School of Music
Taught Postgraduate Tutor
0113 34 32532
Ph.D., M.Sc., B.A. (hons)
Scientific and design-led research in music; auditory awareness and the sonic environment; music technology; multi-loudspeaker sound spatialisation; cultural history, modernism and post-modernism; open source software and hardware; free improvisation; applied electroacoustic composition; music, memetics and consciousness.
- Resound system: http://resound.sourceforge.net
- Auditory Environments project: http://culturelab.ncl.ac.uk/auditoryenvironments
Current Modules
- MUSI1520 Introduction to the Sciences of Music
I currently deliver the Acoustics and Psychoacoustics unit of this module, and co-deliver the Music Technology unit with Dr Ewan Stefani
- MUSI3620/3640 Minor/Major Music Technology
I co-deliver these modules with Dr Ewan Stefani
- MUSI5132 / MUSI3120 / MUSI3140 Dissertation
I supervise postgraduate and undergraduate dissertations. See my research interests for an indicative list of some topic areas - MUSI5132 Computer Music Studies
I deliver this taught postgraduate module alongside Dr Ewan Stefani and Dr Kia Ng. My main contribution is the integration of musical and programming skills. - MUSI5662 Music Technology Project
- MUSI1020 Music in History and Culture
I deliver a lecture on the cultural history of recording - MUSI1121 Music Research Skills
I supervise a group of ten first year undergraduates and act as their research skills tutor - MUSI1225 Understanding Popular Styles
I deliver a lecture that summarises the history of music technology
Module Coordinator for
- MUSI2620 Music Technology Skills and Techniques
- Deputy Examinations Officer
Contributions to books and conference proceedings
- E. Stefani & J. Mooney. Spatial Composition in the Multi-Channel Domain: Aesthetics and Techniques. Proceedings of the International Computer Music Conference, 2009.
- J. Mooney & D. Moore. Resound: Open Source Sound Spatialisation. Proceedings of the International Computer Music Conference, 2008.
- J. Mooney, P. Bell & A. Parkinson. Sound Spatialisation, Free Improvisation and Ambiguity. Proceedings of the Sound and Music Computing Conference, 2008.
- J. Mooney & D. Moore. A Concept-Based Model for the Live Diffusion of Sound via Multiple Loudspeakers. Proceedings of the Digital Music Research Network Conference, 2007.
- A. Moore, D. Moore & J. Mooney. M2 Diffusion: The Live Diffusion of Sound in Space. Proceedings of the International Computer Music Conference, 2004.
Reviews
- J. Mooney. MAXIS Symposium. Earshot, Journal of the UK & Ireland Soundscape Community. No. 3: 38-39, November 2002.
- J. Mooney. MAXIS 2002. SAN Diffusion. No. 7: 10-11. July 2002.
Compositions
- Alive! (0:10). Video, stereo, April 2007. Collaboration with Martyn Dade-Robertson.
- Sueno (1:00). Audio, stereo, March 2006.
- Graffiti 2 (11:41). Audio, 5.1 channels, May 2003.
- Everything I Do is in Inverted Commas (8:39). Audio, stereo, January 2003.
- Thermal Diffraction (14:40). Video, stereo, December 2002. Collaboration with Nikos Stavropoulos.
- Pointless Exercise No. 911980 (4:09). Audio, stereo, September 2002.
- September 11 (1:00). Audio, stereo, June 2002.
- Coney Street (9:48). Audio, stereo, May 2002.
- Smoo Cave (13:57). Audio, stereo, April 2002.
- Study in VST No. 2 (9:09). Audio, stereo, December 2001.
- Study in VST No. 1 (5:10). Audio, stereo, November 2001.
- Haiku (7:20). Video, stereo, May 2001.
- Gaal (2:43). Audio, stereo, December 2000.
- Engimatic (2:00). Audio, stereo, November 2000. Collaboration with Paul Ramsey.
- Dead Fires (7:00). Soprano, Mezzo-Soprano, Alto, Flute, Clarinet, Violin, Cello, April 2000.
- Order 2 (4:00). 2 Flutes, 2 Trumpets, Bassoon, Piano, Marimba, Vibraphone, Percussion, January 2000.
- Graffiti 1 (3:45). Clarinet, French Horn, Piano, Violin, Cello, December 1999.
- Distant? (5:30). String Quartet, November 1999.
- E (3:00). Piccolo, Contra-Bassoon, Violin, Double Bass, April 1999.
- Kiss Me in the Dark (2:30). 2 French Horns, 2 Trombones, 2 Violins, Double Bass, March 1999.
- Introductions (2:00). String Quartet, February 1999.
- M.H. (1:00). Piano, January 1999.
- 7 (3:10). Piano, November 1998.
- I#IV (3:00). Four Instruments and/or Stereophonic Fixed Medium, October 1998.
- PVC (1:25). Soprano, October 1998.
Conference papers (oral)
- J. Mooney & D. Moore. Resound: A Design-led Approach to the Problem of Live Multi-loudspeaker Sound Spatialisation. Royal Musical Association conference, July 2008.
Abstract
Sound Diffusion Systems for the Live Performance of Electroacoustic Music
This thesis documents research in the field of sound diffusion for the live performance of electroacoustic music. Broad and inclusive ways of conceptualising electroacoustic music are presented, with the intention of promoting the design of improved sound diffusion systems in the future. Having defined 'electroacoustic music' in terms of the technologies involved and the unique ways in which these creative frameworks are appropriated by practitioners (Chapter 1), a binary interpretation of the electroacoustic idiom, whereby musical philosophies can be regarded as either top-down or bottom-up, is given (Chapter 2). Discussion of the process of sound diffusion itself reveals two distinct performance praxes, which can also be characterised as top-down and bottom-up (Chapter 3). These differing ideologies, in addition to the technical demands of the electroacoustic idiom and the logistical demands of sound diffusion itself, must be accommodated by the sound diffusion system if live performances are to achieve the desired musical communication. It is argued that this is not presently the case. A system of criteria for the evaluation of sound diffusion systems is presented (Chapter 4). Two original concepts the coherent audio source set (CASS) and coherent loudspeaker set (CLS) are also presented; these are intended to be practically and theoretically useful in the field of sound diffusion. Several existing diffusion systems are evaluated in terms of these criteria (also Chapter 4). A description and evaluation of the M2 Sound Diffusion System, which was co-developed by the author as part of this research, is also given (Chapter 5). The final chapter describes ways in which superior future systems can be devised. These range from specific practical suggestions to general methodological recommendations. Overall, the intention is to provide an interpretation of the electroacoustic idiom that can be used as a heuristic tool in the design of new sound diffusion systems.
Performances
- Various bands, ensembles, free improvisation and electroacoustic performances.
Member of Ensemble
- Twentymen. Http://www.twentymen.co.uk
- Lana Page. Http://www.myspace.com/lanapageuk
- Miss Picasso. Http://www.myspace.com/misspicasso