Vivian Adelberg Rudow

Evelyn Ficarra

Adrian Moore

Elizabeth Anderson

Martin Fumarola

Rosemary Mountain

Kevin Austin

Mario Gauthier

Laurie Radford

Dominique Bassal

Barbara Golden

Stéphane Roy

Dennis Bathory-Kitsz

Mark Hannesson

Paul Steenhuisen

David Berezan

Elizabeth Hinkle-Turner

Ian Stewart

Chin-Chin Chen

Hideko Kawamoto

Caroline Traube

Chantal Dumas

Andrew Lewis

Barry Truax

Victoria Fenner

Alistair MacDonald


Spectral analyses of a percussive strike on a brass cup with homogeneous resynthesis using the violin and transpositions of the cup sound itself, exponentially increasing the frequency components. I hoped for a unity in a sound family ranging between metallic percussion and bowed string. The chance to'Ôplay' the violin at a fundamental of a little over 10Hz, and to prolong what sound it would make, I imagined a world of sounds as voiced through that cup - this is five minutes in its life!


DERRICK ARCHER: 678/1441/?
My reaction to the world to day. (February 2003) A 60-year journey to finally become an Electro-acoustic composer. A journey as a listener that has absorbed a full range of musical influences from traditional jazz to hard rock, minimalism to mediaeval plainsong, Gagaku to Gamelan. My inspiration comes from many diverse stimuli, a visual image, and article read somewhere or just the urge to play with sound


Robbie Baldock's current guise of Aleatory Music Systems (AMS) reflects his interests in both programming and the chance element in music. Over the last 12 months Robbie has written two pieces of software, AMS Composer and AMS Sequencer (both Java applications). The piece submitted for JTTP 2003 makes use of the AMS Sequencer which is a 16 track 'anti-sequencer'. Each track plays independently and can be set to run at different relative tempi and to cycle on different loops of between 1 and 32 notes. In addition, each track can be set to receive events from a MIDI keyboard.


No programme notes


This piece is an abstract musical picture of our search in life. It is not necessarily about a search for a religious belief but more something that we search for to believe in which gives us hope and reason to strive to realise our ambitions. The sound images of the screeching seagull and the bell toll may be interpreted as symbols of us on our search and that which we are searching for. The ambiguous sounds stand for the obstacles and difficulties we may encounter in our search. They are not always negative but often, lessons in disguise.

I am in my second year of a B.A. Musical Studies degree at the Royal Scottish Academy of Music and Drama in Glasgow. Cello is my principal study and my other musical involvements include jazz and folk music gigs. This year was my first encounter with electroacoustic composition as it was part of our year two coursework. I hope to continue it next year and do some joint work with students from Glasgow's school of Art.


Until not so many years ago, as you walked along the Trent and Mersey Canal towards Etruria, you would come to the site of the old Shelton Bar steelworks. Just a few deserted buildings remained, filled with echoes and distant memories of all the men and women who gave their lives to the former industrial monster known to the world as The Potteries. One particular monolith, a dark, cold, grey building, full of old steel and shadows, with the still waters of the canal flowing straight through it, caught my imagination more than any other. It seemed to me that every time I stared into its silent emptiness I could still hear the heart of the old Potteries beating. This composition is my attempt to recall a little of the soot-blackened Stoke of my ancestors and I dedicate it to them.

I am a mature student currently in my first year at Keele University, studying Music and Music Technology. I have spent most of my adult life involved in both the performing arts and the visual arts and, though I have been a jazz and blues musician for a number of years, I am new to the field of Sonic Art. I am particularly interested in the combination of voices and manipulated sounds.


Original source material was derived from close recordings of marbles manipulated by the hand and in contact with a wooden box, cardboard box and drum. Through the magical processes of the computer and mind those original sounds have been transformed into the piece that appears on this CD. Structurally this piece attempts to introduce more overtly pitched material as it progresses, whilst not forgetting the original sound world.

Tom is currently studying for a PhD in electroacoustic composition at The University of Birmingham with Jonty Harrison.


_jttp_ is about 6 minutes and 7 seconds. The title was chosen because the piece was written with the competition in mind, amongst other things - interplay of different speeds, frequencies and tempi, weights/densities, textures/surfaces - the captured behaviour of 'sound objects' frozen in time, thus allowing for malleability 'out-of-time'.

