Students are involved in a variety of performance activities, both on the course and independently throughout the city and beyond. Student performance interests are extremely diverse, ranging from turntablism to live electronics, and from band work to circuit-bending. This page presents some of the performance work of individual students and collaborations.
We also invite you to check out performances of the Dirty Electronics Ensemble here.
GIORGOS STAVRIDIS-KOTSINKONAS, Drums & Electronics (2016)
An improvisation with electronic processing of percussion.
TIM BAKER & TOM CARNELL, Slog (2016)
A live audiovisual performance using found objects, contact microphones and shadows to showcase hidden sounds and images within everyday objects. "The piece reflects on the people working in heavy industry such as mining and metal plants and the blend of personal and work life within typical working class communities."
EWA SZMIDT & DAVID DONAU, Looping Performance (2012)
This performance was part of Ewa's year-three performance project, which focused on the use of guitar-looping pedals for live processing of voice and flute.
CHLOE CUTLER, The exploration of the electroacoustic guitar in Electroacoustic music (2012)
"Performances are my interpretation of this subject area, merging my experience of guitar playing, sound exploration, Electroacoustic music and performance. Pieces are improvised and produced through the manipulation of live guitar sounds. The instruments to achieve this are restricted to the electroacoustic guitar, ebow and a Boss ME-50 pedal."
SLEUF & ENVELOPE (ADAM CHETTY & TIM MATHEWS), Hinterland Part 1 [ex] (2012)
Live set with input from guitar to squeezebox. Adam and Tim graduated in 2011 and have since been getting together to work on live remixes of their own fixed-media works. They returned for the meta- concert event in the spring of 2012 to present one of these.
ANDY GREAVES, ROB MALONE & SEBASTIAN MOODY, EyeSpy (2009)
An improvised audio-visual performance conceived as a third year creative project and realised live with three musicians, eight speakers and a projector. Sounds generated by each musician are treated as a whole and diffused amongst the eight speakers according to their spectral characteristics rather than assigning an individual spatial position to a specific player. Visuals are generated by taking a live feed from the performers’ table, abstracting them using Jitter software in Max/MSP, then projecting the visuals onto a screen behind the performers. The performers are obscured from the audience by a cluster of speakers.
SAM BARNES, Modified Toy Ensemble Performance (2008)
This is a six-minute solo improvised performance using an ensemble of circuit bent instruments consisting of drum toy, keyboard-style device, one-armed bandit and a globe-shaped push-button toy. These instruments are often highly unpredictable in performance and this unpredictability can be exploited by the performer, suggesting lots of interesting directions in which the music can evolve.
LUKE SHOESMITH, Guitar Track (2008)
A live-electronics piece for guitar and granulation. This recording is a demo filmed in the composer's own studio.
JAMES KELLY, Final Project Performance (2007)
This piece is a third year final project involving turntable improvisation using James Kelly's own 'Transmission Sound System'. This system comprises radio transmitters, four-channel system, three decks and a CD player, the output of which can be panned live to different channels. The video begins with an explanation of the system.
JACQUES POULIN, DRK-VIP (2007)
This work is a live performance involving lights and light tracking via Max/MSP/Jitter to control the audio. This extract begins with an introduction to the light tracking and camera setup before the piece begins.
PETER WILKINSON, PLASMA (2006)
PLASMA (Progressive, Living and Synthetic Musical Apparatus) was an MA project designed to 'explore the interactive relationships that can be generated between man and machine'. It used motion tracking, wearable sensors and real-time processing to create a part-organic, part-digital musical composition. Using a specially designed tank made from plastic and metal to highlight mechanical prcision and clinical faultlessness, it used motion tracking, wearable sensors and real-time processing to create a part-organic, part-digital musical composition. As the project progressed, it was presented as an instrument, interactive installation and performance.