After two decades working in the field, I returned to academic research in 2014 to refresh and progress my creative work. My doctoral research project at the University of Huddersfield (supervisor Dr Bryn Harrison, expected completion 2017) explores transcription and other translation methods as compositional processes, and compositional engagements with varied notions of voice and vocality. I am a member of the peer-review committee for the conference Vocality/Instrumentality (UK, 2017), and I will make a presentation there about the transcription of vocality in my recent work.

The doctoral work caused a shift in my practice, away from an end-product focus on large ensemble works, toward process-led collaboration and exploration with solo performers. This shift has led to a renewed experimentation, and to the development of new compositional techniques, investigating vocality as a basis for musicality. Solo performers now form an intimate part of my compositional research and experimentation, alongside an international network of ensembles and orchestras.

In 2012, I studied privately with Michael Finnissy, whose impact continues to have a deep effect on my work. I hold a Master of Music from the Royal Conservatory of the Hague (2008, Richard Ayres, Yannis Kyriakides), where I explored narratology and narrative as tools for musical analysis. I hold a Bachelor of Music from the University of Victoria (2005), where I studied with Christopher Butterfield, whose radical pedagogical inclusivity and Dada-inspired artistic insight remain crucial foundations for my work to date.