CMPCP - Key Persons
Job Titles:
- Associate
- Professor of Performance Science at the Royal College of Music
Aaron Williamon is Professor of Performance Science at the Royal College of Music. His research focuses on skilled performance and applied scientific and health-related initiatives that inform music learning and teaching. His book Musical Excellence (Oxford University Press) draws together the findings of initiatives from across the arts and sciences, with the aim of offering musicians new perspectives and practical guidance for enhancing their performance. He is a Fellow of the Royal Society of Arts (FRSA) and the UK's Higher Education Academy (FHEA) and has been elected an Honorary Member of the RCM (HonRCM). In addition, he has performed as a trumpeter in chamber and symphony orchestras, brass bands and brass quintets in both Europe and North America.
Having studied at Clare College, Cambridge and Goldsmiths College, London, Amanda Glauert has held music lecturing appointments at Trinity College Dublin, Colchester Institute, the Royal Academy of Music and Kingston University. She also served as Director of Programmes and Research at the Royal College of Music, where she was Professor of Music and Aesthetics. Her research has centred on aesthetic relationships between poetry and music in German Lieder and their impact on performance. In this regard she has been involved in developing new approaches to the theory-practice dialogue in the training of postgraduate performers, as well as engaging in many workshops and research events with performers and composers.
The late Christopher Hogwood, once described as ‘the von Karajan of early music', was equally active in nineteenth- and twentieth-century repertoire. A celebrated conductor, musicologist and keyboard player, his catalogue of over 200 recordings with the Academy of Ancient Music on Decca includes the complete Mozart and Beethoven symphonies. He worked with most leading symphony orchestras and opera houses in the world. As a musicologist he covers music from the sixteenth century (Fitzwilliam Virginal Book) to the twentieth century (Martinů, Elgar, Stravinsky). He was Emeritus Honorary Professor of Music at the University of Cambridge, Visiting Professor at the Royal Academy of Music, and Gresham Professor of Music.
Daniel Leech-Wilkinson, director of the CMPCP ‘Shaping music in performance' research project, trained as a harpsichordist at the Royal College of Music before researching medieval music at Cambridge. Following books and articles on a wide range of early music topics, including the 14th-century motet, Guillaume de Machaut, and The Modern Invention of Medieval Music (Cambridge, 2002), he turned his attention to developing approaches to the study of recorded musical performances. His latest book, The Changing Sound of Music (2009), was published online by the CHARM project within which he directed the online discography and sound library and a research project on ‘Expressive gesture and style in Schubert song performance'. He is a Professor of Music at King's College London.
David Mawson served as coordinator to the centre, dealing with finance, conference and workshop planning, publicity and other enquiries. He holds a MusB Hons and MMus degree from the University of Otago, a PGDipMus in piano performance from the RSAMD and a PhD in practice-led performance research from the University of Leeds. He has been awarded numerous music prizes and scholarships and as a pianist has broadcast on New Zealand radio and television as well as performing throughout the United Kingdom, Europe and Australasia. He has taught piano and music history at the University of Otago and the University of Leeds and has served as Administrator and Trustee of the Leeds International Pianoforte Competition and as Artistic Director of the Harrogate International Festival. He served on the Jury of the 2010 Sussex International Piano Competition.
Adam Linson is active internationally as a double bassist, improviser and composer who also designs, develops and performs with interactive music systems. His double bass and live electronics performances can be heard on several critically acclaimed albums. His interdisciplinary scholarly research is focused on situated cognition in music, especially in improvisation. In 2014 he completed a PhD on artificial intelligence and music cognition at the Open University's Centre for Research in Computing. In addition, he holds an MFA in Music/Sound from the Milton Avery Graduate School of the Arts at Bard College in New York, and a BA in Philosophy from the University of California, San Diego, where he also studied and performed composed and improvised music. As a CMPCP Visiting Fellow at the University of Oxford, he continued his research on cognition in musical improvisation, in collaboration with Eric Clarke and Mark Doffman.
Dan Tidhar's research interests include digital musicology, music information retrieval, and performance practice, especially in the context of early music. He holds a harpsichord performance degree as well as a PhD in computer science. He has previously worked at the Centre for Digital Music at Queen Mary, University of London (music information retrieval in a semantic web environment; analysis of harpsichord recordings and temperament estimation) and at the Centre for Music and Science in Cambridge. He contributed to the ‘Shaping music in performance' project, focusing on gesture analysis and visualisation.
