Palaeophonics

Director and Co-Producer

Farès Moussa. Composition & performance, Lonely Isle. Anthropologist and archaeologist interested in the ways people understand the world around them through performative and expressive action, particularly in relation to ‘other-worldly’ realities, such as past, distant or unfamiliar human traditions. He works as a freelance consultant for various companies operating in North Africa and the Sahara desert and prepares his doctoral thesis at the University of Edinburgh on ancient North African and Saharan religious practice. He is a fellow of History at the École normale supérieure in Paris. Farès has professionally managed and co-produced many concerts, stage-works and events, mainly at the Royal Opera House and other venues in London. F.K.Moussa@sms.ed.ac.uk

Director

Paul Fitzgerald Keene. Composition & performance, Lonely Isle. Freelance musician and researcher working as a pianist, composer and multi-media artist. He has worked worldwide on solo projects, with ensembles (electronic and acoustic) collaborating with dancers, video/computer artists, film-makers and spoken-word artists and performed on BBC Radio 3 and with artists like The Platters, Bobby Vinton, Louie Belson, members from STEIM and electronica duo Kresch. Mr Keene has studied composition with Patrick Miles, Krzysztof Penderecki and William Bolcom. In his research, he investigates aspects of non-verbal communication in improvised performance (see LLEAPP Blog.) and is completing a PhD at the University of Edinburgh supervised by Peter Nelson and Mark Steedman. p.keene@ed.ac.uk

Assistant Director

Corisande Fenwick is an archaeologist/anthropologist interested in the relationship between people and place and the politics of the past. An active field archaeologist, she is currently working on Roman and Medieval sites in Italy, Morocco, and the Libyan Sahara. She is finishing a PhD in Anthropology at Stanford University, California titled “Imperial Geographies: fashioning state and subject in the late antique and early medieval Maghrib”. She is a member of Stanford’s Metamedia Lab. cfenwick@stanford.edu

Contributors

Jovana Backovic. Composition and performance, Apxai. Born in Belgrade, Serbia where she graduated in composition at the Faculty of Music Art in 2006. Apart from Arhai project, she composes music for feature and documentary movies and often performs as a vocalist, singing Serbian and other traditional music from the Balkan region. Currently her interest lies within the field of electro-acoustic music – exploring the process of creation and development of individual music identity through improvisation and the use of technology, which are the main subjects of her PhD thesis.

Frederick Baker. Direction and visual design, Pitoti: Echoes of the Echoes. Cambridge / St Pölten Universities. Archaeologist and Filmmaker. Visiting fellow and Co-Director of the Cambridge University Prehistoric Picture Project. Teaches Digital Heritage at the University of Applied Sciences, St Pölten, Austria. Has worked with the BBC, Channel 4, ORF and ARTE as an award winning documentary filmmaker and 1992. Studied Archaeology and Museum practice at Cambridge, Tübingen and Sheffield Universities. 2009 completed at PhD in Cambridge on film and post-conflict archaeology with special reference to Berlin and Vienna in the 20th Century. Co-founder of the Prehistoric Picture Project with Christopher Chippindale specialising on the use of film and the new media to analyse prehistoric art. Two seasons of current research focus on the cinematic, musical and performative aspects of the rock art of the Valcamonica in Lombardy, northern Italy.

Christopher Chippindale. Spoken word, Pitoti: Echoes of the Echoes. Cambridge / Australian National University, Canberra. World Rock-Art specialist and Reader in Archaeology at the University of Cambridge. Senior Curator at the University Museum of Archaeology and Anthropology, Cambridge. Visiting lecturer at ANU, Canberra. Australia. Former editor of Antiquity and co-founder of the Cambridge University Prehistoric Picture Project. Has researched and published on the subject of rock-art in Europe, South Africa, North America and Australia for decades. (Co-editor of “European Landscapes of Rock-Art” Routledge 2002). Current research in Valcamonica centres on prehistoric understandings of space and its translation into local rock-art that ranges from the copper to the Iron Age.

