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==Biography==
==Biography==
⚫
Saunders studied at the [[University of Huddersfield]] (1991-4) and then with [[Anthony Gilbert]] at the [[Royal Northern College of Music]] (1994-6). In 1997 he attended the composition seminar at the Künstlerhaus Boswil, returning the following year for a residency. In 1998 he was a participant at the Darmstadt Internationale Ferienkurse für Neue Musik where he was awarded the Stipendien Prize, returning in 2000 and 2002. In 2001 he was a selected composer at the Ostrava New Music Days. He has held composition residencies at the Experimental Studio fur Akustische Künst in Freiburg in 2003 and 2007.

⚫
Saunders studied at the [[University of Huddersfield]] (1991-4) and then with [[Anthony Gilbert]] at the [[Royal Northern College of Music]] (1994-6). In 1997 he attended the composition seminar at the [[Künstlerhaus Boswil]], returning the following year for a residency. In 1998 he was a participant at the [[Darmstadt Internationale Ferienkurse für Neue Musik]] where he was awarded the Stipendien Prize, returning in 2000 and 2002. In 2001 he was a selected composer at the Ostrava New Music Days. He has held composition residencies at the [[Experimental Studio fur Akustische Künst]] in Freiburg in 2003 and 2007.


His music has been played at international festivals, including Bludenz Tage fur Zeitgenossiche Musik, [[Brighton Festival]], BMIC Cutting Edge, Darmstadt, Donaueschingen, Gothenburg Arts Sounds, [[Huddersfield Contemporary Music Festival]], Inventionen Berlin, [[The Kitchen]], Music We’d Like to Hear, Ostrava New Music Days, Rainy Days, Rational Rec, Roaring Hooves, Spitalfields, Ultima, and Wittener Tage fur Neue Kammermusik.
His music has been played at international festivals, including Bludenz Tage fur Zeitgenossiche Musik, [[Brighton Festival]], BMIC Cutting Edge, Darmstadt, Donaueschingen, Gothenburg Arts Sounds, [[Huddersfield Contemporary Music Festival]], Inventionen Berlin, [[The Kitchen]], Music We’d Like to Hear, Ostrava New Music Days, Rainy Days, Rational Rec, Roaring Hooves, Spitalfields, Ultima, and Wittener Tage fur Neue Kammermusik.


Saunders' music has been performed internationally by ensembles and musicians including Apartment House, [[Arditti Quartet]], asamisimasa, Sebastian Berweck, ensemble chronophonie, duo Contour, Rhodri Davies, [[EXAUDI]], [[Nicolas Hodges]], [[London Sinfonietta]], [[Ensemble Modern]], Neue Vocalsolisten, [[Plus-minus ensemble]], Psappha, [[ensemble recherche]], SUONO MOBILE, SWR Sinfonieorchester Baden-Baden und Freiburg, and 175 East.
Saunders' music has been performed internationally by ensembles and musicians including Apartment House, [[Arditti Quartet]], asamisimasa, Sebastian Berweck, ensemble chronophonie, duo Contour, Rhodri Davies, [[EXAUDI]], [[Nicolas Hodges]], [[London Sinfonietta]], [[Ensemble Modern]], Neue Vocalsolisten, [[Plus-minus ensemble]], Psappha, [[ensemble recherche]], SUONO MOBILE, [[SWR_Sinfonieorchester_Baden-Baden_und_Freiburg | SWR Sinfonieorchester Baden-Baden und Freiburg]], and 175 East.


He is active as a performer of experimental music, notably in the duo Parkinson Saunders with [[Tim Parkinson]] and as director of the ensemble Material at [[Bath Spa University]].
He is active as a performer of experimental music, notably in the duo Parkinson Saunders with [[Tim Parkinson]] and as director of the ensemble Material at [[Bath Spa University]].


