Experimental Approaches to the Composition of Interactive Video Game Music

This project explores experimental approaches and strategies to the composition of interactive music for the medium of video games. Whilst music in video games has not enjoyed the technological progress that other aspects of the software have received, budgets expand and incomes from releases grow. Music is now arguably less interactive than it was in the 1990’s, and whilst graphics occupy large amounts of resources and development time, audio does not garner the same attention. This portfolio develops strategies and audio engines, creating music using the techniques of aleatoric composition, real-time remixing of existing work, and generative synthesisers. The project created music for three ‘open-form’ games : an example of the racing genre (Kart Racing Pro); an arena-based first-person shooter (Counter-Strike : Source); and a real-time strategy title (0 A.D.). These games represent a cross-section of ‘sandbox’- type games on the market, as well as all being examples of games with open-ended or open-source code

Theatre Noise Conference

Three days of Performances, Installations, Residencies, Round Table Discussions, Presentations and Workshops More than an academic conference, Theatre Noise is a diverse collection of events exploring the sound of theatre from performance to the spaces inbetween. Featuring keynote presentations, artists in residence, electroacoustic, percussive and digital performances, industry workshops and installations, Theatre Noise is an immersive journey into sound

Mimesis stories: composing new nature music for the shakuhachi

Nature is a widespread theme in much new music for the shakuhachi (Japanese bamboo flute). This article explores the significance of such music within the contemporary shakuhachi scene, as the instrument travels internationally and so becomes rooted in landscapes outside Japan, taking on the voices of new creatures and natural phenomena. The article tells the stories of five compositions and one arrangement by non-Japanese composers, first to credit composers’ varied and personal responses to this common concern and, second, to discern broad, culturally syncretic traditions of nature mimesis and other, more abstract, ideas about the naturalness of sounds and creative processes (which I call musical naturalism). Setting these personal stories and longer histories side by side reveals that composition creates composers (as much as the other way around). Thus it hints at much broader terrain: the refashioning of human nature at the confluence between cosmopolitan cultural circulations and contemporary encounters with the more-than-human world