A development of the original composition and which is now 7'00".  Much of the original sonic material is taken from the human voice.


Premiered at On the Edge at the University of Hull (Scarborough Campus) 18 March 2010.

Composition written for Jos Zwaanenburg and premiered at Sonic Art Oxford 2010, 25 February 2010.

For Sho, Koto, Shakuhachi and Live Electronics.  Performed by Okeanos (Robin Thompson, Melissa Holding and Clive Bell) at the Sound and Music event - Cutting Edge: London. 19 Nov 2009.

Also performed at Sonic Art Oxford, 26 Feb 2010.

> Link to Cutting Edge

The second in the series of compositions for flute and live electronics performed at Sonic Art 2009.

WIRED - Jane Chapman, harpsichord NMC D145 Jane Chapman, described as "Britain's most progressive harpsichordist" (The Independent on Sunday) and "a fearless contemporary music performer" (The Guardian), performs new works for harpsichord and electronics by Paul Dibley, James Dillon, Sam Hayden, Paul Newland, Roger Redgate, Sohrab Uduman, Mike Vaughan and Paul Whitty. WIRED was developed and supported by the Sonic Art Research Unit at Oxford Brookes University to explore the unique cultural resonance of the timbre of the harpsichord from its sixteenth-century origins to its use by composers of the twenty-first century. All tracks except track 6 recorded by Paul Dibley. Tracks 3,4,8 and 10 produced by Paul Dibley. Released: Februay 2009 Total Time: 67'06

Listen to extracts of the CD:

> Link to NMC Webpage

A new five minute electroacoustic composition, completed August 2008, which takes much of the original sonic material from the human voice.

See the Digital Art Weeks at the Swiss Federal Institue of Technology in Zurich.

Have a listen to the work: profondeurs.mp3

The Pd (Pure Data) patches for InvIII have been expanded and tested during one of the Electroacoustic Oxford concerts (13 April 2008). Performed by Dom Lash (mp3 available for download soon).

This interactive composition is the third invention in a series for harpsichordist Jane Chapman. The live electronics is produced using Pd (Pure Data) and the compostion was first performed at The Spitz, London on 24th July 2007 and was described in a SPNM new notes Review:

'Of the three pieces using live electronics Dibley’s inv III stood out as an effective integration of the two forces with both flowering in symbiotic empathy. The music seemed like an extrapolated journey through the instrument’s history with past references focused electronically on to new horizons.'

and in aMusicalCriticism.com review:

'Paul Dibley makes extensive use of live electronics (which he performs,as do the other composers within their own pieces), pre-recorded tape, and live harpsichord sound in his animated and explorative INV III and INV I. The first of these builds from simple harpsichord material set in a feedback loop with ricocheting background noise, before amassing a shape-shifting shadow play of mechanical and electronic sound. The second holds the two strata at more of a distance, more as partners than as unity, though an interesting tension pervades the piece that suggests a fruitful coupling of the two, which is nevertheless always thwarted.'

Performed as part of Sound and Music's Cutting Edge programme 12 November 2009.

This work is the second invention in a series written for harpsichordist Jane Chapman. First performed on 28th March 2006 at an SPNM event held at cargo-london.
"You can admire occasional flights of ingenuity, such as in Paul Dibley's pulsing InvII". Friday March 31, 2006, The Guardian

Completed in 2005 and broadcast on KUNM 89.9 FM, Albuquerque and KUNM.ORG during the Santa Fe International Festival of Electroacoustic Music (SFIFEM) 2006. Played during Signal Noise Festival 2006, Vancouver.http://signalandnoise.ca/. Played in Spring in Havana festival, Cuba (2006). [prog note]

This first composition in a series of contemporary inventions was written for harpsichordist Jane Chapman and was premiered at the Holywell Music Room in Oxford on 16 November 2005, as part of Oxford Contemporary Music's Autumn programme.

This piece of video art and the soundtrack was created during Summer 2004 whilst being an Honorary Research Fellow at Keele University.
see Video page.

This short acousmatic composition was written as part of Jonty Harrison's 50th birthday tribute, was broadcast on art-radio.net on 17 February 2004 and has been played at the 3čmes Rencontres Musiques Nouvelles, Lunel, France (6 June 2004). [prog note]

SOMMS (or Satan Oscillate My Metallic Sonatas to give it its full name), an electroacoustic composition based on the sounds of the classic VCS3 synthesizer, was premiered at the CBSO Centre in Birmingham by BEAST on 8 March 2003.

Short composition The Cine Projector (written in 2002 and which is 4'45" long) was chosen to be part of the CEC CD compilation DISContact! III. [prog note]

Cine Projector was played on the Acoustic Frontiers radio program on CKCU-FM (in Canada) on 6 October 2003; on 3ccc-fm in Australia (8th October 2003) and on art-radio.net on 17 February 2004. Cine was performed at Thailand New Media Art Festival 2004 (20-28 March). It was also played on elektramusik.com, broadcast on Thursday, 2 December 2004 at 7 pm ( GMT + 1 ) and again again on Sunday, 5 December at 5 pm ( GMT + 1 ).

Buy this CD now from DIFFUSION i MéDIA, or have a listen to a mp3 copy.

Cine - (completed 2001, duration 16 minutes) - an acousmatic composition. First performance Saturday 2nd June at Portals, CBSO Centre, Birmingham, England.

Cine was selected for performance at the V BIMESP 2004 in Sao Paulo, Brazil (13 June 2004).

Thalis - an electroacoustic composition was performed at a BEAST concert at Birmingham, The Ear of the Sea (an international sound art exhibition, Helsinki), the 21st International Study Week for Contemporary Music (at the Advanced Training Centre for New Music, Lueneburg, Germany). Thalis has been broadcast on ArtsRadio1, Finland and can also be heard as part of SOUND BOX 2.0 at http://www.kiasma.fi/soundbox2/. Thalis was broadcast on art-radio.net on 17 February 2004.

Paul was one of the four mentioned composers (all students or ex-students from Keele University)at the 26th International Electroacoustic Music Competition at Bourges, France1999.

Thalis - [prog note]

In 1999 Paul wrote a composition for the flautist Jos Zwaanenburg. This composition, called Back to Fore, is for flute and live electronics (Max and sampler) and was premiered during the 21st International Study Week for Contemporary Music, 9 - 16 May 1999 at the Advanced Training Center for New Music, Lüneburg, Germany. The British premiere took place on May 27th 2000 as part of the Oxford Contemporary Music Festival. Other performances of this work have taken place at a Sonic Encounter in Northampton (10th February 2001) and at the Rotterdam Music Biennial (Rotterdam Conservatoire, 27th February 2001). On 4 March 2003, Back to Fore was broadcast on Edge Radio in Holland. On the 5th July 2003 Back to Fore was played at SEA'03, which was hosted by the Creative Music Technology department at the University of Hull's Scarborough Campus. [prog note]

> Download the Max patches and samples for this composition

Elevation is a piece for Trumpet and Live Electronics and was performed at a Beast RUMOURS event in 1996 by Jon Quirk (sub principal trumpet player for the City of Birmingham Symphony Orchestra).

EARequiem - an electroacoustic requiem for voice alone was premiered at OX1, A Festival of Oscillations and Vibrations (25-27 October 2001). [prog notes]

A Question? written in 1997 (based on text written and read by Chris Mann) has been released as part of a CD (titled 'Frog Peak Collaborations') by Frog Peak Music (A Composers' Collective), who are based in Lebanon, New Hampshire, USA.

> Visit Frog Peak's website

This was recreated for Professor John Goto's website, taking a whole series of abstract sounds and developed into a new soundtrack.