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Theology | Martin O’Connor

Composer/sound designer with Martin O’Connor for A Govan of the Mind/Theology, performed at The Pearce Institute as part of The Arches Behaviour Festival in April 2014.

Nominated for a CATS Award 2013-14 – Best Music and Sound Category

The show is in two parts: Part 1, Theology is a Glaswegian-dialect version of the Catholic Order of Mass, with composition by Oliver Searle, performed with a local male choir brought together for the production; and Part 2 A Govan of the Mind is a non-narrative epic poem celebrating the beauty of our everyday language.

Design: Rachel O’Neill, lighting design: Kate Bonney, choir leader: Matt Regan. See here for full team and more info.

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KPC Sound Mix/GI Festival of Visual Art

KPC Sound Mix is a sound artwork commissioned by Kinning Park Complex and Open Jar Collective for Broth Mix – a food-based project that will run in KPC for two weeks during Glasgow International Festival of Visual Art from 7th – 14th April 2014.

The sound artwork is a collage of field recordings, interviews, and music clips that presents a snapshot of KPC. The piece  will be available on MP3 players with headphones at KPC during the two-week period and can be downloaded here at KPC Sound Mix.

Many thanks indeed to all the contributors!

Interviews and field recordings

Ammy Jay, Amrik Kanr, Anne Davidson, Catherine Weir, Chris, Clem Sandison, Helen Kyle, Kinning Park Complex, Lindsay Keenan, Nicole’s dance class, Reuben Chesters – Locovore, Women’s cooking/gardening group

Music Clips

Death Rattle/Tricky
Erin Scrutton, Nichola Scrutton, Kirsty Ewing, Barbara Chalmers, Michelle Drumm

Luskentyre and Stevie Jones
Martin Douglas (tuba)

Sokobauno Puppet and Object Theatre
Shane Connolly (composer; reading; performance – accordian, percussion), Stevie Jones (recording), Alasdair Roberts (guitar), Georgie McGeown (flute)

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HearAfter

Ohrenhoch Gallery, Berlin

Originally produced by the Gallery of Modern Art, HearAfter was installed in the Round Room on the 2nd floor balcony from 25th October – 2nd December 2013.

HearAfter is a contemplative, immersive pre-composed sound installation inspired by the life cycle, memory, and the process of decay. HearAfter is a pun on ‘hereafter’, which means ‘in the time to follow’ and is often associated with questions about experiences after death. With this in mind, the piece HearAfter, through the present moment of a listening experience, at one level might be heard to tap into memory – a sense of something past, gone, altered or retold, but at the same time could suggest a kind of anticipation of a future that is both factually certain yet remains unknown.

While the human voice is often considered primarily as a communicator of words, I am artistically interested in its potential as sonorous, expressive and sculptural material. The sounds of breathing and an array of vocal gestures weave together with other abstract sounds into a collage of overlapping cycles and collisions.

Producer curator Katie Bruce talks, after the preview, about our first meeting and the HearAfter work at the GoMA blog

Performances

2014
Transnational Express, Auricle Sonic Arts Gallery, Christchurch, NZ
Ohrenhoch Sound Gallery, Weichselstr. 4912045 Berlin-Neukölln

2013
25 Oct – 2nd Dec, Gallery of Modern Art, Glasgow, Scotland

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24 Stops | Sarah Tripp

24 Stops Radio Artwork

Collaboration with  Sarah Tripp on 24 Stops radio artwork

“The work is a sequence of hourly chimes, one for each hour of the day. The chimes combine percussion and spoken word to reflect the character of a given hour and mark the passing of the day.

‘24 Stops’ was written and performed by Sarah Tripp
Composed for radio by Nichola Scrutton.
Percussion  was performed by Nichola Scrutton, Fritz Welch and Mark Vernon and recorded by Iain Donnelly.

