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Student Work

Below are examples of student work coming from the Masters in Sonic Arts.
André Tente   |  2014  Summer Project

reser, is an audiovisual piece that aims to be an exploration of the senses and perception. The antagonistic characteristic of the sounds and images are used to transport viewers to an immersive and ambiguous experience. Quiet moments cohabits with strong and powerful gestures, intense and rough sections contrast with smoother and delicate sections. This ambiguity is used as a perceptual limbo in which the viewer is encouraged to complete the piece with their own views and meanings on what they are seeing, hearing and experiencing. reser, is also a journey, which plays with the viewers memory using symmetries inside other symmetries in order to create connections between different moments of the journey.

Helena Hamilton  |  2014  Summer Project

 “Enter the stage of a blacked out room. Walk behind the blackboard to the switch that turns on the tube light. Turn the tube light on and wait for the sound to quietly surround the room. Walk to the front of the blackboard and commence a 25 - 30 minute interaction using the chalk in your pocket and the physical self. Let the sounds dictate the mark making and effort of pushing against the blackboard. Throughout the performance concentrate on the blackboard, never turn around to face the audience. Coming to the end of the interaction, stand in the middle, directly in front of the tube light and push the blackboard as hard as you can behind the light. Hold until the sounds create feedback. When feedback is created pull the board back as far as you can and hold until you hear the granular synthesis created via the tube light slowly take over. The performer is to decide how long to hold this for. Slowly bring the black board back to its original starting position. Walk behind the blackboard to the switch controlling the light and turn it off. The granular synthesis produced from within the light will still continue to play. The performance will come to an end when the performer turns the volume down on the programme - eliminating all sounds, this is to be done when the performer sees fit.”

 Kevin McCullagh  |  2013  Summer Project

My summer project ties together many of my interests as performer of traditional music, improvisation and computer music. This project seeks to use a model of birds in flight as a central component of a real-time interactive sampling and composition system.

Stefan Damian  |  2013  Summer Project

The portfolio was specifically made for diffusion in the state of the art Sonic Lab at the Sonic Arts Research Centre, Queen’s University Belfast. The creative process was carried out during summer 2013 and it involved the recording, synthesis and processing of audio material.

"While working in the Sonic Lab with 32 speakers represented a huge leap in my grasp of “space” not only in sound works where it has a huge role in creating meaning and excitement, but also in everyday listening of soundscapes. "

Naufrage is presented below in both binaural (use headphones) and stereo format.


Michael Weir  | 2012    Dissertation

A Real-Time Playable Model of a Moodswinger describes the development from offline to real-time of a finite difference model of the Moodswinger, a custom instrument developed from the augmented electric guitar. 

Michael Weir (2012), Dissertation: A Real-Time Playable Model of a Moodswinger    (pdf)
Augustine Leudar | 2012  Portfolio

Dissertation title: On the creation of audio illusions for sound installations and composition using wavefield synthesis – a guide for sound artists and composers.

Binaural recording of a wavefield synthesis composition.  Best heard with headphones.

Edward Butler | 2012   Performance

Edward Butler plays in the Sonic Lab with the rest of the group 'Howl'
Lochlainn Harte  |  2011    Dissertation

We Have You Surrounded


Production of an Ambisonic Audio Film with Audience Analysis Discussion

His thesis discusses the production of an Ambisonic audio film titled “We Have You Surrounded” in a fully spherical audio playback system. It also examines the audience reaction highlighting the potential for further productions and how this production stands up against the less immersive horizontal Ambisonic playback system.


 Joe Scarffe | 2011  Sonic Lab


Isobel Anderson | 2010       Dissertation

The Shell is a sound installation, created for the summer project module of the MA. It is an interactive audio/visual book, based on James Stephens' poem The Shell, which can be found in the Linen Hall Libraries poetry collection. 

The piece combines various book art techniques with audio, giving the reader an immersive and intimate experience of the poem. While walking on Sandymount Strand in Dublin, Stephens picked up a shell and pressed it to his ear. This poem instantly came to him. Therefore, many of the sonic and visual materials that make up this piece are from a journey made by Isobel to Sandymount Strand, and in doing so, the piece seeks to explore the role of the library in inspiring and reflecting the stories and landscapes of the world outside its walls. 

The Shell was  on public display in Belfast's Linen Hall Library from the 23 - 28 August 2010.
Donal Donohoe | 2010       Dissertation

Three music research institutions from around the - SARC (Belfast), CCRMA (Stanford) and IRCAM (Paris) are connected over the network and share one virtual interactive acoustical environment. Though Ambisonics technology, each participant can locate their sound source anywhere on the virtual hemisphere surface around them and drag it around the space as they please. The same motion is replicated in real-time at their peers' location, and vice versa, hence creating a virtually shared environment and allowing for interaction between sources.

This work was shown on the 8th of September 2010 where the three sites where connected. 

Donal Donohoe - Dissertation  (pdf)

Keith Nagle | 2010      Dissertation
varying coupling and pickup

varying mass per unit length

This paper investigates the possibility of real-time simulation and control of a finite difference string coupled transversely to a resonant beam represented in modal form. A background study of beam physics and modal synthesis methods is first carried out. Then the beam is simulated in modal form using the functional transformation method. Next, the string and beam are coupled together using a unique coupling update formula. Software models are presented first in off-line format in MatLab, and then in real-time as external objects for the Max/MSP environment. The final simulation is adapted for real-time control using a hardware controller and a Max/MSP patch.

Kieth Nagle - Dissertation  (pdf)

Rui Chaves | 2009

Building Lights

Building Lights is a sped up video of an installation, created by the actions of 5 performers dispersed over different floors in the building. The resulting light pattern was based on a score, that starts with a synchronous framework at start, rapidly shifting to an asynchronous one. 

This apparent error, that comes with the low tech nature of the work and different performance speeds, enhanced the objective of  disrupting an otherwise static façade. Prompting the idea of a building malfunctioning. This  resonates with contemporary discourse, that questions the role of the individual in performing and reading space, within the context of everyday life.


Charalampos Saitis | 2008       Dissertation

The stiff string wave equation has four solutions, two of which are related to the string stiffness. In the case of digital waveguide modelling these are ne- glected [Bensa 2003]. Current research suggests that all four travelling waves should be considered, at least at the neighbourhood of the excitation point [Ducasse 2005]. This dissertation investigates the effect of omitting string stiffness in the context of sound synthesis of the piano by physical modelling. A stiff, lossy string with a spatially distributed hammer force excitation is implemented using both a finite-difference time-domain scheme and a digital waveguide model. The two models are designed so as to have the exact same features but for the two stiffness-related solutions. The numerical experi- ments study the contact force signal over time for different initial velocity values. The resulting sounds are also discussed. The results generally con- firm that the two fast-decaying waves cannot be ignored during simulation. The effect of string stiffness becomes more audible in the low register of the piano as the initial velocity increases, whereas in the high-frequency region results are more ambiguous.

CHARALAMPOS SAITIS - Dissertation  (pdf)

Javier Jaimovich  | 2008       Interaction Design