Job Titles:
- Member of the Steering Committee
- Pro - Vice - Chancellor for International Strategy, University of Cambridge
Jennifer Barnes has contributed to business and higher education worldwide. A former opera singer, she became associate professor at the Royal Academy of Music and at the Royal College of Music, then Dean at Trinity College of Music. As BP's first Group Director of Global Education, she developed new strategies focused on capacity building and promoting greater investment in the university sector. She advised colleagues in over 25 countries on partnerships with governments, academic institutions, NGOs and businesses. In 2008, she was elected President of Murray Edwards College, founded as New Hall, in the University of Cambridge. In 2010, she was appointed Pro Vice Chancellor for International Strategy, leading Cambridge's strategic engagement internationally.
Jeremy Thurlow is a composer, writer and pianist. His music has been described by Henri Dutilleux as ‘seductive, innovative, full of freshness', and performed by the BBC Philharmonic, the BBC Singers, Endymion, the Aronowitz Ensemble, Matthew Schellhorn, the Fitzwilliam String Quartet, Peter Sheppard Skaerved, Rolf Hind and Sequitur (New York) among many others. In 2007 he won the George Butterworth Award for new composition. His music ranges from ‘video-opera', orchestral music and settings of poetry to music for dance and theatre. Collaborative work interests him considerably, particularly the challenges of integrating composition and improvisation, and of working with musicians from other cultural traditions. He has published on Dutilleux and Messiaen, and writes and presents programmes for BBC Radio 3. As a pianist he particular enjoys playing chamber music. Jeremy Thurlow is a Fellow of Robinson College, Cambridge.
Juniper Hill is a lecturer at the University College Cork and a visiting researcher at the Sibelius Academy, the University of Cape Town and UCLA; she previously held a Marie Curie Intra-European Fellowship at the University of Cambridge. She is currently conducting ethnographic research on social, pedagogical, and psychological factors that inhibit and enable musical creativity in different cultural contexts. Her other research has focused on improvisation techniques and pedagogy, institutionalisation of oral traditions into conservatories, intercultural fusions and power dynamics, and music revivals. As a CMPCP associate she had an advisory role on the ‘Creative Learning' project.
Karen Wise is a psychologist and musician whose research interests include cognitive processes in musical perception and performance, musical development and individual differences in musical ability. Her PhD (Keele, 2009) examined the musical skills, cognitive profiles and self-perceptions of adults claiming to be ‘tone deaf' in comparison to those with a musical neuro-cognitive disorder (‘congenital amusia') and non-tone-deaf controls. Her prior background is as a classical mezzo soprano; after a Music degree at York University she trained at the Royal Northern College of Music and still enjoys performing as a freelancer. She was employed as one of two Research Fellows on the project ‘Creative learning and "original" music performance'.
Kathryn Whitney is a singer and researcher and is Founder and Co-director of the SongArt Performance Research Group. She was trained at the Universities of Toronto and Oxford, at the Guildhall School of Music & Drama, and in New York and London under Cornelius Reid, Susan McCulloch and Dame Emma Kirkby. Since singing her London debut at St John's, Smith Square in 2005, she has performed with numerous ensembles and in series in the UK and abroad. A champion of new music, she has sung over forty premieres, the majority of the works having been written for her. She was Artist in Residence at Oxford (three years) and the Royal Welsh College of Music & Drama (two years) and was a Visiting Research Fellow at the Institute of Musical Research in the School of Advanced Study, London. She is a senior voice teacher at the Victoria Conservatory of Music. She joined CMPCP to run a series of song performance workshops as part of the ‘Shaping music in performance' project.
