Friday 30 June – Sunday 2 July 2017 School of Music, University of Leeds
Bringing together nearly 100 international delegates, the conference addressed the performance of indeterminate and experimental musics as its central theme, and was intended as a forum for the exchange of perspectives from scholars, performers, composers, and a wider audience.
The programme included:
Invited contributions from
Catherine Laws (Pianist / University of York), Benjamin Piekut (Cornell University), and Christian Wolff (Composer / Dartmouth College).
A roundtable discussion, ‘Performing Cage’s art works’, with
Sam Belinfante (University of Leeds), Laura Kuhn (John Cage Trust), and Jeremy Millar (Royal College of Art). A performance of John Cage’s Concert for Piano and Orchestra (1957–58) and the world premiere of Christian Wolff ’s Resistance (2017) by Apartment House in Clothworkers Centenary Concert Hall.
A special Performance Studies Network sponsored Q&A session with
Amanda Bayley (Bath Spa University) and members of Apartment House.
Installations, papers, lecture-recitals, and performances, addressing themes including:
Critical approaches David Tudor and the Solo for Piano Extending indeterminacy Games and play Openness Politics/democracy Praxis (Re)examining indeterminacy Socialities Technology/mediation
The conference programme (including abstracts) is available
The conference will result in a collection of essays,
, co-edited by Martin Iddon, Emily Payne, and Philip Thomas. The proposal is currently under review with a publisher. Performing Indeterminacy: Experimental Music in Practice
Philip Thomas’s piano, ready to perform John Cage’s
Concert for Piano and Orchestra. Image used by permission of James Joslin.
Christian Wolff, moments before the premiere of
Resistance. Image used by permission of James Joslin.
Andrew Digby, Philip Thomas, and Christian Wolff. Image used by permission of Amanda Bayley.
Laura Kuhn (John Cage Trust) presents on John Cage’s
Lecture on Commitment. Image used by permission of James Joslin.