Richard Hoadley

Qualifications

1982-5 BA(Hons) Music, Bristol University
1986-93 PhD, Musical Composition, Durham University

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Richard Hoadley

Relevant Experience

2006, December 20-21st Workshop Leader, Collaborative Performance Technology workshop for Cambridge Centre for Research in Arts, Social Sciences and Humanities (CRASSH)
2002-3 Pathway Leader, Creative Music and Sound Technology
1999- Reader/reviewer for OUP USA (Electronic Music)
1998- Co-founder, Cambridge Digital Arts Forum
1996-2005 Music Field Leader, Anglia Ruskin University
1996- Senior Lecturer in Music, Anglia Ruskin University
1994-96 MA(Music) Field Leader (Cambridge Campus), Anglia Ruskin University
1990-2003 Director, ARU Electroacoustic Music Studios
1990-96 Lecturer in Music, Anglia Ruskin University
1988-90 Composer-in-Residence (RVW Trust Scholarship), Charterhouse School, Godalming, Surrey

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Richard Hoadley

Selected Compositions, Performances, Software, Hardware

(2013) The Fluxus Tree
a part of duets for dancers and musicians
kings place, london, April 14 2013

(2013) Conway Collective: sculptural algorithmic installations
Conway Hall, London, Spring 2013

(2013) Three Streams for gesture and cello
CMPCP Performance Studies Network International Conference
Cambridge UK, 4-7 April 2013

(2012) The Fluxus Tree
Data from dancers interacting with sculptures generate notation live, which is then played by the composer and 'cellist Cheryl Frances-Hoad.
Jane Turner, Cheryl Frances-Hoad and Richard Hoadley
INTIME 2012 Symposium, 19th-20th October, 2012, University of Coventry, UK

(2012) Phase Transition - a dance and music performance experiment
Richard Hoadley and Jane Turner
Recital Hall, Anglia Ruskin University, Cambridge, UK, Sunday 28th October 2012
Cambridge Festival of Ideas

(2012) The Fluxus Tree
An interactive sculpture for dancer using data from sensors to help generate notation live, which is then played by the composer and 'cellist Cheryl Frances-Hoad.
Jane Turner, Cheryl Frances-Hoad and Richard Hoadley
LIVE INTERFACES: Performance, Art, Music, 7th-8th September, 2012, ICSRiM, School of Music, University of Leeds, UK

(2012) The Fluxus Tree
An interactive sculpture for dancer using data from sensors to help generate notation live, which is then played by the composer and 'cellist Cheryl Frances-Hoad.
A part of Degrees of Synchrony: an original dance and music performance investigating the boundaries between synchronisation and simultaneity.
Performance involving acoustic and electronic sound with choreographer Jane Turner and composer-performers
Tom Hall, Cheryl Frances-Hoad and Richard Hoadley.
13th May, Kettle's Yard, Cambridge

(2012) Player Piano
An automatic composition for computer generated piano and piano. The pianist's music is generated live in performance.
A part of Degrees of Synchrony: an original dance and music performance investigating the boundaries between synchronisation and simultaneity.
Performance involving acoustic and electronic sound with choreographer Jane Turner and composer-performers
Tom Hall, Cheryl Frances-Hoad and Richard Hoadley.
13th May, Kettle's Yard, Cambridge

(2012) Fluxus
automatic music for piano and computer
Composed by Richard Hoadley, performed by Richard Hoadley, January 17th, Cambridge, UK as a part of Future Fluxus

(2012) Calder's Violin
Automatic music for violin and computer
April 17th, City University, London
2012 SuperCollider Symposium

(2012) Conway Hall Confidential: Three Sounding Sculptures
Sculptural algorithmic installation
April 13th-14th, Conway Hall, London

(2011) Calder's Violin
Automatic music for violin and computer
2011 October 22, Cambridge Festival of Ideas

(2009-present) Devices and Units
Hardware and software interfaces for music performance, in development.

