Nina Whiteman

Two new compositions are making their way into the world during November and December. Both engage with nature and landscape, with Windgather responding to a gritstone crag, and ‘a hedge is all edge’ emerging as a study of the hedgerow habitat and folkloric narrative.

Windgather is a song for bass voice and piano composed as a 70th birthday present for Philip Grange, my PhD supervisor. When Simon Grange wrote to me asking me to compose a song for his father’s 70th birthday, my thoughts turned immediately to landscape. I know that Phil is drawn to the terrain of the Peak District surrounding his home in Whaley Bridge, and I also have fond memories of discussing Birtwistle’s Silbury Air (1977) – a work responding imaginatively to a mysterious landscape feature – in my PhD supervisions, now many years ago.

Windgather is the title of a poem written especially for this occasion by Rebecca Hurst, bringing to life a gritstone rock formation that Simon and Phil have visited many times: Windgather Rocks. My setting of Rebecca’s poem folds in my interests in folk horror, considering the landscape as character, the uncanny, faked folkloric traditions, ritual, and the uncertainty of time. Time takes on a number of guises in the composition, through changing performer interactions and differences in measuring time, nods to the layering of geological time in my treatment of pitch cycles, and the suggestion of mythic time through a range of means. With special thanks to Rebecca Hurst for her wonderfully evocative poem. I am grateful to Simon Grange (bass voice) and Richard Whalley (piano) for performing the work in a UK tour during 2026-27.

‘a hedge is all edge’ is a new 40-minute multimedia work engaging with the hedgerow as habitat, folkloric site, and symbol of the British countryside. The first performance will be on Thursday 10 December at 1.10pm at the Martin Harris Centre for Music and Drama, part of the university’s lunchtime series.

I will be performing in the work (voice and electronics), alongside the Quatuor Danel (string quartet) and Pete Furniss (clarinet). My thanks to the quartet for commissioning me to write this piece, and offering a wonderful concert-length canvas.

The title is a quotation from John Wright’s A Natural History of the Hedgerow (London: Profile Books, 2017), p.123.

Tickets are free (no need to book), and information from the venue is here.

As part of the creative process for this work, I have been making daily 6-second videos of hedgerows, a few of which you can see and hear in the above video…

Whilst I’ve been busy performing Bagworm (a folk horror opera), a few other projects have been going on behind the scenes. In particular, a series of multimedia works about hedgerows is planned for 2026-28. Please watch this space!

In the meantime, I’m excited to be part of a community of interdisciplinary researchers who are looking at folklore, folk horror, and hauntology in fascinating ways. I will be presenting at the ‘Old Ways, New Sounds: Folklore, Hauntology and Identity in British Music’ conference at Guildhall School of Music and Drama on Thursday 17 September. Conference registration/tickets here: https://www.eventbrite.co.uk/e/old-ways-new-sounds-folklore-hauntology-and-identity-in-british-music-tickets-1994008866196?aff=oddtdtcreator

I am also very grateful to Donald Hyslop and all at Resonance FM for featuring me in a 2-part interview about my work. The first episode went out this morning, and is repeated on Tuesday 15 September at 9am.

Image: Flier for the premiere performance of Bagworm on 29 July 2025

I’m excited to present my solo-performer opera to Manchester audiences this evening. It’s brilliant to have SOLD OUT the premiere, and I’m so grateful to The Talleyrand for hosting our folk horror evening. They are a brilliant independent venue, and really supportive of artists.

Image: Ferns and moss in a lush green woodland (photo by Nina Whiteman)

Bagworm is a multimedia DIY opera experience inspired by the fascinating bagworm (psychidae) moths. Bagworm moth larvae construct a protective and camouflaging bag from items in their environment, such as sand, lichen, sticks, and bits of dead insect. The opera presents a complex Bagworm character, reflecting on threats to our wonderful and idiosyncratic species, such as light pollution and climate change.

