From gramophones to video games, Eliot Britton’s (MMus'09, PhD'15)Ìýwork embraces a vast and unconventional range of sonic influences, but at the heart of it all is a deep commitment to teaching. A Schulich alum and passionate advocate for creative risk, Eliot returns to 51³Ô¹ÏÍø not only as a composer and producer but as a catalyst for imaginative, boundary-pushing exploration.
In this In Conversation, he shares how his hybrid identity, deep ties to Canadian musical culture, and commitment to technological innovation will shape his contributions to the Schulich community—as a mentor, collaborator, and unapologetic champion of the unexpected.Ìý
Your work integrates a wide range of sound worlds, from gramophones to video games. How do you plan to bring this eclectic mix of influences to the Schulich community?ÌýÌý
I am, by nature, a chimera—multiple perspectives and disciplines working together, resilient and hard to define. I earned that moniker during my time at 51³Ô¹ÏÍøas a grad student, and the image stuck with me. My musical inclinations are diverse and eclectic, shaped by an unlikely origin story of hybrid identity, creative synthesis, and survival. My path as a composer emerged through reconciling my outsider skill sets with the core values of contemporary Western art music. In this way, the Schulich community challenged me, fostering an environment where I was continuously challenged. Over time I learned that challenge was critical for growth and learning, I could not only survive but thrive. ±õ’m sure the community will continue challenging me, and I ·É´Ç³Ü±ô»å²Ô’t have it any other way.ÌýÌý
So, what will my mix of influences bring? A little practical chaos, impractical imagination and a total devotion to craft and bringing it all together and making it happen live. Fun? Yes. Questioning? Always. My work blends traditional and unconventional approaches with an unwavering commitment to academic rigour and scholarship. This synthesis aligns deeply with the values of the Schulich School of Music, where ±õ’v±ð brought a willingness to explore new methods within a shared framework of core principles. Where else can I integrate renaissance counterpoint with post-spectral pop-punk chord progressions?ÌýÌý
This perspective allows me to connect with and support a growing number of students whose unique skills and abilities may be underappreciated in traditional academic contexts. I see immense strength and potential in these students, though I am acutely aware of the risks they face. For me, the interplay between gramophones and video games, drum machines and orchestras, is not simply about stylistic exploration or genre-tourism; ¾±³Ù’s the creative tension that drives my work. It is me. This dynamic approach centres on consuming and reconstructing musical languages, rigorously interrogating material to shape new artistic expressions.Ìý
By applying this all-encompassing creative philosophy to technology and music, I aim to guide students in their growth while fostering the rigour and high expectations essential for meaningful development.ÌýÌý
As someone deeply involved in both digital media and traditional composition, how do you see the role of technology evolving in music education and performance at Schulich?ÌýÌý
I am deeply invested in the creative applications of technology within both pedagogical and performance contexts. Emerging technologies are undeniable engines of change, and music is evolving in ways that remain unpredictable. From the rise of machine learning and the analog renaissance to the next generation of audiovisual rendering engines, these developments are already reshaping the creative landscape. Is the Schulich School of Music ready for all this? Change is thrilling, but it can also be destabilizing. I can see the changes I lived through and fought for becoming established practice in new students. It is a good feeling, and I will continue to work towards progressive, positive change.ÌýÌý
As an educator, my role is to challenge assumptions and help students navigate this shifting terrain. This means balancing core creative values and skills with emerging technologies, fostering adaptability rather than dependence on any single tool or method. My approach prioritizes critical thinking, encouraging students to evaluate their relationship with technology and cultivate the skills to learn and adapt as the landscape continues to explode.ÌýÌý
Rather than teaching a specific piece of software or a fixed aesthetic, I focus on equipping students with strong creative values and a self-directed mindset. I help them cultivate the personalized skills required to thrive in whatever environment they choose. I have never been able to predict the future, but ±õ’v±ð always found ways to remain agile, adaptive and enthusiastic about change. This strategy helps one adapt to a variety of futures, and by growing and thriving, define what the future means. ±õ’v±ð come to realize that there is no one correct way to achieve excellence in live electronics performance. I like variety and diversity in approaches and strategies implemented to address creative challenges, even if they carry risk. Risk (true risk, not performative risk) is essential for creative growth.ÌýÌý
With your background in Canadian musical culture and your membership in the Manitoba Metis Federation, how do you incorporate Indigenous perspectives and traditions into your compositions, and how might these influence your teaching at Schulich?ÌýÌý
I have spent nearly two decades supporting diverse and emerging artists through the Cluster New Music + Integrated Arts Festival and other organizations. These experiences have reshaped my understanding of music culture in Canada, highlighting the importance of taking meaningful creative risks, uplifting diverse voices, and embracing the transformative power of community.Ìý
My work with Indigenous arts organizations, musicians, leaders, and elders has deepened my appreciation for alternative ways of collaborating, performing, and discovering value in music-making. I have come to admire Indigenous-led approaches that allow music to evolve alongside the performer over time. Additionally, I have recognized the potential of technology as a bridge between Indigenous and Western art music traditions, fostering innovation and dialogue.Ìý
Above all, these experiences have profoundly shaped me as both an artist and a person. They have heightened my sensitivity to the roles and responsibilities of cultural institutions like the Schulich School of Music, inspiring me to advocate for inclusivity, growth, and creative exploration within our shared musical landscape.Ìý
As for indigenous perspectives and traditions, I can only speak on behalf of myself, and the things I do naturally, whether they are indigenous or not, it is hard to say.
