Rush hour concert

Reid Concert Hall, Thursday 21 Feb 2019, 5pm

Comprised of current students and recent graduates from the Reid School of Music, Rush Hour Ensemble performs interdisciplinary works for clarinet, piano & strings, with the inclusion of live electronics and superimposed visuals.

New works by Reid School of Music Composition and Creative Practice PhD students Nicholas Canny, Aphrodita Katmeridou, John Panagiotou, Arvin Papelli, Jack Walker & Aggelos Mastrantonis.

Rush Hour Ensemble, conducted by Peter Nelson.

Live coding workshop

2pm – 4pm, Alison House, 12 Nicolson Square

Ticket reservations here:

At this event, you’ll have the opportunity to explore a live-coding environment called Supercollider. This language, though quite technical, enables performers to write sound software in real-time and to share what they’re creating with audiences as it happens.

If you book a ticket for this live coding workshop, you are expected to arrive promptly and attend for the whole duration. It will be best to bring a laptop and your own pair of headphones. Supercollider software can be installed in advance from the following link:

You can find out more about Joanne’s work here:, however, it’s even better to attend her concert as part of the Algobabez at ECA’s West Court the evening after her workshop. Joanne will perform band partner Shelly Knots as the duo. Tickets for the concert are available now.

Live coding visuals with Hydra – Shelly Knotts

Shelly is hosting a workshop 10-1pm, Friday morning, 22 Feb, this focuses on on live-coding visuals using Hydra –

Hydra is a platform for live coding visuals in Javascript, in which each connected browser window can be used as a node of a modular and distributed video synthesizer.

Inspired by analog modular synthesizers, these tools are an exploration into using streaming over the web for routing video sources and outputs in realtime.

Multiple visual sources (oscillators, cameras, application windows, other connected windows) can be transformed, modulated, and composited via combining sequences of functions.

Shelly Knotts

Shelly Knotts produces live-coded and network music performances and projects which explore aspects of code, data and collaboration in improvisation. Based in Newcastle Upon Tyne, UK, she performs internationally, collaborating with computers and other humans.

Maurizio Ravalico – live solo percussion 20 Feb 8:30pm Roxy Art House

Visionary percussionist Maurizio Ravalico (Collocutor, Fiium Shaarrk, Dele Sosimi, ex Jamiroquai) will present a selection of music from his solo percussion album ‘Nobody’s Husband, Nobody’s Dad’, out on Funkiwala records.
Entirely acoustic, with no playback devices, loops or electronic manipulations, Maurizio’s unique performance is a continuos unfolding of unearthly sounds, often generated by unexpected combinations of conventional instruments and found objects, both played using a mix of orthodox and extended techniques. Another character of Maurizio’s solo compositions lies in its persistent denial of metric recurrence, making for a performance which recalls the aesthetics of both contemporary and improvised music, despite it being neither strictly composed nor at all improvised.

To get a sense of his extraordinary energy and sonic imagination, check out his album:

Maurizio Ravalico is a London/Berlin based percussionist with a surprisingly varied carreer spanning over 30 years, during the course of which he has maintained a lively and constantly cross-pollinating interest in musical expressions as diverse as funk, rock, 20th century composition, Latin American music, free-form improvisation, contemporary jazz and the so-called “experimental music” of post-war and beyond.

archive * archive

St Cecilia’s Hall, Tuesday 19t February 7-8pm

Tickets available from eventbrite

archive * archive is our opening festival concert and features instruments from the collection at St Cecilia’s museum that have been sampled to create a new, dynamic library of sounds. Performances on the original instruments will be remixed and reinterpreted through new pieces and projects made with the sample libraries by Gavin McCabe and Leo Butt.

Reserve a space at this event now:

Hornist Andy Saunders spent an exhausting day with us playing various horns from the collection in December. With what’s left of his lip after that he’ll play two pieces for solo horn written for him by Pete Downling and Jane Stanley. Jenny Nex also made a sound library with us on a sideless violin, she’ll perform some short peices on the instrument to show its acoustic self in-situ.

Lalla Rhookh by Jane Stanley

For narrator and solo Eb Horn

Dead S(o)low by Pete Dowling

For horn and resonant piano.

W. Speaks by Gavin McCabe

Gavin McCabe has composed two pieces with the sample libraries:

W. Speaks attempts to provide a sonic backdrop to the voice of a Syrian Refugee as they relay their experience of migration from their homeland. At the time of this interview W, a husband and father of two children, had been existing for four months in the infamous ‘Jungle’ refugee camp in Calais, France.


