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Alannah Halay
Alannah Halay
Born	Alannah Marie Halay; Yorkshire, United Kingdom.
Other names	Alannah Marie
Alma mater	BA, MMus, PhD, AFHEA, PCertLAM, QTS, PGCE
Occupations	Composer; Author;
Years active	2010–present
Website	alannah.co

Dr Alannah Marie Halay is an internationally performed British composer and author known for her work with avant-garde, contemporary classical, and experimental music. Halay studied at the University of Leeds, where she received her PhD in composition. She is an Associate Fellow of the Higher Education Academy.

Career

Halay received a place at the University of Leeds via its Access to Leeds Scheme.^[2] She began her composing career as an undergraduate, when her piece Dry Veins (2012) for piano and voice was performed in the Leeds Lieder festival in 2012.^[3] During her PhD, she was the winner of the Yorkshire Young Sinfonia Composition Competition 2015, and her composition Air, Earth, Water, Fire was selected to be workshopped in its summer course and performed alongside its BBC Radio 4 programme.^[4]^[5] In the same year, she had a composition selected for the Gaudeamus Muziekweek Academy, which would be performed in the Gaudeamus Muziekweek Festival in 2016.^[6] She attended the Gaudeamus Muziekweek Academy in the summer 2015 where she studied composition and contemporary harp techniques, and where she was selected to be the UK composer in cellist Katharina Gross's worldwide Cellomondo project.^[7] Later in 2015, she worked with Hans-Joachim Hespos as a performer and composer, performing Hespos' Tja (1981) for pianist, wuniof ‘k (1989) on piano, and realising the tape part for his MusikBoxen (1995).^[8] During this time she also received composition and performance training from Hespos.^[9] In 2017, she worked with Dr Michael Spencer to celebrate the University of Leeds becoming a Steinway School, with their piece Resonance/Light/Decay being composed to be played on twenty-eight Steinway pianos.^[10]^[11] Throughout 2022, Halay worked with the Calouste Gulbenkian Foundation through the support of enoa (European Network of Opera Academies), which selected her upcoming opera project, Queering Opera, for its Opera Creation Journey programme.^[12]^[13]^[14] This follows her previous opera, Pacific Pleasures, which was written as a prequel to Leonard Bernstein's Trouble in Tahiti, and performed together by Bloomsbury Opera at Goodenough College in 2017.^[15]^[16]

Overall, Halay's music has been performed internationally, by musicians such as Ian Pace, Rui Baeta, Katharina Gross, Peter Wiegold (Notes Inégales), Ryszard Lubieniecki, Lara Martins, and others.^[17]^[18]^[19]^[20]^[21]

Publications

Halay's practice-led research formed the basis of her PhD thesis, Recognising Absurdity through Compositional Practice: Comparing an Avant-Garde Style with being avant garde. The same methodology has informed her other publications, including her edited book, (Per)Forming Art: Performance as Research in Contemporary Artworks, published by Cambridge Scholars Publishing.^[22] Some of Halay's musical scores are available from the UCLA Music Library: Contemporary Music Score Collection.^[23] Halay is also published by Vernon Press and the University of Nebraska Press.^[24]^[25]

