As part of the International Women’s Day 2019 campaign to #BalanceforBetter, Sound and Music showcase the profiles of 31 composers and their unique contributions to composition in the UK. Alumni Akiko Haruna and Guoda Dirzyte, current student Jade Gunner and DMSA Course Leader Dr Maria Papadomanolaki are profiled in the showcase that is part of the online archive of British Music Collection.
British Music Collection provides unparalleled access to the modern history of composition in the UK. Established in 1967 as a means for contemporary composers to deposit scores and recordings for performers to access, it now consists of almost 70,000 works and recordings from over 3000 20th and 21st century composers and sound artists.
The value in the collection is undeniable – providing access to over 50 years of contemporary composition – but it’s not without fault. The underrepresentation of female composers, or those who identify as female, across the original collection is stark, and a reminder of the progress that has been made, and must continue to happen, in and across new music.
Much of the British Music Collection now exists here online, and this provides a great opportunity to readdress this imbalance and the original aim of the collection: providing access to the work of contemporary composers.
All That Scratching Is Making Me Itch is a en event curated by Stephen Mallinder featuring films by our students Aki Purser, Jedd Winterburn along with a fine selection of Scratch Video films, live music and more.
We talk to Laurence Owen ahead of his masterclass on Monday the 26th. Laurence graduated from the course in 2011 and since then he has led an amazing career as a freelance composer, songwriter, sound designer and voice performer. He has written music for the BBC, Toyota, O2, Stella Artois, Sipsmith, ARTE, The Beano, Historic Royal Palaces and the V&A Museum, and provides sound design for critically-acclaimed multimedia theatre company 1927.
DMSA: Where do we find you now? LO: Physically, I’m catching up on some admin in my living room in Norwich. Mentally, I’m formulating the music and lyrics for an upcoming musical adaptation of Jekyll & Hyde that I’m working on.
DMSA: Three important words that represent you as a creative person LO: 1. Craft – I’m more interested in making things that serve a function than making things that exist purely for themselves.
2. Accessibility – I don’t personally subscribe to the “if anyone else likes what you’re doing, that’s just a bonus” philosophy (but completely respect anyone who does).
3. Narrative – I like stories, and I like making (and consuming) music and sound that involves storytelling elements.
DMSA: When did you start working with sound and music? LO: I started writing and recording music when I was 14. I really hope I’ve improved a little bit since then.
DMSA: In what ways has the DMSA course supported or helped you to develop into who you are today creatively and professionally? LO: Having the space, time, equipment and permission to work was, on its own, hugely helpful. But I also left feeling actively encouraged to blur the lines between sound and music, art and design, highbrow and lowbrow. The DMSA course taught me that there are no set paths into the creative industry, and no set careers when you arrive in it.
DMSA: Can you tell us a bit more about The Time Machine? LO: The Time Machine is the most recent of four productions I’ve co-written with my writer wife Lindsay for the Edinburgh Festival Fringe. It’s a musical adaptation of HG Wells’ novel, and although it’s a Victorian story, we’ve chosen to tell it in the style of a 1950s radio play. We have a table of foley sound effects, and I’ve written a Bernard Herrmann style B-movie score, as well as playing live theremin during the show. We’ve been touring the country with it for a year, and it’s just about to be retired so that we can work on our next production.
DMSA: Other plans for the future? projects, events, visions? LO: Our Jekyll & Hyde show is the next major project I’m working on. Aside from that, I’ve always enjoyed scoring factual/documentary work, so I hope to do more of that. I’m also seeking to score more experiential entertainment – theme parks, VR attractions, interactive museum installations, and so on. But truthfully, I never know what’s around the corner. That’s what keeps this job exciting, and a little scary… but in a good way!
Please pop in to the opening event of Imagined Title Sequences by School of Media students, which will be running in rotation from 4.30-6.00pm this Thursday the 22nd in the foyer of Edward Street.
The project was produced in association with CINECITY The Brighton Film Festival. All of the sequences have been made by the BA Design for Digital Media students in Level 5. Some of the students have used footage kindly leant by Screen Archive South East and some of the sequences have been made in collaboration with Level 5 students on the BA Digital Music and Sound Arts course.
It will also be screened on Fri 23rd, Sat 24th & Mon 25th Nov 10am-5pm.
Monday 26 November, 4:30-6, Performance Studio, GP
We are thrilled to have critically acclaimed composer Laurence Owen (DMSA alumni 2011) back to give a masterclass.
Laurence Owen (DMSA 2011) is a composer, songwriter, sound designer and voice performer. He has written music for the BBC, Toyota, O2, Stella Artois, Sipsmith, ARTE, The Beano, Historic Royal Palaces and the V&A Museum, and provides sound design for critically-acclaimed multimedia theatre company 1927. His film credits include the Sundance Film Festival official selection White Morning, which earned him two music award nominations at SoundTrack Cologne Festival. Laurence has produced music and sound design for productions at London’s Young Vic and Trafalgar Studios theatres, and was nominated for Best Theatre Sound at the ProSound Awards for his work on 1927’s Golem. He has also co-written four original musicals for the Edinburgh Festival Fringe (one of which won a 2015 Malcolm Hardee Award), and was composer and musical director of Cat & Mouse, a Village Underground and 1927 co-production.
