Ambrose Seddon

Dr Ambrose Seddon

  • 01202 961559
  • aseddon at bournemouth dot ac dot uk
  • Senior Lecturer in Creative Technology
  • Poole House P303b, Talbot Campus, Fern Barrow, Poole, BH12 5BB
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Ambrose Seddon is a lecturer in Music and Audio Technology, teaching units involving electronic composition, creative music and audio technology, and music production.

Ambrose is an electroacoustic composer whose work has been performed internationally in concert and on radio, receiving competition prizes and special mentions including: 1st Prize - Klang! Electroacoustic Composition Competition 2014; Special Mention - Métamorphoses Acousmatic Composition Competition 2012; Special Mention - Foundation Destellos International Competition of Electroacoustic Composition and Visual-Music 2010; European Region Composition Prize - ICMC 2007 (International Computer Music Conference); and 1st Prize - Visiones Sonoras Electroacoustic Music Composition Competition 2006.

His research interests include compositional structuring processes and music analysis, and he has presented at various international conferences and festivals. With a background in electronica and experimental pop music, he continually strives to integrate new and varied approaches into his compositional language.

Journal Articles


  • Seddon, A., 2016. Temporal recurrence in Andrew Lewis’s Penmon Point. In: Emmerson, S. and Landy, L., eds. Expanding the horizon of electroacoustic music analysis. Cambridge: Cambridge University Press, 231-246.


  • Seddon, A., 2017. Some reflections on using video feedback at Bournemouth University. In: CELebrate 2017 - Assessment and Feedback 13 June 2017 Bournemouth University, UK.
  • Seddon, A., 2015. Notions of Landscape and Environment in Fleeting Strands. In: INTIME 2015 - Landscapes And Environments: Experimentation And Transformation In Sound And Music 24-25 October 2015 Coventry University.
  • Seddon, A., 2013. Trevor Wishart's Globalalia: Analytical Agendas, Initial Listenings and Question Marks. In: OREMA Symposium 4 11 July 2013 Leicester.
  • Seddon, A., 2012. Sound Material Correspondence and Temporal Relationships in Acousmatic Composition: Proposing a Taxonomy of Recurrent Phenomena. In: Electoacoustic Music Studies Network Conference (EMS) 11-15 June 2012 The Royal College of Music (Kungliga Musikhögskolan), Stockholm. Stockholm: Electroacoustic Music Studies Network.
  • Seddon, A., 2011. Developing a Taxonomy of Recurrence for Acousmatic Music: Sound Identity Correspondences. In: Sound Sight Space Play 8-10 June 2011 De Montfort University, Leicester.
  • Seddon, A., 2011. Investigating Recurrences in Andrew Lewis’s Penmon Point. In: Wolfe, M. and Hill, A., eds. Sound, Sight, Space and Play 2010 2-4 June 2010 De Montfort University Leicester. Leicester: Sound, Sight Space and Play Postgraduate Symposium for the Creative Sonic Arts.
  • Seddon, A., 2007. Recurrence in Acousmatic Music: Creative and Analytical Possibilities. In: EMS07 Electroacoustic Music Studies Network Conference 11-15 June 2007 De Montfort University Lecester. Leicester: Electroacoustic Music Studies Network.
  • Seddon, A., 2006. Approaches to Electroacoustic Composition. In: isiones Sonoras Festival Internacional de Música Electroacoústica y Nuevas Tecnologías 18-26 September 2006 Morelia, Mexico.
  • Seddon, A., 2006. Recurrence and Sound Material Identity in Acousmatic Composition. In: Digital Music Research Network 22-23 July 2006 Goldsmiths College, University of London. London: Digital Music Research Network.



PhD Students

  • Antonino Chiaramonte. Audio-visual relationships and the use of electroacoustic sounds as a main compositional source for producing a soundtrack
  • Dennis Braunsdorf. Composing with flexible phrases

Profile of Teaching UG

  • Creative Music Technology 2016–17
  • Composing Using Technology 2016–17
  • Composing Using Technology 2015–16
  • Production Techniques 2 2016–17
  • Production Techniques 2 2015–16
  • Creative Music and Audio Technology 2014–15
  • Creative Music Technology 2015–16
  • Production Techniques 2 2014–15
  • Production Techniques 1 2014–15
  • Composing Using Technology 2014–15

Public Engagement & Outreach Activities

  • BU Loudspeaker Orchestra Concert
  • NonRecursive - improvisation and electronics performance group

Attended Training

  • Supervisor Training: New Supervisors, 10 May 2016, Certificate of Doctoral Training


  • PG Cert in Education Practice (Bournemouth University, 2016)
  • PhD in Music (electroacoustic composition) (City University, London, 2013)
  • MA in Composition (electroacoustic) (City University, London, 2002)
  • BMus (Hons) in Music (Goldsmiths College, University of London, 1996)


  • 1st prize: Visiones Sonoras Electroacoustic Music Composition Competition, Mexico (2006)
  • European Region Composition Prize: ICMC 2007 (International Computer Music Conference) (2007)
  • Special Mention: Foundation Destellos International Competition of Electroacoustic Composition and Visual-Music (2010)
  • Special Mention: Métamorphoses 2012 Acousmatic Composition Competition (2012)
  • 1st prize: Klang! Electroacoustic Composition Competition, Montpellier, France (2014)


The data on this page was last updated at 04:10 on March 21, 2018.