‘24 Stops’ was developed on the inaugural Radio Writing residency at Camden Arts Centre with the support of University College London Hospital Arts.”24 stops

24 Stops was written and performed by Sarah Tripp and composed for radio by Nichola Scrutton. Photos © Sarah Tripp

24 Stops was later broadcast on Radiophrenia every hour on the hour for 24 hours  in 2016.

 

 

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One Autumn Night


One Autumn Night  is an encounter, a dialogue between two contrasting kinds of musical material: one is human and lyrical, using voice sounds and simple sung melodic fragments, the other is clearly digital and artificial but is subtly inflected with speech-like gestures.  The drama, which unfolds in two waves, is a negotiation that nods to the complexities of striving for a thoughtful interaction between humanity, technology and nature.

Events include: 2013 Acoustic Frontiers, Radio, Ottawa, Canada, 2012 RadiaLx, Radio Art Festival / 88.4 FM, Lisbon, Portugal, Basic.fm, broadcast by Pixel.Palace, Newcastle upon Tyne, UK, WEALR, 2012 New Music Festival , Cal State Fulerton, US. 2011 Lights Out Listening Group, The Old Hairdressers, Glasgow

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Lifeguard | Adrian Howells

Lifeguard   was a site-specific performance created and performed by Adrian Howells, in collaboration with Mike Brookes, Minty Donald, Rob Drummond, Ira Mandela Siobhan, Jane Mason, Nick Millar and Nichola Scrutton. Produced by National Theatre of Scotland and The Arches in association with Govanhill Baths Community Trust

Performances: 5th – 27th October 2012, Govanhill Baths, Calder Street, Glasgow.

Exploring the emotional and psychological effects of water, from its therapeutic qualities to our overwhelming fear of it, lifeguard re-evaluates the place of swimming in our lives as a health-promoting and life-saving activity.

 

 

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Word of Mouth

Word of Mouth is fixed medium work (4′) that uses the human voice as the only sound source. Structurally the piece uses gestural phonemes to project a range of non-linguistic vocal sounds on the breath, which are extended and woven together to evoke metaphorical and spatial associations.

Selected Performances

CAAA Centre for Art and Architecture Affairs, Portugal (Fringe Música Viva 2013)
Radio 6: Cafe Sonore, Netherlands (Musica Viva Sound Garden)
France Musique Radio: ‘Electrain de Nuit’, Christian Zanesi (Musica Viva Sound Garden)
Música Viva Festival Sound Garden, Lisbon, Portugal (2012)
RadiaLx, Radio Art Festival / 88.4 FM, Lisbon, Portugal
Lights Out Listening Event, Glasgow

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Code Butterfly | Curious Seed

Curious Seed\'s Code ButterflyJoint composer with Erin Scrutton for Code Butterfly, a site-specific performance created by Curious Seed Dance Company for the Leith Festival, Edinburgh, (involving 5 professional performers, (dancers/ aerial artists, singer) and 15 young women from the Leith area. Performances: Out Of The Blue, old Drill Hall. Edinburgh.

Directed by Christine Devaney
Designed by Karen Tennant
Production Manager: John Riddell
with Jennifer Patterson, Skye Reynolds, Kaela Rowan

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Fretwork

Fretwork (2013) draws its compositional language from the intimate physical gestures associated with playing the guitar – the act of plucking becomes transformed metaphorically into a range of percussive attacks, pops and clicks. While the piece unfolds as an abstract sound collage, fragments of recognisable guitar sounds emerge and recede amidst more decorative falsely extended vibrations and resonances. Available at Bandcamp

Selected Performances

Acoustic Frontiers, CKCU 93.1, Canada
Last Friday Listening Room UCSD, Enter the Octagon, UC San Diego, US
Sweet Thunder Festival of EA Music Listening Room, San Francisco
Radio Circulo FM100.4  Madrid
NoiseFloor Festival, Stafford, UK
Featured on Thrmnphone Netlabel Album, Spain
New York City Electroacoustic Music Festival 2013, US
Undae Project, Madrid, Spain
Lights Out Listening, The Old Hairdresser’s, Glasgow

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Lateral

Nichola Scrutton Lateral

Originally commissioned and created for High-Slack-Low-Slack-High – a suite of audio works relating to the Clyde River curated by Minty Donald for GI Festival of Visual Art – Lateral was made as a live, site-specific installation set in Dixon Street, Glasgow. Subsequent to that event I created a studio version of the work.

