Lauren’s primary interests are in 20th and 21st Century Music; she is a musicologist who studies the aesthetics and sociosemiotics of music, psychoanalytic perspectives on music, minority discourse, anti-aesthetics, materialism and notation, a composer of experimental music, a performer of music for organ and electronics. Her PhD thesis, completed at the University of Leeds with Prof Derek Scott and Prof Martin Iddon, took a practice-led approach to the application of relational aesthetics in music and was funded by the AHRC. Since completing her PhD, Lauren has published work on many contemporary composers, and on Practice Research. She is currently the president of the Royal Musical Associations’s Music and/as Process study group.
As a composer, Lauren’s music has been performed by international artists such as Ian Pace, the Nieuw Ensemble, Trio Atem, Philip Thomas, BL!NDMAN ensemble and rarescale, and she has received commissions from, for example, Yorkshire Forward, the Huddersfield Contemporary Music Festival, Making Music and the PRSF for Music, Octopus Collective with the Arts Council of England and TRANSIT festival. Her opera with librettist Adam Strickson, green angel, was premiered in January 2011 with the support of the Arts Council of England. Lauren’s music has been performed at Huddersfield Contemporary Music Festival, Gaudeamus Muziekweek, the London Ear Festival, London Contemporary Music Festival, Firenze Suona Contemporanea, Composer’s Marathon V (Vienna), Full of Noises Festival, the New York City Electroacoustic Music Festival, and many locations throughout the UK and Europe. A CD of Lauren’s chamber works entitled tactile figures was released on the engraved glass label in 2012. She has since released two albums with the pan y rosas discos experimental music label (Chicago) and her work ‘concerto’ featured on the debut album of the Vocal Constructivists, ‘Walking Still’ (Innova). As a performer Lauren is actively involved in promoting and commissioning new works for organ and electronics and graphic and open notation works for the organ. In 2014 she gave a tour of her organ and electronics programme throughout the UK with the support of Sound and Music and in 2015 this was followed by a duet organ and electronics album with Alistair Zaldua on the sfz music label.
20th and 21st century music; music aesthetics; music and philosophy; music semiotics; analysis of 20th century music; contemporary music performance practices; practice research; compositio
Redhead, L. 2020. hearmleoþ-gieddunga: temporal and material layeredness. ECHO, 1, ISSN 1424-3644
Redhead, Lauren. 2020. Introduction: Musik und Sprache: Music/Language/Speech. Contemporary Music Review, 39(3), ISSN 0749-4467
Redhead, L. 2019. Chris Newman’s Song to God (1994) for Solo Organ: Blurred Repetition, Visual Communication, and Embodied Information. Context, 45, pp. 19-30.
Redhead, L. 2017. entoptic landscape and ijereja: music as an iterative process. New Sound International Journal of Music, 49, pp. 97-113. ISSN 0354-818X
Redhead, L. 2014. Quotation and Psychogeographic Experience as Repetition in the Music of Bernhard Lang and Chico Mello. Contemporary Music Review, 33(2), pp. 148-166. ISSN 0749-4467
ap Sion, Pwyll and Redhead, L. 2014. Introduction: Musical Borrowing and Quotation in the Twentieth and Twenty-first Centuries. Contemporary Music Review, 34(2), pp. 125-127. ISSN 0749-4467
Mwamba, C and Redhead, L. 2018. Corey Mwamba and Lauren Redhead - Live at Contra Pop.
Redhead, L. 2019. The Medium is Now the Material: The ‘Folklore’ of Chris Newman and Michael Finnissy. In: I Pace and N McBride, eds. Critical Perspectives on the Music of Michael Finnissy: Bright Futures, Dark Pasts. Routledge. ISBN 9781138491977
Redhead, L. 2018. A Common Method? Distributed Creativity in Composition and/as Practice Research. In: L Redhead and R Glover, eds. Collaborative and Distributed Processes in Contemporary Music-Making. Newcastle: Cambridge Scholars, pp. 27-44. ISBN 978-1-5275-1398-3
Glover, R and Redhead, L. 2018. Collaborative and Distributed Processing in Contemporary Music-Making: Overview. In: L Redhead and R Glover, eds. Collaborative and Distributed Processes in Contemporary Music-Making. Newcastle: Cambridge Scholars, pp. 1-9. ISBN 978-1-5275-1398-3
Redhead, L. 2016. Notation as Process: Interpretation of Open Scores and the ‘Journey Form’. In: V Hawes and L Redhead, eds. Music and/as Process. Newcastle: Cambridge Scholars, pp. 116-134. ISBN 978-1-4438-9491-3
Conference or Workshop Item
Redhead, L and Glover, R, eds. 2018. Collaborative and Distributed Processes in Contemporary Music-Making. Newcastle: Cambridge Scholars. ISBN 978-1-5275-1398-3
ap Sion, Pwyll and Redhead, L, eds. 2014. Musical Borrowing and Quotation in the Twentieth and Twenty-First Centuries, Contemporary Music Review, 33(2). 0749-4467
Redhead, L. 2018. ijereja and entoptic landscape: Music as an Iterative Process. pan y rosas discos.