Dr

Matthew Sergeant

Research outputs

Compositions:

• The Velvet Rage​ (2017, for flute, voice, cello, and electronics) - c.20' for Trio Atem (UK)
• Lichen (2016, for solo electric lap-steel guitar) – variable duration 12’+ for Daryl Buckley/ELISION Ensemble (Australia)
• Terrains (2016, for solo quarter-tone flugelhorn with preprations) – 12’ - for Tristram Williams/ELISION Ensemble (Australia)
• Place (2015, for ensemble) - variable duration 8’+ – for CEPROMusic (Mexico)
• betê gabriel-rufael (2015, for saxophone, percussion and computer-controlled click track)- flexible dur. c.8-25 – for scapegoat (France)
• KISS (2014, for violin with twine bow) – Flexible dur. c.240-360’ – for Emma Lloyd (UK)
• Shell (2014, for solo unspecified voice) – c.2’ – for Nina Whiteman (UK)
• ymrehanne krestos (2013, for brass and percussion)- c.13’- for ELISION Ensemble (Australia)
• bet denagel (2013, for solo baroque violin) - variable duration (12’+) - for Emma Lloyd (UK)
• bet ammanuel (2012, for four solo voices) - c.8’ - for EXAUDI (UK)
• passion bleeds into salt (2009/rev.2012) - c.10’ - for Divertimento Ensemble (Italy)
• bet merkorios (2012, for solo violoncello) – c.20’ for Thomas Bayman (UK)
• bet giyorgis (2011, for 11 players) - c.20’, for The Nieuw Ensemble (Netherlands)
• bet maryam (2011, for solo guitar) - 6’ - for Callum Dewar (UK)
• someone threw a dead dog after him down the ravine, (2010, for clarinet and piano), c.20’, for Michael Perrett (UK)
• turrell (2009, for Orchestra) - c.12’ – for the BBC Concert Orchestra (UK)
• the temples at ogden and provo (2009, for solo oboe and ensemble) – c.18’ - for BCMG (UK)
• three visions in a grove of trees (2009, for 11 players) – c.15’– for Ensemble 10/10 (UK)
• five visions from the book of enoch (2009, for solo organ) – c.10’ – for Tom Bell (UK)
• but today we collect ads (2009, for Orchestra)– c.5’– London Symphony Orchestra (UK)
• heard weeping under the boughs of hemlock trees (for solo ‘cello) – c.5’ – for BCMG (UK)
• this was not a film about a drowning man (2009, for soprano saxophone, electric guitar, percussion, cello and electronics) – 8’ – for the house of bedlam (UK)

Published Scores:

• Sergeant, M. (2012) ‘bet giyorgis’ (for 12 players), University of York Music Press (2012)
• Sergeant, M (2015) ‘bet maryam,’ on Shrouded Mirrors [CD]. Diego Castro, electric guitar. Huddersfield: Huddersfield Contemporary Records. HCRCD10.
• Sergeant, M (2013) ‘bet giyorgis,’ on Zeta Potential [CD]. Huddersfield: Huddersfield Contemporary Records. HCRCD07.
• Sergeant, M. (2011) ‘Toccata,’ on Northern Lights: Contemporary Works for Organ [CD]. London: London Independent Records.

Audio Recordings:

• Sergeant, M (2015) ‘bet maryam,’ on Shrouded Mirrors [CD]. Diego Castro, electric guitar. Huddersfield: Huddersfield Contemporary Records. HCRCD10.
• Sergeant, M (2013) ‘bet giyorgis,’ on Zeta Potential [CD]. Huddersfield: Huddersfield Contemporary Records. HCRCD07.
• Sergeant, M. (2011) ‘Toccata,’ on Northern Lights: Contemporary Works for Organ [CD]. London: London Independent Records.

Conference Papers:

• ​'Three Questions: A Short Position Statement on Compositional Making', part of '​Sound Substance(s): Practice-based understandings of Compositional Making,​' Royal Musicological Association Annual Conference,​ ​University of Liverpool, Liverpool, UK, 7-9 September 2017​ [Convener]
• 'Queered Orientation(s): Re-imagining the taxonomy and interrelation of musical materials in The Velvet Rage (2017)' MuSA 2017: Eighth International Symposium on Music and Sonic Art: Practices and Theories, Institut für Musicology and Musikwissenschaft und Musikinformatik, Hochschule für Musik, Karlsruhe, Germany, 6 – 9 July 2017.
• Sergeant, M (2016) ‘Composing Intra-actions: Instrument(s) as Baradian apparatus’. Seventh International Symposium on Music and the Sonic Arts: Practices and Theories. Karlsruhe. Germany (30 June – 3 Jul 2016)
• Sergeant, M (2015) ‘Composed Hybridity: A lichenological perspective on my recent compositional praxis’. Ninth International Conference on Music Since 1900. Glasgow, UK (16.09.15).
• Sergeant, M (2013) ‘Invoking the interface of the fantastic: Todorov, music and composition.’ Fourth Annual Symposium on Music/Sonic Art: Practices and Theories. Karlsruhe, Germany (24-26 May 2013)
• Sergeant,   (2013) "Introducing ‘Re-coupling’:  The  Compositional  Appropriation of  Instrumental  Physicality to  disrupt Pattern-based Musical  Materials" Athens: ATINER'S Conference Paper Series, No:
• ART2013-0451. (Pulished online.)
• Lloyd, and  Sergeant,  M.  (2013) "The  Instrument  as a Roughened  Canvas:  Embracing Timbral Indeterminacy  in Composition  and Performance" Athens: ATINER'S Conference Paper Series, No:  ART2013-0450. (Published online.)