CeReNeM, HCR, and Gender Balance

CeReNeM, HCR, and Gender Balance

I was recently working on an application that centred on the Huddersfield Contemporary Records (HCR) CD label as part of my new role as Director…

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A few thoughts on self-publishing

A few thoughts on self-publishing

Over the course of the last week or so I’ve made a fairly significant upgrade to the website to be able to better handle the…

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The wreck of former boundaries — Music Video by Angela Guyton

The wreck of former boundaries — Music Video by Angela Guyton

Last autumn, the filmmaker Angela Guyton approached me to make some videos about/around my work The wreck of former boundaries. In her initial proposal, she was interested…

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Notes on The wreck of former boundaries

Notes on The wreck of former boundaries

My current project—indeed the project that has been at the center of my compositional thinking for most of the last two years—is a piece entitled The…

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Imagining a Non-Geometrical Rhythm

Imagining a Non-Geometrical Rhythm

Video documentation of my Inaugural Professorial Lecture (23 March 2015) at the University of Huddersfield has been posted on YouTube. The full text can be…

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The Pleats of Matter - two weeks to the premiere

The Pleats of Matter – two weeks to the premiere

The premiere of The Pleats of Matter is now just under two weeks away. Diego Castro and I have been meeting regularly — generally once a week…

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The Pleats of Matter

The Pleats of Matter

Over the last several weeks, I’ve been working with the brilliant Chilean guitarist Diego Castro towards the premiere of my piece The Pleats of Matter, for…

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APOFIR REDUX

APOFIR REDUX

A little over 10 years ago, I wrote a piano piece in large part because I couldn’t fathom writing a piano piece. My work at…

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Noise In And As Music

Noise In And As Music

I have just sent off the final proof for the book I have edited with my colleague Aaron Einbond, titled Noise In And As Music and published…

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I am an experimental composer

I am an experimental composer

I presented the following paper at the COMPOSITION‐EXPERIMENT‐TRADITION conference at the Orpheus Institute in Ghent in February 2012. Because the text is largely speculative, informal, and…

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