Currently browsing: Items authored or edited by Sean Williams

Mooney, James; Green, Owen and Williams, Sean (2022). Instrumental, Hermeneutic, and Ontological Indeterminacy in Hugh Davies’s Live Electronic Music. Contemporary Music Review, 41(2-3) pp. 193–215.

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Williams, Sean (2019). The EMS Synthi 100: Rare, expensive and not actually very good. In: Sustainable Sounds: Interrogating the Materials of Music Making Technologies, 11 May 2019, University of Edinburgh.

Williams, Sean (2019). New composition strategies and the EMS Synthi 100. In: Music and Sonic Art conference 2019, 31 Jun - 2 Jul 2019, Karlsruhe, Germany.

Williams, Sean and Green, Owen (2018). Negotiating sonic space for group electronics. In: Doğantan-Dack, Mine and Dack, John eds. Music and Sonic Art: Theories and Practices. Cambridge Scholars Publishing, pp. 200–217.

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Williams, Sean (2018). Architecture for musical performance: backstage at the West German spherical pavilion at Expo 70, Osaka. In: Performance Studies Network 2018, 5-8 Jul 2018, Norwegian Academy of Music, Oslo.

Mooney, James; Green, Owen and Williams, Sean (2017). Performing Hugh Davies’s Live Electronic Music. In: Performing Indeterminacy, 30 Jun - 2 Jul 2017, University of Leeds.

Williams, Sean (2017). Reinterpreting Koenig’s Funktion pieces: historic reconstruction and recontextualisation. In: Tracking the Creative Process in Music, 14-16 Sep 2017, University of Huddersfield.

Williams, Sean (2017). Organic to electronic and vice versa: acoustic and electronic noise through Stockhausen’s compositional practice. In: Music and Sonic Arts conference 2017, 7-9 Jul 2017, Karlsruhe, Germany.

Williams, Sean (2016). Interpretation and Performance Practice in Realizing Stockhausen's Studie II. Journal of the Royal Musical Association, 141(2) pp. 445–481.

Williams, Sean and Green, Owen (2016). Negotiating sonic space for group electronics. In: Fifth International Symposium on Music/Sonic Art: Practices and Theories, 26-29 Jul 2014, Karlsruhe, Germany.

Williams, Sean (2016). The Hohner Electronium: a 1950s portable monophonic valve synthesizer. In: Alternative Histories of Electronic Music, 14-15 Apr 2016, Scinece Museum, London.

Williams, Sean (2016). Stockhausen Concerts Database report. In: Performance Studies Network conference 2016, 14-17 Jul 2016, Bath Spa University.

Payne, Emily; Schuling, Floris; Stroud, Rachel and Williams, Sean (2016). Performing Notations: Relational Approaches to Musical Materials. In: Royal Musical Association Conference 2016, 3-5 Sep 2016, The Guildhall, London.

Williams, Sean (2016). The mythical Modul 69A Klangwandler and the viability of composer designed instruments. In: Music and Sonic Art conference 2016, 1-3 Jul 2016, Karlsruhe, Germany.

Williams, Sean (2015). Osaka Expo '70: The promise and reality of a spherical sound stage. In: Insonic, 26-28 Nov 2015, Karlsruhe, Germany.

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Williams, Sean (2015). Stockhausen Concerts Database. Edinburgh College of Art.

Collings, Matthew; Rawlinson, Jules and Williams, Sean (2015). Requiem for Edward Snowden. Sound Scotland.

Williams, Sean; Mooney, James and Green, Owen (2015). Celebrating the work of Hugh Davies 3. University of Leeds.

Williams, Sean (2015). Technical influence and physical constraint in the realisation of Gesang der Jünglinge. In: Tracking the Creative Process in Music, 8-10 Oct 2015, Paris, France.

Green, Owen; Williams, Sean and Murray-Rust, Dave (2015). Concert with Aleks Kolkowski and Grey Area. Edinburgh College of Art.

Collings, Matthew; Rawlinson, Jules and Williams, Sean (2015). Requiem for Edward Snowden. Edinburgh College of Art.

Williams, Sean; Moonie, James; Green, Owen; Green, Owen; Lloyd, Emma; Sturm, Armin and Murray-Rust, Dave (2015). Grey Area Performs: Hugh Davies, Stockhausen, Christian Wolff, Owen Green. In Hugh Davies, Stockhausen, Christian Wolff, Owen Green University of Leeds.

