keele University) 'New forms of hybrid discourse: an exploration of stylistic and procedural cross-fertilisation between contemporary art music and electronic dance music'.
Dr Mark Marrington (Leeds College of Music) 'DAW technology and the student composer'.
Rob Godman (University of Hertfordshire) 'Reflections on Duel; Performers, Performances, technology, and the audience'.
Dr Dorothy Ker and Dr Dave Moore (University of Sheffield) 'Collaboratory project: breaking new ground at undergraduate level with real-time tools in real space'.
Dr Andrew King (University of Hull) 'A case-study to examine pedagogical approaches to digital and analogue mixing consoles'.
Rebecca Summers (University of Wolverhampton) and Paul Summers (Birmingham City University) 'Using screen capture software in student feedback to improve quality of music technology assignments'.
J. Simon van der Walt (Royal Scottish Academy of Music and Drama) 'Keeping the tits; celebrating postmodern irony in â€˜The Whirliesâ€™'.
Dr Philip Mcintyre (University of Newcastle, Australia) 'Rethinking the creative process: The systems model of creativity applied to popular music songwriting'.
Ed Hughes (University of Sussex) 'Cinema and opera â€“ two technologies in transition'.
Dr Frank Millward (Kingston University, London) 'Visiosonics â€“ the creation of sounds/image works â€“ Re-evaluating the idea of composer as â€˜sonic designerâ€™'.
â€˜PERIPHERY â€“ Engaging the listener using psychoacoustic phenomenaâ€™ (Robert Malone).
â€˜Cantor Sets for Algorithmic Compositionâ€™ (Oliver Hancock â€“ Leeds College of Music).
â€˜Profiling of Academically Successful and Unsuccessful Students on Music Technology and Production Degree Coursesâ€™ (Dr Jonathan P Wakefield and Ian Lawlor â€“ University of Huddersfield).
â€˜CORRIVALRY â€“ An exploration of cross-discipline collaborative processâ€™ (Andrew Greaves and Robert Malone).
Dr Dale Perkins