Students on the CMT and MTP programmes are encouraged to pursue and develop their own compositional interests in their creative work while being introduced to wide range of new musics from which to draw inspiration. As a result, students can contribute to, be enriched by and ultimately enjoy a highly eclectic musical culture, collectively producing music in a rich variety of styles.
ANUJ THAKAR (2015)
As a concept album, this portfolio is influenced in part by Orwell's seminal Nineteen Eighty-Four. Thakar presents a journey into a dystopian society run by an oppressive organisation/government. Here a main character finds a group that share the same distaste for this organisation, whereby an uprising is planned. This profile is formed of six parts.
HUMZAH LOANE (LOANESKI), Predator (Radio Mix) (2016)
A track from Humzah Loane's (Loaneski) EP project for year-three Advanced Creative Projects. www.loaneski.co.uk
RICARDO GARISSON, Trapstep [5.1 mix] (2015)
Trapstep combines a Dubstep aesthetic with notions of spatalisation to create an immersive atmosphere. One of five productions, Trapstep is the driving force, inviting listeners to enter the composer's world via headphones of a 5.1 Mix where available. Experimental at the same time, this piece also explores how production processes within the Dubstep genre fare in this new context.
ANUJ THAKAR, Glass (2015)
Glass combines rich saw waves, percussion and rhythms which hark towards Albert Bregman's theories of Auditory Scene Analysis. The piece is very rhythmic, utilising different layers of sound to create something both complex and accessible.
ELLIOTT MURRAY, My Machines Think (2015)
My Machines Think fuses a variety of contrasting beat-based genres together into a coherent and progressive composition. This is approached holistically, exploring what ties these genre together, and what separates them.
STEVEN GREEN, Iridescence (2015)
Iridescence is a slow moving piece that exploits the spectral similarities contained within specific sources of sound. The perceptual focus of the listener is varied through the construction of textural and gestural timbre, aimed at achieving a ‘believable’ sound world.
CALUM VAUGHAN, (Untitled) (2015)
This piece combines a steadily shifting set of beats with flailing apreggiated sonorities that fuse to create a dreamy landscape. Subtle dissonance adds richness as the piece later takes on a more industrial edge.
GRACE DIOR, VIce Voce (2015)
Viva Voce explores the sonorous qualities of the human voice. The composer's own voice is used as a sound source, with a focus on vowels being used to create a variety of different sounds. Markedly experimental, a selection of different recording are pulled together to expose their sonorous qualities in a rather Björk-esque piece.
RYAN TSANG, Sonorites in Sine (2015)
Inspired by the solo piano of Debussy's La cathédrale engloutie, this piece creates a journey accompanied by feelings of tranquility, serenity and peacefulness. Using sine tones as a primary sound source, Sonority in Sine draws on the harmonicity of subtle beating between waves of different frequencies to create a rich soundworld.
STEVEN GREEN, (Untitled) (2015)
By drawing together rhythmic patters and a variety of different timbral qualities, this piece explores temporality, creating an effect of motionless – time stood still. Inspired by Morton Feldman, this piece is formed of three sections. Layering over time, traditional and synthetic sound come together to create an atmosphere of stasis.
SEYMOUR GODOLPHIN, Jah Warrior (2014)
This track is from a series of pieces which explore the remix and integration of certain genres (reggae, motown, hip-hop and jazz) into IDM music, resulting in a hybrid form which can be used in a DJ environment. The piece traces a journey (twice) through a series of different styles: jungle, drum & bass, dub reggae (dubwise) and dubstep.
STEWART EHOFF, Obscurity (2014)
Obscurity is the first track in Stewart’s album ‘Recall’, an experimental EP which, he says, relates ‘to experiences, emotion, interpretation and the human brain. The EP takes the audience through a sequence of timbrally and stylistically differentiated sound worlds, tied together loosely through instrumentation, production aesthetics and recurring motifs’.
