International Network Lectures & Residencies 2015-17

Prof Monty Adkins (Huddersfield, UK)

University of Montreal (CAN)

28 January 2015

Nodalism and Creative Practice

This paper proposes the notion of Nodalism as a means describing contemporary culture and of understanding my own creative practice in electronic music composition. It draws on theories and ideas from Boden, Lacan, Deleuze, Guatarri, and Gochenour et al to demonstrate how networks of ideas or connectionist neural models of cognitive behaviour can be used to contextualize, understand and become a creative tool for the creation of contemporary electronic music.

8 October 2015

University of Mexico, Morelia (MEX)

Nodalism and Post-Acousmatic Thinking

 [Prof Monty Adkins delivers his lecture, Nodalism and Post-Acousmatic Thinking, at the University of Mexico, Morelia]

[Prof Monty Adkins delivers his lecture, Nodalism and Post-Acousmatic Thinking, at the University of Mexico, Morelia]

Prof Aaron Cassidy (Huddersfield, UK)

University of Chicago (USA) / Northwestern University (USA)

18-19 May 2015

Gestural modelling and compositional constraints: the articulation of accident as creative method

This presentation discusses my approach to topographical mapping, boundary spaces, and physical modeling in  works employing a newly developed, unified multi-parametric notation system. In particular, it examines the ways in which limited collections of physical action types can “push against” constructed, dynamic, multi-planar bounding windows. The friction between these two forces is at the heart of the sonic and physical gestural material of my recent work and encourages unusual, unexpected, and often unpredictable materials to emerge. Works discussed include And the scream, Bacon’s scream, is the operation through which the entire body escapes through the mouth (2005-2009), Second String Quartet (2010), and the first public presentation of the complete version of the extractable work for multi-channel electronics from The wreck of former boundaries, a work in progress for two trumpets, ensemble, and electronics, to be premiered in late 2016. 

Harvard University (USA)

30 November 2015


 Columbia University (USA)

2 December 2015

Prof Michael Clarke / Dr Frédéric Dufeu (University of Huddersfield, UK)

Stanford University (USA)

2 - 4 March 2015

TaCEM project

Michael Clarke and Frédéric Dufeu visited CCRMA (Center for Computer Research in Music and Acoustics) at Stanford University from March 2nd to 4th, 2015. Their primary goal was to visit composer John Chowning, whose emblematic work Stria is featured as a case study within the AHRC-funded TaCEM project. Research and discussions with the composer enabled them to fine-tune preliminary research, to gather unpublished documentation that led to the opportunity to reconstruct Chowning's entire algorithm as used to compose Stria in 1977, and to record filmed interviews that are to be integrated in the TaCEM software. 

Dr Alex Harker (Huddersfield, UK)

NoTAM  | Norwegian Centre for Technology in Music and the Arts

Residency: 10 - 25 August 2015

A residency to collaboratively develop creative sound processing tools for generating texturally and spatially rich, immersive materials for 3D sound environments.

A large body of work in the area of 3D sound exists concentrating on possibilities of spatial trajectories and accurate localisation. This residency will focus on a different approach, in which multiple components strands, derived from recorded source materials are spatialised to make a complex sonic environment, prioritising spatial diffuseness and complexity over accurate localisation. The residency will draw on technical expertise at NOTAM, as well as my programming skills, but focus on the creative and aesthetic potential of such approaches, with a set of short study examples/pieces forming a focus for addressing artistic questions and effectively supporting future larger compositional work.

Dr Bryn Harrison (Huddersfield, UK)

Escola Superior de Música de Catalunya (ESP)

Residency: October 2015 - January 2016


Bryn Harrison takes up residency at the Escola Superior de Música de Catalunya in Barcelona during his sabbatical leave in the forthcoming semester (October 2015-January 2016). Harrison will deliver a series of lectures and workshops to composition students at the institute over the course of seven visits as well as attending adjudicating prizes. 

Dr Philip Thomas (Huddersfield, UK)

Cornell University (USA)

25 March 2015

Christian Wolff Birthday Recital / Doctoral Workshops

Philip Thomas presented the North American premieres of three new works composed for him in honour of leading experimental composer Christian Wolff’s 80th birthday year. Wolff’s latest work for solo piano ‘Sailing By’ was performed alongside Howard Skempton’s ‘Oculus’ and Michael Finnissy’s 50-minute epic ‘Beat Generation Ballads’. The following day Philip led workshops and tutorials with the doctoral students in performance and composition. Cornell is increasingly active in the field of experimental music, with Professor Benjamin Piekut being one of the leaders internationally in new musicological approaches to experimentalism in music. 

Prof Liza Lim (Huddersfield, UK)

Stanford University (USA) 

12-15 January 2016

12-15 January - Collaboration with Séverine Ballon, violoncello

12 January - Guest Composition Lecture


Prof Pierre Alexandre Tremblay

Edgard Varèse Guest Professor for Computer Music, Technical University Berlin (DEU)

Winter 2015-Spring 2015

28 October 2014: HDK Utrecht (NLD)

Tactile Approaches to Sound Manipulation

In this talk, music interaction researcher and musician Diemo Schwarz (Ircam, Paris), and composition and improvisation professor Pierre Alexander Tremblay (HISS, CeReNeM, Huddersfield) will present ways to enhance interaction with digital sound transformation and synthesis through the use of various objects, materials and interfaces.  We will mainly focus on using contact gestures on arbitrary surfaces or objects, but also show examples of readily available tangible interfaces (e.g. smartphones, tapioca or water), as well as augmented traditional musical instruments. The interaction is tangible and embodied and can make use of a variety of everyday gestures, although we will also focus on the expert gestures of musicians.
In combination with concatenative synthesis and audio mosaicing, this makes the sonic richness of large sound corpora, accessed via navigation through a timbral descriptor space, playable via intuitive gestural interaction.
Some concerns of live performances with technology will also be addressed, especially when playing with others in improvisational contexts.

4 March 2015: CÉGEP St-Laurent (CAN)

Récent développements de ma démarche compositionelle.

[Abstract coming soon]

16 April 2015: NYU Steinhardt (USA)

Recycling Virtuosity: Writing for New Interfaces

In this presentation, Pierre Alexandre Tremblay will present his reflections on writing for the Roli Seaboard (, and more generally on dealing with virtuosity within the context of chamber music performance with electronics. This will be anchored in Tremblay’s on-going research where compositional, technical and performative considerations are systemically addressed, using their web of interactions in positive, creative, cross-pollinating ways, resulting in an improved musical experience for the composer, the performer and the public. A sample of Tremblay's music and publications is available on

17 April 2015: Columbia's CMC (USA)

On Blurring Taxonomies: a Constructive Convergences of Practices

In this presentation, Pierre Alexandre will introduce his musical biases on improvisation, composition, studio, liveness, techniques and collaboration; then he will highlight their converging consequences in his latest works (chamber mixed music for concert hall and/or jazz club, and fixed media pieces), and in his Huddersfield studio lab's projects ( This will be followed by discussions, questions and hands-on examples if appropriate.

9 November 2015: Princeton University (USA)

Lecture and Workshop on Laptop Performance with the PLOrk, Princeton University