Li-Chuan CHONG (1975) is a composer of electroacoustic music and sound art. He is a keen collaborator with artists from other disciplines, involving sound as a key element in concept and realisation. Li-Chuan worked on projects in theatre, improvisation, installation and video art, and hopes to continually expand his horizon.


Simultaneous high-pitched micro-sonic points take different directions in this piece. The title was actually and the starting point of its making. Independent micro-time events generated simultaneously, and 'sank below the horizon'. All the sound material have been synthesized, although, at some points the sounds might remind water-drops, and fire-cracklings.

Thanos Chrysakis is a London based composer and sound designer from Greek origin. Even though his main interests are music & sound, writing poetry and image making are also (in equally footing) practiced by him. His musical work consists of acousmatic/microsound compositions, instrumental music, and generative installations. Some of his music has been web-released, and also, broadcasted in England by Resonance FM, Austria [by ORF art radio-station], Hungary and USA. Up to now, he has appeared on compilations for the independent labels porousher and Arrêt Arrêt Recordings.


And Old Fire alarm; the bell is a signal and a cause.

Martin Clarke (Aberdeen, Scotland, 1978) Studied electroacoustic composition and music technology, with Robert Dow and Peter Nelson, at the University of Edinburgh and completed several works for tape, including 'bell tourist factory'. It was premiered at the 'dialogues at the bedlam' festival of electroacoustic music in May 2000. Beginning further study of composition at the University of Birmingham in October 2003, with Jonty Harrison. Current projects include a soundtrack to a short film and a work for tape using samples collected whilst travelling in Europe.


Starting from a small number of recordings in and around the fridge in his apartment, the composer reconciles himself with an otherwise intrusive background noise. The fridge's interesting clamour is juxtaposed with a coat zip and microtonal singing. Extensive SuperCollider programming allows varied transformations.

Nick Collins is a freelance computer musician, and lecturer. He is self taught as a composer, and heavily involved in the SuperCollider community. An emergent and currently unpaid researcher, his publications (academic papers and code) are available online via


An electroacoustic miniature, IÕm not Elvis uses, as a primary source, unprocessed spoken word material form an interview with a pavement artist from Liverpool, England.

Using various forms of granular synthesis, other sonic elements consist of an isorhythmic "motet" based on a simple melody in E minor (the sound source for this is a single phoneme of speech), abstract sounds derived from sine waves, a rhythmic loop and a few found sounds. Geoffrey COX (b1963) began his musical career in London as a guitarist in a post-punk, new wave band in 1979. Having completed a degree in composition at Huddersfield in 1999 (where he now teaches music technology) he has embarked on a PhD.


SourceMaterial. Insert. 100MbZip. ReadData. Eject. Repeat. Sampled. Sonic Character. Vicious. Precise. Rhythmic. Sharp. Audio view Formed. Experiment. Improvise. Sound Forge. ES_1Korg. Edit. Cut. Splice. Repeat. And Again. Cut. Splice. Edit. Design. Structure. Real. Enter Anomalies. Cross fade. Dismantle. Rearrange. Lose Identity. Abstract. Glitch Assault.


Could this be a belated epitaph for two long gone jazz musicians Bird and Trane expressed with real birds and real trains? It could. Could there be an inherent connection between environmental sounds (natural/man-made) and musical sounds? There could.

Peter de Moncey-Conegliano studied electronic music in the 1970s at Morley College London but though prolific all those years has only begun to become an emerging composer since 2000. The video installation The Shout, by Pia Videla-Hintze for which Peter composed the music has been chosen for Bourges 2003.


A piece made with water, straws, squeaky kitchen utensils, a bottle, Alka-seltzer, and a glass lampshade. The piece grew organically. The form is almost ternary. The ending being a variation of the opening, creating an ambiguous sound world, which can be entered in a believable way from the previous material.

I studied with Frank Denyer and David Prior at Dartington College of Arts. I am currently studying for an M.A. in electroacoustic Music at Huddersfield University. My piece 'Fragile Graffiti', created in collaboration with dance practitioner Lati Saka was performed at Huddersfield's Electric Spring Festival 2003.