PAUL CHADBUND, Drum Speak (2014)
This track is based on an interest in world fusion electronica and a desire to investigate rhythm through non-standard time signatures. Paul says: "The track is an exploration of rhythm and Indian music as well as rhythm in Indian music. It features a call and response between vocals and tabla drumming. I wanted to include this as it reflects my own journey of learning about rhythm in Indian music and is also a method of learning tabla in traditional Indian music teaching. The call and response gives the track a sense of the traditional Indian music, but the rhythm is very much a western style hip hop beat.”
IMMANUEL FAJGEL, Ice (2014)
This is one of a series of pieces exploring ocean-related themes. This track considers an ice-filled ocean—probably located somewhere in the Arctic Circle. It depicts icebergs floating on the water under a setting sun, followed by the appearance of Northern Lights. This gives way to the sounds of synthesised cracking, fracturing ice with which the piece ends. The intention was to convey a sense of coldness and the raw, untamed wild.
ROBERT MARTLAND, Sonder (2013)
This piece began as a guitar motif inspired by considerable nostalgia generated by a chance finding of a videotape of my grandparents whilst they were on holiday in Canada. I wanted to capture this quality in a nostalgic and thoughtful sound world. The piece combines—which anchor and drive the piece forward—with more freeform ambient sections, and so explores structure in a way that moves beyond that of typical ambient inspired beat-based electronica.
MARK CASSIDY, Float (2013)
This piece takes water as its theme and as a source of much of its material. It aims to explore wide ranges of dynamic, harmony, texture and spectral fullness. Rich textures are generated in large part from the use of granulation, which enables the production of long, intricate textures from any given sound.
DAVID BARKER, Remind (2013)
This piece explores recycling, both in terms of how reusing previously used material could translate into the production of music, and how it might also encompass the ‘reuse’ of sounds that have associations from my own past. So, for example, the drumbeat is derived form the sounds of naturally occurring and commonly recycled material, including carrier bags, stones and wood, whilst some of the synth timbres were reminiscent of music from retro video games that were an integral part of my childhood.
DALE GARLAND, Azimuth Complex (2011)
This piece grew out of experiments with discarded electrical technology, in particular the telephone pick-up coil. All electrical equipment generates EMF, and by using the pick-up coil you can transduce these signals into sounds. There is so much old and discarded technology around, and it holds little value for us anymore. What I tried to do was explore some of these devices, and try to see if I could find any value within them for myself. I also wanted to rebel against the accepted standards of so called ‘high-fidelity’, and try to use processes that would go against established logic. This would include: unacceptably low bit-depth and sample rates; inharmonic digital distortion characteristics of aliasing; poor signal-to-noise ratio and dithering (using these noise floors as sound sources); introducing artefacts through ‘improper’ use of warping algorithms; inconsistent audio qualities; analogue clipping distortion etc.
Azimuth was a term I found being used to describe the angle alignment error in a tape recorder head, and discovered its more general definition to relate to angles of perspective within a spatial dimension; Complex was a term I related to mainly in the psychoanalytical sense, in particular the notion of repressed ideas leading to patterns of behaviour.
FISAYO KARUNWI, Imagination (2011)
This piece 'is intended as an opening for a film. The title is an indication or the listener to simply 'imagine' when listening to the score. The story behind the score is of a subject walking through an Amazonian forest, in a vast open green environment where they discover wonderful sights beyond their imagination. The core is divided into two main sections which one could call "The Discovery" and "The Awakening".'
TIM MATTHEWS, Missing Out Days (2011)
A piece influenced by electronica/IDM music which explores the development and manipulation of a limited palette of sounds, synthetic and sampled.
STEVE MORGAN, Gryllus Assimilis (2010)
A minimalist piece which explores the polyrhythms and heterodyning (generation of new frequencies from the combination of existing ones) that occurs from the combination of recorded cricket sounds and feedback sounds/tones.
