I formed KUBOV with Emma Lloyd in 2012. KUBOV is a live band of electronics with violin. We’ve been lucky enough to travel the world performing in some of the most amazing venues. Below are some live recordings, as well as a preview to our album being released in the next month.
We’ve made an album – Invisible Soundscapes
I have been working in community music projects since 2005. I began running community music workshops for adults with learning disabilities with my mum, Nicola Sheeran.
Together we managed the project for a permanent music centre, raising £50, 000 funds for equipment, tutors and trips over ten years. This music centre, Generator Music, was based at SELF Unlimited.
In 2011 I was very lucky to receive an award to pursue research surrounding electronic music instruments to support workshops for individuals with additional needs. I carried out this research at STEIM, Amsterdam and brought back new instruments and workshops based around electronic music making.
Following this computers and electronics became fully integrated into the music centre, and we ran an Electronic Music Month, where we devoted an entire month to electronic music pursuits.
Please download my entire report here.
Research project based at STEIM, Amsterdam
Abstract: In 2011 I was very lucky to receive an award from the WCMT to pursue research surrounding electronic music instruments to support workshops for individuals with additional needs. I carried out this research at STEIM, Amsterdam and brought back new instruments and workshops based around electronic music making.
Following this computers and electronics became fully integrated into the music centre, and we ran an Electronic Music Month, where we devoted an entire month to electronic music pursuits.
This project was kindly supported by the Winston Churchill Memorial Trust.
Degrees of Interpretation in Computer Aided Algorithmic Composition
Paper presented at International Computer Music Conference, Athens 2014.
Abstract: In 2012 Michael Edwards introduced his open-source com- position system, Slippery Chicken (sc). Since then I have been working with the software, experimenting with the possibilities and limits of its output and identifying its con- stants and mutations. In this paper I will analyse some of the different compositional methodologies that sc offers, tracing its digital fingerprint and examining its persistent presence through degrees of composer and performer in- terpretation. I will include a discussion of the broad spec- trum of opportunities for the parallel generation of ideas and maintenance of each user’s compositional voice, not only through choice of input material but flexibility of out- put formats from the software.
Paper presented at CIM conference, 2014.
Abstract:
At the core of this paper is the notion of hardware as compositional material and sound engineer as performer, specifically in the practice of electro-instrumental (mixed) performance. The key issues that I aim to examine are the practical matters surrounding the performance of mixed music, which information is best communicated prior to performance and how this can be done. I explore the impact of hardware and venue architecture on performance and remark on some existing communication issues regarding musical intention. I then present various case study documents, addressing some of the points that I have examined
Completed in July 2017, viva assessed by Prof Peter Nelson and Prof Simon Emmerson.
Thesis can be found to be downloaded here
Abstract: This thesis explores the following questions: What is the influence of algorithmic software on the composition process? How can spectromorphologies be manipulated in search of coherent and lucid coupling in electro-instrumental (\emph{EI}) music? What are the practical implications of the performance of EI music?
This thesis will unfold practicalities, creative approaches, and new directions for the practice of EI music, drawing together spectromorphological theory and instrumental techniques. Framed around a body of work for solo instrument/ensemble with computer, I will assess each aspect of my musical process. Musical vocabularies, grammatical organisation and collaborative performance practices will be discussed.
Specifically, my research breaks down components of composition into context, materials and an attempt towards categorisation and grammatical organisation including spectral and algorithmic techniques. With the knowledge that the computer has influence on the music making process, I identify and discuss some of its key contributions. Additionally, knowing that the tools and spaces that facilitate performance also impact the music, I seek to understand how these tools and environments contribute in order to get the best musical responses from them. Collaboration is a key theme, and throughout the thesis I pay attention to performer presence in the music making process. This thesis should be read in conjunction with my submitted portfolio for relevant case studies and musical examples.
Jess Aslan (Xica) is a musician working with synths, drum machines and code. Loves collaboration, very lucky to work with lots of different musicians from varying genres/communities/spaces. Research includes discussion on performance using instruments combined with computers, algorithmic composition, practicalities of computer music and music tech education for all.
CONTACT: j.aslan@gold.ac.uk
KINGSTON UNIVERSITY
I teach modules in Synthesis, Sampling Sequencing, Programming Music, Sonic Environments, Practice Research and final projects. I am also member of the Stylo Orch
Kingston staff pageGOLDSMITHS, UNIVERSITY OF LONDON
I teach modules in Interactive and Generative Music, Live Electronics and support Master's Final Projects, Music Computing dissertations and guest lecture for Music Computing and Sonic Art modules.
Goldsmiths staff pageUNIVERSITY FOR THE CREATIVE ARTS
I ran a module on Sonic Arts
EDINBURGH UNIVERSITY
I tutored Non-realtime composition and Realtime composition masters modules
ECA postgrad profile 
some old stuff i kept up on soundcloud…
Here are a few old electroinstrumental pieces I’ve written over the years.
The Confines of light and Shade:
This piece was developed algorithmically using slippery chicken. The piece was commissioned by the Colourscape festival and first performed on 21st September in a Colourscape dome. It demonstrates later use and development of my algorithmic techniques, perceptual translation and dealing with commissions and communication with a patch operator . It also explores performances in unusual venues.
The Augmented Piano:
The Augmented Piano is a work for solo piano and live electronics. By exploring the implicitfeedback of electroacoustic instruments and extended piano technique during composition, this piece explores different forms of interaction between acoustic and digital media.Of im-port to the work is the practice of electroacoustic performance and its current concerns,whichrequired a brief interrogation of audience expectations and the aesthetics of laptop performance.Also,being largely improvisational, The Augmented Piano necessitates a critical engagement withthe nature of spontaneous music, particularly in digital music, in order to successfully advise it.
XYRE:
Written for residency at the Highland Connections Project.