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Mr Pip Greasley

Job: Senior Lecturer

Faculty: Technology

School/department: Leicester Media School

Research group(s): Fine Art Practices Group

Address: De Montfort University, The Gateway, Leicester, UK, LE1 9BH

T: n/a

E: pgreasley@dmu.ac.uk

W: www.dmu.ac.uk/somc

 

Personal profile

Pip Greasley is an award-winning composer and sound artist who has built a reputation for highly original work in the arts, movies, broadcast and new media.

His ground breaking 5K Pursuit Opera for Channel 4 was the first interactive television drama, winning many accolades for ‘innovation’ including Opera Screen ’91 and BFI Awards. 

More recently, his score for Stars, recorded with the Grammy winning Nashville Symphony Orchestra, won ‘best soundtrack’ at European Festival of Immersive Cinema ‘09.

He has created over 300 works including 8 operas, 5 symphonies, 12 film scores and numerous electronic installations.  Other works include touring a robotic opera in a dome for Video Positive and a large-scale community work for choir and sea-going vessels for Year of Opera ’97. 

He is one of the foremost research practitioners in ‘collateral sonics’ -  the application of 3D sound within Full Dome and 360 degree immersive and interactive experiences.  He is currently developing a 3D soundtrack for a stereoscopic Full Dome movie for US based SkySkan in collaboration with the Franklin Institute, and writing a newly commissioned opera movie Nuvolari. In 2016 he created the soundtrack and sound production design for the National Geographic’s FD and Imax documentary ‘Asteroid: Mission Extreme’.

Pip lectures in Sonic Arts at De Montfort University and is an Associate Professor at ETH, Zurich.  He is regularly invited to give presentation and workshops at many international conferences and events, sharing his experience as practitioner, performer, theorist and academic. Since 2013 he has both performed and written scores for the Post War Orchestra. ‘Concerto for Sonar Generator’ was released in anuary 2017 on the Gramophone Label.

Key research outputs

Vocal Voids (2005-2006) 
Fly thru vocal avatar for adaptive acoustic environments.  Paper presented at Subtle Technologies, Toronto, Canada June 1-6, 2006 and published in ‘Responsive Architectures’ by Prof Philip Beesley, Prof Jim Ruxton, Dr Sackiko Hirosue ISBN 0-9780978-0-7.

‘Astronaut’ (2005-2006)
Applied sound field imaging research in award-winning score for Full Dome film production. Funded by Wellcome Foundation and National Space Centre UK.

STARS (2007-2008) 
Application of Collateral Sonics: Fictive Membrane theorem (2006-2008) with applied outcome as multi-spatial score and aural environs for immersive sound track for 360 degree cinema production for Adventure Science, Tennessee, USA.  With R&D funding from National Space Centre, Arts Council of England, and SunTrust, USA.

neucleosynthesis (2008-2012) 
3 stage R&D project: Score/Process/Audio Soundfield Performance in collaboration with Nashville Symphony Orchestra, USA.

To Space & Back (2011-2013)
Research programme into 3D sound with applied outcome as Full Dome soundtrack for science documentary. To Space & Back. Research project pioneers use of Iosono 3D sound technology for Full Dome applications.  With R&D funding from Franklin Institute, USA, Sky Skan, USA and Iosono, Germany. 

Research interests/expertise

Exploring our shifting perception and cognition of sound within the conventional audio visual landscape and within emerging media forms such interactive and generative sound, 3D sound and its application within Full Dome and immersive cinema formats. Applied disciplines include: the performing arts (dance and opera), film, animation, sonic arts, games, experiential, site-specific and thematic applications.

Development of interactive immersive learning environments.

Areas of teaching

Sonic Art, Sound Design and Music Composition for audio, audio visual formats, interactive media. Imagination and Creativity.

Qualifications

Bsc Econ

Courses taught

Interactive Design, Animation Design, Film production, Dance, Architecture, Creative Connections.

