Dr Scott Mc Laughlin
Lecturer in Composition and Music Technology
0113 343 2545
1.14 School of Music
Office hours: Tuesday 9-10am, Friday 9-10am,
Lecturer in composition and music technology. Experimental Music, open-form/indeterminacy, Spectral Music and microtonality, interaction and live-electronics, liveness/authenticity.
Scott Mc Laughlin was born in Ireland (Co. Clare) in 1975. He played in indie-rock bands until his mid-twenties, then studied music at the University of Ulster at Jordanstown where he gained a BMus degree in 2001. He completed a PhD at the University of Huddersfield with Pierre Alexandre Tremblay and Bryn Harrison in 2009. Scott has attended the Ostrava New Music Days summer school (2005, 2007), and the Irish Composers’ Summer School (1999 – 2001). He has previously lectured at the University of Huddersfield and Brunel University.
- Materiality, material-agency.
- Experimental Music, Spectral music, microtonality.
- Repetition, reductionism, ambiguity/perception.
- Emergent and self-organising musical structures.
- Interactivity and game mechanics in music.
Scott’s research is practice-led and focuses on composition, materiality, and indeterminacy in complex systems. His current research uses different methods to excite resonance in sounding bodies to exploit physical non-linearities to generate musical patterns/structures.
MUSS1220 Composition, MUSS2220 Composition, MUSS3240 Composition
MUSS3640 Music Tech group project
MUSI5231M Composition Studies, MUSI5262M Portfolio of Compositions
Programme Leader for MMus Critical and Experimental Composition
‘Intra-Agencies’, CeReNeM Journal 2014, 76-88,
Repository URL: http://eprints.whiterose.ac.uk/89346/
‘If a tree falls in an empty forest: Problematization of liveness in mixed-music performance’, Journal of Music, Technology & Education, 5 (2012), 17-27,
‘Dynamical Systems, Mimesis, and Analogy in Experimental Music’, Chaotic Modeling and Simulation, 1 (2011), 127-137,
Repository URL: http://eprints.whiterose.ac.uk/89345/
‘Composers and Chaos: A Survey of Applications of Chaos Theory in Musical Arts and Research’, in Handbook of Applications of Chaos Theory (Boca Raton, Florida: CRC Press, Taylor and Francis Group, 2015), 893-912,
‘SpectralConway: Cellular Automata Off The Grid’, in International Computer Music Conference Proceedings (International Computer Music Association, 2010), 2010, 68-71,
‘Thinking inside the box: A new integrated approach to mixed music composition and performance’, in Proceedings of the International Computer Music Conference2009, 389 ([n.pub.], 2009), 386,
a metastable harmony, (2012), String Quartet (score),
There are neither wholes nor parts, (2010), score,
Research Centres & Groups
PhD & Postdoctoral Supervision
Alex De Little, Composition, acoustics, listening, play
Symeon Yovev, Composition, field recording, urban soundscape
Stuart Mellor, Composition, acoustics analysis,
Timo Tuhkanen, Composition, touch
“Strange Attractors: A Commentary on Applications of Indeterminacy in my Recent Music” (2009)
This commentary reflects on how indeterminacy has been used in the music I have written over the period of my doctoral studies, 2005-2008. Non-musical ideas play a major role in my compositional language and this is reflected in the use of ‘strange attractors’ as a metaphor for the philosophical and aesthetic stance behind composing with indeterminacy. After a brief introduction chapter, the links between strange attractors—and chaos theory in general—and indeterminate music are discussed. And applications of indeterminacy to pitch organisation techniques such as spectral modelling and frequency modulation are examined as part of a frequency-based harmonic continuum. Different methods of generating ambiguous pitch percepts that sit at the boundaries of the harmony/timbre duality are considered In pieces with text processes.
- [untitled] Manon Quartet, 840 concert series, London, April 2017
- Dublin360 installation, Dublin, April 2017
- [untitled] LSTwo Strings, Leeds, April 2017
Selected Previous Performances:
- Surfaces of Emergence, metastable collective (6 electric guitars), HCMF, 23/11/13
- histories have been replaced by maps, LSTwo, Leeds Contemporary Music Weekend, 19/4/13
- at least two things, Trio Scordatura, Hamburg, Koln, 1 & 8/2/13
- a metastable harmony – Bozzini Quartet, HCMF, 26/11/12
- Resonant Systems – BEAM, Brunel University, 22/06/12; ISSTC Cork School of Music, 01/08/12
- a metastable harmony – Bozzini Quartet, Chapelle historique du Bon-‐Pasteur, Montreal, 28/04/12
- There are neither wholes nor parts III – Duo Hevans (Henri Bok, Ann Evans), North American Saxophone Alliance Conference, Arizona State University, USA, 15/03/12
- Bifurcations in a Continuous System – Sebastian Berweck, Huddersfield, 27/11/11
- action at a distance – Sarah O’ Halloran, SUNY Stony Brook, New York, 15/04/11
- At least two things – Trio Scordatura, UK tour 04-‐08/03/11; also BEAM Festival 26/06/11
- music in two dimensions no.3 – Duo Contour, UK Microfest 4, London, 07/03/11; also Freiburg 17/05/2011
- Nano – Ann Evans, Huddersfield 01/12/11, ‘InTime’ Symposium, Coventry, 25/10/11
- action at a distance – Peyee Chen, GEMdays festival, Huddersfield, 27/02/11
- neither wholes nor parts II – Jonathan Sage, Huddersfield, 12/02/11
- neither wholes nor parts I – Iain Harrison, ‘November Music’ s-‐Hertogenbosch, Holland, 13/11/10: also Berlin (dec. 2010) and Huddersfield (Jan 2011).
- Whitewater – Marko Karlovcec, Earzoom Festival, Ljubljana, 05/10/10
- Primes – Marja Gaynor, Octophonies Festival, Dublin, 23/10/10
- Shoals – ICMC, Devotion Gallery, New York. 05/06/10
- We do the same things, but I’m always different – Process Festival, Berlin. 20/03/10
- Marionettes – Crash Ensemble, Dublin. 05/03/10
- Whitewater – Franziska Schroeder, ICMC, Belfast, 21/08/08: also Eric Honour, 9-‐date tour incl. USA, Italy, Austria, UK. 23-‐29/03/09
- Penumbra – Luxembourg Sinfonietta, ISCM World Music Days, Bangkok, 2007