My piece Traces of Play is on the the programme at EMAS in Greenwich, London on Sunday 26th January. The conference is celebrating 40 years since the founding of EMAS (The Electroacoustic Music Association of Great Britain). It looks to be an amazing programme and I’m really excited to have had this composition programmed.
I recently went to Brussels for the final of the 10th Métamorphoses Acousmatic Composition Competition. It was an honour to have my composition Traces of Play included in a final containing works of such a high standard, and it was amazing to take part in the Festival l’Espace du Son, run by Musiques et Recherches. Annette Van de Gorne’s diffusion work was phenomenal!
I am very pleased to say that ‘Traces of Play’ has been selected to represent the British ElectroAcoustic Network‘s submission to the CIME AGM in Beijing 2018. CIME is the International Confederation of Electrocoaustic Music, which links electroacoustic music organisations from around the world and comprises members from 23 different countries.
It’s a huge honour to be selected for this and ‘Traces of Play’ will appear in the concert in Beijing on 25th October 2018.
Delighted to be in New York for NYCEMF. Concert on Saturday at 4pm.
I’m extremely excited to announce that my composition Traces of Play has been selected to be a finalist in the Metamorphoses 2018 competition of acousmatic music. This is a long-established competition that has always featured high quality finalists, so I’m really pleased that my work has been chosen. The final takes place on 25th October 2018 – looking forward to it!
I’m really pleased to announce that Traces of Play just won 2nd prize in the 11th Destellos International Competition of Electroacoustic Music 2018. http://www.fundestellos.org/pageone.htm
I’m delighted that Traces of Play has been selected for performance at the New York Electroacoustic Music Festival 2018. I’m also really excited to be able to attend the festival and diffuse my music.
On Wednesday 28th February 2018 guest composer Dr Annie Mahtani, University of Birmingham and Birmingham Electroacoustic Sound Theatre (BEAST), featured in a concert of multi-channel electroacoustic music at Bournemouth University. Organised by myself, and with support from the EMERGE and Creative Technology research groups, the varied programme featured works from BEAST and Bournemouth University composers.
Annie Mahtani presented and diffused three compositions (Inversions; Past Links; Aeolian) along with works by fellow BEAST composers James Carpenter (Pent-Up) and Nikki Sheth (Orford Ness). I diffused my recent multi-channel electroacoustic work Traces of Play whilst my colleague Panos Amelidis (pictured here sound-checking) diffused two compositions: Bird Train and Cracks.
Student volunteers from the BSc Music & Sound Production Technology degree at Bournemouth University provided crucial help rigging the loudspeaker system.
Thanks to all who attended and persevered despite the cold conditions!
I recently curated and organised a concert of music for cello and electronics at Bournemouth University, supported by the Creative Technology and EMERGE research groups. Taking place on Wednesday 1st November 2017 in the Allsebrook Lecture Theatre, Talbot Campus, the evening featured music and performances from Laura Reid & Tom Davis, Alice Eldridge & Chris Kiefer, and Thomas Gardner .
The programme included The Feral Cello performance system developed by Tom Davis (Creative Technology; EMERGE), for which composer/cellist Laura Reid has created a new work, Gemmeleg (2017). Tom’s system incorporates machine listening and actuated feedback to alter the response of an acoustic cello in real time during a performance.
Thomas Gardner (London College of Communication) performed his work Lipsync (2006), for cellist, lips, and 6 channel live electronics. His composition explores various levels of synchronisation between action and speech, poetic idea and sonic image, acousmatic sound and live instrumental performance.
Finally, Alice Eldridge and Chris Kiefer (University of Sussex) performed with modified cellos featuring transducers, sensors, loudspeakers and electronic controllers mounted onto and into the bodies of their instruments. Audience members had the opportunity to get close to the modified cellos after the concert and talk with all the composers and performers.