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The Stage Awards 2024 — Shortlisted for #CAPITAL

Ivan Juritz Prize 2023 — Longlisted for #CAPITAL

Tait Memorial Trust Awards 2022 — Winner, for RUNE

Scottish Awards for New Music 2020 — Shortlisted for Two Panels for String Quartet.

Creative Edinburgh Award 2019 — Shortlisted for ROBE.

Scottish Awards for New Music 2019 — Shortlisted for WEAR.


Help Musicians UK, The Hinrichsen Foundation, The Hope Scott Trust, The Marchus Trust, The Royal Musical Association, The RVW Trust, The Sarah Caple Scholarship and The Goldsmiths Graduate School Fund and Music Research Committee.


RUNE Métier Records MSV 28626, 2022

WOAD Métier Records MSV 28617, 2021

ROBE Métier Records MSV 28609, 2021

Quadrants Vol. 3 Navona Records NV6239, 2019 

Take No Thought for Tomorrow with White Heath. Electric Honey EH 1103, 2010 

If There Is Hope... with Blank Comrade. Red Wharf RW 104001, 2009


Against Nothing (2023). For ensemble.

#CAPITAL (2023). Metaverse Fashion Opera for soprano and electronics.

Festival (2022). Cantata in Scots for mezzo-soprano and piano.

AntemusicMusic, Again (2022). For orchestra. 

Music Against  (2022). For ensemble

Many Panels For String Quartet (2022). 

One Panel For String Quartet (2022). 

Twelve Maps For A Chalk Ridge (2022). For open instrumentation.

WORK (2022). For cello.

Hareflight (2022). Fashion Opera for tenor and flute. 

Anti-Music (2022). For large ensemble.

RUNE (2021). Fashion Opera for soprano, mezzo-soprano and three pianos.

The Snake That Eats The World (2021). For flute.

WOAD (2020). Fashion Opera for soprano and saxophone.

The Drowning Shore (2020). Cantata in Scots and Yiddish for mezzo soprano.

A Boat In An Endless Blue Sea (2020). Documentary Opera.

ROBE (2019). Fashion Opera for two sopranos, two mezzo sopranos, flute and piano.

Two Panels For String Quartet (2019).  

WEAR (2018). Fashion Opera for two sopranos and piano.

Time’s Grains (2017). For piano.

Fantasia For Two Flutes And Piano (2015). Installation.

Our Soldiers Appearing (2014). Installation for piano and tape.

Treasure Trapped (2014). Film score for orchestra.


‘“Speaker For the Dead”: Composition as Speculative Archaeoacoustics’ (2022).  A paper for the Lithuanian Academy of Music and Theatre’s International Music Theory Conference, to be published in 2024 in Principles of Music Composing.

‘Music of Philosophy: Re-Reading Alain Badiou’s Logics Of Worlds Through The Operas of Alban Berg’ (2022). A paper for the SMI and ICTM Ireland Plenary Conference 2022 and the 24th Società Italiana Di Musicologia Annual Conference. 

‘The Contingent Dialectic’ (2021). A guest lecture at Winchester College of Art.

‘Contingency Dialectics in Fashion-Opera’ (2021). A paper for the 57th RMA Annual Conference at Newcastle University and the Lithuanian Academy of Music and Theatre’s International Music Theory Conference, to be published in 2023 in Principles of Music Composing.

‘Composition and Practice as Research’ (2021). Presented at the Online Postgraduate Research Forum at Goldsmiths, University of London.

‘Music Of The Spheres: Quantum Computers and the End of Newtonian Realism’ (2021). A paper for the SMI and ICTM Ireland Plenary Conference 2021.

‘An Embodied Critique of Contingency Dialectics’ (2021). For Vibrant Practices: Material Agency and Performative Ontologies at the University of Leeds. With Jenni Hogan. 

‘Vocal Writing in Fashion-Opera’ (2020). A paper for the first Spheres of Singing conference at the University of Glasgow. 

‘Heaven’s Rose’: ROBE and the Philosophy of Fashion Opera (2020). A feature published in Sonograma Magazine on the relationship between New Materialism and compositional methodology in my opera ROBE.

‘Material Music: Reclaiming Subjectivity in Spatialised Time’ (2019).  A paper for Music in the Body 2019 and the 56th RMA Annual Conference 2020, published in 2021 in Music in the Body - The Body in Music (Göttingen Studies in Musicology.)         

‘Futures of the Real’ (2019). A conference I organised and curated at Goldsmiths, University of London about changing perceptions of a non-human external reality.

‘“For me the greatest measure of a work of art is if it makes me feel uncomfortable or excites me sexually”: a Lacanian reading of Michael Finnissy's Verdi Transcriptions’ (2018). A paper for the International Music Theory Conference, published in Principles of Music Composing in September 2019.     

‘The Spatialisation of Music’ (2018). A paper for Intersections 2018 at Kent State University, Florence.   

‘Postmodern Hyperspace in Elliott Carter's String Quartet No. 4’ (2017). A conference paper for YMEIC 2017, published in 2019 as part of Music, Individuals and Contexts: Dialectical Interactions by the SEdM.

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