Technology in Musical Performance (TiMP) is a forum for all who engage with electronics in live music performance. The group aims to stimulate discussion and collaboration between performers, composers, sound artists, practitioners, programmers, software developers and sound designers on musical performance with/mediated by technology.

Performative electronics is an area of music that is constantly evolving and developing. Among composers and practitioners, the desire to realise specific musical ideas leads to creative technological solutions. For new developments in music and live electronics to be thoroughly tested and evaluated, dialogue between creators and practitioners is vital.

From TiMP19


9 – 10 Registration
10 – 11.15 Paper Session 1 Elizabeth Kelly
Graham Dunning
Lia Mice
James Opstad
11.15 – 11.45 Coffee Break
11.45 – 13.00 Paper Session 2 Sean Clancy
Ron Herrema
Tom Green
13.00 – 14.00 Lunch Break
14.00 – 14.45 Keynote Presentation Zubin Kanga
15.00 – 16.00 Concert Session Maya Verlaak
Davide Sciacca
Laura Reid & Tom Davis
Joel Harris
16.00 – 16.15 Coffee Break
16.15 – 17.15 Concert Paper Session Performers from the concert session
17.15 – 17.30 Coffee Break
17.30-18.30 Open Forum Matt Evans & Kristian Jones
Yixuan Zhao
Susannah Self
Matthew James Noone
Gurpreet Chana
19.30 – 20.30 Keynote Performance and Closing Address Zubin Kanga, The TiMP Committee

Conference Theme

The theme of the first edition of this one-day conference is Technology in Musical Performance. The focus of the theme is on the performance aspect of the relationship between the performer and the technology involved.

Original contributions are encouraged in, but not limited to, the following topics: We will accept submissions of new works in the following categories:

Important Dates

Call for Contributions


In order to encourage dialogue, papers will be strictly limited to 15 minutes, with each presenter allocated an additional 5 minutes for questions at the end of the paper. There will also be a further 15 minute panel discussion at the end of each session.

A 200 word abstract—excluding references and links to media—must be submitted to timpstudygroup@gmail.com by the 4th of October 2019 (23:59 GMT+1) outlining the paper’s topic.

Performances + Papers

Papers that require a performance to be better presented, will follow a similar format to the paper presentation with an additional 10 minute slot for the piece performance in a lunchtime concert. Following the performance, there will be a 7 minute presentation with each presenter allocated an additional 3 minutes for questions at the end of the paper and a further 15 minute panel discussion.

A 200 word abstract—excluding references and links to media—and a technical rider following the provided template must be submitted to timpstudygroup@gmail.com by the 4th of October 2019 (23:59 GMT+1).

Works in Progress

The Works in Progress session will provide a space for new projects to be shared and explored by the audience together with the practitioner. This will be an open space for all work in progress and ideas to be presented. It will begin with a 5 minute introduction from presenter, to give a ‘lightning’ explanation.

A 200 word abstract—excluding references and links to media—must be submitted to timpstudygroup@gmail.com by the 4th of October 2019 (23:59 GMT+1).

The Venue

The conference will be held in the Royal Birmingham Conservatoire, a world-class institution providing exceptional training for musicians, actors, stage managers and performers of the future.

The Lab is a cutting edge, completely flexible black-box studio with fixed acoustics and a low reverberation time. This enables complete flexibility in the set-up and layout of the performance and audience areas. Alongside the complete configurability of the space, practitioners will be provided with the following features to accommodate their performances’ needs: Download Templates

The TiMP Symposium is organised by the Royal Musical Association TiMP (Technology in Musical Performance) Study Group: Edmund Hunt, Hollie Harding, Joe Wright, Laura Farré Rozada and Niccolò Granieri, music practitioners of different disciplines brought together by their interest in exploring electronics as a part of musical performance.