Honours and awards

Opera Screen ‘91 (Helsinki): ‘5K Pursuit Opera’ ‘Highly Commended’

British Film Institute Awards ‘92 ‘5K Pursuit Opera’ nominated 'Innovations'

’92 US Golden Gate Awards '92: ‘5K Pursuit Opera’ ‘Innovation in Art Award’ 

INPUT '92: ‘5K Pursuit Opera’ represented UK’s submission in ‘cutting edge’ broadcast - New Arts Category  

ABSA Awards 1994: ‘Last Broadcast’ nominated in ‘Public Accessibility’ 

1999 THEA Awards, Hollywood, USA: Hotel Gasten Design Excellence Award              Music & sound design (for Farmer Studios) for ‘Hotel Gasten’ interactive drama at Liseberg Park, Sweden.

2001 THEA Awards, Hollywood, USA; ‘Oxygenarium’ Design Excellence Award
Music & sound design (for Farmer Studios) for ‘Oxygenarium’ ride through drama at Parc Asterix, Paris

2008 DOMEFEST, Chicago, USA. Centrifuge (Astronaut) ‘Best use of immersive sound’ Award. Juried submission. 

2009 IFF ’09 Espinho, Portugal, ‘ Stars’ voted ‘best soundtrack’ at European Festival of Immersive Cinema

Membership of professional associations and societies

  • Performing Rights Society – elected membership in 1972
  • British Academy of Composers and Songwriters – elected membership in 2009

Forthcoming events

 [Add Forthcoming events here]

Conference attendance

INPUT ’92, International conference of Public Broadcasting, Bristol. UK, ‘5K Pusuit Opera’, Speaker & Presenter

‘3D’ National Arts Conference 1997 St Johns College, Cambridge University UK, ‘Sounding Space’, Presenter:

CREATIVITY & COGNITION 2002 International Conference, Loughborough University UK ‘Cultural Transformer’, Presenter

WIRED & DANGEROUS 2002 New media arts conference, UK Nationwide, ‘Emergency Arts Lab’ Presenter/Performer

MORE IS MORE 2005 Complexity in design, Royal College of Art, London, UK,  ‘Colateral Sonics’ Speaker:

SUBTLE TECHNOLOGIES 2006 Adaptive architectures. University of Toronto, Canada, Speaker 

INTERNATIONAL SCENOGRAPHER’S FESTIVAL 2006, Basel, Switzerland, Collateral Sonics:Fictive Membrane Speaker

SONICAXIS 2006 - Celebrating Ligeti, Toronto, Canada, Presenter

EMERGENT OBJECTS SYMPOSIUM (2007) Leeds University/ DMU, UK, Critical Friend

INTERNATIONAL IMMERSIVE CINEMA SYMPOSIUM 2007, Plymouth University, UK, Speaker:

DOMEFEST IPS 2008 Juried Submission, Adler Planetarium, Chicago, USA, ‘Stars’ Exhibiter/Presenter

DIGITAL OPERA SYMPOSIUM 2011, School of Music, York University, invited contributor.

INTERNATIONAL PLANETARIUM SOCIETY 2012 Baton Rouge, USA, ‘To Space & Back’ Exhibitor/Presenter

DOMEFEST 2012, Baton Rouge, USA. Contributor.

Full Dome UK International Festival, National Space Centre. UK (November 16/17, 2012) Speaker: ‘Full Dome - A New Sonic Language’; Paper: ‘Fractal Choreography’

Sound in Museums. Pitt Rivers Museum, Oxford University. (December 7, 2012). UK. Speaker ‘Immersive, Interpretive & Interactive States in the Sound Object’

IMERSA 2014 International Symposium of Immersive Experiences, Denver, Colorado, USA. Speaker. Representing UK’s ‘International Practitioner’.

FULL DOME UK 2014, InternationalFestival, National Space Centre. Performative Lecture on Spatial Sonics with sonixploras.

FULL DOME UK 2016 International Festival, National Space Centre. Contributor and Panel Member for Open Forum’

Consultancy work

SECRET RITES (1972) 

Film score Columbia Pictures 

SPEED FREAK SAM (1973)

Hit single for Famous Chappall

IMMACULATE CONCEPTION (1973)

Eco electronic work for mezzo soprano & tenor, Solid State Opera

DRACULA (1974) 

Theatre show by Ken Hill, directed by Michael Bogdanov, National Theatre, UK

WORLD REQUIEM (1974)  

Part of eco trilogy, Solid State Opera. National Tour

PLANET OF THE SEAS (1974)

Earth in melt down: electronic opera for tape, synthesizers and counter tenor, SSO/EMA

