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Portrait of Prof. Pierre-Alexandre Tremblay Prof. Pierre-Alexandre Tremblay

p.a.tremblay@hud.ac.uk | 01484 473608



Biography

Pierre Alexandre Tremblay (Montréal, 1975) is a composer and a performer on bass guitar and sound processing devices, in solo and within the groups ars circa musicæ (Paris, France), de type inconnu (Montréal, Québec), and Splice (London, UK), as well as in ad hoc collaborations. Commissioned and performed world wide, his music is mainly released by the labels Empreintes DIGITALes and Ora.

He joined the University of Huddersfield in 2005, where he is now Professor of Composition and Improvisation as well as Director of the Electronic Music Studios. He previously worked in popular music as producer and bassist, and is also interested in videomusic and coding DSP.

He likes oolong tea, reading, and walking. As a founding member of the no-tv collective, he does not own a working television set. More information about him, including his next performances and sample of his music, can be found on his website www.pierrealexandretremblay.com

Research & Scholarship

- Electroacoustic and mixed-media composition, exploring creative interactions with technology in the studio (as instrument) and for the performer, as highlighted by his releases on Empreintes DIGITALes;

- Contemporary jazz composition, improvisation and performance, with or without electronics, as with [iks], ars circa musicæ, and Splice (published by Ora and Loop Records);

- Free improvisation on bass guitar and/or laptop, in solo, duet (with de type inconnu and light.box) or as a guest with other ensembles;

- Pop studio production and session playing, especially in Afro-American groove-based music;

- Video-music composition;

- Interactive installation;

- Creative use and subversion of technical means, mainly through custom DSP instrument designs, as highlighted in his technical publications.