Have you ever experience the frustration of waiting for your computer to dial up and connect to the internet? What if your computer presented new worlds of sound while connecting? This piece was conceived as an elaboration of the properties of a modem tone, taking the listener on a journey realising a very different computer connection.

As an electroacoustic experimentalist and avid consumer of the genre, Louise has been actively composing throughout her academic career. With airplay and support from BBC Radio 3's 'Mixing It' and a self designed performance 'kit' she is rapidly widening her listenership in the UK and abroad.


(This piece was disqualified as it did not meet the submission criteria)

The work Movement Toward Stillness uses Indian raga tala scales and rhythms. The featured artist Piers Adams (recorders) has worked with Chris Gander on a number of projects involving synthesised sound and theatre.

Chris Gander is a world music composer and specialist. He has used the music's of Persia, Spain and Brazil to great effect. His greatest strength is the work he has created using Indian musical parameters. Chris is an expert on Indian music and its use in many compositional guises. He has worked with top artists such as Michael Finnissy, Piers Adams, Jason Carter and The Bingham String Quartet. He has had performances in top London venues and throughout the world. Chris also runs World Music Improvisation workshops and runs educational projects on world music for children and adults.


Interplay between co-ordinated and chaotic behaviours of particles and particle masses in a series of contexts. An ebb and flow of material that incorporates natural as well as synthetic sounds which seem chaotic but have an amazing amount of detail and structure. Genesis, Universe, Life, the Sea. Bangor, Wales 2002

Born in Athens, Greece, 1971. Studied Electronic and Biomedical Engineering at the National Technical University of Athens, MA in Digital Music Technology at the University of Keele. Ph.D. in Electroacoustic Composition at the University of Wales Bangor, concentrating mainly on tape music and sonic improvisation and collaborating with other musicians as well as with visual artists.


Come with me to a place where no-one can hear
Into the beautiful silence.
Please - a word
Take a chance
Hold my hand
I will never experience silence
There is perfection within imperfections
Silence can never exist
I will never experience peace
The beautiful silence
When I have gone
Always so much


I have discovered that there is true beauty in imperfection
I will never experience peace
I will never experience silence
Silence can never exist
Even in an acoustic chamber you can hear your body's nervous system functioning
Come with me to a place where no-one can hear
Take a chance and give in
There is perfection with in imperfections
Will you hold my hand please
Will you hold my hand
Please a word can mean so much and so little
I love you always
I will be thinking of you when I have gone
Into the beautiful silence


Tanzhaus is an electroacoustic soundscape composition which traces the form of an 'emotional wave', as taught by American choreographer/performance artist Gabrielle Roth, following five sequential stages: slow-flowing (fear); staccato (anger); chaos (sadness); lyrical (joy); and stillness (compassion). The piece developed from the time-stretched timbres of a piano, recorded at the Tanzhaus dance studios in Zurich, where I was performing a site-specific work with London-based performance art group 'The Five Andrews'. The soundscape recordings originate from Zurich, London and the Peak District of South Yorkshire. The piece explores the boundaries of imagination and reality; merging polarities; catharsis.

Mark Horrocks has been composing for performance artists for over ten years. In 2001, he graduated from Middlesex University with a B.A. in Sonic Art. He is currently studying for a PhD in Electroacoustic Soundscape Composition at the University of Sheffield. He hopes to further develop his work into education, encouraging greater awareness of the soundscape; our responsibility to it, and for it.


In NOW I AM QUITE CLOSE TO YOU, I used ideas from horror film music and sound effects to give an impression of something dangerous and uncanny lurking nearby.

Keith Johnson's work includes Just an animal looking for a home, recently performed by the BBC Symphony Orchestra and It's a beautiful night from here to the trembling stars, a collaborative multimedia work which has been performed by Ensemble Eleven, the London Sinfonietta and the BT Scottish Ensemble. He has also been commissioned and performed by various ensembles including the London Sinfonietta, who have premiered Honesty, Sabotage and Don't say a word.


It grew out of an idea which started when I heard a recording of a Gamelan, wandered away from it to a group of people chattering in my garden in the evening whilst the birds were beginning to signal dusk. All these elements will be discernible.


No programme notes


This piece seeks to explore the sonic complexities of a rather simplistic selection of source material. Through granulisation and manipulation, recordings of ceramics, wood and metal are placed in a sonic world where the spatial focus is constantly changing.

