I’ve been very busy with a commission for Barnsley council under the Great Places Scheme, focussed on an exploration of the history within a local area known as Milton, nestled between Barnsley and the Elsecar Heritage Centre.
I was approached in June through ROAR to compose a piece of music as my reaction to an archaeological dig. The aim of the lottery-funded excavation was to locate and unearth evidence of the long lost Milton Ironworks which belonged to the Wentworth estate. You can read more about the project on the Great Places website but the short of it was to involve local communities and artists in locating and excavating the long-lost Milton Ironworks.
From soundscape to vocal music
With the intention of composing a soundscape, I spent two days on site recording various sounds of digging, scraping, rasping, spading and talking using a combination of ambient and contact microphones. After recording, cataloging and enhancing/editing the sampled sounds I began my usual process of arranging my materials - I like to sit at the computer and play with sounds as a way of ‘getting to know them’: moving them around, making them louder or quieter and combining them in various ways. The audio piece, Stratum under Milton: II, came together relatively quickly, drawing influence for rhythm and structure from hip-hop and turntablism, mostly the likes of Coldcut.
During composition of Stratum under Milton: II, I noticed I was once again thinking about how the sounds were created by the hand tools used during the excavation - sonic remnants of the human activity of digging. This led me to think about and research into the workers of the original Ironworks, whose traces of working lives were being uncovered - I wanted to write a piece with this in mind...it felt as though our excavation was releasing whispers of the past trapped in the ground...
Local folk songs and tradition
Writing for four-part choir made a lot of sense once I discovered several local folk songs from the period. I borrowed five pitches each from two folk songs to create two distinct scales. I alternate between these to create movement and familiarity in Stratum under Milton: I. I explain this in a brief discussion of my approach to the compositions which I prepared for the exhibition at Elsecar Heritage Centre. I spent several months composing Stratum under Milton: I and the composition coincided with an artist's visit to Wentworth Woodhouse, which you can read more about in this blog post.
My initial intention for the project was to compose three movements: the first and second were completed to specification. However, the deadline for exhibition was moved forward by several months and I was unfortunately not left with enough time to complete the third movement, which would have brought vocal and recorded audio together: live singers with a recorded audio track in a live performance setting. I was quite excited by this idea and it still needs making but that'll be for another project.
Through composing for vocals using traditional notation, I rekindled my desire and joy of writing using five-line staff and I have just started sketching out some ideas for my next piece.
Lots of fun at the third ROAR Gathering at The Factory this weekend!
I was delighted to exhibit two pieces: Questioner, 1863 and Apprentice. These pieces demonstrated my use of video in creating realtime scores for musical improvisation, as well as silent video art aimed at generating an imagined sonic experiences.
The large concrete space carried the flute sounds of Questioner, 1863, creating dream-like apparitions throughout The Factory, while the darkness of the projection room provided excellent contrast to the hands seen in Apprentice.
Collecting feedback through exhibition is essential and although there was some competition with the royal wedding, football cup finals and delightful weather, many artists were presenting work. Discussing exhibiting artists' sculptures and pieces of audiovisual installation with them inspired me to think about new ways of working for exhibition.
Throughout April, ROAR are hosting their third iteration of the Hung exhibition, where artists are invited to create and contribute pieces by hanging their work in the provided spaces around the gallery.
I saw this as a perfect chance to come up with a piece for the gallery which hosts my teaching studio as I had not yet composed anything specifically for them! I wanted to provoke the viewer into considering what a musical notation actually is, or what it could be. I created a score which provides the performer with some rather tricky decisions. Some musicians would consider this to not be a completed score, others would enjoy the freedom the score provides.
The score provides some indication of pitch, rhythm and dynamic but meter, bar line clef and instrument(s) are absent. As the score is somewhat indeterminate I have no idea what sound it would produce if played.
I have composed several indeterminate pieces in my short years as a composer, but I have not done so for some time and really enjoyed working on this short notation.
I have no idea how fast, slow or long the piece is (any time), exactly what instruments may be used, nor exactly what pitches would be revealed through performance (any place).
Any time, any place (2018) is available for download from my Compositions page.
I always welcome your input, so any questions or comments on this or anything else on the website can be addressed to email@example.com
The launch of my exhibition at Access Space in Sheffield was a success! Thank you to all who came down to see and discuss the work in person - I very much enjoyed the chance to get feedback and discuss various ideas with the group.
The two pieces from my MA portfolio, Syncretism and Apprentice, are still being exhibited at Access Space until the 15th June, 2017.
Please check out information about Access Space and the exhibition.
I am pleased to announce the first exhibition of two pieces from my MA portfolio: Syncretism and Apprentice.
Access Space in Sheffield has agreed to show these two works along with a brief discussion from myself on the opening night. The event opens on July 1st at 5:30pm and will be shown for two weeks.
Further information about Access Space and the exhibition can be found here.
I was selected to speak about his recent publication at the British Conference of Undergraduate Research, 2016.
This was an amazing opportunity to discuss my work and gain even more experience in public speaking.
Many thanks go to Katherine Jensen for organising the whole thing!
If you have any questions, comments, queries, or would like to know more about the work, please do get in touch via firstname.lastname@example.org or email@example.com
In February 2016, I was one of five students selected by the University of Huddersfield to attend the ceremony for the Queen’s Anniversary Prize for Higher and Further Education.
The University of Huddersfield won the prize for ‘world-leading work to promote, produce and present contemporary music to an international audience’. The award was accepted by Professor Bob Cryan and Professor Rachel Cowgill.
A party of staff and students attended the ceremony which included Mr Chris J. Brown, Professor Martin Hewitt, Professor Aaron Cassidy, Khannah Bint Saliym, Jung In Jung, Chi Ching, Beavan Flanagan and myself.
Many thanks to the University of Huddersfield, and particularly Professor Cassidy, for this absolutely amazing opportunity; it was an absolute honour and a wonderful occasion which I will never forget.
Do feel free to check out some official photographs of the occasion!