László Stachó is a Hungarian musicologist, psychologist and musician working as a senior lecturer at the Liszt Academy of Music in Budapest and at the University of Szeged. His research focuses on Bartók analysis, twentieth-century performing practice (especially the performing style of the composer-pianists Bartók and Dohnányi), emotional communication in musical performance, and music pedagogy (effective and creative working and practice methods and enhancement of attention-skills in music performance). As a pianist, he regularly performs chamber music, conducts practice methodology workshops and teaches chamber music masterclasses. He is passionately interested in pedagogy, and has been recently involved in a countrywide planning of music education curricula in Hungary. In the past few years, he has developed a pedagogical methodology which enables performers to be emotionally deeply engaged with music and to powerfully navigate in the musical flow in real time, opening the way to the performer's authenticity, feeling of ‘ownership' over the music, and spontaneity. As CMPCP Visiting Fellow at the University of Cambridge, he explored how insights from empirical research on musical shaping and embodiment may be applied to create an efficient pedagogy for the development of musical imagination and the direction of attention at different levels of expertise.
Mark Doffman was the Research Fellow on the ‘Creative practice in contemporary concert music' project at the University of Oxford. Prior to this appointment, he was involved in two major AHRC-funded projects at the Open University. In addition, between 2005 and 2008, he undertook a doctorate in Music at The Open University, examining cognition, intersubjectivity and temporality before joining the OU's Sociology Department in January 2009 as a Research Associate looking at the contributions and histories of black British jazz musicians. Beyond his academic work, he is an accomplished jazz drummer and continues to perform in different ensembles at clubs and festivals round the UK.
Mekala Padmanabhan is an independent scholar and a diploma examiner (Music) for the International Baccalaureate Organization, Cardiff, UK. She undertook her doctoral studies at the University of Nottingham and has held teaching and research positions at the University of Victoria (Canada), Royal Holloway, University of London, and the University of North Dakota (USA). Her primary area of research expertise is late-eighteenth-century Viennese lieder with an emphasis on the songs of Joseph Haydn and his contemporaries. A project pursued in collaboration with her fortepianist colleague Rebecca Maurer (Germany) examined Haydn's influence on British keyboard composers c.1790. She has presented papers on these subjects at several international conferences in North America and Europe and has published articles in the Eisenstädter Haydn-Berichte and Haydn Society of Great Britain Journal. A native of Chennai, South India, her interests include Tamil popular culture and cinemas. During her CMPCP Visiting Fellowship she collaborated with Tina K. Ramnarine (Royal Holloway) on her project ‘Global perspectives on the "orchestra"‘. Her research focused on seminal creative aspects of Tamil Film orchestral practices, in particular, the integration and adaptation of a variety of keyboard instruments in Tamil film music orchestras to suit regional differences.
Job Titles:
- Associate
- Professor Helena Gaunt
Mine Doğantan-Dack is a professional classical pianist and a music theorist. She is the founder of the Marmara Piano Trio. Her research interests include chamber music performance practice, ontology and epistemology of live performance, phenomenology of piano performance, theory of practice-as-research, history of music theory and affective responses to music. Her book Mathis Lussy: A Pioneer in Studies of Expressive Performance was published in 2002 by Peter Lang. Her edited volume titled Recorded Music: Philosophical and Critical Reflections was published by Middlesex University Press in 2008. She has worked at Middlesex University and the University of Oxford.
Mirjam James worked as one of two Research Fellows on the project ‘Creative learning and "original" music performance'. Within that project she concentrated on qualitative research methods. Her interest in different teaching and rehearsing approaches as well as varieties of performance and interpretation started as an active musician. She is a cellist and singer herself, and this has given her considerable insight into different areas of learning and performing. During her time as Acting Professor in Systematic Musicology at Bremen University she started her research on communication strategies in string quartets and vocal ensembles.
Job Titles:
- Associate
- Assistant Professor at Baylor University
Monique Ingalls is an Assistant Professor at Baylor University, having previously been a postdoctoral fellow and affiliated lecturer in the Faculty of Music at the University of Cambridge. She conducted ethnographic research in association with CMPCP's ‘Shaping music in performance' project on collective vocal improvisation in pentecostal-charismatic congregational worship, with a view to explore how religious ideology and pop-rock genre conventions condition musical practice. Her other research explores the globalisation of Christian popular music and the use of popular congregational music in pilgrimage, public demonstrations, and social media.
