rhoadley.net music research software blogs

Research

See also music, text, software and vimeo and youtube channels

A composer in many media and technologist, early instrumental compositions include Only Connect (1988), for orchestra, recorded by the BBC Symphony Orchestra and broadcast on BBC Radio 3's Music in our Time, In Principio (1989) written while Ralph Vaughan Williams Trust Composer-in-Residence and performed by the BBC Singers at the Huddersfield Contemporary Music Festival and Three Pieces for Two Pianos (1992).

In recent years Richard Hoadley has focused on the role of technology in musical composition and performance. This includes the implementation of physical interfaces along with algorithmic software to generate original compositions. He has developed a number of devices including the Digiphone (2011-2014), the Gaggle (2009) and the Metapiano (2011): bespoke systems designed to investigate and facilitate physical interactions with musically expressive algorithms for installations, performances (including dance) and therapeutic environments. These interfaces and others have been used creatively in performances such as Triggered (2009-2012). In compositions such as Calder's Violin he has developed methods for the live presentation of algorithmically generated notation, an approach he has developed further in pieces such as The Fluxus Tree (2012-13), Three Streams (2013), Quantum Canticorum (2013-2014), Semaphore (2014) and Choreograms (2016) in which the movement of dancers generates music notation which is in turn performed live by an instrumentalist. In the last four of these pieces he has acquired movement data using the Kinect depth camera.

Current projects include the composition of an extended choral work, Unthinking Things, for 16 voice choir, electronics and live, dynamic notation, based on texts by Bishop George Berkeley. He is also working on commissions involving the 'translation' of text and phonemes into musical ideas and gestures and the development of music and text compositions enacted by members of the audience moving through the performance space itself.

The Touching Sound project investigated the use of these technologies in therapeutic environments.

Ways of Making People Move investigates musical representation in composition and automatic scoring.

He primarily works with SuperCollider software and Arduino, Mbed and Kinect hardware where necessary.

He has written, published and presented about music throughout the world. A full list can be found below. He is currently working on commissions for the St Augustine's Singers, the Cambridge Sinfonia and is involved in a number of research projects investigating methods of dynamic musical communication. In 2018 he left academic work to work full-time as a freelance composer.

Photograph by Tom Hall

Compositions and Performances Selected compositions and performances. See also music, software and vimeo and youtube channels

(2018-present) Unthinking Things, part two (metals) automatic music for 16 voice choir, electronics and live score projection music and programming by Richard Hoadley; text by Bishop George Berkeley - Performance: St Augustine Singers, Cambridge, 17th March 2018 - Performance: St Augustine Singers, Cambridge, 7th March 2020 - Performance: Hochschule für Musik und Theater Hamburg, Hamburg, 13th May 2020 - POSTPONED

- Performance: Hochschule für Musik und Theater Hamburg, Hamburg, 10th-13th May 2021

(2018) Music for Twine
a dance film by Chris Smith
music and programming by Richard Hoadley;

(2017-present) Unthinking Things, part one (stones)
automatic music for 16 voice choir, electronics and live score projection music and programming by Richard Hoadley; text by Bishop George Berkeley
- Performance: St Augustine's Church, Cambridge, 17th March 2018

(2016-17) Homage to Cervantes
music, computer, violin and projections
- Performance: International Conference on New Technologies for Music Notation and Representation (TENOR) 25th May 2017

(2015-6, in progress) Choreograms, a music-text-dance piece Music and programming Richard Hoadley amongst others, dance Jane Turner, text Phil Terry

- Performance at Colchester Arts Centre, Wednesday March 8th 2017
- Performance at Conway Hall, Wednesday March 1st 2017
- Performance at Chelmsford Festival of Ideas, Saturday November 12th 2016
- Performance at The Globe, Albany Road, Cardiff, Thursday October 6th 2016
- Performance (Semaphore/Choreograms chimera) at AHRC Commons, York University, 21st June 2016
- Performance at New Cut, Saturday 7th May 2016, Halesworth, Suffolk
- Performance at Hoadley, Hall and Brown, Saturday April 23rd 2016, Anglia Ruskin University.
- Performance Early Dance Circle Bienniel Conference, friday 8th april 2016, high wycombe

