Andrew Hugill: CV

This page provides a detailed record of my academic and professional work. If you are looking for a quicker sense of what I do now, start with the highlights below, or explore the site via Projects, Music and Research.

Highlights

Personal Information

  • Full Name: Andrew Hugill (formerly Andrew Hugill Thomson)
  • Date of Birth: 21.11.57 (Chichester, England)
  • Home address: [please email me]
  • Phone: [please email me]
  • Email: andrewhugill@gmail.com
  • Website: https://andrewhugill.com

Employment History

  • 2025–2028, University of Leeds: Visiting Research Professor, School of Music
  • 2024–2029, University of Leicester: Honorary Professor
  • 2021–2024, University of Leicester: Deputy Director, Institute for Digital Culture
  • 2018–2021, University of Leicester: Founding Professor of Creative Computing
  • 2013–2018, Bath Spa University: Director of Creative Computing
  • 2006–2013, De Montfort University: Founder and Director, Institute of Creative Technologies
  • 1997–2006, De Montfort University: Professor of Music
  • 1996–1997, De Montfort University: Reader in Musical Composition
  • 1986–1996, Leicester Polytechnic: Lecturer in Performing Arts: Music
  • 1984–1985, Opéras de Lyon et Paris: Musical Assistant
  • 1983–1989, ‘George W. Welch’ ensemble: Musical Director
  • 1982–1986, Novello & Co.: Music Copyist

Education

  • 1997, PhD Composition (De Montfort University)
  • 1982, MA Composition (University of Keele)
  • 1980, BA Music and English (University of Keele)

Professional Recognition

  • 2019, Discovering Excellence Awards, ‘Research Team of the Year’: Virtual Vauxhall Gardens
  • 2017, Principal Fellow, Higher Education Academy
  • 2006, National Teaching Fellow, Higher Education Academy
  • 2006, Times Higher Education Awards: Most Imaginative Use of Distance Learning (Highly Commended)

Academic Leadership

University of Leicester
  • 2022–2024, Deputy Director, Institute for Digital Culture
  • 2022–2023, Chair, Captioning Task and Finish Group
  • 2018–2021, Founding Professor, Creative Computing
Bath Spa University
  • 2013–2018, Director, Centre for Creative Computing
De Montfort University
  • 2006–2012, Director, Institute of Creative Technologies
  • 1999–2004, Co-Director, Centre for Technology and the Arts
  • 1997–1999, Subject Leader and Founder, BA/BSc Music, Technology and Innovation
  • 1988–1995, Subject Leader, Performing Arts (Music)

Academic Management and Committees

University of Leicester
  • 2022–2024, Founder, Staff Neurodiversity Group
  • 2021–2024, Member, Disability and Equality Action Group
  • 2021–2024, Member, School of Mathematics and Computing Sciences, Equity, Diversity and Inclusion Committee
  • 2020–2024, Member, Staff Disability Forum
  • 2018–2024, Member, School of Informatics Teaching and Learning Committee
Bath Spa University
  • 2013–2016, Chair, Web Strategy and Development Group
De Montfort University
  • 2012–2013, Member, Faculty of Art, Design and Humanities Research Committee
  • 2006–2012, Chair, MA/MSc Creative Technologies Management and Assessment Boards
  • 2006–2012, Member, University Research Committee
  • 2006–2012, Member, University Higher Degrees Committee
  • 2006–2012, Member, Heads of Research Group
  • 2006–2012, Member, Academic Boards
  • 2008, Member, Information Technology Strategy Committee
  • 2006, Member, Leicester Digital Media Centre Steering Group
  • 2006, Member, Centre of Excellence in Performance Arts Steering Group
  • 2002, Member, University Cultural Policy Steering Group
  • 2002, Chair, Joint Course Board, Music Technology
  • 2002, Chair, Faculty IT Committee
  • 2000, Member, Music, Technology and Innovation Research Group
  • 1998, Member, Research Degrees Committee

Strategic and Capital Project Leadership

University of Leicester
  • 2018–2020, Director, UoL Media Village
  • 2018–2022, Founding Professor, Creative Computing
Bath Spa University
  • 2013–2018, Founding Director, Creative Computing
  • 2013–2014, Co-Chair, Business Advisory Group, Hartham Park
De Montfort University
  • 2006–2012, Member, Phoenix Square Creative Strategy Group
  • 2004, Chair, Creative and Cultural Industries Consultative Group
  • 2003, Higher Education Funding Council of England (HEFCE), Science Research Infrastructure Fund, £1.3 million, Project Leader: Institute of Creative Technologies
  • 1999, HEFCE, £192,000, Project Leader: Centre for Technology and the Arts

Scientific Committees

  • 2016–present, Marie Skłodowska-Curie Individual Fellowships, Vice Chair
  • 2022–2023, PRIN (Research Projects of National Interest, Italy), Panel Member
  • 2020, European Research Council: Synergy Grants
  • 2016, Austrian Research Promotion Agency (FFG): Infrastructure Fund
  • 2016, Austrian Science Fund (FWF): Research Proposals
  • 2015, International Society of Electronic Arts, Programme Committee
  • 2015, Portuguese Science and Technology Research Foundation (FCT): Cultures and Cultural Production
  • 2012, Austrian Science Fund (FWF): Research Proposals
  • 2011–2021, European Research Council SH5: Cultures and Cultural Production, Panel Member
  • 2010, Arts and Humanities Research Council, Peer Review
  • 2009, Engineering and Physical Sciences Research Council, Peer Review

