Sean Williams – From centimetres to seconds: sound design’s shift from technical serialism to musically informed performance practice in the 1950s WDR Studio, Cologne

Music made in the West Deutsche Rundfunk Studio for Electronic Music in the 1950s was characterized by a strict serialist determination of all sound parameters. In Karlheinz Stockhausen’s Studie II, and Gesang der Jünglinge, sounds as short as 0.05 seconds

Richard Coyne – Why sound reaches the parts architecture can’t

“Physical spaces are charged with meaning and emotion for most of us — some spaces more than others. But it’s rare to enter a building or encounter spectacular scenery and experience the same intensity of emotion many of us feel

Peter Nelson – Phrase and Gesture: the timing and syntax of sounds

“How do sounds add up? What pulls moments together into meaningful strands? Whether sounds are static, rhythmic or fleeting, they carry us with them in ways that determine senses of speed, character and emotion. This talk concerns not just sounds

Craig Martin – Listening with Michel Serres: Sounding Objects

In his recent book Biogea the philosopher Michel Serres makes the case for the need to listen to the world. Rather than following the lengthy traditions of human-centred domination of the material and natural world Serres calls for the need

Jules Rawlinson – less than the parts of its sums

….it’ll (perhaps) be related to form(s) and code(s)… Jules is a graduate of the MSc Sound Design, he has a PhD in composition and is a teaching fellow at the University of Edinburgh. More information about Jules is here: www.pixelmechanics.com/

Annette Davison – Main title (and end credit) sequences for television serials and audio branding

“I research music for stage and screen. I’m based in the Reid School of Music, but I also do some teaching on the University’s MSc in Film Studies. I like watching telly….” Information about some of the other things that