Dr Bennett Hogg
Degree Programme Director BA in Music and BMus with Year Abroad, Chair of UG BoS
- Email: firstname.lastname@example.org
- Telephone: +44 (0) 191 208 5929
- Personal Website: http://www.bennetthogg.co.uk
- Address: ICMuS/SACS
Newcastle upon Tyne
I am a composer, improviser, and cultural theorist, with particular interests in electroacoustic music, environmental arts, and free improvisation. As theorist my particular interests are in the relationships between the human body and technology, the human voice, the mid-twentieth-century avant-garde in music, literature and the fine arts, and artistic perspectives on and engagements with the natural environment.
Bennett Hogg completed his undergraduate degree in music at Nottingham University in 1982 and also has an MA in ethnomusicology from Durham University and an MMus in electroacoustic composition from UEA, supervised by Denis Smalley. He has worked as a composer in both electroacoustic and "conventional" media and has received several prestigious commissions and awards for his work, including commissions from the Royal Opera House's "Garden Venture", Sarajevo Winter Festival, Sonic Arts Network and Welsh Jazz Society, organisations whose diversity attests to his pluralistic creative outlook. He is currently a lecturer in ICMuS having spent the past five years in Newcastle researching for a PhD partly funded by an AHRB scholarship. “Who’s Listening”, an essay on power relations in recorded music was published in 2005 in the collection Sounds of Resistance, Suppression, and Subversion: Essays on Music, Politics, and Power edited by Annie Janeiro Randall (Routledge). "Meetings, Spaces, Desire: Some Personal Reflections on the Work of Ann Rosen" is an extended essay for the exhibition catalogue "schhh...", a major solo exhibition of sound installations by Ann Rosen, Swedish artist and composer, at Konstacademien, Stockholm - see www.annrosen.nu/sch/katalogEN.pdf
His electroacoustic work "What Did You Find?", completed at EMS. Stockholm in January 2007 was part of an installation at FutureSonic07, Manchester, and was broadcast as part of the Cornerhouse Gallery's "Art Radio" project in June-July 2007. He recently was a featured artist on basic.fm. His collaborations on the group projets My Little Pop Group and Wormhole are now released on the web-label "Clinical Archives" in Moscow, and collaborations/CD releases with Technonucleo (Spain) and Bryan Day/Public Eyesore Records (Nebraska, USA) are sceduled for early summer 2008. During 2008-9 he worked on a "resistant violin" (see his personal website bennetthogg.co.uk for details and images) at STEIM, Amsterdam, and composed "l-oiseau chante avec ses doights" for classical guitarist Magnus Andersson (in collaboration with EMS Stockholm, funded by Svenska Rikskonserter).
He is the co-founder of the research series "Music and Machines", see http://www.musicandmachines.co.uk/ which has included a 3-day conference on "improvisation: freedom and tradition" with David Clarke in December 2007, and was one of the organisers and moderators for "Music and Machines VIII" as part of Newcastle-Gateshead's "AV Festival 2008".
His academic writing is published by Routledge, Oxford University Press, Lund University Press, Cambridge Scholars Press, as well as in online journals such as Hz (Fylkingen, Stockholm) and the CILM site of the Open University.
He is Principal Investigator of the AHRC-funded research project "Landscape Quartet", see http://landscapequartet.org/ , is involved in running projects as part of AHRC-funded "Northumbrian Exchanges" (PI Eric Cross), and has project involvement with AHRC-funded "Digital Originals" (Northumbria University and Newcastle Culture Lab) and "Creative Exchanges" (Culture Lab, Newcastle). He was awarded a School Strategic Research grant by Newcastle University to develop the online creative engagement software ArCCADDE (Archives and Creative Collaborations for Artists working in the Distributed Digital Environment) in 2013, in collaboration with Culture Lab and basic.fm/Pixel Palace at the Tyneside Cinema.
With Stefan Ostersjo he made a successful application to the Swedish funding agency RANK for three artistic residencies developing environmental sound art projects in Sweden during 2013-14, with flautist Sabine Vogel and electronic sound artist Matthew Sansom.
He has recently returned from being co-researcher on an Austrian Science Fund project "Emotional Improvisation" at University of Graz, Austria, starting in February 2014, which will run through to 2016.