Publications and Other Research Outputs

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This is achieved through empirical investigation into subversive use of recent developments in hardware and software technologies. The primary concerns are (1) optimising the integration of live instruments and electroacoustic sound in the concert hall environment for both the performers and the public, by carefully choosing loudspeaker types and placement at commission time, and by avoiding sound reinforcement; (2) minimizing for studio composers the insitu trauma of the first live rendition of the piece, by bringing the concert hall acoustic environment into the studio composition process, using convolution reverb to reproduce in the studio the given loudspeaker setup through its impulse responses. 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undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '51', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => undef, 'importid' => undef, 'status_changed_day' => '13', 'datestamp_day' => '13', 'abstract' => 'With access to powerful real-time DSP languages now easier than ever, the new generation of mixed music composers are able to manage both sides of the coin: they have the programming skills and the compositional concerns that were traditionally the responsibility of two different persons. This brings more and more sophisticated integration of technical resources and compositional gestures. A good example of such integration is the author’s piece La Rage. In the light of general comments on the seamless integration of technology in this piece, the author, by discussing how compositional and technical concerns interact in his process of creation, tries to pinpoint key considerations that help him achieve this. 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'producers_id' => undef, 'datestamp_second' => '0', 'note' => undef, 'edit_lock_until' => '0', 'editor_note' => undef, 'pedagogic_type' => undef, 'date_month' => 10, 'rights' => undef, 'contributors_type' => 'http://www.loc.gov/loc.terms/relators/AUT', 'scopus_id' => undef, 'eprintid' => '15006', 'producers_name_given' => undef, 'thesis_type' => undef, 'projects' => undef, 'lastmod_year' => '2013', 'data_type' => undef, 'gscholar_datestamp_minute' => undef, 'editors_name_given' => undef, 'isbn' => undef, 'include_in_cv' => 'yes', 'editors_name_family' => undef, 'lastmod_month' => '2', 'event_dates' => undef, 'fulltimestamp' => '20121000', 'learning_level' => undef, 'conductors_name_lineage' => undef, 'pages' => undef, 'source' => undef, 'lastmod_hour' => '9', 'number' => '2', 'rev_number' => '18', 'edit_lock_user' => '3483', 'series' => undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Pierre Alexandre', 'exhibitors_name_lineage' => undef, 'divisions' => 'mh', 'institution' => undef, 'subjects' => 'L1', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '29', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => undef, 'importid' => undef, 'status_changed_day' => '4', 'datestamp_day' => '4', 'abstract' => 'Free Libre Open Source Software (FLOSS) is licensed to allow users the freedom to copy, reuse, study and develop the software. As a term which efficiently encompasses both ‘free software’ and ‘open-source’ models, FLOSS may offer music practitioners and researchers the opportunity to develop and use such software without becoming mired in a particular stance. In this article, parallels between FLOSS and experimental music are explored, with a view to highlighting their compatibility. Through reflection on the recent composition, recording and distribution of three text scores, this article examines how the application of a FLOSS framework may assist with such work in an academic setting and how FLOSS tools might be utilized in such settings in the future as they become more prevalent, more reliable and more stable.', 'creators_id' => 'p.a.tremblay@hud.ac.uk', 'contributors_name_lineage' => '', 'userid' => '4599', 'patent_applicant' => undef, 'monograph_type' => undef, 'datestamp_minute' => '29', 'lyricists_name_family' => undef, 'sword_slug' => undef, 'id_number' => '10.1386/jmte.5.2.145_1 ', 'volume' => '5', 'gscholar_datestamp_month' => undef, 'conductors_id' => undef, 'suggestions' => 'Journal article accepted for publication in forthcoming issue of Journal of Music, Technology and Education', 'referencetext' => undef, 'date_year' => '2012', 'status_changed_hour' => '15', 'gscholar_cluster' => undef, 'producers_name_family' => undef }, '15333' => { 'funders' => 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The work was Finalist at the Bourges International Electroacoustic Music Competition 2006, and the second Montréal performance won the Opus Prize in the category Concert de l’année – musique actuelle et électroacoustique. The work has received six performances, including BEAST, Birmingham; Akousma Festival, Montreal; GEM Days, Huddersfield; ICMC 2006, New Orleans; ICA, London. Portfolio: 1) ‘Pragmatic consideration in mixed music: a case study of La rage’, in the proceedings of the International Computer Music Conference, New Orleans, 2006, pp.527–30; ISBN: 0-9713192-4-3. 2) Software development of butt~ and ipoke~, original Max/MSP externals written specifically for La rage (www.no-tv.org/MaxMSP)on DVD-R. 3)Programmes associated. Context: The work explores the intersection of instrumental and electronic music by continually questioning the listener’s perception of the integration and differentiation between the acoustic drum-kit and the implied and physical space of electronic sound projected over an eight-channel speaker setup. The work investigates the dichotomy between improvisation and composition through the inclusion of a broad spectrum of notational types, from conventional staff notation to open text-based notation commenting on fixed tape part. The work also questions the listener’s perception of real-time and studio-based electronics, and notions of popular and concert music, through the use of an instrument more commonly associated with free jazz and techno aesthetics. Further research questions addressed in this work can be found in the composer’s PhD thesis (Birmingham, 2005). Some general pragmatic concerns in mixed music have been presented in conferences at the Université de Montréal (Canada), at the ICMC 2006, and at the New York University Music Department.', 'creators_id' => 'p.a.tremblay@hud.ac.uk', 'contributors_name_lineage' => undef, 'userid' => '3494', 'patent_applicant' => undef, 'monograph_type' => undef, 'datestamp_minute' => '12', 'lyricists_name_family' => undef, 'sword_slug' => undef, 'id_number' => undef, 'volume' => undef, 'gscholar_datestamp_month' => undef, 'conductors_id' => undef, 'suggestions' => undef, 'referencetext' => undef, 'date_year' => '2005', 'status_changed_hour' => '9', 'gscholar_cluster' => undef, 'producers_name_family' => undef }, '3992' => { 'funders' => undef, 'conductors_name_family' => undef, 'num_pieces' => undef, 'department' => undef, 'contributors_id' => undef, 'gscholar_datestamp_second' => undef, 'keywords' => undef, 'lyricists_name_lineage' => undef, 'lyricists_id' => undef, 'edit_lock_since' => undef, 'creatorlist' => { '0' => { 'creators_name_lineage' => '', 'creators_name_family' => 'Tremblay', 'eprintid' => '3992', 'creators_name_honourific' => '', 'pos' => '0', 'creators_name_given' => 'Pierre Alexandre', 'creators_id' => 'p.a.tremblay@hud.ac.uk' } }, 'exhibitors_id' => undef, 'latitude' => undef, 