Queensland Conservatorium Griffith University (Brisbane, Australia [2015 — present])
Higher Degree by Research
I’m on the supervisory team for David Chechelashvili (PhD), Sean Foran (DMA), Graeme Jennings (DMA), Daniel Field (MPhil), Richard Frenneaux (MMus). I’m also on the PhD Committee for Nicole Carroll who is studying Computer Music and Multimedia at Brown University (USA), Nicole took several classes that I taught at Brown in 2014/15 and is currently based in Brisbane as Adjunct Research Fellow at QCGU.
I teach a range of undergraduate courses, the first movie below is a one-minute overview of recent activities.
JULY 2017 — PRESENT
The second movie features highlights from Music Technology Live Capstone (3720QCM), this is a final-year course that involves writing and performing original works with substantial use of technology. The third movie features highlights from second-year course Multimedia Project (2723QCM), this concert revolved around the creation of original compositions for multichannel sound diffusion, which also means the performances are less visually stimulating than many of the others (!) [Click titles for current information on each course].
SONIC PLAYGROUND @ WORLD SCIENCE FESTIVAL BRISBANE 2017
On Saturday 25th March 2017 Music Technology filled Queensland Conservatorium Griffith University with interactive sound installations and hands-on sonic experiments as part of World Science Festival Brisbane. Students of 1710QCM Interactive Music and 2710QCM Electronic Instruments were at the foreground.
Sonic Playground was supported by Professor Martin Betts (Griffith Engagement) and presented in collaboration with Vanessa Tomlinson and Leah Barclay as part of 100waystolisten.com, a curatorial project at the Queensland Conservatorium Research Centre supported by Griffith University. Thanks also to all at QCGU for the support.
JULY 2016 — MAY 2017
In my second year at QCGU I taught a similar range of undergraduate courses to the year previous (see below). New for 2017 was 3713QCM Liveness in a Virtual World, a concept-driven course that introduced creative approaches to digital movie software. New for 2016 was the Feral Pop Ensemble, inspired by Eddie Prévost’s infamous improvisation workshop in London and also John Zorn’s Cobra, this involved large-scale collaboration with students across QCGU, and included a performance at the closing event of the QCGU gala. Dr Tom Green and I redeveloped final-year literature course 3712QCM Digital Music and Culture. Most of the Pure data content that I previously developed for 2710QCM Electronic Instruments was taught by Prof. Andrew Brown as 1723QCM Real-Time Systems, which means that 2710QCM Electronic Instruments features new and fresh content from 2018. [Click titles for current information on each course]. Highlights of student work below.
JULY 2015 — MAY 2016
In my first year at QCGU I taught a range of undergraduate courses: 1710QCM Interactive Music taught first year students to compose and perform with Ableton Live software and various commercial controllers; 2710QCM Electronic Instruments introduced second year students to Pure data/Arduino and the joys of drilling holes in boxes; 2720QCM Web Audio ranged from Gibber, to Ohm Studio, to networked performance; 3720QCM Sonic Art was a final-year multifarious/capstone course, 329QCM Introduction to Music Research focussed on ideas, words, and APA6th. I ran a Handmade Electronic Music Ensemble, which negotiated CMOS chips and breadboards, and taught substantial elements of both 1725QCM Sound Musicianship 1, and 2607QCA the Art of Sound, the later was delivered at Queensland College of Art. [Click titles to be directed to current information on each course]. Highlights of student work below.
Multimedia and Electronic Music Experiments (MEME) @ Brown University (Rhode Island, USA [2013 — 2015])
Currently teaching contemporary studio course Post-vernacular Composition/‘Pop Music’ gone Feral [Download syllabus as .pdf] and theory/practical research course Exploring Technologically Mediated Performance Practice through the Lens of Jacques Attali’s 1977 Text ‘Noise: The Political Economy of Music’ [Download syllabus as .pdf].
