Sarah Angliss wrote an opera. She did composition and sound design. She had to learn to write for other people and make everything reliable.
Fifteen years ago she went to the Hunter Museum in London, including a skeleton of Charles Burn, who did not want his skeleton exhibited. His body was stolen after his death by Hunter. Her opera was about Burn. She spent seven years writing the opera, during which time the Hunter museum responded to pressure and removed the display.
Some of the instruments in the opera are her robots, including a carillon. She also used theremin. But mostly 18th century instruments used in weird ways.
Theatre uses some software called Q Lab.
She’s got a live looping device that does subtle weird stretching. There are several loop points on the phrase.
She got really into 1969s spectralism. Her stuff is based on the nightingale. The problem with mapping an FFT to a violin is that violins also have spectrums. She wrote software to take into account the violin’s spectrum. IRCAM’s software OrkIdea does this well.