The inspiration for this piece came from watching footage of tsunami’s. We are surrounded by these great, enigmatic bodies of water that have the capacity to render us helpless at a given time. The ocean can evoke notions of mystery and enchantment but also harbors a colossal destructive energy. Wave seeks to create a wall of evolving textures that emerge and swell in intensity and foreboding as the piece progresses.L

archive*2³ by Leo Butt

This piece attempts to showcase a range of unique instruments from the collection at St. Cecilia’s by sequencing and processing recorded samples, manipulating them to produce sound beyond their physical capabilities. The textures that appear throughout the piece pay homage to the acoustic properties of the instruments, whilst simultaneously showcasing their versatility when combined with modern production practises.

Musica Nova

Pete Stollery will diffuse two prize-winning pieces from Prague’s Musica Nova competition on our 8 channel sound system:

Chromatocosmos by Epa P. Fassianos (winner)

Chromatocosmos (2015): is a stereo fixed – media electroacoustic piece which is based on Baghlamas’s original recordings. Baghlamas is a traditional Greek instrument which has its roots to an Ancient Greek instrument called Pandoura. In my work I made an attempt to explore the characteristics of the instrument and its relation to history and Hellenic Culture via acousmatic music. The work has references to melodic lines widely used by Baghlamas’ performers but is mainly an attempt to recreate a new sonic world. I also aimed to use the instrument in innovative ways, from the recording process (use of sounds emerging from the chording of the instrument) to the development process (application of a wide range of transformations which would lead the sound in new boundaries). The addition of background cinematic-style sounds emerging from the Baghlamas through various transformations, creates a constant dialogue with the foreground sounds. The various sonic colours observed as the piece evolves justify its title.

Epa Fassianos is a Greek composer of electroacoustic music. He was born in Athens in 1982. He has attended both the University of York (MA in Music Technology) and the University of Sussex (MA in Composition for Media and Film and MPhil in Musical Composition). His BA in Greece was in Informatics and Computer Technology. He has also obtained his Piano Diploma in 2003 with Professor Dimitris Toufexis. In parallel, he has obtained the Diplomas in Harmony, Counterpoint and Fugue respectively. At the moment he is a PhD student in acousmatic music (submission period) at the University of Manchester (NOVARS Research Centre), under the supervision of Professor David Berezan. His area of interest is: Creating works of acousmatic music based on aspects of Greek Culture (Religion, Traditional Greek Instruments, Mythology). His works have been performed in MANTIS Festival of Electroacoustic Music (Manchester, UK), MA/IN Matera Intermedia Festival (Matera, Italy), MISE-EN_Place Electroacoustic Music Festival in Bushwick Studios, Brooklyn (New York City, USA), Ecos Urbanos Electroacoustic Music Festival (Mexico City, Mexico) and EASTN-DC: European Art-Science-Technology Network for Digital Creativity (Manchester, UK).

Nullius in Verba by Robert Scott Thompson (runner up)

Nullius in Verba translates from the Latin as “on the word of no one.” This acousmatic composition incorporates field and studio recordings and their transformation and elaboration. Sound sources include vocal, percussion, flute and ‘cello sources together with mechanical and environmental sounds. The music is conceived as a kind of “song without words,” and in working on it, I was reminded of Mendelssohn: “What the music I love expresses to me, is not thought too indefinite to be put into words, but on the contrary, too definite.” Techniques used for the work include ambisonic spatialization and spectral transformation methods. Tools used include Kyma, Csound, Metasynth, Cecelia, Trajectory and Spat Revolution.

Robert Scott Thompson is a composer of instrumental and electroacoustic music and is Professor of Music Composition at Georgia State University in Atlanta. He is the recipient of several prizes and distinctions for his music including the First Prize in the 2003 Musica Nova Competition, the First Prize in the 2001 Pierre Schaeffer Competition, and awards in the Concorso Internazionale “Luigi Russolo”, Irino Prize Foundation Competition for Chamber Music, and Concours International de Musique Electroacoustique de Bourges – including the Commande Commission 2007. His work has been presented in festivals such as the Koriyama Bienalle, Helsinki Bienalle, Sound, Présences, Synthèse, Sonorities, ICMC, SEAMUS and the Cabrillo Music Festival, and broadcast on Radio France, BBC, NHK, ABC, WDR, and NPR. His music is published on numerous solo recordings and compilations by EMF Media, Neuma, Drimala, Capstone, Hypnos, Oasis/Mirage, Groove, Lens, Space for Music, Zero Music, Twelfth Root, Relaxed Machinery and Aucourant record labels, among others.