(2015-6) Edge Violations
music, computer, clarinet and projections

- Performance/workshop: The Boiler House, London Metropolitan, Thursday October 15th 2015 NB This performance/workshop was cancelled.
- first performance at Hoadley, Hall and Brown, Saturday April 23rd 2016, Anglia Ruskin University.
- Performance at the TENOR conference, Cambridge, May 28th 2016 - Ian Mitchell, clarinet(s)
- Performance at Electronic Visualisation and the Arts, Covent Garden, London, 12th July 2016

(2015) Semaphore/Selfies, a music-text-dance piece
Music and programming Richard Hoadley amongst others, dance Jane Turner, text Phil Terry, videography Ian Willcock
Cambridge Festival of Ideas, Saturday October 2015, Anglia Ruskin University
3pm workshop, LAB 028; 5:30pm performance, Mumford Theatre

Hoadley, R. and K. Norman (2015) How to Play the Piano in 88 Notes, a part of Piano Glyphs
Piano - Philip Mead, music and programming - Richard Hoadley, words - Katharine Norman
- Performance at the INTIME Conference, Saturday 24th October, Coventry University
- Performance at the Music as Process Conference, Saturday June 6th, Goldsmiths, London
- Performance at 2:15 Recital Hall, Anglia Ruskin University, 12th May 2015.
- Performance at 1pm, 8th May 2015, University of Hertfordshire, a part of the Sonic Herts
- Performance in a concert of music for piano and electronics, 7:30-8:30pm, 26th February 2015 PACE 1, De Montfort University, a part of the Cultural Exchanges Festival
- Performance by Philip Mead at the London International Piano Symposium, Royal College of Music, Saturday February 14th

(2014-15) Semaphore
a dance, music and text performance piece
Music and Programming - Richard Hoadley; dance - Jane Turner; text - Philip Terry
- Performance (Semaphore/Choreograms chimera) at AHRC Commons, York University, 21st June 2016
- Performance at Embodied Intelligence in Music - Live, Presentation and performance of Semaphore PACE, De Montfort University, Monday 4th April 2016
- Performance of Semaphore/Selfies chimera, Cambridge Festival of Ideas, Saturday October 2015, Anglia Ruskin University (3pm workshop, LAB 028; 5:30pm performance, Mumford Theatre)
- Performance by Gwen Jones and Ann Pidcock (dance); Jimmy Ottley ('cello); Darius Gray (clarinet) Cardiff M.A.D.E., Thursday 9th July 2015, 7:30pm
- Performance by Gwen Jones and Ann Pidcock (dance); Cheryl Frances-Hoad ('cello); Gareth Stuart (clarinet) Mumford Theatre, Cambridge, Friday 17th April 2015, 1:10pm
- Performance by Gwen Jones and Ann Pidcock (dance); Cheryl Frances-Hoad ('cello); Ian Mitchell (clarinet) Drawing Towards Sound, TV Studio, University of Greenwich, Friday 20th March 2015, 6pm
- Performance byGwen Jones and Ann Pidcock (dance); Cheryl Frances-Hoad ('cello); Kate Romano (clarinet) Cambridge Festival of Ideas, Covent Garden Theatre, Cambridge, Sunday 26 October 2014 8pm

Hoadley, R., (2014) December Variations (on a Theme by Earle Brown), performance by Beata Pincetik,
Proceedings of the International Computer Music Conference 2014, University of Athens, Greece, September 2014

