Senior Lecturer in Composition and Head of the Unit for Sound Practice Research (SPR)
+44 (0)20 7919 7652
Dr John Levack Drever has been lecturing in and around the Electronic Music Studios (EMS) at Goldsmiths since 2003. He studied Music at the University of Wales, Bangor (1992-95), followed by an MMus study in Electroacoustic Music Composition at the University of East Anglia (1995-6). In 2001 he was awarded a PhD from Dartington College of Arts, for a programme of research titled 'Phonographies: Practical and Theoretical Explorations into Composing with Disembodied Sound'. Following his PhD he co-coordinated Sounding Dartmoor, a participative soundscape study of Dartmoor National Park (2000-2) for the Digital Crowd (University of Plymouth). During 2003-04 he was an ACE/AHRB Arts and Science Research Fellow with Centre for Computational Creativity, City University exploring ‘electronic music performance interfaces that learn from their users’, and in 2012 he was awarded a Diploma in Acoustics and Noise Control from the Institute of Acoustics, with specialist modules in Building Acoustics and Environmental Noise.
Before taking up his post at Goldsmiths, Drever was an associate lecturer for City University (London), Dartington College of Arts, Exeter University and the University of Plymouth, lecturing in Music, Media Arts, Media Lab Arts and Visual Arts. During the autumn semester of 2007 he was a Visiting Scholar at the Critical Intermedia Laboratory, School of Creative Media, City University of Hong Kong.
An elected director of Sonic Arts Network since 2004, Drever became its final chair in 2008. He is also co-founder (1998) and currently chair of the UK and Ireland Soundscape Community (a regional affiliate of the World Forum for Acoustic Ecology) for whom he chaired Sound Practice: the 1st UKISC Conference on sound, culture and environments in 2001 at Dartington and Sound Practice 2006 at Goldsmiths. He has also been actively involved in the Noise Futures Network (EPSRC).
Drever is a member of the AHRC Peer Review College, 2009-12, and is Visiting Research Fellow at Seian University of Art and Design, Japan, 2012-13. In 2013 he became an Academician of The Academy of Urbanism.
BMus (Hons), University of Wales, Bangor (1995)
MMus (Electroacoustic Music Composition), University of East Anglia (1996)
PhD, Dartington College of Arts (2001)
Diploma in Acoustics and Noise Control, specialist modules in Building Acoustics and Environmental Noise, Institute of Acoustics (2012)
Tsai-Wei Chen (ORSAS): Sonic Constellations – sojourners' interconnected soundscapes – a case study of ten Taipei sojourners'
listening experiences in London (Completed, PhD, 2010, Goldsmiths)
Ruth Hawkins: Interpenetrations of Recordings and the Real (completed, PhD, 2013, Goldsmiths)
Kathrine Sandys: I Thought I Grew An Ear in My Stomach - The Phenomenological Experience of the Art Event as a Sublime
Encounter (Co-supervisor Prof. Janis Jeffries, Completed, PhD 2013, Goldsmiths)
Dawn Scarfe (AHRC): In the surround – sound and phenomenal experience (Co-supervisor Prof. Janis Jeffries, Completed, PhD, 2011, Goldsmiths)
John Wynne: Hearing Voices – Sound art practice in a cross-cultural context (Completed, PhD, 2007, Goldsmiths)
Antonis Antoniou: Aural Aura and Haunting Echoes: Sites with complex biographies
Janie Armour: Sonic scenography: an Exploration of Sound in the Performance Environment
Wayne Binitie: Aural Atmosphere
Tine Blom: Tuning into the world: Acoustic ecology, nature, inner resonance and technology
James Bulley: Sound Art Trajectories and the Archival Impulse (Co-supervisor Prof. Janis Jeffries)
Gregorio Fontaine Correa: Why (and how to) make music after the experimental tradition?
Lucia, Hsiang-Ying-Chung: Hear One Near and Think of the Other: An Artist’s Investigation into the dialectic of Sound and Nonsound
Marcus Leadley: Reconfiguring Acoustic Space: Soundscape and Perception
Sam Murray: Composers, Players, and Clients: Facilitating Collaborative Musical Creativity and Consumption in a Virtual World
Tommaso Perego: Sonic Choreography in 2D and 3D surround sound environments
Claudia Martinho: Vibrational Architecture (Co-supervisor, Centre for Cultural Studies)
Emmanuel Spinelli: Acoustic Phenotypology – The territory of the disembodied voice in electro-acoustic music and the perception of Acousmatic Identities
Selected Performances & Exhibitions:
2004-10: Ochlophonic Study: Hong Kong – 8 channel soundscape composition
2005: Close to the Literal – 8 channel text-sound composition in collaboration with Lawrence Upton
2005: Airborne Trial – sound installation of recordings made in Orford Ness in collaboration with Louise K Wilson:
2005: Cattle Grids of Dartmoor
2006: -scape – a site-specific dance work based on Goodwin Sands, in collaboration with Tony Thatcher and Emma Redding:
2007: Verbal Iterations – in collaboration with Lawrence Upton, Artist Review Series:
2007: audience: hearing – a sound installation in collaboration with Rachel Gomme, commissioned by Arts Council England:
2007: NAMING for Adrian Clarke # 1 & #2, in collaboration with Lawrence Upton,
2008: –stance – in collaboration with Ina Dokmo (dancer) and Tony Thatcher (choreographer).
2008: that the tongue is a whip, in collaboration with Lawrence Upton.
2009: In Between and Around Liminal Places, Van – L Dance Company
2009: Yvonne Rainer’s Trio A (1965), with Martin Hargreaves and Robert Coleridge.
2009: NAMELY for Peter Manson by John Drever / Lawrence Upton (commissioned by Birkbeck, Contemporary Poetics Research Centre)
Fellow of the Royal Society of the Arts (FSRA)
Fellow of the Royal Geographical Society (with the Institute of British Geographers) (FRGS)
Member of the Institute of Acoustics (MIOA)
Academician of The Academy of Urbanism (AoU)
Invited Presentations and Keynotes:
Drever has discussed his research on BBC Radio 3’s Hear and Now, BBC Radio 4's Today and BBC World Service’s Discovery.
2002: Sounding Dartmoor, SpaceX & Liquid Press, i-dat.
2003: Phonographies: Glasgow, Frankfurt, Exeter, Sound-Marked (SM03-01CD).
2006: Cattle Grids of Dartmoor, Pataphonic (SM06-05CD).
Operating at the intersections of sonic arts, sound design, soundscape studies, acoustics, urban design and placemaking, Drever’s practice represents an ongoing inquiry into the affect, perception, design and practice of everyday environmental sound and human utterance. Projects are often derived from extensive fieldwork, such as the exploration of the crowded soundscape of Hong Kong in 'Ochlophonics Hong Kong' (2001-2010). His current project exposes the noise effects of ultra-fast hand dryers on users with sensitive hearing and special auditory needs, such as children, hyperacusis sufferers and the partially sighted.
Collaborators include: Rachel Gomme, Alice Oswald, Alaric Sumner, Tony Thatcher, Tony Whitehead (RSPB), Louise K. Wilson, Suiji Okada and comedian Mark Kelly. He is a member of Blind Ditch and has worked on many projects with poet, Lawrence Upton. Commissions range from the Groupe de Recherches Musicales, Paris (1999), Arts Council England (2002, 2007, 2013), WDR Studio Akustische Kunst (2011) to the RSPB (2002). His work has twice been awarded a prize in the annual Musica Nova competition, Prague (1997 & 1998).
Content last modified: 18 Dec 2013
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