List of Compositions

2024
1 Kings 19:11–13 (2024)
ENERGY CANNOT BE CREATED V: some days if i could scream (2024)
2023
Un Alphabet Prononcé (2023)
Romantic love and lethargy (2023)
one that got away (2023)
2022
I am what I am (2022)
Glitter Balls (Opera: Act 1 Finale Piano Reduction) (2022)
2020
The Signal Man (2017, rev. 2020)
2019
Phaedra (2019)
2018
ENERGY CANNOT BE CREATED IV: ...generously taken (2018)
ENERGY CANNOT BE CREATED III: transferred states (2018)
2017
Resonance/Light/Decay (2017)
‘il progressi sempre tardi arriva’ (2017)
Cotransmission, Neurotransmission, Summation (2017)
Tear (2017)
Brief Encounter (2017)
Film score for Littley Car (2016–17)
Pacific Pleasures (2016–17)
2016
We Lived in the Gaps Between the Stories (2016)
I Am Bound (2016)
[Co]Valence Ib (2016)
[Co]Valence Ic (2016)
[Co]Valence Id (2016)
[Co]Valence IV (2016)
[Co]Valence IIIa: Battling a Diversion of Thought (2016)
[Co]Valence IIIb: Battling a Diversion of Thought (2016)
[Co]Valence IIIc: Battling a Diversion of Thought (2016)
[Co]Valence II (2016)
2015
petrichor (2015)
It sounds an isochronism. (2015)
To Rave in a Fifteenth-Century Discotheque from another Time Entirely (2015)
Air, Earth, Water, Fire (2015)
angustia (2015)
Praying for Gabriel (2015)
ENERGY CANNOT BE CREATED II: ⁴B₄ (2014–15)
2014
[Co]Valence Ia (2014)
The Interlocutor (2014)
‘…with still a life or two to spare for the space of his occupancy…’ (2014)
[Co]Valence IIIb (2014)
Parallax Error (2014)
Re-press[ed] (2014)
The Ridge is beyond the Edge (2014)
Graphite Pendulum (2014)
ENERGY CANNOT BE CREATED I: the title is an image (2013–14)
2013
A Matter of Energy (2013)
CROSSWOR[K] (2013)
‘…the space of his occupancy of a world at a time…’ (2013)
Inner a Mirror (2013)
Mo[u]rning Medi[t/c]ation (2013)
‘…it’s already been done!’ (2013)
Interstice (2013–16)
Sienna I (2013)
Sienna II (2013)
The Carbon Loop (2013)
2012
In the Zone (2012–13)
Dry Veins (2012)
Escaping Frozen Music (2012)
Breaking the Four Chambers (2012)
2011
Synchronising Pendulums (2011)
Arbitrary Iridescence (2011)
The Formation of Alcohol (2011)
Temporal Space (2011)
3 √Cube3 a.k.a. THE CUBE (2010–11)

Discography

Parallax Error (2014): Katarina Gross, on Cellomondo #2: Rebirth in Sound (2018)
We Lived in the Gaps between the Stories (2016): Ryszard Lubieniecki, on Seeds (2019)
Electronic Experimentations 2013-2019 (2019)^[26]
angustia (2015) and We Lived in the Gaps between the Stories (2016): Layers, on Grundgestein (2021)

Bibliography

Halay, Alannah Marie (September 2016). Recognising Absurdity through Compositional Practice: Comparing an Avant-Garde Style with being avant garde | Alannah Marie Halay. White Rose eTheses Online (phd). Retrieved 7 March 2023.
‘(Per)Forming Art: Performance as a Compositional Technique’, in (Per)Forming Art: Performance as Research in Contemporary Artworks, ed. by Alannah Marie Halay (London: Cambridge Scholars Publishing, 2016), pp. 37–51.
‘New Music Biennial, Hull’, in Sounds Like Now: Contemporary Music News magazine
‘‘We Lived in the Gaps Between the Stories’ (2016) Amplified Accordion’, in Women and Music Journal (21: 2018)^[27]
‘“Xenakis, not Gounod”: Xenakis, the Avant Garde, and May ’68’, in Exploring Xenakis: Performance, Practice, Philosophy (Wilmington, DE: Vernon Press, 2019)
‘Parallax Error (2014) for any four-string bowed instrument' in UCLA Music Library: Contemporary Music Score Collection (2020)
‘The Interlocutor (2014) for Horn, Electric Guitar, Piano (& synthesizer), Electric Violin‘ in UCLA Music Library: Contemporary Music Score Collection (2020)^[28]
‘Air, Earth, Water, Fire (2015) for orchestra’ in UCLA Music Library: Contemporary Music Score Collection (2020)