ISCM British Section Panel Members

Annie Mahtani (Chair)

Headshot of Annie Mahtani

Annie Mahtani is an electroacoustic composer, sound artist and performer working and living in Birmingham, UK. After completing her doctoral studies in composition in 2008 she has worked as a freelance composer, performer, curator and educator.

Her work encompasses electronic music composition from acousmatic music to free improvisation. As a collaborator, Annie has worked extensively with dance, theatre and on site-specific installations. With a strong interest in field recording, Annie’s work often explores the inherent sonic nature and identity of environmental sound, amplifying sonic characteristics that are not normally audible to the naked ear. Her music explores abstract and recognisable sound worlds and all the spaces in between. With a preoccupation with space, Annie works extensively with multichannel audio both in concert pieces and in live performance.

Annie is a Lecturer in Music at The University of Birmingham. She is co-director of SOUNDkitchen, a Birmingham based collective of curators, producers and performers of live electronic music and sound art.


Susanna Eastburn

Headshot of Susanna Eastburn


Susanna Eastburn took up the role of Chief Executive of Sound and Music ( in September 2012.  This is the latest senior appointment in a varied career that has included being Director, Music at Arts Council England from 2008-2012. Her background and particular interest is in new music and in supporting composers at different times in their career. Her first job was in music publishing, working at Music Sales Ltd with a number of leading composers including Judith Weir, Kaija Saariaho and Esa-Pekka Salonen. At the age of 32 she was appointed as Artistic Director and Chief Executive of the Huddersfield Contemporary Music Festival, a role she fulfilled between 2000-2004, when she was selected to be a Youth Music Fellow on the inaugural year of the Clore Leadership Programme, an initiative to identify and develop leadership in the cultural sector.

In September 2013 she was elected to the Board of the International Association of Music Information Centres, where she was also President until October 2016. She is on the Board of Birmingham Contemporary Music Group and a Trustee of Trinity College London, as well as being a member of The Queen’s Medal for Music Committee. She is a keen chamber musician and plays the viola.


Lore Lixenburg

Headshot of Lore Lixenburg

Loré Lixenberg’s career began with Complicite, working with Simon Mcburney at the NT. Following this, her work spans from performing in opera houses and the west end,to new installations and performances with experimental visual and sound artists including Stelarc, Bruce Mclean, David Toop and ORLAN, and working on the comedy circuit. She has worked with ensembles and orchestras in contemporary music festivals worlswide on premieres written for her as well as classics of the contemporary repertoire such as the first complete recording on CD of John Cage’s ‘Songbooks’ for Sub Rosa. She staged the UK premier of Kagel 'Staatstheater' plus works by Aperghis, Berio and Wishart. She performs her own works, using extended voice in pieces such as ‘BIRD' and her series of “Singterviews” and 'ADIPOSE'. She published an artist book ‘Memory Maps’ with a postface by David Toop and the CD ‘The afternoon of a phone’ (£@B). She co-directs the artist space La Plaque Tournante in Berlin that has its own magazine CRU and is currently working on publications 'Shamanism and transformations through extended vocal techniques' and 'The voice and the holy fool', is working with Wishart on a new piece at The Hague. She is recording her new CD of vocal arrangements of Nancarrow piano rolls for voice and will be directing Nam Jun Paik 'Symphony for 20 Rooms' in Malmö.

Samantha Fernando 

Resonance and harmonic colour play a vital role in Samantha’s music. This preoccupation yields pieces with an intensely colourful and often meditative quality.  Other art-forms are a constant source of inspiration which have prompted collaborations with writers, directors, choreographers and performers.

Samantha (b.1984) has worked with numerous ensembles including the Philharmonia Orchestra, Riot Ensemble, the choir of Selwyn College Cambridge,LOD Muziektheater (Ghent), Silbersee Vocal Ensemble (Amsterdam) and The London Sinfonietta. Her music has been performed at festivals here and abroad such as Aldeburgh Music, Huddersfield Contemporary Music Festival, Sounds New, Gaudeamus Muziekweek, York Late Music, Lake District Summer Music and The Oxford Lieder Festival.

In 2013, she was awarded an RPS Composition Prize and was commissioned to write a new work for the Philharmonia Orchestra as part of the Music of Today series. Samantha’s music has been broadcast on BBC Radio 3 and her flute piece Kinesphere was released on NMC last year. Last year she was commissioned to write a new work celebrating the 50th birthday of the London Sinfonietta, premiered at the Royal Festival Hall in January 2018 and conducted by Vladimir Jurowski. In June 2018, her music was showcased in a portrait concert at Kettle’s Yard Cambridge.

In 2019 her work Formations was choreographed by Kristen McNally and performed by the Royal Ballet in a showcase of new dance at the Linbury Theatre, ROH. Breathing Space for symphony orchestra was premiered by the Philharmonia Orchestra in Spring 2019, conducted by Martyn Brabbins.


Ed McKeon 

Ed McKeon is a producer, researcher, writer and lecturer. Co-founder of Third Ear Music, he commissions, collaborates with and supports musicians and artists at the points where music indisciplines others - where the lines blur between music and performance art, installation, theatre, film and so on. He has collaborated with artists from Pauline Oliveros to Heiner Goebbels, Elliott Sharp to Jennifer Walshe, and Lina Lapelyte to Brian Eno. He has presented BBC Radio 3’s flagship new music programme, Hear and Now; was artistic director of the British Composer Awards and on the Board of NMC Records; he continues as a Trustee of the Hinrichsen Foundation and on the editorial committee of Riffs journal of experimental writing on popular music. He leads an MA programme at Goldsmiths College, University of London on Music Management. His doctoral research on the intersection of musicality with curatorial theory is supported through the Midlands4Cities Doctoral Training Partnership, funded by the Arts & Humanities Research Council.


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