Dr Mat Dalgleish

Senior Lecturer in Music Technology

Mat D
Email address: M.Dalgleish2@wlv.ac.uk Phone number: 01902 323235 Location: Walsall Faculty: Faculty of Arts School/Institute: School of Performing Arts Areas of expertise: Music Technology

About

Born in Birmingham, Mat initially studied Fine Art at Northumbria University before a Masters in Digital Design Media/Media Arts with composer Rolf Gehlhaar at Coventry University. He then completed a bursaried PhD at the University of Wolverhampton that explored how the live electronics of David Tudor can inform the design of digital musical instruments.

Mat began his HE career as a visiting lecturer in 2007. This was followed by a spell as a visiting researcher at The Open University Music Computing Lab from 2009-11. In September 2010 Mat joined the Music Department at the University of Wolverhampton as a Lecturer in Music Technology, later becoming Senior Lecturer. From 2011-13 he was Course Leader for the BA (Hons) Music Technology programme, overseeing a period of substantial expansion growth, a move to new facilities, and a fundamental redesign of the course curriculum. In 2012-13 Mat was joint Key Proposer for the MSc Audio Technology, and has been its Course Leader since its inauguration. He was also joint Key Proposer for the FDa Music Performance Technologies course at South Staffordshire College in 2015-16.

Mat’s teaching and research are closely related. He is particularly interested in instrument design, sound synthesis and the histories of electronic music. Mat has recently authored two journal articles and numerous conference papers, and co-authored two book chapters on music interaction published by Springer. He has also exhibited an audiovisual installation at Beton7 gallery in Athens, and was included in the university’s submission to the 2014 Research Excellence Framework (REF).

Mat’s external work includes advising Edexcel/Pearson on the redevelopment of their A-Level Music Technology award (2013), and acting as academic consultant for the revalidation of the MSc Music Engineering course at the University of South Wales (2016). Beyond academia he has worked freelance in areas such as interactive media, software and hardware development, and sound for screen.

Research interests

My primary research interests include:

  • music interaction
  • music computing
  • sound synthesis (particularly modular synthesis)
  • film and video game sound
  • interactive and audiovisual media
  • histories of electronic music

I’m available for PhD supervision in the above areas and would welcome informal enquiries.

Qualifications

  • Ph.D. University of Wolverhampton.
  • MA Media Arts with Distinction (Coventry University).
  • BA (Hons) Fine Art 1st class (Coventry University).

Publications

Book Chapters

  • Bouwer, A., Holland, S. and Dalgleish, M. (2013). The Haptic Bracelets: learning multi-limb rhythm skills from haptic stimuli while reading. In: Holland, Simon; Wilkie, Katie; Mulholland, Paul and Seago, Allan eds. Music and Human-Computer Interaction. Cultural Computing. London: Springer.
  • Bouwer, A., Holland, S. and Dalgleish, M. (2013). Song walker harmony space: embodied interaction design for complex musical skills. In: Holland, Simon; Wilkie, Katie; Mulholland, Paul and Seago, Allan eds. Music and Human-Computer Interaction. Cultural Computing. London: Springer.
  • Holland, S., Wilkie, K., Bouwer, A., Dalgleish, M. and Mulholland, P. (2011) Whole Body Interaction in Abstract Domains, In England, D. (Ed.) Whole Body Interaction. Human-Computer Interaction Series, London: Springer Verlag.

Journal Articles

  • Dalgleish, M. (forthcoming 2016). Wiring the Ear: Instrumentality and Aural Primacy in and After David Tudor’s Unstable Circuits. Accepted for Leonardo Music Journal (LMJ) 26, pp. TBC.
  • Dalgleish, M. (2016). The Modular Synthesizer Divided: The Keyboard and Its Discontents. eContact! Online Journal for Electroacoustic Practices [online]. 17.4. Available at: http://econtact.ca/17_4/dalgleish_keyboard.html