Background info

Dixon Street is a main thoroughfare that runs from the river directly up through the city’s main shopping artery. The aims of the work were to highlight a sense of disconnection from the river and to create multiple cross currents by merging the river sounds of Lateral and the sounds of the city environment. The work was projected over large horn speakers mounted in the street between two buildings, creating a view down to the river. Six vocalists added a further layer of human presence with their resonant tones both emerging out of and being subsumed by the undulating sound density of the site.

The starting point for the work was the idea of a ‘Lateral System’ – a system of navigational aids comprising shapes, colours and numbers, used to guide boats up river channels into ports and docks. However, the multiple resonances of the word ‘lateral’ took on greater significance in the work through the associations and digressions that emerge with the notion of a flowing river. Place names, numerical information from tidal charts and signal/radio sounds serve as signposts along the way, rooting the work in a real world place. But the perpetual flow of water and the periodic rhythms of a vocal landscape contribute to a sense of multiple spatial and historical resonances, and to ideas of flowing with and against the current.

Many thanks indeed to Claire Docherty, Kirstie Edgar, Jessica King, Morag Stark and Hanna Tuulikki for their live vocal contributions both on site at Dixon Street and at the closing event in the Clydeport Authority Headquarters.

Performances/events include…

2016
‘Inter-#6’ (Glasgow)
Curated radio show ‘Glasgow Soundscapes’ WebSynRadio (France)
2015
Curated listening hour at Brooklyn Acoustic Ecology Festival (US)
LOLG project Shona Island (Scotland)
2014
(25 Feb – 2 March)
Here. now. where? Saout Radio, 5th Marrakech Biennale
(12 – 18 January)
Framework Radio broadcasts
12th london, uk ::: resonance 104.4fm
13th amsterdam, nl ::: concertzender
13th vancouver, us ::: radio nouspace
14th south devon, uk ::: soundartradio 102.5fm
14th maribor, si ::: radio marš 95.9fm
15th lisbon, pt ::: radio zero
15th vancouver, us ::: radio nouspace
16th coimbra, pt ::: rádio universidade de coimbra 107.9fm
16th lisbon, pt ::: radio zero
17th ljubljana, si ::: radio študent 89.3fm
17th brussels, be ::: radio campus 92.1fm
17th vancouver, us ::: radio nouspace
18th london, uk ::: resonance 104.4fm
18th new york state, us ::: wgxc 90.7fm
18th brasilía, br ::: rádio paisagem
2012
Foldover, WOBC 91.5 fm, Ohio
Time/Zones, Akademie der Kunst, Berlin
AIR/EAR Installation, Radio-System, Argentine

High-Slack-Low-Slack-High, GI Festival, Dixon Street, Glasgow
High-Slack-Low-Slack-High, GI Festival, Clydeport HQ, Glasgow

 

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Teaching Fellow University of Glasgow

After being awarded my PhD from University of Glasgow I worked as a Teaching Fellow in Music there for two years.

Glasgow Unesco City of Music

2009-2011 University of Glasgow (Music)
Teaching Fellow (0.6 fte)

In brief, areas of work included:

Sonic Arts Levels II and III;
Practice-based Composition Workshops;
Contemporary Music Ensemble;
Lectures in Music and Technology;
Advising UG Dissertations and students on the MLitt in Popular Music Studies (Creative Practice);
First GLEAM concert organiser and host;
Music Education Project Organiser;
Course Administration.

2004-2009  University of Glasgow (Music):
Graduate Teaching Assistant

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Songs for a Stranger

Songs for a Stranger - SolitudeSongs for a Stranger is a collection or cycle of five electroacoustic works that draws metaphorical inspiration from the many senses of the word ‘stranger’.

Everyone feels like a stranger sometimes – when travelling somewhere new; returning home; confronting solitude. Some feel estranged in close intimacy; others find connection through anonymity.