The opera allows us to consider the beauty of the natural world through collaged videos I have made whilst out exploring in England, Scotland and Wales. We are also confronted by a technologised performer, using a motion sensor, remote-controlled lighting, and a wearable loudspeaker, who is perhaps at odds with her environment…

Image: Rehearsing Bagworm at HOME Arches (photo Giles Bastow)

Thanks to HOME and their superb technician Olly for use of the Arches spaces yesterday to rehearse and document some moments.

Finally, here are the references for the collaged quoted ‘facts’ about bagworms that can be heard in the opera performance.

earthed adj.

‘Having an electrical connection with the ground’

‘Dwelling or buried underground’ 

‘Connected to reality; grounded.’ (oed.com)

When Adam Swayne asked me to write a piano piece in response to the idea of ‘memorial’, I was immediately drawn to environmental concerns: the global climate crisis, a collection of thoughts around soil health, and the gradual demise of an avenue of mature lime trees in my local park owing to waterlogging.

The resulting composition is a memorial to one of these fallen lime trees. I asked: how could multimedia materials interconnect and communicate in real-time like a mycelial network in an act of commemoration?

The tree itself provides most of the work’s materials: soil from its root ball becomes a variable resistor in an electronic circuit, and its bark, roots, mosses and lichen provide visual textures in the video. The live performers enact the rituals of their network in response to light signals emanating from the video. Touch-activated tones create a sonorous homage to a lost tree.

Emerging from Nina’s BELOW GROUND project, the piece develops ideas and processes accrued through interactions with subterranean specialists and artists across disciplines. In particular, the use of soil as a touch-responsive sound source was first developed by David Birchall for our Sonic Gardening workshops in partnership with MUD (Manchester Urban Diggers). I am grateful to David for his expertise helping me develop the DIY electronics for the piece, and permission to borrow his concept.

The idea for Earthed also came from a wider investigation into the way communities bring about musical commemoration in response to catastrophes, shown in Adam’s CD 9/11:20.

Earthed was first performed on 22 February 2024 by Adam Swayne (piano) and Nina Whiteman (electronics) as part of The University of Manchester Lunchtime Concerts. It was commissioned by Adam Swayne, and is dedicated to him in celebration of over 20 years of friendship and a shared love of the outdoors.

Thanks also go to the wonderful technical teams at the Martin Harris Centre and RNCM.

I’m delighted to announce that I have been awarded a National Lottery Project Grant by Arts Council England for my project BELOW GROUND.

BELOW GROUND is a collaborative interdisciplinary project bringing people together to explore ideas of the subterranean. Artists across disciplines will meet geographers and urban gardeners and create multimedia, multisensory performances and workshops interacting with the community.

I’m fortunate to be working with a fantastic group of multi-skilled artists to create a series of performances in March and April. We have expertise in writing, movement, voice, improvisation, amplification, textiles, sculpture and more!

You can find more information and a ticket link on the BELOW GROUND tab (or click here).

‘Nina Whiteman produced a bloody blinding piece of music and art that laid bare the tragedy of automation and inner city living and its effects on nature, that was hilarious, whimsical, and often insane and disturbing. The only sentient being in the room. BRILLIANT.’ (Audience member at the Fuming premiere)

The Cybird Trilogy

I. Fuming (voice and multimedia, 20 minutes, 2022)

II. cybird cybird (piano and multimedia, 12 minutes, 2022)

III. Incandescent (trio and multimedia, 15 minutes [in progress] 2022)

Fuming grew from my feelings about crossing a busy ‘arterial’ city road to reach my local park every day. I recorded this soundwalk dozens of times, capturing the impact of the traffic on the acoustic environment, as well as the sounds of birds jostling to live alongside this anthropogenic noise. This ‘data’ was then fed to the Sample RNN computer by Dr Christopher Melen at the RNCM, who sent me a range of results. The machine had learned a variety of sonic features of my daily walk. Unsurprisingly, though, it couldn’t make qualitative judgements between ‘bird’ and ‘car’, and some interesting sonic hybrids emerged. These, along with ‘uncanny’ machine-learned environments form the basis for the fixed media electroacoustic audio in Fuming and cybird cybird. 

