London College of Music

Performance research

Performance is the life blood of LCM, forming the base of the school. PhD students and staff are continuously conducting research into new performance techniques in order to push performance at LCM further, as well as to positively impact the teaching and learning process at the University.


Jez Nash is currently focusing on his project 'Motormouth'. The Motormouth project is looking at the point at which noise becomes music and the extent to which ‘liking’ can be facilitated by recontextualisation, focussing on notions of familiarity, and boundaries between noise and music. 

Recontextualisation is a feature of the project which draws from Russolo's vision for a new music constructed with unwanted side-products of industrial activity, namely, noise created by the new machines of the industrial revolution. This is coupled with an attempt at prior associational familiarity as a way of increasing chances of likability through arousal potential. The latter is achieved through transitioning between Smalley’s 4 stages of surrogacy. The field recordings are taken from automobiles, and organised into Pop arrangements with a lyric linked to the source vehicle.

Motormouth - Long Way to Grandma's:

Life from Light

Antonio Castells Delgado is an active composer whose practice blends classical and operatic traditions with contemporary popular ones such as downtempo electronica and sound art. He has released seven studio albums together with three live albums recorded at Bush Hall, Union Chapel and Kings Place. He has adapted his studio albums to the live arena in his works 'Life from Light' (2012) and '2045: The Year Man Becomes Immortal' (2016).

Multi Grammy Award winning classical producer Michael Haas said of his music:

'Ennio Morricone meets Erik Satie. In truth, it's far more subtle than that and I would also add the unfamiliar name of Reynaldo Hahn. Other obvious names are people like Henryk Górecki or Philip Glass, but these are perhaps too obvious. Morricone I believe comes to mind because there is a cinematic vividness to your music that like his, exudes expanse and distance. It's dramatic and seems to come from distant times and places. Satie because I feel there is a certain painful nostalgia. And Reynaldo Hahn is relevant, because unlike Satie, he was a more sophisticated cultivator of melancholy and frankly, more serious as a composer. The Glass and Górecki comparisons are simplistic and have to do mostly with the fact that you have operatic voices singing vocalaises. (so does Freddie Mercury in 'Barcelona'!) Other obvious film composers who may be worth mentioning as possible references are Angelo Badalamenti or even Mark Knopfler. I don't think either of those two count as 'classical’.' Michael Haas.

Video trailer of the Union Chapel performance of 'Life from Light':