Dr DUNCAN MACLEOD

Biography	Duncan’s practice utilises both acoustic and digital forces. His output encompasses concert music, participatory arts and interdisciplinary practice that draws inspiration from a diverse range of sources encompassing art, folklore, philosophy, anthropology and acoustic ecology as well as social and political issues. His work has been professionally commissioned, commercially recorded and broadcast internationally by various ensembles and soloists. These include the Arditti Quartet, Jane Chapman, Juice vocal ensemble, London Sinfonietta, Musarc, Ensemble Okeanos, Orkest de Volharding, Piano Circus and Quatuor Diotima. His work has been performed at various festivals such as Huddersfield Contemporary Music Festival, Spitalfields Festival, Gaudeamus music week (NL), Sonorities, and Bang on a Can Marathon (NY) and at prominent venues namely The Muziekgebouw (NL), Walt Disney Centre (USA), Southbank Centre, Kings Place and Café OTO. Upcoming commissions include works for SoundKarD, Fretwork and Galvanise Ensembles as well as a large-scale multichannel electro-acoustic work drawing upon the acoustic ecology of London’s markets in response to Orlando Gibbon’s The Cries of London. Duncan is an active performer (electronics) and founding member of the trio SoundKarD which specialise in the performance of contemporary electro-acoustic music. Upcoming projects include performances at NonClassical, SOUND Festival (Aberdeen), Walled City Festival (Derry) and a residency at the University of Ulster. He is also an experienced music animateur, leading large-scale composition and community music projects for organisations such as the RNIB, English National Opera, London Sinfonietta, Southbank Centre and Wigmore Hall. Duncan studied composition with John Woolrich at the Guildhall School of Music & Drama and at the Royal Conservatoire, The Netherlands, under the tutelage of Louis Andriessen, Clarence Barlow and Martijn Padding. He holds a PhD in composition from the University of Kent/Trinity Laban, where he studied with Michael Finnissy. He has also been awarded residences at Acanthes, the Banff Centre, Handel House Museum, iPark artist enclave and IRCAM. At present, Duncan is Assistant Professor in composition at the University of Nottingham and has taught composition at the University of Kent, Trinity Laban Conservatoire of Music and Dance, and Goldsmiths College, University of London.
Research Interests	My practice-led research explores spatial music, microtonality and manipulation of timbre utilising acoustic and electro-acoustic forces. This reflects a broader compositional interest in the exploration and creative manipulation of music perception and cognition. As such, I have research interests in spectator immersion and the blurring of spatial boundaries between performance platform and audience as well as challenging the traditional distinctions of high/low culture. This is realised through reinterpreting traditional performance spaces alongside exploring unconventional public spaces, engaging new technologies, and interdisciplinary practice. Microtonality and timbre are explored by way of non-equal and hybrid temperaments as well as the application of real-time digital signal processing/live electronics as an extension of acoustic instrumental/vocal technique.

Biography

Duncan’s practice utilises both acoustic and digital forces. His output encompasses concert music, participatory arts and interdisciplinary practice that draws inspiration from a diverse range of sources encompassing art, folklore, philosophy, anthropology and acoustic ecology as well as social and political issues. His work has been professionally commissioned, commercially recorded and broadcast internationally by various ensembles and soloists. These include the Arditti Quartet, Jane Chapman, Juice vocal ensemble, London Sinfonietta, Musarc, Ensemble Okeanos, Orkest de Volharding, Piano Circus and Quatuor Diotima. His work has been performed at various festivals such as Huddersfield Contemporary Music Festival, Spitalfields Festival, Gaudeamus music week (NL), Sonorities, and Bang on a Can Marathon (NY) and at prominent venues namely The Muziekgebouw (NL), Walt Disney Centre (USA), Southbank Centre, Kings Place and Café OTO. Upcoming commissions include works for SoundKarD, Fretwork and Galvanise Ensembles as well as a large-scale multichannel electro-acoustic work drawing upon the acoustic ecology of London’s markets in response to Orlando Gibbon’s The Cries of London.

Duncan is an active performer (electronics) and founding member of the trio SoundKarD which specialise in the performance of contemporary electro-acoustic music. Upcoming projects include performances at NonClassical, SOUND Festival (Aberdeen), Walled City Festival (Derry) and a residency at the University of Ulster. He is also an experienced music animateur, leading large-scale composition and community music projects for organisations such as the RNIB, English National Opera, London Sinfonietta, Southbank Centre and Wigmore Hall.
Duncan studied composition with John Woolrich at the Guildhall School of Music & Drama and at the Royal Conservatoire, The Netherlands, under the tutelage of Louis Andriessen, Clarence Barlow and Martijn Padding. He holds a PhD in composition from the University of Kent/Trinity Laban, where he studied with Michael Finnissy. He has also been awarded residences at Acanthes, the Banff Centre, Handel House Museum, iPark artist enclave and IRCAM.

At present, Duncan is Assistant Professor in composition at the University of Nottingham and has taught composition at the University of Kent, Trinity Laban Conservatoire of Music and Dance, and Goldsmiths College, University of London.

Research Interests

My practice-led research explores spatial music, microtonality and manipulation of timbre utilising acoustic and electro-acoustic forces. This reflects a broader compositional interest in the exploration and creative manipulation of music perception and cognition. As such, I have research interests in spectator immersion and the blurring of spatial boundaries between performance platform and audience as well as challenging the traditional distinctions of high/low culture. This is realised through reinterpreting traditional performance spaces alongside exploring unconventional public spaces, engaging new technologies, and interdisciplinary practice. Microtonality and timbre are explored by way of non-equal and hybrid temperaments as well as the application of real-time digital signal processing/live electronics as an extension of acoustic instrumental/vocal technique.