Luke Harrald

Dr Luke Harrald

Head - Popular Music

Elder Conservatorium of Music

Faculty of Arts

Eligible to supervise Masters and PhD - email supervisor to discuss availability.


My research investigates ways that we interact with digital media and how technology influences our experience of place and culture. I create a variety of work ranging from traditional concert performances through to immersive sound installation works for galleries, museums and other public spaces that offer unique experiences and use cutting edge technologies to tell historical and contemporary stories.

Two recent works demonstrate the breadth of my creative practice. In 2021 I collaborated with Grayson Rotumah on a commission for the Adelaide Symphony Orchestra, “Bula Yabru Banam” that responded to the story of the Three Brothers; a creation story of the Bundjalung people. The work featured boomerangs, water percussion and didgeridoo, with Kuarna man Robert Taylor performing the didgeridoo part for the premiere on Kuarna Country at the Festival of Orchestra, November 2021 to an audience of over 4000. In 2020, I collaborated with Steven Cook on a Virtual Reality project “Sound Escape” that focussed on movement rehabilitation and pain management for patients at the Northern Pain Rehabilitation Clinic. The system was designed to give audible feedback on therapy movements, while simultaneously providing relief from clinical settings.

I welcome inquiries from Masters and PhD candidates interested in: Composition / Sound Art, Installation, Immersive technologies – VR, AR and surround audio, Algorithmic Composition / Computer Music, and AI or Alife and music.

My projects include:

  • Macau Days

Is a trilingual project that incorporated a book, art exhibition and sound installation, Macau Days comprised of images, stories and reflections on Macau and its rich transcultural history as Asia’s oldest European settlement. A collaboration between Brian Castro (Poet), John Young (Visual Artist) and Luke Harrald (Sound Artist), the installation sat at the intersection of media, incorporating an exhibition of paintings with a new approach to immersive audio where beams of sound were used to presented poems in three languages simultaneously while syncronised with a surround soundscape.

RealTime review of Macau Days
 

  • Way of the Warrior

Is an experiential public sound art work that is permanently installed at Adelaide Oval, which aims to give audiences a sense of what it is like for elite sports people as they walk out onto the iconic ground in front of an audience of 50,000 fans.  Making use of a unique approach to audio spatialisation using an array of 16 speakers, the majority of which are hidden, the work explores the suspension of disbelief, and how experiences can be custom built into spaces that blur the real and installed environments for audiences. 

Mini-documentary showcasing the experience of Way of the Warrior
 

  • Emergency in the Sim Ward

A collaboration with simulation researcher, and dramaturg Teresa Crea, this work was an immersive radio play commissioned by ABC Radio National. This work is a creative narrative based on clinical simulations and interviews with anaesthesists talking about their reactions and thought processes in dealing with emergencies in operating theatres. Based on field recordings of simulated and real hospital environments, the work aims to give the audience an impression of what it’s like when simulated and real environments potentially blur in our memories.

Listen to Emergency in the Sim Ward at ABC Radio National

 

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  • Appointments

    Date Position Institution name
    2011 Head of Studies - Popular Music & Creative Technologies University of Adelaide
    2005 - 2011 Lecturer in Music Technology University of Adelaide
  • Awards and Achievements

    Date Type Title Institution Name Country Amount
    2013 Award Excellence in Experimental Music Australian Performing Rights Association Australia
    2013 Award Excellence in a Regional Area Australian Performing Rights Association Australia
  • Education

    Date Institution name Country Title
    2003 - 2008 University of Adelaide Australia Doctor of Philosophy
    2001 - 2002 University of Adelaide Australia Bachelor of Music Honours in Composition (First Class)
    1995 - 1999 Flinders Street School of Music Australia Bachelor of Music (Composition)
  • Postgraduate Training

    Date Title Institution Country
    2006 - 2006 Centre de Creation Musicale Iannis Xenakis Electronic Music Summer Intensive Centre de Creation Musicale Iannis Xenakis (CCMIX) France
  • Certifications

    Date Title Institution name Country
    2014 Certificate IV in Training and Assessment Professional Development Training
  • Research Interests

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  • Journals

    Year Citation
    2018 Barkley, E., Mollison, N., Brown, P., Harrald, L., & Crea, T. (2018). Staging The Bomb. Unlikely: Journal for Creative Arts, (05), 11 pages.
  • Conference Papers

