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A painter of figures in rooms
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And the scream, Bacon’s scream, is the operation through which the entire body escapes through the mouth (or, Three Studies for Figures at the Base of a Crucifixion)
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Because they mark the zone where the force is in the process of striking (or, Second Study for Figures at the Base of a Crucifixion)
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Being itself a catastrophe, the diagram must not create a catastrophe (or, Third Study for Figures at the Base of a Crucifixion)
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What then renders these forces visible is a strange smile (or, First Study for Figures at the Base of a Crucifixion)
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[…] to share the description and table of contents for Noise In And As Music, co-edited with Aaron Cassidy, to be published by the University of Huddersfield Press at the […]
[…] Noise In And As Music – Aaron CassidyI have just sent off the final proof for the book I have edited with my colleague Aaron Einbond, titled Noise In And As Music and published by Huddersfield University Press. The book will be formally launched at the Noise In. […]
Bravo!
Hi Aaron! Can I buy this book in amazon or other place?
The book has sold out the first printing (!), but a second printing is under way and should be available very soon. Best bet is to order directly from the Press here: http://www.store.hud.ac.uk/browse/extra_info.asp?compid=1&modid=1&deptid=168&catid=26&prodid=3090. The book is also listed on amazon.co.uk, though strangely with the wrong title (we’ve asked for it to be fixed). There is also an effort afoot to get a kindle version as soon as possible.
It would be great if this has a ebook edition, for guys like me who is far from UK
Great to see the rehearsal process. When will full performance be available on line? Difficult to access footage on You Tube. Entering Diego Costa give a lot of football stuff!
Can’t wait to hear it!
Hi Aaron.
Alan Munro from Alba New Music here. Looking forward to welcoming you to Edinburgh in October.
Can you give me any more details of gig at City University , London in November please?
Kind regards
Alan
[…] is a blog post Aaron wrote about it […]
Is there any data about the gender balance amongst composers more generally? Is the admirable aim of going for 50/50 actually likely to disadvantage male composers, who may simply be in the majority in the world at large?
Thanks, John. There’s a lot to unpick there, and probably too much for this platform, but I’ll do my best to at least try.
First, yes, there are several groups/initiatives that have been collecting and sharing this sort of data. In the UK this has been an important part of Sound & Music’s work in recent years, and there was an important group at Darmstadt led by Ashley Fure that looked not only at data around participation/inclusion but—perhaps more importantly, I would argue—also collected anecdotal information about the professional and educational experiences of women composers, which was often even more troubling than the statistics.
As for the second question, there are two separate issues. It is certainly the case that gender balance, in particular in the classical/concert music world, is not yet 50/50, but that’s rather the point. All the data seem to suggest that participation levels for women composers decrease at each level of education (from, say, primary school all the way through university staff), and the evidence seems rather clear that expanding opportunities and visibility at the top of that ladder has a direct impact further down. (This is similar to what Liz Dobson’s YSWN research is showing in connection to music technology & STE(A)M participation.) That is, strong, successful, visible models are necessary to redress the imbalance. As for the notion of disadvantaging male composers, this is a non-issue for me. There is clear evidence that the opportunities for success/advancement in the field have not been equitable—certainly historically, even in the fairly recent past—so this sort of argument becomes circular and self-fulfilling very quickly. If the participation rates, particularly towards the upper end of the ladder (in which I’d place an institution like CeReNeM) are not yet equal, that is a reflection of an imbalance of opportunities on the way up that ladder, and it is my view that quite explicit (and indeed data-driven) programmes are necessary to upend the disparity.
Obviously the complexities of debates around affirmative action programmes are too intricate for a little blog post (there are, for example, 5.8m Google hits for ‘Title IX research‘, which deals with a single piece of legislation specific to federal funding for education in the USA, and most of the research is specific to the law’s impact on participation in sports), but hopefully that at least gives a context for our new initiative.
Fantastic news, as founder of the Women in Sound Women on Sound organisation, http://www.wiswos.com, located in Lancaster, I am happy to support an activity like this in any way I can.
Regards
Linda O Keeffe
http://www.lindaokeeffe.com
is this book still available, anywhere?
The best bet is usually to order directly from the publisher: http://unipress.hud.ac.uk/catalogue/books/noiseinandasmusic.php. It’s also available through Waterstones: https://www.waterstones.com/book/noise-in-and-as-music/aaron-cassidy/aaron-einbond/9781862181182. I’m aware there’s some issue with amazon at the moment — it shows as being unavailable, but there are at least a dozen or so copies in stock. We’re looking at a third print run, which will use a POD system. It’ll be much more easily accessible, but won’t have the fancy Italian paper of the original! Thanks for the interest in the book!
Hi Aaron, great to see performances in the U.K early next year. Already looking forward!
A
[…] set equity targets i.e. to be recording a equal ratio of female artists, works by female composers, and working with sound engineers by a specific date. Huddersfield Contemporary Records at The University of Huddersfield have done this. See this excellent statement and commitment from Professor Aaron Cassidy. […]
[…] June, as my first act as the newly appointed Director of CeReNeM, I made a commitment to attain a 50/50 gender balance across the composers represented on CeReNeM’s HCR record label by 2022. With the wonderful […]
[…] Some good things: Huddersfield Contemporary Records committing to 50/50 representation ‘within five years‘ (ie 2022); the PRS’s recently announced Keychange pledge, which ties 45 international […]
” Is the admirable aim of going for 50/50 actually likely to disadvantage male composers, who may simply be in the majority in the world at large?” What struck me about this question is the fact that there could be damage to male composers. Of course there will be damage. How can we have a better representation of women whithout hurting men? I have listen to 61 days of streaming music composed by 1731 women in classical music so far. It is a shame there aren’t more Women’s Works in Concert Halls. Here in Canada, for the 2018-2019 season of 6 main large Orchestras, there will be 95% of played Works by men. 95%.
[…] [8] http://aaroncassidy.com/cerenem-hcr-and-gender-balance/ […]
[…] quartets for ELISION and Musikfabrik, respectively, based on two dramatically different Gerhard Richter self-portraits. The ELISION quartet will be premiered in the USA in April, with follow-up performances in Taipei […]
[…] (HCR) label by 2022. The background for that original commitment from June 2017 can be found here, and an update from 18 months ago can be found […]
[…] It’s been a bit more than two years since we made our commitment to reach a 50/50 gender balance across all the composers represented on the Huddersfield Contemporary Records (HCR) label by 2022. The background for that original commitment from June 2017 can be found here, and an update from 18 months ago can be found here. […]
[…] Paper where he talks about his idea of experimental music: http://aaroncassidy.com/experimental-composer/ […]
Hello, Aaron, and I hope you are well. I was introduced to you years ago by Justin Urcis; we met at a restaurant after the performance of your string quartets at Monday Evening Concerts in LA. Anyway, I must say, I really like what you’re doing with “Wreck”! There is this powerful yet “desperate” energy to the sections I heard, as if the performers (and the electronics) are having a conversation that they must have, yet cant. Amongst much else in “Wreck”, this seems to me to be a cool new dimension in your work. Bravo! Matthew Aldrich