Papers Presented

  • Foteinou, A., Spencer, S. and Dalgleish, M. (2016). Experimental Investigation of the Contribution of Resonant Frequency to Trumpeter’s Performance. In: Proceedings of the 23rd International Congress on Sound & Vibration (ICSV), Athens, Greece, 10-14 July 2016.
  • Payne, C. and Dalgleish, M. (2016). MAMIC: A Visual Programming Library for Amalgamating Mathematics and Coding Through Music. Group for Learning in Art & Design (GLAD) Conference, Birmingham, United Kingdom, 25 February 2015.
  • Dalgleish, M., Foster, C., Burn, R., Clarke, L. Dudley, A. and Prosser, J. (2015). The Laptop Ensemble as Learning Platform. In: Rich Exchanges Learning and Teaching Conference, Wolverhampton, United Kingdom, 21 July 2015.
  • Dalgleish, M., Payne, C. and Spencer, S. (2015). Adding Value: Combining Ambient Visual and Vibrotactile Feedback to Encourage Good Posture in Trumpet Players. In: Proceedings of Electronic Visualisation and the Arts London (EVA London), British Computing Society, London, United Kingdom, 7-9 July 2015.
  • Dalgleish, M., Payne, C. and Burn, R. (2015). Uchronie: Revisiting Analogue Computing to Expand the Language of A/V Synthesis. In: Proceedings of Electronic Visualisation and the Arts London (EVA London), British Computing Society, London, United Kingdom, 7-9 July 2015.
  • Dalgleish, M., Payne, C. and Spencer, S. (2015) Postrum II: A Posture Aid for Trumpet Players. In: Proceedings of the 2015 Linux Audio Conference (LAC15), Mainz, Germany, 9-12 April 2015.
  • Dalgleish, M. and Spencer, S. (2014). Postrum: Developing Good Posture in Trumpet Players Through Directional Haptic Feedback. In: Proceedings of the 9th Conference on International Musicology (CIM14), Staatliches Institut für Musikforschung, Berlin, Germany, 4-6 December, pp. 334-338.
  • Dalgleish, M., Foster, C. and Spencer, S. (2014). Blurring the Lines: An Integrated Compositional Model for Digital Musical Instrument Design. In: Proceedings of the 9th Conference on International Musicology (CIM14), Staatliches Institut für Musikforschung, Berlin, Germany, 4-6 December, pp. 260-266.
  • Dalgleish, M. (2014). Reconsidering Process: Bringing Thoughtfulness to the Design of Digital Musical Instruments for Disabled Users. In: Proceedings of INTER-FACE: the 2nd International Conference on Live Interfaces (ICLI 2014), Lisbon, Portugal, 20-23 November 2014, pp. 308-315.
  • Dalgleish, M., Prosser, J., Foster, C., Lowe, A. and Bromham, G. (2014). The Synthesizer Divided: The Effect and Prospects of the Keyboard. In: Sines & Squares, NOVARS, University of Manchester, United Kingdom, 25-26 October 2014.
  • Bellingham, M. and Dalgleish, M. (2014). Ghosts of the Modular. In: Sines & Squares, NOVARS, University of Manchester, United Kingdom, 25-26 October 2014.
  • Bouwer, A., Holland, S. and Dalgleish, M. (2013). The Haptic Bracelets: learning multi-limb rhythm skills from haptic stimuli while reading. In: Holland, S., Wilkie, K., Mulholland, P. and Seago, A. (eds.) Music and Human-Computer Interaction. Cultural Computing. London: Springer.
  • Bouwer, A., Holland, S. and Dalgleish, M. (2013). Song Walker Harmony Space: Embodied Interaction Design for Complex Musical skills. In: Holland, S., Wilkie, K., Mulholland, P. and Seago, A. (eds.) Music and Human-Computer Interaction. Cultural Computing. London: Springer.
  • Bouwer, A., Holland, S. and Dalgleish, M. (2012). Moving in harmony: the use of spatial metaphor and whole-body interaction to reframe harmonic tasks. Paper presented at the conference on Music and Shape, 12-14 July 2012, Senate House, Institute of Musical Research, University of London.
  • Bouwer, A., Holland, S. and Dalgleish, M. (2011). The Haptic iPod: passive learning of multi-limb rhythm skills. Paper presented at Workshop 'When Words Fail: What can Music Interaction tell us about HCI?' at the British Conference on Human-Computer Interaction, 4 July 2011, Newcastle, UK.
  • Bouwer, A., Holland, S. and Dalgleish, M. (2011). Song Walker: Embodied Interaction Design for Harmony. Paper presented at Workshop 'When Words Fail: What can Music Interaction tell us about HCI?' at the British Conference on Human-Computer Interaction, 4 July 2011, Newcastle, UK.
  • van der Linden, J., Rogers, Y., Taylor, C. and Dalgleish, M. (2011). Technology inspired design for pervasive healthcare. In: Workshop on User-Centered Design of Pervasive Healthcare Applications, as part of Pervasive Healthcare conference, 23 May 2011, Dublin, Ireland.
  • Bouwer, A., Holland, S., Dalgleish, M. and Hurtig, T. (2010). Feeling the beat where it counts: fostering multi-limb rhythm skills with the haptic drum kit. Tangible and embedded interaction. Proceedings of the 4th International Conference on Tangible, embedded, and embodied interaction (TEI'10), Cambridge, MA, USA, Jan 25-27, 2010. ISBN: 978-1-60558-841-4. ACM, New York, NY, USA. Pages 21-28.
  • Dalgleish, M. (2008) The Neglected Histories of Live Electronic Music. Paper presented at Forgotten Modernisms day conference, 16 April 2008, Wolverhampton, UK.