This semester I’m teaching MUSC 1240F Circuit Bending and Hardware Hacking as Musical and Artistic Expression and MUSC 2230 Composing and Improvising with Real-Time Systems (see below for details). I’m also running the Electroacoustic Improv Ensemble.
MUSC 1240G: Post-vernacular Composition/‘Pop Music’ gone Feral
This seminar explores the fertile creative territory found around the more adventurous edges of ‘popular’ musics. Drawing from both experimental and popular backgrounds, the focus is on non-notated contemporary composition, but participants are not restricted to traditional conceptualizations of the recording studio or the production of ‘fixed’ works. The idea of post-vernacular is utilized to challenge the view that vernacular or ‘popular’ musics are only oriented towards commercialism and mass popularity i.e. this seminar seeks to extend and build-upon the inherently experimental dimensions of much vernacular musical practice. Developing a comprehensive theoretical and practical knowledge of studio craft, specifically targeted towards creative recording and production techniques, is one objective. However, the main goal is to arrive at an idiosyncratic definition of post-vernacular composition, through practical exploration. Participants will respond to a number of increasingly open-ended assignments, and will complete a final portfolio. [Download syllabus as .pdf]
MUSC 2280: Designing Large-Scale Multimedia Projects
A production seminar designed for students working on a single, large project in Multimedia and/or Computer Music. The course covers planning and implementation strategies, with group critiques of proposals and works-in-progress. The class structure includes individual lessons for students working on a graduate or undergraduate thesis project. Permission will be granted based upon a questionnaire given in the first class. Enrollment is limited. [Download syllabus as .pdf]
MUSC 1240F: Circuit Bending and Hardware Hacking as Musical and Artistic Expression
Creative experimentation with hardware electronics and re-appropriated technologies is the main focus of this course. No prior experience of electronics is required. Initially, we will build a range of simple electronic circuits and explore a variety of strategies to animate and interpret pre-existing electronic devices. Students will then develop individual instruments and/or performance environments and engage in a number of solo and collaborative projects. The aesthetics of handmade electronic music and post-digital performance practice will be foregrounded throughout. [Download syllabus as .pdf]
1240F Midterm Concert Fall 2013
MUSC 2230 Composing and Improvising with Real-Time Systems
In probing the relationship between humans, interfaces, and sonic materials, this seminar will consider: how useful are established notions of composition and improvisation in a contemporary ‘real-time’ age? The overall aim is to develop conceptual discussion and practical experimentation, which will culminate in (at least) two concerts and a variety of web-based outputs, as well as a short piece of reflective writing. It is possible to navigate this course using a variety of software/hardware systems (Ableton Live, Max, PD, turntables, home-brew electronics, etc); a diverse approach to a variety of technologies is highly encouraged. [Download syllabus as .pdf]
1240F and 2230 Final Concerts and Installations December 2013
Hash Riaz, Liam Sharpe, and Selina Welter realised this project under my supervision for their final-year ‘Special Study’ at Kingston University, London. Two Nintendo Wii Remotes are utilised in combination with JunXion & Ableton Live software. These movies were captured during rehearsals for David Osbon’s Bodies in Motion 2012.
Kingston University Digital Arts Collective (KUDAC) is a staff-led collective based in the Music Department; KUDAC’s primary agenda is to engage with the use of technology in collaborative music making, using staff research interests as a starting point for musical exploration. The collective is open-ended and student-focused, with an emphasis on music making with a technological grounding. KUDAC was launched in September 2011 by Diana Salazar, John Ferguson, Louise Harris, and Oded Ben-Tal.
Newcastle University (North East England, UK)
Tim Shaw’s ‘Cupboard Music’ emerged in response to a ‘hacking’ module that I lead at Newcastle University in 2009. The module introduced circuit bending/hardware hacking, but also explored camera tracking with JunXion as a means to extend the flexibility of Ableton Live. See feature on Create Digital Music here.