(2011) Triggered
Sculptural custom hardware and software interfaces and automatic composition for performers and dancers.
With Tom Hall, Jane Turner, Cheryl Frances-Hoad.
2011 June 13, Kings Place, London

(2011) One Hundred and Twenty-Seven Messages
Crowdsourced composition and performance controlled by mobile devices.
Presented at 'Sounds Like Mobility, A Mobile Media, Sound and Music Event',
Ruskin Gallery, Cambridge, 17th May

(2010-11) Touching Sound
Composition and Music Therapy project in preparation

(2010-11) Metapiano
Used in Triggered 2011 and Conway Hall Confidential: Three Sounding Sculptures
Some material also used in Calder's Violin

(2010) Cage Musicircus
Contribution using Wired, Gagglina and Gaggle to the performance in collaboration with Tom Hall et al., Kettles Yard,
Cambridge, 10th November 2010.

(2010) Triggered
Sculptural custom hardware and software interfaces and automatic composition for performers and dancers.
With Tom Hall, Jane Turner, Cheryl Frances-Hoad.
- Performance for CoDE New Materialism Conference, Anglia Ruskin University,
Monday 21st June 2010.
- Performance for Correspondence, a weekend of Creative Practice, London Metropolitan University,
Saturday 26th June 2010.

(2010) One Hundred and Twenty-Eight Haiku
Automatic performance/composition with custom hardware and software.
Part of Frame-breaking including original work in collaboration
with Katharine Norman, Sam Hayden, Katy Price, Tom Hall, Kettles Yard,
Cambridge, 9th May 2010.

(2010) MIST (Museums, Interfaces, Spaces, Techologies)
Invited performance using custom built hardware and software, AHRC Workshop, 22nd-23rd March 2010.

(2009) Gaggle: Hardware and Software Interface and Composition
Hardware, software, composition and performance commissioned by
British Computer Society HCI conference 2009, Cambridge
http://www.bcs-hci.org.uk/, September.
In collaboration with Tom Hall, Cheryl Francis-Hoad and Jane Turner and dancers

(2009) One Hundred and Twenty-Seven Haiku
Automatic performance/composition with custom software
Event in collaboration with Katharine Norman and Katy Price
Kettles Yard, Cambridge, May 2009

(2008) Many Worlds
Semi-automatic music (SuperCollider)
A component part of Silent Histories: soundscapes and compositions on the themes of stillness, technology and place.
Music and performances by Kerstin Bueschges, Kevin Flanagan, Richard Hoadley and Paul Rhys.
Kettles Yard, Cambridge, May 2008

(2007) Telephony
MaxMSP and Telephones, concert version approx. 9:29.
Commissioned for Kettle's Yard New Music, Kettle's Yard 2007

(2006) Histrionica
A melodrama for 'cello and gamelan instruments; 6:26.
First performed at Kettle's Yard, Cambridge in March 2006 by Anton Lukoszevieze
and members of the Cambridge Gamelan Society.

(2004) Hello
semi-automatic live performance music for computer, 6:22.
Commissioned for Kettle's Yard New Music, February 2004

(2002) Ambience
semi-automatic live performance music for computers and synthesisers (pSY).
Commissioned for Cambridge New Music Group Inaugural Concert, April 2002

(1999) The Copenhagen Interpretation
automatic live performance music for computers and synthesisers (pSY), 16:30.
Commissioned for Cambridge Digital Arts Festival, June 1999.

(1998) The Continual Snowfall of Petrochemicals
automatic live performance music for computers and synthesisers (pSY).
Commissioned for Cambridge Digital Arts Festival, June 1998.

(1994) Four Archetypes
for large orchestra, 16:00.
Commissioned by the Cambridge-Heidelberg-Montpelier Orchestra with funds provided by Eastern Arts, 1994.

(1992) Three Pieces for Two Pianos
for two pianos, 36:00.
Commissioned by Philip Mead and Steve Guttman, pianos, 1992

about | qualifications experience compositions papers software research interests

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Richard Hoadley

Publications

(2012) Calder's Violin: real-time notation and performance through musically expressive algorithms
Proceedings of the International Computer Music Conference, IRZU, Ljubljana, Slovenia, 9-15 September

(2011) The Metapiano: composing and improvising with sculpture
Proceedings of International Symposium for Electronic Arts, Istanbul, 2011

(2011) Sculpture as music interface
Proceedings of the International Computer Music Conference, University of Huddersfield
(ISBN: 978-0-9845274-0-3)