- I value storytelling in an educational context. I do it naturally. All the time. From a practical standpoint, it helps students remember important or challenging concepts by making them relatable, funny, human. Years later, students will sometimes remind me of a story I told that locked a concept into their memory. Teaching granular synthesis methods through stories about the various times I have been swarmed by stinging insects? Teaching micro-timing, feel and shuffle via the rhythm of a bison’s gait? These nature analogies have a way of helping people relate to difficult concepts.ÌýÌýÌý
- I take extra steps to create a positive environment for inclusion and safe communication. Taking a moment to set the tone for a class, and informally re-affirm some shared values and welcome critical questioning, is something I have come to value increasingly after spending time working in indigenous contexts.ÌýÌý
Technology plays a central role in your compositions. How do you encourage students to embrace technological innovation while staying true to their unique artistic voices?ÌýÌý
Outside of a course specifically focused on technology and skill development, I ·É´Ç³Ü±ô»å²Ô’t encourage a student to use technology unless it aligns with their creative goals. While I embrace technological innovation, I am also highly critical of its application. My approach is practical and goal-oriented, emphasizing the creative context above all else.ÌýÌý
The key question is always: What is the student aiming to achieve? Are they seeking to develop entirely new approaches to their creative process, or are they looking to expand on their current methods? Depending on the student’s aesthetic trajectory and goals, the answer might involve technology, or it might not.Ìý
I believe that understanding when technology can enhance creativity and when it might hinder it is an essential part of my pedagogical philosophy.Ìý
Given your experience with the University of Toronto's Electronic Music Studios, what insights can you bring to Schulich in terms of developing cutting-edge facilities and resources for students?ÌýÌý
The evolving role of creativity-focused spaces in academic institutions is something I think about constantly. What makes a space valuable for a student who already has good headphones and a powerful laptop? In the 21st century, a great facility goes beyond technology itself. It is about what the technology enables one to achieve creatively, maybe even socially.ÌýÌý
For me, it is about fostering a welcoming and inclusive environment that supports diverse approaches, aesthetics, and goals. Research and creation will happen if those are balanced. A well-equipped lab should be a place where researchers can explore, create, learn, and share. Cutting-edge facilities are only meaningful if people want to use them. Otherwise, they become a waste of time and resources.Ìý
My role is to ensure that state-of-the-art equipment feels exciting, empowering, and accessible. Over the years, my perspective on equipment use has shifted. I would rather see a piece of gear well-loved and sent to the repair shop than preserved in perfect condition only to be discovered decades later in a state of pristine obsolescence.Ìý
How do you help students navigate the seemingly endless sound and sampling opportunities that exist around us to create something that is original, compelling, and authentic?ÌýÌý
There are two parts to this answer. First, I often start with a joke about the hilarious and often undignified history of last-minute, opportunistic sampling of kitchen and bathroom items. Many sounds are loaded with connotations. After a stern warning against clichés like the sound of water being poured into a glass, flushing toilets, or running faucets, I then play a stunning sound I recorded with Zosha Di Castri and David Adamcyk in 2012, built entirely from kitchen cutlery. The whiplash and contradiction of this example is intentional. The goal is to challenge assumptions and demonstrate how craft, creativity, perspective, artistry, technique, and context can unlock the potential of any sound—mundane or magical.Ìý
From a pedagogical standpoint, I guide students in exploring approaches to sample hunting that align with their creative ideals. This could mean diving into acoustic ecology and soundscape composition, learning vintage MPC (sampler) splicing and chopping techniques from 90s hip hop, mastering microphone techniques for pure abstraction, or developing massive data sets to feed into machine learning systems. For some, like myself, ¾±³Ù’s about embracing all of these methods simultaneously and more. I think about this a great deal. However, the question more realistically could be... how do I help students navigate the endless, looming sea of AI generated audio materials while maintaining creative integrity and personal authenticity? Will they be authentic denizens of the post-scarcity creative asset economy, just as I grew out of sampling culture?ÌýÌýÌý
What excites you most about returning to Schulich as a faculty member?ÌýÌý
What excites me most about returning to Schulich as a faculty member is the opportunity to be part of such an inspiring and dynamic community. The faculty here are incredible—deeply committed to their craft, passionate about sharing their love of music and scholarship, and profoundly aware of the responsibilities and opportunities that come with working within a world-class institution like the Schulich School of Music at McGill. Their dedication and supportiveness create an environment that fosters creativity and excellence.Ìý
The students are another major source of inspiration. They are endlessly creative, talented, and engaging. They challenge me to stay sharp, to think in new ways, and to keep learning. Schulich's facilities and its unwavering commitment to exploration, innovation, and academic rigour make it a truly empowering place to work. The library has amazed me since the first time I walked through its doors in 2006, and it continues to blow my mind with its incredible resources and commitment to supporting a wide range of activities.ÌýÌý
I am also thrilled about the chance to work at CIRMMT again. Its cutting-edge research and collaborative opportunities are life-changing, and I look forward to contributing to and learning from the amazing work being done there. Also, having a built-in Vietnamese restaurant in the building feels like the cherry on top.Ìý
