Dr Scott Mclaughlin
- Position: Associate Professor in Composition and Music Technology
- Areas of expertise: Practice research; composition; materiality; agency; indeterminacy; Experimental Music; Spectral Music; microtonality; chaos theory; ambiguity; emergent and self-organising structures.
- Email: S.McLaughlin@leeds.ac.uk
- Phone: +44(0)113 343 2545
- Location: 1.14 Music
- Website: LinkTree | Composer website | Twitter | Researchgate | ORCID
I was born in Ireland (Co. Clare) in 1975. I played in an indie-rock bands until my mid-twenties, I then studied music at the University of Ulster at Jordanstown where I gained a BMus degree in 2001. I completed a PhD (Strange Attractors: A Commentary on Applications of Indeterminacy in my Recent) at the University of Huddersfield with Pierre Alexandre Tremblay and Bryn Harrison in 2009.
I attended the Ostrava New Music Days summer school (2005, 2007), and the Irish Composers Summer School (1999–2001). I have previously lectured at the University of Huddersfield, and Brunel University.
In 2019–21 I was awarded an AHRC Leadership Fellowship for a compositional project on the indeterminacy of the clarinet.
Current Research Students
- Ed Cooper (2020–) ‘From the in-between: portfolio of original compositions and commentary’ (practice research)
- Jenni Hogan (2019–) ‘music and performer movement (practice research)
- Murray Royston-Ward (2019–) ‘vital materials in contemporary improvised music’ (practice research)
- Hannah Firmin (2018–) ‘translation as composition’ (practice research)
- Jacob Randell (2017–) ‘composition strategies for decoupled organ pipes’ (practice research)
- Martin Loridan (2017–) ‘Souffle: air and breath as a composition material’ (practice research)
- Stuart Mellor (2016–) ‘Site-specific composition using acoustic feature segmentation: An exploration into the timbre of space‘ (practice research)
- Caitlin Mockridge-Rice (2015–) ‘Creative practice and its modes of dissemination in the soundings of Hugh Davies’
Completed Research Students
- Manuel Farolfi (2017–) ‘John Cage in Italy: 1949–59’
- Michele Abondano (2018–21) ‘composition: timbre, light and darkness’ (practice research)
- Federico Pozzer (2018–21) ‘breath as musical regulator in composition and performance’ (practice research)
- Samuel Ridout (2017–21) ‘Musique concrète and the Language of Things 1948–1958’
- Max Erwin (2017–20) ‘Ghosts in the machine: A secret history of total serialism’.
- Symeon Yovev (2014–19) ‘Soundcastles: Playing with soundscapes, social spaces and composition’ (practice research)
- Timo Tukhanen (2016–20) ‘Mixed Signals: composition and touch’ (practice research)
- Alex De Little (2014–2019) [composition] ‘Spatial Listening’ (practice research)
- Arne Sanders (2014–2018) ‘composition and heterophony’ (practice research)
- Deputy Director of Centre for Practice Research in the Arts, & Centre for Audio Visual Experimental
- Director of Impact and Innovation
I am a practice researcher in composition, focussing on materiality and indeterminacy. My current research uses different methods to excite resonance in sounding bodies to exploit physical non-linearities and generate musical patterns/structures.<h4>Research projects</h4> <p>Any research projects I'm currently working on will be listed below. Our list of all <a href="https://ahc.leeds.ac.uk/dir/research-projects">research projects</a> allows you to view and search the full list of projects in the faculty.</p>
- PhD (practice-based), University of Huddersfield 2009
- MA Composition, University of Huddersfield 2005
- BMus University of Ulster (Jordanstown) 2001
- Association of Irish Composers
- RMA (Royal Musical Association)
Most of my teaching is on composition modules, and some music technology. I have a particular interest in helping composers develop into new areas and question the musical ideas they have inherited; while understanding that the ideas they've grown up with will always be the basis of their understanding.
I also have a special interest in interdisciplinarity (I made a MOOC), and different ways that disciplinary boundaries affect collaborative research.
Research groups and institutes
- Making Music