(2013-2014) Quantum Canticorum
a dance and music performance piece by Richard Hoadley and Jane Turner
2014
- Performance as a part of Quantum², with Richard Hoadley, Jane Turner, Gareth Stuart, Anne Pidcock, Gwen Jones, David Ogle, Grégoire A. Meyer, Natacha Bisarre Liverpool Hope University, Monday October 20
- Performance as a part of Quantum², with Richard Hoadley, Jane Turner, Gareth Stuart, Gwen Jones, David Ogle, Grégoire A. Meyer, Natacha Bisarre, Laura Brera Museum of Contemporary Art, Barcelona, Spain, Saturday June 7
- Performance by Richard Hoadley, Jane Turner, Gareth Stuart, Anne Pidcock Mumford Theatre, Cambridge, 1300, Friday 4 April 4
- Performance by Richard Hoadley, Jane Turner, Gareth Stuart, Anne Pidcock Deptford Town Hall, 1845, Wednesday April 2 as a part of the Live Algorithms for Music Symposium, Goldsmiths, April 2-5
2013
- Performance as a part of Quantum², Ruskin Gallery, Anglia Ruskin University, Cambridge, UK, Sunday October 27 Cambridge Festival of Ideas
- Performance by Richard Hoadley, Jane Turner, Gareth Stuart, Anne Pidcock Deptford Town Hall, 1930, Friday October 18 as a part of Notation in Contemporary Music Symposium, Goldsmiths, October 19-21
- Performance as a part of Quantum², Sensations Festival, Chelmsford, September 28

(2011-2016) Calder's Violin
automatic music for violin/flute and computer
- Performance by Ming Wang of new version for flute and computer (Calder's Flute), Sound and Music Computing Conference (SMC2016), Hamburg, Saturday September 3rd 2016
- Performance by George Panagiotopoulos at International Computer Music Conference 2014, Athens, Greece, September 2014
- Performance by Mifune Tsuji at INTIME 2013 Symposium, October 19-20 2013, University of Coventry, UK
- Performance by Marcus Barcham-Stevens at City University, London, 2012 SuperCollider Symposium, April 17 2012
- Performance by Mifune Tsuji at Cambridge Festival of Ideas, October 22 2011

(2012-2013) 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
- Performance at Musichoreography: duets for dancers and instrumentalists, Kings Place, London, April 14 2013
- Performance at INTIME 2012 Symposium, October 19-20 2012, University of Coventry, UK
- Performance at LIVE INTERFACES: Performance, Art, Music, September 7-8 2012, ICSRiM, School of Music, University of Leeds, UK
- Performance at Degrees of Synchrony: an original dance and music performance investigating the boundaries between synchronisation and simultaneity, May 13 2012, Kettle's Yard, Cambridge

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

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

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

(2009-2011) Triggered
Sculptural custom hardware and software interfaces and automatic composition for performers and dancers.
With Tom Hall, Jane Turner, Cheryl Frances-Hoad
- Performance at Kings Place, London, June 13 2011
- 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

(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) 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
Commissioned for an 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 (1989, rev. 1991) Shilbottle Cobbles
for wind orchestra, 17:00, recording
Commissioned by the Charterhouse Wind Orchestra.

(1989, rev. 1990) In Principio
for choir and organ or choir and brass quintet, 12:30.
Commissioned by the Charterhouse Choir.

(1988) Concertino
for violin, clarinet, 'cello, piano, 12:00.
Written for the Huddersfield Contemporary Music Festival.

(1988) Only Connect for orchestra, 17:00.
Written for the Durham University Orchestra,
performed on Radio Three 'Music in our Time' by the BBC Symphony Orchestra
conducted by Robert Zeigler.

(1987) String Sextet (Still Life)
Written for the Huddersfield Contemporary Music Festival, 16:10.

(1987) Scena
for Tenor Voice and Chamber Ensemble, 16:00.

(1987) Through the Sharp Hawthorn (Blows the Cold Wind)
for flute and piano, 20:26.

(1979-2001) Miscellaneous Pieces

More music... more software...

Software See also music

(2020) KinectV2-OSC-0.1.2.zip Kinect to OSC (2011-present) 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. Used in most compositions since 2011 (Calder's Violin). (2012) HID2OSC Utility for converting HID messages to OSC, in this case for use with Isadora 1.2.9. From v1.3 Isadora 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.