Simon Kilshaw graduated from the Royal Welsh College of Music and Drama in 1998 earning a Postgraduate Diploma in Music Under the tutoring of Roger Butler, he began to explore the realisation of his compositions through technology. Simon is a lecturing technician to the Music Technology Department of RWCMD on the Bmus and Postgraduate programmes of study.


No programme notes


BreakWater was composed during Spring 2000. It is the first piece of a project in process called 'Grand Piano Trilogy'. The main characteristic of this trilogy is that the whole sound source comes from the piano. The sound material of the work comes out from around, below and inside the piano played by various unconventional ways. In addition, some sounds come from prepared piano performed by the composer. The piano preparation based on the table of J. Cage's piece 'Preludes and interludes' for prepared piano (1960).

A recording sample, of the breaking waves (crashing on very large boulder-sized rocks) located west of Saronicous Bay in Greece, was the beginning. The image and the sound of the splash over a breakwater, creates a strong perceptual and psychological effect to the viewer/listener. These relations between human consciousness and objective reality served as the starting point. Then I made a phenomenological reduction, cutting away everything that masked the true nature of the phenomenon and applied it on the piano. The whole experience now is recreated through a metamorphosis of an abstract musical idea based rather on piano's explosive sound waves.

Many short and energetic samples constitute the cells, which are combined to produce phrases and then to construct sections. The idea passes from one part to another through a constant timbre modification of the initial cells.


Theodore Lotis has studied the guitar, flute, music analysis and composition in Greece, Belgium (with Annette Vande Gorne) and England. His music has been performed at festivals and conferences in Europe, Australia, America and Asia, and has received a number of awards and distinctions at Bourges 2000 in France, Sculpted Sound Composers Competition 2000 in UK, ART'S XXI 2001 in Spain, Metamorphoses 2000 and 2002 in Belgium, Luigi Russolo 2000 and 2002 in Italy and CIMSP 2001 in Brasil. He was awarded the first prize at the Concours International de Spatialisation pour l'Interprétation des Ouevres Acousmatiques, Espace du Son 2002, in Brussels, organised by Musiques et Recherches and sponsored by the Fonds Européen des Sociétés d'Auteurs pour la Musique. He has realised commissioned work for Musiques et Recherches (1997 and 2000), Sculpted Sound Composers Competition (2000), and Amici della Musica di Cagliari (2001) in Italy.

Having produced several instrumental works and collaborated with artists from various disciplines (dance, theatre, video) his current endeavours in music are focused on spectrum, timbre, sonic space and light. He has completed a PhD in Music at the City University, London (supervisor: Denis Smalley) thanks to grants from the British Academy (Arts and Humanities Research Board), and the Foundation A.S. Onassis. Theodore Lotis has been teaching electronic composition at Goldsmiths College, University of London (2001-2003). He is currently teaching at the Technological and Educational Institute of Crete-Centre for Technological Research of Crete, Greece (Departrment of Music Technology). He is founding member of the Hellenic Electroacoustic Music Association (HELMA) where he currently serves as vice-president.

"Arioso Dolente/Beethoven op.110" Electroacoustic music Duration: 7'11'' 2002
Arioso Dolente/Beethoven op.110 is based on Beethoven's Piano Sonata op. 110, and more specifically on the third movement Adagio ma non troppo. The Arioso Dolente, which includes the main melodic themes, is the epicentre of the third movement. Although I have largely maintained the harmonic structure and even the melodic profiles of the movement, the electroacoustic piece remains a comment on the original piano sonata rather than an analytical approach to Beethoven's music. I was more interested in the spiritual aspects of this sonata. Beethoven had just rebounded from a period of illness, and his recovery sparked his creative forces resulting in the genesis of op. 110. Both the joy and the melancholy of life are merged in this movement as an omnipresent duality. While composing my musical comment on Beethoven's Adagio I tried to enhance this duality by means of spectral transparency and luminosity, which often contrasts and converses with textural obscurity and opacity. The main melodic theme of the original Arioso Dolente appears in the middle of the piece, remote, magnified and utterly stretched in time. Arioso Dolente/Beethoven op.110 was composed at the studio of City University in London and my personal studio. The version for 5.1 surround speaker installation was created at the Electronic Studios of the Department of Engineering of the Aristotle University of Thessaloniki, Greece, with the collaboration of Professor Georges Papanikolaou. My warmest thanks to Maria Metaxaki for the piano recordings.


