Harry Matthews

United Kingdom
research interests: composition, artistic research, Noise, Soundscapes, field recording, trespass
affiliation: Bath Spa University and the University of Southampton
en

Harry Matthews is a composer, pianist and musical co-director of OUT-TAKE Ensemble based in Bristol, UK. His work focuses on composing for instruments and field recordings, exploring listening to human noise, social-curiosity, and trespass. Recent works have been composed for Plus-Minus Ensemble, Daniel Molloy, Jane Chapman, Quatuor Bozzini, Juliet Fraser, and OUT-TAKE Ensemble. Harry’s current projects include works for Ben Jameson, Caitlin Rowley, and Ben Clark.

Harry is currently studying for a PhD in Composition at Bath Spa University and the University of Southampton with James Saunders and Matthew Shlomowitz (AHRC Funded by SWW DTP). He completed his BA in Music and MMus in Composition, supervised by Benjamin Oliver, Matthew Shlomowitz, and Michael Finnissy at the University of Southampton in 2016/17.

research

research expositions

  • The application of creative practice as a means of disrupting or re-defining the dynamics of power in, with or for different communities. (2022) author(s): Sabrin Hasbun, Gareth Osborne, Rachel Carney, Julika Gittner, Catherine Cartwright, agnes villette, Harry Matthews published in: Journal for Artistic Research
    In this exposition, seven research practitioners investigate how creative practice can be applied as a form of knowledge production in order to disrupt or re-define the dynamics of power in a range of different contexts. These applications of creative practice take varied and complex forms, often transferring creativity from the practitioner-researcher to their participants, increasing participant agency or re-defining existing hierarchies, as they form, empower, and enlighten real and conceptual communities. This collaborative exposition has been developed through presentations and discussions over the course of two years. Although each researcher applies different methodologies to their individual projects, our work as a group followed a pattern of creative practice, reflection, and reformulation, as we responded to each other’s research, creating a research community of our own. We want to emphasize that creative practice can not only disrupt or re-define the dynamics of power in a range of different contexts, but that it can do this in an infinite number of ways. In this variety and adaptability lies the potential of creative research.
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