Hardware See also music, software and vimeo and youtube channels

(2009-present) Devices and Units Hardware and software interfaces for music performance, in development. Many of these devices have been used in the music-dance performance piece, Triggered. (2011) Metapiano sculptural hardware interface. Also a number of smaller, portable, minimetas. (2010) Gagglina hardware interface (2010) Wired hardware interface (2009) Gaggle: hardware and software interface and composition and performance 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

Publications

(2017) How To Play the Piano: Dynamic Cross-domain Expression, Notation, Technology and Performance Chapter in New Thoughts on Piano Performance London International Piano Symposium 2016 ISBN: 978-164007055-4 (2016) How To Play the Piano Proceedings of ICMC 2016, HKU University of the Arts Utrecht, 12th-16th September 2016, ICMA http://www.icmc2016.com/proceedings.pdf, p176-180 ISBN-10: 0-9845274-5-1 ISBN-13: 978-0-9845274-5-8 (2016) Live coding, live notation, live performance Proceedings of Electronic Visualisation and the Arts Conference British Computer Society 2016 ISBN: 978-1-78017- 344-3 ISSN: 1477-9358 (2016) Notating Movement Musically Proceedings of the Symposium on Movement and Computing (MOCO) 2016, Thessaloniki, Greece, July 5th-7th, ACM Digital Library (2015) Semaphore: Cross-Domain Expressive Mapping with Live Notation TENOR First International Conference on Technology for Music Notation and Representation, Paris, France, May 28th-31st http://tenor2015.tenor-conference.org/TENOR2015-Proceedings.pdf ISBN: 978-2-9552905-0-7 EAN: 9782955290 50 7 (2014) Making People Move: Dynamic musical notations University of Athens, September 2014 Proceedings of the International Computer Music Conference 2014, Athens, Greece, September 2014 Permalink: http://hdl.handle.net/2027/spo.bbp2372.2014.274 (2014) December Variations (on a Theme by Earle Brown) University of Athens, September 2014 Proceedings of the International Computer Music Conference Permalink: http://hdl.handle.net/2027/spo.bbp2372.2014.020 (2014) Dynamic Music Notation in Quantum Canticorum Goldsmiths College, University of London, Wednesday 2nd April 2014 Proceedings of the Live Algorithms for Music Symposium, a part of the 50th Artificial Intelligence and Simulation of Behaviour Convention Available: http://doc.gold.ac.uk/aisb50/AISB50-S15/AISB50-S15-Hoadley-paper.pdf (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 Available: Proceedings of the CHI2013 workshop on Designing for and with vulnerable people (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 BCS '10 Proceedings of the 24th BCS Interaction Specialist Group Conference, Dundee 2010, Pages 479-483 (ISBN: 978-1-78017-130-2) (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

