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The Centre seeks to:

• Foster a radically interdisciplinary environment for staff and students at the University Â鶹¾«Ñ¡ working on electronic music.
• Engage with local communities and creative industries in Birmingham to exchange knowledge and practices and collaborate on researching and making electronic music.
• Foster international networks and collaborations to deepen the understanding of electronic music as global heritage.
• Reflect and promote the culturally diverse history of electronic music, including in its research, practices, participants and audiences.

• Luis Manuel Garcia-Mispireta
• Christopher Haworth
• Annie Mahtani
• Simon Smith
• Scott Wilson
• Maria Witek

Adebimpe Akinyemi is a sound designer and MA Research student at the University Â鶹¾«Ñ¡. She studies the connections between live coding, electronic music, and urban subcultures. Her study examines the effects of incorporating music programming into urban areas on nightlife and art culture. There is a particular emphasis on London, Berlin, Lagos, and Rio de Janeiro. She investigates the historical and contemporary dynamics of live coding, examining how it connects local music practices with global cultural landscapes, fusing artistic expression with technological advancements. The goal of her project is to investigate if and how live coding can serve as a platform for collaboration and innovation in various creative communities and subcultures by placing electronic music as both a cultural and technological entity. Her study is guided by ethnographic techniques, and programming practices to propose new frameworks for analysing the intersection of music, technology, and culture.

Lou Barnell is an award-winning vocalist, sound and performance artist, one of Sound and Music's Composers, and one of She was winner of the, supported by The PRS Foundation and BBC Radiophonic Institute in recognition of innovation in sound and technology. As a neurodivergent woman, her music communicates her synaesthetic experience of sound, hyperfocus and sensory overload. She uses wearable instruments and sculptures to create music, and to contain, shape and release her body and voice, and to create a soft immersive approach to performance she calls 'Live Dreaming'. This concept reconsiders her body as a mirror, reflecting and refracting parallel states of dreaming and performance. She emulates this duality in her work by creating scores and live performances with sculpted, shapeshifting, re-useable materials such as ice and thermoplastic.

Tamara Batty is a PhD Music Candidate at the University Â鶹¾«Ñ¡, U.K. specialising in the ethnomusicology of Arab music. She has a particular interest in contemporary manifestations of the aesthetic notion of á¹­arab in the twenty-first century. Her thesis evaluates á¹­arab's resurgence in the fusion genre electro-tarab - a merge of twenty-first century electronic dance music and twentieth century Arab music. This thesis is an interdisciplinary piece with an affective lens. It looks to propose a new analytical framework for á¹­arab analysis in the twenty-first century in response to new, emergent genres such as electro-tarab. Her research also aims to improve the understanding of á¹­arab in twenty-first century contexts. In particular, looking at electro-tarab as a representative example of the Arab popular music scene in diasporic communities.

Valentina Bertolani works on experimental and electronic music, collective improvisation, and physical objects, and immaterial and embodied practices that stem from these experiences. Currently she is working on the project "Archiving post-1960s experimental music: Exploring the ontology of music beyond the score-performance dichotomy". This addresses the theoretical, ontological, methodological and ethical issues that arise from archiving the heterogeneous instruments, objects, electronic devices, software, and custom-built materials that have been at the heart of sonic arts for the past 70 years. This project is supported by a Marie SkÅ‚odowska-Curie Fellowship at Carleton University and the University Â鶹¾«Ñ¡.

Zach Dawson is an experienced composer-performer and researcher. He is undertaking a practice-based PhD in music composition at the University Â鶹¾«Ñ¡, supported by an AHRC PhD studentship. His practice-based research attempts to deconstruct music’s medium by composing through non-sonic media. Recent output includes:

• ‘ImageAudio’ (ongoing post-digital event score anthology), initiated in 2024
• ‘music to compose music to’ (website), released in 2024
• ‘Selling You Dreams’ (video installation), premiered at the Orpheus Institute (BE) in 2023
• ‘Piece X’ (outdoor sound installation) premiered at BEAST (Birmingham ElectroAcoustic Sound Theatre) FEaST 2022.

Zach writes music under the experimental electronic music duo 7balcony and co-founded the experimental music concert series Post-Paradise Series. He is a Postgraduate Teaching Fellow for the Academic Writing Advisory Service at the University Â鶹¾«Ñ¡. He is also an editor for Makings, an open-access journal on the cultural and creative industries based at Birmingham City University.

Chelsey Dykes is a PhD Music candidate, specialising in the musicology of late twentieth-century popular music. She is particularly interested in US Industrial music and its mainstream success in the 1990s. Her thesis delves into the history of Industrial music, narrowing in on 1990s US Industrial music (via a case study on Nine Inch Nails’ 90s output). She studies the music genre’s connection with industrialisation and its connection with American history, culture and subcultures. Her research aims to provide a “more than just a name” outlook on the connection between US Industrial music and industrialisation. She will do this by bringing in affect theory and standardisation.