    Year Citation
    2009 Whittington, S., & Harrald, L. (2009). Hidden city: 'Being with' in improvised performance. In Proceedings of the International Computer Music Conference (pp. 481-484). Canada: ICMA.
    2007 Harrald, L. (2007). Collaborative Music Making with Live Algorithms. In TRANS: Boundaries / Permeability / Reification (pp. 59-65). Melbourne: Australasian Computer Music Association.
    2005 Harrald, L. (2005). Fight or Flight: Towards the modelling of emergent ensemble dynamics. In Generate + Test Conference Vol. Proceedings Australasian Computer Music Conference, 12-14 July, 2005 (pp. pp.68-pp.74). Brisbane, Australia: Australasian Computer Music Association.
    2003 Harrald, L. (2003). Artificial Life: model for musical innovation. In H. Abbass, & J. Wiles (Eds.), Proceedings of the Australian Conference on Artificial Life (ACAL03) (pp. 128-141). Sydney: University of New South Wales.
  • Live Performance of Creative Works

    Year Citation
    2012 Harrald, L. (2012). Distant Front (No. Of Pieces: 15 minutes) [Instrumentation: String Quartet and Interactive Electronics]. Art Gallery of South Australia: Art Gallery of South Australia.
    2012 Harrald, L. (2012). Resonant Ghosts (No. Of Pieces: 15 minutes) [Instrumentation: Site-specific Electro-Acoustic work for performance on a Steam Train.]. Currency Creek, South Australia: Country Arts SA / Wired Lab.
    2011 Harrald, L. (2011). You Can Change The World By Shopping (No. Of Pieces: 6 minutes) [Instrumentation: Video, Piano and Electronics]. Art Gallery of South Australia.
    2011 Harrald, L. (2011). The Sound Of Tau (A New Manifesto) (No. Of Pieces: 8 Minutes) [Instrumentation: Video, Electronics]. Royal Institution Australia.
    2008 Harrald, L., Pascoe, D., Sutter, L., Tomczak, S., Whittington, S., De Nardi, K., . . . Tulloch, E. (2008). The imaginary menagerie (No. Of Pieces: 1 hour) [Performance]. Adelaide.
    2008 Whittington, S., Pascoe, D., Martin, C., Harrald, L., Green, F., & Dixon, I. (2008). Strike : musical performance to accompany the silent movie by Sergei Eisenstein (No. Of Pieces: 81 mins.) [Musical performance with improvisation]. Adelaide, South Australia.
    2007 Harrald, L. (2007). Hidden city (No. Of Pieces: 42 mins.) [Audience mediated concert]. Adelaide, SA.
  • Original Creative Works

