Colleges, School and Institutes
My research interests include multichannel acousmatic composition, performance practice of electroacoustic music, live acousmatic performance, phonography, site-specific installations and cross disciplinary collaboration.
As a composer I specialise in electroacoustic music and my work explores the inherent sonic nature and identity of environmental sound, amplifying sonic characteristics that are not normally audible to the naked ear.
Space is central to my research. I am currently developing working methods for composing large-scale multichannel works and exploring compositional methods for using ambisonic audio.
As an active field recordist, I work extensively with environmental sound material both compositional and in the development of augmented soundwalks.
As a performer I work with BEAST (Birmingham Electroacoustic Sound Theatre) and am developing my live performance practice working collaboratively to develop live acousmatic and improvisatory performances.
I also collaborate regularly with dance and theatre companies as a composer and sound designer.
I am an electroacoustic composer, sound artist and performer. My output encompasses electronic music composition from acousmatic music to free improvisation. As a collaborator, I have worked extensively with dance and theatre, and on site-specific installations.
My music has been recognized and performed extensively in concerts and festivals internationally an I have received a number of notable commissions including those from Birmingham Contemporary Music Group, Jazzlines, Birmingham Repertory Theatre, Birmingham Hippodrome, and Rosie Kay Dance Company (for which she is the Company composer).
I am a co-director of SOUNDkitchen, a Birmingham-based collective of curators, producers and performers of live electronic music and sound art. She has been a member of a number of boards and panels and is currently a committee member for the British ElectroAcoustic Network (BEAN), and Chair of the British Section of the International Society for Contemporary Music (ISCM).
Willingness to take PhD students
Multichannel composition including ambisonics
Spatialisation and diffusion
Field-Recording and phonography
Site-specific composition and installation