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About
Adam Stansbie is a composer and performer specialising in electroacoustic/acousmatic music. His musical works have been presented at festivals and events around the world, received a number of international awards and have been published on various different labels. His first solo CD was recently released on the Sargasso label.
Stansbie has worked at a number of prestigious European studios (including the IMEB, France (2007,2008), Musiques et Recherche, Belgium (2009), VICC, Sweden (2010) and USSS, UK (2010)) and is currently teaching electroacoustic composition at The University of Sheffield.
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Posts
- Feb 28, 13
Asymmetry Music Magazine has just reviewed my Sargasso CD: you can read the full review and listen to some excerpts of pieces here: Asymmetry Music Magazine
- Feb 28, 13
I've just received the latest issue of Journal of Music, Technology and Education (JMTE) which features my review of Pamela Burnard's Musical Creativities in Practice - Burnard has produced a great book that has much in common with my own research interests in creative practice and the relationship between composers/performers and the context in which they compose/performer.
- Feb 26, 13
I'm heading to Madrid in a couple of weeks to present a paper and piece at 'Espacios Sonoros 2013'. My paper is called: Between Plasticity and Performance: space-time relations in electroacoustic music and will focus upon the ontology of electroacoustic music... The piece (Escapade) will be performed at the Museo Naconal Centro de Arte Reina Sofia... should be a lot of fun... For more info see here
- Feb 28, 13
I'm travelling to Barcelona next week to present a concert of electroacoustic music from the University of Sheffield at PHONOS at the Universitat Pompeu Fabra (details should appear here soon). The concert will include pieces by me, Adrian Moore, Stephen Pearse and Martin Curtis-Powell. Come and say hello if you're in Barcelona...
- Feb 26, 13
I have finally finished my PhD! I had my viva last month and successfully defended my thesis:
The Acousmatic Musical Performance: an ontological investigation
The submission contacts 6 musical works and 5 chapters which explore the ontological relations that hold between acousmatic works and their performances. Please get in touch if you're interested in reading a copy... - Feb 26, 13From Tape to Typedef: compositional methods in electroacoustic music was extremely successful! Adrian Moore and I were pleased to see around 200 people attend the conference over the four days, which featured 7 concerts, 30 talks, 3 keynote speeches and 3 workshops. The conference, which made the front page of the University of Sheffield website (see here), was also shown on BBC Look North:
"The concerts were a fascinating experience in themselves. The impressionistic images created by these incredible sounds were exploded into the 3D space using 24 loudspeakers." Quote from Sheffield University Website - Jan 23, 13
Yesterday, Adrian Moore and I were interviewed by local BBC news about our conference: From Tape to Typedef: Compositional Methods in Electroacoustic Music
The feature is likely to be broadcast some time next week. For more information on the conference, please visit the website: TAPE TO TYPEDEF - Jan 03, 13I am pleased to announce that Digital Art Criticism 02 is now available. The book, which was edited by Yu-Chung Tseng, features a chapter by me, called: Between Plasticity and Performance: an Introduction to Acousmatic Art.
Further details can be found HERE. However, the book is only available in Mandarin. - Nov 29, 12
World Music Days and L'espace du Son received a surprisingly mixed review from Mouvement - a French magazine. The review, which highlights various ostensible cliches in contemporary music, contains the following paragraph about the concert that I was in:
"One of the most important events at L'espace du Son (especially in time: more than two and a half hours of music) this year was the selection of acousmatic music for World Music Days. The programme showed how the cliches mentioned above are rife in contemporary practice, whatever its origins. However, amongst the two parts of the programme, some stood out: the bustling Escapade by Englishman Adam Stansbie, the humourous Rhizome by Danel Perez, the Mysterious Barricades by Antonio Ferreira, Gallivanting by the Irish composer Donald Sarsfield, who creates a musical discourse with potetic texts, and especially the admirably Urban Adagio of Franco-Quebecois George Forget."
The full review can be found: here. - Nov 19, 12Point of Departure will be performed in Madrid this weekend at UNDAE! A new concert series that is promoting/presenting electroacoustic music. For more information/tickets see: here.
- Nov 19, 12Escapade is being performed at City University, London on 20th Nov as part of the Kingston:City exchange. For more information/tickets ,see: here.
