As a music composer, a lot of my work is rooted in a compulsion with the elements, and this has been a large part of what has driven my creativity over recent years. Finding the roots of music has enabled me to cross the boundaries from one style to another, and to find universal forces that drive them and tie them together.
I am fascinated by the relatively unexplored territory that lies between classical and electronic music. It is with a depth and dedication that I go about understanding both backgrounds. A masters degree in classical music composition and an undergraduate degree in music both helped with this, and set me on a life long path of discovery that has shaped my journey since.
It is a privilege to collaborate with fantastic creatives across a wide variety of disciplines and to have these outputs for my work. Realising other people’s artistic visions and contributing my own has taken me to places that I never imagined. I go forth with a collaborative spirit as an integral part of my creativity.
I love finding sounds within parts of our modern infrastructure and recording them to make music, such as the resonance of the metal ropes on a suspension bridge, or the tones that can be picked up from a gate hinge. A large part of my voice as a composer comes from the mixing of traditionally played instruments with originally recorded electronic sounds and their fusion.
My background in classical recording has been a great starting point to ensure sounds of high quality, and I use advanced stereo recording techniques usually found in top-end studios, to capture unusual sound creation devices. You may well see me using a violin bow on a wire fence and wonder what I am recording that for!
Once these sounds are captured I store them in a large sound library and manipulate them using cutting-edge technology to squeeze the music out of them. I have been exploring where the boundaries lie between perceived sounds and musical beauty, always looking for new and innovative ways to create and explore the vast range of possibilities.
All this serves to make music which everyone can enjoy, more interesting. I consider this a channel of research which is an integral part of my creative process.
…Yes music does grow on trees: check out this piece I made using only the creaking sound from tree branches
Robert Singer grew up in the English Lake District where music became an integral part of his life from the start. When he was five, an inherited piano became his creative instrument and sparked a life-long curiosity in sound exploration. He attended Westmorland Youth Orchestra as percussionist, and played in the National Theatre in London as part of a school show. By the end of school, he had set up his own music recording business. He went on to record Radio 3 star Rachel Little, and joined a folk band, exploring the Lake District music scene.
Robert studied music at Liverpool Institute for Performing Arts, where he found his musical voice writing for experimental theatre. He collaborated with professionals Steve Nestar and award-winning theatre director, Mark Babych, and experimented with sound manipulation as a music making process. He wrote music for Evans Cycles youtube channel and was also asked to write the music for his graduation ceremony which was hosted by Paul McCartney at the Liverpool Philharmonic Hall.
During his Masters in Music Composition at the Royal Welsh College of Music and Drama, Robert further studied classical and electroacoustic music. He focused research on bringing classical and electronic music together and on exploring relatively new territories. He was commissioned to write for an orchestra based in Morecambe, and he also led an independent project with choreographer, Krystal Lowe (guest artist with Ballet Cymru). He wrote a full-scale ballet with orchestra and brought it to perform at the Atmospheres Festival (the first ballet to be performed at the college)
Since graduating, Robert has expanded the applications and output of his composition. He has worked with soprano Chanae Curtis (praised for her attractive singing by the New York Times), and Jakob Grubbström (conductor of the Cantores Amicitiae choir). Robert’s music creativity continues to expand with an emerging elemental voice.