Thompson’s work in the area of computer music is oriented toward high modernism in the tradition of the founders and pioneers of the field such as Pierre Schaeffer, Stockhausen, and Xenakis. His music is also informed by the naturalistic soundscape and importantly notions of contemporary expressions in chamber and orchestral music. Thompson’s aesthetics attempts to blend and meld the real and imaginary into a musical context that invites deep listening and engagement in the listener. The music – the tonality, sonority, transformation of materials – is the primary focus rather than the outworking of a specific technique or technology. In recent years Thompson has become an adherent of the techniques of ambisonic spatialization and increasingly creates work that is based in this approach to both multi- channel and stereophonic presentation.

Orange tip

Orange Tip are an experimental jazz quartet from Athens. Stemming from the creative forces behind M.O.B. trio, their music is described as the crossroads between modern jazz and electronic music. The group’s creative practice combines elements from the soundworlds of both the acoustic jazz quartet and the ambient noise subgenre.

Synthesizers, effects, loops and drones share prominent roles in the creation of the quartet’s soundscape. The band’s compositions are, primarily, based on open forms, utilizing both tonal and non-tonal linear material, while improvisation parts subtly balance between the generation of melodic material and the formation of a variety of multi-textural sonic atmospheres.


Marios Valinakis- Tenor Saxophone & Live Electronics

Sakis Tsinoukas- Guitar

Alexis Delis- Electric & Double Bass

Panagiotis Kostopoulos- Drums

Interval and Instance – Matthew Gallery, Tuesday 19 – Friday 22

Interval and Instance is an installation by audiovisual artist Jules Rawlinson exploring archival visual material from the pioneering scientific filmmaker Eric Lucey, adding sound design and composition that reflects on and responds to Lucey’s studies. Join us at the opening by reserving a ticket and a drink here:

Lucey’s film-making was defined by his manipulation of speed, motion and scale as tools for observing behaviour using a variety of techniques, most famously time-lapse or very high-speed film, and microphotography. The subjects of films vary from cells dividing and crystals forming, insect and animal behaviour, human motion and physical process as well as exploratory studies into feedback, interference and pattern. All of these aspects provide a useful prompt for developing sonic and musical processes that support and draw attention to the visual character of the films.

While the work is non-narrative, the clips have been assembled to provide moments of continuity and contrast. The sound design and composition makes use of extensive layering, time-stretching and time-compression, extreme pitch-shifting, physical modelling and frequency carving to create unexpected points of audition which offers audiences a detailed and engaging audio-visual experience that incorporates spectralism, minimalist repetition and granular detail. The work was originally conceived as a live performance for the Edinburgh International Film Festival, and has been reworked for Dialogues for mutable multiscreen and multichannel presentation.

sounding physical models

Wednesday 20th February, 2019

Roxy Art House, Edinburgh, doors 6:30pm, gig 7-8pm map:

Tickets available here:

We’re very happy to be able to present a concert of work by a variety of composers who worked with the Acoustics and Audio group as part of the NESS (Next-generation Sound Synthesis) project, which ran jointly between the Reid School of Music and the Edinburgh Parallel Computing Centre between 2012 and 2016.

The goal of NESS was to develop physics-based algorithms for sound synthesis, get them running reasonably fast on a GPU-based supercomputer, and then work closely with composers in order to arrive at fully synthetic multichannel pieces of music.

All four of the composers that we worked with closely will be on hand to introduce and play their pieces in an eight-channel format:

Gordon Delap (NUI Maynooth): Ashes to Ashes (2013)

Trevor Wishart (University of Durham): Dithyramb-Kepler 63e (2014)

Gadi Sassoon (Independent, Milan): TBA

Tom Mudd (University of Edinburgh): TBA

The NESS Project was funded by the European Research Council, under grant number ERC-StG-2011-279068-NESS


pulsarAutomata, 10 channel installation for computer generated pluriphonic sound

pulsarAutomata by Marcin Pietruszewski in collaboration with Curtis Roads, Marcus Schmickler and Florian

The material point of departure for pulsarAutomata is a process of analysis and resynthesis of historicalsound recordings of pulsar synthesis, technique originally developed by Curtius Roads and popularised inhis book Microsound . Integrating a novel sound synthesis design, a machine listening techniques, and anoriginal spatialisation score, the work probes the possibility of the computational description of timbre as aform building approach. As such the work of pulsarAutomata should be seen as an algorithmic script for amultidimensional auditory scene formulation; sounding of timbre analysis and resynthesis which attemptsto reveal temporal, spatial and qualitative relationships between multiple renderings of a singular soundsynthesis model.

Opening on Wednesday 20th at 4pm – opening talks by Prof. Peter Nelson and Marcin Pietruszewski. Closing concert on Friday 22nd at 7pm