- Nov 19, 12Escapade was recently performed in Belgium as part of the ISCM World Music Days 2012. The performance conincided with L'espace du Son - an excellent acousmatic music festival run by Annette Vande Gorne's Musique et Recherches. While I was there, Thomas Gorbach gave a brilliant performance of my piece Early Morning and received joint first prize in the diffusion competition.
- Nov 19, 12Early Morning was recently presented as part of a workshop on Sound Diffusion at The Electro Acoustic Project - a project founded in Vienna by Thomas Gorbach. For more information click here
- Oct 20, 12
Great news! Pollen - a short Visual Music composition - has been performed at the International Electroacoustic Music Festival (EMUFest2012) in Italy.
See here for more details: http://www.emufest.org/emufest_en/index_en.htm - Jul 14, 12
Isthmus - my first solo CD of works - has been published on the Sargasso label.
Copies can be ordered here: http://www.sargasso.com/isthmus - Jul 14, 12
Calculus - a short piece for alto-recorder and tape - was premiered by Erik Bosgraaf (www.erikbosgraaf.com) on May 24th in a concert called 'electrified erik'... You can hear an excerpt of the piece on the 'music' tab.
- Jul 13, 12
Great news! I have a new job - from Sept 2012 I'll be lecturing at The University of Sheffield, alongside Adrian Moore. Sheffield is doing some very exciting things at the moment - both in terms of teaching and research - and I look forward to joining them.
Some exciting projects to follow in the near future... - Jul 13, 12
Fractions - a 7.1 acousmatic piece - has been selected for the International Computer Music Conference which is being held in Ljubljana, Slovenia in Sept 2012 - I'm looking forward to vising Slovenia again - it's a great place!
- Apr 22, 12
Fractions has been selected for NoiseFloor 2012.
NoiseFloor - at Staffordshire University - is taking place from 1st - 4th May 2012. All of the concerts are free and details may be found here:
http://www.benramsay.co.uk/noisefloor/concert_programme_2.html - Apr 22, 12
Fractions will be performed at the International Festival for Innovations in Production and Composition (IFIMPaC) on Friday 27th April 2012. The festival looks great - there are some interesting speakers and lots of excellent composers - please see the following link for more details:
http://postgraduate.lcm.ac.uk/leeds-international-festival-innovations-music-production-and-composition - Feb 13, 12
I'm very pleased to announce that Escapade has been selected to represent the UK at the ISCM World Music Days 2012.
In November last year, a shortlist of 6 composers, selected by the British Panel, was presented to the ISCM - the ISCM then selected two works from the shortlist - Escapade, by me, and Sringara Chaconne by Jonathan Harvey.
It's a great honour to have been selected alongside Harvey - one of my favourite composers - and I look forward to a trip to Belgium later on this year! - Feb 13, 12
Escapade has been selected for Open Online 2 by Fermynwoods Contemporary Art - an independent arts organisation based in Northamptonshire. Open Online 2 includes works by 9 different sound artists - more details may be found here:
http://www.fermynwoods.co.uk/category/news/ - Oct 21, 11
Last weekend, I gave a talk (or two) at the Conservatorium Van Amsterdam (http://www.ahk.nl/en/conservatorium/) about my music. It was great to meet such interesting and enthusiastic students and I hope to return at some point in the future.
