Does practice really make perfect or do musicians need a special innate ability to succeed? Neuroscientist Vin Walsh joins psychologist Lauren Stewart, music teacher and researcher Adam Ockelford, and composer and guitarist Milton Mermikides to discuss musicality, whether you can teach musicianship, and why some of us are more drawn to making music than others.
Tue 6 Jun 2017 8:30pm – 9:30pm
Cheltenham Science Festival
Parabola Arts Centre, Cheltenham Ladies’ College £8 plus transaction fee
The first event in a series, the AES London Committee present a discussion exploring the relationship between creativity and technology. Chaired by Phelan Kane (Chair of the AES London Regional Committee), the aim is to create a dynamic forum that features free flowing discussion and debate with contribution from panel and audience members alike.
The purpose of this evening is to explore the relationship between technology and creativity within the landscape of modern audio practice. What form does this relationship take? How do modern audio practitioners use technology creatively within their everyday practice and what role does the technology play? How important is the creative output of practitioners within the development of new audio paradigms? How is R&D influenced by current creative workflow trends? Does the realisation of R&D lead to new creative workflows and to what extent do creative workflows influence the R&D process?
Confirmed Panel Members:
Mandy Parnell – Mastering Engineer
Justin Paterson – Associate Professor of Music Technology, London College of Music, University of West London
Sarah Yule – Director of Channel Sales, ROLI
Milton Mermikides – Head of Composition & MMus Programme Director, University of Surrey
What does the skyline of New York sound like? How can you make a composition from your sleep patterns or blood cells? Music can be made from anything we find around us, from our names or birth dates to our cells, from atoms to stars. Composer and guitarist Milton Mermikides presents the fascinating origins and history of data sonification – the translation of information or patterns into sound and music – as well as a selection of his own compositions derived from sleep cycles, viruses, paintings, exoplanetary moons, traffic patterns and other ‘non-musical’ data. In addition, a string trio of the Ensemble Montage will demonstrate how these data sound and perform a new composition based on ‘the hidden music’ of Noorderzon Performing Arts Festival. Discover how music can reveal the patterns in the natural world, and give us both a theoretical and aesthetic appreciation of everything around us.
For students and subscribers of Studium Generale tickets are € 5,-
The 2nd International Guitar Research Centre Conference (March 18-23, 2016) has attracted speakers and performers from every continent, and guitar style. It’s a fantastic line-up, and timetable shaping up.
Here’s details of a public seminar on Wednesday 29th October 4pm, TB06, University of Surrey.
4.00pm, Wednesday 29th October, TB06 FREE admission More Info
Dr Milton Mermikides (Surrey)
Musical Continua: Perception and Technology
Digital music technology has now fulfilled Varèse’s dream of “instruments obedient to […] thought”, Russolo’s call to “conquer the infinite variety of noise-sounds” and Busoni’s desire to “draw a little nearer to infinitude”. However, the staggering developments in music technology over the last 20 years has brought with it a less predictable outcome, the ability to better understand the mechanics of music itself, and to illuminate some of the mysteries of its expressive power. Through a survey of recent research projects, this seminar examines how our understanding of musical expression in pitch, rhythm and timbre can be enhanced with technological support, furthering analytical insight, artistic appreciation and creative practice.
Announcing a 2-day symposium (November 15-16 2013 at University of Notre Dame in Central London) examining the process, philosophy and products of collaborations between scientists, musicians and performing artists. It’s hosted and organised by me and my sister Dr. Alex Mermikides, and is an output of the Chimera Network – and AHRC-supported project promoting Art/Sci research.
The Dana Centre and d.café are licensed premises open only to those aged 18 or over. Most events are free. Arrive early to enjoy a wide variety of delicious food and drink in our air-conditioned d.café.
Thursday 18 July 2013
19:00 – 21:00
Diagnosed with Leukaemia, John was given hours to live – but survived thanks to a bone marrow donation. How can ethically sourced stem cells save lives? Experience an immersive and exploratory performance created by a survivor and his donor.
John’s disease, Acute Lymphoblastic Leukaemia, is ‘a deadly disease for which the best available therapy is only applicable to a fraction of patients and is itself potentially lethal’ (Dr Adele K. Fielding, Haematologist UCL). That therapy – a transplant of blood stem cells – is both potentially lethal and life saving. It is also miraculous, mysterious and slightly macabre.
Bloodlines conveys the science and the experience of this last chance treatment in a performance featuring a haematologist, a musical score created from blood cell counts, kaleidoscopic visual effects and dance. Join us in the Dana Cafe after the performance for a discussion with the makers: learn more about stem cells and becoming a donor and about this collaboration between artists and medical scientists.
Alex Mermikides: stem cell donor and direction
Milton Mermikides: leukaemia survivor and music
Ann Van de Velde: haematologist and performer
Anna Tanczos: videoscape
Adam Kirkham: dance
Bex Law: dramaturgy
More details about Bloodlines can be found here. This event is supported by the Arts and Humanities Research Council.
Presenting at the Neuroscience of Imagination event at the British Library alongside Blind Summit Theatre, Pulitzer-nominated author Arthur I. Miller, Professor of neuroscience Vincent Walsh and Chiara Ambrosio was a real joy. You can hear my talk on the Myth of the Muse (essentially how composers and improvisers come up with stuff) in the video below.
Here’s a video of the presentation at the British Library on March 12th 2012. In preparation for the lecture I was put in an MRI machine with a plastic fretboard (aka ruler) and improvised while UCL neuroscientist Dr. Joern Diedrichsen examined my brain’s working. For the event I performed to a video of my brain activity showing what bits lit up (technical) during improvisation.