Professor David Osbon
BA Performing Arts (Leicester), PgDip GSMD Advanced Composition (Guildhall School of Music and Drama), PgDip KC Sonology (Royal Dutch Conservatoire), MA Music Analysis (University of Sussex), PhD Music (University of Pennsylvania)
David Osbon is Professor at the London College of Music, University of West London. He is a composer, conductor and academic whose music has been performed, broadcast and recorded around the world. Most of this international recognition comes from the years he spent as a researcher and professor in cities as diverse as Philadelphia, The Hague and Istanbul. His compositions have received many awards including the Arts Council of Great Britain DIO Award, the RVW Trust electro-acoustic music award, Hilda K. Nietsche Prize and the David A. Halstead Prize. Still Waiting for the Revolution…for piano trio was a prize winner in the Clements Memorial Prize for chamber music and was premiered in the Room Music series at St. John’s Smith Square, London.
He has conducted ensembles and orchestras ranging from the Bulgarian Radio Symphony Orchestra and the Jordanian Army Band through to the Bremmerton Symphony Orchestra and he has toured across Europe the USA and the Middle East with a variety of ensembles. An acclaimed expert in multi-media performance he is a pioneer in multi-platform and transmedia environments for contemporary performance. David is Professor of the Creative Arts at the University of West London.
Since returning to the UK in 2000 David has, in addition to his musical work, held lecturing roles at the University of London, South Bank University and Rose Bruford College, whilst holding down a full-time role as Head of Arts and Culture at Greenwich Council where he was instrumental in, amongst other things, devising the cultural chapter of the 2012 Olympic Bid. Commissions from the Bergamo Ensemble, Docklands Sinfonietta, Blackheath String Orchestra and the Dartford Symphony Orchestra have yielded major works, plus a number of chamber music commissions have been premiered, to critical acclaim in venues ranging from St. John’s Smith Square and the Wigmore Hall through to the Purcell Room and the Royal Albert Hall. David is also the conductor of the Orchestra of the Thames Gateway.
Recordings of David Osbon’s music are available on the AMP, Albany and Music-Chamber labels his music is published by Emerson Edition.
40 acknowledged and performed compositions for solo, chamber ensemble, orchestra and film. Published by Emerson Edition.
Music on Volcanic Lakes – The Spirits of Sabate – Anguillara Sabazia Scuolaorchetra, Colle Ionci (2013)
Chamber Music by David Osbon - The Creatures of Frietman, 5 Hommages, Sonatina and Still Waiting for the Revolution – Various Artists, Music-Chamber (2013)
Piano Music by David Osbon – 3 piano sonatas recorded by Jane Beament, Music-Chamber (2010).
Music by Pieter Snapper - ZIL - Bulgarian Radio Symphony Orchestra, Independent Records (2000).
Various works - The 1999 Season - Philadelphia Sinfonia, AMP Records (1999).
Liberty by David Osbon, Paul Freeman Introduces (Vol. 2), Albany Records (1998).
Various works - The Bon Voyage Concert - Philadelphia Sinfonia, AMP Records (1998).
Taking on America - chamber music by David Osbon, AMP Recordings (1997).
Music by Z. Chesky Neceski - The Prophets of Pella - Philadelphia Female Chorus/PYO Chamber Orchestra, Macedon Records (1997).
Various works - Live at Mauch Chunk - Philadelphia Young Artists Orchestra, AMP Records (1997).
Various works - Holidays from the Heart - Voices for Children Foundation, Albany Records (1997).
Osbon, D. (2012) Review of Adrianne Lis CD, NZ Review.
Osbon, D. (1992 - 2005) 11 academic papers and 3 cultural strategies published during this time.
Osbon, D. (2013) From Vox Rosa to Follow the Sun: The development of transmedia performance practice, 4th International Conference of the Visual and Performing Arts, Athens, Greece.
Role in team
|Jonathan Broder||Principal supervisor||Welcome to the Future: Rewriting the paradigm of and creating new multimedia music for a post Internet world.|
|Jose Cubides Gutierrez||Second supervisor||Development of Compositional Methods Based on Sound/Noise as a Public/Private expression.|
|Daniel Hagan||Principal supervisor||The place of music festivals in an era of digital music abundance.|
|Agata Kubiak||Principal supervisor||Under what circumstances does performing new music encourage creativity in string players?|
|Jo Lord||Second supervisor||3D Audio for Music: Ecological perception, embodied cognition and applied technique.|
|Paul Mackley||Second supervisor||What impact are sound design technologies having within the live medium of theatre?|
|Christos Moralis||Second supervisor||Live Popular Electronic Music - 'Performable Recordings'|
|Tyrian Purple||Second supervisor||In what ways have guitar players’ tools come to shape the playing style, compositional approach, and recording methodology of noise rock music from the 1970s to the present?|
|Frank St John||Principal supervisor||The symptoms of hydrocephalus and their impact on a sufferer’s ability to convey emotion during musical, vocal performance.|
|Bartosz Szafranski||Principal supervisor||Identification and application in original composition of the devices required to construct and maintain a coherent musical form with a very slow distribution of structural sound events.|
|Christina Vinson||Second supervisor||The Pan-American Association of Composers (1928-1934).|