Saunders is currently Professor of Music and Head of the Centre for Musical Research at Bath Spa University.[1]
Saunders is currently Professor of Music and Head of the Centre for Musical Research at Bath Spa University.<ref>http://www.bathspa.ac.uk/schools/music-and-performing-arts</ref>


⚫
==Music==
⚫
Saunders' work explores modular<ref>Saunders, J. (2008). Modular Music, ''Perspectives of New Music'', Vol. 46/1 (Winter 2008): 152-93. Reprinted as: Viefalt an Konfigurationen. Modulare Musik (trans. M. Lichtenfeld), ''MusikTexte'', 130 (August 2011): 58-77.</ref> and serial structures and uses open forms.<ref>Nyfeller, M. (2011). Konzeptionelle Spiele. Der Engländer James Saunders, ''MusikTexte'', 130 (August 2011): 53-57.</ref> Series such as ''#[unassigned]'' (2000-9)<ref>Ryan, D. (2003). Zeitmaschinen: Die englischen Komponisten Bryn Harrison, Tim Parkinson und James Saunder. ''Dissonanz'', #82 (August 2003): 20-5.</ref> and ''divisions at could be autonomous but at comprise the whole'' (2009-11) are variable in their structure, comprising a selection of modules which can be combined in different ways to make new configurations for each performance. His music uses extended instrumental techniques and found objects as a means of exploring the sonic properties of materials.<ref>Saunders, J. (2013). Specific Objects? Distributed approaches to sourcing sonic materials in open form compositions. ''Contemporary Music Review'', 32/5: 473-484.</ref> It is “predominantly quiet, with sustained tones, often on the edge of inaudibility, interspersed with shorter sounds, all produced by an instrumentarium that mixes conventional musical instruments with a range of low-tech sound sources”.<ref>Fox, C. (2008) James Saunders, ''Grove Music Online'', http://www.oxfordmusiconline.com [Accessed 19 October 2014]</ref> More recently, he has used inter-personal cueing systems to control the way the music is structured (things whole and not whole, 2011), and made distributed pieces which allow collaborative input from others (distribution study, 2011).<ref>Nicolai, O. (2011). Escalier du Chant: James Saunders, distribution study #1, http://www.escalierduchant.org/ [accessed 3 April 2013]</ref>


⚫
==Selected Works==
⚫
Music

⚫
Saunders' work explores modular [2] and serial structures and uses open forms [3]. Series such as #[unassigned] (2000-9)[4] and divisions at could be autonomous but at comprise the whole (2009-11) are variable in their structure, comprising a selection of modules which can be combined in different ways to make new configurations for each performance. His music uses extended instrumental techniques and found objects as a means of exploring the sonic properties of materials [5]. It is “predominantly quiet, with sustained tones, often on the edge of inaudibility, interspersed with shorter sounds, all produced by an instrumentarium that mixes conventional musical instruments with a range of low-tech sound sources” [6]. More recently, he has used inter-personal cueing systems to control the way the music is structured (things whole and not whole, 2011), and made distributed pieces which allow collaborative input from others (distribution study, 2011).[7]


⚫
Selected Works

on bare trees (2014)
on bare trees (2014)
so many territories (2014)
<br />''so many territories'' (2014)
everybody do this (2014)
<br />''everybody do this'' (2014)
interspersed sometimes with weeds and brambles (2013)
<br />''interspersed sometimes with weeds and brambles'' (2013)
eight panels (2012)
<br />''eight panels'' (2012)
what you must do, rather than must not do (2012)
<br />''what you must do, rather than must not do'' (2012)
overlay (2012)
<br />''overlay'' (2012)
small template (2012)
<br />''small template'' (2012)
object network (2012-)
<br />''object network'' (2012-)
things whole and not whole (2011)
<br />''things whole and not whole'' (2011)
distribution study (2011)
<br />''distribution study'' (2011)
location composites (2011- )
<br />''location composites'' (2011- )
template (with alterations) (2010- )
<br />''template (with alterations)'' (2010- )
surfaces (2010- )
<br />''surfaces'' (2010- )
geometria situs (2009-10)
<br />''geometria situs'' (2009-10)
divisions that could be autonomous but that comprise the whole (2009-11)
<br />''divisions that could be autonomous but that comprise the whole'' (2009-11)
either/or (2008/9)
<br />''either/or'' (2008/9)
with paper (2006/8, 2009- )
<br />''with paper'' (2006/8, 2009- )
#[unassigned] (2000-9)
<br />''#[unassigned]'' (2000-9)


