Nina Whiteman

Nina has a record of innovative practice-based research as a composer, vocalist and multimedia artist. This is exemplified by 2021-2024 composition research outputs: Forbidden (commissioned by Riot Ensemble; funded by Ernst von Siemens Music Foundation) innovates in the area of video notation, employing facial touch to provoke the singer’s sounds and gestures. BELOWGROUND (funded by Arts Council England) tests unusual collaborative models and the creative potential of new technologies through interdisciplinary investigation of the subterranean. The Cybird Trilogy investigates how AI-generated images and audio can expose uncomfortable fusions between humans and nature.

These works form part of a substantial body of funded research conducted since completing her PhD in 2009, and have been presented on internationally significant platforms in the UK and abroad (e.g. at the Southbank Centre, Bridgewater Hall, World Music Days Festival, BIFEM) and broadcast on national radio (e.g. BBC Radio 3). Significant works include TOMB (2018, for alto flute, electronics, video), which interrogates performer physicality and stamina as well as approaches to video-notation. Thread (2018, for solo amplified flute) has been performed, and presented in education settings internationally (e.g. Junior Royal Northern College of Music, Britten-Pears Young Artist Programme, Cambridge University, University of York, Southbank Centre, BIFEM, and Carnegie Mellon University) as well as appearing on Kathryn Williams’ disc Coming Up for Air (2019, HCR label).

Innovative collaborations with research teams include ongoing work with PRiSM at the RNCM. Here, Nina has developed an app with software engineer Dr Christopher Melen designed for audience members to interact with video notation in Escape! (composition for organ, electronics, video commissioned by Lauren Redhead and Alistair Zaldua). Continued work with at PRiSM was based in machine learning and neural networks as Nina developed new work as part of Dr Zubin Kanga’s Cyborg Soloists UKRI-funded project during 2022.

• Multimedia performance, including use of new technologies
• Notation (including graphic and video)
• Gamification of musical experiences (for performers and audiences)
• Interdisciplinary collaboration
• Contemporary vocality

• Reader in Composition, Royal Holloway University of London (2018 – present)
• Visiting Lecturer, University of Manchester (2018 – 2021)
• Lecturer in Composition, University of Manchester (2017 – 2018)
• Visiting lecturer in Composition, Lancaster University (2010)
• Graduate Teaching Assistant, University of Manchester (2003 – 2015)

• Arts Council England
• UKRI
• Ernst von Siemens Music Foundation

Current undergradutate teaching in 2024-25:

• Undergraduate teaching in contemporary performance/performance studies
• Undergraduate mentoring for final year Creative Project

Past teaching:

• Performance and Repertoire Studies 3 and 4
• Female Singers 1960-2000 (year 3/4 elective)
• Music and Gender (year 3/4 elective)
• Music, Science and Mathematics (year 3/4 elective)
• Language of Music/Theory and Musicianship 2
• Performance and Repertoire Studies 2 [C20th]
• Historical and Contextual Studies 1 [late C20th]
• Professional Skills 1
• Introduction to Musicology (foundation module)

• Electric Experimental Ensemble (co-leads postgraduate module with Dr Sam Salem)
• Music and Environment (leads postgraduate module)
• Supervision of MMus projects/dissertations

Current supervision of PhDs:

• Jiapeng Xin
• Parisa Pirzadeh

• External work in community settings with organisations including Streetwise Opera and Manchester Camerata
• Work with young people includes South West Music Service, National Youth Orchestra
• Vocal performance of contemporary chamber and operatic repertoire, including commissioning activities
• Artistic Director (and co-founder) of Manchester Contemporary Youth Opera
• Artistic Director (and co-founder) of Trio Atem