2016
Nick Sazenski
Using a Musicians Ancillary Gestures to Manipulate Automated Events Parameters within an Indeterministic Performance System
Using a Musicians Ancillary Gestures to Manipulate Automated Events Parameters within an Indeterministic Performance System
Frank Molloy
Exploring the feasibility of using Automatic Speech Recognition as a control parameter in the automation of live entertainment systems.
Exploring the feasibility of using Automatic Speech Recognition as a control parameter in the automation of live entertainment systems.
2015
Tadhg Murphy
Has Technology Failed the Performer and Audience: A Study on Augmented Musical Instruments
Has Technology Failed the Performer and Audience: A Study on Augmented Musical Instruments
Padraig Rynne
Co-Performance of electronic technology and the Anglo concertina in Irish Traditional music.
Co-Performance of electronic technology and the Anglo concertina in Irish Traditional music.
2014
Michael Maguire
Studio Practice as Live Solo Performance of Existing Pre-Recorded Digital Audio Using a Digital Musical Instrument Controller
Studio Practice as Live Solo Performance of Existing Pre-Recorded Digital Audio Using a Digital Musical Instrument Controller
Edmond Nolan
An Investigation into the Creative Approaches of Defining and Altering the Perception of Characters in Film Through Sound Design
An Investigation into the Creative Approaches of Defining and Altering the Perception of Characters in Film Through Sound Design
Previous Projects
2013
Matthew Roddy
A Method of Morphing Spectral Envelopes of the Singing Voice for Use with Backing Vocals
A Method of Morphing Spectral Envelopes of the Singing Voice for Use with Backing Vocals
Jonathan Madden
Do we prefer music with ultrasonic content? “An investigation into the potential, positive or negative perceptual effect of frequencies above the audible range of hearing”.
Do we prefer music with ultrasonic content? “An investigation into the potential, positive or negative perceptual effect of frequencies above the audible range of hearing”.
2012
