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Audiotechtonics: Composing for Percussion and Electronics

The overarching aim of this work has been to develop and design integrated systems and performance techniques that are musically effective, time-synchronised, practical and reliable.

Background

Percussion instruments are thought to have been the first musical instruments to have been invented, early civilisations often using them to send signals, as a means of communication. These relatively simple instruments continue to evolve today through the people responsible for producing them, new technologies that influence the way in which we create and consume music and those who push the boundaries of musical expression and experimentation to innovate and create new forms, styles and genres of music.

The project

Funding from a range of organisations including the Foundation for Arts and Creative Technologies (FACT), the Arts Council of England and NESTA has enabled the University’s Matthew Fairclough to develop a series of musical compositions for percussion and electronics.

Through a ‘Powerplant’ collaboration with one of Britain’s most diverse percussionists, Joby Burgess, Matthew’s research has encompassed:

  • experimenting with new ways of working with percussion and electronics, including creating new software patches in “MAX/MSP”
  • experimenting with new and ancient instruments
  • testing new sound processing and looping equipment

The overarching aim of this work has been to develop and design integrated systems and performance techniques that are musically effective, time-synchronised, practical and reliable.

His work has included producing and delivering recordings, international concerts and workshops that have enabled a wide range of audiences, locally, nationally and internationally, to access and engage with Contemporary Art Music featuring percussion and live electronics.

This was sound where the most surprising musical magic can sometimes happen – and so it did.

- Review by Alan Cooper on Sound Scotland

Outcomes

Matthew’s research has delivered a number of cultural and economic impacts that have benefited both individuals and organisations alike. Specifically his work has helped:

  • Create greater public understanding and appreciation of new music and performance techniques
    deliver enhanced education to secondary school students studying music
  • Enhance the profile and creative practice of percussionist Joby Burgess, introducing, not only him, but other performers to a new range of skills
  • Provide opportunities for the creative outputs and development of visual artist, Kathy Hinde whose interdisciplinary approach combines different art forms frequently through collaboration with practitioners, partnerships with scientists, and input from audiences
  • Deliver performance, creative and career development opportunities for other composers
  • Product innovation - through a collaboration with a manufacturer of musical instruments.

Matthew’s unique skills and experiences have led to collaborations with a large number of people including: Luciano Berio, Jonathan Harvey, Willard White, John Harle, London Sinfonietta, Smith Quartet, Asko Ensemble, Glyndebourne Opera, SPNM, CMN, Psappha, Britten Sinfonia, James Wood, Andy Sheppard, Kathy Hinde and Anoushka Shankar.

His compositions have added to a sparse repertoire, rarely encountered outside of a Higher Education setting. Three of these compositions have been performed internationally and recorded on two CD releases - Audiotectonics III, was selected for a special New Year’s Day edition of Radio 4’s ‘Late Junction’ in 2008, with subsequent broadcasts in Ireland and Australia. Furthermore, Audiotectonics III, Carbon Copy and The Boom and the Bap are all available for download via commercial websites and all have received positive reviews.

In May 2014 Matthew performed some of these pieces with Powerplant during a concert in St George's Bristol. You can find out more about this performance in Richard Barnard's review.

Fairclough's digital processing and his balancing of electonic and live sound was exemplary, exploiting the clear acoustic at St George's Bristol.

- Richard Barnard

Matthew Fairclough lectures on Music Technology and Electronic Music Composition and is Director of the studios and music technology facilities at the University. He is also a composer with many public performances and radio broadcasts to his credit.