Job Titles:
- Head of the Analysis of Musical Practices
Nicolas Donin is head of the Analysis of Musical Practices team, which is a joint research group of the Institut de Recherche et de Coordination Acoustique/Musique (IRCAM), Université Pierre et Marie Curie and the Centre National de la Recherche Scientifique in Paris. His work focuses on contemporary musical practices, particularly composition and performance, using both musicological and ethnographic/cognitive approaches. From 2009 to 2011 he led the MuTeC project (a series of case studies in compositional processes from the 1930s to the present) funded by the Agence nationale de la recherche, and established the biennial TCPM conference (Tracking the Creative Process in Music). Recent research has been published in Contemporary Music Review, Genesis: Revue Internationale de Critique Génétique, Musicae Scientiae and various edited collections in French and English; he has also co-authored documentary films on the creative process of the composers Georges Aperghis, Luca Francesconi, Philipp Maintz, Roque Rivas and Marco Stroppa. As a CMPCP Visiting Fellow attached to the Faculty of Music at Oxford, he contributed to the ‘Contemporary concert music' project and wrote a book chapter on distributed creativity in contemporary music using realtime sound and gesture processing, based on ethnographic data.
Nicolas Gold is Senior Lecturer in Computer Science at University College London and an affiliate member of the UCL Centre for Digital Humanities. His research interests include computer systems for musical performance, computational musicology, digital humanities and software engineering. Within CMPCP, he helped to develop digital methods for capturing and analysing shape responses to music.
Paul Archbold was previously Director of the Institute of Musical Research in the University of London, alongside his post as Reader in Music at Kingston University London. He is a composer, specialising in the composition of virtuoso instrumental music and works for instrument and live electronics. He has collaborated with the film-maker Colin Still to create documentaries examining the working relationship between composers and performers. His CMPCP Visiting Fellowship was based at the University of Oxford and focused on techniques of audiovideo capture and direction as applied to the study of musical performance research, with a view to developing quantitative and qualitative methods of examining audiovideo data.
Renee Timmers is Lecturer in Psychology of Music and director of the onsite and distance learning MAs in Psychology of Music at the University of Sheffield. She is Editor with Nicola Dibben of Empirical Musicology Review and associate editor of Psychomusicology: Music, Mind & Brain. She was educated in the Netherlands in musicology (MA from the University of Amsterdam), in psychology (PhD from the Radboud University Nijmegen), and as a performer. Before joining the Department of Music in Sheffield in 2009, she was a research fellow at a number of institutes, including the AHRC Research Centre for the History and Analysis of Recorded Music (CHARM) at King's College London, the Austrian Research Institute for Artificial Intelligence in Vienna, and the Donders Institute for Brain, Cognition and Behaviour in Nijmegen. Her work is strongly interdisciplinary, combining theory and computer modelling with empirical testing and exploration. Her research focuses on expressive performance of music, emotion and meaning in music, and influences of emotion on music perception and cognition. As a CMPCP visiting fellow, she collaborated with Eric Clarke and Mark Doffman on the ‘Creative practice in contemporary concert music' project, focusing on a quantitative investigation of creative development of performance expression over the course of multiple performances.
Simon Zagorski-Thomas worked for 25 years as a composer, sound engineer and producer with artists as varied as Phil Collins, Mica Paris, the London Community Gospel Choir, Bill Bruford, The Mock Turtles, Courtney Pine, and the Balanescu Quartet. He is a senior lecturer at the London College of Music, University of West London, Director of the annual Art of Record Production Conference and Chairman of the Association for the Study of the Art of Record Production. He has co-edited, with Simon Frith, a collection of academic chapters and professional commentary on record production for Ashgate Press and is preparing a monograph on the Musicology of Record Production for Cambridge University Press. His Visiting Fellowship was based in the Faculty of Music at the University of Cambridge, where he conducted research on performance in the recording studio with the ‘Creative learning and "original" music performance' team in addition to collaborating with colleagues at the Guildhall School of Music & Drama, Tech Music Schools and Royal College of Music. His project utilised staged recording sessions with students from these three colleges and the LCM along with video-recall interview techniques to study the issues that affect early career musicians when they come to operate in the recording studio environment.
Helen M. Prior (née Daynes) has research interests in music perception, music and emotion, the effects of familiarity and music performance. She worked with Daniel Leech-Wilkinson on the ‘Shaping music in performance' project. Her work aimed to increase our knowledge of musicians' use and understanding of the term or concept of ‘musical shape' or ‘shaping music' through a range of quantitative and qualitative approaches.