Maïté Delafin. Choreography & performance, Lonely Isle. French/ Uruguayan based in Edinburgh since 2007. She professionally trained in Contemporary Dance, with a focus on release technique, in Paris with Corinne Lanselle and Nathalie Pubellier inter alia and in Barcelona with Alexis Eupierre, Cecilia Colacrai, Damian Munoz among others others. She is the Artistic Director of Nux. She teaches contemporary dance at the RSAMD (Royal Scottish Academy of Music and Drama) in Glasgow and at Dance Base (National Centre for Dance in Edinburgh). She is part of Bell Rock Co. (formerly Poorboy Company) directed by Sandy Thomson. She is interested in multidisciplary collaborations. For Nux’s latest work she collaborated with actor Simon Conlon, musician Poppy Ackroyd and sound designer John Lemke resulting in Imprints, a physical theatre piece telling the story of how a couple’s lives change as the symptoms of Alzheimer’s disease start to show. Maite collaborates with the Scottish Mental Health Arts & Film Festival.

Guy Hayward. Research affiliate. Guy is a second-year PhD student at the Centre for Music and Science, Cambridge University, led by Ian Cross. His PhD explores how people synchronise movement and sound whilst singing psalms. It is clear that the ability to perform ‘in time’ with others is crucially important in practically all forms of music. By identifying the specific conditions (e.g. specific body gestures, eye contact etc.) that allow choirs to sing in time whilst singing psalms, it is hoped that inferences may be drawn as to how we achieve this remarkable feat. Guy’s other academic interests concern the rhythm of body movements when people greet each other, (i.e. during ‘phatic’ interaction’, or ‘small talk’); and the archaeology of ‘soundscapes’, (i.e. the study of sound and music in prehistoric contexts). Regarding the latter, Guy has recently presented a paper in collaboration with Elizabeth Blake (Archaeology Department, Cambridge) at the IV Conference of Jovens em Investigação Arqueológica (Faro, Portugal).

Kevin Bruce Hogg. Film production, What Goes Round. HBA (Fine Art: Guelph, Canada 1981) is currently videographer for the University of Guelph, Canada, specialising in animal health and related educational programmes through the Ontario Veterinary College. Kevin is a specialist in camera, digital editing and field recording for scientific, educational and promotional purposes. Since earning an HBA in Fine Art at Guelph (1981) he has worked in several Canadian and international festivals as a multi-media artist. From 1986-1996 Kevin was Technical Director of Guelph’s Ed Video Media Arts Centre, a non-profit artist-run centre for video and media artists. Kevin continues to explore the discipline of music composition and video art production. khogg01@ovc.uoguelph.ca

Raquel Jimenez Pasalodos. Research Affiliate. Archeologist, musician and musicologist working as a doctoral candidate on Music Archaeology in the Iberian Peninsula at the University of Valladolid, Spain. Research interests include Ethnomusicology, Archaeology, Organology, Archaeoacoustics, Mediterranean Prehistory and Ancient History. Currently organising the next ICTM Music Archaeology Studygroup conference on September 2011 at the University of Valladolid: www.ictmmusicarchaeology.blogspot.com. Raquel also runs MiradaSonoras, a research and cultural project focusing on ethnomusicology, visual ethnomusicology and music archaeology and is dedicated to educational and outreach activities through the organisation of music and documentary festivals, conferences, workshops and concerts. raquel.jimenes@uva.es / www.musicologiahispana.com

David J. Knight. Direction, composition and performance, What Goes Round. BA (Fine Art: Guelph, Canada 1987), MA (Archaeology: Southampton, UK 2003), MPhil (Archaeology: Southampton, UK 2010) is an author, music producer and archaeologist with over 25 years experience in British field and academic archaeology. He is a recent post-graduate of the University of Southampton (MPhil) where he successfully completed research and thesis on the Archaeoacoustics of San Vitale, Ravenna. The producer of several Canadian experimental bands, he continues to combine interests in music and acoustics with researching past techniques of shaping the listening experience. Concerned with definitions of music and noise, what is remembered and forgotten, Knight endeavours to experiment with perceptions of past and present in academic archaeology and modern musical culture. asinglevoice@yahoo.com

