Department:Department of Music and Performing Arts
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.
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.
Hall, T., 2015 (in press). In memoriam Alan Sutcliffe (text and musical composition). _Bulletin of the Computer Arts Society_, PAGE 70, Spring.
Hall, T., 2015. Before The Mask: Birtwistle’s electronic music collaborations with Peter Zinovieff. In: D. Beard, K. Gloag and N. Jones, eds, 2015. 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.
Hall, T., 2016. Pitchcircle3D: A Case Study in Live Notation for Interactive Music Performance. In: International Conference on Technologies for Music Notation and Representation - TENOR2016, Anglia Ruskin University, Cambridge. Text available on Tom's website as a pdf or on Anglia Ruskin Research Online.
Hall, T. and Blackwell, A. F., 2014. Sharing digital performance notation with the audience. Proceedings of the 9th Conference on Interdisciplinary Musicology - CIM14, Staatliches Institut für Musikforschung, Berlin, Germany. Slides available on Tom's website as a pdf.
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. Text available on Tom's website as a pdf; slides also available as a pdf.
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.
Hall, T., 2016. Slowness now: a reflective critical approach to composing with hybrid music technologies. Part of SOUND WORK / Composition as Critical Technical Practice Orpheus Research Seminar 2016. 21–23 November 2016, Orpheus Insituut, Ghent, Belgium.
Hall, T. et al, 2016. Installation, with Drew Milne and Barry Byford. Lichen Beacons, part of ICLI 2016 (International Conference on Live Interfaces). University of Sussex, Brighton.
Hall, T. et al, 2016. Paper and demonstration, with Kevin Flanagan (saxophone). A Case Study in Live Notation for Interactive Music Performance. Part of TENOR2016 (Second International Conference on Technologies for Music Notation and Representation). Anglia Ruskin University, Cambridge.
Hall, T. et al, 2016. Digital Demonstration, with Drew Milne and Barry Byford. Lichen Beacons. Part of CoDE Conference 2016, Anglia Ruskin University, Cambridge.
Hall, T. et al, 2016. Performance. Wicken Panorama (2016), for improvising ensemble with mobile electronics. With Eddie Prévost, percussion, Cheryl Frances-Hoad, ’cello, William Crosby, guitar and Anglia Ruskin University Creative Music Technology students. Part of concert Hoadley, Hall & Brown featuring artist-in-residence Fredrik Olofsson. Music Recital Hall, Helmore Building, Anglia Ruskin University, Cambridge.
Hall, T., 2016. Paper. A case study in electronic music collaboration: unpicking divisions of labour in the work of Peter Zinovieff with Harrison Birtwistle. Part of International conference Alternative Histories of Electronic Music. 14–16 April, Science Museum, London.
Hall, T. et al, 2016. Lichen Beacons: a sound art installation using Raspberry Pi and Bluetooth beacons Presentation on the Lichen Beacons project, with Drew Milne and Barry Byford. Part of the Raspberry Pi’s 4th Birthday Party celebrations. Computer Laboratory, University of Cambridge, 11am.
Hall, T., 2016. Lichen Beacons installation at the Judith E. Wilson Drama Studio (English Faculty, Cambridge), West Road, Cambridge. Part of In Finite Variety festival.
Hall, T. et al, 2016. Invited presentation on the Lichen Beacons project, with Drew Milne and Barry Byford. Part of environments, Royal Holloway Poetics Research Centre.
Hall, T. et al, 2015. Installation lichen ohms seriatim with Drew Milne and Barry Byford at the Cambridge Festival Ideas. Corpus Christie College Chapel, Cambridge.
Hall, T. et al 2015. Paper with Mark Colyvan. Musical and Mathematical Notations as Models. Part of the Royal Musical Association fifth annual Conference of the Music and Philosophy Study Group. 17–18 July, King’s College London.
Hall, T. et al 2015. Workshop with Hester Reeve. Slow coding, slow doing, slow listening, slow performance workshop. Part of the first International Conference on Live Coding. 13–15 July 2015, University of Leeds.
Hall, T. et al 2015. Performance. Untiled #1 (2015), for ’cello, electric guitar and electronics. Part of concert “Hoadley, Hall and Brown”, with Richard Hoadley and Nicholas Brown. Mumford Theatre, Cambridge.
Hall, T. et al 2014. Paper (Hall and Blackwell). Sharing digital performance notation with the audience. Proceedings of the 9th Conference on Interdisciplinary Musicology – CIM14 , Staatliches Institut für Musikforschung, Berlin, Germany. Conference paper and slides available on the writing page.
Hall, T. 2014. Paper. Shared visions?: historical and present day challenges for composers working with technology. Part of the BIBAC 2014 conference, Faculty of Education, University of Cambridge.
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.