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Really enjoyed playing baroque viola in yesterday’s Leeds Baroque Orchestra concert http://www.leedsbaroque.org/concerts.html
Claudio Monteverdi: ‘Il ballo dell Ingrate’ (1608) and John Blow:’Venus and Adonis’ (c.1683).
The first baroque orchestra concert I’ve been in which involved Cupid and Cherubs posing live for a selfie during the performance 🙂
Historically-informed selfie taken mid-performance today! That Cupid really is naughty! pic.twitter.com/4DVHmpXSwV
— Leeds Baroque (@LeedsBaroque) June 19, 2016
Hanging out at York Theatre Royal (in the cafe) this afternoon, I managed a sneak preview of the newly refurbished main auditorium. It looks fantastic (my photography doesn’t do it justice) and is sounding good. The sound proofing between auditorium and cafe (neslted underneath where the stalls used to be) is reportedly great too! And the coffee is great…
I’m hoping we can get back in sometime with the team from the AudioLab to make some more Room Impulse Response measurements to compare with the auditorium before the renovations.
The Virtual Singing Studio: A tool for exploring musical performance and interaction through real-time room acoustic simulations
Date: 6 Apr 2016
Jude Brereton, Audio Lab, Department of Electronics, University of York
The physical characteristics of a music performance venue influence the experience of music for the listener and performing musician alike. Indeed, the acoustic characteristics of the venue will influence not only the perception of music for the listener, but also many of the attributes of the performance itself, since a musician will alter their performance in response to the acoustic feedback they receive from the concert hall. To facilitate the investigation of the influence of acoustic environments on singing performance, a Virtual Singing Studio (VSS) has been developed which offers an interactive room acoustic simulation in real-time, using established auralisation techniques, which allow a singer to perform in an ordinary room and hear him/herself as if singing in a real performance venue.
This talk will introduce the design and implementation of the VSS and report on results which demonstrated that professional singers rated the room acoustic simulation as highly plausible, and judged it to be authentic in comparison to singing at the real performance venue. It will also outline comparisons of singing performance analysis comparing tempo, vibrato and intonation characteristics of singing in the real and virtual performance spaces.
Audience members will also be able to try out the Virtual Singing Studio for themselves!
Ambrose Field describes the Architexture II :
Created by detailed part-writing, the singers constantly weave in and out of each other as the piece surges and flows in flurries of activity. It’s always moving, but I also wanted like to give a sense of being frozen in a moment, which is extended forever. I’ve always liked those moments in the movies where time suddenly stands still, yet meanwhile, you see all the internal details of the events flow past you in a kind of cool slow motion. Architexture II is little like that: expect a kind of ultra-minimal contemporary music (not in a 1960s way), yet one that delivers it’s message through huge, large-scale textures.
A spectacular, specially-commissioned music and light finale to Yornight on 25 September brought the ruins of St Mary’s Abbey in York back to life.
Hearing the Past: St Mary’s Abbey Reconstructed recreated the acoustics and sounds of the building, dating from 1088, in a unique cross-disciplinary project from the University of York. The event waspart-supported by the HEFCE Higher Education Innovation Fund.
Professor Ambrose Field, composer and Head of the University of York’s Department of Music, wrote Architexture Two, performed by members of the Ebor Singers.
The piece was specially written to take account of the reverberation St Mary’s would have if still standing today. It was great to simulate the Abbey’s acoustics, which were originally modelled by Stephen Oxnard and Dr Damian Murphy.
The event ran as the finale of the fabulous YorNnight 2015 European Researchers’ Night in York.
Pre-event talk on music, virtual acoustics and singing in reconstructed spaces.
Helena Daffern and I gave this year’s World Voice Day lecture in York at the Department of Music on Thursday 16th April. Over 100 audience members came to find out all about the science of the singing voice; and weren’t even put off by the slightly ikky video of Jeremy Fisher’s vocal folds.
We were helped by Robert Hollingworth and some fabulous Music Department students in order to discover:
Is singing the same as speaking?
Are some people built to sing well and other badly?
How does the singing voice actually work?
What does training do to the voice?
How is a classical singer different to a folk singer?