Andrew Knight-Hill

Professor Andrew Knight-Hill BSc, MA, PGCert HE, FHEA, PhD

Associate Head of School - Research and Knowledge Exchange; Lead - Centre for Sound and Image

Key details

Professor Andrew P Knight-Hill

Associate Head of School - Research and Knowledge Exchange; Lead - Centre for Sound and Image

Andrew Knight-Hill (1986) is a composer of electroacoustic music, specialising in studio composed works both acousmatic (purely sound based) and audio-visual. His works have been performed extensively across the UK, in Europe and the US. Including performances at Fyklingen, Stockholm; GRM, Paris; ZKM, Karlsruhe; New York Public Library, New York; London Contemporary Music Festival, London; San Francisco Tape Music Festival, San Francisco; Cinesonika, Vancouver; Festival Punto de Encuentro, Valencia; and many more.

His works are composed with materials captured from the human and natural world, seeking to explore the beauty in everyday objects. He is particularly interested in how these materials are interpreted by audiences, and how these interpretations relate to our experience of the real and the virtual.

He joined the University of Greenwich in August 2014 having previously worked as a freelance composer.

Personal website

Sound Design at Greenwich 

Loudspeaker Concert Series:

Responsibilities within the university

  • Associate Professor in Sound Design and Music Technology
  • Programme Leader BA Sound Design
  • Director of Loudspeaker Orchestra Concert series



  • Editorial Board - Music Sound and the Moving Image, Liverpool University Press
  • Reviewer - Organised Sound, Cambridge University Press
  • Steering Group / Programming Committee for the Seeing Sound Festival
  • Invited Jurist – Royal Television Society: Craft Skills Award in Sound (2019)
  • Panel Member – National Occupational Standards Consultation for Sound and Recording (2019)

Research / Scholarly interests

  • Electroacoustic composition
  • Audiovisual practices and intermedia art
  • Phenomenology, perception and interpretation
  • Realism and cinematic diegesis
  • Spatial theory
  • Loudspeaker Orchestra Performance and Multichannel Sonic Installations
  • Live electronics and improvised performance.

Key funded projects


Title of Grant

Awarding BodyDurationTotal Amount Awarded
30/3/19 - 29/6/22

A Sonic Palimpsest: Revisiting Chatham Historic Dockyards

AHRC – (Research Grant ECR)27 months£246,029
02/2019- 07/2019Immersive Hyperreal SoundscapesHIEF (QR) - University of Greenwich5 months



Consolidating Impact – Collaborative Practice Based Research

REF (QR) – University of Greenwich9 months £7,998
01/2016-07/2016 Hear This Space – Object Based Audio Narratives REF (QR) – University of Greenwich7 months£4,901
05/2014-04/2015 Hear This Space - Building Community Arts Council England 1 year £14,950
12/2013- 03/2014Quiet Sounds (NOTAM)British Council - Arts Council England3 months£4,877
10/2008-05/2009Sound, Sight, Space and Play – Student Led InitiativeAHRC9 months£2,000

Media activity

BBC Radio 4 - PM Programme - Historical Soundings

BBC TV NEWS - Changing Sounds of an Industrial City

Forthcoming BBC News spot

Recent publications

Written Outputs:

HOBBS, J; KNIGHT-HILL A (2021) (I)MAGESOUND(S). RSS Press: Copenhagen

KNIGHT-HILL, A (2020d) Audiovisual Spaces: Spatiality, Experience and Potentiality in Audiovisual Composition. IN: Sound & Image: Aesthetics and Practices. Routledge: New York. * [Available June 2020]

KNIGHT-HILL, A (2020c) Sound & Image: Aesthetics and Practices. Routledge: New York. * [Available June 2020]

KNIGHT-HILL, A (2020b) The Nature of Sound and Recording. IN: Foundations of Sound Design for Linear Media (ed.) Filimowicz. Routledge: New York

KNIGHT-HILL, A (2020a) Electroacoustic Music: An Art of Sound. IN: Foundations of Sound Design for Linear Media (ed.) Filimowicz. Routledge: New York

KNIGHT-HILL, A. (2019) Sonic diegesis: Reality and the expressive potential of sound in narrative film. Quarterly Review of Film and Video. 36(8). [Summer 2019]*

BROWN, C.; KNIGHT-HILL, A. (2018) Stories of a Ruined Space: Filmic and sonic approaches to practice-as-research. Journal of Media Practice and Education, 19(3). [Autumn 2018]

HILL, A (2017) Listening for Context: Interpretation, abstraction and the real. Organised Sound 22(1). pp. 11-19 [April 2017]

HILL, A (2015) Theatres of Sounds: the role of context in the presentation of electroacoustic music. IN: Proceedings of InSonic 2015, ZKM, Karlsruhe

Hill, A (2013) Understanding Interpretation, Informing Composition: audience involvement in aesthetic result. Organised Sound, 18(1). pp. 43-59 [April 2013].

