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Torsten Anders


    Torsten Anders - ICCMR, University of Plymouth.

Steve Bingham

    Steve Bingham studied violin at the Royal Academy of Music. In 1985 he formed the Bingham String Quartet, an ensemble which has become one of the foremost in the UK, with an enviable reputation for both classical and contemporary repertoire. The Quartet has recorded numerous CDs and has worked for radio and television both in the UK and as far afield as Australia. The group has toured in Europe, the Middle East and Australia and has worked with distinguished musicians such as Jack Brymer, Raphael Wallfisch, Michael Collins and David Campbell. The Quartet is also known for it’s many performances of new works by some of the best young composers in Britain.

    Steve has appeared as guest leader with many orchestras including the BBC Scottish Symphony Orchestra, the Scottish Chamber Orchestra, English National Ballet and English Sinfonia. He has given solo recitals both in the UK and America and his concerto performances include works by Bach, Vivaldi, Bruch, Prokofiev, Mendelssohn and Sibelius, given in venues as prestigious as St. Johns’ Smith Square and the Royal Albert Hall.

    In recent years Steve has developed his interest in improvisation, electronics and World music. Steve's debut solo CD "Duplicity" was released in November 2005, and has been played on several radio stations including BBC Radio 3 and Classic FM. Steve is currently working on a second solo CD.

    For more information please visit www.stevebingham.co.uk.


Tom Collins

    Tom Collins -The Open University.

    Tom holds a BA in Music from Robinson College, Cambridge, and a BA in Maths and Statistics


Jamie Forth


    Jamie Forth

    Intelligent Sound and Music Systems (ISMS),
    Goldsmiths, University of London.
    Jamie Forth is a musician and programmer, currently working towards a PhD at Goldsmiths in the area of creative music systems. He holds degrees in music (BMus 2003) and electroacoustic composition (MA 2004) from City University, London. Current research includes developing methods of automated analysis, with the aim of discovering salient patterns of repetition in large collections of symbolically represented music. The purpose of this research is to generate empirically grounded training data for creative musical agents. Previous research has focused primarily on issues of aesthetics and techniques in live coding performance.

Marcelo Gimenes

    During his Master’s degree at the University of Campinas (Brazil) pianist Marcelo Gimenes developed a computational model for the analysis of vertical structures in piano jazz improvisation. He is currently finishing a Ph.D. at the School of Computing, University of Plymouth, where he developed a multi-agent interactive computer system (iMe - Interactive Musical Environments) inspired in perceptive and cognitive human abilities for the investigation of the emergence and development of musical styles. Marcelo is also researching a number of computer-based musicological tools at the University of Huddersfield.


Pat Hill

    Patrick Hill

    The Open University

    Pat is an independent researcher associated with the Department of Computing at the Open University. His research interests include aspect oriented programming and music computing. He holds a BSc(Hons) in Information Technology, an MSc in Advanced Software Technology and a PhD in Computing. He is a Chartered Engineer, a Member of the British Computer Society, a Chartered IT Practitioner, a Fellow of the Institution of Analysts and Programmers and a Member of the IEEE.
Simon Holland

    Simon Holland is a former choral scholar at Truro Cathedral, and a co-founder of Liverpool electronic band ‘Ex Post Facto’, with whom he performed at the Hammersmith Odeon, London. As a core member of the seminal international centre for participative art, Great Georges Project, he played key roles in the creation of the musique concrète recordings ‘Symphony in Sea’ and the ‘Blackie Christmas Oratorio’.

    He is Founder and Director of the Open University’s Music Computing Lab. As part of his PhD in Artificial Intelligence and Music he invented Harmony Space, an innovative family of computational music tools. Holland has extensive experience of designing innovative, empowering musical interfaces for performance, composition and pedagogy, which are informed by the cognitive science of music, music theory and musical practice. The new technologies created in this way typically exploit cross-modal mappings and novel blendings of embodied schemata, to make non-verbal musical relationships accessible to beginners, while facilitating novel insights for musical experts.

    Holland was joint invited speaker at CHI/Interact on ‘HCI and Music’. He devised the principle of Direct Combination, a novel approach to human computer interaction that re-formulates and simplifies device inter-operation for end-users, as cited by Sony Tokyo, Nokia, IBM, BT, Xerox Parc, Telecom Italia and other industrial research labs. He invented the 3D spatial audio interface AudioGPS. He was one of four core members of the M206 team, winners of the BCS award for IT, and a Design Council Millenium Design Award.


