York is a leading centre for research in Music Technology and digital composition. Research is conducted in the outstanding facilities of the Music Research Centre (mrc). The mrc supports research students at Masters and PhD level. In addition to published research in these areas, the technologies developed have been incorporated in composition, performance, improvisation and installation outputs by staff, research students and visiting practitioners. The Music Technology Group played a major role in the EPSRC Digital Music Research Network, and has sustained links with international centres for digital music research in Spain, Denmark and Italy. Current research includes the major AHRC funded research project investigating Electronica (2007-2010).
Ambrose Field is director of the electronic music studio at the Department of Music. He is a three time international award winner at the Prix Ars Electronica, Linz, with honoury mentions in 1996, 1997, 2006 for digital composition. His work is recorded on CD and DVD and is widely performed. Field's hard hitting electronic music is regularly broadcast on BBC Radio's 'hear and now', 'mixing it', and 'late junction' shows. The Guardian described his critically aclaimed 2006 album Storm! as "a riveting, futuristic action pic". Field is a leading specailist in surround audio, and is currently working with a number of international industrial partners in creating next generation immersive media.
Dave Malham’s professional interests are in digital audio and related computing systems, post-stereo multidimensional sound projection systems such as Ambisonics, electroacoustic music and recording engineering.
Tony Myatt is the Director of the Music Research Centre and principle investigator of AHRC’s New Aesthetics in Computer Music research project. His research and teaching is based in four areas: contemporary aesthetics in computer music; the perception of spatial sound, composition and performance of computer music and audio art.
Tony has recently returned from Seville, Spain, where he created the sound for a major installation called The Morning Line - described as an 'anti-pavillion'.