(2017) Walking Within Sound CoDE (Cultures of the Digital Economy) StoryLab Symposium, Anglia Ruskin University, 7th June 2017 (2016) How To Play the Piano ICMC 2016, HKU University of the Arts Utrecht, 12th-16th September 2016 (2016) Intersemiotic translations and live notations in dance, music, poetry and graphics Music and Visual Cultures Conference, Maynooth University, Ireland, 21st-23rd July 2016 (2016) Live Performance with Live Scores Fourth Performance Studies Network International Conference, Bath Spa University, 14th July 2016 (2016) Live Coding, Live Notation, Live Performance EVA London 2016, British Computer Society, Southampton Street, London, 12th-14th July 2016 (2016) Notating Movement Musically Third International Symposium on Movement and Computing, Thessaloniki, Greece, 5th-6th July 2016 (2016) Musical Virtuosity and Live Notation Virtuosity - An interdisciplinary symposium, The Liszt Academy of Music, Budapest, 3-6 March 2016 (2015) Real-time generation and presentation of music, text and dance notations DMRN+10: Digital Music Research Network One-day Workshop 2015 Queen Mary University of London, Tuesday 22nd December 2015 (2015) Dynamic cross-domain expression: notation, interpretation, technology and performance Lecture recital with Philip Mead, INTIME 2015 - Landscapes and Environments: Experimentation and Transformation in Sound and Music Coventry University, 24th-25th October 2015 (2015) Dynamic cross-domain expression: notation, interpretation, technology and performance Lecture recital with Philip Mead, The London International Piano Symposium, Royal College of Music, 14 February 2015 (2014) Signs and Semaphores: cross-domain expressive mapping BIBAC 2014 IInternational Conference, University of Cambridge, 24-26 October 2014 (2014) Making People Move: Dynamic musical notations Demonstration, ICMC, University of Athens, September 2014 Proceedings of the International Computer Music Conference 2014, Athens, Greece, September 2014 (2014) Variations on a Theme by Earle Brown Goldsmiths University of London, May 15-17 2014 a part of the Histories, Theories and Practices of Aound Art Conference (2014) Dynamic Music Notation in Quantum Canticorum Goldsmiths University of London, 1600, Wednesday 2nd April 2014 a part of the Live Algorithms for Music Symposium (2014) Ways of Making People Move: composing through the live generation of musical scores Composition in the 21st Century, Trinity College Dublin, 5-7 March 2014 (2013) Demonstration of Interactive and Algorithmic Technologies for Performance Mapping, AES showcase at Dolby Europe, 4-6 Soho Square, London, 12 November, 1830-2000 (2013) 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 30th October Cambridge Festival of Ideas (2013) Variations on a Theme by Earle Brown INTIME Symposium, Coventry University, October 20-21 2013 (2013) Ways of Making People Move: mapping and interpretation in the live generation of augmented musical scores Notation in Contemporary Music Symposium, Goldsmiths, October 19-21 2013 (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

Workshops

(2016) Choreograms Workshop Cambridge Festival of Ideas, 29th October 2016 (2016) Choreograms Workshop Chelmsford Festival of the Senses, 1st October 2016 (2016) Notating, Performing and Interpreting Musical Movement Workshop ICMC 2016, HKU University of the Arts Utrecht, 12th-16th September 2016 (2016) Live coding, live notation, live performance Demonstration and performance of parts of Edge Violations Music and Programming - Richard Hoadley; clarinets: Ian Mitchell; Electronic Visualisation and the Arts (EVA), Covent Garden, London, 12-14 July 2016 (2016) Embodied Intelligence in Music - Live Presentation and performance of Semaphore Music and Programming - Richard Hoadley; dance - Jane Turner; text - Philip Terry PACE, De Montfort University, Monday 4th April 2016 (2015) Three Screens a dance, music and text performance piece preliminary workshop including improvisation Music and Programming - Richard Hoadley; dance - Jane Turner; text - Philip Terry The Boiler House, London Metropolitan, Thursday October 15th 2015 (2015) INScore workshop with Dominique Fober (Grame), 28th May a part of the First International Conference on Technologies for Music Notation and Representation 29-30 May 2015, University of Paris-Sorbonne/IRCAM, Paris, France (2015) Collaborative cross-domain performance and real-time score generation: extreme sight-reading and beyond Guildhall Reflective Conservatoire Conference, Guildhall, London, February 26 - March 1 2015 (2014) Interactive Music Notation and Representation Workshop Dominique Fober - Grame, Lyon, Jean Bresson - Ircam, Paris, Pierre Couprie - IReMus, Universite Paris-Sorbonne, Paris, Yann Geslin - INA/GRM, Paris, Richard Hoadley - Anglia Ruskin University, Cambridge A part of the NIME 2014, Goldsmiths University of London, June 30, 2014 (2014) Dynamic Music and Notation Through Technology Workshop presentation by Richard Hoadley. A part of the Universities' Week Celebration of Cutting-edge Research, Darwin Centre, Natural History Museum, June 9-13, 2014 (2014) Can we live without rhythm? Talk by Satinder Gill and Richard Hoadley. A part of the Cambridge Science Festival, Arts Picturehouse Cinema, 20 March 2014 (2013) Three Streams Demonstration at Dorkbot Cambridge Wednesday August 14 2013, 1900-2130, Makespace, 16 Mill Lane, Cambridge CB2 1RX (2013) ARM workshop, June 17 2013 (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, April 29 2013 (2013) Culture Hack East Anglia Ruskin University, february 26-27 (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 21st CREST Open Workshop Computer-Human Interactive Performance Symposium (CHIPS) UCL, 7-8 June. (2012) Dance, Movement and Interaction Workshop Sha Xin Wei, Michael Montanaro, David Navab, (Topological Media Lab, Concordia University, Canada) Faculty of English, Cambridge University, February; (2011) Touching sound: an interactive workshop concerning human computer interaction in health and music This research seeks to describe, implement and analyse work that investigates unique methods of articulating and implementing expressive gesture through physical interaction with objects. Led by Richard Hoadley and Satinder Gill. Anglia Ruskin University, 21st June. (2011) Performance Innovations Workshop Exploring sensor technologies in developing new composition, resulting in a performance sharing. Led by Jane Turner with composers/music technologists Richard Hoadley and Tom Hall London Metropolitan University, 9th June. (2010) Interactive Workshop, directed by Richard Hoadley, Jane Turner and Satinder Gill a part of the CoDE New Materialism Conference, Anglia Ruskin University, Monday 21st June 2010 (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, http://www.bcs-hci.org.uk/, September In collaboration with Tom Hall, Cheryl Francis-Hoad and Jane Turner and dancers. (2009) De Montfort University's Performance Technology Group Joint performance/workshops, May. (2009) Pradsa Workshop on Novel Technologies and Social Action Consultant, February. (2008) Performance Interface Workshop with Andrew Sparling (clarinet), 22nd February. (2006) ADVANCED TECHNOLOGIES FOR COLLABORATIVE PERFORMANCE Workshop Workshop Leader, AHRC ICT Methods Network Conference Panel, Cambridge University, December 20-21st.

