Artists in residence > 2022-2023

Spatial Music Collective

JohnPaul Beattie

A light-skinned man with brown hair, a full beard and glasses is leaning against a brick structure with trees shown behind him. He is smiling brightly at the camera with both of his hands in his pockets.

JohnPaul Beattie (he/him) is a spatial music composer, adjunct associate professor and director of music technology for the School of Music at University of the Arts. He earned his MFA in Music Composition from Vermont College of Fine Arts in Montpelier in 2018. Beattie has received a research grant exploring the emotional impact of spatial audio from the Center for Immersive Media and the Corzo Center for the Creative Economy at UArts. Beattie also received the President’s Award for Excellence, a microgrant to build a spatial audio controller prototype of his own design to aid his research. 

Beattie is currently teaching Binaural Recording, Introduction to Acoustics, Introduction to Audio Programming, Audio Programming II and Spatial Music Composition.

Alex Bell 

a grayscale capture of a student working on a clay project with short dark curly hair, glasses and a flannel shirt. They appear not to even notice their photo is being taken. They are looking down at their hands as they are molding their creation.

Alex Bell (they/them) is an experimental music composer who specializes in binaural and spatial audio composition and is also a ceramicist. Bell received their Bachelor of Science from University of the Arts in 2022. They currently work in ceramic production  while researching niche music trends and taking field recordings on the side.

Corinne Kite-Dean

Corinne poses with her left hand on her hip looking away from the camera. She is wearing a black lace bralette and a black necklace. Her hair is shoulder-length, her makeup is pink and sparkly. She has prominent tattoos on her arms and chest.

Corinne Kite-Dean (she/her) is a guitarist and composer from South Jersey who is currently working in the Philadelphia area after completing her Bachelor of Music in Instrumental Performance in jazz guitar at University of the Arts in 2021. 

Her style of composition bridges the gaps between improvisational modern fusion, intricately woven “wall of sound” style harmony and an experimental tendency toward the mixing of genres in a way that speaks to the post-genre state of music and expression she believes in and strives for. She has performed and recorded with some of the best young jazz and improvisational musicians in the Philadelphia area over the years, which solidified her place in the scene as a guitarist who brings to the table equal parts honed knowledge, technical ability and a lust for modernity and innovation.

Stereo Edit of spatial audio composition, “TwentyTwo” was composed to be part of my thesis work “Sound Catchers”, the composition explores the shift in my identity. "TwentyTwo"

Stereo Edit of spatial audio composition, “TwentyTwo” was composed to be part of my thesis work “Sound Catchers”, the composition explores the shift in my identity.

"TwentyTwo"

Traditional composition with certain spatialized elements included, some recorded in mono and synthetically spatialized, some recorded on binaural microphones. "Ghosts"

Traditional composition with certain spatialized elements included, some recorded in mono and synthetically spatialized, some recorded on binaural microphones.

"Ghosts"

Spatial music composition. Each time a sample is triggered the computer randomly selects new coordinates and moves the source. The text is an excerpt from Sir Francis Bacon's incomplete novel, "New Atlantis" (1627). "Soundhouses"

Spatial music composition. Each time a sample is triggered the computer randomly selects new coordinates and moves the source. The text is an excerpt from Sir Francis Bacon's incomplete novel, "New Atlantis" (1627).

"Soundhouses"

Previous

Che Yeh and Yingheng Huang
Next

Sweet Corey-Bey