Previous series
2017/2018
28 Sep | Jenny Nex (University of Edinburgh) | Fraud, Burglary and Sex in the Musical Instrument Workshops of Georgian London
5 Oct | Gareth Williams (University of Edinburgh) | From Text to Song
12 Oct | Simon Keefe (University of Sheffield) | Mozart’s Late Chamber Music (1786-90): the Performer-Composer at Work and its Biographical Implications
19 Oct | Steven Vande Moortele (University of Toronto) | The Sorcerer as Apprentice: Trial, Error, and Chord Magic in Early Wagner
2 Nov | Thomas McGeary | Farinelli in England: ‘One God’ or the Devil?
9 Nov | Felipe Trotta (Universidade Federal Fluminense, Brazil) | Annoying music: sound and spaces in everyday life
16 Nov | Martin Suckling (University of York) | Post-post-spectral: a personal history of petty theft, not-always-deliberate misunderstanding, and microtonal music
23 Nov | Inja Stanovic (University of Sheffield) | J. Donaldson’s Piano Sonata: analytical, historical and interpretational contexts
30 Nov | Morag Grant (University of Edinburgh) | Proving Music Torture
18 Jan | Tom Western and Penny Travlou (University of Edinburgh) | Sound and Citizenship in Public Space in Athens
25 Jan | Katherine Campbell | Robert Burns's 'Westlin Winds' and its Eighteenth-Century Tunes
1 Feb | Michael Fend (King’s College London) | Opera - A Philosophical Essay
8 Feb | Catherine Haworth (University of Huddersfield) | Composing By Numbers? Reading RKO’s Music Department through its archives
15 Feb | Sarah Hibberd (University of Bristol) | Cherubini’s 'Elisa': Alpine Virtue During the Terror
1 Mar | James Cook (University of Edinburgh) | Representing Renaissance Rome: Beyond Anachronism in Showtime’s The Borgias
8 Mar | Katia Chornik | Collecting and Archiving Music Histories from Political Detention Centres in Pinochet’s Chile (1973-1990)
15 Mar | ‘Matt Gio’ Giannotti (University of Edinburgh) | Compositional Voice: Markov Chains, Texture, and the Digital Acoustic
22 Mar | Martin Farias (University of Edinburgh) | Music and Politics in the Chilean Documentary (1970-1973) and Amando Lobo (University of Edinburgh) | Title to be confirmed
29 Mar | Sarah Hendriks (University of Edinburgh) | Title to be confirmed and Cormac Ó Callanáin (University of Edinburgh) | Title to be confirmed
5 Apr | Kyle Devine (University of Oslo) | Musicology Without Music?
2016/2017
29th September 2016 | Special Round Table: Benedict Taylor, Annette Davison, & Peter Nelson
(University of Edinburgh) | Publishing and Presenting Your Work as a Postgraduate Student
6th October 2016 | Matthias Bonde Korsgaard (Aarhus University) | The Role of Popular Music in Audiovisual Remixes
13th October 2016 | Special Round Table: Benedict Taylor, Katie Overy, & Noel O’Regan (University of Edinburgh) | Presenting Your Work as a Postgraduate Student 2: A Guide to Conferences
20th October 2016 | Tim Taylor (University of California Los Angeles) | Taking the Gift out and Putting it Back In: From Cultural Goods to Commodities
1st November 2016 | Philip Tagg (Leeds Beckett University & University of Salford) | Popular music studies and the need for an urgent reform of music theory
3rd November 2016 | Marilou Polymeropoulou (University of Oxford) | Networked Creativity in the Chipscene Network: Theorising Electronic Music-Making in Digital Realms
10th November 2016 | Graeme Wilson (University of Edinburgh) | Three Different Thoughts at Once: Understanding within Group Improvisation
17th November 2016 | Tuomas Eerola (Durham University) | Structure of Sadness Associated with Music
24th November 2016 | Ben Hackbarth (University of Liverpool) | Audioguide: Creating a New Tool for Authoring Music
1st December 2016 | Elaine Kelly (University of Edinburgh) | Musical Diplomacy in the Middle East: the German Democratic Republic on Tour in the 1960s
8th December 2016 | Luciano Azzigotti (Universidad Nacional de Tres de Febrero)
19th January 2017 | Dr Elaine King (University of Hull) | Performer’s Perspective on ‘Feel’ in Music
26th January 2017 | Professor Laura Tunbridge (University of Oxford) | Lieder singers in London between the World Wars
2nd February 2017 | Dr Victoria Williamson (University of Sheffield) | The Power of Music in our Memories
9th February 2017 | Professor Julian Johnson (Royal Holloway, University of London) | Debussy and the Aesthetics of Appearing
16th February 2017 | Professor Nigel Osborne MBE (University of Edinburgh) | What and where, exactly, is the "real world"?
