Laurie Radford

Dr. Laurie Radford, DMus

Pronouns: he/him/his


Professor, Composition & Theory

Faculty of Arts , School of Creative and Performing Arts

Contact information

Phone number

Office: +1 (403) 210-7890


Office: Craigie HallE 211C

For media enquiries, contact


Educational Background

BMus Music, Brandon University, 1982

DMus Music, McGill University, 1997

MMus Music, McGill University, 1988


Laurie Radford is a Canadian composer, sound artist, music technologist, educator and researcher who creates music for diverse combinations of instruments and voices, electroacoustic media, and performers in interaction with computer-controlled signal processing of sound and image. His music fuses timbral and spatial characteristics of instruments and voices with mediated sound and image in a sonic art that is rhythmically visceral, formally exploratory and sonically engaging.

His music has been performed and broadcast throughout North and South America, Europe and Asia. He has received commissions and performances from ensembles including the Aventa Ensemble, Ensemble Transmission, Esprit Orchestra, New Music Concerts, Le Nouvel Ensemble Modern, L'Ensemble contemporain de Montréal, Meitar Ensemble, Quasar Saxophone Quartet, Paramirabo, Pro Coro Canada, Thin Edge New Music Collective, Trio Fibonacci, the Penderecki, Bozzini and Molinari String Quartets, and the Winnipeg, Calgary, Edmonton and Montréal Symphony Orchestras. He has contributed articles and reviews on electroacoustic, interactive and audiovisual composition to journals such as Computer Music Journal, Circuit, and eContact!

Radford’s music is available on empreintes DIGITALes, McGill Records, PeP Recordings, Clef Records, Eclectra Records, Centrediscs and Fidelio Audiophile Recordings. He has taught composition, electroacoustic music and music technology at McGill University, Concordia University, Bishop’s University, University of Alberta, City University (London, UK), and is presently Professor at the University of Calgary.



My approach to teaching is based on three concepts that are fundamental to education and learning: sharing, guidance and discovery. Guiding students to explore and understand music and the sonic arts is a privilege that I find exhilarating and rewarding.

I believe that its is very important to provide guidance for the practical components of a discipline and field of study, but to also nurture an individual’s personal engagement and perspective in the that endeavour.

It is my objective in teaching in music and the arts, and specifically in artistic practice that involves new and emerging technologies, to share my experience, and guide students in the discovery of their relationship with sound and musicking.


Areas of Research

Music Composition, Electroacoustic Music, Sonic Arts

My principle areas of research expertise and interest are music composition, electroacoustic music, interactivity and live electronic music performance, new music performance practices, improvisation, spatial audio design, audiovisual arts, sound recording, music technology, arts and society, timbre, and music perception. As a composer, I write music for various combinations of instruments and voices, often in combination with live multichannel audio processing and live video processing. I also create multichannel electroacoustic/acousmatic studio-­based works involving extensive design and transformation of sound materials. My published writings explore various aspects of music performance with new and emerging technologies, especially concepts of interactivity and audiovisuality.

Participation in university strategic initiatives


Course number Course title Semester
MUSI 443 LAB 01 B01 Composition IV 2021
MUSI 55201 LEC 01 01 Topics in Sonic Arts 2020
MUSI 64101 LEC 03 03 Composition 2020
MUSI 65107 LEC 01 01 Sel Top Electroacoustic Music 2021
MUSI 255 LEC 01 01 Intro Music Technology 2021
MUSI 341 LEC 01 01 Composition I 2020
MUSI 351 LEC 01 01 Sonic Arts 2020
MUSI 443 LEC 01 01 Composition IV 2021
MUSI 443 Electroacoustic Music Winter 2022
MUSI 513 Seminar in Theory and Composition Winter 2022
MUSI 613 Seminar in Theory and Composition Winter 2022


ACTOR (Analysis Creation and Teaching of Orchestration)

Member of SSHRC-funded international research project on orchestration and timbre lead by Stephen McAdams of the Schulich School of Music, McGill University.


