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.








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.


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.” 



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.

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