NEGEV (1975) 

Electronic ballet score for choreographer Gideon Avrahami. Ballet Rambert/EMA

SECRET DIARY OF ADRIAN MOLE (1981) 

Score for original Sue Townsend monologue BBC Radio 4

WILLIAM MORRIS STORY (1982) 

Soundtrack for documentary film, Sanderson Fabrics, London

STANBY 21st CENTURY (1983) 

Production music for conference and product launch for Hawker Siddeley UK

ETERNAL LIFEGUARD (1986)

Site specific sonic installation Porthmeor Beach, St Ives, Cornwall

5K PURSUIT (1989) 

Original live 30 mins performance work for velodrome, Leicester Cycling Stadium

OLYMPIC BID: BARCELONA (1990) 

Multi screen audio visual presentation for Imagination, London.

TOWER OF SOUND (1991) 

Sonic sensitive structure for choreographer/performer Laurie Booth. ACE.

5K PURSUIT OPERA (1992)  

Acclaimed TV opera. Sport interacts with art through digital score. Channel 4 Television

LAST BROADCAST (1993)  

Live/robotic interactive hybrid opera commissioned by Video Positive, sited Tate, Liverpool

HIGH TREASON (1994) 

UK tour of electronic score for 1929 silent film, Silent Noise Tour ‘94/Phoenix Arts/ BFI/ Arts Council

MOVIE MOVIE (1994) 

Drive in opera conceptual study. New Collaborations R&D Fund, Arts Council.

THE ROCK MACHINE (1994) 

Sonic recreation of victorian Rock, Steel & Bell Band, Fitzwilliam Museum, Keswick

LAST BROADCAST (1994) 

UK tour of 60 minute version in geodetic structure. EMA/ New Opera Fund, Arts Council  

PICCADILLY (1995) 

Score for British silent classic Silent Noise Tour ’95 National Film Archive/British Film Institute

TRANSMISSIONS (1995) 

Remote on line gallery installation British Culture Week, MOMA, Esberg, Denmark 

ONE MAN BAND (1996)  

Interactive animatronic band for interpretive centres, Farmer Studios, UK

SONIC CIRCUS (1996) 

Public art installation, Hong Kong

ROOTS OF RANNOCH (1996) 

Score for drama based experience based on Celtic legends. Highland MysteryWorld

OLD MACDONALD FARM (1996) 

interactive animatronic kid’s farmyard for Alton Towers, Tussauds Group, UK

SPIN (1997) 

Multimedia installation collaboration with digital artist Colin Pearce. Birmingham Film Festival

OUT OF THE BLUE (1997) 

Large-scale on-shore off-shore music drama, Year of Opera ’97, Millennium Fund, AMEC

SPEAKING TUBES (1997)

Sonic sculpture based on sonar residues of those lost at sea Tolhouse Museum, Great Yarmouth

HOTEL GASTEN (1998)  

Award-winning ‘living’ score for live drama dark walk. Liseberg Park, Gothenberg, Sweden

RAPT:RAPTURE OF THE DEEP (1999)

Score for underwater docu drama on sub sea exploration.  Anglia Television

JOURNEY THROUGH TIME (2000) 

Interpretive sound field installation for New Walk Museum, Leicester Museums 

WIRED & DANGEROUS (2000) 

Live disinformation experiment with Emergency Arts Lab, Wired & Dangerous national conference, ACE 

OXYGENARIUM (2000)  

Total Audio Works sound design and themes for spectacular water ride Parc Asterix, Paris

SING-A-PHON (2001) 

Concept commission for phone-in community opera BBC Music Live event, BBC Midlands. 