'replacedby' => undef, 'status_changed_month' => '4', 'editors_name_honourific' => undef, 'admin_note' => undef, 'event_title' => undef, 'date_type' => 'published', 'pres_type' => undef, 'longitude' => undef, 'creators_name_honourific' => '', 'include_in_hebci' => 'no', 'producers_name_honourific' => undef, 'scopus_citation_count' => undef, 'datestamp_year' => '2009', 'fileinfo' => '', 'status_changed_second' => '24', 'exhibitors_name_honourific' => undef, 'editors_id' => undef, 'title' => 'Heiko ou l’apparition du héros', 'corp_creators' => 'Le bruit du [sign]', 'contributors_name_given' => undef, 'alt_title' => undef, 'contributors_name_family' => undef, 'sponsors' => undef, 'output_media' => 'CD', 'editors_name_lineage' => undef, 'dir' => 'disk0/00/00/39/92', 'overlay_journal_id' => undef, 'gscholar_datestamp_year' => undef, 'ispublished' => 'pub', 'item_issues_count' => '0', 'conductors_name_given' => undef, 'sword_depositor' => undef, 'full_text_status' => 'none', 'lastmod_minute' => '40', 'refereed' => undef, 'contact_email' => undef, 'copyright_holders' => undef, 'date_day' => undef, 'gscholar_impact' => undef, 'official_url' => 'http://www.yolkrecords.com/spip/spip.php?article93', 'succeeds' => undef, 'datestamp_month' => '4', 'commentary' => undef, 'lastmod_day' => '23', 'publisher' => 'Yolk Records', 'pagerange' => undef, 'include_in_pedagogical' => 'no', 'task_purpose' => undef, 'status_changed_year' => '2009', 'book_title' => undef, 'thesis_name' => undef, 'event_location' => undef, 'type' => 'audio', 'publication' => undef, 'lastmod_second' => '24', 'place_of_pub' => undef, 'contributors_name_honourific' => undef, 'gscholar_datestamp_day' => undef, 'issn' => undef, 'datestamp_hour' => '11', 'exhibitors_name_given' => undef, 'creators_name_family' => 'Tremblay', 'composition_type' => undef, 'producers_id' => undef, 'datestamp_second' => '24', 'note' => undef, 'edit_lock_until' => undef, 'editor_note' => undef, 'pedagogic_type' => undef, 'date_month' => 2, 'rights' => undef, 'contributors_type' => undef, 'scopus_id' => undef, 'eprintid' => '3992', 'producers_name_given' => undef, 'thesis_type' => undef, 'projects' => undef, 'lastmod_year' => '2009', 'data_type' => undef, 'gscholar_datestamp_minute' => undef, 'editors_name_given' => undef, 'isbn' => undef, 'include_in_cv' => 'yes', 'editors_name_family' => undef, 'lastmod_month' => '4', 'event_dates' => undef, 'fulltimestamp' => '20080200', 'learning_level' => undef, 'conductors_name_lineage' => undef, 'pages' => undef, 'source' => undef, 'lastmod_hour' => '11', 'number' => undef, 'rev_number' => '8', 'edit_lock_user' => undef, 'series' => undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Pierre Alexandre', 'exhibitors_name_lineage' => undef, 'divisions' => 'mh', 'institution' => undef, 'subjects' => 'M1', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '40', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => undef, 'importid' => undef, 'status_changed_day' => '23', 'datestamp_day' => '23', 'abstract' => 'Le bruit du [sign] réunit autour de Nicolas Stephan (sax/compos), Jeanne Added (voix), Julien Rousseau (trp), Julien Omé (gt), Théo Girard (cb) et Sébastien Brun (batt/machines). Ce groupe de musiciens sur-actifs, travaille à Paris depuis 2003. Ovni de la scène de jazz actuelle, ils ont forgé un son unique et immédiatement reconnaissable. La voix de Jeanne Added, utilisée avant tout comme un instrument, apporte une touche de mystère à l’écriture de Nicolas Stephan, terriblement ciselée, efficace, et servie par des improvisateurs aux oreilles grandes ouvertes. On y décèle des influences très ouvertes qui vont de Henry Threadgill ou Tim Berne, à Léo Ferré. Sur le disque, le groupe a invité trois de ses partenaires de scène privilégiés : Pierre Alexandre Tremblay (machines), Sylvaine Hélary (flûtes), et Eve Risser (voix/flûtes). Le groupe joue en résidence une fois par mois aux Voûtes à Paris depuis 2006, et à Londres régulièrement, invité par le Collectif Loop. Ils se produiront également à Montréal en 2008. Heiko ou l’apparition du héros est le premier disque du bruit du [sign], et comme ils ont déjà beaucoup à dire, il s’agit d’un double disque, longuement mûri par le groupe, fruit d’une année de travail, ou rien ne semble avoir été laissé au hasard. Heiko est le titre du premier disque, apparition du héros celui du second. On navigue d’un univers à l’autre, parfois pris à la gorge par une poésie brute, et un sentiment d’inéluctable. Tous les titres sont des compositions originales de Nicolas Stephan, exceptés deux titres de Sébastien Brun. Le disque contient les dessins de Pierre Constantin et les photos de Johann Verspuy, tous deux « membres actifs » du groupe lors de leurs concerts parisiens depuis plusieurs années. Ce disque est produit par l’association Sophie aime. 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'gscholar_datestamp_second' => undef, 'keywords' => undef, 'lyricists_name_lineage' => undef, 'lyricists_id' => undef, 'edit_lock_since' => '1380102214', 'creatorlist' => { '0' => { 'creators_name_lineage' => '', 'creators_name_family' => 'Tremblay', 'eprintid' => '18547', 'creators_name_honourific' => '', 'pos' => '0', 'creators_name_given' => 'Pierre Alexandre', 'creators_id' => 'p.a.tremblay@hud.ac.uk' } }, 'exhibitors_id' => undef, 'latitude' => undef, 'replacedby' => undef, 'status_changed_month' => '9', 'editors_name_honourific' => undef, 'admin_note' => undef, 'event_title' => 'Symposium: Sixty years of mixed music', 'date_type' => '', 'pres_type' => 'paper', 'longitude' => undef, 'creators_name_honourific' => '', 'include_in_hebci' => 'no', 'producers_name_honourific' => undef, 'scopus_citation_count' => undef, 'datestamp_year' => '2013', 'fileinfo' => '/style/images/fileicons/application_pdf.png;/18547/1/articleSorbonne.pdf', 'status_changed_second' => '1', 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'gscholar_datestamp_minute' => undef, 'editors_name_given' => undef, 'isbn' => undef, 'include_in_cv' => 'yes', 'editors_name_family' => undef, 'lastmod_month' => '9', 'event_dates' => '22nd - 23rd November 2012', 'fulltimestamp' => '20121122', 'learning_level' => undef, 'conductors_name_lineage' => undef, 'pages' => undef, 'source' => undef, 'lastmod_hour' => '10', 'number' => undef, 'rev_number' => '9', 'edit_lock_user' => '116', 'series' => undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Pierre Alexandre', 'exhibitors_name_lineage' => undef, 'divisions' => 'mh', 'institution' => undef, 'subjects' => 'M1', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '0', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => 'other', 'importid' => undef, 'status_changed_day' => '25', 'datestamp_day' => '25', 'abstract' => 'Les conditions de pratique de la musique mixte sont aujourd’hui très différentes de celles d’il y a 20 ans: a) la génération des Digital Natives (Marc Prensky) est maintenant bien active et sa relation avec la technologie est radicalement différente; b) les ordinateurs sont de plus en plus portables, accessibles et rapides: le laptop est maintenant un instrument de musique présent dans plusieurs contextes différents; c) plusieurs compositeurs semblent vouloir changer l’expérience du concert de musique électronique, en partageant directement la scène et en rappelant l’importance du geste musical. Praticien tant comme compositeur que comme interprète de cette musique, l’auteur tentera de montrer comment les pratiques d’une génération techno-fluide permettent une inter-influence des