Dr Tom Hall

Course Leader, Creative Music Technology

Faculty:Faculty of Arts, Law & Social Sciences

Department:Department of Music and Performing Arts

Location: Cambridge

Areas of Expertise: Music

Courses taught: Music

Tom Hall is a composer, performer and musicologist with an interest in live electronic music combined with acoustic instruments and music with algorithmic and improvisatory elements.

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Twitter: @ludions



Tom's research interests are divided into two main areas, with activities as a composer/performer and musicologist. As a composer and performer, his music employs live electronics, often in combination of acoustic instruments. He is especially interested in issues of musical notation in relation to live, collaborative, algorithmic and improvisationary music contexts.

As a musicologist, Tom has explored areas of musical notations in the context of the music of Morton Feldman and early American tape music. He has recently published in the area of early UK computer music, including on EMS and Peter Zinovieff's electronic music collaborations with Harrison Birtwistle.

Research interests

  • Electronic and algorithmic music
  • Musical notations
  • Computer-aided composition
  • Collaboration and improvisation in music
  • Computer programming for music: live coding, slow coding, SuperCollider
  • Pitch-class approaches to post-tonal tonality
  • Immersive sound art and Hörspiel
  • Multichannel and ambisonic sound
  • 1950s tape music, especially that of the New York School
  • Early UK computer music (EMS, Peter Zinovieff)
  • Notation in the music of Morton Feldman and Harrison Birtwistle

Areas of research supervision

  • PhD co-supervision in the area of interactive music sonification
  • Undgraduate supervision in various areas including computer programming for electronic music composition (espcecially using SuperCollider) 


  • DPhil (music composition), University of Sussex
  • MA by research (music composition and musicology), La Trobe University
  • BA (Hons) Music, La Trobe University

Memberships, editorial boards

  • Fellow, the Higher Education Academy

Selected recent publications

Hall, T., 2014 (forthcoming). Before the Mask: Chronometer and Other Electronic Music Collaborations with Peter Zinovieff. In: Beard, D., Gloag, K. and Jones, N. (Eds.), 2014. Harrison Birtwistle Studies. Cambridge: Cambridge University Press.

Hall, T., 2013. Sharing Electronic Music Performance. In: Ferran, B. (Ed.)., 2013. Visualise: Making Art in Context. Cambridge: Anglia Ruskin University. pp.60–63. ISBN 978–0–9565608–6–5.

Hall, T., 2013. Peter Zinovieff and Cultures of Electronic Music. Bulletin of the Computer Arts Society, 69, Spring, pp.1–3.

Rohrhuber, J., Hall, T. and de Campo, A., 2011. ‘Dialects, Constraints and Systems within Systems’. In Collins, N., Cottle, D. M. and Wilson, S., (eds). The SuperCollider Book. Cambridge, Mass: MIT Press.

Hall, T., 2007. Vague relations? Bar groupings and notational image in the late music of Morton Feldman. Current Issues in Music, Canberra, forthcoming.

Recent presentations and conferences

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Conference papers and invited talks

Hall, T., 2014. Live digital notations for collaborative music performance. Part of the Live Coding and Collaboration symposium, University of Birmingham, 26 September 2014, University of Birmingham.

Hall, T., 2013. A Case Study of 1950s Analogue Tape Micro-editing Techniques. Audio Engineering Society showcase at Dolby Europe Ltd, 11 December 2013, 4–6 Soho Square, London.

Hall, T., 2013. A Notational Tool for Sharing Electronic Music Performance. Part of Notation in Contemporary Music: Composition, Performance, Improvisation, 18–20 October 2013, Goldsmiths, University of London.

Hall, T., 2012. Pitch-class Visualisation for Group Improvisation. Part of Creating and Performing Musical Media, a one-day unconference hosted by the Digital Performance Laboratory. 16 June 2012, Recital Room, Helmore Building, Department of Music and Performing Arts, Anglia Ruskin University.

Hall, T., 2012. Morton Feldman and Electronic Music: Representation, Realisation, Materiality. CoDE 2012: 1st Annual Conference, 28 March 2012, Anglia Ruskin University, Cambridge.

Hall, T., 2011. Unaligning Diatonicism: Listening and Composing around Post-atonal Tonality. Conference on Interdisciplinary Musicology 2011, 2 September 2011, Glasgow and Glasgow Caledonian universities.

Hall, T., 2011. ‘The seduction of graphism alone’?: the function of notation and technology in the Intersections of Morton Feldman. Seventh Biennial International Conference on Music Since 1900 and the international conference of the Society for Music Analysis, 30 July 2011, Lancaster Institute for the Contemporary Arts, Lancaster University.

Composition and performance

Hall, T., 2014. All the Chords and Others (rev. 2014), version for computer electronics, controller, 3D visuals and instrument. With Kevin Flanagan, soprano saxophone. Part of the lunchtime concert series, 4 April 2014,  Mumford Theatre, Anglia Ruskin University.

Hall, T., 2012. Variations IV by John Cage, performance with Sam Hayden, Eric Egan and postgraduate music students from the University of Durham. Opening concert (with John Snijders) of Musicon Festival from zer0, 'celebrating the 100th anniversary of John Cage in ten thunderclaps'. 28 November 2012, Dunelm House, Fonteyn Ballroom, New Elvet, University of Durham. Musicon: from zer0

Hall, T., 2012. Cheapest Imitation, Yet (Pussy Riot Process) 2012, for laptop and controller, dedicated to Laurie Whiffin. 21 November 2012, Pussy Riot Solidarity Night, Judith Wilson Drama Studio, Department of English, East Road, Cambridge. Details: instituteofelectriccrinolines

Hall, T., 2012. all the chords in the keys of c (2009, rev. 2012), for 8-channel computer playback and visual display. Part of the second annual 4for8 concert. TAI-Studio of the MediaLab Helsinki, Hämeentie; 135 C, 00076 Helsinki, Finland, 25 April 2012.

Hall, T., 2012. George Brecht Realisations, iconic fluxscore miniatures, now even further miniaturised, including ‘Motor Vehicle Sundown (Event)’ interpreted for toy radio-controlled cars. Directed by Tom Hall and performed by Julio d’Escriván, Kevin Flanagan, Tom Hall, Richard Hoadley, Michelle Lewis-King, Paul Rhys and David Ryan. 17 January 2012, Anglia Ruskin University, Cambridge. Part of the ‘Future Fluxus’ Visualise event.

Hall, T., 2011. Chip Interpretations. Performance by Till Bovermann and Tom Hall, with Guest lecture by Till Bovermann (Media Lab Helsinki), inaugural researcher in residence at the Digital Performance Laboratory, 8 December 2011, Anglia Ruskin University, Cambridge. 

Hall, T., 2011. the map has been barely marked, for women’s voices (S, S, M-S, M-S) and fixed electronics. Performance by Scottish Voices, Glasgow University Chapel, concert part of Conference on Interdisciplinary Musicology 2011, 30 August 2011.

Hall, T., et al., 2011. Triggered: a dance-music-digital performance that builds on the Cage-Cunningham legacy of interaction between music, dance and technology. Composers: Cheryl Frances-Hoad, Tom Hall and Richard Hoadley. Choreographer: Jane Turner. Dancers: David Ogle, Ann Pidcock. Special guest performers: Sam Hayden and Jonathan Impett, 13 June 2011, KJings Place, London.