MATTHEW KNIGHT, Electro-Trance Formation (2010)
The third of three tracks in a third year Final Project which explores house style and production, this is a hybrid of electro house and trance.
GARRY GREENAWAY, A Little Horse (2010)
A track from a third year Final Project investigating the dissolution of semantic meaning via timbral exploration in text-based music. It explores processing 'to bend, contort and otherwise alter/mangle/distort/twist the sound sources beyond all recognition'.
MIKE FOYLE, Alien Zoo (Creative Focus & Inspiration) (2009)
From 'Mindscapes', a third year Final Project which examined how music and sound might 'influence the way we feel and our state of mind'. Three original compositions were paired with audio-based entrainment sessions designed to induce different states of mind or emotions (sleep induction, deep relaxation for meditation, and creative inspiration. This track (without entrainment material) is designed for creative inspiration.
Learn more about Mike on Wikipedia and on his DMU Graduate Profile.
AARON BOTT, Run & Hide (2009)
A third year creative project in which the aim was 'to produce a composition directly influenced by 8-bit video game music from the 1980s [which could produce a very limited range of simultaneous sounds] while maintaining the production values of a commercially-released composition using modern studio techniques.'
SAM HOBBS, No, My Shoes! (2007)
A project which explores the use of space via the multitracking and panned placement of its forces. 'Each take had inaccuracies in both voice and instrument that gave a unique effect, which I exploited by combining several of these takes, and panning them apart to create a spacious yet peculiar sound.'
LUKE HIGHET, Genre Displacement (2009)
A first year composition which aims to demonstrate production techniques for a variety of different genres by treating them as 'spaces' to be travel through -- thus we move through jazz to metal to electronica. The artistic challenge was in attempting to move seamlessly between them within a musically coherent structure.
TIM GOVER, Untitled3 (2009)
This is from a final project in which the aim 'was the creation of an artistically coherent short album of music that successfully combined elements from popular music and sound-based music.' This track involves the combination of more conventional melodic/harmonic/drone elements with more glitchy, noise-based sounds.
SAMUEL CLARKE, Gribbet (2009)
Corrupted IDM. A track from a third year creative project remix album entitled tapt (Norwegian: lost) in which each piece 'has lost something; each has been warped and changed in the process of composing. This kind of loss is not that of the mislaying of an item ...; instead it is the music itself that has been misplaced, finding itself with elements that have been given by the new environment that it has wandered into.'
STEVE MORGAN, Space 1979 (2008)
This piece was written in response to an assignment brief on the topic of 'space', and seeks to emulate sci-fi soundworlds of the 70s/80s while demonstrating some complex sound generation and interesting internal detail.
TAMSIN CULLUM, Racune, For The Last Time (2008)
From a third year Final Project exploring production technique – specifically how the investigation of alternative acoustic environments can affect the outcome of a track. The following two tracks present two renditions of band Racune's For The Last Time , the first a studio production, the second exploring other recording environments.
ANEEK THAPAR, Airport (2008)
'This track was written to an image I had of a camera slowly zooming out from a particle to reveal the rest of the universe around it. I used lots of spectral processing, and this is intended to represent the unpredictability in the materialisation of atoms and other quantum particles, the micro-sonic flickers representing the smallness and intimacy of particles and their interaction.'
GARETH SPREY, Victoria Station (2008)
This is the first track of a three-track Final Project EP entitled Sonic Graffiti . '[G]raffiti art can be intrusive and dominating in urban areas, while simultaneously adding to and complementing walls that are often just too clean.' These tracks are intended to be imposed upon a series of predefined public spaces (Hyde Park and Victoria Station in London, and Friar Lane in Leicester) aurally in the same way that graffiti is imposed on a situation visually; instead of adding shape and colour to the environment with paint, it is done sonically, 'with timbre and envelopes of sound'.
