- The Cries of Columbia Road (2017) sound work
- Diesis (2011) for double bass and electronics
- From Surface to Surface (2014) acousmatic composition
- Lumen (2009) SATB choir
- The Metalization of a Dream (2019-2020) open
form workfor open instrumentation and electronics
The Metalization of a Dream (2019-2020)
Performances in 2020 include City University and several streamed events, namely nonclassical, NottNOISE New Music Marathon, and Lit & Phil Online. In November 2020, the work was the focus of a 1-hour radio broadcast on Resonance FM, that featured a pre-recorded performance of the work and interview. In January 2021, the work was programmed as part of
The Cries of Columbia Road (2017)
A 9-minute acousmatic composition, premiered at Whitechapel Gallery as part of The Sound of Memory Symposium: Sound-track/Sound-scape. Audio recording: https://soundcloud.com/duncan-macleod/columbia-road
This work forms part of an ongoing series of electroacoustic compositions that draw upon the urban
From Surface to Surface (2014)
A 13-minute binaural acousmatic composition, commissioned by Tate Modern, London. Audio recording: https://soundcloud.com/duncan-macleod/sets/from-surface-to-surface
This work forms part of Tate’s Sonic Trails series, an initiative that explores a wider engagement with live arts where composers and sound artists are commissioned to respond to an artwork of their choosing from the gallery’s permanent collection. In this work, I respond to Susumu Koshimizu’s sculpture by the same title that is on display at Tate Modern, London. The resultant composition mirrors the sculpture with 14 miniatures each ranging between 30 seconds and a minute in duration with each miniature responding to a corresponding plank of the sculpture. To date, the sound work has attracted several thousand audience members and continues to be presented as part of the Gallery’s ongoing live art programme. In terms of wider significance, the work forms part of a burgeoning practice, namely sound and music performance in galleries. Moreover, the work contributes to an emergent field of practice, namely the creative application of spatial music through the use of binaural audio in which sound can be presented in a three-dimension space.
Written for double bass and live electronics. Commissioned by the London Sinfonietta, premiered by Enno Senft at Hall 1, Kings Place, London, October 2011 and featured on the album New Music Show, released in 2012 on London Sinfonietta Records/NMC (EAN: 5065000796099).
This work is an exploration of microtonal commas (a minute interval) of which a diesis, a diminished second, gives this piece its title. Historically when tuning a scale, rather than divide an octave into equal parts (as used today with equal temperament) early tuning systems would tune notes using a sequence of pure intervals, which are slightly different in size to the equal-tempered intervals we use today. These discreet differences in pitch would result in an undesirable and perceptually dissonant imperfect octave, the interval of this imperfection being a comma. Diesis is therefore a response to the dissonant qualities that made a comma undesirable: namely its complex timbre and pulsing beating tones.
Written for a cappella eight-part choir (SSAATTBB). Commissioned by the Handel House Museum Trust and premiered by the Pegasus Choir, Grosvenor Chapel, London, December 2009.