Uploaded August 2019 | Updated September 2026, 8 hours ago
crosstowntraffic2018.wordpress.com
This presentation took place as part of the conference Crosstown Traffic: Popular Music Theory and Practice, which was hosted by The University of Huddersfield from September 3 - 5 2018. This event combined the IASPM UK&Ireland Biennial Conference, the 13th Art of Record Production Conference (ARP), an ISMMS conference, and the additional participation of Dancecult.
A recurrent theme within popular music studies has been discussion of how the field can integrate different disciplines and professions, for example exploring both music and its context; involving both practitioners and researchers; and encouraging interdisciplinary and collaborative work. Many different issues make such approaches challenging, and various different popular music focused subject organisations have developed somewhat independently of one another. This conference brought four such groups together, to exchange knowledge, collaborate, and encourage crosstalk.
/// SUPPORT
Popular Music Studies Research Group (PMSRG), University of Huddersfield research.hud.ac.uk/pmsrg/#
Centre for Music, Culture and Identity (CMCI), University of Huddersfield
research.hud.ac.uk/institutes-centres/cmci
The International Association for the Study of Popular Music UK and Ireland Branch (IASPM UK & Ireland)
iaspm.org.uk
Association for the Study of the Art of Record Production (ASARP)
artofrecordproduction.com
Dancecult Research Network (DRN) studies into electronic dance music culture
dancecult-research.net
International Society for Metal Music Studies (ISMMS)
metalstudies.org
/// ORGANIZERS
IASPM UK&I: Rupert Till
ARP: Katia Isakoff, Shara Rambarran
ISMMS: Karl Spracklen
Dancecult: Graham St. John
University of Huddersfield: Jan Herbst, Austin Moore, Lisa Colton, Toby Martin, Catherine Haworth, Mark Mynett
/// CREDITS
This online project was edited, collated, and made available online by Chris McConnell, Jack Zissell, and Colin Frank.
/// PRESENTATION DETAILS
The post-jazz praxis: interactions between the audience and performers
Adrian York - MuSIC Research Group, University of Westminster, London, UK.
Email: A.York@westminster.ac.uk
/// ABSTRACT
Digital technologies have transformed the performance practice, recording and distribution, economy and sonic landscape of music in a process of change that began in the early 1980s. Recent developments in control surfaces, motion tracking electronics, wearable technology and hand-held controllers have opened up the possibility of audiences as well as performers interacting with music in ways hitherto impossible. In this new world sound events can be triggered or manipulated through mapped movement, by means of proximity, via phone apps or gaming controllers to create a more immersive experience for the audience through a creative engagement with the music.
This paper maps ongoing research that seeks to re-engineer contemporary jazz performance as a collaborative improvisatory locus. Through the use of apps and movement controllers and using variety of interfaces the audience engages with programmed, sampled and live musical artefacts. This performance practice creates a much more transformative role for the audience than previously possible and the research focuses on developing the compositional and performance protocols to enable this transformative post-jazz praxis.
crosstowntraffic2018.wordpress.com
This presentation took place as part of the conference Crosstown Traffic: Popular Music Theory and Practice, which was hosted by The University of Huddersfield from September 3 - 5 2018. This event combined the IASPM UK&Ireland Biennial Conference, the 13th Art of Record Production Conference (ARP), an ISMMS conference, and the additional participation of Dancecult.
A recurrent theme within popular music studies has been discussion of how the field can integrate different disciplines and professions, for example exploring both music and its context; involving both practitioners and researchers; and encouraging interdisciplinary and collaborative work. Many different issues make such approaches challenging, and various different popular music focused subject organisations have developed somewhat independently of one another. This conference brought four such groups together, to exchange knowledge, collaborate, and encourage crosstalk.
/// SUPPORT
Popular Music Studies Research Group (PMSRG), University of Huddersfield research.hud.ac.uk/pmsrg/#
Centre for Music, Culture and Identity (CMCI), University of Huddersfield
research.hud.ac.uk/institutes-centres/cmci
The International Association for the Study of Popular Music UK and Ireland Branch (IASPM UK & Ireland)
iaspm.org.uk
Association for the Study of the Art of Record Production (ASARP)
artofrecordproduction.com
Dancecult Research Network (DRN) studies into electronic dance music culture
dancecult-research.net
International Society for Metal Music Studies (ISMMS)
metalstudies.org
/// ORGANIZERS
IASPM UK&I: Rupert Till
ARP: Katia Isakoff, Shara Rambarran
ISMMS: Karl Spracklen
Dancecult: Graham St. John
University of Huddersfield: Jan Herbst, Austin Moore, Lisa Colton, Toby Martin, Catherine Haworth, Mark Mynett
/// CREDITS
This online project was edited, collated, and made available online by Chris McConnell, Jack Zissell, and Colin Frank.
/// PRESENTATION DETAILS
The post-jazz praxis: interactions between the audience and performers
Adrian York - MuSIC Research Group, University of Westminster, London, UK.
Email: A.York@westminster.ac.uk
/// ABSTRACT
Digital technologies have transformed the performance practice, recording and distribution, economy and sonic landscape of music in a process of change that began in the early 1980s. Recent developments in control surfaces, motion tracking electronics, wearable technology and hand-held controllers have opened up the possibility of audiences as well as performers interacting with music in ways hitherto impossible. In this new world sound events can be triggered or manipulated through mapped movement, by means of proximity, via phone apps or gaming controllers to create a more immersive experience for the audience through a creative engagement with the music.
This paper maps ongoing research that seeks to re-engineer contemporary jazz performance as a collaborative improvisatory locus. Through the use of apps and movement controllers and using variety of interfaces the audience engages with programmed, sampled and live musical artefacts. This performance practice creates a much more transformative role for the audience than previously possible and the research focuses on developing the compositional and performance protocols to enable this transformative post-jazz praxis.
