premieres and concerts
Agnus Dei
Choir with solo violin
Cathedral of the Divine Saviour, Ostrava, Czech Republic
29.8.23
Here, now
Exaudi (4 voices)
Chapter House, Durham Cathedral
1.2.23
Deux têtes dans les fleurs (premiere)
Lucy Goddard (mezzo soprano) and Siwan Rhys (piano)
Turner Sims, Southampton
9.1.23
A limit of hearing (premiere)
Darragh Morgan (violin)
The Watchtower Gallery, Berwick Upon Tweed
Berwick New Music International Composition
24.9.22
Shy but connected
Rothko Collective (string quartet)
Ilex Studios, London
1.10.22
Shy but connected (premiere)
Rothko Collective (string quartet)
Ravenscourt, London
1.10.22
Everything has two endings (premiere)
Distractfold (violin, viola, cello)
Durham University Music Department
7.7.22
Here, now (premiere)
Exaudi (4 voices)
Wigmore Hall, London
31.5.21
Conferences
Poster presentation on notational research
BFE/RMA Research Students’ Conference
Northumbria University, 10-12 January 2023
Everything has two endings: composing correspondences between embodied sound and ensounded bodies (paper)
Sound/ Image: 22 Conference
University of Greenwich, 18-20 November 2022
Projects
the aesthetics of imperfection
Since 2018, I have been involved with the aesthetics of imperfection, a project that explores central issues of creativity in music and other arts: improvisation and spontaneity.
Should perfection be pursued in good art, or does imperfection also yield aesthetic value?
The phrase ‘the aesthetics of imperfection’ is attributed to jazz historian Ted Gioia, who used it as a defense for why we remain interested in the ‘haphazard art’ of improvisation despite its alleged flaws.
In 2020 I helped copy-edit The Aesthetics of Imperfection in Music and the Arts: Spontaneity, Flaws and the Unfinished, a volume that represents a co-option of the aesthetics of imperfection by commentators across the arts, challenging the idea that it is uniquely associated with improvisation or music.
Via writings by musicians, researchers, architects, dancers, comedians and more, each chapter offers a unique perspective on the possible significance of the aesthetics of imperfection. The book further develops, explores and critiques the idea propounded by Andy Hamilton that the aesthetics of imperfection does not in fact concern art of less aesthetic value, but constitutes a positive response to the contingencies that occur during performance or production, finding virtue in the ‘unfinished’.
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