To see a world in a Grain of Sand
And a Heaven in a Wild Flower
(Taken from 'Auguries of Innocence' - William Blake)

Ian Mayer is currently at the University of York, pursuing a BA (Hons) in Music. He has studied with Andrew Keeling, Karen Markham, Bryn Harrison, William Brooks, John Stringer and Ambrose Field. Next year, he will be undertaking an M.Mus in composition at the RNCM.


Myojo was inspired by a poem by a Japanese poet Shimazaki Toson (1872-1943).

Fumiko Miyachi has composed for orchestral, chamber, vocal and electroacoustic mediums. She studied at the Guildhall School of Music and Drama (London) where she obtained her BMus and MMus degrees. Her current compositional interest lies in collaboration with artists; she has recently worked with choreographers and visual artists and the projects have been presented in the Bath Festival 2002. She is currently on DPhil composition course at the University of Sussex under supervision of Martin Butler.


James Mooney (b. Edinburgh 1980) studied Music at the University of Newcastle upon Tyne. He then went on to obtain an MSc in Music Technology at York University and is currently working towards a PhD at University of Sheffield Sound Studios.

Everything I Do Is In Inverted Commas (7'56"). This piece has themes of self-reference and self-absorption. The title comes from the idea that, beyond a certain level of self-consciousness, all spontaneity is lost and one's behaviours, actions, and even thoughts, seem awkward, contrived and insincere. If one perceives oneself in this way, then how can one earnestly forge one's own identity out of the pick-and-mix of tired behaviours?


Rob Mullender is a sound artist currently living and working in London. His work is informed by field recording techniques as well as electronic and acousmatic concepts, and is driven by a wish to express through sound energy and systems not normally sound based or audible.

The submitted piece was produced using a variation on the Michelson Interferometer, ultrasonic emissions from standard low energy household light bulbs, and the A.N.S Synthesizer - an early 20th century drawn sound instrument.

The title 'Tungsten/Xenon/Nickel Arsenide' refers to the light sources from which the source material on the recording was generated.


No programme notes


No programme notes


The main focus of the piece is the incessant grinding of the machines and how they react with wood. A main idea reoccurs throughout and is based on the band saw. My main objective is to collage the original material with the processed, at times merging the two and in others just allowing them to be. The piece by nature is of continual development and movement even at the most static of instances.

Ella Roberts is currently finishing her degree at Bangor, majoring in Solo Performance with Nigel Shaw and Electroacoustic Composition under Paul Issit and Andrew Lewis.


Emergence freely explores a triangle between the rhythmic regularity found in today's dance music, comic or rhetorical timing, and the Newtonian authenticity of physical gesture. It focuses particularly on the compositional merits and pitfalls of representing this temporal plurality as a singularity to a linear perception.

I am greatly influenced by the music of artists on such labels as Warp, Planet Mu and Rephlex. I have released music on various dance, music labels, my music has been broadcast on Radio 1 by John Peel and Steve Lamacq. I completed an MA in Electroacoustic Studies at Durham University in September 2002.


During the winter in Wellington, New Zealand storms move rapidly north from Antarctica and are incredibly powerful. Äwhä (meaning gale or storm) explores the power and ferocity of the storms that lash the south coast of Wellington every winter; I set out to recreate the very essence of a storm.

David Shepherd, Born in Wellington, New Zealand, 1969; is an active member of BEAST and continues to explore noise in all its forms. His works have been performed widely in New Zealand, Australia, England, Germany, France, United States and in Nepal.


When things occur simultaneously there will always be different levels of friction. Energy, disagreement, pitch, physical action and others are areas where difference can generate musical material.

Friction of things in other places explores different levels to structure sound ideas through differences in material and sound sources. Created in 2002 at the composer's studio and commissioned by the Mexican Council for the Arts, the piece has been performed in Brazil and Korea.