With John Bowers and Irene Brown he presented "An Imaginary Museum" during the British Science Festival in Newcastle in September 2013. With Landscape Quartet he has held artistic-research residencies in Gavle, Kalv, Klagshamns udde, and InterArts Centre, Malmo (all Sweden) and in Morpeth, Allenheads Contemporary Arts, and Cheeseburn Grange, Stamfordham. With Sabine Vogel and Deniz Peters he was featured in the recent European Project for Artistic Research in Music conference, Graz, performing in the Ligeti Halle, in the Mumut concert hall. He is curator of Environmental Sound Art and Music for Cheeseburn Grange Sculpture Garden, Northumberland, and a collaborator with Alan Smith of Allenheads Contemporary Arts.
Roles and Responsibilities
Lecturer in Music
DPD for BA in Music and BMus with Year Abroad
Head of Undergraduate Studies, Chair of UG BoS
Subject Rep for SLTSEC
School Rep on University Library Committee
BA Hons in Music
MA in Ethnomusicology
MMus in Composition
PhD in Music
lecturer, norwich institute of art and design
lecturer, university of east anglia
lecturer, city university, london
lecturer, muzicka akademija, sarajevo
lecturer, edinburgh college of art
performing rights society
CILM Research Network
sonic arts network
canadian electroacoustic community
editorial board of ARiADA text (webjournal)
member of editorial collective, Radical Musicology (webjournal)
Walking in the country, reading Harry Potter books, gardening, watching decent films, cows, travel, Sweden, alchemy, surrealist literature, Max Ernst, punk rock, free improv, british folk musics - especially playing the fiddle.
cultural theory and the voice and technology
psychoanalytical informed hermeneutic approaches to culture
environmental sound art
politics and philosophy of the natural environment
Director of Landscape Quartet - formerly AHRC-funded environmental sound art project.
developing (with Culture Lab Newcastle and basic.fm/Tyneside Cinema/TUSK Music, and under the auspices of "Digital Originals") ArCCADDE, an interactive archive and distributed performance system with user interaction.
co-editing with Matthew Sansom a new edited issue of Contemporary Music Review - "Music, Sound, and Landscape" - now in press
publications in progress include invited book chapters for Routledge "Sound Studies Reader" (ed. Michael Bull) and OUP "Sound and Imagination" (ed. Mark Grimshaw, et al), "Weathering" for Landscape Research Journal (now in press), "Healing the Cut" in Contemporary Music Review, "Aesthetics of Sonification" with Paul Vickers and David Worrall for Routledge "Sonification Handbook" (ed. Clemens Wollner), a critical position piece for the Canadian journal "Critical Studies in Improvisation", and a co-authored journal chapter with Stefan Ostersjo for Contemporary Music Review. musical projects include developing ArCCADDE further, curating a year of environmental music and sound art at Cheeseburn Grange Sculpture Garden, collaboration with Alan Smith on the ACE-Funded "As Above, So Below" project in the lead mines of the North Pennines, and a new piece for ten-string classical guitar with electronics for Stefan Ostersjo, for release on CD in 2016 along with recording of "l'oiseau cante avec ses doights", also for ten-string guitar and electronics. 40 minute film with Stefan Ostersjo on work done as part of Landscape Quartet, to be released on DVD by Orpheus Institute for Artistic Research in Music, Ghent, 2016.
Distributed performance and improvisation.
environmental sound arts.
Theories of free improvisation.
Free improvisation (violin and electronics).
instrumental and vocal composition
mid-century English music
Bodies and technologies.
Recent Research Roles (since 2013)
PI Landscape Quartet
researcher Northumbrian Exchanges
researcher and project director ArCCADDE
participant Creative Exchanges
co-researcher "Emotional Improvisation" Graz, Austria from Feb 2014
Co-director of Postvernacular Music Research Project (CETL funded)
Co-organiser of "Music and machines" seminar series (with S J Norman)
Co-organiser of conference "Improvisation: Freedom and Tradition"
Co-organiser of "Music and Machines VII" associated with Newcastle-Gateshead AV Festival 2008".
