David Worrall (composer): Difference between revisions
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Since 2000 he has been working as a freelance composer, experimental artist (e.g. <i>The Twins</i> and researcher with a growing interest in the human voice, both acoustic and synthetic (e.g. algorithmic poems such as <i>A doing resounds</i> and the extended Text-To-Speech work <i>I am on the net</i> as well as the continued development of PIPES works such as the large scale collaborative<i>Alien Garden<i>. In addition to this work he acts as a regional editor for [[Organised Sound]] (Cambridge University Press). |
Since 2000 he has been working as a freelance composer, experimental artist (e.g. <i>The Twins</i> and researcher with a growing interest in the human voice, both acoustic and synthetic (e.g. algorithmic poems such as <i>A doing resounds</i> and the extended Text-To-Speech work <i>I am on the net</i> as well as the continued development of PIPES works such as the large scale collaborative<i>Alien Garden<i>. In addition to this work he acts as a regional editor for [[Organised Sound]] (Cambridge University Press). |
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Worrall has won various composition and research awards and has held artist-in-residence and visiting fellowship positions in universities in Australia, France, Spain, the USA and in the UK, where most notably he was [[Leverhulme]] Fellow in the Music Department at the [[University of York]] in 1996. He was a founding member of the [[Music Council of Australia]]<ref>[http://www.mca.org.au/ Music Council of Australia]</ref> and the [[Electronic Music Foundation]] and has served on a number of organisational boards, including the [[Australia Council]]’s Music and Innovative Projects (later Mixed Media) Boards, the [[Australian Music Centre]] and as president of the [[Australasian Computer Music Association]]<ref>[http://www.acma.asn.au/ Australasian Computer Music Association]</ref>. |
Worrall has won various composition and research awards and has held artist-in-residence and visiting fellowship positions in universities in Australia, France, Spain, the USA and in the UK, where most notably he was [[Leverhulme]] Fellow in the Music Department at the [[University of York]] in 1996. He was a founding member of the [[Music Council of Australia]]<ref>[http://www.mca.org.au/ Music Council of Australia]</ref> and the [[Electronic Music Foundation]] and has served on a number of organisational boards, including the [[Australia Council]]’s Music and Innovative Projects (later Mixed Media) Boards, the [[Australian Music Centre]], where he is a Represented composer, and as president of the [[Australasian Computer Music Association]]<ref>[http://www.acma.asn.au/ Australasian Computer Music Association]</ref>. |
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== Notes == |
== Notes == |
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Revision as of 10:15, 5 June 2009
David Worrall (born 25 October 1954) is a prominent Australian composer and sound artist working in sound sculpture and immersive polymedia (a term he coined in 1986) as well as traditional instrumental music composition. He performs and exhibits internationally. Worrall studied music composition at The University of Sydney with Peter Sculthorpe, Ross Edwards, where he also studied mathematics and Western philosophy, and The University of Adelaide with Richard Meale and Tristram Cary.
Worrall's creative practice encompasses a number of endeavours: instrumental and electroacoustic composition, sound poetry and sound installations including those that utilise PIPES[1]. He is an accomplished programmer in several computer languages and has developed software for music composition, text transformation and sonification. His PhD was on the development of a software framework for the sonification of information in large or high-frequency multivariate datasets, such as those from securities trading engines.
Worrall was appointed to the Faculty of Music at Melbourne University in 1979 to teach musical composition and undertake research in computer music. In addition to composition, orchestration, twentieth-century techniques and free improvisation, in 1981, before the advent of the personal computer, he designed and taught the first undergraduate course in computer music in Australia using a mainframe computer, and MusicC (a development of CMusic) and Gary Nelson's Music Programming Library (written in APL). His music from this period includes the prestigious Albert H. Maggs Award commission Images for Two Pianos and the Seymour Group commissioned Glass Games for ensemble and computer–generated tape; the first such Australian work in this format. Other notable works from this period include Mixtures and re-collections and ...with fish scales scattered...
In 1986 he was appointed Director of the Electronic Music Studios at the Canberra School of Music. He established and became the Foundation Head of the Australian Centre for the Arts and Technology (ACAT) (now Centre for New Media Arts) at the Australian National University in 1989, a position he held for over a decade. During that time ACAT offered the first Australian postgraduate degrees in multimedia: considered a sub-discipline of the Electronic Arts, along with electroacoustic music and computer animation. Worrall's output from this period is dominated by electroacoustic (e.g. Harmonie du Soir), polymedia (e.g. Cords) computer animation soundtracks (e.g. En Passant Marcel Duchamp) as well as his continued interest in combining acoustic instruments with electroacoustics (e.g. Air).
Since 2000 he has been working as a freelance composer, experimental artist (e.g. The Twins and researcher with a growing interest in the human voice, both acoustic and synthetic (e.g. algorithmic poems such as A doing resounds and the extended Text-To-Speech work I am on the net as well as the continued development of PIPES works such as the large scale collaborativeAlien Garden. In addition to this work he acts as a regional editor for Organised Sound (Cambridge University Press).
Worrall has won various composition and research awards and has held artist-in-residence and visiting fellowship positions in universities in Australia, France, Spain, the USA and in the UK, where most notably he was Leverhulme Fellow in the Music Department at the University of York in 1996. He was a founding member of the Music Council of Australia[2] and the Electronic Music Foundation and has served on a number of organisational boards, including the Australia Council’s Music and Innovative Projects (later Mixed Media) Boards, the Australian Music Centre, where he is a Represented composer, and as president of the Australasian Computer Music Association[3].
Notes
References
- Bandt, R. 2001. Sound Sculpture. Sydney: Fine Art Publishing. Pages 36-37.
- Bebbington, W.E. 1997. (Ed.) The Oxford Companion to Australian Music. Melbourne ; New York : Oxford University Press. Page 599.
- Broadstock, B.E. 1995. Sound Ideas: Australian Composers Born Since 1950, a guide to their music and ideas. Sydney: Australian Music Centre. Pages 56-57.