(2011) A principled approach to developing new languages for live coding
Samuel Aaron, Alan F. Blackwell, Richard Hoadley and Tim Regan, 
Proceedings of NIME (New Interfaces for Musical Expression), Oslo, 2011
(ISBN: 978-82-991841-7-5)

(2010) Form and function: examples of music interface design
Proceedings of the HCI2010 Conference, Dundee 2010

(2010) Implementation and development of sculptural interfaces for digital performance 
of Music through Embodied Expression 
Proceedings of the Electronic Visualisation and the Arts Conference, London 2010
(IBSN: 978-1-906124-65-6)

(2010) Implementation and development of interfaces for music performance through 
analysis of improvised dance movements
Proceedings of the 128th Audio Engineering Society Convention, London, 2010
(ISBN: 978-0-937803-74-5)

(2002) Music and technocracy
in Diversity or Anarchy?: Papers from the 31st Annual Manchester Broadcasting Symposium (Current Debates in Broadcasting)
University of Luton Press, December 2002
(ISBN: 978-1-860205-91-0) 


Papers and Presentations
(2013) Physical interaction and interpretation in the generation of musical scores
Invited presentation at the INScore Workshop for Dynamic Scores
Universite Jean Monnet, Saint-Etienne, for Grame, Lyon, France, 29th April

(2013) Touching Sound: Vulnerability and Synchronicity
Sam Aaron, Phil Barnard, ian Cross, Santinder Gill, Tommi Himberg, Richard 
Hoadley, Helen Odell-Miller, Rob Toulson, and Bonnie Kempske
CHI2013 workshop on Designing for and with vulnerable people, April 27, Paris 

(2013) Live, algorithmically generated notation, creativity and performance
CMPCP Performance Studies Network International Conference, 4-7 April 2013, Cambridge UK 

(2013) Sculpture as Music Interface
Fine Arts Research Unit, February 13 2013, Cambridge UK 

(2013) Cross-media expressive mapping
Anglia Ruskin University Research Conference, 15 January 2013, Cambridge UK 

(2012) Touching Sound: technologies for mediated interaction in music
presentation by richard hoadley
AHRC Digital Transformations Moot
19 November 10-4pm Mermaid Conference Centre, London

(2012) The Fluxus Tree: notating musical movement
INTIME 2012 Symposium, 19th-20th October, 2012, University of Coventry, UK

(2012) Touching Sound: technologies for mediated interaction in music
Presentation by Richard Hoadley and Satinder Gill as a part of 'The mind behind the music' at the Centre for Music and Science,
Faculty of Music, West Road, University of Cambridge, UK, Wednesday 24th October
Cambridge Festival of Ideas

(2012) Touching Sound: technologies for mediated interaction in music therapy
Presentation by Richard Hoadley and Helen Odell-Miller
The Body in the World - The World in the Body. 13th International EABP Congress of Body Psychotherapy. 
University of Cambridge, UK, September 14-17

(2012) Touching Sound: technologies for mediated interaction in music therapy
Sam Aaron, Ian Cross, Satinder Gill, Tommi Himberg, Richard Hoadley, Helen Odell-Miller, Rob Toulson
7th Nordic Music Therapy Congress
University of Jyvaskyla, Finland, June 13-17

(2012) Notating Musical Movement
CoDE Research 1st Annual Conference
Anglia Ruskin University, March 27-28

(2012) Notating algorithms
Symposium for Performance of Electronic and Experimental Music (SPEEC)
University of Oxford, January 6-7

(2011) Real-time generation of music notation using algorithms and physical movement
DMRN+6: Digital Music Research Network One-day Workshop 2011
Queen Mary University of London, Tuesday 20th December

(2011) Analysis of algorithmic music generated through physical embodiment
Seventh International Conference on Music Since 1900/International Conference of the Society for Music Analysis
University of Lancaster, July

(2011) One Hundred and Twenty-Seven Messages
Crowdsourced composition and performance controlled by mobile devices.
Presented at 'Sounds Like Mobility, A Mobile Media, Sound and Music Event',
Ruskin Gallery, Cambridge, 17th May

(2011) Music, movement and magic
Audio Engineering Society, Cambridge, 31st March, ARU