Aleksander Kolkowski. Direction, composition and performance, Horatio Oratorio. (b. 1959, London) Aleksander is an improvising violinist and composer, has appeared at major festivals worldwide and on numerous record labels. Over the past ten years he has explored the potential of historical sound recording and reproduction technology, combining horned violins, gramophones and wax cylinder phonographs, to make contemporary mechanical-acoustic music. This work has been shown across Europe and broadcast by the BBC, WDR and others. In 2002, whilst resident in Berlin, he founded Recording Angels, a project that examines our relationship to recorded sound using phonographs and acetate record cutters in performances and installations. Large-scale works have been commissioned by MaerzMusik – Berlin, the PRSF and BFI South Bank. Recent activities include a disc-recording booth for transforming discarded CDs into 45rpm records, multiple-horn sound installation work and AHRC-funded research into early forms of instrument amplification at Brunel University. Aleks is currently compiling an audio archive of contemporary artists and musicians exclusively on wax cylinders. http://www.thewire.co.uk/articles/1314/

Sebastian Lexer. Horatio Oratorio. (b.1971, Germany) A fascination in contingency of sound has been the basis for Sebastian’s developments in extended piano techniques and a further exploration of modified sonorities derived from the acoustic piano using real-time computer processes. The resulting performance system piano+ has equally developed from a persistent interest in free improvisation and contemporary experimental music. The piano studies and continuing collaborations with John Tilbury and the association to Eddie Prévost’s improvisation workshop were influential to the development of his musical style: a musical journey through the spaces “in between”, the relationship to the instrument, sonorities and textures, musical processes, technology and most importantly: fellow musicians.
Having been active in the London as a performer and promoter of free improvised music over the past 10 years, numerous collaborations have emerged resulting in concerts and radio broadcasts in Europe, USA and Canada. http://sebastianlexer.eu/

Peter Mussler. Performance, Pitoti: Echoes of the Echoes. Born in Southern Germany, Peter grew up with traditional brass music (learned marching as Germans love to do – okay that’s a joke!). He played at every occassion: Baptisms, weddings, birthdays and last but not least funerals, not only with the brass band but as soloist or with small groups or with the organ. That revealed to him what music really can do: not only an effect on the musician’s emotions, but also on the people listening to it. That seems naive, but Peter had to become very old to grasp that. At the age of ten Peter began studying with a famous German high note trumpet player, who taught him, besides technical things and discipline, to develop a passion for the instrument. When other boys started to drink, Peter began practising the whole day. He joined his teacher’s big band, learned about playing swing, fell in love with great heroes like Count Basie and had even the opportunity to play on stage with the idol of most trumpetplayers: Maynard Ferguson. Later he moved to Düsseldorf and became influenced by Cologne – Germany’s music (especially jazz) capital. After also having contact with rock and funk in his hometown, he moved to Vienna, where he plays the lead trumpet in several big bands and – the latest development – discovered klezmer, the traditional music of the Ashkenazi Jews.

Albin Paulus. Instrument construction and Performance, Pitoti: Echoes of the Echoes. Vienna University of the Arts. Folk musician and Archaeomusicologist. Lives and works in Vienna. Studied music at the universities of Vienna and Cremona. 1999- Masters thesis on the use of the bagpipes in Austria. Won the seoond prize at the “Concours de Vielles et Cornemuses”, St. Chartier, France in 1997 and 2005. Winner of the Austrian world music audience award 2005 and the European folk music prize in 2010. Has been studying, building and playing ‘celtic’, and ice age instruments since 2000. He has given several courses in ancient music in museums and at Vienna University. Albin Pauilus has also founded an Ice Age music ensemble Eisenzeit-Ensemble. Publications include: „Bausteine zum Studium der Keltologie“, Kapitel Musik. hrsg. v. Helmut Birkhan. Wien 2005 . “Kelten”. In: Österreichisches Musiklexikon” Österreichische Akademie der Wissenschaften, Wien 2002.

