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feet (8.5 m) long. In 1998 physicist Vic Tandy showed infrasound (from mundane sources) could be causing a sense of unease in a room - feelings that could lead someone to feel they have been haunted. Angliss worked with parapsychologists
Professor Richard Wiseman and Dr Ciarán O'Keeffe, pianist GéNIA and Dr Richard Lord and Dan Simmonds from the National Physical Laboratory to investigate infrasound's effect in a musical setting. Their aim was to find out if infrasound could generate a sense of unease or other strange feelings when it's placed within music - feelings that might be akin to those experienced in ostensibly haunted sites. The team worked in Liverpool Metropolitan Cathedral, then two counterbalanced, experimental concerts in the Purcell Room, London. While audible music played, they fooded each venue with sine waves around 17.4 Hz. The parapsychologists used questionnaires to log the audience's responses at various points in each show (the audience were not told when the infrasound would be occurring) and found tentative evidence that the infrasound created a sense of unease in listeners, even if they were unaware of its presence. Angliss composed music for the experiment and has subsequently used masked infrasound in later compositions, including the score for Lucy Prebble's
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189:“stays true to her artistic concepts, to create unique compositions that connect to the listener with emotional depth and great beauty, never failing to leave a lasting impression.”. Her opera Giant opened in Aldeburgh Festival 7 June 2023 and transferred to The Linbury Theatre, Royal Opera House 6 March 2024.
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Angliss composed an electroacoustic score for Romola Garai's feature film Amulet (2020). This contained horror film was selected for the
Midnight programme of Sundance 2020. Angliss' score makes extensive use of female voices and electronics, as well as her robotic carillon (The Ealing Feeder), viola
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and woodwind player and applies her own extended and electronic techniques to various instruments. In
November 2018 she received a Composer's Award from the Paul Hamlyn Foundation and on 8 December 2021 she received an Ivor Novello Award (category: Visionary Award). The Ivors Committee commented she
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In 2002–2003, Angliss initiated and led
Infrasonic (aka Soundless Music) - an experiment to explore the strange psychological effects of airborne infrasound (sound below 20 Hz). Angliss noted infrasound is used in sacred organ music to create a sense of awe - it's emitted by bass pipes over 28
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Angliss studied composition and baroque and renaissance music as well as
Electroacoustics (in the Acoustics Department of the University of Salford). She also has a Masters in Evolutionary and Adaptive Systems (University of Sussex) - this included the study of artificial life, machine learning and
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is a composer, sound designer, producer and performer based in London UK. She creates new music and soundworlds for film, theatre, opera and the concert stage, including her own live performances. Sarah's music uses voices, orchestral and ancient instruments, augmented them with
206:, on Air Loom, 2019). Angliss now performs live throughout Europe with human co-performers (chiefly percussionist Stephen Hiscock) and musical automata, machines she has devised and built since 2005 to "give her performance an arresting and uncanny physical presence."
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Alongside her performance, Sarah researches the history of sound culture, presenting topics in print, national radio and at salon talks throughout Europe. Much of this research informs her compositions.
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Working as a theatre composer, Angliss has created music and sounds which blur the line between sound design and music for a number of theatrical works including Eugene O'Neill's expressionist play
317:, Marius Constant, Nathan van Cleave, Fred Steiner and others. This included the creation of new music and sonic effects that blended with the original orchestral material.
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robotics. She began extemporising and performing live as a teenager in UK folk clubs - English folksong is evident in many of her electroacoustic compositions (e.g.
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and in the West End ("I’m trying to make sound that gets under your skin") ; Lucy
Prebble's
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674:"The Quietus | Features | Three Songs No Flash | Start Making Sense: Supernormal 2019 Reviewed"
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The Ealing Feeder - robotic, polyphonic carillon designed and built by Sarah
Angliss
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and a
Visiting Research Fellow at the Sound Practice Research Unit, Goldsmiths.
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In 2017, Angliss re-edited the original sound track of Sony-CBS TV series
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for the republication of Oram's treatise on sound and electronics
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WikiMedia photographs of performance as Space Dog, Brighton 2011.
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In
October 2018, Angliss began writing a chamber opera,
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Correspondent, Hannah Devlin
Science (22 June 2018).
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951:"Sarah Angliss To Rework Bernard Herrmann's Archive"
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847:"DAPHNE ORAM – AN INDIVIDUAL NOTE – Fused Magazine"
565:"BBC Radio 4 – Pursuit of Beauty, Echo in a Bottle"
823:Quirkology - the curious science of everyday lives
726:Experiment : conversations in art and science
601:"Listen: Sarah Angliss music and video – The Wire"
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380:"The Ivors Composer Awards 2021 winners announced"
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274:. In April 2017 Angliss released her solo album
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243:The Effect
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