Supervisor of PhD students Craig Pollard, Rachael Hales, Phil Begg.
invited curator for environmental sound art and music, Cheeseburn Grange, Northumberland 2016
invited as co-researcher for "Emotional Improvisation" research project at University of Graz (beginning Jan 2014)
speaker at "Beyond Soundscape", Sonorities Festival Belfast (April 2013)
panel member for revalidation of BA in Music at Havering College on behalf of Open University
recipient of SACS Strategic Research Fund, 2013, to develop ArCCADDE project
external PhD examiner at UEA, SARC Belfast, and internal examiner at Newcastle
external examiner Huddersfield University (2012-2015)
Guest lectures at Sussex University, Queen's Belfast, Kingston University
invited critical respondent at (re)thinking improvisation, Lund University, Malmo, Dec 2011
Invited as performer and speaker to GEM Days at Huddersfield University, January 2010.
Invited to contribute to collectively produced composition for the retirement celebration of Prof Denis Smalley, City University, October 2009.
Recent peer reviewed papers given at "The Musical Body, IMR, London" (April 2009), and "Music Since 1900, Keele" (July 2009).
Joint keynote with Magnus Williamson at "Nothing new: Understanding newness in medieval and contemporary music", Huddersfield (April 2009).
Invited presenter at "Creativity, Innovation and Labour in Music" at The Open University June 22-23, 2009.
Member of CILM Research Network based at OU, Milton Ketnes.
Music broadcast by BBC Radio 3, CKCU-FM Ottawa, QRSoundhour Belfast, ArtRadio Manchester, and featured in installation in FutureSonic07 Manchester.
Member editorial board ARiADA text (webjournal).
Member editorial collective Radical Musicology (webjournal).
Reviewer/reader for "Organised Sound" journal
Keynote speaker at Music and Surrealism study day Leicester DeMontfort University, July 2006.
Guest research papers at SOAS, Bath Spa University, UEA, De Montfort, Norwich School of Art, University of Aberdeen
Conference papers IASPM UK (Newcastle), IASPM International (Montreal), "British Forum for Ethnomusicology" (Brunel), "Music and Gesture" (Norwich), "ConferenceCATH" (Leeds), "Surrounded" conference on electroacoustic music (Keele).
Solo and group perfromances at Stockholm Konstakademien and Fylkingen. residencies at EMS (Stockholm) and STEIM (Amsterdam).
Co-organiser of conference associated with Newcastle-Gateshead AV Fetsival 2008.
CD of collaborative project "my little pop group" released on Clinical Archives label, Moscow, 20-21st october 2007, release of two other projects scheduled for later in 2007-early 2008 - "wormhole" (with Will Edmondes and John Ferguson) and "january 2007" (with Sten-Olof Hellstrom)
Undergraduate Teaching 2015-16
Contemporary Compositional Techniques (MUS2041)
Introduction to Contemporary Composition (MUS1025)
Music Sound and Environment (MUS2006/3006)
Environmental Sound Art (MMus elective module)
Specialist Study Composition (MUS3012 and MUS3016)
Early 20th-Century Musics (MUS2025)
Case Studies in Classical Music Performance (MUS20xx)
- Hogg B. Recorded Sound: Memory, Imagination, and Metempsychosis. In: Grimshaw,M; Walther-Hansen,M.; Knakkergaard,M, ed. Oxford Handbook of Sound and Imagination. Oxford: Oxford University Press, 2017. In Press.
- Hogg B. Geographies of Silence: Transmodal Perception of the Sonic Environment. In: Bull M, ed. Routledge Sound Studies Reader. London and New York: Routledge, 2017.
- Hogg B. Improvisation in Process. Critical Studies in Improvisation 2016. In Press.
- Vickers P, Hogg B, Worrall D. Aesthetics of Sonification, Sound, and Human-Machine Interactions. In: Wollner,C, ed. Body, Sound, and Space in Music and Beyond. Abingdon: Routledge, 2016. In Press.
- Hogg B, Ostersjo S. ‘Patterns of Ecological and Aesthetic Co-evolution’: Tree-guitars, River-violins and the Ecology of Listening. Contemporary Music Review 2015, 34(4), 335-349.
- Hogg B, Sansom M. Dry Stone. . London, UK: London College of Communication, 2015.
- Hogg B. Healing the Cut: Music, Landscape, Nature, Culture. Contemporary Music review 2015, 34(4), 281-302.