Advisory Boards

  • 2021–2023, MBD Ltd.
  • 2021–2026, ERC: Digital Scores – investigating the technological transformation of the music score. (PI, C. Vear)
  • 2018–2024, Attenborough Arts Centre
  • 2017–2019, Université de Paris, Sorbonne, with IRCAM and University of Pennsylvania: Improtek (PI, P. Couprie)
  • 2011–2013, AHRC: New Multimedia Tools for Electroacoustic Music Analysis. (PI, L. Landy, S. Emmerson)
  • 2011–2015, EU Culture Fund: Composing with Sounds (PI, L. Landy)
  • 2009–2011, NESTA: Amplified Leicester (PI, S. Thomas)

Editorships

  • Springer book series: Cultural Computing (co-editor)
  • International Journal of Creative Computing (co-editor)
  • Interdisciplinary Science Reviews (Special Edition editor)
  • Computer Music Journal (Special Edition co-editor)
  • Digital Creativity (Special Edition editor)

Reviewing

  • MIT Press, Routledge, CUP, Bloomsbury, Springer, Focal Press, Tempo, Percy Grainger Society

Research Funding

As Principal Investigator / Lead Academic
  • 2023–2025, Innovate UK (KTP), £431,000: Geo-demographic segmentations of populations of audience data (with The Audience Agency). Press release.
  • 2021, AHRC, £33,698: Aural Diversity Network
  • 2019, GNResound, £23,000: Aural Diversity
  • 2019, Arts Council England, £11,400: Aural Diversity
  • Leicester Institute of Advanced Studies, £5,000: Virtual Vauxhall Gardens
  • Knowledge Exchange and Enterprise Fund (University of Leicester), £10,000: Virtual Vauxhall Gardens
  • 2018–2019, Wellcome Trust ‘Discipline Bridges’ scheme, £10,000: BalanceAID development
  • 2018, GNResound, £22,200: Consequences of Ménière's Disease and other hearing conditions for musicians, their hearing care and hearing technologies
  • 2016, NESTA / London Sinfonietta, £1,500: Soundsweep
  • 2015, UCAS, £47,000: “Project Alfie”
  • 2012, TSB, £42,750: The Opera Group: digital development (PI, Andrew Hugill)
  • 2011, Leicester City Council, £23,000: Digital Public Access Project
  • 2010, Leicester City Council, £37,000: Virtual Roman Leicester
  • 2010, DMU Revolving Investment Fund, £10,000: Virtual Romans
  • 2010, DMU Revolving Investment Fund, £9,947: Disability and Digital Technology
  • 2010, DMU Revolving Investment Fund, £9,860: DARBS Agent-based framework
  • 2009, HEIF, £355,422: CPulse
  • 2008, AHRC, £17,000: Phoenix Rising — Online New Media Centre development, with Phoenix Arts (PI, Andrew Hugill).
  • 2006–2009, HEFCE, £360,000: Collaborative Training Accounts
  • 2002, DES, Connexions, £60,000: Sound Ideas
  • 2002, Arts Council of England, £36,000: The Sound Exchange
  • 2001, National Space Centre, £3,500: Timestretch
  • 1999, Arts Council of England, ‘New Audiences’ scheme, £36,000: Symphony for Cornwall
As Co-Investigator
  • 2014, NESTA, £124,625: Understanding commercial performance in museums / Insight: Improving Museum Performance using Predictive Analysis (with Black Radley Ltd. and Prof Alison Hems). Report.
  • 2012, Paul Hamlyn Foundation, £10,000: Digital Opera Focus Groups (with The Opera Group)
  • 2011, Leicester City Council, £23,000: Digital Public Access Project (with Jewry Wall Museum)
  • 2010, DMU Revolving Investment Fund, £10,000: Virtual Romans (with Jewry Wall Museum)
  • 2010, DMU Revolving Investment Fund, £9,860: DARBS Agent-based framework (with Prof Adrian Hopgood)
  • 2004, JISC, £99,152: Collaborative Stereoscopic Access Grid Environment for Experimentation within the Arts and Humanities Community (CSAGE) (with University of Manchester).