Sergi Jordà

    Sergi Jordà is coordinator of the Interactive Systems area inside the Music Technology Group of the Audiovisual institute and associate professor at the Pompeu Fabra University of Barcelona.

    Sergi (Madrid, 1961), began his computer music activities in 1984, after graduating in physics and abandoning saxophone. Since then he has always tried to combine with the greatest flexibility and interrelation, research, theoretical thought and artistic creation.

    During the eighties he works on speech synthesis and explores machine music listening and improvising computer systems, performing with the Spanish experimental group Clónicos, and also composing electronic music and soundtracks for films, videos and dance projects.

    Since the beginning of the nineties, he works in wider multimedia projects, installations and performances, often collaborating with other visual and performing artists such as Konic Thr (IO-Zn and Kapsula-K), La Fura dels Baus (F@ust Music On Line and DQ), Cristina Casanova (web-DQ) and Marcel.li Antunez. With the former, he has created the pigskin robot JoAn, the Meat Man (1992), Epizoo (1994-95), an interactive performance which has been showed in more than twenty European and American countries, and Afasia (1998-99).

    His main research lines are sound/image interrelation (the Video Choreographer software), computer music improvisation and collective music composition through the Internet (F@ust Music On Line).

    He has written many articles, books, given workshops and lectured though Europe, Asia and America. He currently performs with the free-improvisation electronic group FMOL Trio. He has received several awards, including the Ciutat de Barcelona in multimedia category in 1999.

Robin Laney

    Robin Laney

    Music Computing Lab, The Open University
    http://crc.open.ac.uk/mc


    Centre for Research in Computing, The Open University
    http://crc.open.ac.uk

    Robin Laney is assistant Director of the Open University's Music Computing Lab.
    His interests include software engineering for music computing systems and computer generated music. He is a member of the Open University's Centre for Research in Computing.

Marc Leman

    Marc Leman

    Research professor in systematic musicology, head of the department Art-, Music and Theatre Studies of Ghent University, and director of the research institute IPEM.

    http://www.ipem.ugent.be
    Marc Leman (1958) holds a PhD in Musicology. He has a record of more than 150 publications in the field of systematic music research (journals: Music Perception, Science, Journal of New Music Research; books: Springer, MIT Press). In 2007, he was involved in writing a European roadmap for Music and Sound Computing (S2S2, 2007). He won the Methusalem-project prize from the Flemish Government for his project on musical embodiment.

    His research focus is on how people engage with music in different signification practices, in particular, how people move to music and what this contributes to experience. He is a pioneer in the epistemological and methodological foundations of (social) embodied music cognition, with implications to cognitive ergonomy for music applications, development of social music interaction concepts, studies of user feedback.

Janet van der Linden

    Janet van der Linden

    Music Computing Lab, The Open University

    Janet van der Linden is a lecturer in the Computing Department and member of the steering group for the Open University's Music Computing Lab. Her interests are in the areas of constraint satisfaction problems and aspect oriented software development.

Thor Magnusson


    Thor Magnusson

    University of Sussex
    Thor Magnusson is an Icelandic musician/writer/programmer working in the fields of music and generative art of all kinds. He is currently working on a PhD at the University of Sussex where his research is focused on the semiotics of computer music interfaces, human-machine interfaces and the sociology of programming computer music. He teaches courses on computer music and algorithmic and interactive systems in the University of Sussex Music Informatics course and the Sonic Arts course of Middlesex University. Thor is mainly interested in improvisation, live performances, installations and audio software production. He is a co-founder and member of the ixi audio collective and with ixi he has written various musical software and given workshops and talks in institutions all over Europe on the design and creation of digital musical instruments and sound installations.

    For further info on ixi please visit: <http://www.ixi-software.net/>www.ixi-audio.net

    Thor has presented and performed in various festivals and conferences, such as Sonar festival, Transmediale, ICMC (International Computer Music Conference), NIME Conference (New Interfaces for Musical Expression), Ertz festival, Impact Festival, Soundwaves festival, Cybersonic festival, Ultrasound festival, Pixelache, and various others.


Alan Marsden

    Alan Marsden

    Senior Lecturer in Music and the Lancaster Institute for the Contemporary Arts, Lancaster University.