Songs for a Stranger movements:

i  A Fragile Memory (4’40)
ii  Blowing In (5′)
iii  Solitude (4’26)
iv  I Said You Said (5′)
v  In the Midst (4’39)

The piece was premiered in the intimate ‘dark space’ at The Arches LIVE! Festival in September 2011, performed and diffused over a 4-channel speaker system. I invited Swiss vocalist Céline Hänni to rehearse and perform the work for Arches Live. Sound diffusion: Graeme Truslove. Many thanks indeed to all at The Arches.

Songs for a Stranger was further supported by a Creative Scotland Quality Arts Production Award.

 

 

 

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SoundAround at Perth Concert Hall

SoundAroundSoundAround was a mental health music/sound workshop and performance project co-facilitated with Erin Scrutton.

Over 10 weekly sessions we created a range of musical materials using voice, drumming, percussion and recorded sounds to create a final live interactive performance for the ‘Come Awa’ In’ opening weekend of Perth Concert Hall in Scotland.

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Songs for a Stranger Reviews

**** Joyce McMillan, The Scotsman 23/0911, Arches Live!, Glasgow

……And down at the rough end of the basement, in a bare tunnel of a room, there’s composer Nichola Scrutton’s Songs For A Stranger, a 25-minute piece that moves beyond the limits of language into five segments of abstract electronic sound, accompanied by the increasingly fierce and brilliant vocal improvisations of Scrutton and her performing partner, Celine Hanni. There’s a central moment of meditation – titled Solitude – that recalls the deep resonances of Tibetan chant; then a final, shattering visit to what sounds like a dying rainforest, as a fierce richness of animal sound gives way to crackling cataclysm, and the soft, low sigh of a final breath….

*** Mary Brennan, The Herald (“…as a live performance, full of vertiginous vocal techniques, it was always impressive…”)

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All We’re Skilled In | Plantation Productions

All We’re Skilled In was a film, sound art and heritage project run in partnership with Plantation Productions, Glasgow Film Theatre and Scottish Screen Archive. Erin Scrutton and I worked with young carers in Glasgow to create atmospheric sound tracks for silent film clips using original historical footage of the Govan shipyards and the people who worked there. The film below, made by Jamie Dempster, is a short documentary of the project itself. The film has had several screenings, including the Glasgow International Film Festival.


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Panic Patterns by Louise Welsh and Zoë Strachan

Panic Patterns – sound design commission for theatre

I was commissioned by Glasgay! as composer/sound designer for Panic Patterns  by Zöe Strachan and Louise Welsh. The work was further supported by  a Creative Scotland New Music Award. The play was directed by Alison Peebles and ran from 19th – 30th October at the Citizens Theatre, Glasgow.

Reviews

“… sound designer Nichola Scrut(t)on’s noises off for comfort…” ****The Herald

“Nichola Scrutton’s sound design plays a starring role…” Broadway World

“…an atmospheric set and soundscape…” ***The Scotsman

“…while Nichola Scrutton’s ghost-radio music……add to a twitchy atmosphere” Times Higher

@zoestrachan
@louisewelsh00
@NicholaScrutton

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Simpozeum | Sarah Tripp

I composed electroacoustic music for Simpozeum – a live performance by writer and artist Sarah Tripp.

Sarah created three spoken word/gesture performances: customs, objects, people, as part of ‘(Sim-poze-um)’, a collaborative installation event  by four Glasgow-based artists created for Glasgow International Festival of Visual Arts. The performances took place in the Jeffrey Room, Mitchell Library, Glasgow.  The music for the performances was projected and diffused through a four-channel speaker system.

 

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Hold Your Breath

Hold Your Breath 5Hold Your Breath was a large-scale visual/sound art project set up to improve the entrances/exits to the Clyde Tunnel, with the participation of the Whiteinch and Linthouse communities at each end of the tunnel.

I composed the various contributions of source sound and music into one large 40-minute work, which was to be projected by radio into the cars traveling through the Clyde Tunnel.


