Oxford Workshop | Exploring Instrumentation & Timbre in Music on Screen Using Graphic Music Notation for Film EDINBURGH, UK APRIL 27, 2024

Workshop Basic Info

Organizer

Reid School of Music, The University of Edinburgh, UK

Workshop Chair:

Dr. Ioannis Panagiotou
Tutor in University of Edinburgh

Personal Bio:

Dr. Ioannis Panagiotou is a UK-based artist and composer. His art uses cross-media narratives for exploring issues of memory, migration and identity. Ioannis' works have been presented internationally in Japan, UK, Lithuania, Denmark, Belgium, Switzerland and Greece. He has worked with F-Wakaba Dance, Plus-Minus Ensemble, Red Note Ensemble, Edinburgh Quartet, Decoda, Edinburgh Film Music Orchestra, Edinburgh Contemporary Ensemble, St Andrews New Music Ensemble, Theros Theatre Ensemble and Portativ Ensemble. Holding a PhD in Composition from the University of Edinburgh, Ioannis is the Head of Music at Lincoln College and teaches Composition at the University of Edinburgh. He is also the artistic director of the PN Ensemble, and is an Artist in Residence at the Zurich University of the Arts.

Backgroud

In the realm of music for film, the intricate relationship between visual storytelling and sonic landscapes has evolved significantly with the advent of contemporary composition techniques and innovative sound design. This workshop aims to delve into the nuanced exploration of instrumentation and timbre in cinematic music, specifically through the lens of Graphic Music Notation (GMN). GMN provides a visual representation of musical elements, offering a unique perspective for composers and sound designers to craft evocative sonic experiences in conjunction with visual narratives.

Goal/Rationale

The workshop seeks to address the challenge of enhancing the synergy between music and visuals in film by leveraging the expressive potential of instrumentation and timbre. With recent advancements in both musical notation and film scoring technology, this workshop aims to foster a deeper understanding of how Graphic Music Notation can be employed to articulate complex musical ideas within the context of visual storytelling. Participants will explore innovative ways to use GMN to communicate and experiment with instrumentation and timbral elements, pushing the boundaries of traditional film scoring.

Call for Papers

Scope and Information for Participants

The workshop aims to create a dynamic space for collaboration, discussion, and hands-on exploration, fostering a community dedicated to pushing the boundaries of music for film through the lens of Graphic Music Notation. Prospective participants are encouraged to submit papers at the workshop within the overarching topic of film, music, arts, media, etc. This workshop welcomes innovative scholars to participate in order to boost scientific information exchange among researchers, students and industry experts around the world. Several keywords are listed to share the potential themes with interested participants, while the topics are not limited to the provided keywords.

  • Music for Film
  • Contemporary Music
  • Collaborative Sound Design
  • Expressive Timbral Techniques
  • Instrumentation as Narrative Device
  • Technological Integration

Topics

Fine Arts & Design

  • Fine Arts and Visual Arts
  • Cultural Arts
  • Dance Arts
  • Art of Music
  • Traditional Media
  • Illustration
  • Editorial Design
  • Advertising Design
  • User experience design
  • 3D Animation
  • Corporate Design

Journalism & Mass Media

  • Traditional Media
  • Print Media
  • Electronic Broadcasting Media
  • Digital Media
  • Transit Media
  • Entertainment Journalism
  • Opinion Journalism
  • Investigative Journalism
  • Sports Journalism

Submission

All submitted papers should report original and unpublished work, experimental or theoretical, and are not under consideration for publications elsewhere. All papers should be no less than 4 pages in length and must strictly follow the format of the workshop template. All papers are subject to reviews and edits. Prospective authors are kindly invited to submit full text papers that includes title, abstract, introduction, tables/figures and references. Other styles of papers are not accepted. Please submit your papers in both .doc/.docx AND .pdf formats as attachments via email to ws-edinburgh@icllcd.org by the given deadline. It is unnecessary to submit an abstract in advance.

Publication

Accepted papers of the workshop will be published in Communications in Humanities Research (Print ISSN 2753-7064), and will be submitted to Conference Proceedings Citation Index (CPCI), Crossref, CNKI, Portico, Google Scholar and other databases for indexing. The situation may be affected by factors among databases like processing time, workflow, policy, etc.

Ways to Participate

To break the barriers of time and space and to provide seamless communication opportunities for worldwide scholars, both online and offline participation methods are supported for the workshop. Participants are encouraged to bring their own insights, experiences, and examples to share with the group through either presenting a poster online or attending in person.

Poster Session

The poster session will provide an opportunity for researchers to present their work in a visual and interactive way, allowing for more engagement and discussion with other attendees. Authors of qualified papers will be invited to present their works with digital posters. We believe that this online poster session will still be a great platform for participants to share, discuss, and cooperate.

All accepted authors will receive an invitation email to present at the official workshop website. Please note that all poster presenters must submit the poster before April 20, 2024. Detailed information on your presentation date and time will be confirmed closer to the meeting. If you have any questions, please email ws-edinburgh@icllcd.org.

Poster Presentation Guidelines

  1. Poster presentations must be prepared using the template provided:
    *Poster layout template for poster presentation (download)
    *Poster layout background (download)
  2. Posters should generally be in A1 size (width: 594mm x height: 841mm) and include the followings:

    Title, author and co-author names, and the affiliation(s) information.

    Body parts, including "Abstract", "Introduction", "Methods", "Results", "Discussion" and "Conclusions".

  3. Presenters are suggested to set the font size properly and avoid placing anything at the margin part of the poster as it will be difficult to view.
  4. Posters should be well illustrated. All the pictures used should be high quality and with high resolution.
  5. All the posters will be displayed online on the official website. Each poster will have both a small thumbnail and a full-size version.
  6. Posters will be displayed during the online session. After the presentation is over, the full-size version of all posters will become invisible. But thumbnails still can be seen on the website.

(You can refer to the instructions for more detailed information. Additional presentation guidelines may be announced by workshop committees.)

Attendance Onsite

The workshop welcomes participants to attend on-site and share the innovative experiences and researches with the group. Therefore, we provide some general information about the visa application. If you want to attend the workshop on-site, please email the workshop committee: ws-edinburgh@icllcd.org.

Highlight

The workshop, "Exploring Instrumentation & Timbre in Music on Screen using Graphic Music Notation for Film," delves into the evolving landscape of cinematic music, focusing on the intricate relationship between visuals and sonic expression. Recognizing the transformative potential of Graphic Music Notation (GMN), this event seeks to explore how GMN can be harnessed to enhance the emotive impact of film scores through innovative approaches to instrumentation and timbre.

Addressing the contemporary challenges in film scoring, the workshop aims to foster a deeper understanding of GMN's role in communicating complex musical ideas within visual narratives. It strives to bridge the gap between traditional film scoring and modern sound design by encouraging participants to investigate expressive timbral techniques, use instrumentation as a narrative device, explore collaborative sound design, and integrate cutting-edge technology into GMN.

Participants are invited to contribute to a dynamic and collaborative environment, sharing insights, experiences, and examples. The workshop aspires to cultivate a community dedicated to pushing the boundaries of music for film, embracing the potential of Graphic Music Notation as a powerful tool for shaping the future of cinematic soundscapes.

Visa

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  • You'll leave the UK at the end of your visit
  • You're able to support yourself and your dependants during your trip (or have funding from someone else to support you)
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