Creative Practice / Compositions

Sound & audiovisual compositions will apply and critique spatial concepts in context, underpinning theoretical research, while affording unique dissemination opportunities.


Andrew Knight-Hill

Soundtrack to an experimental film directed by Dave Leister. This film was created from a looped clip of the 1957 MGM lion. The soundtrack of the film is drawn and extended from the sounds of the MGM lion and synthesiser. It is an open secret in the film sound world that the MGM lion sound has been edited and transformed over the years. As such the film is both a celebration of this iconic sample and an exploration of the evolution of sound over the past 60 years. The work beings using the original 1957 roar and eventually transitions into samples derived from the updated 1982 MGM ident created for the film Poltergeist. This ident actually uses samples taken from a tiger. Through online research I was able to identify the original recordings used as a basis for this roar and thus access outtakes and more diverse sonic materials that were added to the soundtrack. Thus in both sonic transformation via granulation of the original lion and in editing and montage from the 1982 recordings I was able to develop and transform the lion sounds to create variation and development over the 6 minute duration of the film.

Through an Ocean of Storms

Andrew Knight-Hill

This composition forms part of the practice research components of the “Audiovisual Space: Recontextualising Sound Image Media” AHRC Leadership Fellowship. Combining techniques from electroacoustic music and film sound design this practice research output is an applied exploration of the synthesis of these disparate fields of practice. This 5.1 surround sound composition is made entirely from audio recordings of the NASA Apollo 12 mission and extended trumpet (performed by Dr Bede Williams, St Andrew’s University). The work is loosely structured around the narrative of the mission using live radio communications as dialogue, with which the music provides an affective and evocative sonic score.

Gherstl’s Ghost – Soundtrack

Andrew Knight-Hill

String Quartet composition for 360 immersive film sequence Gherstl’s Ghost (Dir. Peter Bathurst). This soundtrack was developed in two parts. An initial section composed to fixed timeline for an opening film sequence which seeks to convey the swirling, emotional vortex of the films primary discourse. And a second section designed for the immersive 360 sequence, designed to loop and be dynamically remixed as the user passes through the space. This bifurcated project enabled the development of two contrasting elements, a more traditional linear score and a more open and spatial dynamic score element. Both were developed around a common theme with exploration of the affordances of each emphasis explored.


Andrew Knight-Hill

Over Lunan is a multifaceted collaborative project, commissioned by Aproxima Arts, originally as the finale work as part of the Arbroath 2020+1 celebrations. The work includes a series of sub-strand elements: – Radiophonic Work / Radio Play (Recording 42 mins). – Sound Design for immersive theatre production (no fixed duration). – Musical composition for finale of immersive theatre event (Live Performance with Recorded Sound 20 mins). – Atra-hasis musical radio montage (Recording 18 minutes). – Atra-hasis choral work (Score and Recording) (9 minutes). The work was inspired by the Angus coastline of Lunan Bay, its rich geological history and creative links with contemporary geopolitical events. “Our world is formed and connected by the sea. Thousands of years ago, these coastlines were shaped by cataclysmic events; in Mesopotamia too, mythical floods gave rise to stories of the Apkallū – half-fish, half-human sages who emerged from the sea to bring wisdom to our ancestors, living in what became known as the ‘cradle of civilisation’. Thousands of years later, those same lands lie decimated by war and the world’s oceans are rising again… what would the Apkallū say if they returned to speak for one last time?” The project involved a diverse team of creative collaborators including: Angus Farquhar – Director Approxima Arts Purni Morell – Dramaturg and script writer (former Director of Unicorn Theatre), Andrew Knight-Hill – Composer of electro-acoustic music, Bede Williams – Conch John and Patrick Kenny – Conch and Carnyx players Cameron Sinclair – Musician and composer Robin Laing – Actor Steve Urquhart – Radio Producer (BBC Scotland) Choir – Chamber Choir from the University of St Andrews Music Centre Rebecca Black Sarah Greer James McNinch Nathanael Fagerson Ross McArthur Guy Minch Elizabeth Unsworth Wilson Jane Pettegree Choir Director – Claire Innes-Hopkins

About the Night

Emma Margetson

Sound Design / Composition for the short film, “About the Night”.

A soundtrack composed to a fixed timeline following the fluid nature of the storyline – a cafe late a night. The soundtrack explores the use of recognisable sounds of the cafe, and abstracted sounds to emotionally set the scene of the cafe, and also the three actors as they come to a mutual understanding of one another.

Altipano Productions, A Girl at the Table Productions

Director: Lee-Jane Bennion-Nixon

Writer: Stephen Nixon