Composing on shifting ground
Christchurch, 29–30 April 2017
University of Canterbury School of Music
Arts Centre Location (3 Hereford St, Christchurch)
This conference, an initiative of the Composers Association of New Zealand (CANZ), is intended to foster discussion and research with relevance to composers working in New Zealand today. CANZ has previously held Composers Conferences in Wellington (September 2008) and Auckland (April 2014).
REGISTRATION IS NOW OPEN FOR THIS CONFERENCE
Please complete the online Registration Form. Any enquiries should be directed to conference@canz.net.nz.
Conference Schedule:
SATURDAY 29th April:
| 9:30am | Registration and Morning Tea (Level 3) | |
| 10:30am | Keynote: Alison Isadora (Recital Room) | |
| 11:15am | Plenary Session: ANTIPODEAN CONTEXTS (Recital Room) | |
| Leonie Holmes: Pacific Congruences: cultural Influences in the music of contemporary New Zealand composers | ||
| Diana Blom: Water music: the shifting ground of a New Zealand-Australian composer | ||
| William Green: Homegrown links: A New Zealand composer influences DGL…? | ||
| 12:45pm | Lunch (Level 3) | |
| 2:00pm | Parallel Sessions: | |
| Recital Room | Level 3 Seminar Room | |
| SHIFTING GROUND | COMPOSERS TALK ABOUT THEIR WORK – Part 1 | |
| Eve de Castro-Robinson: Time and tide wait for no woman: shifting sands and shifting states, from anaesthesia to Zeno’s Paradox | Chris Adams: Two Canterbury Pictures | |
| Adrian Sherriff: Congruent Aspects between the Intervallic Prime Forms of Jenny McLeod and the South Indian Rhythmic Practice of Karaikudi R. Mani | Glen Downie: Hot Coals | |
| Glenda Keam: Meaning and relevance in composition teaching | Patrick Shepherd: From darkness comes light: music as a reflection of the lived experience of young musicians following the Christchurch earthquakes | |
| 3:30pm | Afternoon Tea (Level 3) | |
| 4:00pm | Parallel Sessions: | |
| Recital Room | Level 3 Seminar Room | |
| SIGHT AND SOUND | COMPOSERS TALK ABOUT THEIR WORK – Part 2 | |
| Clovis McEvoy: Recomposed Relationships: Isomorphic Paradoxes and Media Pairings | Oliver Hancock: The Composer as Computer Programmer: a personal perspective | |
| Hamish Oliver: Composers vs Gamers: Composers’ Capabilities to Confront Console Constraints | Cristohper Ramos Flores: An intuitive approach to spectral composition | |
| 5:00–6:30 | Composer/performer liaison time for tomorrow’s concert | |
SUNDAY 30th April:
| 9.30am | Plenary Session: THE COMPOSITIONAL ACT (Recital Room) |
| Michael Norris: Blind Light: on the morphology of an idea | |
| James Gardner: Work In Progress, Flow, and the Observer Effect | |
| Alex Taylor: nothing new here: quotation, erasure, quodlibet, palimpsest | |
| 11.00am | Morning Tea (Level 3) |
| 11.30am | Keynote: Mark Menzies (Recital Room) |
| 12.15pm | Lunch (Level 3) |
| Recital Room: sound checks (12.30-2.30pm) | |
| 1.15pm | Plenary Session: COMPOSITION AND FORM (Level 3 Seminar Room) |
| Scott Wilson: How Bizarre: One-Hit Wonders and the Pleasures of Repetition | |
| Samuel Holloway: On boredom in music | |
| Sarah Ballard: Transformational gestures – current approaches to writing for orchestra | |
| 2.45pm | Afternoon Tea (Level 3) |
| 3.00pm | Concert (Recital Room) |
| Violinist/violist/pianist Mark Menzies / Percussionist Justin DeHart | |
| perform works by Chris Cree Brown, Eve de Castro-Robinson, Glen Downie, John Elmsly, James Gardner, Chris Gendall, Alison Isadora, Alex Taylor, Chris Watson |