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Andrew Hugill (born 1957) is a British composer, writer and academic. He is both a professor of music and a professor of creative computing. He directs the Creative Computing programme at University of Leicester. [1]
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Andrew Hugill (born 1957) is a British composer, writer and academic. He is both a professor of music and a professor of creative computing. He directs the Creative Computing programme at University of Leicester. [1]
Andrew Hugill studied composition with Roger Marsh at the University of Keele between 1976 and 1980, [2] and in 1983 he founded the ensemble "George W. Welch". He began lecturing at Leicester Polytechnic in 1986, working alongside Gavin Bryars and Dave Smith, eventually becoming subject-leader for the BA Performing Arts: Music. He taught composition, performance and music history.
He founded the Music, Technology and Innovation programme [3] in 1997 at De Montfort University and taught Creative and Negotiated Projects, Musicianship and Internet Music.
In 2006 he founded the Institute of Creative Technologies and was its director until 2012.
In 2013, he set up Creative Computing at Bath Spa University.
In 2018, he founded the Creative Computing programme at University of Leicester.
Hugill is a Principal Fellow and a National Teaching Fellow of the Higher Education Academy. In 2006 he was Highly Commended for the Most Imaginative Use of Distance Learning by the Times Higher Education Awards.
Hugill has had a huge impact on the views of Aural Diversity.
Hugill's compositions include music for solo instruments and ensembles, orchestral music, and electronic and digital music.
In 2004, Hugill was nominated for the BT Digital Music Awards for his Internet project with the Philharmonia Orchestra – The Sound Exchange.
Some of his well-known works are: Pianolith (2003); the internet music project Symphony for Cornwall (1999); the electroacoustic composition Island Symphony (1995), an electroacoustic and subsequently orchestral work, inspired by St. George's Island; Brisset Rhymes (1990) and Catalogue de Grenouilles (1988) for massed frog recordings and human musicians.
Nocturne, for two pianos and percussion, was commissioned by BBC Radio 3 in 1997. His Sonneries Parfumées for piano solo won a prize in the Piano 2000 competition in Tokyo. Simon and Ennoia (1987), for small ensemble, was broadcast by the BBC in 1990.
Hugill's research is transdisciplinary and covers literature, music and computer science. He has published articles on aspects of surrealism in literature, digital music, and software engineering.
In 2008, Hugill published the book The Digital Musician in which he identifies the possibilities and challenges new technologies offer the modern musician. [4] A second, updated edition was published as an e-book in 2012. A third edition was published in 2018.
In 2012, he published 'Pataphysics: A Useless Guide, the first complete history of the subject in English. [5]
Hugill is an active researcher in 'pataphysics and a member of the Collège de 'Pataphysique, where he was awarded the Ordre de la Grande Guidouille and the rank of Commandeur Requis. He is the curator of the CD Pataphysics, a history of 'Pataphysics in sound.
'Pataphysics or Pataphysics is a sardonic "philosophy of science" invented by French writer Alfred Jarry (1873–1907) intended to be a parody of science. Difficult to be simply defined or pinned down, it has been described as the "science of imaginary solutions".
De Montfort University Leicester (DMU) is a public university in the city of Leicester, England. It was established in accordance with the Further and Higher Education Act in 1992 as a degree awarding body. The name De Montfort University was taken from Simon de Montfort, a 13th-century Earl of Leicester.
IRCAM is a French institute dedicated to the research of music and sound, especially in the fields of avant garde and electro-acoustical art music. It is situated next to, and is organisationally linked with, the Centre Pompidou in Paris. The extension of the building was designed by Renzo Piano and Richard Rogers. Much of the institute is located underground, beneath the fountain to the east of the buildings.
Mario Davidovsky was an Argentine-American composer. Born in Argentina, he emigrated in 1960 to the United States, where he lived for the remainder of his life. He is best known for his series of compositions called Synchronisms, which in live performance incorporate both acoustic instruments and electroacoustic sounds played from a tape.
Jonathan Dean Harvey was a British composer. He held teaching positions at universities and music conservatories in Europe and the United States.
Eduardo Reck Miranda is a Brazilian composer of chamber and electroacoustic pieces but is most notable in the United Kingdom for his scientific research into computer music, particularly in the field of human-machine interfaces where brain waves will replace keyboards and voice commands to permit the disabled to express themselves musically.
Hans Tutschku is a German composer.
John Palmer (1959) is a British composer, pianist, and musicologist, known also as a university professor. He has held teaching positions in England, Switzerland and Germany and has delivered masterclasses across universities and music conservatories throughout Europe. His music is published by Composers Edition.
John Young is an electroacoustic music composer born March 4, 1962, in Christchurch, New Zealand, and living in Leicester, UK.
John Stephen Richards is a British musician and composer working in the field of electronic music. Since 1999, he has predominantly explored performing with self-made instruments and creating interactive environments for composition.
Simon Emmerson is an electroacoustic music composer working mostly with live electronics. He was born in Wolverhampton, UK, on 15 September 1950.
Edson Zampronha is a Brazilian composer dedicated to contemporary experimental music. His works include pieces for orchestra, symphonic band, electroacoustic music, chamber music, sound installations, interactive works and music for films. His music makes an extensive use of rhetoric strategies to create new forms of musical tensions and musical discourses. His research focus on musical signification and it takes semiotics, music theory and technology as backgrounds.
David Worrall is an Australian composer and sound artist working a range of genres, including data sonification, sound sculpture and immersive polymedia as well as traditional instrumental music composition.
Organised Sound is an international peer-reviewed academic journal which focuses on the rapidly developing methods and issues arising from the use of technology in music today.
Javier Álvarez Fuentes was a Mexican composer known for compositions that combined a variety of international musical styles and traditions, and that often utilized unusual instruments and new music technologies. Many of his works combine music technology with diverse instruments and influences from around the world. He taught internationally, in the UK and Sweden, and back in Mexico later in his career.
James Harley is a Canadian composer, author, and professor of music born in Vernon, British Columbia. His creative output consists of orchestral, chamber, solo, electroacoustic, and vocal music.
Marc Battier is a French composer and musicologist.
Patrick Defossez is a Belgian composer, pianist and improviser of contemporary classical music. A Belgian citizen, he has lived in France for many years and divides his time between Belgium, Reims and the foothills of the Mont Ventoux.
Jeffrey Hass is a contemporary American classical composer of acoustic and electroacoustic music. He is best known for his compositions combining electronic soundtracks with solo instruments or with large ensembles such as wind ensemble and orchestra. He currently serves the Jacobs School of Music as professor emeritus.
Andrew Hugill is Professor of Creative Computing at the University of Leicester. He is also a Professor of Music and his principal research areas are composition, musicology, and creative technologies.
Andrew Hugill (1957) Between 1976 and 1980, he studied composition with Roger Marsh at the University of Keele.
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