disciplines traditionnellement pratiquées par différents intervenants, et comment cette approche systémique permet de repousser les limites du langage de la musique mixte, non sans apporter de nouveaux défis et problèmes.', 'creators_id' => 'p.a.tremblay@hud.ac.uk', 'contributors_name_lineage' => undef, 'userid' => '1746', 'patent_applicant' => undef, 'monograph_type' => undef, 'datestamp_minute' => '0', 'lyricists_name_family' => undef, 'sword_slug' => undef, 'id_number' => undef, 'volume' => undef, 'gscholar_datestamp_month' => undef, 'conductors_id' => undef, 'suggestions' => undef, 'referencetext' => undef, 'date_year' => '2012', 'status_changed_hour' => '10', 'gscholar_cluster' => undef, 'producers_name_family' => undef }, '15342' => { 'funders' => undef, 'conductors_name_family' => undef, 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'scopus_id' => undef, 'eprintid' => '2353', 'producers_name_given' => undef, 'thesis_type' => undef, 'projects' => undef, 'lastmod_year' => '2010', 'data_type' => undef, 'gscholar_datestamp_minute' => undef, 'editors_name_given' => undef, 'isbn' => undef, 'include_in_cv' => 'yes', 'editors_name_family' => undef, 'lastmod_month' => '1', 'event_dates' => undef, 'fulltimestamp' => '20060301', 'learning_level' => undef, 'conductors_name_lineage' => undef, 'pages' => undef, 'source' => undef, 'lastmod_hour' => '4', 'number' => undef, 'rev_number' => '7', 'edit_lock_user' => undef, 'series' => undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Pierre Alexandre', 'exhibitors_name_lineage' => undef, 'divisions' => 'mh', 'institution' => undef, 'subjects' => 'M1', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '15', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => undef, 'importid' => undef, 'status_changed_day' => '21', 'datestamp_day' => '21', 'abstract' => 'Details: The portrait DVD-A Alter Ego contains two works that address similar research questions relating to perception and structure. Autoportrait (10'40) was commissioned by Réseaux with funds from the Canada Council for the Arts. The work was premiered at the Rien à Voir Festival, Espace Go, Montreal, 13 December 2001, and has received four further performances at BEAST, Birmingham; Rien à Voir XIII, MACM, Montreal; Sonic Explorations, Huddersfield; TransPennine Concert, University of Central Lancashire. La Cloche fêlée (8'06) was premiered by the Birmingham Electroacoustic Sound Theatre, 2004, and has also been performed at City University, London; SCRIME concert, Bordeaux, France. Portfolio: ‘Mixtering: a working model for an enhanced sound quality in electroacoustics’, co-authored with D. Bassal, eContact, 9.3, Montreal, 2007. Reviews of 'Alter ego'. Programmes associated. Context: Autoportrait explores the relationship between the static image of oneself and the representation of such an image through a time-based medium, as documented in the composer’s PhD commentary (Birmingham, 2005). The work presents four different ‘readings’ or aspects of the composer’s character, progressing in complexity from the superficial to the detailed. Autoportrait also presents and explores ways of creating personal expression in acousmatic music through the use of referential and anecdotal montage. La Cloche fêlée explores the relationship between linguistic meaning and structure. This dichotomy is explored through the linguistic meaning and the form of a sonnet by Baudelaire, and how this can be translated into musical archetypes. Research was also undertaken regarding sound quality and mastering in electroacoustic music, as documented in the portfolio paper co-written with Dominique Bassal.', 'creators_id' => 'p.a.tremblay@hud.ac.uk', 'contributors_name_lineage' => undef, 'userid' => '3494', 'patent_applicant' => undef, 'monograph_type' => undef, 'datestamp_minute' => '15', 'lyricists_name_family' => undef, 'sword_slug' => undef, 'id_number' => undef, 'volume' => undef, 'gscholar_datestamp_month' => undef, 'conductors_id' => undef, 'suggestions' => undef, 'referencetext' => undef, 'date_year' => '2006', 'status_changed_hour' => '9', 'gscholar_cluster' => undef, 'producers_name_family' => undef }, '7397' => { 'funders' => undef, 'conductors_name_family' => undef, 'num_pieces' => undef, 'department' => undef, 'contributors_id' => undef, 'gscholar_datestamp_second' => undef, 'keywords' => undef, 'lyricists_name_lineage' => undef, 'lyricists_id' => undef, 'edit_lock_since' => '1344528632', 'creatorlist' => { '1' => 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It is proposed as a way to re-embody fixed music, as experimented by the author through the composition of his last fixed-media work. This will be put in the context of a wider trend observed amongst the current emerging generation of composers interested in the aesthesics of the work, by opposition to the previous generations that placed the value of the work in its poietics. 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The piece was commissioned by Technische Universität Berlin. For their support, thanks to Folkmar Hein, Andre Bartetzki, Volker Straebel, and Wilm Thoben. This version was mastered in June 2011 by Dominique Bassal in Montréal. 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=> undef, 'scopus_id' => undef, 'eprintid' => '20131', 'producers_name_given' => undef, 'thesis_type' => undef, 'projects' => undef, 'lastmod_year' => '2014', 'data_type' => undef, 'gscholar_datestamp_minute' => undef, 'editors_name_given' => undef, 'isbn' => undef, 'include_in_cv' => 'yes', 'editors_name_family' => undef, 'lastmod_month' => '7', 'event_dates' => undef, 'fulltimestamp' => '20140630', 'learning_level' => undef, 'conductors_name_lineage' => undef, 'pages' => undef, 'source' => undef, 'lastmod_hour' => '13', 'number' => undef, 'rev_number' => '13', 'edit_lock_user' => '6', 'series' => undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Pierre Alexandre', 'exhibitors_name_lineage' => undef, 'divisions' => 'mh', 'institution' => undef, 'subjects' => 'M1', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 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This creates a new way to combine the sonic richness of large sound corpora, easily accessible via navigation through a timbral descriptor space, with the intuitive gestural interaction with a surface, captured by any contact microphone. We use convolution to excite the grains from the corpus via the microphone input, capturing the contact interaction sounds, which allows articulation of the corpus by hitting, scratching, or strumming a surface with various parts of the hands or objects. We also show how changes of grains have to be carefully handled, how one can smoothly interpolate between neighbouring grains, and finally evaluate the system against previous attempts.', 'creators_id' => 'p.a.tremblay@hud.ac.uk', 'contributors_name_lineage' => undef, 'userid' => '1746', 'patent_applicant' => undef, 'monograph_type' => undef, 'datestamp_minute' => '32', 'lyricists_name_family' => undef, 'sword_slug' => undef, 'id_number' => undef, 'volume' => undef, 'gscholar_datestamp_month' => undef, 'conductors_id' => undef, 'suggestions' => undef, 'referencetext' => undef, 'date_year' => '2014', 'status_changed_hour' => '13', 'gscholar_cluster' => undef, 'producers_name_family' => undef }, '15329' => { 'funders' => undef, 'conductors_name_family' => undef, 'num_pieces' => undef, 'department' => undef, 'contributors_id' => undef, 'gscholar_datestamp_second' => undef, 'keywords' => undef, 