A strong feature in my work output as a composer is the use of different styles as a structural element on the same level as melody, harmony, rhythm, and texture. This pluralistic approach very often leads to the use of multiple styles or elements belonging to different styles within a single composition, either in quick succession or even simultaneously.
I started my exploration of sound design while studying in Italy. My first explorations used CSound. This enabled me to taste the power that programming for audio allows. Today I use a mixture of synthesis and audio manipulation of pre-recorded sounds in my work.
I am very passionate about music and I believe that a conductor should be a role model for the members of an orchestra, band or group, and should engage and inspire the performers while enhancing their love for music and the pieces being prepared in particular.
I play various brass instruments and sung in choirs as a bass.
Currently, I play the French Horn with various orchestras as well as the Tuba with Accidentals with whom I recently went on tour in France.
I have experience in teaching music and music Technology in secondary schools, as well as at 6th Form level. I am also active as a private music tutor. I always aim to build my students' knowledge to the point where they become independent learners. Reading music is thought as part of this process in order to enable students to learn a new piece of music at the appropriate level unaided.
My research explores various aspects of music and the compositional process. I am interested in the dimension of time and its various manifestations in the organisation of sound as well as our perception of it. The initial stages of a composition are of particular interest to me. That very fragile moment when a composition can happen or not. The moment that changes a blank page into something physical no matter how rough it is. It is like a newly found diamond. How is it to be treated? What are the potentials of a newly captured idea?
A main feature in my work output as a composer is the use of different styles as a structural element on the same level as melody, harmony, rhythm, and texture. This pluralistic approach very often leads to the use of multiple styles or elements belonging to different styles within a single composition either in quick succession or even simultaneously.
During my PhD I developed a technique to create new musical material. This technique is built on Allen Forte's set analysis. It allows me to expand the material from an initial impetus to build a harmonic language that unifies the piece. From this I can develop either melodic elements or harmonies that tie in together.
If you would like to commission a new piece, or would like information about one of my pieces, please
I started my exploration of sound design while studying in Italy. My first explorations used CSound. This enabled me to taste the power that programming for audio allows. Today I use a mixture of synthesis and audio manipulation of pre-recorded sounds in my work.
Software that I use include Industry standards like Logic, Cubase and Pro Tools, all loaded with a variety of plug-ins.
I also use less known packages that might not be in mainstream use. For my PhD I explored a set of experimental software called The Composers' Desktop Project (CDP). From this I learnt various new approaches for manipulating sound.
If you would like to commission a new piece, or would like information about one of my pieces, please
I am very passionate about music and I believe that a conductor should be a role model for the members of an orchestra, band or group, and should engage and inspire the performers while enhancing their love for music and the pieces being prepared in particular.
I have experience in conducting various groups ranging from bands to choir to orchestra. Currently I am the Musical Director of the Leatherhead Orchestra. This orchestra rehearses once a week during term time and we prepare three concerts annually.
The repertoire that I conduct is varied and includes symphonies, overtures as well as selections from film music and musicals.
If you are looking for a conductor for your music group, band or orchestra, or you are planning to set up a new group and need a conductor, please
I have experience in teaching music and music Technology in secondary schools as well as at 6th Form level. I am also active as a private music tutor. I always aim to build my students' knowledge to the point where they become independent learners. Reading music is thought as part of this process in order to enable students to learn a new piece of music at the appropriate level unaided.
I follow the ABRSM syllabus and although exams are not compulsory, I do encourage my students to sit for these exams as they serve as a good stimulus and a target for progress. Past results show excellent achievements from my students. Elements of music theory are also covered during these lessons as the students learn how to analyse the pieces that they are studying.
I teach Piano and various brass instruments including Trumpet and French Horn. From time to time, I also have students studying Trombone, Composition and Music Theory.
If you are interested in learning more, please
My research explores various aspects of music and the compositional process. I am interested in the dimension of time and its various manifestations in the organisation of sound as well as our perception of it. The initial stages of a composition are of particular interest to me. That very fragile moment when a composition can happen or not. The moment that changes a blank page into something physical, no matter how rough it is. It is like a newly found diamond. How is it to be treated? What are the potentials of a newly captured idea?
These questions are what led me to explore the impetus of a composition using set theory. This analysis process was initially intended to analyse a finished piece in a reverse-engineering-like process. But why not apply it to an isolated instance of a short motif or group of notes?
The groups of notes that result from such exploration are then grouped in three sets which I call the Tonic group, the Subdominant group and the Dominant group. I lifted these three words straight out of tonal music and ignore completely the baggage that they carry from there (unless it is advantageous for my composition to make use of such baggage). The organisation of these three groups is based on the axis-tonality that I learnt from Bartók.
If you are interested in these subjects, please
As a qualified Sound Design Artist and Composer with extensive experience in various aspects of music, technology and teaching, Anthony currently practices as an independent music professional, engaging in various activities spanning from composition to conducting and from research to teaching.
Anthony studied music in Malta, Italy and the UK. He obtained his PhD in Music from the University of Surrey where his research concentrated on various aspects of the compositional process, elements of sound design, and experimental audio software tools.
He developed a technique to generate new musical material from an initial idea which is based on Allen Forte's set theory analysis technique and researched various experimental software for audio manipulation, including the COMPOSERS' DESKTOP PROJECT (CDP).
You can find more about Anthony on LinkedIn.
If you would like to discuss or ask questions about anything related to Anthony's activities, please
Brisk is a part of a show reel that I produced.
This is a set of ten very short pieces that can be used as ringtones for mobile phones.
This is a piece for Symphonic Band in 5 movements. Score and parts are available for performance from myself. Below you can hear a computer generated rendition of two movements. Go to soundcloud to hear the rest.
Slide 2 is concerned mainly with the idea of time as it is crystallised in music by the barline and the usually fixed lengths of the bars. Here, accents move around. Phasing has been explored in styles related to minimalism, and electronic music. A classical example of of phasing is György Ligeti's Poème Symphonique for 100 metronomes. Other composers have battled the tyranny of the barline. Some names to mention include Stravinsky and Carter, who is renowned for his metric modulations.
In slide 2 I wanted to juxtapose the different positions of the accents, and in fact, the piece start with the accent misplaced when compared to the meter of the music.
Music begins where the possibilities of language end
Do you have ideas or suggestions for collaborative work?
Would you like to perform one of my pieces?
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If you answered yes to any of the above, or for any other reason,
I would like to hear from you. Cheers.