Immersive Soundscapes for Well-Being
Sound Generator, Sound UK
2023
Sound Generator, Sound UK
2023
Exploring the positive impact of environmental sound in well-being spaces.
Find the project outline and links to audio and video samples here
Exploring Cultural Diversity in Experimental Sound Participant Artist
Funded by AHRC, The University of Greenwich
2021 - 2022
Funded by AHRC, The University of Greenwich
2021 - 2022
Exploring Cultural Diversity in Experimental Sound aims to challenge institutional whiteness in experimental sound practice by investigating the creative identities of contemporary black and South Asian composers working in the UK.
Research Fellow in Experimental Sound Dr Amit D. Patel, is leading the project. He said: “Black and South Asian artists are some of the least represented within the genre of experimental sound. Our research seeks to tackle this lack of representation, raising the profile of diverse practices, highlighting potentials in pushing increased diversity, and seeking to challenge the invisibility of whiteness in the art form.”
The research will involve observation of artists and their practices, interviews, and focus groups. The research will aim to unpack how these unique experiences are situated in relation to the structural and cultural contexts of experimental sound in the UK.
The IKO and Environmental Sound
Funded by Arts Council England, Develop Your Creative Practice
2021 - 2022
Funded by Arts Council England, Develop Your Creative Practice
2021 - 2022
A develop your creative practice grant to explore the use of field recordings with the 3D IKO speaker and investigates how a sense of place can be created using a speaker that projects sound from the inside outwards using the sound reflections of the performance space.
PhD Thesis - A Portfolio of Electroacoustic Compositions: Blurring the Lines between Field Recording, Soundscape Composition and Acousmatic Music
Funded by The University of Birmingham
2016 - 2021
Funded by The University of Birmingham
2016 - 2021
My doctoral research at The University of Birmingham (funded by the University of Birmingham Music Department and Postgraduate Research Support Fund) was titled ‘A Portfolio of ElectroAcoustic Compositions: Blurring the Lines between Field Recording, Soundscape Composition and Acousmatic Music’. This consisted of a portfolio of compositions that drew on environmental field recordings from around the world composed for stereophonic and multichannel formats. This included nine concert works and four installation works, three of which were collaborative projects. Focus was given to the relationship between field recordings and the genres of pure field recording composition, soundscape composition and acousmatic composition. The accompanying commentary discussed the compositional processes and workflow behind the works and the fundamental aesthetic concerns that each composition addresses. It was informed by current research in the field as acquired through conducting interviews with seven artists working in the field: Leah Barclay, Jonty Harrison, Francisco López, Brona Martin, Claude Schryer, Chris Watson and Hildegard Westerkamp. The research aims at the core of this project were to investigate the role of field recordings within genres of field recording, soundscape composition and acousmatic music through practice-led research, to evaluate how artists working in the field use field recordings in their own work and to identify where my practice lies within the wider field. Through my awareness and understanding of the traditions within the electroacoustic field I have chartered a path for my practice which lies just outside of, or across these definitions and boundaries enabling me to create the works in the portfolio and providing a route for continued explorations in future research.