- Oct 21, 11
I am very excited that Escapade has been included in the British Panel Selection for the ISCM World Music Days 2012. Since being selected by the panel, Escapade has been send to the ISCM international jury, along with the following pieces:
Thomas Ades – Three Mazurkas
R.D. Bentall - Cyan
Louise Harris – Fuzee
Jonathan Harvey - Sringara Chaconne
Colin Matthews – Turning Point
Adam Stansbie – Escapade
For more information, see here: http://www.soundandmusic.org/artist-area/opportunities/2011/iscm-world-music-days-2012-flanders-british-section-call - Oct 04, 11
Fractions, my new piece, has just been published by Elektramusic; you can buy a copy of the CD here: http://www.elektramusic.com/music.html where you also find information about the various other featured composers:
Volume 03 CD:
"Muance"
by Elsa Biston
"Pensées d'automne et
Les pensées de la terre"
by Frédéric Kahn
"La Voz del Fuelle"
by Diana Salazar
"Fractions"
by Adam Stansbie
"Milonga.Stadt.Klang"
by Tatjana Böhme-Mehner
"C'est un monde parfait "
by Delphine Dupré
"Black Arrow"
by Sungji Hong
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Tracks
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Words
Book Chapters:
Between Plasticity and Performance: an Introduction to Acousmatic Art - Digital Art Critcism, due Dec 2012
Materialising Time and Space in Acousmatic Music - L'Espace du Son III, 2011
Journal Papers:
Sounds, Agents, Works and Listeners: a Model of Computer Music Performance - Journal of Music, Technology and Education, 2011
Through Thick and Thin: the Ontology of Tape Music - Journal of Music and Meaning, 2010
Information Computer Technology (ICT) for Music Composition and Seamless Performance Interfaces - Rvista Electronica de Musicological, 2009Recent Talks:
Abstract and Abstracted, Concrete and Concrete: the ontology of musique concrete and the future of the acousmatique - Aesthetics Research Centre, Philosophy Department, University of Leeds 2012
Composing Escapade: Materials and Methods, Tools and Techniques - Department of Music, University of Leeds 2012
Composing Escapade: Materials and Methods, Tools and Techniques - Conservatorium van Amsterdam 2011
Diffusion Terms and Techniques - Guest Lecture/Workshop - Edge Hill University 2010
Abstracts:
Sounds, Agents, Works and Listeners; a Model of Computer Music Performance
This article places computer music directly into Stan Godlovitch’s Model of Musical Performance; an idealised conception of musical performance based upon four fundamental constituents: sounds, agents, works and listeners. Godlovitch’s model was originally intended to promote the ‘unique value’ (Godlovitch 1998:4) of scored instrumental music; as a result, one is not surprised to find computer music excluded on the grounds that it is: ‘not performed; it is played back’ (Godlovitch 1998:100). Following a brief introduction to the Godlovitch model, this claim is rejected; performance is central to the computer music tradition and aesthetic, a fact that is frequently overlooked by those unfamiliar with the genre. In order to prove this point, a model of computer music performance is presented and defended; this may be seen as a direct challenge to Godlovitch’s central thesis. However, it also represents a genuine attempt to align computer music with the performing arts and, in doing so, provide a framework through which the performance of such music can be accurately located and discussed
Published in the Journal of Music, Technology and Education (2011)Through Thick and Thin: The Ontology of Tape Music
The ontology of music is a lively and much debated branch of metaphysical philosophy. However, most of the available literature focuses upon works of the Western classical tradition; as a result, the various challenges posed by tape compositions are either marginalised or ignored. Coupled with this is the familiar claim by some musicologists and philosophers that such works cannot be described as musical; one such philosopher, Linda Ferguson, claimed that tape compositions are ontologically distinct from scored musical works and, as a result, are “in search of their metaphysics” (Ferguson, 1983). This paper will address such claims through an investigation of the ontology of tape music. It will be argued that such works share their metaphysical status with scored compositions and that the various differences can be ascribed to the “extent, depth, and saturation of their work-determinative properties” (Davies, pp. 26-27, 2004). Ultimately, it will be noted that there are some significant differences between these two art forms. However, tape music is not “in search of its metaphysics”; it is merely lacking an accurate philosophical assessment.
Pulished in the Journal of Music and Meaning (2010)
Materialising Time and Space within Acousmatic Music (Joint paper with Stephen Kilpatrick)
The intention of this paper is to discuss space in acousmatic music from a phenomenological perspective. It will argue that space, and our spatial experience, is radically dependent upon intentional acts of consciousness and thus, to some extent, listener dependent. It will go on to demonstrate that intentional acts are not uniform; different sound materials invoke different kinds of intentionality and, for this reason, space in acousmatic music is heterogeneous. The paper will begin by identifying different sorts of intentional acts and consider the role they play in the construction of our spatial experience. Following this, we will introduce Bakhtin’s concept of the chronotope and, taking this as a point of departure, provide some much needed terminology to facilitate spatial discourse.
Published in L'espace du Son III, Musique et Recherches, Belgium
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