⚫
==References==
{{reflist}}
<!--- After listing your sources please cite them using inline citations and place them after the information they cite. Please see http://en.wikipedia.org/wiki/Wikipedia:REFB for instructions on how to add citations. --->


⚫
==Further Reading==
⚫
References
⚫
Fox, C. (2008) James Saunders, ''Grove Music Online'', http://www.oxfordmusiconline.com [Accessed 19 October 2014]
⚫
<br />Nyfeller, M. (2011). Konzeptionelle Spiele. Der Engländer James Saunders, ''MusikTexte'', 130 (August 2011): 53-57.
⚫
<br />Parkinson, T. (2011). Une Présence Manifeste: Quelques Compositeurs Du Royaume-uni Dont J’aime La Musique, ''Revue & Corrigée'', 90 (December 2011): 26-30.
⚫
<br />Ryan, D. (2003). Zeitmaschinen: Die englischen Komponisten Bryn Harrison, Tim Parkinson und James Saunder. ''Dissonanz'', #82 (August 2003): 20-5.
⚫
<br />Ryan, D. (2007). Realising #0505-040606-[1], ''Miser & Now'', 10 (August 2007): 14-16.
⚫
<br />Saunders, J. (2006). What are you doing with your music?. In: Marley, B. and Wastell, M., eds (2006). ''Blocks of consciousness and the unbroken continuum'', London: Sound 323 Press: 254-63.
⚫
<br />Saunders, J. (2007). Developing a Modular Music System. In: Waterman, A., ed. (2007). ''Agape''. New York: Miguel Abreu Gallery: 36-40.
⚫
<br />Saunders, J. (2007). The Dictaphone in my Life. ''My Favorite Things – The Joy of the Gizmo: Leonardo Music Journal'', 17 (2007): 33-4.
⚫
<br />Saunders, J. (2008). Modular Music, ''Perspectives of New Music'', Vol. 46/1 (Winter 2008): 152-93. Reprinted as: Viefalt an Konfigurationen. Modulare Musik (trans. M. Lichtenfeld), ''MusikTexte'', 130 (August 2011): 58-77.
⚫
<br />Saunders, J. (2013). Specific Objects? Distributed approaches to sourcing sonic materials in open form compositions. Contemporary Music Review, 32/5: 473-484.


⚫
==External links==
[1] Bath Spa University [accessed 3 March 2013]
⚫
*[http://www.james-saunders.com James Saunders's website]
http://www.bathspa.ac.uk/schools/music-and-performing-arts
⚫
*[https://applications.bathspa.ac.uk/staff-profiles/profile.asp?user=academic\sauj1 James Saunders at Bath Spa University]
⚫
*[http://www.parkinsonsaunders.com Parkinson Saunders]


[2] James Saunders, ‘Modular Music’, Perspectives of New Music, Vol. 46/1 (Winter 2008): 152-93. Reprinted as ‘Viefalt an Konfigurationen. Modulare Musik’ (M. Lichtenfeld), MusikTexte, 130 (August 2011), 58-77.
[NB: this is a paper in a peer-reviewed journal: http://www.perspectivesofnewmusic.org/TOC461.pdf]


[3] Max Nyfeller, ‘Konzeptionelle Spiele. Der Engländer James Saunders’, MusikTexte, 130 (August 2011), 53-57.
[http://www.musiktexte.de/shop/article_MT-130/MusikTexte-130-%E2%80%93-August-2011.html?shop_param=cid%3D4%26aid%3DMT-130%26]


[4] David Ryan, “ZEITMASCHINEN: Die englischen Komponisten Bryn Harrison, Tim Parkinson und James Saunders”, Dissonanz, #82 (August 2003): 20-5.


