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Spread across 47 acres in Dublin’s city centre, Trinity’s 17,000-strong student body comes from all 32 counties of Ireland, and 16% of students come from outside the country.
I remember at first feeling inspired by the beautiful architecture and surrounding grounds of the campus itself, like entering an oasis of calm, a sanctuary in the middle of the bustling city. Then discovering exciting new music and ways of thinking about sound from lecturers at the time, Donnacha Dennehy and Dermot Furlong in particular. I also treasured the sense of community I found at the Music and Media Technologies Masters course. Many of the students had come from a diverse range of backgrounds, all walks of life, and I learned so much from their ideas and differences. I came from a Music degree background, especially rooted in instrumental composing and ethnomusicology - suddenly I was introduced to a whole new world of electronic music, expanding out to the visual arts and mixed media. This had a major impact on the work that I went on to explore after my studies. I then completed a doctorate in Composition, which allowed me to focus on honing my skills in both instrumental and electroacoustic writing. I’ve just returned from London where I was having a piece of mine Fall Approaches performed for string orchestra and electronics, by an Australian chamber orchestra Ruthless Jabiru. The piece is all about Icelandic landscape and darkness coming into the change of seasons, so it was very appropriate timing to have this played within the atmospheric setting of Union Chapel. Just before that I was in New York, for Fall for Dance Festival, performing a new work with the dancer Colin Dunne, with string quartet and live electronics. I look forward now to embarking on new composing work for upcoming commissions, for the Crash Ensemble, RTÉ National Symphony Orchestra with Philharmonic Choir, and the AXA International Piano Competition.