Conference Papers and Presentations


7/8 December 2021: Anestis Logothetis Centenary Symposium, Athens

Some Praxis-based Reflections on Interpretation in the Music of Anestis Logothetis (online presentation)



1  August 2021: European Shakuhachi Society Summer School 2021 (online)

Compositional Techniques For Shakuhachi in the Music of Frank Denyer
– two analyses



8th May 2019: NoiseFloor 2019, Staffordshire University, Stoke-on-Trent

Finding a Point of Engagement Between Electronic Sound and Acoustic Performance


30th July 2018: World Shakuhachi Festival Symposium, SOAS University of London

A Sympathetic Resonance: The shakuhachi and live electronic music


10th August 2017: UNESCO World Humanities Conference, Liège, Belgium

Musical Heritage in an Age of Data Overwhelm
Seminar presentation


10th May 2017: Music Research Group, Plymouth University

The breakdown of writing as a narrative arc in some orchestral works by Witold Lutoslawski


16th January 2014: Music Research Group, Plymouth University

Reviewing the Consistent Interpretative Aesthetic in the Graphic Scores of Anestis Logothetis


22nd February 2013: Exeter University

Live Improvised Soundtracks for Silent Movies
Seminar and live performance with Seat of the Pants Orchestra for Exeter University music scholars


8th June 2012: Onassis Cultural Centre, Athens

Reviewing the Consistent Interpretative Aesthetic in Logothetis’ Graphic Scores
Paper presentation at Tribute to Anestis Logothetis – text here


23rd February 2012: ICCMR, Plymouth University

Shakuhachi as a Noise and Technology Interface


29th July 2011: European Shakuhachi Society Summer School, SOAS London

Shakuhachi as a Noise and Technology Interface
This seminar attempts to locate the Japanese shakuhachi flute as an optimal live performance interface with new technological resources, particularly at the noisier end of the spectrum. Metaphorical and practical connections can be drawn between the performance tradition, methodology of playing and acoustic vocabulary of the instrument and a number of new sonic resources. Using these connections as an analytical basis, I plan to identify a possible performance practice and compositional language and illustrate this with examples from my own recent work.


12th February 2010: ICCMR, University of Plymouth

Articulating Noise and the Breakdown of the Interpretative Order


22nd April 2009: CETT, Central School of Music and Drama, University of London

Articulating Noise and the Breakdown of the Interpretative Order
Paper Presentation at Theatre Noise International Conference


14th March 2007: ICCMR, University of Plymouth

The Computer, the Shakuhachi, the Pen: An artist’s tools
(To read a transcript of this lecture click here)


15th May 2006: Dartington College of Arts, Devon

The Third Viennese School
Examining parallels between the works of the two Austrian composers Roman Haubenstock-Ramati (1919 – 1994) and Anestis Logothetis (1921 – 1994), one becomes aware of a common ground – an intense investigative aesthetic dealing with issues of writing and identity in the composed musical work.


24th April 2006: Dartington College of Arts, Devon

The Sonic and Gestural Vocabulary of Zen Shakuhachi Music; Customized Electronic Extensions for Instrumentalists
with Zlatko Baracskai


24th February 2006: Liszt Academy, Budapest

The Death of Writing Before Music
Can composition be about more than the transmission of a ‘sonic idea’ from the composer’s mind, via transparent performers, to the listeners’ ears?
Examining both some of the earliest incursions of writing into music, at the Abbey of St. Gall in the ninth century, and some of the scores in the twentieth century art tradition which push the concept of a score to its limits in the light of this question provides a new vantage point from which notation can be seen as a part, rather than the source, of a living musical tradition – the western tradition of musical ‘works’.

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