Williams, Sean (2015). Orchid House - world of sounds: Sound from around the world, between 3 am and 6 am. In Sound from around the world, between 3 am and 6 am Edinburgh College of Art.

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Williams, Sean and Stockhausen, Karlheinz (2015). "Hymnen - electronic music" sound projection. In Karlheinz Stockhausen's 4-channel tape piece Edinburgh College of Art.

Williams, Sean and Stockhausen, Karlheinz (2015). "Kontakte - electronic music" sound projection. Edinburgh College of Art.

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Williams, Sean (2014). Pinging Filters: From serialism through the 808 to DIY. In: Studying Music: An International Conference in Honour of Simon Frith, 10-12 Apr 2014, Edinburgh, United Kingdom.

Williams, Sean (2014). "Set Sail for the Sun", from "Aus den Sieben Tagen" by Karlheinz Stockhausen. Institute for Advanced Studies in the Humanities.

Williams, Sean (2014). Strict serialism or structured improvisation?: The performance practice inherent in the technical realisation of early electronic music in the WDR Studio, Cologne. In: Centre for Musical Performance as Creative Practice 3, 17-20 Jul 2014, Cambridge, United Kingdom.

Williams, Sean and Green, Owen (2014). Negotiating Sonic Space for Group Electronics. In: Fifth International Symposium on Music/Sonic Art: Practices and Theories, 14 Jun 2014, Karlsruhe, Germany.

Williams, Sean (2014). Distributed creativity in Karlheinz Stockhausen's Aus den Sieben Tagen. In: (Dis-)Owning the Sound: A Workshop on the Historical Development of Music Property & Authorship, 16 Jun 2014, Edinburgh, United Kingdom.

Williams, Sean and Kolkowski, Aleks (2014). The Exponential Horn: In Search of Perfect Sound: "Spiral for soloist", Karlheinz Stockhausen. In "Spiral for soloist", Karlheinz Stockhausen Science Museum, London.

Williams, Sean (2014). Gemini 8. Artifact Music Limited.

Williams, Sean (2014). Separation/Integration. In Concert of works centred on David C Johnson The University of Edinburgh.

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Williams, Sean and Strang, David (2014). Light Entropy. Contemporary Music Festival, Plymouth.

Williams, Sean (2013). Making and Writing about Music: Spotlight on Practice-led Research. In Royal Musical Association Student Blog, Royal Musical Association Student Blog The Royal Musical Association, London.

Williams, Sean; Currie, Colin; Hodges, Nicolas and Stockhausen, Karlheinz (2013). Kontakte with piano and percussion. Glasgow Life.

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Williams, Sean (2013). From centimetres to seconds: sound design’s shift from technical serialism to musically informed performance practice in the 1950s WDR Studio, Cologne. In: What is Sound Design?, 27-29 Nov 2013, Edinburgh, United Kingdom.

Williams, Sean (2013). Performing shapes. In: Researching music as process: methods and approaches, 22 Nov 2013, Oxford, United Kingdom.

Williams, Sean; Stockhausen, Karlheinz; Smith, Simon and Ligeti, György (2013). Ligeti and Stockhausen: A concert of piano and electronics works from the 195. In A concert of piano and electronics works from the 1950s Edinburgh College of Art.

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Williams, Sean (2013). Stockhausen meets King Tubby's: the stepped filter and its influence as a musical instrument on two different styles of music. In: Weium, Frode and Boon, Tim eds. Material Culture and Electronic Sound. Artefacts: Studies in the History of Science and Technology, 8. Smithsonian Institution Scholarly Press, pp. 163–188.

Williams, Sean (2013). Noise and Fidelity. Syndicate.

Williams, Sean, ed. Elektronische Studie II. By Karlheinz Stockhausen (1954). Universal Editions (2013).

Williams, Sean (2012). Lachenmann's "Toccatina'' performed by Emma Lloyd: Sound Projection. In Sound projection Edinburgh College of Art.

Williams, Sean (2012). Electronic music instrument practice and the mechanisms of influence between technical design, performance practice and composition. PhD thesis University of Edinburgh.

Williams, Sean (2012). Tubby's Dub Style: The Live Art of Record Production. In: Frith, Simon and Zagorski-Thomas, Simon eds. The Art of Record Production: An Introductory Reader for a New Academic Field. Ashgate Popular and Folk Music Series. Ashgate Publishing, pp. 235–246.