Consultancy

(2016-17) Scientific committee member of Electronic Visualisation and the Arts conference. (2016-7) Programme committee member for HUCAPP: International Conference on Human Interaction Theory and Applications, Porto, Portugal, 27 February - 1st March 2017 (2016) Programme committee member for ICLI: International Conference on Live Interfaces, University of Sussex, 29th June - 3rd July 2016 (2015) Programme committee member for Innovation in Music (InMusic'15), Anglia Ruskin University, Cambridge, 7-9 June 2015 (2014-present) Chair (2016), Steering Committee member and Scientific committee member for TENOR (International Conference on New Technologies for Music Notation and Representation) - 2015: Paris, France, 29-30 May 2015, University of Paris-Sorbonne / Ircam - 2016: Cambridge UK, 27-29 May 2016, ARU/Cambridge (2015) Programme committee member for International Conference on Advances in Computer-Human Interactions 2015 (ACHI) February 22 - 27, 2015 - Lisbon, Portugal, under DigitalWorld 2015 umbrella; (2012-16) Programme committee member for AMBIENT, The International Conference on Ambient Computing, Applications, Services and Technologies 2014: August 24 - 28 - Rome, Italy, under NexTech 2014 umbrella 2013: September 29 - October 3 - Porto, Portugal 2012: September 23-28 - Barcelona, Spain (2013-present) Leap Motion developer (2013-present) Member of the EPSRC Review College (2011-4) Programme committee member for IADIS International Conference on Interfaces and Human Computer Interaction 2015: Las Palmas de Gran Canaria, Spain, 22 - 24 July 2014: Lisbon, Portugal, 15 - 17 July 2013: 22-24 July, Prague, Czech Republic 2012: 21-23 July 2012, Lisbon, Portugal 2011: 24-26 July, Rome (2011) Programme committee member for International Symposium of Electronic Arts, Istanbul, September 2011 (2010) Programme committee member for 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