Dr Manoli Moriaty
LECTURER IN MUSIC PRODUCTION
School of Creative and Performing Arts
0151 291 3440
moriatm@hope.ac.uk
My music practice was shaped within Manchester’s alternative electronic music scene over the past twenty years, starting by mixing records in nightclubs during the late 2000s, and later exploring human-computer interaction technologies through collaborations with dancers and performance artists in the 2010s. In that time, I achieved a 1st class honours on the BA Popular Music and Recording at the University of Salford, with further postgraduate studies at the same institution, including a PhD in Music and Digital Performance under the Pathway to Excellence Scholarship.
I worked at the University of Salford as an associate lecturer in music production, digital dance, and theatre production, as well as leading the Computer Music Design and Immersive Audio modules at the BIMM Music Institute. I joined Liverpool Hope University in 2020.
My work has been performed at electroacoustic concerts and theatre stages internationally, and I remain active as a disc jockey within Liverpool’s grassroots music scene.
My role as a member of the Music team is predominantly in electronic music performance and production, overseeing performance and production seminars and assessment, and coordinating student performances at local venues. I am the year lead for Level H Music Production, and a member of the Research Committee for the School of Creative and Performing Arts.
I have published peer-reviewed articles on human-computer interaction technologies and interdisciplinary collaboration, and my current research interest focus on electronic dance music culture and digital turntablism. I warmly invite enquiries from prospective PhD students interested in pursuing doctoral studies in relevant fields.
Teaching specialisms
- Live electronic performance
- DJ Practice, turntablism, controllerism
- Studio composition, mixing, and arrangement
- Interactive systems and immersive audio
- Musicology, interdisciplinary collaboration and hybrid practices
Recent publications
Scratching, Past and Future: Cataloguing the Scholarship on Turntablism and Controllerism, And an Introduction to Their Emerging Affiliated Practices and Communities. In Collaboration, Engagement, and Tradition in Contemporary and Electronic Music: NoiseFloor Perspectives, edited by Marc Estibeiro, Dave Payling, David Cotter. Focal Press, 2024 (forthcoming)
Recurring patterns: An ethnographic study on the adoption of AI music tools by practitioners of electroacoustic, contemporary and popular musics. Journal of Pervasive Media. Intellect, 2023. Co-authored with Nina Kehagia
DeviceD: Audience–dancer interaction via social media posts and wearable for haptic feedback. Journal of Wearable Technologies. Cambridge University Press, doi:10.1017/wtc.2021.20, 2022. Co-authored with Lucie Sykes
Collective Controllerism: A Non-Musician's Perspective of Interactive Dance as Controllerist Practice. In Designing Interactions for Music and Sound, edited by Michael Filimowicz. Routledge, 2022.
Symbiosis: a biological taxonomy for modes of interaction in dance-music collaborations. Proceedings of the International Conference on New Interfaces for Musical Expression (NIME), Birmingham City University, pp. 551-6, 2020.
Interspecific Interactions: Interaction Modes Between Sound and Movement in Collaborative Performance. In Technology, Design and the Arts - Challenges and Opportunities, edited by Rae Earnshaw, Susan Liggett, Peter Excell, and Daniel Thalmann. Springer, 2020.