Tina is a improviser, flautist and composer / sound artist who works largely in the fields of free improvisation, sound art, and contemporary classical music, playing and writing in a variety of musical groups as well as working with artists from other disciplines.
Recent projects include as a recipient of an ‘Interpreting Isolation’ grant from the British Music Collection and Sound & Music: Tina collaborated with artist Sam Francis to produce a new work, High Tide. In 2019/20 she was a commissioned artist for CANOPY, an arts network in the Forest of Dean, creating a sound art piece focusing on a Phone Box using sounds and stories from the Forest area. Tina was composer for Freya Gabie’s Grafted Chorus – a project for the ‘Future Perfect‘ public arts programme; a Halftone collaboration with artist Benjamin A Owen at Supernormal Festival; and Amalgams, produced by the ONOMATO collective. She was a composer / improviser for artist Benjamin A Owen’s Goldfinch film events, collaborated with Field Sports / Fold Music, was a flautist for Song 5 of Welsh National Opera’s Occupation – Five songs that shook the world, and performed orchestral piccolo for the world premiere of Andrew Wilson-Dickson’s Karuna – an oratorio for compassion.
Tina currently writes / improvises / performs in a range of settings – see the Projects / Groups page for details.
Tina has worked with the Welsh National Opera, National Dance Company Wales, PM Music Ensemble, National Theatre Wales, The Sherman Theatre, and multiple smaller groups. She co-founded Cardiff New Music Collective, a group dedicated to performing rarely-heard repertoire, as well as commissioning new works. Tina was a composer / performer for Dots.filmband, who composed and improvised live soundscapes for contemporary short films, and composed, played synth and sang with Whitebelt, a post-punk / wonky pop 3-piece. She has been a session musician for various pop / TV / radio / film / theatre / dance projects.
Tina initially studied classical flute performance (with Roger Armstrong and Christine Messiter) at the Royal Welsh College of Music and Drama, where she was fortunate to attend Keith Tippett’s educational sessions on free improvisation. These sessions contributed to the broadening of Tina’s musical world and she became increasingly involved in contemporary music during her time at the College, gaining the MMus and BMus (hons) degrees. She was awarded an EMI Music Sound Foundation scholarship, an Ashley Family Foundation scholarship, and the Daniel Emlyn Davies Award.