Job Titles:
- Founding Director of Queensland Conservatorium Research Centre
Huib Schippers is founding Director of Queensland Conservatorium Research Centre and Director of Queensland Conservatorium Griffith University. Schippers' areas of research expertise span various areas of music research: world music/ethnomusicology, music education and pedagogy, performance studies, arts and research policy, community music, cultural diversity and artistic practice as research. He has lectured and published widely on these areas in academia while continuing to write in the public sphere. He has played a key role in positioning and gaining formal recognition for creative research outputs in Australian university contexts, and was the music specialist on the national research assessment exercise ERA 2010.
Job Titles:
- Member of the Steering Committee
- Professor of Drama at the University of Glasgow
Jan McDonald was the James Arnott Professor of Drama at the University of Glasgow from 1979 until her retirement in 2005. Her principal research interests lie in nineteenth-century theatre history on which she has published a number of articles and monographs. She has also published on the work of contemporary women Scottish dramatists. During her period of office at the University, she served on the University Court, and was for many years a Governor of the Royal Scottish Academy of Music and Drama, Chair of the Board of Citizens' Theatre, Glasgow and a member of the Arts and Humanities Research Board (Council). She also chaired the Drama Committee of the Scottish Arts Council. She was Vice-President (Arts and Humanities) of the Royal Society of Edinburgh from 2005 to 2008.
Jane Davidson is Professor of Creative and Performing Arts (Music) at the University of Melbourne and Deputy Director of the Australian Research Council's Centre of Excellence for the History of Emotions. Her interests are in musical development, musical expression, voice, and music and wellbeing. She has published extensively and has secured a range of research grants in both Australia and UK. She has also performed as a vocal soloist, has directed and devised music theatre pieces, and has choreographed dance works and operas.
John Rink trained as a pianist alongside his academic studies at Princeton, King's College London, and Cambridge; he also studied piano as a postgraduate at the Guildhall School of Music & Drama. His work as Professor of Musical Performance Studies at Cambridge and as Director of CMPCP draws upon his broad musical and musicological experience. He is a specialist on Chopin and on the pianos that Chopin used; he is also prominent in the field of analysis and performance, an interest first developed at Princeton, where he wrote an undergraduate thesis on ‘Analytic Process in Performance'. Many of his books and other publications focus on performance and related issues, whether analytical, historical or philological in nature. He regularly gives lecture-recitals and masterclasses throughout the world.
Job Titles:
- Research Professor at the Guildhall School of Music
John Sloboda is Research Professor at the Guildhall School of Music and Drama, where he heads a programme on ‘Understanding Audiences'. He is also Emeritus Professor of Psychology at Keele University, where he worked until 2008. At Keele he was the Founder Director of its Unit for the Study of Musical Skill and Development, and also of Europe's first MSc in Music Psychology. He is the author of over 150 books and articles on music psychology including, most recently, Handbook of Music and Emotion (2010, with Patrik Juslin). He is a Fellow of the British Academy and served on the 2007 RAE Music Panel.
Jonathan Dunsby graduated from Oxford University, and as a piano student of Fanny Waterman was an international prizewinner who became active as a collaborative pianist, principally for violinist Vanya Milanova. Founding editor of the journal Music Analysis, he taught at King's College London and SUNY University at Buffalo as Slee Professor of Music Theory. In 2007 he was appointed professor at the Eastman School of Music. His books include Performing Music: Shared Concerns and Making Words Sing: Studies in Nineteenth- and Twentieth-Century Song. Other writings have included research into Barthes' ‘grain of the voice', contemporary approaches to music theory pedagogy, and interpreting Scarlatti. In 2015 he served on the competitor selection committee of the Leeds International Pianoforte Competition.
Mats studied undergraduate psychology at the Universities of Würzburg and Amsterdam from 2005 to 2008 before graduating from Goldsmiths, University of London in 2009 with a Master's in Music, Mind and Brain. He went on to read music at postgraduate level and gained teaching experience at Goldsmiths before taking up a fully funded PhD position at King's College London in June 2010. His work within CMPCP, and more specifically the ‘Shaping music in performance' project, involved the investigation of performers' and listeners' visualisations of sound and music. His general interests are music cognition and music-induced emotions.