Hill, A. (2013) Abstracted Journeys. In: Compose with Sounds [CD]. Leicester: De Montfort University.

Hill, A. (2013) Interpreting Electroacoustic Audio-visual Music. Thesis (PhD), De Montfort University.

Hill, A (2011) What is Electroacoustic Audio-visual music? In Andrew Hill and Motje Wolf (Eds.) Proceedings for Sound, Sight, Space and Play 2010. Leicester 2-4 June 2010.

Hill, A. (2010) Investigating Audience Reception of Electroacoustic Audio-visual Compositions: Developing an Effective Methodology. eContact! 12(4) [Available online from: ]

Hill, A. (2010) Desarrollo de un lenguaje para la música audiovisual electroacústica: investigación sobre su comunicación y clasificación. En el Límite — Escritos Sobre Sonido, Música, Imagen y Tecnología, pp. 144–165. Editado por Universidad Nacional de Lanús, 2010; compilado por Raúl Minsburg.

Composition Projects:

Over Lunan, [theatrical sound design for choir and electronics] – 2020

We choose to go to the Moon: Apollo 12, [film soundtrack] – 2020 *

Gong, [film soundtrack] – 2019 *

Spectral Spaces, [ambisonic composition for Trumpet and Electronics] – 2019

Attack and Continuants, [ambisonic composition for Trumpet and Electronics] – 2019

VOID, [audiovisual composition] – 2019 *

Child of the Big City, [silent film orchestral composition] – 2019

Europe Endless, [documentary soundtrack] – 2018

Coccolith, [film soundtrack] – 2017 *

Double Take, [soundtrack for dance performance] 2017

Incandescence, [electroacoustic composition] – 2016

Projections, [post-acousmatic electroacoustic composition for 16mm projector] – 2016

(I)MAGESOUND(S), [live improvisation performance] – 2016 & 2019

Sounds of the Cultural Quarter, [interactive soundscape application] – 2015

Stille Lyd – Part Two – Høvringen, [electroacoustic composition] – 2015

Stille Lyd [Part One & Part Two] - 2014
Abstracted Journeys

electroacoustic composition – 2013

  • April 2014, Sweet Thunder Music Festival, San Francisco.
  • November 2013, Symposium on Acoustic Ecology, University of Kent.
  • August 2013, London Contemporary Music Festival, London.
  • April 2013, ZKM, Karlsruhe.
  • January 2013, Akousma, GRM Paris.

electroacoustic composition – 2012

  • November 2012, The Binaural Experience, Phoenix Square Leicester.
  • November 2012, MTI Concert Series, Leicester.
Re-enlivening the Archaic

electroacoustic soundscape – 2012

  • October 2012, Great Central Gallery, Leicester.
Vox Lupo

electroacoustic composition – 2011

  • May-June 2012, Fringe Arts Bath, Bath.
  • April 2012, The International Festival for Innovations in Music Production and Composition (Leeds College of Music).
  • October 2011, MTI concert Series, Leicester.
  • March 2011, Hear Th↓s Space @ Fabrika, Leicester.
Perpetual Motion

electroacoustic audio-visual composition – 2010

  • January 2013, Visible Bits, Audible Bytes, Leicester.
  • May-June 2012, Fringe Arts Bath, Bath.
  • May 2012, Noisefloor festival, Staffordshire.
  • Cinesonika 2, Simon Fraser University, Vancouver.
  • November 2011, XVIII Festival Punto de Encuentro, Valencia.
  • August 2011, International Computer Music Conference, Huddersfield.
  • March 2011, Lightworks, Grimsby.

electroacoustic audio-visual composition – 2009

  • September 2014, Image Resonance, Mar Del la Plata, Argentina.
  • June 2013, Ionian University, Corfu.
  • April 2013, BulldogBtyes, South Carolina State University.
  • April 2012, Nottingham Contemporary gallery, Nottingham.
  • October 2009, Electroacoustic Wales, Powis Hall, Bangor.
  • May 2009, Sound, Sight, Space and Play conference, Leicester.

electroacoustic audio-visual composition – 2008

  • April 2012, Nottingham Contemporary gallery, Nottingham.
  • August 2010, CPulse, Leicester.
  • February 2010, Soundings Festival, Edinburgh.
  • February 2009 Fylkingen, Stockholm.