Music and Sound Art

From the early 1990s to around 2004 I was active in music composition. I subsequently turned to making installations and visual and audio-visual works: click on one of the headings at the left side of the page for details.

This page is under construction. Links to more information are coming.

This page lists some of my works in music composition and sound art.

In the list below "tape" means any fixed sound medium (currently CD-R or computer sound files).

If you are looking for information about a piece that is not listed here, please contact me.

What are You Really Thinking?

Multi-channel tape piece, duration 5 mins 0 secs (2004)

A sonification of brainwave data.

For Death Has Climbed In Through Our Windows

For SATB choir and chamber orchestra, duration 13 mins (2004).

A setting of a text from the Book of Jeremiah (the same text as for Lament Over Jerusalem). Written for the Gosford Philharmonia Choir.

Peace and Quiet

Surround sound tape piece, duration 9 mins 10 secs (2002).

A soundscape of Kangaroo Island, South Australia; a quiet and peaceful place (usually).

Many Worlds Theory

For harpsichord and tape, duration 11 mins 10 secs (2001).

The inspirations for this piece were the "many worlds theory" in quantum mechanics and 30 bars of a piece by J.S. Bach.

Guyuhmgan (Georges Lentz)

For orchestra and computer-generated tape

Piece for orchestra and tape by Georges Lentz, with tape part realised by Gordon Monro, duration 10 mins (2001).

Peer Pressure

Tape piece, duration 5 mins 0 secs (2000/1)

This piece is a simulation of a process which allows a large number of fireflies to flash together in unison. Can a few mavericks resist the relentless pressure of the group, once it forms?

Lament Over Jerusalem

For cello and tape, duration 8 mins 35 secs (1998).

This piece is an abstract setting of a text from the Book of Jeremiah (later set again in For Death has Climbed in Through Our Windows). The tape part consists of recorded cello sounds, processed by means of wavelet transforms.

The Voice of the Phoenix (2)

For bass flute (or contrabass flute) and tape, duration 11 mins 35 secs (1997)

The tape part is digitally synthesised, and consists of the output of the same chaotic oscillator used in The Voice of the Phoenix (1).

The Voice of the Phoenix (1)

Tape piece, duration 5 mins 5 secs (1996)

This piece is digitally synthesised, and consists of the output of a (discrete version of a) chaotic oscillator.

Mandala 1086

Tape piece, duration 6 mins 35 secs (1996)

Consists entirely of sine waves. An interpretation in sound of a mathematical formula which, when interpreted geometrically, produces a mandala-like diagram.

Dry Rivers

Tape piece, duration 12 mins 0 secs (1995)

This piece was done entirely by digital synthesis with fractal waveforms, and consists of interacting percussive rhythms.

New Stars

For vibraphone and glove-controlled synthesiser, duration 10 mins (1994)

This is a partly improvised piece with a strong visual element, as the performer with the glove has to make large and sweeping gestures. Collaboration with Alice Cohen.

Dry Choices

Tape piece, duration 5 mins 25 secs (1993)

This piece consists of a few "dry" sounds heavily digitally processed. It exists as an independent work, but was part of the audio-visual piece "Dry Solace", about the Somalian civil war and the Australian Army's presence there (directed by Martin Wesley-Smith).

Old Tom's Numerical Prophecies

For SATB choir and two Yamaha TX81Z synthesisers, duration 8 mins (1991)

A setting of four verses from the sequence "Charms and Prophecies for a Tarot Pack", by Thomas Shapcott.