⚫
[5]James Saunders, ‘Specific Objects? Distributed approaches to sourcing sonic materials in open form compositions’. Contemporary Music Review, 32/5 (2013): 473-484.
[NB: this is a paper in a peer-reviewed journal: http://www.tandfonline.com/doi/abs/10.1080/07494467.2013.849875#.U6Nhto1dXoI]


⚫
[6] Fox, C. “Saunders, James”. In Grove Music Online, http://www.oxfordmusiconline.com/
[accessed10 May 2013]

[7] Olaf Nicolai – Escalier du Chant: James Saunders, distribution study #1 [accessed 3 April 2013]
http://www.escalierduchant.org/


⚫
Further Reading

Christopher Fox, ‘James Saunders’, Grove Music Online, http://www.oxfordmusiconline.com.

⚫
Max Nyfeller, ‘Konzeptionelle Spiele. Der Engländer James Saunders’, MusikTexte, 130 (August 2011), 53-57.

⚫
Tim Parkinson, ‘UNE PRéSENCE MANIFESTE: Quelques Compositeurs Du Royaume-uni Dont J’aime La Musique’, Revue & Corrigée, 90 (December 2011): 26-30.

⚫
David Ryan, ‘Realising #0505-040606-[1]’, Miser & Now, 10 (August 2007): 14-16.

⚫
David Ryan, “ZEITMASCHINEN: Die englischen Komponisten Bryn Harrison, Tim Parkinson und James Saunders”, Dissonanz, #82 (August 2003): 20-5.

⚫
James Saunders, ‘Modular Music’, Perspectives of New Music, Vol. 46/1 (Winter 2008): 152-93. Reprinted as ‘Viefalt an Konfigurationen. Modulare Musik’ (M. Lichtenfeld), MusikTexte, 130 (August 2011), 58-77.

⚫
James Saunders, ‘Developing a Modular Music System’, in Alex Waterman (ed.), Agape (New York: Miguel Abreu Gallery, 2007): 36-40.

⚫
James Saunders, ‘The Dictaphone in my Life’, My Favorite Things – The Joy of the Gizmo: Leonardo Music Journal 17 (2007): 33-4.

⚫
James Saunders, ‘What are you doing with your music?’, in Brian Marley and Mark Wastell (eds), Blocks of consciousness and the unbroken continuum (London: Sound 323 Press, 2006), 254-63.




⚫
External links

James Saunders's website
⚫
[http://www.james-saunders.com]

James Saunders at Bath Spa University
⚫
[https://applications.bathspa.ac.uk/staff-profiles/profile.asp?user=academic\sauj1]

Parkinson Saunders
⚫
[http://www.parkinsonsaunders.com]

Christopher Fox, ‘James Saunders’, Grove Music Online, http://www.oxfordmusiconline.com.




References from above

http://en.wikipedia.org/wiki/University_of_huddersfield
http://en.wikipedia.org/wiki/Anthony_Gilbert_(composer)
http://en.wikipedia.org/wiki/Royal_Northern_College_of_Music
http://en.wikipedia.org/wiki/Darmstadt_New_Music_Summer_School
http://en.wikipedia.org/wiki/Darmstadt_New_Music_Summer_School
http://en.wikipedia.org/wiki/Brighton_Festival
http://en.wikipedia.org/wiki/Brighton_Festival
http://en.wikipedia.org/wiki/Donaueschingen_Festival
http://en.wikipedia.org/wiki/Donaueschingen_Festival
http://en.wikipedia.org/wiki/Huddersfield_Contemporary_Music_Festival
http://en.wikipedia.org/wiki/The_Kitchen
http://en.wikipedia.org/wiki/Wittener_Tage_fur_neue_Kammermusik
http://en.wikipedia.org/wiki/Wittener_Tage_fur_neue_Kammermusik
http://en.wikipedia.org/wiki/Rhodri_Davies_(musician)
http://en.wikipedia.org/wiki/Rhodri_Davies_(musician)
Line 128: Line 78:
http://en.wikipedia.org/wiki/Psappha_New_Music_Ensemble
http://en.wikipedia.org/wiki/Psappha_New_Music_Ensemble
http://en.wikipedia.org/wiki/Ensemble_recherche
http://en.wikipedia.org/wiki/Ensemble_recherche
http://en.wikipedia.org/wiki/SWR_Sinfonieorchester_Baden-Baden_und_Freiburg
http://en.wikipedia.org/wiki/Bath_Spa_University