(2010) Intimate physical control of musically expressive algorithms
with Satinder Gill, DMRN+5: Digital Music Research Network One-day Workshop 2010
Queen Mary, University of London, Tuesday 21st Dec 2010

(2010) Music technology now: instruments and algorithms
with Tom Hall, Cambridge Festival of Ideas, Cambridge, October 24th

(2010) Implementation and development of interfaces for music performance 
through analysis of improvised dance movements
SuperCollider Symposium, Berlin, September 23rd-26th

(2010) Towards embodied control of algorithmic music
with Tom Hall, Music and Numbers Conference, Department of Music 
Canterbury Christ Church University, 14 - 15 May
(Abstract published in ISBN 978-1-899253-76-0)

(2010) Gaggle and Digital Performance Laboratory
Presentation for Microsoft Research Cambridge, Computer Mediated Living Group, 11th January

(2009) The development of music interfaces through improvised dance movement
Paper presented at Collaborative Processes in Music Making: Pedagogy and Practice,
University of Surrey, 11th November

(2008) Performing computer music: a time and motion study
Invited paper presented at Time in Media Arts: A Symposium on Film, Video, Sound and Movement, 
Anglia Ruskin University, 28th November

(2007) Judge Proulx's ruling
Invited paper presented at The Sight of Sound: Inter-media
Centre for Research in the Arts,   Social Sciences and Humanities, Cambridge University, 30th November

(2001) Is music real? 
Paper presented at the Joint Universities Music Colloquia, Anglia Ruskin University, 26th February

(2001) Music and technocracy
Paper presented at the 31st Annual Manchester Broadcasting Symposium (Current Debates in Broadcasting), University of Manchester, May

(2000) Computer technology and musical expression
Paper presented at the Mumford Theatre, Anglia Ruskin University as part of the Joint Universities Music Colloquia, November 2000
Paper presented at the University of Birmingham Conference, 'Art Music in the Twentieth Century', November

(2000) Metaphor, memes and the cartesian music-hall
Paper presented at the APU Research Conference, June

(2000) Metaform and metaforming
Paper presented at the Joint Universities Music Colloquia, Anglia Ruskin University, Nov 2000, and at the APU Conference, 'Form and Forming', April

(2000) Music technology and musical expression
Paper presented at the Anglia Ruskin University Research Lecture Series, February

(1999) pSY and The Copenhagen Interpretation
Paper presented at the Anglia Ruskin University Research Lecture Series, July

(1991) Choice and Chance: randomness and recursion in music
RMA Research Conference, APU, June

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Richard Hoadley

Original Computer Software

(2011-2012) INScore class for SuperCollider, in preparation
Class for interfacing SuperCollider with various features of the INScore augmented score programme, notably live notation support via Guido.

(2012) HID2OSC
Utility for converting HID messages to OSC, in this case for use with Isadora 1.2.9. Isadora 1.3 has native support for HID.

(2010) Melismata
Software interfaces for music performance. Used in Triggered.

(2010) Melodia
Software interfaces for music performance. Used in Triggered and One Hundred and Twenty-Eight Haiku.

(2009-present) Devices and Units
Hardware and software interfaces for music performance, in development

(2010) Triggered
Hardware and software interfaces, composition for performance and dancers.
With Tom Hall, Jane Turner, Cheryl Frances-Hoad, in development June.

(2010) One Hundred and Twenty-Eight Haiku
Composition including hardware and software, and performance.
Part of Frame-breaking including original work in collaboration
with Katharine Norman, Sam Hayden, Katy Price, Tom Hall, Kettles Yard,
Cambridge, 9th May.

(2010) MIST (Museums, Interfaces, Spaces, Techologies)
Invited performance using custom built hardware and software, AHRC Workshop, 22nd-23rd March.

(2009) Gaggle: Hardware and Software Interface and Composition
Hardware, software, composition and performance
commissioned by British HCI (Human Computer Interface) conference 2009, Cambridge, September
http://www.bcs-hci.org.uk/
In collaboration with Tom Hall, Cheryl Francis-Hoad and Jane Turner and dancers

(2009) One Hundred and Twenty Seven Haiku
Automatic performance/composition with custom software
Event in collaboration with Katharine Norman, (Electronic Music Studios, City University) and
Katy Price, Kettles Yard, Cambridge, May 2009

(2008) Many Worlds
Semi-automatic music (SuperCollider)
Silent Histories: soundscapes and compositions on the themes of stillness, technology and place.
Music and performances by Kerstin Bueschges, Kevin Flanagan, Richard Hoadley and Paul Rhys.
Kettles Yard, Cambridge, May 2008

(2001-4) The Sound Archive of the Library of Babel
software, 2001-4
(1999) Linguini
Generate (nonsensical) text based on the content of input text.