Having completed his undergraduate studies in South Africa, Michael trained at the Royal Academy of Music in London, graduating in 2007 with a DipRAM award in Musical Theatre. He furthered his postgraduate work at RADA and King's College London, leaving in 2010 with a Master's in Text and Performance Studies. It was during this period that he began performing at the Royal Opera House and Shakespeare's Globe Theatre, joining a community of actors that would serve as the foundation for his doctoral research at the University of Cambridge, for which he received one of the CMPCP studentships. Focused on the oral histories of performers within classical and contemporary dance, this research sought to develop a historiographical framework through which ‘memory texts' can be structured, curated and evaluated, integrating performance studies, musicology and the analysis of various productions from the Royal Ballet's repertoire.
Myles graduated from the University of Cambridge in 2009 and returned there in 2010 as an MPhil student under Nicholas Cook. His doctoral research, funded by CMPCP, looked at recording studio practices in 1960s Britain and focused on the significance of sound image and performative listening in the studio whilst also tending to a ‘haptography' of engineers and their equipment. Myles spent much of the 2012/13 academic year in America, studying at the University of California, Berkeley for six months and the Library of Congress for three months, examining blues records on an AHRC-funded placement. He then interviewed producers and engineers who worked in the 1960s on a wide variety of recorded music genres, from comedy to classical. In his spare time, Myles does freelance location recording and plays drums and guitar in several bands.
Nicholas Cook took up the 1684 Professorship of Music at the University of Cambridge in 2009, having previously directed the AHRC Research Centre for the History and Analysis of Recorded Music (CHARM) at Royal Holloway, University of London. His most recent book, The Schenker Project: Culture, Race, and Music Theory in Fin-de-siècle Vienna, won the SMT's Wallace Berry Award, and he is now completing Changing the Music Object: Analysing Performance. He will write a book based on CMPCP's research provisionally entitled Music as Creative Practice. He is a Fellow of the British Academy and of Academia Europaea.
Job Titles:
- Founding Director of the Orpheus Instituut
Peter Dejans is founding Director of the Orpheus Instituut, a centre for advanced studies and research in music based in Ghent. He studied at the Conservatoire of Brussels and the Lemmens Institute in Louvain, graduating in Choral Conducting. Following advanced Law and Business Economics studies at the Universities of Louvain and Tübingen, he worked for the Brussels Philharmonic Society and the Beethoven Academy. Through his leadership of the Orpheus Instituut and high-level involvement in many international networks, he has become one of the most prominent voices for the newly emergent field of artistic research in music. His work remains grounded in the experience of music making; in 1989, he founded the Vocal Ensemble Musa Horti. He works with many choirs in Flanders and is often invited as guest-conductor by the Flemish Radio Choir.
Philip V. Bohlman, FBA is the Mary Werkman Distinguished Service Professor of the Humanities and of Music at the University of Chicago and Honorarprofessor at the Hochschule für Musik und Theater Hannover. His research in ethnomusicology ranges widely across music, religion, race and nationalism, and most recently he has published Jewish Music and Modernity (OUP 2008) and Music, Nationalism, and the Making of the New Europe (Routledge 2011). A pianist, he is also an active performer as Artistic Director of the cabaret ensemble, The New Budapest Orpheum Society, whose most recent CD is Jewish Cabaret in Exile (Cedille 2009).
Job Titles:
- Member of the Steering Committee
Simon Franklin has written on Russian history and culture of all periods, but his principal research interests are medieval. Most of his research has been concerned with Rus and Russia in the pre-modern period. He has focused particularly on the emergence of the earliest East Slav polity and on the formation of a distinctive culture, though he has also published occasional studies of nineteenth- and twentieth-century Russian literature. His long-term project is a cultural history of information technologies in Russia, and he is currently working on the volume covering the period c. 1450-1850. He has supervised PhD students in medieval history and culture and in nineteenth-century literature.
Job Titles:
- Member of the Steering Committee
- Managing Director of the Barbican Centre
- Managing Director, Barbican Centre
Nicholas Kenyon became Managing Director of the Barbican Centre in October 2007. He was Director of the BBC Proms from 1996 to 2007. As a music critic he wrote for The New Yorker, The Times and Observer, and he was editor of Early Music 1983-92. He was appointed Controller of BBC Radio 3 in 1992 and was responsible for the award-winning seasons Fairest Isle and Sounding the Century. He then oversaw the BBC's programming for the millennium and ran the BBC's Live Events and TV Classical Music departments, which mounted the Queen's Jubilee concerts of 2002. He has continued to write and lecture on the arts, publishing books on Mozart, Simon Rattle, the BBC Symphony Orchestra and early music. He was knighted in the 2008 New Year Honours.