About the session: How to be a Jack-Of-All-Trades Composer
For the last seven years, I’ve been professionally making music for a wide array of film, theatre, radio, TV and corporate clients – mostly just a few days’ work at a time. It’s not all been glamorous, but it has all been solid, paid composing work. By not specialising with laser-focus on any one area, I’ve built up a diverse and ever-growing network of clients that has provided me a livelihood.
In this session, I’ll tell you about the steps I’ve taken up to this point, ever-available opportunities that you could exploit, and how to keep you well-prepared and confident in this competitive field. Since DMSA students all have different specialities, I’d also like to find out your individual skills, and discuss how you might apply them to kickstart this kind of composing career.
We are happy to have Louise Colbourne from Design For Digital Media with us to lead two workhops on experimental film.
Places are limited so please email Louise (firstname.lastname@example.org) to secure your place. Information on the two sessions can be found below.
DIRECT ANIMATION Room:225 5pm 15th November 2018
This workshop will to offer you the opportunity to work directly with celluloid 16mm film using the technique of direct animation.
This is a practical workshop in which you will be provided some 16mm film stock to work on top of to create a loop of a few seconds in length. We will then join the loop and play the outcomes through a 16mm projector. It is possible to capture the projected images on a camera or phone if you would like to use them in the future.
You will also be shown how to effect and adapt the optical sound track.
The process of direct animation involves either scratching into the surface of the film’s emulsion to make sequential patterns and shapes, or drawing / painting images, textures and shapes on to clear leader.
CONTACT PRINTING Grand Parade Dark-room 7th February 2019
A further workshop will be held in a darkroom facility where you will be able to process your own short film strips. The technique used is contact printing (or photogram) and an optical soundtrack can also be created here. It is possible to create contact prints by exposing small objects and other film strips onto high contrast film stock which then creates an inverted, negative image.
Monday 12 November 2018 | 4:30pm | Performance Studio, GP
DMSA alumnus Alan Myson returns to share his experiences, skills and tips with our students.
The masteclass is going to be part practical demonstration of a load of techniques Alan use’s – breaking down a track/tracks from recent album and explore some examples of work from his career – alongside composing work for video games etc.
Alan Myson aka ‘Ital Tek’ is a recording artist and composer for Film, Video Games, TV based in Brighton UK
Over the past decade Alan has had an esteemed electronic music career. Signing to the renowned British record label Planet Mu in 2006 he has released five albums, many EPs and has toured playing live worldwide.
His 2016 album ‘Hollowed’ saw a more cinematic, abstract and impressionistic approach and was one of the most highly acclaimed electronic music releases of the year, cementing his reputation as one of the most exciting voices in electronic music.
Alan’s highly anticipated new Ital Tek album ‘Bodied’ was released on September 7th 2018.
Also working as a composer his music has been heard across BBC, ITV, Channel4, MTV, Amazon, National Geographic, The Discovery Channel, FX. And brands including Go Pro, Red Bull, DKNY, Google Glass, UEFA Champions League, Playstation.
Alan recently worked with BAFTA winning studio Roll7 composing the original score for the sci fi video game ‘Laser League’. The game released on Playstation 4, XboxOne & PC in May 2018 to critical acclaim.
The first session for our series of Masterclasses is led by our recent alumnus Jeph Vanger. The sesison is scheduled for Monday 22nd October, 4:30-6 in the Performance Studio (R225, GP).
More info on the session below.
Jeph Vanger is an Athens-born electronic composer, sound designer and loudspeaker enthusiast working with the medium of sound in connection with the fields of contemporary dance, theatre and installation art. He graduated from Digital Music & Sound Arts course at the University of Brighton last June and over the last couple of years, his works have been performed, presented or exhibited at Fort Process Sound & Art Festival, Tate Modern, London Design Festival, and Athens & Epidaurus Festival to name a few. He just finished his mini UK tour with the 3D audio installation Sφera and in addition, he’s working on various compositions for contemporary dance and theatre productions as well as working as a Performing Arts Technician.
Life in Sound: A freelancers perspective on how to make what you love, a profession.
During my lecture/presentation/workshop I will share my experiences as a freelance sound artist while giving practical guidance and perspectives on where to find sound and music related work, how to chase up projects, design your website & CV as well as sharing unusual stories from my freelance career. Most and foremost it will be about motivation on how to make the most out of the DMSA course and on how to make what you love a profession, not only after graduation, but also now, whilst still being at university.
Note: In case the students are willing to share their existing CVs and websites, it would be a great chance for discussion and exchange of ideas on how to adjust/improve them, based on their niche and their aspirations.
We are happy to launch our series of masterclasses for this semester with talks and hand-on presentations on music production, arts curation, sound design and composition for theater, dance, film and radio. Most importantly, for this first round of sessions we focused on bring back alumni of the DMSA course who have succeeded in the professional world along with current students and members of the newly established Creative Sound & Music Research and Enterprise Group.