'lyricists_name_lineage' => undef, 'lyricists_id' => undef, 'edit_lock_since' => '1349952798', 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'edit_lock_user' => '6', 'series' => undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Pierre Alexandre', 'exhibitors_name_lineage' => undef, 'divisions' => 'mh', 'institution' => undef, 'subjects' => 'M1', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '56', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => undef, 'importid' => undef, 'status_changed_day' => '11', 'datestamp_day' => '11', 'abstract' => 'piece for piano Baschet-Malbos and electronics commissioned by Pierre Malbos duration: 16' ', 'creators_id' => 'p.a.tremblay@hud.ac.uk', 'contributors_name_lineage' => undef, 'userid' => '1746', 'patent_applicant' => undef, 'monograph_type' => undef, 'datestamp_minute' => '56', 'lyricists_name_family' => undef, 'sword_slug' => undef, 'id_number' => undef, 'volume' => undef, 'gscholar_datestamp_month' => undef, 'conductors_id' => undef, 'suggestions' => undef, 'referencetext' => undef, 'date_year' => '2008', 'status_changed_hour' => '10', 'gscholar_cluster' => undef, 'producers_name_family' => undef }, '1000' => { 'funders' => undef, 'conductors_name_family' => undef, 'num_pieces' => undef, 'department' => undef, 'contributors_id' => undef, 'gscholar_datestamp_second' => undef, 'keywords' => undef, 'lyricists_name_lineage' => undef, 'lyricists_id' => undef, 'edit_lock_since' => undef, 'creatorlist' => { '1' => { 'creators_name_lineage' => '', 'creators_name_family' => 'Bassal', 'eprintid' => '1000', 'creators_name_honourific' => '', 'pos' => '1', 'creators_name_given' => 'Dominique', 'creators_id' => undef }, '0' => { 'creators_name_lineage' => '', 'creators_name_family' => 'Tremblay', 'eprintid' => '1000', 'creators_name_honourific' => '', 'pos' => '0', 'creators_name_given' => 'Pierre Alexandre', 'creators_id' => 'p.a.tremblay@hud.ac.uk' } }, 'exhibitors_id' => undef, 'latitude' => undef, 'replacedby' => undef, 'status_changed_month' => '7', 'editors_name_honourific' => undef, 'admin_note' => undef, 'event_title' => undef, 'date_type' => 'published', 'pres_type' => undef, 'longitude' => undef, 'creators_name_honourific' => '', 'include_in_hebci' => 'no', 'producers_name_honourific' => undef, 'scopus_citation_count' => undef, 'datestamp_year' => '2008', 'fileinfo' => '', 'status_changed_second' => '37', 'exhibitors_name_honourific' => undef, 'editors_id' => undef, 'title' => 'Le mixtering : modèle de travail pour une qualité sonore accrue en électroacoustique / Mixtering: A working model for an enhanced sound quality in electroacoustics', 'corp_creators' => undef, 'contributors_name_given' => undef, 'alt_title' => undef, 'contributors_name_family' => undef, 'sponsors' => undef, 'output_media' => undef, 'editors_name_lineage' => undef, 'dir' => 'disk0/00/00/10/00', 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undef, 'creators_name_family' => 'Tremblay', 'composition_type' => undef, 'producers_id' => undef, 'datestamp_second' => '37', 'note' => undef, 'edit_lock_until' => undef, 'editor_note' => undef, 'pedagogic_type' => undef, 'date_month' => 4, 'rights' => undef, 'contributors_type' => undef, 'scopus_id' => undef, 'eprintid' => '1000', 'producers_name_given' => undef, 'thesis_type' => undef, 'projects' => undef, 'lastmod_year' => '2010', 'data_type' => undef, 'gscholar_datestamp_minute' => undef, 'editors_name_given' => undef, 'isbn' => undef, 'include_in_cv' => 'yes', 'editors_name_family' => undef, 'lastmod_month' => '4', 'event_dates' => undef, 'fulltimestamp' => '20070400', 'learning_level' => undef, 'conductors_name_lineage' => undef, 'pages' => undef, 'source' => undef, 'lastmod_hour' => '11', 'number' => '3', 'rev_number' => '8', 'edit_lock_user' => undef, 'series' => undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Pierre Alexandre', 'exhibitors_name_lineage' => undef, 'divisions' => 'mh', 'institution' => undef, 'subjects' => 'ML', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '10', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => undef, 'importid' => undef, 'status_changed_day' => '9', 'datestamp_day' => '9', 'abstract' => 'Since the beginning of the 1980s, there has been an ever-widening gap in terms of sound quality between the electroacoustic and commercial music milieux. Building upon their extensive experiences in both of these milieux, the authors propose a working model for the re-establishment of a certain standard in the sound quality in electroacoustic work, which involves extending the role of mastering to assume part of the role of mixing. The term “mixtering” is proposed for this practice. The growth of this gap is intimitely related to the increase in the prevalence of the home studio. Few studios maintained by composers reflect recent improvements and trends in acoustic research and signal processing, nor do they offer a reference monitoring environment, both of which are commonplace in professional studios. The general increase in accessibility to resources in the past 15 years has affected institutions as well, where for the price of a professional studio, a number of smaller but inferior studios can be built. Recognizing its creative advantages, the authors do not intend to call into question the validity of the home studio, but rather propose a working method to ensure that electroacoustics regains its position as a vanguard, as much for its production quality, as for its compositional propositions. A discussion of this nature requires dissociation of the “content” from the “container”: the identity of electroacoustics is not entirely based “in sound” but rather in the use of sound. The electroacoustic work — as with works in other genres — is not compromised by corrective procedures aimed at optimizing the creative intentions of the composer. Similarly, a difference is noted between treatments applied to the sound design and treatments applied to the mix: the former requires involved listening, while the latter requires a certain distance on the part of the listener. The authors propose that the sound quality of the electroacoustic work suffers significant losses exactly at the point where composers attempt to improve the quality: at the mixing stage. The introduction of distortion, noise and phase problems by the equipment, an accumulation of adverse effects caused by each successive stage of compensation for various problems, and loss of transparency and precision are only a small selection of the problems encountered. Most home studios are far from offering an optimal monitoring environment and their deficiencies strongly influence the composer’s assessment of a mix. Because the work was created in a coloured environment, it was in fact tailored to sound good despite its deficiencies. As a consequence, the composer may find the mastered work to seem inadequate when listened to in that particular environment. However, once the composer listens to and assesses the work in a neutral monitoring environment, a number of shortcomings in the sound quality and clarity of the original work appear, which are not at all apparent — or rather perceived — in the home studio. The solution proposed is that the electroacoustic composer share some of the responsibilities of the mixing with the sound engineer, a procedure the authors have named “mixtering”. This requires more work on the part of the composer, but the engineer’s contribution will prove to be much more efficient: the work involved in