- Hogg B. Weathering: perspectives on the Northumbrian landscape through sound art and musical improvisation. Landscape Research 2017, epub ahead of print.
- Freeth B, Bowers J, Hogg B. Musical Meshworks: From Networked Performance to Cultures of Exchange. In: DIS 2014. 2014, Vancouver, Canada.
- Hogg B. not here, not yet: thinking improvisation. In: Ostersjo, S., Frisk, H, ed. (Re)thinking Improvisation: Artistic Explorations and Conceptual Writing. Malmo, Sweden: Lund University Press, 2013.
- Hogg B. When Violins Were Trees: Resistance, Memory, and Performance in the Preparatory Experiments for Landscape Quartet, a Contemporary Environmental Sound Art Project. Contemporary Music Review 2013, 32(2-03), 249-273.
- Hogg B, Norman SJ. Resistant Materials in Musical Creativity INTRODUCTION. CONTEMPORARY MUSIC REVIEW 2013, 32(2-3), 115-118.
- Hogg B. The Violin, the River, and Me: Artistic Research and Environmental Epistemology in Balancing String and Devil's Water 1, Two Recent Environmental Sound Projects. Hz 2013, n/a(18), n/a.
- Hogg B, Norman SJ, ed. Resistant Materials in Musical Creativity, Special issue of Contemporary Music Review. Oxon, UK: Routledge, 2013.
- Hogg B. Enactive consciousness, intertextuality, and musical free improvisation: deconstructing mythologies and finding connections. In: Clarke, D., Clarke, E, ed. Music and Consciousness: Philosophical, Psychological, and Cultural Perspectives. Oxford: Oxford University Press, 2011, pp.79-93.
- Hogg B. Music Technology, or Technologies of Music?. In: Clayton, M., Herbert, T., Middleton, R, ed. The Cultural Study of Music: A Critical Introduction. New York and Abingdon: Routledge, 2012, pp.217-226.
- Hogg B. Embodied Consciousness as a Site of Cultural mediation in Thinking About Musical Free Improvisation. In: Consciousness, Theatre, Literature and the Arts. 2010, Lincoln, UK: Cambridge Scholars Press.
- Vickers P, Hogg B. Sonification Abstraite/Sonification Concrète: An `Æsthetic Perspective Space' for Classifying Auditory Displays in the Ars Musica Domain. In: The 12th Meeting of the International Conference on Auditory Display. 2006, London.
- Hogg B. Who's Listening?. In: Randall, AJ, ed. Music, Power and Politics. New York: Routledge, 2005, pp.211-230.
- Hogg B. Meetings, Spaces, Desires: Some Personal Reflections on the Work of Ann Rosen. Stockholm, 2005.
- Hogg B. The Cultural Imagination of the Recorded Voice, 1877-1940. Newcastle: Newcastle upon Tyne, 2008.
- Hogg B. Dry Stone - Bennett Hogg and Matthew Sansom. Edit2.0 2015, 3.
- Philadelphy M, Gruendler S, Klammer J, Hogg B. Delock (live at Stockwerk). . Vienna, Austria: GELP, 2014.
- Hogg B. Flow. 2012. Newcastle University: Gallery of Wonder.
- Hogg B. “l’oiseau chante avec ses doigts” for classical guitar and live electronics. . 2011.
- Hogg B, Ferguson J. untitled [rumple]. . York: kakutopia, 2010.
- Hogg B. "l'oiseau chant avec ses doigts" for guitar and live electronics. . 2009.
- Wormhole, Hogg B, Ferguson J. Steaming Priest. . Moscow: Clinical Archives, 2008.
- Wormhole, Hogg B, Edmondes W, Ferguson J. Breath Wood Bone. . Moscow: Clinical Archives, 2008.
- Hogg B. What did you find?. . 2007.
- Ayers J, Ferguson J, Hogg B, Schrimshaw W. A dark room on a summer's day. . Moscow: Clinical Archives, 2007.
- Hogg B. The Resistant Violin. 2007. STEIM, Amsterdam.
- Hogg B. "A violin by any other name . . .". In: Rose, J, ed. The Museum Goes Live Catalogue. Sydney, Australia: Performance Space, 2016.