Practice-Led Research into an ‘Avant Garde’ Style

I’ve made a YouTube video that tries to elaborate on my own approach to composing music. This entails what I think about what we call "Avant garde" music or "contemporary classical music" today. By all means, check out the video on my YouTube channel. In this video, I outline some practice-led research (from my own … Continue reading Practice-Led Research into an ‘Avant Garde’ Style

New Publication!

I'm pleased to announce that another written publication is due to be released in July, 2019 in Exploring Xenakis: Performance, Practice, Philosophy, ed. by Alfia Nakipbekova (Wilmington, DE: Vernon Press, 2019). The book includes chapters by other authors as follows: Alfia Nakipbekova (University of Leeds, UK), Dimitris Exarchos (Goldsmiths, University of London, UK) , Reinhold Friedl (Goldsmiths, University of London, UK) , … Continue reading New Publication!

Recent Publication: Women & Music Journal

I'm pleased to announce that my latest article about one of my compositions 'We Lived in the Gaps between the Stories.'  (2017) has been published in the latest 'Women and Music' journal (vol 22, 2018). More information about this journal's latest volume can be found here.

‘Exploring Xenakis: Performance, Practice, Philosophy’

Tomorrow I will be giving a talk at the ‘Exploring Xenakis: Performance, Practice, Philosophy’ Symposium with colleague and critical theorist Michael D. Atkinson. Our talk discusses Xenakis, the Avant Garde, May '68 and the legendary quote ‘Xenakis, not Gounod’ which was scrawled in graffiti during the protests in France. Below is an abstract of our talk: May … Continue reading ‘Exploring Xenakis: Performance, Practice, Philosophy’

‘avant garde’ and ‘Avant Garde’: A Practice-Led Investigation

I will be giving a talk at the University of Leeds in December. More information will be available here at some point. My talk is based on my PhD thesis, and is titled '"avant garde" and "Avant Garde": A Practice-Led Investigation'. Below is an abstract for the talk: ‘avant garde’ and ‘Avant Garde’: one term denotes artistic … Continue reading ‘avant garde’ and ‘Avant Garde’: A Practice-Led Investigation

(Per)Forming Art: Performance as Research in Contemporary Artworks

I have recently completed editing a multi-authored book based on the proceedings of the (Per)Forming Art Symposium which I founded in 2015. I am pleased to announce that the book will be available via the Cambridge Scholars Publishing website from the 1st October, 2016. This publication is based on the proceedings of the first (Per)Forming Art event, which took place … Continue reading (Per)Forming Art: Performance as Research in Contemporary Artworks

What does it mean to ‘compose’?

Tomorrow I will present a paper at a postgraduate symposium in Leeds about composition and what it might entail. This talk also forms a small part of the argument in my PhD thesis. A the moment, it poses more questions than it answers. Below is an abstract for this talk: What is really involved in the … Continue reading What does it mean to ‘compose’?

*Interstice* now available on iTunes

Interstice is out and available to download via iTunes! More information can be found here. Interstice is an artwork and iPhone app that enables users to record, and listen to, an audible representation of their heartbeat. It also allows users to select a musical fragment to accompany their heartbeat. As such, users from all over the world … Continue reading *Interstice* now available on iTunes

Gaudeamus Muziekweek Academy

I recently attended the Gaudeamus Muziekweek Academy in Utrecht. My composition Parallax Error (2014) for any 4-string bowed instrument was workshopped by cellist Katharina Gross and double bassist Dario Calderone. I also had the opportunity to meet other selected composers from across the globe. The experience was enlightening and it introduced me to a whole world of music happening right now. … Continue reading Gaudeamus Muziekweek Academy

(Per)Forming Art: Performance as a Compositional Technique

Tomorrow I will present a paper in the PGR Symposium at the University of Leeds. My presentation will discuss how performance can be consciously applied to the compositional process. The acts of composing and performing are central processes to the formation of a musical work. Performance is a medium through which music is formed. It is a … Continue reading (Per)Forming Art: Performance as a Compositional Technique

Study Day on Computer Simulation of Musical Creativity

Some of my research has been selected for display in the Study Day on Computer Simulation of Musical Creativity at the University of Huddersfield in the form of an academic poster (see image below). This is not the first time I have presented on this topic, I discussed this particular subject at the PGR Symposium in … Continue reading Study Day on Computer Simulation of Musical Creativity

Considering Expression as Compositional Material: ‘Improvisation is the Middle Ground between Composing and Performing’ or ‘Using Improvisation in Live Performance as a Compositional Technique’

Tomorrow I will present the following at a postgraduate conference in Leeds: Defining compositional material is not straightforward. Much of existing literature suggests there are many varied perspectives on this that are ultimately dependent upon each individual composer’s personal approach to writing music. As such, it can be argued that compositional material is an individual … Continue reading Considering Expression as Compositional Material: ‘Improvisation is the Middle Ground between Composing and Performing’ or ‘Using Improvisation in Live Performance as a Compositional Technique’

The Composer’s Paradox: An Exploration of Restriction and Freedom in the Compositional Process

Tomorrow I will present a paper at a postgraduate symposium in Leeds. This presentation forms part of my ongoing PhD research. An abstract is included below: One can investigate the compositional process in terms of the conflict between restriction and freedom. Restriction can take many forms, some of which are imposed by logistics (for example, … Continue reading The Composer’s Paradox: An Exploration of Restriction and Freedom in the Compositional Process

A Violent Encounter? : Notions of Hidden ‘Violence’ in Compositional Thoughts, Acts, and Encounters with the Work of Art

Tomorrow I will present the following at a postgraduate conference in Leeds. The research is still in development. An abstract is included below: The process of encountering a work of art potentially involves a hidden ‘violent’ event. In ‘The Origin of the Work of Art’, Martin Heidegger portrays the encounter with an artwork as entailing … Continue reading A Violent Encounter? : Notions of Hidden ‘Violence’ in Compositional Thoughts, Acts, and Encounters with the Work of Art

Considering Compositional ‘Spaces’ as ‘Heterotopias’: ‘Music and/as Process’ Symposium

I presented the following at the 'Music and/as Process' Symposium in Huddersfield last summer.  Although my research has developed since then, this presentation is still relevant to my current perspective on music's relationship with society. More than anything else, though, I am fascinated with Michel Foucault's article 'Of Other Spaces'. His concept of 'Heterotopia' opens up  a perspective on society that resonates … Continue reading Considering Compositional ‘Spaces’ as ‘Heterotopias’: ‘Music and/as Process’ Symposium

Compositional Form: A Multidimensional Interstice?

The following is an area of my research which I presented on at a postgraduate conference in December, and something I hope to talk more about in the future as it develops. In this presentation, I discuss my current composition Interstice, the ‘form’ of which relies on the participation of an interactive audience via the internet and an iPhone … Continue reading Compositional Form: A Multidimensional Interstice?