Curriculum Vitae for Richard Nance
(get adobe reader)
return to home

Richard Wesley Nance

Leicester, UK


Lecturing at DeMontfort University and Leicester International Pathways College in Acoustics, Creative Technology, (DMU) and Studio Techniques (LIPC)


(download pdf (above)for current CV)

Birmingham Southern College: Advanced Electroacoustic Music: Teaching advanced techniques and software for studio composition. It is a project based course using several mixing softwares and editors such as Sonar, Nuendo, Digital Performer, Ardour and Audacity (Open Source). Also automation and real-time control of plug-in filters, standalone digital processing tools, microphone techniques. Introduction to spectromorpholgy and psychoacoustics.
Metropolitan Youth Orchestras of Alabama: President of the MYO and teacher at Scrollworks, the educational outreach program. As president I liaise with parents and community contacts about performances and fundraising. At Scrollworks I teach classical guitar, trumpet, beginning keyboard, drums and music theory.

Education and Qualifications

2007   PhD in Music Composition: Compositional Explorations in Plastic Sound,           De Montfort University; Music, Technology and Innovation, Leicester, England
1997   BA in Music and Music Technology University of Alabama at
          Birmingham, USA
1996   BSc in Psychology (primary interest in behavioural biology) University of Alabama at Birmingham, USA


2007    Analogies of Control (acousmatic version): Music, Technology and            Innovation Research Centre: (MTI CD 001/2)
2002   This is Not a Model: Presence III: , CeC-PeP
2000   Between Dog and Wolf: International Computer Music Association,
          ICMC 2000
2000    46: Liquid Brick (free improvisation trumpet and electronics)
2000    Extinct: Liquid Brick (free improvisation trumpet and electronics)
1995    Lido Road: (trumpets) (by Davey Williams) Slide Crazy, (various artists)
            Sky Ranch Records

Works and Performances

Gravity's: 2007, Institute of Creative Technologies, and the 17th Annual Florida Electroacoustic Music Festival in April, 2008
Analogies of Control: 2006, Edgardo Espinosa, cello, International Computer Music Conference, New Orleans, LA, USA; Also Thomas Gardner, cello, Visiones Sonoras. 2006, Universidad Nacional Autonoma de Mexico, and again with Thomas Gardner, cello, De Montfort University, and Craig Hultgren, cello, Alabama School of Fine Arts, 2005, and Thomas Gardner, cello, University of Liverpool
Territorial Dispute: (phonography) Experimental Music Showcase, Aberdeen, Scotland.
K:             2006, Drew Petrie (trumpet) Royal Scottish Academy of Music and Drama.
The Transatlantic Half-Pipe: 2006, The 6th Festival Licences, Paris, Fr. and Torino, Italy. 2005 University of York. 2001, The new San Francisco Tape Music Center. 2002 Music at Bangor, Bangor Wales. 2003 Soundings, Edinburgh, UK.
Between Dog and Wolf: 2002, University of Glasgow. 2000, International Computer Music Conference, at the Akademie der Kunste, Berlin, Germany. 1998, Birmingham-Southern College, Birmingham Alabama. EuCuE, Montreal, Canada.
Taut:       2005, De Montfort University, Cultural Exchanges Week.
Cross Country Runner/Glint: 2004, Sonic Arts Network Conference, Leicester, UK . International Computer Music Conference, Miami, Florida.
Mastersplasher: 2004, written for and performed at Underkurrent, London, UK
Confluence and Effloresce: 2002, New Arts Stage, Birmingham Museum of Art - Steiner Auditorium, Birmingham, AL. 2002, with improvisors: New York University's New Music and Dance Ensemble, New York City, and Pisa, Italy
This is Not A Model: 2002, EuCuE, Montreal, Canada.

Papers and Presentations

2007       Interview: Dame Evelyn Glennie: An interview with Dame Evelyn touching on a range of subjects, from her educational activities to her work as a composer, performer and improvisor; eContact! 9.4,
2006       "Plastic Music and Aural Models": Examples, comparisons and comments on three works using aural models in place of written scores; Digital Music Research Network, Leeds UK
2005        Performance and the 'Aural Score': Introducing an aurally centred method for instrumental composition in electroacoustic music. Presented at the first Digital Music Research Network conference, Glasgow.
2003        Cognitive Dynamics and Semantic Spreading in This is Not a Model.: A study of control and communication between the composition and the composer through the analysis of an acousmatic composition. Presented at The International Institute for Advanced Studies in Systems Research and Cybernetics 2003, in Baden Baden, Germany.


2005        Techniques of Digital Audio: Provided tutorials teaching DSP software and microphone techniques for studio use. Subjects included digital audio, sample rate, bit depths, file formats, relationships between digital and analogue technologies. Software included Pro ToolsÕ tracking, editing, hardware and software inputs/outputs plug-ins (dynamics processing), using auxiliary sends and busses, automation and Audiosuite (EQ, delay, chorus, flange, reverb, time stretch, pitch shift, mixing, dithering.
2004        Foundations of Music Part 2: The Digital Ear: Led seminars to provide an understanding of the acoustical and perceptual foundations of music and sound. Reviewed student works and gave preliminary marks and suggestions towards their final projects.
2003        Arts Management Seminar: The path from the composer, through the technology, to the performer. A demonstration and explanation of a new work placing it in a social, personal, and historical context for final year arts management students.
2002-03  Tutorial support for studio recording and mixing. Logic Audio and MIDI sequencer program, Pro Tools, Soundhack, Marcohack, Audiosculpt, SoundMaker and SoundMagic plug-ins; also tutorial support for acoustics and psychoacoustics.
2001        Musicianship 2, Musical Forms and Structures. Substitute lecturer for Dr. John Richards
2001-02  Techniques 1: Provided tutorial support for studio technique classes; all studio software use (previously mentioned) general usage of Macintosh computers, and provided feedback and critique of student projects and materials in the first stages of their final projects

Additional Work Experience

Present    Metropolitan Youth Orchestras of Alabama: President of the MYO and teacher at Scrollworks, the educational outreach program. As president I liaise with parents and local community contacts concerning performances and fundraising. As a teacher for Scrollworks I tutor classical guitar, trumpet, keyboard, drums and music theory
2000        University of Wales, Bangor: Provided video and audio documentation for graduate recitals and faculty concerts, using a Canon Hi-8 video camera. Recorded faculty and guest concerts using Pro Tools, AKG 414, Schoeps stereo and cardioid microphones through a 24 channel mixing board. Primary computer support for graduate and undergraduate music studios, installing and maintaining software as well as software support for undergraduate and MA students in the labs. Software included Pro Tools, Sibelius, Digital Performer, and Performer, Soundhack, Real Time Granular Synth, and several other DSP processors and plug-ins. Recorded guest concerts at the recital halls including the Ensemble Cymru performance of Messiaen's Quartet for the End of Time.
1998-01  University of Alabama Health Services Foundation: Information services for hospital systems, Macintosh and Windows, network and server troubleshooting, desktop support (hardware and software) training Windows specialists for Macintosh OS support. Provided personal support for physician desktop systems (Mac OS).
1997-98  University of Alabama at Birmingham: (Jimmy Alford; supervisor) Macintosh hardware and software technician responsible for all university Macintosh computers. Providing installation, repairs, and parts replacement for computers, printers and monitors. Installation and troubleshooting for AppleTalk networks, general network troubleshooting and problem solving.