 

 

 

 

Various groups were involved in creating sound/music source materials for the soundscape: Paragon Ensemble working with St Jerome’s and Whiteinch Primary Schools; Art Form with Bryan Tolland; Tigerstyle and Dhol Infusion drummers; and the MacAlpine Family all contributed. I worked with Paragon Ensemble in the schools, gathering up sounds/songs from the children, the playground and surrounding streets, and recorded songs at the MacAlpine’s (four generation) family party

(photos courtesy of Kathy Friend)

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Sustenance


Sustenance is a studio composition (14’37) that explores human interaction with objects and processes that make up our daily existence. The sound materials progress through sections, each defined by a specific sonic/material character drawn from the objects and processes used in cooking. At a higher level of structure, the work traces a general transformation from dry to wet, reflecting decay. Selected for various international broadcasts, SONUS online listening library and for NAISA Deep Wireless 7CD, produced in Toronto, Canada.

 

 

 

 

 

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GLEAM concert University of Glasgow

I am delighted to have organised the first GLEAM electroacoustic concert in the University of Glasgow Concert Hall. A call for works drew of 60 submissions. The event includes fixed medium works by:

Christian Banasik, Géraud Bec, Iain Campbell, Timothy Cooper, Jonas Foerster, Annelie Nederberg, Felipe Otondo, Dale Perkins, Calum Scott, Pei-Yu Shi, Graeme Truslove, Matt Walch.

Date and time: Saturday 20th March 2010 at 6 pm.

Free entry.

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Academic Awards

Academic Awards and Qualifications

2009 PhD in Electroacoustic Composition, University of Glasgow
Portfolio ‘Hearing Voices’ 

Funded by an Arts and Humanities Research Council Award – selected from open competition (2005 – 08)

2005 MMus in Composition, University of Glasgow

Supported by a Bellahouston Scholarship and a Broomhill Scholarship

2004 BMus (Hons) First Class, University of Glasgow

The Goudie Prize ‘Most Distinguished BMus Hons Graduate’.

 

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Hooks + Bites | Glow Co-Create

Sound artist and facilitator in the creative team of Plan B Collective, who were awarded £30,000 for a Glow Co-Create project  Hooks + Bites for the Curriculum for Excellence (2010-2011). The project worked in partnership with Perth Concert Hall, Perth and Kinross Council, Learning and Teaching Scotland and Creative Scotland. Hooks + Bites was one of ten education projects across Scotland commissioned to take artists into schools to work with pupils to generate creative content for the national schools intranet, Glow.  

The Hooks + Bites project culminated in an exhibition in Perth Concert Hall’s unique media art space Threshold and included a digital audio-visual artwork on its soundbox, bank of screens and sound/audio unit in the public toilets. Plan B Collective was later selected to present a seminar on the ‘Hooks + Bites’ project at the 2010 Scottish Learning Festival.

Creative Team: Fiona Fleming, Nichola Scrutton, Erin Scrutton and Barbara Chalmers.

Watch a film about Hooks + Bites

 

More on Glow Co-Create

The Co-Create project has been set up through a partnership between the Scottish Arts Council (Creative Scotland) and Learning and Teaching Scotland.  GLOW Co-Create recognises the important role the arts can play in learning, in supporting and enhancing the Curriculum for Excellence, and in developing innovative new approaches to learning and teaching through Glow.

Managed by Learning and Teaching Scotland on behalf of the Scottish Government, Glow is the world’s first national intranet for education.  It provides a platform for online collaboration and sharing and allows Scotland’s 54,000 teachers and 750,000 pupils to work and learn in ways that have not been possible before.  Glow is breaking down barriers and making learning experiences and opportunities more widely accessible to users across Scotland. Also read more at TES news.

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Move Mood | Sarah Tripp

I composed electroacoustic music for Move Mood, an observational documentary film by writer and artist Sarah Tripp. Screenings at X-Ray at the Persevence, London, Diversions Film Festival, Edinburgh Filmhouse, Artists Film & Video at the BBC Glasgow (in association with the National Gallery of Modern Art and the Glasgow International Festival of Visual Art). Here’s an excerpt from the film.