George Edmondson is a sonic artist, researcher, and composer focused on the potential of sound within ethnography. He advocates for its use beyond recording to propose sound as a means for collaborative, reciprocal, and democratised documentation and exhibition. In partnership with communities, his research frequently explores the recontextualisation of sound and its impact on perceptions of space, memory, perspective, and meaning. Edmondson's research and compositions have been presented and disseminated at international concerts and conferences. This includes SEAMUS in New York, NIME in Auckland, Sonorities in Belfast, and the Spatial Audio Gathering in Leicester.

Marty Fisk is a composer from Gloucester. He is currently studying a PhD in Electroacoustic Composition. His research interests include electroacoustic live performance, novel sound interfacing technologies and interactive works. His research explores the dynamics between performer, audience, and sound. It is being carried out under the supervision of Professor Annie Mahtani and Dr Christopher Haworth. He also previously completed both his MA and BMus at the University Â鶹¾«Ñ¡.

Gabin Kim is a violinist and PhD student at the University Â鶹¾«Ñ¡. She received an MA in Music Performance Practice from the University of York with distinction. She also received completed a BMus in Violin Performance from Keimyung University (Korea) with a merit-based full scholarship. Her research focuses on violin performance practice in electroacoustic music, with the objective of exploring the violin’s extended possibilities with electronics. The methodology includes incorporating the practice into literature and analysing compositions. In 2023 and 2024, she was selected as a Young Artist by the Arts Council Korea and will perform a recital project titled 'Violin and Electronics' in Seoul. This project aims to introduce electronic music composed for the violin to a wide audience. She is also interested in areas such as electroacoustic composition and sound studies.

Daniel Lee is a Music PhD candidate whose research focuses on the history and decline of queer nightlife in post-apartheid South Africa. Their thesis brings together stands of social history, cultural geography and nightlife studies. It seeks to chart both the history of the rapid expansion of queer nightlife in the last 15 years of apartheid and explore the multiple postcolonial futures of queer nightlife practices within the current context of significant decline. In addition to this broad ethnomusicological focus, Dan is particularly interested in processes of DJing, events organising, music production and the development and queering of South African electronic genres such as Gqom, Bacardi and Amapiano. Dan's academic interests are also represented in contemporary musical practice. Dan has established themselves as a promoter and DJ in Johannesburg and Cape Town's queer nightlife scenes over the last three years.

Sam Riley is a PhD student in musicology. His current research studies the cultural politics of late and post-Soviet experimentalism. This history begins in Leningrad in the late 1970s. It looks to samizdat reception of free jazz and the post-war avant-garde in order to better understand Soviet discourses of free improvisation. It covers the 1980-90s, following a transnational circulation of Soviet tape collage and the emergence of electronica and rave culture during the Soviet dissolution. It ends in the mid-1990s, turning to multimedia performance art, to speculate on the influences of late Soviet aesthetics on early cybercultures of Eurasian nationalism. Prior to this project, Sam researched live electronic music by looking to the music of David Tudor and the political reception of American experimentalism on the world stage. In addition, he coordinates the EERG with Tamara Batty and Valentina Bertolani.

Jake Williams cut his teeth playing live electronics with the Warp-signed avant-jazz band Red Snapper. He created music and sound design for major TV shows and the occasional well-received techno record. He currently works as a DJ, producer, researcher, and educator with particular interest in radical creative applications of digital DJ technology. He is completing a practice-based PhD at the University Â鶹¾«Ñ¡ that sits at the intersection of black electronic dance music, soundscape composition, and experimental turntablism. He is also a founder member of the electronic free improv group Spectral Karaoke.

Hardware

• Make Noise Tape Microsound Modular System
• Buchla Music Easel Synthesizer
• Arturia Keystep Pro Sequencer
• Behringer Blue Meanie Synthesizer
• Organelle M Synthesizer
• Livenware Texture Lab
• Technics 1210 Turntables
• Pioneer XDJ –RX3 CDJ System
• Native Instruments TRAKTOR Kontrol
• Allen and Heath Xone 96 Mixer
• Roland TR8 Drum Machine
• Behringer TB03 Bass Synthesiser
• Roland SP404 Sample Player
• Arturia Keylab
• Woojer Haptic Vest

Recording equipment

• Sound Devices Mix Pre 6 II recorder
• Eigenmike 64
• Sennheiser Ambeo
• Soundfield ST200

Performance systems

• BEAST (Birmingham Electroacoustic Sound Theatre)
• Genelec Ambisonic Loudspeaker Dome
• IKO Ambisonic Speaker

Software

• Reaper
• Ableton Live
• Supercollider
• Max MSP
• Sonic Visualiser
• Traktor
• Spat Revolution

• (Bertolani) 
• Music and the Internet: Towards a Digital Sociology of Music (Haworth) 
• (Witek). 
• (Garcia-Mispireta).
• Sounding Change (Mahtani)
• (Wilson)
• BEASTmulch (Wilson)

We teach several modules in the Department of Music focusing on electronic music research, composition and performance.

• Electronic Music Studies
• Sound Studies
• Studio Composition
• Sounding Images
• Sonic Alchemy
• Advanced Studies in Electroacoustic Composition
• Composing for the Creative Industries
• Introduction to Sound Recording
• Experimental Musics
• Music as Critical Practice
• Music Festivals
• Introduction to Global Popular Music