    Alan Marsden is a Senior Lecturer in Music and the Lancaster Institute for the Contemporary Arts, Lancaster University, editor of the Journal of New Music Research, the leading journal in the area of scientific, systematic and technological research in music, and author of Representing Musical Time: A Temporal-Logic Approach.

    His research has been directed at the development of computational systems which allow us to reach a deeper understanding of how music presents an aural environment which captivates a listener's attention. Currently, with the support of a research-leave grant from the AHRC, he is working on software to implement Schenkerian theory (a quasi-grammatical theory of music which reveals underlying hierarchical structures).

Alex McLean

    Alex McLean

    Goldsmiths College, University of London
    Alex McLean is a programmer/musician and PhD student working within the Intelligent Sound and Music Systems group in Goldsmiths Digital Studios. His current research is in symbolic and geometrical representations of timbre, both for live coding and creative systems.  He performs as one third of the live coding band 'slub' (http://slub.org/) together with Adrian Ward and Dave Griffiths, making people dance to their algorithms at festivals across Europe including Sonar, Ars Electronica and Club Transmediale.

    Alex is co-organiser of the long-running `dorkbotlondon' electronic art meetings (http://dorkbot.org/), co-founder of the Transnational Organisation for the Promotion of Live Algorithm Programming (TOPLAP - http://toplap.org/), co-organiser of the annual London Placard Headphone Festival (http://leplacard.org/) and programmer of the runme software art repository (http://runme.org/).

Eduardo Miranda

    Eduardo Miranda

    Professor in Computer Music at the Interdisciplinary Centre for Computer Music Research (ICCMR), University of Plymouth.


    http://cmr.soc.plymouth.ac.uk/

    Eduardo Miranda served as a research scientist at SONY Computer Science Laboratory in Paris, before moving to the University of Plymouth in 2003 to establish the Interdisciplinary Centre for Computer Music Research (ICCMR) in the Faculty of Technology where he currently is Professor in Computer Music.  His compositions are regularly performed in concerts and festivals worldwide. His latest solo CD, “Mother Tongue”, featuring compositions for voice - human and synthesised - was released by Sargasso Records, London. A review of this CD by Bryan Motron in Wire reads  “... These are immensely sophisticated pieces that constitute an electronic global music of convincingly organic simplicity.” He is the regional editor for South America of Organised Sound (CUP) and member of the editorial boards of Leonardo Music Journal (MIT Press) and Contemporary Music Review (Routledge).

Philip Tagg

    After studying music in Cambridge and education in Manchester, Philip Tagg (b. 1944) moved to Sweden in 1966. From 1971 to 1991 he worked at the University of Göteborg, helping in the foundation of a new music teacher training college and completing his doctorate in 1979 on the semiotic analysis of television music. In 1981 he co-founded the International Association for the study of Popular Music (IASPM). In 1991 he returned to the UK to initiate the Encyclopedia of Popular Music of the World (EPMOW). From 1993 until 2002 he taught at the Institute of Popular Music at the University of Liverpool. He was appointed Professor of Musicology at the Université de Montréal in November 2002 where he teaches such subjects as Analyse de la musique populaire anglophone and Musique et images en mouvement..

    Trained in the classical tradition as an organist and composer, Tagg has also composed a number of choral works, as well as in the 1970s writing songs, playing keyboard and producing albums in the rock/pop sphere. He has written, coproduced or otherwise collaborated in a number of educational radio projects relating to popular music and written extensively on the semiotics of popular music.


Lawrence Zbikowski

    Lawrence Zbikowski is the author of Conceptualizing Music: Cognitive Structure, Theory, and Analysis (OUP, 2002), which was awarded the 2004 Wallace Berry prize by the Society for Music Theory. His research focuses on the application of recent work in cognitive science (especially that done by cognitive linguists and cognitive psychologists) to various problems confronted by music scholars. These problems include the nature of musical syntax, text-music relations, the organization of improvisational traditions, and the structure of theories of music. During 2003-2004 he was a fellow at the National Humanities Center, where his project concerned the development of a cognitive grammar of music. This work is the subject of his next book, By Crystal Fountains: Music, Language, and Grammar. He is presently director of a special project for the University of Chicago Division of the Humanities on creativity and cognition. He is co-chair, with David Huron, of the 2009 Mannes Institute on music and the mind, at which he will also serve as a member of the faculty.