    Year Citation
    2021 Authors: Rotumah G, Harrald L. Title: Bula Yabru Banam. Description: N/A. Extent: 13 minutes.
    2019 Authors: Harrald LA. Title: A New Race to the Moon (Sea of Tranquility 2). Description: "A New Race to the Moon" is a work for virtual multi-agent orchestra and saxophone. First performance by Luke Harrald (electronics) and Derek Pascoe (saxophone).. Extent: 19 minutes 30 seconds.
    2018 Authors: Harrald LA. Title: The Intensity of Light. Description: Work for piano, electronics (7.1 surround) and 360 degree video projection.. Extent: 8 minutes.
    2017 Authors: Harrald L, Castro B. Title: Macau Days Sound Installation. Description: Immersive sound installation, incorporating quadraphonic surround sound with injected beams of sound that incorporate 6 poems in three languages.. Extent: 21 minutes.
    2016 Authors: Crea T, Harrald L. Title: Emergency in the Sim Ward. Description: Emergency in the Sim Ward is a radio play by Teresa Crea and Luke Harrald. It was commissioned by the Sound Proof program for ABC Radio National.. Extent: 38 minutes.
    2015 Authors: Harrald L, Crea T, Mollison N, Dement L. Title: Ten Minutes to Midnight. Description: 10 Minutes to Midnight is an immersive video and sound installation by:. Extent: 24 minutes, 360 degree video projections & 7.1 surround, electronic work.
    2015 Authors: Harrald L, Dement L, Boylan J, Brown P. Title: Sound Track to Ngurini. Description: Luke Harrald: Composer / Sound Designer. Extent: 21 minutes, 7.1 surround soundtrack..
    2015 Authors: Harrald L. Title: Way of the Warrrior. Description: N/A. Extent: 3 minutes.
    2013 Authors: Harrald L, Coulter J. Title: Stories of the Sturt River. Description: Stories of the Sturt River is an interpretive audio trail where you can listen to the history of the Sturt River at six state-of-the-art signs along a 3km stretch of the Sturt River Linear Park walking and cycling trail from Warriparinga to Oaklands Reserve.. Extent: 18 Minutes.
    2010 Authors: Harrald L, Heydrich P. Title: The Heritage Blinman Mine Experience. Description: Luke Harrald (software, hardware and acoustic design) Instruments : Electro-acoustic composition + Software and Hardware design incorporating a custom 32 channel speaker array. Premiere 28 June 2010. Permanently installed in the abandoned Blinman Copper Mine. Blinman, SA. 5434. Extent : 60 mins. There is 30 minutes of music in the soundtrack for this work. Guided tours run for one hour, as the music is not continuous, and there are other aspects to experiencing the installation in its entirety. This installation was an interdisciplinary, collaborative work. Other contributors were Teresa Crea (director), Peter Heydrich (photographer & technician), James Coulter (visual artist) and Malcolm Walker (writer). Since it’s installation there have been more than 500 tours of the work, involving more than 3000 people.. Extent: 60 mins..
    2008 Authors: Whittington S, Harrald L. Title: Strike : musical score for the silent movie by Sergei Eisenstein. Description: Type of work : Musical score incorporating elements of improvisation Extent : 81 mins. Extent: 81 mins.
    2008 Authors: Harrald L. Title: EndGame. Description: This work was commissioned by the Zephyr String Quartet, and premiered on the 12th of December, 2008 at Rocket Bar, Hindley Street, Adelaide, Australia as part of the Zephyr Electro Acoustic Project. Subsequently the work was performed for Creative Original Music Adelaide, at the Wheatsheaf Hotel, Thebarton, Australia on the 15th of June 2009. Performed by Luke Harrald (electronics) and Zephyr String Quartet: Belinda Gehlert and Emily Tulloch (violins), Anna Webb (viola), Hilary Kleinig (cello) Extent: 21 minutes Instruments: String Quartet and Electronics. Extent: 21 mins..
    2007 Authors: Harrald L. Title: fr@gm3nT (fragment). Description: Instruments: Saxophone and interactive electronics Extent: 11 minutes This piece premiered as a performance on 19 June, 2007 at ACMC07 in Canberra, Australia. It was performed again, on the 26 July, 2007 at Tyndall Assembly, Adelaide, Australia. Performed by Derek Pascoe and Luke Harrald.. Extent: 11 minutes.
    2006 Authors: Harrald L. Title: Monuments. Description: Performed by Luke Harrald. Instruments: Sound and Video installation. Extent: 6 minutes (loop).
    2006 Authors: Harrald L. Title: Music for the Film The 9:13. Description: Screening Venues 05/2007 DeReel Independent Film Festival, Melbourne, Australia 04/2007 Short Film Today: Award-Winning Short Films from Australia, NY,USA 02/2007 Adelaide Film Festival, Australia 01/2007 Flickerfest, Sydney Australia 11/2006 High Falls Film Festival, Rochester, New York, USA 10/2006 Australian International Film Festival, Melbourne, Australia 10/2006 Shorts Film Festival, Adelaide, Australia 09/2006 Venice International Short Film Festival, Italy 09/2006 Los Angeles International Short Film Festival, USA 09/2006 Sapporo International Short Film Festival & Market, Japan 09/2006 Australian Film Institute (AFI) Festival of Film, Australia 06/2006 St Kilda Film Festival, Melbourne, Australia 04/2006 South Australian Short Screen Award Best Ofs, Australia Performing forces: electronics Extent: c. 15 minutes Commissioned by Sacred Cow Films. Commission funding from South Australian Film Corporation. Date of Premiere 10th April 2006. Extent: c. 15 minutes.
    2005 Authors: Harrald L. Title: Surroundings. Description: Trio Typology & Luke Harrald. Repeat performance at ACMC in July 2005 by new music ensemble Topology & Luke Harrald. Instruments: Piano Trio and electronics Commissioned by Sight Specific Music (Greenaway Gallery) Sponsored by Arts SA. South Australia. Extent: c. 14 minutes.
    2004 Authors: Harrald L. Title: CONflict. Description: Instruments: video and sound (installation) Extent: regenerating loop This piece premiered as a performance in October, 2004 at the This Is Not Art Festival in Newcastle, Australia. Subsequent performances of the composition followed in March, 2005 as part of Project 2 in Adelaide, Australia and in March, 2006 as part of Street Cinema at the 2006 Adelaide Festival. Performed by Luke Harrald.. Extent: Regenerating loop.
  • Recorded/Rendered Creative Works

    Year Citation
    2013 Authors: Harrald L, Coulter J. Title: Stories of the Sturt River. Description: N/A. Extent: 18 minutes.
    2013 Authors: Harrald L. Title: Sound Lamp. Description: N/A. Extent: 3 minute audio loop.
  • Curated or Produced Public Exhibition or Events

