Age, Biography and Wiki
James Saunders was born on 1972 in Kingston upon Thames, England, is an A british male classical composers. Discover James Saunders's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is he in this year and how he spends money? Also learn how he earned most of networth at the age of 52 years old?
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Composer |
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52 years old |
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1972 |
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Birthplace |
Kingston upon Thames, England |
Nationality |
United Kingdom
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He is a member of famous Composer with the age 52 years old group.
James Saunders Height, Weight & Measurements
At 52 years old, James Saunders height not available right now. We will update James Saunders's Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.
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Dating & Relationship status
He is currently single. He is not dating anyone. We don't have much information about He's past relationship and any previous engaged. According to our Database, He has no children.
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James Saunders Net Worth
His net worth has been growing significantly in 2023-2024. So, how much is James Saunders worth at the age of 52 years old? James Saunders’s income source is mostly from being a successful Composer. He is from United Kingdom. We have estimated James Saunders's net worth, money, salary, income, and assets.
Net Worth in 2024 |
$1 Million - $5 Million |
Salary in 2024 |
Under Review |
Net Worth in 2023 |
Pending |
Salary in 2023 |
Under Review |
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Composer |
James Saunders Social Network
Timeline
James Saunders (born 1972) is a British composer and performer of experimental music.
He is Professor of Music and Head of the Centre for Musical Research at Bath Spa University.
Born in Kingston upon Thames, England, Saunders studied at the University of Huddersfield (1991–94) and then with Anthony Gilbert at the Royal Northern College of Music (1994–96).
In 1998, he was a participant at the Darmstädter Ferienkurse where he was awarded a scholarship prize.
He participated again in 2000 and 2002.
Series such as #[unassigned] (2000–9) and divisions that could be autonomous but that comprise the whole (2009–11) adopt a variable structure, comprising a selection of modules that can be combined in multiple ways to make new configurations for each performance.
His music uses extended instrumental techniques and found objects as a means of exploring the sonic properties of materials.
It is “predominantly quiet, with sustained tones, often on the edge of inaudibility, interspersed with shorter sounds, all produced by an instrumentarium that mixes conventional musical instruments with a range of low-tech sound sources”.
In 2001, he was a selected composer at the Ostrava New Music Days.
He held composition residencies at the Experimental Studio fur Akustische Künst in Freiburg in 2003 and 2007.
His music has been played at international festivals, including Bludenz Tage fur zeitgemäßer Musik, Brighton Festival, BMIC Cutting Edge, Borealis, Darmstadt, Donaueschingen Festival, Gothenburg Arts Sounds, Huddersfield Contemporary Music Festival, Inventionen Berlin, The Kitchen, Music We'd Like to Hear, Ostrava New Music Days, Rainy Days, Rational Rec, Roaring Hooves, Spitalfields_Music, SPOR, Ultima, and Wittener Tage für neue Kammermusik
Saunders' music has been performed internationally by ensembles and musicians including Apartment House, Arditti Quartet, asamisimasa, Sebastian Berweck, ensemble chronophonie, duo Contour, Rhodri Davies, Exaudi, Nicolas Hodges, London Sinfonietta, Ensemble Modern, Neue Vocalsolisten, Plus-minus ensemble, Psappha New Music Ensemble, ensemble recherche, Suono Mobile, SWR Sinfonieorchester Baden-Baden und Freiburg, and 175 East.
He is active as a performer of experimental music, notably in the duo Parkinson Saunders with Tim Parkinson and as director of the ensemble Material at Bath Spa University.
Saunders currently serves as a Professor of Music and as the Head of the Centre for Musical Research at Bath Spa University.
He is the co-author, with John Lely, of Word Events: Perspectives on Verbal Notation.
His research interests include open forms, notation, group behaviours, instrumentalisation, series and modularity.
His interviews with composers and improvisers focus on their working methods.
Saunders' work explores modular and serial structures and uses open forms.
He used interpersonal cueing systems to control the way his music is structured (things whole and not whole, 2011), and made distributed pieces that allow collaborative input from others (distribution study, 2011).