Masters Degree Completed / All Hail South East London

On the 3rd September, 2015 I submitted my creative project portfolio, which was the final piece of work I needed to submit for the completion of my Masters of Music (Composition) at Goldsmiths, University of London. It's been a pretty big year and i'm honoured and thankful to have the opportunity to have this experience which has allowed me to grow and develop as a composer in ways I never expected.

I'd like to thank my colleagues, fellow students and housemates for their support throughout this year, it would've been a whole lot tougher without you all.

The world post-masters is looking good, and i've already got a couple of big projects and interesting diversions lined up to be unveiled in 2016, which I will no double post about here in due course.

In the meantime, here is a work that formed part of my creative portfolio. All Hail South East London is a 12-channel audio/visual composition that explores different processes of sound manipulation I developed over the course of this Masters degree. All Hail South East London was premiered on the 17th July, 2015 at the Sonic Immersive Media Lab (SIML) in St James Church.


USA Premiere - Snowden (Social Network)

My 32-channel electronic work Snowden (Social Network) will recieve it's American premiere this September as part of the 2015 International Computer Music Conference at the University of North Texas, Denton. This performance will be accompanied on the program by presentations and performances by fellow West Australian composers Dr Cat Hope, Dr Lindsay Vickery, Dr Stuart James, and Aaron Wyatt.

The performance will take place 29th September, 2015 at the Lyric Theatre, Murchison Performing Arts Centre, University of North Texas.

Snowden (Social Network) was originally commissioned by Steve Paraskos and premiered at the Pakenham Street Arts Space on the 31st October, 2014.


Composit 2015

Bit of a retro-post now that the dust has settled. From 28-June til the 5-July I was fortunate enough to be selected for the 2015 Composit Festival. The festival was an intesive 8-day composition festival in the town of Rieti, Italy.

During this time I attended masterclasses, and had private lessons, with the tutors for the festival: Pierluigi Billone, Joshua Fineberg and Davide Ianni.

The festival culminated with a performance of my new work A - for alto saxophone, percussion, electric guitar and accordian. The performance was courtesy of Ensemble Composit: Vincent Daoud, Luca Piovesan, Tom de Cock, and Maarten Stragier.


Presentations at Goldsmiths Music Research Seminar and The Totally Huge New Music Festival Symposium

This week will be presenting two different pieces of original research. The first, at Goldsmith's Music Research Seminar on Tuesday 19 May, discusses my recently developed interactive electronics program Emanations.

ABSTRACT: Emanaitons is a powerful tool for expanding the possibilities of live improviation in both an acoustic and electronic context. Designed as a standalone system, Emanations responds dynamically to any potential input in a live performance, matching stored musical phrases with the incoming audio and outputting the result. This presentation will discuss how perceptual factors other than pitch and amplitude are integrated into the system, and how phrase matching is approached to generate the appropriate output.

The second research presentation will be at the TURA New Music Totally Huge New Music Festival Symposium on Thursday 21 May. Entitled NOIZEMASCHIN!! : A new model of live performance in Perth, Western Australia from 2011 to the present day, this paper will discuss the experimental music series Noizemaschin!! which I curated and co-created with SKoT McDonald. The paper will be presented by SKoT McDonald on my behalf.

ABSTRACT: This paper documents the creation of the experimental concert series Noizemaschin!!, and the emergent model of live performance on which the series was built. Noizemaschin!! was created in response to the lack of a regular experimental music night in Perth, and utilised an innovative format. In an attempt to break away from the existing culture of experimental music, and experimental music performance, Noizemaschin!! billed itself as a noise gig, a departure which was reinforced by Noizemaschin!!’s unique approach to curation, format, and community engagement. With Noizemaschin!! celebrating its fourth birth-a-versary in 2015, this paper concludes with a discussion of the role we hope Noizemaschin!! will play in Perth’s experimental musical future. 

As part of the Totally Huge New Music Festival a number of different graphical scores and concert posters are being exhibited at the State Library of Western Australia as part of the launch of the WA New Music Archive. An excerpt of my score The Days When Crows Would Watch Us Play II is on display as part of this exhibition, courtesy of Adam Trainer and Cat Hope. The exhibition is a fantastic collection of memoribilia of WA's New Music over the past 45 years.

More information here
Photo courtesy of Cat Hope


Sam Gillies featured on NFSA's Lateral Listening Program

I was fortunate enough to recently be approached by Tessa Elieff at the National Film and Sound Archive (NFSA) of Australia to put together a collection of my work for episode 8 of their soundcloud series Lateral Listening. The episode includes laptop, studio, and ensemble works, and hopefully gives an impression of the range of my work thusfar.

Each episode of Lateral Listening focuses on a different Australian artist, with the primary focus being genres associated with sound art and experimental musics. Past episodes include artists such as Cat Hope, Gail Priest, Daniel Blinkhorn, Kate Carr, Lawrence English and many more.

You can stream my episode and many others at the NFSA's soundcloud.