Call is now Closed.

Conference rates are inclusive of all scheduled presentations, panels and workshops. The College has a licensed café bar for the purchase of refreshments & foods.

Single Delegate Rates

Early booking rate (book before 30th March 2012) 
£110 (£90*)            

Full conference rate (from 31st March 2012) £130 (£105*)           



Single day rate
Early booking rate (book before 30th March 2012)
£60 (£50*)               

Full single day rate (from Monday 31st March 2012) £70 (£60*)                 

Institutional Rates

Early booking rate (book before 30th March 2012) £210                         

Full Institutional rate (from Monday 31st March 2012) £235                         

Single day Institutional rate
Early booking rate (book before 30th March 2012) £115                          

Full institutional single day Inrate (from Monday 31st March 2012) £135       

Conference dinner: Thursday 26th April 2012 at 6pm, ‘The Wardrobe‘ - (places limited so please book early): £21.50 (2 courses and half a bottle of wine)                  

*Reduced rate – Applies to self-financing delegates who are in full-time education, unemployed or senior citizens.

**Institutional rate – Entitles up to three people from a single institution to attend.Optional Events

Official Hotel Partner

Leeds College of Music is delighted to partner with the Leeds Marriott Hotel to offer its conference delegates, student parents and guests the following exclusive discount:

From £89 Bed & Breakfast - off peak (Thursday/Friday/Sunday)
From £99 Bed & Breakfast - on peak (Saturday/Monday, Tuesday Wednesday)

For further details on terms of this offer and availability please follow this link, simply add in your stay details, check the corporate/promotional code LMO is in place and the best Leeds College of Music rate will be available for you.

Thursday 26^th April

The Venue Bar  - Paper session – 1

10.00-10.30

A Wireless, Real-Time Controller For Sound Diffusion In An Interactive Sensory Environment

Anton Jidkov

10.30-11.00       

blue: A Multi-Paradigm Composing System

Steven Yi

11.00-11.30

Live Cell

Nikos Stavropoulos & Kingsley Ash

11.30-12.00

Looking at vibro-tactile feedback in live electronic performances

Tychonas Michailidis

12.00-13.00 - n.one^-10 Concert 1 - The Venue

Robert Bentall

Sprit Level  15’

acousmatic

Andrew Dolfin

Mint Cascade 10’

acousmatic

Gerard Gormley

Testure 7’

acousmatic

Scott Barton

For steps that grow when climbed 8’

acousmatic

Gaël Tissot

Le temps d'un rivage 11’

acousmatic

14.35-15.35 – Recital Room (room 219)

David Toop

Special guest David Toop will give his inaugural lecture as the PSRC Visiting Professor)

16.30-17.30 - n.one^-10 Concert 2 - The Venue

Freida Abtan

Flight of Birds (redux) 12’

audio-visual

Lee Fraser

Aerial Vapours 10’

acousmatic

Andrew Hill

Vox Lupo-o 7’

acousmatic

Nikos Stavropoulos

Granatum 8’

acousmatic

Jake Rundall

Silica 6’

acousmatic

Manuella Blackburn

Karita oto (Borrowed Sound) 15’

Acousmatic

Evening Concert (room 219)

20.00-21.30

Daria Baiocchi

Piano inside 7’

Piano and electronics

Tychonas Michailidis

Live mechanics

Piano and live electronics

Monty Adkins

Four Shibusa (no.4) 9’

Clarinet – Jonathan Sage

Francis Heery

Scope 8’

Cello – Charlotte Bishop

Kingsley Ash & Nikos Stavropoulos

Live Cell

Brian Lock

Sonata for Clarinet, iPad and Sequencer

Clarinet - Mark van de Wiel

Robert MacKay

Equanimity 7’

Clarinet and Computer

Haruka Hirayama

Tints of July 10’

flute, guitar and live electronics

Friday 27^th April

The Venue Bar  - Paper session – 2

9.30-10.00

Movement and Gesture in Videomusic

Freida Abtan

10.00-10.30

Composition as Interaction: The Significance of Digitally Mediated Compositional Workflow in Electroacoustic Music

Visa Kuoppala

10.30-11.00       

Electraoacoustic music at G.R.M. (Paris): a plastic art?

Gaël Tissot

11.00-11.30

Clips and Clicks the consequences of Perfecting Music.

Macon Holt

12.00-13.00 - n.one^-10 Concert 3 - The Venue

Felipe Otondo

IRAMA 10’

acousmatic

Ambrose Seddon

Fleeting Strands 14’

acousmatic

Frederico Macedo

Night Song 1 In an Open Forest – In the Sky with Bats – In a Cave 11’

acousmatic

Aidan Deery

En Route 9’

acousmatic

Ed Wright

ConChords 12’

Acousmatic

David Cross

Interrupción Mambo 11’

acousmatic

The Venue Bar  - Paper session 3

14.00-14.30

The Aesthetics of Autonomy:  'One-Man-Band' and the Composition Process

Robert Stillman

14.30-15.00

Handheld Orchestra

Matthew C. Applegate

15.00-15.30       

Spatial sound as an interdisciplinary teaching tool

Felipe Otondo

12.00-13.00 - n.one^-10 Concert 4 - The Venue

Ryo Ikeshiro

Construction in Zhuangzi  12’

audio-visual

Philip Reeder

Upside Outward 7’

acousmatic

David Berezan

Buoy 11’

acousmatic

LCoM Student Pieces

Oliver Curry

            The Fireworks Stop 3’