SEAN ELLIOTT, Piggy in the Middle (2008)
This is part of a second year Recording and Editing project and was for an assignment designed to demonstrate production skills. However, this track also shows off exploratory song-writing, instrumental and sound design techniques.
LEWIS TRACEY, Six Pianos (2008)
This track was part of a Remix project which explored the reuse of musical materials in a variety of ways. In this track, a rendition of Steve Reich's Six Pianos is subjected to such extravagant manipulation that it the result no obvious audible connection to that work, becoming instead an extended ambient meditation on piano timbres.
CHRIS SPEARMAN, Reddim (2008)
This is the third track of a six track EP for a third year Final Project entitled 'A personal exploration into beat-based electronica'. The album is influenced by the 'glitch' aesthetic, which uses 'small clips of sound, or clicks from pieces of audio that are generally not used within traditional music' and embraces a more experimental approach to electronica as found in IDM (Intelligent Dance Music).
JAMIE WARD, Cupboard Piece (2007)
This piece was one of three in a project which involved the exploration of unusual recording environments in the sourcing of their musical raw materials. All of the sounds for the piece were recorded in a cupboard, which has given the piece a sense of intimacy bordering on claustrophobia.
GARETH WOOD, Sympathy (2007)
'Sympathy is based upon my indirect experience of the negative effects that drug users and addicts can have upon their families and friends'. The music is akin to traditional rock, though some of the instrumentation and use of sampling is more reminiscent of early 1980s electronic and industrial music.
STEVEN PEACH, Amiens Aers [ex] (2007)
This is the first 16 minutes of a 45 minute ambient work, the sounds for which were generated using granulation, cross synthesis and delay networks via a variety of software.
PAUL MARTIN GUMMER, Fear (2007)
This work is the first of a triptych of works that represent violent emotional states (the other two being Anger and Rage ). It was composed as an assignment for the third year Creating and Performing module.
JOEL HARRIS, Theme & Variations (2007)
This piece is from a final year project entitled Adventures in Drumfunk. This was an album of three pieces, each featuring a different famous funk break. The aim was to explore the breaks creatively while considering the aesthetic of sampling generally, and of creating new from old. Theme and Variations features the Amen break. 'The crashing cymbals and airtight rolls allow for a different type of manipulation whereby every conceivable eit and subsequent reorder can create a new rhythmic complexity'.
SIMON IRVING, Felt Tip Crayon (2007)
This is a track from an album called Split the Sky: A Soundtrack to a Collapsing World, which was created as a third year Final Project. The album involves a fusion of full band and electronica compositions. This track is an example of some of the complex electronica on the album.
ADAM CRISP, Laughing All The Way To The Plank [ex] (2007)
An indie-rock track composed for a final project which investigated recording and production techniques, exploring what constitutes a 'commercial sound', how this can be achieved and whether aspiring for such a sound compromises the aesthetic validity of a project. This track presents three stages of the production process:
1. rough (from a recording on a mobile phone); 2. demo (experimentation with instrumentation and programmed rhythms); 3. properly recorded version.
JULIEN-ROBERT LEGAULT-SALVAIL, Just One Song (2007)
This song was inspired by Imogen Heap's song Hide and Seek . As a pastiche to this work, it involves a simple melody and solo vocals accompanied by a harmonizer built by the composer from scratch in Max/MSP.
BILL NEWSINGER, Squirt (2006)
This is one of four pieces from a final project which explored the voice in electroacoustic composition. It explores sounds created by the mouth and water, including squirting water (and pushing air) through the lips, teeth and from one side of the mouth to the other, and gargling. The material is designed to evolve in unusual and fascinating ways as well as providing some humour.
AGGELOS BALTAS, Untitled (2005)
This piece is a first year Techniques of Digital Audio project, the brief for which was to investigate a number of recording, editing, processing, mixing and mastering techniques in the creation of an original work. All recordings had to be made by the student. This explores sounds from the intestines of a piano.