RTÉ’s Culture File recently interviewed a number of the festival’s performers who spoke about their inspiration and the motivation behind their pieces. Organizer Richard Duckworth also provides insight on the appeal of modular synthesizers and the tenacity of analogue in a digital world.
Available here on Soundcloud: https://soundcloud.com/soundsdoable/culture-file-ideopreneurial.
In this interview (link below), Richard Duckworth discusses the history of Ideopreneurial Entrephonics, the festival’s performers and speakers and the resurgence of analogue technology. Also featured is a brief history of modular synthesis.
Originally printed in Totally Dublin, the article is now available on their website. Words by Ian Lamont, and photos by Killian Broderick.
Attached is a 16-page programme booklet and a Word version of the events in case you might find this format more helpful.
With all best wishes, Jane
DEADLINE EXTENSION: Abstracts and ideas are now being accepted until 5pm on 11th March 2016.
We now welcome submissions for the upcoming conference:
Ideopreneurial Entrephonics II: A Festival of Sound Art and Electronic Instruments
23-24 April, 2016 Trinity College Dublin, Éire.
Conference hosted by School of Drama, Film and Music at Trinity College Dublin.
Conference venue: Freemasons’ Hall, Dublin.
Websites: https://www.facebook.com/events/426561597555183/ and https://ideosite.wordpress.com/
Conference organisers: Prof. Jane Alden, Richard Duckworth.
Ideopreneurial Entrephonics switches prefixes to liberate entrepreneurial (a word we hear too much) and ideophone (a word we’d like to hear more) for a music festival in Dublin’s historic Freemasons’ Hall comprising a modular synthesizer ‘Car Show’, concerts, workshops, meet-ups, and public talks. Concerts will include historic electronic works, new works, early polyphony (e.g. 13th-century organum) reworked to include synthesizers, and alternative voicings. They will feature guest artists Ron Kuivila, Matt Fairclough, Jane Alden and the Vocal Constructivists, Enda Bates and the Spatial Music Collective, Richard Duckworth, Neil Burns, and Charles Hutchins.
Call for Presenters, Performers, and Sound Artists
– Amateur and professional makers of custom-built synthesizers are invited to showcase their home-brew/boutique instruments in the Car Show
– Singers of all backgrounds (ability to read music not necessary) are encouraged to join a ‘massed-choirs’ performance of a new work
– Speakers wishing to present on topics such as the history of analogue synthesis, its current reemergence, sound transmission and processed sound objects, other musical voicings (synthesized, natural, and modified), and the social, musical, technological, and cultural use of electronic instruments should submit abstracts of up to 250 words
– Proposals are also welcome from people wanting to participate in discussion panels, lead workshops, participate in a group jam, or include installations, etc.
Date for Proposals:
Please write to firstname.lastname@example.org by 5pm on 11th March 2016 indicating your interest in offering one or more of the following:
– analog instruments for the Car Show
– a 5-minute exegetical ‘interruption’ during the Car Show
– a 20-minute paper presentation (conference style)
– joining the massed choirs piece
– jamming, playing with an ensemble, a solo work, or installation
– a discussion panel or workshop
All proposals should include a short biography and any technical requirements. Successful applicants will be notified by 18th March and the final programme announced on 30th March 2016.
The synthesizer is as important, and as ubiquitous, in contemporary music as the human voice. The simple concept of a circuit generating a tone, manipulated by human or other control, has led to the development of numerous instruments over the last century. In the last few decades, synthesizer construction has evolved from modular to digital and now inhabits a hybrid space between the two, necessitating various adjustments in its relation to sonic objects. Electronic instruments have played a central role in rethinking musical materials Œfrom scratch¹, in creating open situations where all forms of participation are accepted or rendered acceptable. These instruments allow multiple forms of practice (social, sculptural, choreographic, geographic, etc.) to be expressed in musical terms.
Ideopreneurial Entrephonics II invites scholars and practitioners to explore the synthesized, natural, and modified voice. Ron Kuivila will perform his homage to Robert Ashley, TED/Mencken (a glossetalia in which a lengthy text is read, interleaved with TED talk-style explanatory digressions, and sonically retransmitted so that no intake of breath is ever apparent; Matt Fairclough will present Steve Reich’s My Name is… (processing and re-processing voices of audience members introducing themselves). Historic electronic works will be presented alongside new works, including the debut performance of Analogon, the electronic music group formed by Richard Duckworth in 2015 to explore early electronic voicings. The 7pm concert on Saturday 23 April will begin with a massed-choir performance of Kuivila’s A City of No Allusions. Groups of singers (minimum 11 people) will each perform for at least 8 minutes, overlapping to create a seamless performance that lasts one hour.