ARCHIZON (2001) 

Lift plug-in concept for proposed Will Alsop arts complex, Jubilee Arts, West Midlands

BIG (2001) 

Soundtrack for immersive digital planetarium show, with Richard Attenborough, National Space Centre, UK   

BENEATH THE LOCH (2001)  

Score for mixed media drama show, Loch Lomond Visitor Centre and Imax, Scotland 

AREA 51 (2001) 

Music track to animation, MTV

ACCELERATO (2001) 

Concept commission to create musical lift for landmark building. C/PLEX, West Midlands, UK

PLANETS (2002) 

Non linear soundtrack for interactive teen show, National Space Centre, UK 

SETI (2002) 

Surround sound score and sound design for ‘alien’ production with Hugh Laurie, National Space Centre UK 

TRANSDEMONIUM (2003)

Through score for dark iron ride on Gregorian theme, Parc Asterix, Paris

MARS (2004) 

Commissioned work coinciding with October probe landings on Mars, National Space Centre

EUROPA (2005) 

Surround sound score for motion platform and 3D stereoscopic simulator ride, National Space Centre, UK

ASTRONAUT (2006) 

Symphonic score for Full Dome immersive experience, Arts Council/NSSC

STARS (2008)

Score for Nashville Symphony Orchestra with Adventure Science, Sudekum Planetarium, Tennessee, USA.

nucleosynthesis (2008) 

Concert work for synthetic/orchestral forces, performed by Nashville Symphony, Schermerhorn Hall, USA 

VOCAL VOIDS (2008)

Virtual opera singer explores architectural acoustics in real time. Full Dome performance. ACE

MINCARLO PROJECT (2008)

 Advisory role in school project for sonic installation for trawler, Deans High School/Lydia Trust, Lowestoft, UK

FAR OUT (2009)

Return to roots psychedelic visual music work 3D stereoscopy & Full Dome projection with SkySkan, USA

GREAT WHITE SILENCE (2011) 

Development proposed site specific interactive sound image ice installation, Finland

NUVOLARI: THE OPERA (2011)

In development - multi-media work for electronics, dancer and Auto Union. Mark Craig/SSO/UK/ Italy

velo.city (2012)  

Proposal for televised interactive track cycling event, Solid State Opera, 2012 Cultural Olympiad. 

TO SPACE AND BACK (2013) 

Surround score for Full Dome astronomical immersive experience. SkySkan, USA.

STARSHIP EXPRESS (2013)

3D sound installation for motion platform edutainment ride. American Discovery Theatre/SkySkan. USA
CONCERTO FOR SONAR GENERATOR (2014)

Score for Post War Orchestra commissioned for Brighton Festival 2014

ASTEROID: MISSION EXTREME (2016)

Score and sound design for National Geographic’s Imax documentary. USA

THE PLANETS (2017)

New score inspired by Holst for full dome audio visual experience. Commissioned by the Royal Astronomical Society for global distribution. UK

Current research students

Russell White PHD De Montfort University – 2nd supervisor

Internally funded research project information

Spaced Out (Sept 2012 – April 2013)

Experimental audio visual performance for 360 degree immersive projection utilising generative visuals and GPU accelerated rendering techniques for Full Dome applications.  Inspired by psychedelic imagery exploring the marriage of 3D sound, 3D stereoscopic imagery within an interactive environment.  A research project exploring new technologies with a significant potential impact as an applied outcome within the fields of immersive educational, scientific and behavioural applications.

Authors: Steve Abrahart, animation and imagery; Pip Greasley, music composition & sound design.  Output Type: Video Performance (2013 TBA).

Professional esteem indicators

In October 2011 I submitted an article ‘Subtle Futures’ for publication in the highly respected International Journal of Performance Arts & Digital Media (Spring 2012, Volume 8, Issue 1).  The article was subsequently refereed and validated for publication gaining a 5* rating from the Editorial Board for ‘Appropriateness’ and averaging over 4* for the remaining five categories. The Editorial Board commented:

This is an interesting reflection on the current state of practice of digital opera within the context of a recent symposium on the subject and with reference to other annual festivals that may incorporate and/or inform current and future directions of this particular combination of digital art form.

This article provides an important historical context to current developments in digital opera, and cautions us to pause on the how the ‘digital’ should still be used to ‘extend’ our experience (and cognition) of digital opera – in other words, to make the digital count.’

Case studies

Astronaut (2006) has proved one of the most successful Full Dome productions ever, being exhibited in over 300 planataria world-wide to audiences well over 1 million. 

“ …the score is by Pip Greasley, one of the UK’s most intriguing sonic artists … just to hear Astronaut is well worth the price of admission.” International Planetarium Society

It has proven so successful that Astronaut 3D (2012) has just been released.

STARS (2008) has similarly been well received, having been exhibited globally in over 150 planetaria to audiences in excess of 300,000.

Pip Greasley

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