Revision as of 23:42, 12 October 2014


James Saunders (born 1972, Kingston-upon-Thames, UK) is a British composer.

Biography

Saunders studied at the University of Huddersfield (1991-4) and then with Anthony Gilbert at the Royal Northern College of Music (1994-6). In 1997 he attended the composition seminar at the Künstlerhaus Boswil, returning the following year for a residency. In 1998 he was a participant at the Darmstadt Internationale Ferienkurse für Neue Musik where he was awarded the Stipendien Prize, returning in 2000 and 2002. In 2001 he was a selected composer at the Ostrava New Music Days. He has held composition residencies at the Experimental Studio fur Akustische Künst in Freiburg in 2003 and 2007.

His music has been played at international festivals, including Bludenz Tage fur Zeitgenossiche Musik, Brighton Festival, BMIC Cutting Edge, Darmstadt, Donaueschingen, Gothenburg Arts Sounds, Huddersfield Contemporary Music Festival, Inventionen Berlin, The Kitchen, Music We’d Like to Hear, Ostrava New Music Days, Rainy Days, Rational Rec, Roaring Hooves, Spitalfields, Ultima, and Wittener Tage fur Neue Kammermusik.

Saunders' music has been performed internationally by ensembles and musicians including Apartment House, Arditti Quartet, asamisimasa, Sebastian Berweck, ensemble chronophonie, duo Contour, Rhodri Davies, EXAUDI, Nicolas Hodges, London Sinfonietta, Ensemble Modern, Neue Vocalsolisten, Plus-minus ensemble, Psappha, ensemble recherche, SUONO MOBILE, SWR Sinfonieorchester Baden-Baden und Freiburg, and 175 East.

He is active as a performer of experimental music, notably in the duo Parkinson Saunders with Tim Parkinson and as director of the ensemble Material at Bath Spa University.

Saunders is currently Professor of Music and Head of the Centre for Musical Research at Bath Spa University.[1]

Music

Saunders' work explores modular[2] and serial structures and uses open forms.[3] Series such as #[unassigned] (2000-9)[4] and divisions at could be autonomous but at comprise the whole (2009-11) are variable in their structure, comprising a selection of modules which can be combined in different ways to make new configurations for each performance. His music uses extended instrumental techniques and found objects as a means of exploring the sonic properties of materials.[5] It is “predominantly quiet, with sustained tones, often on the edge of inaudibility, interspersed with shorter sounds, all produced by an instrumentarium that mixes conventional musical instruments with a range of low-tech sound sources”.[6] More recently, he has used inter-personal cueing systems to control the way the music is structured (things whole and not whole, 2011), and made distributed pieces which allow collaborative input from others (distribution study, 2011).[7]

Selected Works

on bare trees (2014)
so many territories (2014)
everybody do this (2014)
interspersed sometimes with weeds and brambles (2013)
eight panels (2012)
what you must do, rather than must not do (2012)
overlay (2012)
small template (2012)
object network (2012-)
things whole and not whole (2011)
distribution study (2011)
location composites (2011- )
template (with alterations) (2010- )
surfaces (2010- )
geometria situs (2009-10)
divisions that could be autonomous but that comprise the whole (2009-11)
either/or (2008/9)
with paper (2006/8, 2009- )
#[unassigned] (2000-9)

