rhoadley.net

semaphore

2014

automatic music for dancers, musicians, computer and live score projection

music and programming by Richard Hoadley; text by Phil Terry; choreography by Jane Turner

fluxus

2012

automatic music for piano and computer

also

fluxus tree

2012-3

automatic music for sculpture, dancer(s), instrument ('cello) and computer

photo credit to julio d'escrivan

homanaje a cervantes

2017

automatic music for violin, computer and live projections

choreograms

2016

automatic music for dancers, musicians,

computer and live score projection

music and programming by Richard Hoadley;

text by Phil Terry;

choreography by Jane Turner

fluxus

2012

automatic music for piano and computer

photograph courtesy of julio d'escrivan

music for twine

2018

a video by Chris Frazer Smith,

music by Richard Hoadley

In collaboration with Argentinian tango,

Twine is a contemporary choreography of intimacy for two exceptional dance artists.

a continual snowfall of petrochemicals

1998-9

automatic music for computers and Yamaha SY synthesisers

This image of Jupiter’s southern hemisphere was taken by NASA’s Juno
spacecraft on October 24 at 2:11 p.m. EDT (11:11 a.m. PDT). At the time the image was
taken, Juno was 20,577 miles (33,115 km) from the tops of the clouds of the planet at
a latitude of minus 52.96 degrees. The color-enhanced view captures one of the white
ovals in the ‘String of Pearls,’ one of eight massive rotating storms at 40 degrees
south latitude on the gas giant.
Image credit: NASA / JPL-Caltech / SwRI / MSSS / Gerald Eichstaedt / Sean Doran.

sextet (still life)

1987, rev. 1988

for string sextet: two violins, two violas, two violoncellos

how to play the piano: live notations in music (poster)

2016

ICMC Utrecht

full sized poster

edge violations

2016

for clarinet(s), computers, and projections

texts by Phil Terry

through the sharp hawthorn (blows the cold wind)

1987, rev. 1994

for flute and piano

shilbottle cobbles

1988-1991

wind orchestra

Listening to Lulu, in our hearth we burn,
as we hear the high Cs rise in stereo,
what was lush swamp club-moss and tree-fern
at least 300 million years ago.
Shilbottle cobbles, Alban Berg high D
lifted from a source that bears your name,
the one we hear decay, the one we see,
the fern from the foetid forest, as brief flame.

Tony Harrison, v