correcting a poor mix at the mastering stage can be much more involved and problematic than simply correcting the problems at their source. The annex, prepared by the engineer, offers a comparison between mastering and mixtering, using as an example a session based on the new protocol. The first part compares the sums of the source stems and the sums of the working mix stems. In the next part, the mixed stems are mastered, and commentary by the engineer concerning the problems and the solutions is offered, supported by audio examples and screen captures. The combination of the improved stems is optimised, and the mastering completed. An interesting comparison between the sum of the sources and the mastered product follows. Then, each of the stems available in its source form is mixtered, with comments by the engineer leading to the final presentation of the mixtered product. An overview of the engineer’s and the composer’s views on the session closes off the article.', 'creators_id' => 'p.a.tremblay@hud.ac.uk', 'contributors_name_lineage' => undef, 'userid' => '3494', 'patent_applicant' => undef, 'monograph_type' => undef, 'datestamp_minute' => '10', 'lyricists_name_family' => undef, 'sword_slug' => undef, 'id_number' => undef, 'volume' => '9', 'gscholar_datestamp_month' => undef, 'conductors_id' => undef, 'suggestions' => undef, 'referencetext' => undef, 'date_year' => '2007', 'status_changed_hour' => '16', 'gscholar_cluster' => undef, 'producers_name_family' => undef }, '18549' => { 'funders' => undef, 'conductors_name_family' => undef, 'num_pieces' => undef, 'department' => undef, 'contributors_id' => undef, 'gscholar_datestamp_second' => undef, 'keywords' => undef, 'lyricists_name_lineage' => undef, 'lyricists_id' => undef, 'edit_lock_since' => '1384254809', 'creatorlist' => { '1' => { 'creators_name_lineage' => '', 'creators_name_family' => 'Tremblay', 'eprintid' => '18549', 'creators_name_honourific' => '', 'pos' => '1', 'creators_name_given' => 'Pierre Alexandre', 'creators_id' => 'p.a.tremblay@hud.ac.uk' }, '0' => { 'creators_name_lineage' => '', 'creators_name_family' => 'Harker', 'eprintid' => '18549', 'creators_name_honourific' => '', 'pos' => '0', 'creators_name_given' => 'Alexander', 'creators_id' => 'a.harker@hud.ac.uk' } }, 'exhibitors_id' => undef, 'latitude' => undef, 'replacedby' => undef, 'status_changed_month' => '9', 'editors_name_honourific' => undef, 'admin_note' => undef, 'event_title' => 'IRCAM Forum', 'date_type' => 'completed', 'pres_type' => 'paper', 'longitude' => undef, 'creators_name_honourific' => '', 'include_in_hebci' => 'no', 'producers_name_honourific' => undef, 'scopus_citation_count' => undef, 'datestamp_year' => '2013', 'fileinfo' => '/style/images/fileicons/application_pdf.png;/18549/1/Harker_Tremblay_Rethinking_The_Box.pdf', 'status_changed_second' => '58', 'exhibitors_name_honourific' => undef, 'editors_id' => undef, 'title' => 'Rethinking the Box: Approaches to the Reality of Electronic Music Performance ', 'corp_creators' => undef, 'contributors_name_given' => undef, 'alt_title' => undef, 'contributors_name_family' => undef, 'sponsors' => undef, 'output_media' => undef, 'editors_name_lineage' => undef, 'dir' => 'disk0/00/01/85/49', 'overlay_journal_id' => undef, 'gscholar_datestamp_year' => undef, 'ispublished' => 'submitted', 'item_issues_count' => '0', 'conductors_name_given' => undef, 'sword_depositor' => undef, 'full_text_status' => 'public', 'lastmod_minute' => '17', 'refereed' => 'FALSE', 'contact_email' => 'a.harker@hud.ac.uk', 'copyright_holders' => undef, 'date_day' => undef, 'gscholar_impact' => undef, 'official_url' => undef, 'succeeds' => undef, 'datestamp_month' => '9', 'commentary' => undef, 'lastmod_day' => '12', 'publisher' => undef, 'pagerange' => undef, 'include_in_pedagogical' => 'no', 'task_purpose' => undef, 'status_changed_year' => '2013', 'book_title' => undef, 'thesis_name' => undef, 'event_location' => 'IRCAM, Paris', 'type' => 'conference_item', 'publication' => undef, 'lastmod_second' => '5', 'place_of_pub' => undef, 'contributors_name_honourific' => undef, 'gscholar_datestamp_day' => undef, 'issn' => undef, 'datestamp_hour' => '7', 'exhibitors_name_given' => undef, 'creators_name_family' => 'Tremblay', 'composition_type' => undef, 'producers_id' => undef, 'datestamp_second' => '58', 'note' => undef, 'edit_lock_until' => '0', 'editor_note' => undef, 'pedagogic_type' => undef, 'date_month' => 11, 'rights' => undef, 'contributors_type' => undef, 'scopus_id' => undef, 'eprintid' => '18549', 'producers_name_given' => undef, 'thesis_type' => undef, 'projects' => undef, 'lastmod_year' => '2013', 'data_type' => undef, 'gscholar_datestamp_minute' => undef, 'editors_name_given' => undef, 'isbn' => undef, 'include_in_cv' => 'yes', 'editors_name_family' => undef, 'lastmod_month' => '11', 'event_dates' => '20-22 November 2013', 'fulltimestamp' => '20131100', 'learning_level' => undef, 'conductors_name_lineage' => undef, 'pages' => undef, 'source' => undef, 'lastmod_hour' => '11', 'number' => undef, 'rev_number' => '11', 'edit_lock_user' => '6', 'series' => undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Pierre Alexandre', 'exhibitors_name_lineage' => undef, 'divisions' => 'mh', 'institution' => undef, 'subjects' => 'M1', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '55', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => 'other', 'importid' => undef, 'status_changed_day' => '25', 'datestamp_day' => '25', 'abstract' => 'This article extends certain aspects of the work presented in the Thinking Inside the Box Project, by exploring efficient software-based methods for improving sound reproduction within the concert hall. The key problems discussed are: (1) the detrimental effects of room acoustic and/or sub-optimal loudspeaker design on the frequency response of amplification systems for concert use; (2) the non-ideal frequency responses typically encountered when using close-microphone techniques or contact transducers (the methods most suit- able for live applications, including the presentation of pieces utilising live processing). The need for pragmatic, musician-centric software addressing these issues is identified, along with a set of criteria relevant musicians work- ing in the fields of live electronic performance and interactive technologies. These problems, along with proposed solutions and software tools are investigated practically in both controlled conditions and real world scenarios, and the outcomes of experimentation and testing discussed in detail. Real world testing is essential in order to ensure that any developed tools and correction procedures are robust and viable for use within the constraints of a typical concert performance of electronic music. Finally, a generic procedure is presented for rapidly generating and applying inversions to speaker/room combinations and close audio capture using software developed to satisfy the requirements outlined earlier (The HISSTools Impulse Response Toolbox).', 'creators_id' => 'p.a.tremblay@hud.ac.uk', 'contributors_name_lineage' => undef, 'userid' => '1746', 'patent_applicant' => undef, 'monograph_type' => undef, 'datestamp_minute' => '55', 'lyricists_name_family' => undef, 'sword_slug' => undef, 'id_number' => undef, 'volume' => undef, 'gscholar_datestamp_month' => undef, 'conductors_id' => undef, 'suggestions' => undef, 'referencetext' => undef, 'date_year' => '2013', 'status_changed_hour' => '7', 'gscholar_cluster' => undef, 'producers_name_family' => undef } };