Christopher Peterson. Composition, What Goes Round. BA (Music: Guelph Canada 2003). Studied flute performance at Vanier College, Montreal (1994-1995) and the University of Guelph (1997–2003), earning a BA in Music. Christopher also studied electro-acoustic composition at Concordia University, Montreal (1992-1994). While at the University of Guelph, Christopher performed as first flute and soloist with the University’s Orchestra, soloist with the Early Music Ensemble and founded and directed the University’s Contemporary Music Ensemble. Recently, he has explored electro-acoustics, songwriting, Plunderphonics and sound ecology, composing an album under the pseudonym 0Xit (http://0xit.webs.com/). Currently, Christopher is with Argent et Bois, a professional flute and classical guitar duo based in Guelph, Ontario. cpeterso@uoguelph.ca

Hannes Raffaseder. Sound composition and live mix, Pitoti: Echoes of the Echoes. St Pölten University. Composer and Archaeoaccoustics specialist. Professor of media production at the University of Applied Sciences, St Pölten, Austria. Studied communication engineering at the Technical University and computer music at the University of Music in Vienna. His book “Audiodesign” is published by Carl Hanser Verlag. He is artistic director of the Komponistenforum Mittersill and the Klangturm St. Pölten. He is head of the national research project GeMMA – Generativ Music for Media Applications and NeVisET – New Visions of Emerging Technology and he was also responsible for the research project ATS – AllThatSounds. He has won several awards and commissions. Some of his works are recorded on CD, broadcasted and published by Musikverlag Doblinger, Vienna. www.raffaseder.com

Federico Reuben. Horatio Oratorio. (b. 1978, Costa Rica). Federico is a composer, sonic artist and live electronics performer based in London. He recently completed a PhD in Music Composition at Brunel University, London, supervised by Richard Barrett and Christopher Fox. He also holds a Bachelors and Masters degree in composition from The Royal Conservatoire, The Netherlands where he studied with Louis Andriessen, Richard Ayres, Gilius van Bergeijk and Martijn Padding. In addition, he received courses and workshops tutored by composers including Steve Reich, Jonathan Harvey, Clarence Barlow, Marco Stroppa and Michael Jarrell. He also attended a one-year intensive course in Music Technology at The Institute of Sonology, The Netherlands. Federico has written music for a wide variety of chamber and vocal ensembles, as well as for orchestra, chamber orchestra and one opera. He is also an active and dedicated live-electronics performer and sonic-artist. His music has been performed and broadcast across Europe and the Americas. www.federicoreuben.com / www.squib-box.com

Mauricio Rodriguez. Composition, Unnamed. (Coahuila, 1976). Mexican composer living and working in the USA. He studied composition at the Laboratory of Musical Creation led by Julio Estrada in the University of Mexico. He has a Masters in Sonology and studies in composition granted by the Royal Conservatory, The Hague in The Netherlands, where studied with Clarence Barlow and Paul Berg. He finished a one-year course in electro-acoustic music at the Centre de Creation Musicale Iannis Xenakis in Paris. Currently he is a doctoral candidate at Stanford University studying with Brian Ferneyhough as advisor.

Andrew Taylor. 3D animation, Stonehenge Ritual Sound. Senior Lecturer in Design at the University of Huddersfield, also currently undertaking a PhD. His recent work explores experimental approaches to learning and teaching, which attempt to make space for the diverse experience, and tacit skills of the learner through, and around the use of real spaces, and 3D virtual interactive tools and virtual environments. Both his individual and collaborative research has been published in art & design journals and he has presented widely at UK, and at international art, design & architecture conferences. His industrial experience includes work as a design colourist and textile designer, and materials innovation and production. A.Taylor2@hud.ac.uk

Wilfrido Terrazas. Performance, Unnamed. (Camargo, 1974). Mexican flutist, composer and musicologist. He frequently collaborates with composers and has premiered over 160 works to the date. He is a member of the Mexican improvisation project Generación Espontánea and teaches flute at the Conservatorio de las Rosas in Morelia. He has recorded three solo albums: Open Cages (Umor, 2007), Bóreas (Shival, 2010) and Bug/ge/d (Mandorla, 2010). He lives in Mexico City, where he is active in both the written and improvised experimental music scenes. wilfridoterrazas.weebly.com / www.myspace.com/torrehomerica

Rupert Till. Direction and composition, Stonehenge Ritual Sound. Senior Lecturer in Music Technology at the University of Huddersfield. As a composer he has released a number of recordings, and has written music for a number of films. He has over 20 years of experience as a composer, performer and producer. His muscilogical work includes a recent book ŒPop Cult¹ published by Continuum. His work on the Sounds of Stonehenge has been published by Archaeopress and Journal@IASPM.Having led a research network on the Acoustics and Music of British Prehistory he is now editing a book of the same name. R.Till@hud.ac.uk