  • Opus Award Concert de musique nouvelle de l’année, Montréal (avec Quasar Quatuor de saxophone) , OPUS Awards (Québec). 2015
  • WSO New Music Festival Composers' Competition – 1st Prize for quiver for Chamber Orchestra, Winnipeg Symphony Orchestra. 1997
  • Main Prize and Special Prize of the 4th International Composers’ Competition “Kaszimierz Serocki”, Warsaw, Poland for in vitro for solo guitar, International Society for Contemporary Music (Poland). 1993
  • SOCAN Award (for composers 30 years and over) for Origophonie for Two 12-Voice Choirs, Six Percussion and Electroacoustic Music, SOCAN. 1992
  • PROCAN Young Composers' Competition Award for Origophonie for Two 12-Voice Choirs, Six Percussion and Electroacoustic Music, PROCAN. 1988
  • PROCAN Young Composers' Competition Award for Heart of the Machine for 24 voices and Narrator, PROCAN. 1985
  • 2021


  • I am sitting on a fence: Negotiating Sound and Image in Audiovisual Composition. Laurie Radford. eContact! 15.4. (2014)
  • Le Meilleur Professeur Est Un Étudiant Éternal, Bengt Hambraeus – Compositeur et Pedagogue. Laurie Radford. Circuit (Revue Nord-Americain du XX Siècle), Les Racines de l’Identité. Vol. 10 No. 2. (1999)
  • Review: Festschrift Cross Currents and Counterpoints, Offerings in Honor of Bengt Hambræus at 70. Laurie Radford. Circuit (Revue Nord-Americain du XX Siècle), Les Racines de l’Identité. Vol. 10 No. 2,. (1999)
  • Review: Barry Truax, ed. Handbook of Acoustic Ecology, 2nd edition (CD-ROM version). . Computer Music Journal. The MIT Press, Vol. 25 No. . (2001)
  • From Mixed Up to Mixin’ It Up: Evolving Paradigms in Electronic Music Performance in Compositional Crossroads: Music, McGill, Montréal. Laurie Radford. McGill-Queens University Press. (2007)
  • Torrent: Integrating Embodiment, Physicalization, and Musification in Music-Making." Proceedings of the Tangible, Embedded and Embodied Interaction Conference (TEI), Yokohama, Japan. Pon, A., Pattison, E., Fyfe, L., Radford, L., Carpendale, S. Embodied Interaction Conference (TEI). (2017)
  • Locating Timbre: Challenges of Timbral Design in Multichannel Electroacoustic Music. Laurie Radford. Timbre is many splendored thing Conference. Schulich School of Music, McGill University. (2018)
  • Unifying the creative process in composing for instruments and electronics. Laurie Radford. ICCOMP (Schulich School of Music, McGill University). (2018)
  • Event Horizon . Laurie Radford. Land’s End Ensemble: pulling the light CMCCD 25718 2018. (2018)
  • All Over the Map. Laurie Radford. PEP Volume 1, Red Shift Records. (2014)
  • Infolding . Laurie Radford. Rubbing Stone Ensemble: The Lethbridge Sessions. Centrediscs CMCCD 19213. (2014)
  • Roiling. Laurie Radford. Voces Boreales, Yoko Hiroto – piano, Centrediscs. (2013)
  • A Florus Exchange II . Laurie Radford. Bird on a Wire, Terri Hron – recorder(s). Bird on A Wire Records . (2009)
  • …que le terre s'ouvre . Laurie Radford. Rubbing Stone, Jeremy Brown - saxophone. CMC CD 14909 . (2009)
  • les ponts de l’espace . Laurie Radford. empreintes DIGITALes IMED 0891. (2008)
  • Everything We See In The Sky. Laurie Radford. Launchpad, Penderecki String Quartet CMCCD 9004. (2008)
  • Roiling. Laurie Radford. Visions of Nothingness, Roger Admiral - piano, Clef Records 03006-2 . (2004)
  • …que le terre s'ouvre . Laurie Radford. New School, Jean-François Guay - saxophone. Fidelio . (2003)
  • Minuit Caché . GEMS - Before The Freeze, McGill Records 750038-2-CD . (1991)
  • Landlocked . Laurie Radford. 25 electroacoustic snapshots, empreint DIGITALes 9004-CD . (1990)
  • wherewithal. Laurie Radford. Don Ross: The Weather Within, Music for Clarinet. Eclectra Records 2071. (2001)