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Now showing items 1-7 of 7
Forms of Space
(2013-11-21)
This output consists of two movements of acousmatic music, premiered in full at the 2013 Espace du Son Festival, Brussels. The work aims to project as themes not solely the gestural, spectral and referential materials ...
An Angel at Mons
(Premiered eBuzz Festival, Salle Claude-Champagne, University of Montréal, 25 April 2014., 2014)
John Ewings was among the few people who claimed to have witnessed the vision of an angel on the battlefield at Mons in August 1914. In 1980, aged 101, he gave a compelling account of his experience in an interview for ...
Imaginary Workscapes: Creative Practice and Research through Electroacoustic Composition
(Ashgate, 2015)
Compositional activity in electroacoustic music is central to the research culture of that field. Electroacoustic tools for sound manipulation and transformation allow the creation of sound materials that present new ...
Brink
(Premiered Tempo Reale Festival, Florence, 29 September 2015., 2015)
Brink attempts to convey a form characterised by continuous sonic renewal and evolution. I like to think of sound as physical matter and, by blending parallel processes of transformation and recurrence, this work aims to ...
Annotated catalogue of Denis Smalley's works.
(Institut National de l'Audiovisuel, 2010)
An annotated list of the works of Denis Smalley is presented. Each work is given an analytical summary, supplemented by the composer's own notes on the work along with dates of composition, the place and date of first ...
Red Sky
(First performed at the New Walk Museum, Leicester, 12 April 2015, by Carla Rees (alto flute), Heather Roche (clarinet/bass clarinet), Xenia Pestova (piano) and John Young (sound projection)., 2015)
Sir Thomas Armstrong, a former principal of the Royal Academy of Music and a veteran of the First World War, once stated that there is a falsity about the reporting of all battle scenes. In the face of the most shatteringly ...
Formación de la forma [Forming Form]
(Universidad Nacional de Lanús, 2010)
The seemingly 'infinite' range of sound types available in electroacoustic music creates new questions and opportunities for the design of musical forms. Form is regarded here as a the principle by which sound identities, ...