Ambrose Seddon

Dr Ambrose Seddon

  • Senior Lecturer In Creative Technology
  • Poole House P303b, Talbot Campus, Fern Barrow, Poole, BH12 5BB
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Ambrose Seddon is a Senior Lecturer in Creative Technology focusing on Music & Sound Production, teaching units involving composition, sound for media, creative music technology, studio recording, and music production. He supervises PhD students in composition here at BU.

Ambrose is a composer focusing on electroacoustic music, and while his primary focus is on immersive acousmatic music composition, he also creates interactive multichannel sound installations, collaborates on immersive audiovisual projects, and performs as part of improvised live electronics ensemble nonRecursive. He has twice been composer in residence at Elektronmusikstudion (EMS, Sweden, 2015, 2016).

Ambrose's work has been performed internationally in concert and on radio, receiving competition prizes and special mentions including: 2nd Prize XI° Destellos International Competition of Electroacoustic Music 2018; 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...



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., 2018. Audible relationships in acousmatic music composition. In: CeNMaS Composers' Conference 27-29 April 2018 University of Sheffield.
  • 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: Visiones 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

  • Dennis Braunsdorf. Composing with flexible phrases
  • Antonino Chiaramonte. Audio-visual relationships and the use of electroacoustic sounds as a main compositional source for producing a soundtrack
  • Arnold Marinissen. The digital audio workstation as an imaginary performance space

Profile of Teaching UG

  • Composing Using Technology 2014–15
  • Production Techniques 1 2014–15
  • Production Techniques 2 2014–15
  • Creative Music Technology 2015–16
  • Creative Music and Audio Technology 2014–15
  • Production Techniques 2 2015–16
  • Production Techniques 2 2016–17
  • Composing Using Technology 2015–16
  • Composing Using Technology 2016–17
  • Creative Music Technology 2016–17
  • Studio Techniques 1 2018–19
  • Studio Techniques 2019–20
  • Individual Project - supervision 2014–present

Internal Responsibilities

  • Programme Leader: BSc Music & Sound Production Technology, Department of Creative Technology

Public Engagement & Outreach Activities

  • A concert of multichannel electroacoustic music featuring Prof. David Berezan (University of Manchester) and Dr. Manuela Blackburn (Keele University).
  • Concert of music for harp and electronics featuring Dr Úna Monaghan
  • Concert of electroacoustic music featuring students from the Composing Using Technology unit
  • Concert of electroacoustic music from the University of Huddersfield
  • BU Loudspeaker Orchestra concert featuring UG, PGR and BU staff composers May 2018
  • BU Loudspeaker Orchestra concert Feb 2018 featuring BEAST composers
  • Concert of music for Cello and electronics at Bournemouth University Nov 2017
  • BU Loudspeaker Orchestra Concert Nov 2016
  • NonRecursive - improvisation and electronics performance group Oct 2015

Attended Training

  • Supervisory Development Training for Established Supervisors, 10 Jun 2019
  • 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)


  • 2nd prize: Klang! Electroacoustic Composition Competition, Montpellier, France (Klang! Electroacoustic Composition Competition, Montpellier, France, 2019)
  • 2nd Prize XI° Destellos International Competition of Electroacoustic Music 2018 for the acousmatic work 'Traces of Play' (Destellos Foundation, Argentina, 2018)
  • Finalist: Metamorphoses competition for acousmatic music composition (Musiques & Recherches, Belgium, 2018)
  • Finalist: Métamorphoses 2018 Acousmatic Composition Competition (Musiques et Recherches, Belgium, 2018)
  • 1st prize: Klang! Electroacoustic Composition Competition, Montpellier, France (2014)
  • Special Mention: Métamorphoses 2012 Acousmatic Composition Competition (2012)
  • Special Mention: Foundation Destellos International Competition of Electroacoustic Composition and Visual-Music (Destellos Foundation, Argentina, 2010)
  • European Region Composition Prize: ICMC 2007 (International Computer Music Conference) (2007)
  • 1st prize: Visiones Sonoras Electroacoustic Music Composition Competition, Mexico (2006)


The data on this page was last updated at 04:12 on July 10, 2020.