As a composer Pippa has been involved in performances, recordings, collaborations, installations and multimedia work in the UK and abroad. She has written music for BBC Radio 4, BBC Radio 3, BBC SSO, Scottish Opera, Hanoi Contemporary Music Ensemble, St Magnus Festival, Huddersfield Contemporary Music Festival, Celtic Connections, Scottish Flute Ensemble, Paragon Ensemble, Aberdeen Art Gallery and for numerous contemporary theatre companies including Birmingham Rep, Dundee Rep, Lyceum Theatre, Edinburgh, Tron Theatre, Glasgow, Traverse Theatre Company, Edinburgh, 7:84. Fire Exit/David Leddy, Janis Claxton Dance.

Pippa’s works are multi-layered and multi-sensory. Some pieces draw on the full effects of combining sound design with orchestras and voices. Her music has an immediacy, which is often dramatic and expressive. She is particularly interested in vocal techniques, phonemes, electronica and ‘found’ sound, her training in Indian Classical music informs many of her works.

Pippa has directed many creative education projects throughout the world and has worked in many different musical and social contexts. She has devised pieces and trained teachers with the British Council in Scotland, Syria, Vietnam, Botswana, India, Iran and China. She has composed with asylum seekers in Glasgow, Manchester and Edinburgh and lectures at Edinburgh, St Andrews and Aberdeen Universities. She works regularly in cross-arts and multi-media collaborations and has worked with ensembles including Scottish Opera, Scottish Ensemble, BBC SSO, McFalls Chamber, Red Note Ensemble, SOUND Festival.

Pippa completed her BMus, MA and PhD in composition at Birmingham University. She was Vice-Chair of Sonic Arts Network (now Sound and Music) for 5 years and has written for Whitakers Almanac, Sunday Times and The Scotsman. She was  Artist in Residence at the Scottish Parliament 2015. She has recently written a major new work ‘Anamchara – Songs of Friendship‘ for Scottish Opera’s youth orchestra and chorus with writer Alexander McCall Smith for over 100 performers as part of the Commonwealth Games at the Theatre Royal, Glasgow. Her sound design for Lyceum Theatre’s production of Karine Polwart’s Wind Resistance in the Edinburgh International Festival has received 5 star reviews. Her music to POP-UP Duets presented by Janis Claxton Dance in the National Museums of Scotland has also been awarded 5-star reviews.

‘There is a lovely rhythm to the piece, with truly ingenious sound work by Pippa Murphy (which, among other things, merges live and recorded voice and music quite brilliantly).’

***** Mark Brown – Scotland on Sunday on Wind Resistance

‘The music, written by Pippa Murphy, was poised delicately between being appealing to listen to, cleverly orchestrated, and also something that showed everyone on stage, from child to professional, in the best possible light. Pleasing high melismas for soprano Sarah Power, strings and percussion written to sound almost synthesised, plus light cultural references, kept the audience’s ears interested.’

**** Rosenna East – Herald Scotland on Anamchara – Songs of Friendship

This is, at every level, a richly inventive, wonderfully perceptive work, danced with a persuasive humanity to a score you want to own…

***** Mary Brennan – Herald Scotland on ‘POP-UP Duets’ Janis Claxton Dance

an exquisite soundscape

***** Charlotte Runcie – The Telegraph on Karine Polwart’s Wind Resistance

‘Pippa Murphy’s sound design is stunning, with live and recorded sound meshing superbly’.

***** Hugh Simpson – All Edinburgh Theatre on ‘Wind Resistance’

‘All around, flying over and above and through the narrative, Pippa Murphy’s soundscape brings the world Polwart is describing – the wetland that provides the lungs of the world and the medical compounds for our health – into another kind of focus. This is theatre from which ideas are born, its concern is whether they can live.’

***** Thom Dibdin – The Stage on ‘Wind Resistance’

‘Murphy’s score, an intoxicating mix of folk, madrigal, Brittenesque arioso and pop-rhapsody, veers between lyrical soliloquising and expressive intensity – seamlessly connected and wonderfully atmospheric.’

***** Andrew Clark – Financial Times on Opera ‘Bolted’

‘Murphy’s music – charming, mellifluous and hypnotic – served its intended purpose, weaving a vital sense of continuity through the songs, and was perfectly pitched at the orchestra of young players. Chris Gray’s unwavering musical direction lifted this whole delightful show above the ordinary.

**** Ken Walton – The Scotsman on Anamchara – Songs of Friendship


‘Pippa Murphy has created an outstanding soundtrack, weaving her music intricately into the fabric of the play itself.

**** Mark Brown, Sunday Herald on ‘Standing Wave’

There is an outstanding sound design by Pippa Murphy, which often seems to envelope the audience.

**** Victor Hallett on ‘Factor 9’