Room 101.1 combines the double bass with a specific electronic effect that makes it possible to access new worlds of sound that are unobtainable on the instrument acoustically. These new sound worlds facilitate the compositional needs to evoke specific moods and emotional states that are experienced by the character Winston Smith in George Orwell's novel 1984, before he is to enter Room 101.

Currently studying composition at the Royal Academy of Music London with Christopher Brown. Recent Achievements include Finalist in the International Schnittke composition contest for the work Room 101.1, (final round in November), finalist in the Music Russolo 2002, Awarded a bursary for study in the academic year 2002/03 by the Royal Academy of Music, Premier of work 'Unknown Known life', at the Queen Elizabeth Hall London, Accepted the title of Associate Composer of the Australian Music Centre, Awarded the Moscow Carner Composition Award to the value of £2,000, Awarded the High Commendation from the Australasian Performing Right Association, in the classical composition category of the Professional Development Awards for young Australians.


TheFutzButler (Paul Sumpter) is a young Sound Designer and Electronic Composer from West London, currently studying Popular Music at Leeds University. His work utilises found-sounds which are heavily effected, often until unrecognisable from the original sound, to create extreme, sonic Noise-Music. 'Cage' is a short narrative piece that represents the discourse of a frustrated caged animal, communicated through blending onomatopoeic processed found-sound with aspects of Seriallism. Samples were taken from industrial machinery, household objects/appliances, transport and electronic interference, feedback and distortion.


Subway Hum happened in 2003, New York City. Performed by the Subway Hum, Squeaking Brakes, Passing Trains and a crescendo of Sirens; it is the city's Morning Symphony. This field recording captures sounds in time, creating a unique and natural composition, drawing the listener into its harmonic and mesmerizing depths.

Thunderbolt is Zoe Riddell and Catrin Jones - sound art musicians - whose work includes environmental sound installations and an ongoing series of CD releases, comprising live, un-edited improvisations using field recordings, synthesizers, flutes, oboe and bells. Thunderbolt's work focuses on capturing moments of magic and inspiration.


A homage to Roland Barthes and his essay Tthe Rustle of Language'.

Random layering of 4 soundtracks each played on 4 distinctively old and mismatched CD players. The abstract and hypnotic melody thus created is continually evolving thus trying to imitate the mechanics of the artist's mind at work; sometimes operating with clarity and insight, most often in confusion and chaos.

Each track is also representative of a particular aspect of Language. Breath as primal language - emotional and reactive language of laughs cries and vocal noises - random reading of various notes, texts and word plays written between 1997 and 2001 as reflective and psychological language and a continuous monologue reflecting upon the passing of TIME, read counting each second in between words as cognitive and representational language. When 123was123the123last123time?123

The sound installation (under the provisional and pompous name of Inner voices) was shown recently as part of MAXIS international festival of experimental sound and music in Leeds in April 2003.


Alpha and Omega narrates the vision of the apostle John (on the Greek island of Patmos), found in the book of Revelation in the Bible. It details his visions of Jesus Christ and of heaven. Alpha & Omega recreates this dream so that the listener is able to experience the vision themselves. Images arrive, disperse and transform into other landscapes. The forces of nature are combined to reveal the spirituality, power and of God.

David Watt is currently a freelance composer and sound designer. This piece was composed and realised during postgraduate study at Keele University, sept 2001.


This piece arose out of collaborations between composers from the Guildhall School of Music and Drama and choreographers from London Contemporary Dance School in early 2003. Together with the accompanying dance, the work examines concepts of performance; in the music this is explored by challenging listeners' judgements of where sound's are sourced from by using live singer and cellist against an electronic score derived from material used in the live sections. Thus boundaries between natural (un-manipulated) recorded music and manipulated sounds are broken down.


No programme notes


No programme notes


Double Reed is the first of a projected series of pieces drawn from recordings of homemade instruments. In this case the instrument is fashioned from a plastic drinking straw.

Richard Whitelaw lives and works in Birmingham, UK where he is working toward his PhD with Dr. Jonty Harrison. As well as being active as a composer and producer he works as a community artist and teacher for various organisations including Community Music Wales, Gain - UNESCO Electronic Music Network and The Education Action Zone. His music is featured on 'Viewpoint: Works from BEAST Vol. 3' (Sargasso) and on Broadcast's 'Pendulum ep' (warp).


No programme notes


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