Selected Exhibitions, Concerts and Soundtracks

  • Sound design and procedurally generated sound effects for 14/48 Wolverhampton, The Arena Theatre, 11-13 June 2016.
  • Live electronics and procedurally generated sound effects for 14/48 Wolverhampton, The Arena Theatre, 10-12 June 2015.
  • (with Steve Spencer). Performance of Desire Lines by Chris Foster, for trumpet, piano without pianist, and digital musical instrument. February 2014.
  • RUINS (audiovisual installation). In The Ends of Art. Group show curated by Euripides Altinzoglou. Beton7 Gallery, Athens. 5-25 July 2013.
  • IV features on the soundtrack to In the Forest (2012) by Adam Kossoff.
  • Apparat (electroacoustic composition). In 60x60 (Scarlet Mix). Group show curated by Robert Voisey. International Sound Art Festival Berlin, Berlin, Germany. 27 August 2010.
  • Apparat (electroacoustic composition). In 360 Degrees of 60x60. Group show curated by Robert Voisey. International Computer Music Conference (ICMC), Stony Brook University, New York, USA. 3-5 June 2010.
  • Apparat (electroacoustic composition). In 360 Degrees of 60x60. Group show curated by Robert Voisey. International Computer Music Conference (ICMC), Electronic Music Foundation (EMF), New York City, USA. 1-2 June 2010.
  • Sound design for Lost High Street (2008) by Paul Rooney.
  • (with Tim Collins, Reiko Goto, Carola Bohm and Trevor Hocking) Eden3 (interactive sound installation). Headlands Center for the Arts, San Francisco, USA. August 2008.
  • (with TMA Dresden, Frieder Weiss, Darryl Georgiou and Leith Slater) The Global Squares of World Culture (telematic installation). Coventry, UK and Dresden, Germany. April-May 2006.

Experience in industry

Teaching Responsibilities

  • BA Music Technology - Module Leader for 5MU018 Audio Analysis, Synthesis and Processing, 6MU004 Music and the Moving Image, and 6MU018 Musical Interfaces. Undergraduate project supervision.
  • MSc Audio Technology - Module Leader for 7MU007 Musical Human-Computer Interaction, 7MU008 Sound and Screen, and 7MU011 Audio Technology Project (postgraduate project supervision).
  • I’m currently Director of studies for the PhD study of Chris Payne (title: The Convergence of Music, Mathematics and ICT through the use of Object Orientated. Programming in the Compulsory Education Sector: Best Approaches).

Non-Teaching Responsibilities

  • ERAS fellow 2016-17.
  • Course Leader for MSc Audio Technology.
  • Key Proposer for FDa Performance Technologies at South Staffordshire College.
  • Key Proposer of the MSc Audio Technology.
  • Personal tutor.

External Academic Involvement

  • Consultant for the redesign/revalidation of MSc Audio Engineering at the University of South Wales.
  • Consultant for Pearson/Edexcel on the redevelopment of their A-Level Music Technology.
  • Editor at Desearch: academic journal of Art & Contemporary Culture. 
  • Reviewer for International Conference on Live Interfaces (ICLI).
  • Reviewer for Craft Research journal.

Further information

Postgraduate Supervision:

Chris Payne: Research into the concepts required to implement successful pedagogical approaches with regards to visual programming in the UK compulsory education sector.

Mat is available for PhD supervision in the following areas:

  • Musical interaction, particularly the design of digital musical instruments and new interfaces for learning abstract musical concepts and skills
  • Audio synthesis, particularly analogue/digital hybrid approaches and procedural audio for video games
  • The histories of live electronic music

https://wlv.academia.edu/matdalgleish