    Year Citation
    2015 Crea, T., Dement, L., Boylan, J., Mollison, N., Harrald, L., Marwick, D., . . . Barkley, E. (2015). 10 Minutes to Midnight: Survival in the atomic age (No. Of Pieces: 2 videos 45 minutes and Photomedia Exhibition) [Photomedia & Immersive Installation Exhibition]. Brisbane, Australia.: Alphaville (Nuclear Futures) & QUT Precincts.
Date Course Title Course Level / Code
2012 Song Writing and Performance 1A / 1B Level 1, MUSPMACT 1202 / MUSPMACT 1202
2012 Contemporary Music in Practice 1 Level 1, MUSPMACT 1100
2012 Contemporary Musicianship 1A / 1B Level 1, MUSPOP 1003 / MUSPOP 1004
2012 Song Writing and Performance 2A / 2B Level 2, MUSPMACT 2201 / MUSPMACT 2202
2012 Contemporary Music in Practice 2 Level 2, MUSPMACT 2100
2007 Sound Design for Film 2 Level 2, MUSONIC 2820
2007 Computer Music Composition 2 Level 2, MUSONIC 2310
2012 Song Writing and Performance 3 Level 3, MUSPMACT 3201
2012 Contemporary Music in Practice 3 Level 3, MUSPMACT 3100
2014 -2015 Music Industry Studies 3 Level 3, MUSPMACT 3310
2007 Sound Design for Film 3 Level 3, MUSONIC 3820
2007 Computer Music Composition 3 Level 3, MUSONIC 3310
2014 Honours Music Final Performance Popular Music Honours, MUSHONS 4008

 

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  • Current Higher Degree by Research Supervision (University of Adelaide)

    Date Role Research Topic Program Degree Type Student Load Student Name
    2021 Principal Supervisor A portfolio of compositions and exegesis drawing on the history of Bundjalung country Master of Philosophy Master Part Time Mr Grayson Rotumah
    2021 Co-Supervisor Make a Change: Experience, Identity and Culture in Australian Hard Rock Music Doctor of Philosophy Doctorate Full Time Mr Robert John Boundy
    2020 Co-Supervisor Exploring Gender as a Spectrum Through Fantasy, Humour, Mortality, and the Legacy of Freddie Mercury's Performativity Doctor of Philosophy Doctorate Full Time Miss April Rose Mitchell
    2020 Principal Supervisor How does Beyoncé Knowles use her platform and her music to shape popular culture and it's views on females in R&B music in her concert film 'Homecoming'? Master of Philosophy Master Full Time Miss Meena De Silva
    2018 Principal Supervisor A Methodology for Investigating Improvised Jazz with Computer-aided Statistical Methods and Machine Learning: A Case Study Through Grant Green's Improvisations (1960-1965) Doctor of Philosophy Doctorate Part Time Mr David James Blackwell
  • Past Higher Degree by Research Supervision (University of Adelaide)

    Date Role Research Topic Program Degree Type Student Load Student Name
    2018 - 2018 Co-Supervisor Visions of Water in Lower Murray Country Doctor of Philosophy under a Jointly-awarded Degree Agreement with Doctorate Full Time Dr Camille Marie Eugenie Rouliere
    2018 - 2021 Principal Supervisor Virtual Music: Developing a System of Music Notation and Performance for Virtual Reality Doctor of Philosophy Doctorate Full Time Mr Nathan Cummins
    2016 - 2019 Principal Supervisor Ecotonality, or Adapting Soundscape Ecology to Creative Practice: Ecological Sound Art Responses to Four South Australian Ecosystems Doctor of Philosophy Doctorate Full Time Mr Jesse Henk Nicolaas Budel
    2016 - 2019 Co-Supervisor Making the Virtual Actual: A Research Model to Understand Music of Contemporary Open-World Video Games Doctor of Philosophy Doctorate Full Time Barnabas Gregory Smith
    2016 - 2021 Principal Supervisor Sounds in Space: A Portfolio of Spatial Music Works for VR Doctor of Philosophy Doctorate Part Time Mr Daniel James Pitman
    2013 - 2015 Co-Supervisor Developing Methods for Predicting Affect in Algorithmic Composition Master of Philosophy Master Full Time Mr Daniel James Pitman
    2011 - 2015 Co-Supervisor Declarative Computer Music Programming: using Prolog to generate rule-based musical counterpoints Doctor of Philosophy Doctorate Full Time Mr Robert Pawel Wolf
  • Position: Head - Popular Music
  • Phone: 83133402
  • Email: luke.harrald@adelaide.edu.au
  • Campus: North Terrace
  • Building: Schulz, floor 9
  • Room: 9 16
  • Org Unit: Elder Conservatorium of Music

Connect With Me
External Profiles