    • Research Management

    • 2010, £125,445: International audience development for digital arts (PI, Dr T. Harwood) with Phoenix Arts
    • 2010, £93,319: Social media development strategy, with Rainbows Hospice for Children and Young People (PI, Dr T. Harwood)
    • 2007–2009, Leverhulme Trust, £60,000: Sounding Underground (Early Career Fellowship, Dr X. Alarcón)
    • 2006–2008, Arts Council England, £37,500: Digital Writer in Residence (Mr Chris Joseph)
    • 2006–2007, AHRC, £12,161: CREEM (Creativity East Midlands) (PI, Prof S. Brown)
    • 2006, EPSRC, £6,000: Roboviz (PI, Dr A. Ayesh)
    • 2006, HEIF, £30,000: Narrative Laboratory for the Creative Industries (PI, Prof S. Thomas)

    PhD Supervisions

    Current (second supervisor)
    • Shelby Navone, “Improving inclusivity and accessibility for disabled and neurodivergent people in digital performance and culture”.
    • Giorgie Goiati, “Electroencephalogram-driven AI composition and performance system for autistic and/or d/Deaf musicians.”
    • Zhuolin Li, “Who uses digital sound archives?”
    Complete
    • Dr Lee Scott (Digital Opera, first supervisor)
    • Dr Luke Nickel (Composition, second supervisor)
    • Dr Fania Raczinski (Algorithmic Meta-Creativity, second supervisor)
    • Dr Lu Zhang (Theoretical Issues in Creative Computing, second supervisor)
    • Dr J. Fishenden (The Palimpsest of Time: New Media Composition, first supervisor)
    • Dr I. Willcock (Multimedia and Live Performance, first supervisor)
    • Prof K. Pullinger (Published Works, second supervisor)
    • Dr H. Zhou (Data Interoperability via Ontology-Based Data Understanding, second supervisor)
    • Dr J. Laccetti (New Media Stories: Interactivity, Feminism, and Narrative Structures in New Media, second supervisor)
    • Dr C. Chambers (Published Works, first supervisor)
    • Dr C. Hobbs (Composition, first supervisor)
    • Dr R. Tipping (Classical Music Broadcasting on Television, first supervisor)
    • Dr P. Pece (The Effects of Trauma on the Memory Skills of Musicians, first supervisor)
    • Dr S. Smith (Compositional processes in hip-hop, second supervisor)
    • Dr R. Hemmings (Randomisation in popular music, second supervisor)
    • Dr G. Dale (Installation Art, second supervisor)
    • Dr R. Miller (Performance Art, second supervisor)

    PhD Examinations

    • 2021, University of Bournemouth, Dennis Braunsdorf (Composing with Flexible Phrases)
    • 2018, Royal College of Art, Derek Hales (Deleuze, Pataphysical Fiction and Speculative Design Research)
    • 2016, University of Sydney, Anastacia Nicéphore (Platωn’s Reality: Baudrillard’s Nostalgia)
    • 2015, Bath Spa University, Owen Lloyd (Composition)
    • 2011, University of Cardiff, Wendy Keay-Bright (Designing for Playfulness: Investigating the Therapeutic Potential of Technology Interfaces for Children on the Autism Spectrum)
    • 2009, University of Manchester, Peter Griffin (Composition)
    • 2005, University of Hertfordshire, Paul Carr (Composition)
    • 2004, University of Manchester, Ricardo Leal (Composition)
    • 2004, University of Hertfordshire, Paul Barker (Composition)
    • 2001, University of Middlesex, Kostas Giannoulakis (Music Visualisation)
    • 2000, University of Exeter, David Sanderson (Composition)

    External Examining

    • 2010–2014, University of Central Lancashire, MA Creative Thinking
    • 2010–2013, National University of Ireland, Maynooth, MA Computer Music
    • 2009–2013, University of Lancaster, BA Music, BSc Music Technology
    • 2005–2006, Anglia Ruskin University, BA Creative Music Technology
    • 2004–2007, University of York, MA/MSc in Music Technology
    • 2001–2005, University of Hertfordshire, BSc Electronic Music, MSc Music and Electronics
    • 1999–2002, Bath Spa University College, BA Music and BA Creative Music Technology
    • 1999, University of Leeds, MSc Music Technology
    • 1998–2000, University College, Bretton Hall, BA Music

    Curriculum Development

    • 2019: BA/BSc in Creative Computing, University of Leicester
    • 2013: BSc in Creative Computing, Bath Spa University
    • 2006: MA/MSc Creative Technologies, De Montfort University
    • 1997: BA/BSc Music, Technology and Innovation, De Montfort University

    Teaching

    • 2019–2022: BA/BSc Creative Computing: Digital Arts Lab, Concurrent Design, SciArt and Big Data Analysis, Computational Arts
    • 2010–2011: BA Music, Technology and Innovation: Digital Cultures; Performance Projects
    • 2006–2011: MA/MSc Creative Technologies: Research Methods; Digital Cultures; Final Projects
    • 1997–2006: BA/BSc Music, Technology and Innovation: Creative Projects (digital composition, sequencing); Techniques (sound manipulation, postproduction); Internet Music; Perspectives (history of electroacoustic music, thematic studies); Musicianship (notation, analysis); Dissertations and Projects
    • 1986–1995: BA Performing Arts (Music): Pre-20th Century history (most periods); 20th Century history; Composition (free and pastiche); Analysis; Ensemble Performance; Dissertations; Project Workshops
    • 1990–1995: Interdisciplinary: Dada and Surrealism; Conceptual art; Marcel Duchamp and related topics; ’Pataphysics and French surrealist literature