(1998) pSY
Applying the principles of Arpeggiator to the synthesis structure of the Yamaha SY77 or SY99 synthesiser.
You'll require access to (at least) one of these synthesisers to fully appreciate this software.
I'm currently working on software that doesn't require an external synth.
My pieces The Copenhagen Interpretation and Ambience used four of these programmes and four synths live... Screenshots

(1998) pSalm
In development. An attempt to create a graphics to audio programme. Draw a picture (using rather basic tools)
or import a graphic, choose between a variety of parameters and convert the image into a csound file. You'll also
require the csound programme... screenshots

(1998-2007) Melodia 1
In development. Based on the Arpeggiator and pSY models, this is an attempt to create synthetic melody,
involving tone colour as well as pitch material. More recently I've been redeveloping this in MaxMSP and will probably do so again using SuperCollider.
See below for a screenshot of the version for MaxMSP and Yamaha TG77s... screenshots

(1998) pSuomi
Mouse control for general MIDI. Another in the psy series of algorithmic/graphic composition/performance tools...

(1996-8) The Continual Snowfall of Petrochemicals
automatic live performance music for computers and synthesisers (pSY).
Commissioned for Cambridge Digital Arts Festival, June 1998.

(1994) Arpeggiator
An algorithmic MIDI composer based on the idea of the movement from one note to another in groups.
Originally completed in Hypercard for Mac, later implemented in Visual Basic on Windows. Screenshots. Download.

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Richard Hoadley

Consultancy

(2013) Leap Motion developer

(2013) EPSRC bid reviewer

(2013) Programme committee member of IADIS International Conference on Interfaces and Human Computer Interaction 2013
22-24 July, Prague, Czech Republic

(2012) Programme committee member for AMBIENT 2012, The International Conference on Ambient Computing, Applications, Services and Technologies
September 23-28, 2012 - Barcelona, Spain

(2012) Programme committee member of IADIS International Conference on Interfaces and Human Computer Interaction 2012
21-23 July 2012, Lisbon, Portugal

(2011) Programme committee member of International Symposium of Electronic Arts, Istanbul, September 2011

(2011) Programme committee member of IADIS International Conference on Interfaces and Human Computer Interaction
24-26 July 2011, Rome

(2010) Programme committee member of Human Computer Interaction Conference 2010
Dundee, UK, September

(2010) Triptych: Songs of Stone and Blood
PRS New Music Awards Application, 8th January.

(2009-present) Member of the Crucible Network for Research in Interdisciplinary Design

(2009) Pradsa Workshop on Novel Technologies and Social Action Consultant
February 2009

(2009)  Programme committee member of BCS Human Computer Interface Conference 2009
September, Cambridge UK

(2009) Understanding the Future
Advisor for British Telecom 'Understanding the Future' conference, Cambridge.

(2009) Beyond Text 
Co-investigator, AHRC Research Project Proposal, May 2009

(2008) Consultant on programme concerning use of sensor and EEG data on Radio 209 in Cambridge.

(2001) The Sound of Silence
for the Open University/BBC - advised and took part in documentary concerning the nature of musical sound, (Recreating Sounds)

(1999+) Reader/reviewer for Oxford University Press, USA - books on electroacoustic/electronic music

(1998) Consultant to Ample Music - educational/experimental music hardware and software

Notes on the Future of Computing in Music Education

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Richard Hoadley

Computing Experience

Supercollider
Max/MSP
CSound
Arduino
Processing
Visual Basic
HTML/Javascript
C++
Java
Macintosh Hypercard

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Richard Hoadley

Principal Research Interests

Composition for and with computers, live electronics
Algorithmic composition
Intermedia: mapping Images, mathematical functions, etc. into sound
Aesthetic implications of composition, tape composition
Composition for 'live' computer and mapping