References

  1. ^ http://www.bathspa.ac.uk/schools/music-and-performing-arts
  2. ^ Saunders, J. (2008). Modular Music, Perspectives of New Music, Vol. 46/1 (Winter 2008): 152-93. Reprinted as: Viefalt an Konfigurationen. Modulare Musik (trans. M. Lichtenfeld), MusikTexte, 130 (August 2011): 58-77.
  3. ^ Nyfeller, M. (2011). Konzeptionelle Spiele. Der Engländer James Saunders, MusikTexte, 130 (August 2011): 53-57.
  4. ^ Ryan, D. (2003). Zeitmaschinen: Die englischen Komponisten Bryn Harrison, Tim Parkinson und James Saunder. Dissonanz, #82 (August 2003): 20-5.
  5. ^ Saunders, J. (2013). Specific Objects? Distributed approaches to sourcing sonic materials in open form compositions. Contemporary Music Review, 32/5: 473-484.
  6. ^ Fox, C. (2008) James Saunders, Grove Music Online, http://www.oxfordmusiconline.com [Accessed 19 October 2014]
  7. ^ Nicolai, O. (2011). Escalier du Chant: James Saunders, distribution study #1, http://www.escalierduchant.org/ [accessed 3 April 2013]

Further Reading

Fox, C. (2008) James Saunders, Grove Music Online, http://www.oxfordmusiconline.com [Accessed 19 October 2014]
Nyfeller, M. (2011). Konzeptionelle Spiele. Der Engländer James Saunders, MusikTexte, 130 (August 2011): 53-57.
Parkinson, T. (2011). Une Présence Manifeste: Quelques Compositeurs Du Royaume-uni Dont J’aime La Musique, Revue & Corrigée, 90 (December 2011): 26-30.
Ryan, D. (2003). Zeitmaschinen: Die englischen Komponisten Bryn Harrison, Tim Parkinson und James Saunder. Dissonanz, #82 (August 2003): 20-5.
Ryan, D. (2007). Realising #0505-040606-[1], Miser & Now, 10 (August 2007): 14-16.
Saunders, J. (2006). What are you doing with your music?. In: Marley, B. and Wastell, M., eds (2006). Blocks of consciousness and the unbroken continuum, London: Sound 323 Press: 254-63.
Saunders, J. (2007). Developing a Modular Music System. In: Waterman, A., ed. (2007). Agape. New York: Miguel Abreu Gallery: 36-40.
Saunders, J. (2007). The Dictaphone in my Life. My Favorite Things – The Joy of the Gizmo: Leonardo Music Journal, 17 (2007): 33-4.
Saunders, J. (2008). Modular Music, Perspectives of New Music, Vol. 46/1 (Winter 2008): 152-93. Reprinted as: Viefalt an Konfigurationen. Modulare Musik (trans. M. Lichtenfeld), MusikTexte, 130 (August 2011): 58-77.
Saunders, J. (2013). Specific Objects? Distributed approaches to sourcing sonic materials in open form compositions. Contemporary Music Review, 32/5: 473-484.



http://en.wikipedia.org/wiki/Darmstadt_New_Music_Summer_School http://en.wikipedia.org/wiki/Brighton_Festival http://en.wikipedia.org/wiki/Donaueschingen_Festival http://en.wikipedia.org/wiki/Wittener_Tage_fur_neue_Kammermusik http://en.wikipedia.org/wiki/Rhodri_Davies_(musician) http://en.wikipedia.org/wiki/Nicolas_Hodges http://en.wikipedia.org/wiki/London_Sinfonietta http://en.wikipedia.org/wiki/Ensemble_Modern http://en.wikipedia.org/wiki/Plus_minus_ensemble http://en.wikipedia.org/wiki/Psappha_New_Music_Ensemble http://en.wikipedia.org/wiki/Ensemble_recherche



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