2014

Schwarz, D., Tremblay, P. and Harker, A. (2014) ‘Rich Contacts: Corpus-Based Convolution of Audio Contact Gestures for Enhanced Musical ExpressionProceedings of the International Conference on New Interfaces for Musical Expression 2014 .

2013

Tremblay, P., Fincker, R., Smith, D. and Bonney, A. (2013) Splice: Silent Spoke [Audio]

Harker, A. and Tremblay, P. (2013) ‘Rethinking the Box: Approaches to the Reality of Electronic Music Performance ’. In: IRCAM Forum, 20-22 November 2013, IRCAM, Paris

Tremblay, P (2013) La marée [Audio]

Tremblay, P (2013) Still, Again [Composition]

Tremblay, P (2013) Mono no aware [Composition]

2012

Tremblay, P (2012) ‘Considérations pragmatiques en musique mixtes: une approche systémique de l’inter-influence entre la composition, l'interprétation et la technique’. In: Symposium: Sixty years of mixed music, 22nd - 23rd November 2012, Paris, France

Brooks, J., Brooks, J. and Tremblay, P. (2012) ‘Across The Great DivideJournal of Music, Technology and Education , 5 (2), pp. 145-157. ISSN 1752-7066

Tremblay, P. and Bonney, A. (2012) light.box [Audio]

Harker, A. and Tremblay, P. (2012) ‘The HISSTools Impulse Response Toolbox: Convolution for the Masses’. In: ICMC 2012: Non-cochlear Sound. : The International Computer Music Association. pp. 148-155. ISBN 9780984527410

Tremblay, P (2012) ‘Mixing the Immiscible: Improvisation within Fixed-Media Composition’. In: Electroacoustic Music Studies Conference Meaning and Meaningfulness in Electroacoustic Music, 11th - 15th June 2012, Stockholm, Sweden

2011

Tremblay, P. and Pohu, S. (2011) de type inconnu [Audio]

Tremblay, P., Fincker, R., Smith, D. and Bonney, A. (2011) Splice - Lab [Audio]

Tremblay, P (2011) Quelques reflets [Audio]

Carvalhais, M., Tudela , P. and Tremblay, P. (2011) @c - Homem Fantasma [Audio]

Tremblay, P (2011) La rupture inéluctable [Composition]

2010

McLaughlin, S. and Tremblay, P. (2010) ‘SpectralConway: Cellular Automata Off The GridInternational Computer Music Conference Proceedings , 2010, pp. 68-71. ISSN 2223-3881

Hewitt, S., Tremblay, P., Freeman, S. and Booth, G. (2010) ‘HELO: The Laptop Ensemble as an Incubator for Individual Laptop Performance Practices’. In: Proceedings of the International Computer Music Conference. New York: ICMA. pp. 304-307.

Tremblay, P. and Schwarz, D. (2010) ‘Surfing the Waves: Live Audio Mosaicing of an Electric Bass Performance as a Corpus Browsing Interface’. In: Proceedings of the 2010 International Conference on New Interfaces for Musical Expression (NIME10), Sydney, Australia. : NIME. pp. 447-450.

