Adam Stanović (né Stansbie) started composing electronic music over twenty-five years ago. Initial experiments with tape recorders and a four-track mini-disc player led him to read music and technology at both Leeds College of Music (England, UK) and University of Leeds (England, UK), where he was introduced to computer music by Dale Jonathan Perkins. During this time, he started to enjoy international performances of his musical works, and he ultimately graduated with a university prize for outstanding achievement. Adam Stanović went on to complete a PhD at City University, London (England, UK), where he devoted himself to acousmatic music under the supervision and guidance of Denis Smalley.
Nowadays, Adam Stanović’s music continues to employ a fixed medium. Rather than purely acousmatic, however, his recent works have also included instruments, electronics, film, and animation. In all such cases, his musical works explore relations between pitch and noise. Still, it is the ongoing fascination with musical form that occupies the primary focus of his compositional attention.
To date, this fascination has helped him to win prizes, residencies and mentions at competitions around the world, including: Bourges (France); Métamorphoses (Belgium); Destellos (Argentina); Contemporanea (Italy); SYNC (Russia); Música Viva (Portugal); Musica Nova (Czech Republic); Ars Electronica Forum Wallis (Switzerland); Klingler ElectroAcoustic Residency (KEAR, USA); MusicAcoustica (China); Prix Russolo (France); and Red Jasper Award (USA).
Many of these pieces have been composed in studios around the world, including those of the IMEB (France); Musiques & Recherches (Belgium); VICC (Sweden); EMS (Sweden); Leeds College of Music (UK); CMMAS (Mexico); Holst House (UK); Mise-En_Place Bushwick (USA); Bowling Green State University (USA); Sydney Conservatorium of Music (Australia); and GRM (France).
Adam Stanović’s music has been performed in over 400 festivals and concerts around the world, including many solo concerts of his own music. Further to this, he is regularly invited to talk about electronic music, and has given lectures and presentations at many world-leading universities and conservatoires. As with his numerous journal articles and book chapters, Adam Stanović’s talks often address compositional methods and aesthetic preoccupations, analytical approaches to electronic music, the nature of performance interpretation and authenticity, the nature of digitized music, and reflections on the many philosophical quandaries that electronic music seems to produce.
In 2016, Adam Stanović co-founded the British ElectroAcoustic Network (BEAN), alongside James Andean, with the intention of representing British electroacoustic music overseas. The network was subsequently affiliated with the International Confederation of Electroacoustic Music (CIME). He is currently a director of the Composer’s Desktop Project (CDP), and he was Editor-in-Chief of the International Journal of Arts Humanities and Social Sciences (IJAHSS) between 2015 and ’18. Adam Stanović has lectured at various institutions, and is currently Director of Sound and Music at the London College of Communication, University of the Arts (England, UK).
[viii-22]