Research tells us that birds find it harder to learn their songs against a backdrop of traffic noise, and that their songs tend to occupy a narrower and higher bandwidth as a result of these stresses (e.g. Drooling and Popper, 2007 and Moseley et al, 2019). I began to imagine birds as hybrids of technology, flesh, feather, and imposing chaotic environment. The Birds Aren’t Real conspiracy claims (satirically) that all birds have been replaced by robot drones. I began to wonder what it would be like if they had. 

The Cybird Trilogy of multimedia works with live performers has grown from this engagement with machine learning, artificial intelligence and the natural world, and charts the ‘adventures’ of a cybird character that is inhabited and portrayed differently in each work. Its concerns are ecological, musical, and technological.

Further uses of technologies in the trilogy:

Holonic Systems (via the Holonist app) allows Movesense motion sensors to communicate with various software. The motion sensors are used to convert bird-like performer wing movements into audible phenomena, through control of playback speed (MaxMSP) and of a modular synthesiser app (MiRack). 

Holly+ https://holly.plus/ Holly Herndon’s voice model (deep neural network) was used to process real birdsong recordings. These feature in the in-ear soundtrack of Fuming and in the electroacoustic sound of cybird cybird.

AI images of birds were created for the videos using DALL-E mini, and later Craiyon.

AI videos were created using online generators such as Synthesia and Movio.

An analogue talkbox features in Fuming, where the output of the motion-sensor controlled modular synthesiser is fed into the performer’s mouth. Their mouth filters the noisy emissions, amplified by a microphone. 

Fuming was first performed at the International Anthony Burgess Foundation, Manchester alongside other work created by the Machine Learning for Music (ML4M) working group in June 2022.

cybird cybird will be performed by Zubin Kanga in Sheffield on 8 October, and at Cafe Oto (London) on 13 October.

Incandescent will be performed for the first time at the University of Manchester lunchtime concert series on 10 November by Trio Atem.

The trilogy results from my work on Zubin Kanga’s UKRI Future Leaders project Cyborg Soloists. I’m grateful to Zubin for commissioning me to work on this fantastic project using new technologies: https://www.cyborgsoloists.com/

With enormous thanks also to Stephen Bradshaw for his assistance with MaxMSP programming for Fuming.

I was delighted to be commissioned by Riot Ensemble during 2020-21 to create a solo work for their Zeitgeist series, funded by the Ernst von Siemens Music Foundation.

During 2020-21, touching our faces has become a forbidden act that endangers our health. However, research tells us that spontaneous facial self touch is a comforting mechanism, and that we can touch our own faces up to 50 times an hour without necessarily being aware that we are doing so (e.g. see Mueller et al 2019). 

Forbidden presents simultaneously as an elegy to facial touch and a dangerous act of rebellion. 

The work extends my exploration of video as score and notation. Here, the vocalist is informed of their pitches from the part of the face that is touched, and the camera focus guides vocal timbre.

I’m so grateful to soprano Sarah Dacey for her exquisite performance!

During the Covid-19 lockdown, I’ve started a series of homemade experimental music videos. The series is a quirky antidote to a rather grave situation that has particularly affected the arts and live music-making. It was initially inspired in part by Björk’s eccentric tour of her television (you can view that here).
It’s been a lot of fun to make, and a welcome distraction from isolation. You can view the series on Facebook and Twitter @ninawhiteman, and on YouTube (click here for the link).

I’ve been working for some time now on a piece for organ and electronics. This develops my interest in creating maze-like notational environments for performers to navigate. In this work, provisionally titled Escape! the score is in the form of a video also visible to the audience. It comprises a series of rooms that performers (and audience) navigate in turn under differing time pressures. The organ and electronics performers have comparable actions in response to graphic symbols (octave changes, timbre changes, vibrato) and their interaction varies from one leading the other to races through rooms to slow explorations in tandem.

Here’s a video of us talking at the beginning of the project: https://vimeo.com/357779018

And here’s an example of one of the rooms performers explore in the piece:

The collaboration has been funded by Goldsmiths, University of London, and the work will tour a range of festivals from Spring 2020.