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It’s one of the most important institutions for English music in the 20th Century—a place that Gustav Holst, Ralph Vaughan Williams and Michael Tippett poured their heart and soul into. The buildings witnessed the creation of some of the best known works of the last century. But it’s almost certain you’ll not know of it, and it’s barely mentioned in the conventional histories of the period.
Our world is a complex organism, more interrelated than the silos in which we typically place it. One area of research to recognise this is the new discipline of participatory architecture, which explores among other things the relationship between music and buildings. Michael Shirrefs explores the search for harmony in the built environment.
How does music speak to the buildings that house it? Music has always been a conversation with its environment, but from the 15th Century on, the craft became much more deliberate. And acoustic architecture has changed a lot since Dufay and the Gabrielis were composing their choral works for the Basilicas of Italy.
This week the sonic biography of One Pig, from the studio of Matthew Herbert. He’s one of the most prolific composers in the UK, but not in any conventional sense of the word. Because Matthew Herbert has increasingly made his name as the master of music made from the audible world, using ‘found sound’.
Five Lose Timmy was one of the myriad indie bands that roamed the venues of Melbourne in the 1980s. Over a period of 3 years, the band performed dozens of support and headline gigs at places like The Old Greek Theatre, The Prince of Wales, The Punters Club. Five Lose Timmy's time in the Melbourne [...]