Fernando Heftye

Arcade 4’

Anna Wright

Unnamed 5’

Sam Salem

The Sun Warms the Memory 12’

acousmatic

Adam Stansbie

Fractions 9’

Keynote Artist Concert (Tickets on sale at LCoM Box Office)

Michel Chion

Sambas Pour Un Jour De Pluie (1984) 10'

musique concrète

Credo De La Missa Obscura (1992) 20’

musique concrète

Le Souffle Court (2009) extrait de La Vie En Prose 28'

musique concrete

Club Night – live music and electronics at The Wardrobe

LAM (Live Algorithms for Music)

The LAM network is a group of computer music composers focusing on the paradigm of autonomous algorithms interacting with human improvisers in real time.

Kingsley Ash

If and only if is a live laptop performance that combines traditional laptop improvisation with elements of live coding. Data generated from the live manipulation of Markov chain probability weightings is used to generate and process sound materials in real time. These sound materials continue to evolve under the direction of the Markhov chains, while the performer turns his attention to other layers of sound. The resulting piece is complex and detailed, with the temporal and spectral space to allow the noiselessness of the data to make its presence unheard.

Christian F. Schiller

bund for e-bass & snare drum

bund is a piece for e-bass & snare-drum by Austrian composer chfs = Christian F. Schiller. Composed, played & recorded (chfs only plays e-bass on bund and the bass-frequencies play the snare-drum) in 2011

Alo Allik

f(x) - an audiovisual performance

f(x) is an audiovisual performance which combines some of the fundamental concepts from computation theory and artificial life with electroacoustic music composition and generative computer graphics to create an immersive digital environment. The performance is essentially an exploration of complex 3-dimensional continuous cellular automata behavior, which is translated into acoustic and visual structures and patterns while consciously maintaining and emphasizing the physical and conceptual differences between the modalities. technology has provided an incredible variety of opportunities for artistic exploration and has fostered new perspectives on human culture and society. The beginnings of the digital computer are inseparably connected to research into the biology of self-replication and the possibility of artificial life. The fundamental concepts based on the spectacle of biological evolution and natural selection have been integrated into every piece of digital technology with which we have surrounded ourselves. f(x) is a performance that seeks to reveal some of the latent intricate aspects of digital technology.

Will Baldry & Ewan Stefani

ctrl+alt+dvs  (turntables with live sampling)

The integration of DVS (digital vinyl systems) into the turntablist set-up is rapidly becoming standard technology amongst hip-hop practitioners, but is frequently rejected by the experimental turntablist scene. The piece ctrl+alt+dvs explores the experimental potential of this technology in order to discover a sound-world that is unique to this digitally enhanced instrument.

The piece is in two parts. Part one focuses on sounds drawn from the technical malfunctioning of the DVS system: there are parallels here with the work of turntablists such as Christian Marclay and Otomo Yoshihide, who embraced the pops and crackles of vinyl 'malfunction' in their work. Sounds recorded from a struggling DVS system without sufficient power are manipulated using the turntables; the performer uses extreme transformations of pitch and equalisation, phase differences between left and right turntable, and hip-hop style 'beat-juggling' in order to highlight the timbral qualities of these sounds.

Part two is based on the hacking of the DVS timecode signal: a MAX patch is used to apply a variety of distortions to the control signal before it reaches the DVS software. This movement focuses on the ways in which the performer's interaction with this hacked version of the system affect instrumental technique.

In performance, the piece also features live sampling and diffusion of the turntable sounds by Ewan Stefani.

Patrick McGlynn

Live performance with ambient drones and hypnotic visuals

live performance with a touch-based instrument that has been designed especially for the composition of ambient drones and hypnotic visuals. The performers’ fingertips coax pulsing harmonies and disturbances from a blank canvas – exploring soundscapes on the border of consciousness.

The detailed level of expression enabled by the interface allows the performer to exert an unrivalled level of focus upon the music itself and other performers, making the interface suited to both solo and group improvisations. The system has been developed directly in response to the performer’s own need for intricate, physical and explorative control of complex soundscapes and informed by research with an explicit multi-disciplinary focus – drawing upon HCI, product design and musical performance practice.

Visa Kuappala

A perform with the instrument Malegra, which I have designed for free-improvisation in electroacoustic contexts. The instrument is built in Max and is based on granular synthesis controlled by Markov-chains and Lehmer’s linear congruence formula, hence Markov- Lehmer granulator (MaLeGra). I interact with the instrument via two midi-controllers, the Korg Nanokontrol and M-Audio Trigger
Finger. The latter provides a tactile, gestural control experience by providing pads that output continuous pressure information. The instrument can be configured to output 2-8 channels, so I can accommodate to any loudspeaker configuration. One of the fundamental starting points in designing the instrument was to create a tool that is not
entirely predictable. Hence performing with it is not a one-way street where I merely express what I wish, but rather an interactive feedback network, where I am also constantly surprised and inspired by what the instrument produces.