Tremblay, P (2010) Ces énigmes lumineuses [Composition]

Tremblay, P (2010) Les trois petits c... [Composition]

Tremblay, P (2010) Trois lents effondrements [Composition]

Tremblay, P (2010) La nuée [Composition]

Tremblay, P (2010) For Ever Now Soon an End [Composition]

2009

Tremblay, P. and Constanzo, R. (2009) Drum and bass and the horse you ride in on. [Audio]

Tremblay, P. and McLaughlin, S. (2009) ‘Thinking Inside the Box: A New Integrated Approach to Mixed Music Composition and PerformanceInternational Computer Music Conference Proceedings , 2009, pp. 379-386. ISSN 2223-3881

Tremblay, P (2009) Un clou, son marteau, et le béton [Composition]

Tremblay, P (2009) Le Cauchemar De L'horloger [Video]

Tremblay, P (2009) Stase [Composition]

Tremblay, P (2009) Quelques courtes contemplations: I. craquer une allumette dans le noir, puis regarder la flamme danser [Composition]

Tremblay, P (2009) Sandbox#3 [Composition]

Tremblay, P (2009) Reflets de notre société crépusculaire [Composition]

2008

Hewitt, S. and Tremblay, P. (2008) ‘Sound Communication: A Standard Syntax for Inter-Application, Inter-Device And Inter-Player Communication Over OSC’. In: International Computer Music Conference ‘08, 24-29 August 2008, Belfast

Tremblay, P (2008) Heiko ou l’apparition du héros [Audio]

Tremblay, P (2008) De passage [Composition]

Tremblay, P (2008) Sandbox#2 [Composition]

Tremblay, P (2008) Le tombeau des fondeurs [Composition]

Tremblay, P (2008) Billows in a Ladle [Composition]

2007

Tremblay, P., Boucher, N. and Pohu, S. (2007) ‘Real-time processing on the road: a guided tour of [iks]'s abstr/cncr setup’. In: International Computer Music Conference ‘07, 27-31 August 2007, Copenhagen

Tremblay, P. and Bassal, D. (2007) ‘Le mixtering : modèle de travail pour une qualité sonore accrue en électroacoustique / Mixtering: A working model for an enhanced sound quality in electroacousticseContact! , 9 (3).

2006

Tremblay, P (2006) ‘Pragmatic Considerations in Mixed Music: a Case Study of La RageProceedings of the International Computer Music Conference , pp. 527-530. ISSN 0-9713192-4-3

Tremblay, P (2006) Alter Ego [Composition]

Tremblay, P (2006) Walk That Way. Tuesday, Turn. [Composition]

Tremblay, P., Stephan, N. and Brun, S. (2006) ars circa musicæ [Audio]

2005

Tremblay, P (2005) La rage for drummer and electronics [Composition]

Esteem

- Guest lectures and masterclasses at New York University, Université de Montréal, festival Jazz à Vienne, University of Leeds, CEGEP St-Laurent, Queen-Mary University, London College of Communication, Technische Universität Berlin, Strasbourg Conservatoire, Radio Jazz Research Conference in Burghausen;

- External Examiner for PhD (Birmingham, Manchester);

- consultant on artistic panels for the Canada Council for the Arts, Musicaction, and for various computer music conferences.

- academic review panels for Organised Sound and the AHRC

- Music Chair of the International Computer Music Conference, Huddersfield, 2011;

- co-curator (with Professor Monty Adkins) and production manager of the electronic music festival Electric Spring

- member of the board of the British Section of the International Society for Contemporary Music

- Associate Composer of the Canadian Music Centre

- Fellow of the Higher Education Academy

- Higher Education Funding Council for England (HEFCE) - Science Research Investment Fund (SRIF) - major funding for establishing a research lab in immersive sound.

- Arts and Humanities Research Council (AHRC) - Practice Led and Applied Research - grant to support the Thinking Inside the Box project.

- regular project grant holder from the Canada Council for the Arts and the British Council

Research Degree Supervision

Pierre Alexandre is interested in supervising any composition project that explores creative subversion of technological means, usually taking the form of a portfolio of original works comprising:

- Electroacoustic and mixed-media composition;

- Video-music composition;

- Interactive installation;

- Performance and DSP instrument design.

Current Research Students

Nicolas Bernier - Portfolio of Works Towards a Cohesive Compositional Approach of a Pop-Influenced Music Descending from Classical Tradition

Sebastian Berweck - Performance of Works for Piano and Electronics (co-supervised by Dr Philip Thomas)

Julian Brookes - The Laptop as an Adequate Interface for Experimental Music: Exploring Bounded Improvisation, Site Specific Performance and Supermodernity (co-supervised by Dr Aaron Cassidy)

Ashley Green - Portfolio of Interactive Minimal Improvisatory Works

Scott Hewitt - Methods of Laptop Ensemble Improvisation

Dominic Thibault - Portfolio of Works Exploring Ways of Performing the Studio

Recently Graduated Research Students

Scott McLaughlin - Emergent music, composing from the bottom up: a commentary on recent compositions (co-supervised by Dr Bryn Harrison)

Adam Jansch - Reanimation, reference, repeatability: a portfolio of works exploring strategies for freeing the record from fixity (co-supervised by Professor Mathew Adkins)

Enterprise Activities

On-going collaboration with Huddersfield-based internationally renown all-valve guitar amplifier builder Matamp on the use of DSP tools to improve elements of the preamplifier design.

Administrative Responsibilities

Director of the Music Studios

Teaching and Professional Activities

Module Leader for

  • Interactive Sound Design 1

  • Computer Composition 2

  • Computer Composition 3

Also teach on the following modules

  • Improvisation

  • Individual Projects

Last updated Thursday 6 March 2014
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