Job Titles:
- Member of the Steering Committee
- Head of the Department of Creative Practice & Enterprise at City University London
Stephen Cottrell is Professor of Music and Head of the Department of Creative Practice & Enterprise at City University London. During a freelance musical career spanning nearly two decades he earned an international reputation as a saxophonist performing contemporary music, particularly as leader of the Delta Saxophone Quartet. He has particular research interests in three inter-related areas: ethnographic approaches to musicians and music-making, particularly within the Western art music tradition; the study of musical instruments, particularly the saxophone; and the study and analysis of musical performance. He is an associate editor of the journal Twentieth-Century Music and an artistic advisor to the record label Saxophone Classics. His monograph on the saxophone was published by Yale University Press in 2013.
Stephen McAdams founded the Music Perception and Cognition team at the world-renowned music research centre IRCAM in Paris in 1986. While there he organised the first Music and the Cognitive Sciences conference in 1988, which subsequently gave rise to three international societies dedicated to music perception and cognition. He later took up residence at McGill University, where he is Professor and Canada Research Chair in Music Perception and Cognition. His research interests include multimodal scene analysis, musical timbre perception, sound source perception, and the cognitive and affective dynamics of musical listening.
Stevie Wishart is a composer and performer whose recent compositions and research projects include using realtime processing published as an annotated CD and DVD, The Sound of Gesture; a choral song cycle Out of this World, commissioned for the BBC 2011 Proms; and a large-scale Vespers for St Hildegard for voices and instruments, premiered in York Minster at the 2013 York Early Music Festival, and based upon her 2012 recording for Decca. She is also the founder of the ensemble Sinfonye, specialising in Medieval music, which has made a number of noted recordings based on original research. After initially focusing on composition and electro-acoustic music, an early awareness of the limitations of musical notation led to her involvement in performer-composer genres: medieval music (postgraduate studies at New College, Oxford and the Guildhall School of Music & Drama); and improvisation, through studying with John Cage and performing with the more reductionist London improvising musicians. As a musician, she often finds herself trying to provide a bridge between the aims of the composer, informed by academic research into musical performance, and the performer's understanding of creative practice. As CMPCP Visiting Fellow she introduced a research strand into a forthcoming commission for the Orchestra of the Age of Enlightenment, in order to find ways in which the performer can be systematically provided with more space to interpret the music, using insights from historically informed performance within the context of newly created work.
Job Titles:
- Professor of Music at Royal Holloway University of London
Tina K. Ramnarine, Professor of Music at Royal Holloway University of London, is a musician and anthropologist with research interests in globalisation, the politics of musical practices and environment. Her main publications include Creating Their Own Space: The Development of an Indian-Caribbean Musical Tradition (University of West Indies Press, 2001), Ilmatar's Inspirations: Nationalism, Globalization, and the Changing Soundscapes of Finnish Folk Music (Chicago University Press, 2003), Beautiful Cosmos: Performance and Belonging in the Caribbean Diaspora (Pluto Press, 2007) and an edited volume, Musical Performance in the Diaspora (Routledge, 2007). Her project within CMPCP stems from experiences as an orchestral violinist and it is based on participatory research models and thinking about orchestral contributions to civil society, sustainability, new virtual technologies, and anthropological approaches to ritual performances.
Job Titles:
- Member of the Steering Committee
- Professor of Music at the Open University
Trevor Herbert is Professor of Music at the Open University, an Honorary Professor of Music at Cardiff University, a Fellow of the Leeds College of Music and an Honorary Fellow of the Royal College of Music. Before entering academic life he played trombone with (among others) the BBC Symphony Orchestra, Musica Reservata, The Taverner Players and the Wallace Collection. He worked on a major project funded by the Arts and Humanities Research Council, ‘Military sponsorship of music in Britain in the nineteenth century and its relationship with the musical mainstream'. In addition to his academic and performance interests in music he has a keen interest in validation and higher educational systems more generally.