8th March 2017 | Professor David Hargreaves (University of Roehampton) | The psychology of musical development - 30 years on
2nd March 2017 | Dr Ioannis Tsioulakis (Queen’s University Belfast) | ‘Like wet colours on a canvas’: rehearsing the Greek ethnik-jazz aesthetic
9th March 2017 | Dr Annette Davison (University of Edinburgh) | Sounds Industrial
16th March 2017 | Professor Amanda Bayley (Bath Spa University) | Creating New Music across Cultural Boundaries
23rd March 2017 | Professor Michael Bull (University of Sussex) | Siren Sounds: From Myth to Materiality
30th March 2017 | Dr Jeremy Barham (University of Surrey) | Mahler's Fifth Symphony and Thomas Koschat: an Enigma Resolved?
2015/2016
Aleks Kolkowski (Science Museum, London) | Hearing Artefacts: Revealing Incarcerated Sounds within Museum Collections
Simon Zagorski-Thomas (London College of Music) | Classical Music “Hyper-Production”
Andreas Jacob (Folkwang University of the Arts) | Hector Berlioz':"Shakespeare... qui m’eût aimé peut-être“. Literature reception as self-image projection
Maiko Kawabata (University of Edinburgh) | Synaesthesia and Pseudosynaesthesia in Music
Peter Nelson (University of Edinburgh) | But does the world listen? Some thoughts on rhythmic bonding between humans and the sounding world
Nicole Grimes (Keele University) | Nähe Fern: Wolfgang Rihm and the Constellation of Aesthetic Humanism
Sean Williams (University of Edinburgh) | Parallels in practice between instrumental and electronic music: Stockhausen, Koenig, Schütz and the WDR Studio for Electronic Music
Patrick Valiquet (University of Edinburgh) | “We cannot but be realistic (that is to say, indeterministic)”: Pierre Schaeffer’s solfège and information theory
Alan Howard (University of Cambridge) | Contrapuntal Artifice in Purcell’s Late Canzonas
Marina Frolova-Walker (University of Cambridge) | Stalin's Playlist
Aidan Thomson (Queen’s University Belfast) | Bax and the Easter Rising
David Clarke (University of Newcastle) | Music and consciousness: the current state of play
Tom Wagner (University of Edinburgh) | "Very space opera": The Scientology aesthetics of L. Ron Hubbard's music
Thomas Schmidt (University of Manchester) | "Seven or eight intelligent people in conversation"? On texture and timbre in large-ensemble chamber music of the early nineteenth century
Chloe Alaghband-Zadeh (University of Cambridge) | Listeners' experiences of North Indian classical music: how embodied ways of listening perform imagined histories and social class
Leanne Langley (Goldsmiths, University of London) | Art Music: J.S. Sargent as Listener, Patron, Practitioner, Performer
Scott Burnham (Princeton University) | Voices Late and Last: Beethover, Schubert and the End of the Classical Style
Rachel Moore (University of Oxford) | Performing Propaganda: Music and National Identity in Paris and London, 1914-1918
Michael Allis (University of Leeds) | Reading music through literary scholarship: Granville Bantock, Shelley and The Witch of Atlas
2014/2015
Florian Scheding (University of Bristol) | Strategies of Migration
Matt Brennan (University of Edinburgh) | Give The Drummer Some! A social history of seven drummer stereotypes
John Dack (Middlesex University) | Pierre Schaeffer's "Traité des objets musical" and the concept of "instrument"
Ruth Davis (University of Cambridge) | Ethnomusicology and Nation Building in Mandatory Palestine: Exploring Robert Lachmann’s “Oriental Music” Broadcasts, 1936-1937
Kate Lacey (University of Sussex) | Listening and the Media: Variations on a theme
Sam Hayden (Trinity Laban) | (Pre)compositional strategies and computer-generated notation in Transience
Stephen Rose (Royal Holloway, University of London) | Censoring creativity from Plato to Bach
Benedict Taylor (University of Edinburgh) | Of the Search for Lost Time: Multiple time and temporal inordinance in Franck’s String Quartet
Jessica Aslan & Emma Lloyd (University of Edinburgh) | Stages of (in)determinacy in the creation of new music (Aslan), Instrumental extension and development of a mutual aesthetic (Lloyd), The seminar included a demonstration of the speakers' collaborative work
Noel O'Regan (University of Edinburgh) | ‘Because of the music the streets were full’. The importance attached to music in the activities of early modern Roman confraternities.
Jill Morgan & Claire Renfrew (University of Edinburgh) | Those who sing together stay together: exploring lifelong musical engagement and its role in the health and well-being of couple relationships in retirement (Morgan)
Investigating the Musical Identities of Professional Classical Musicians (Renfrew)
John Butt (University of Glasgow) | Hitchcock, Psycho, and the aesthetic of 'absolute music'
Eero Tarasti (University of Helsinki) | The music of Jean Sibelius
Jonathan Mills (Visiting Professor, University of Edinburgh) | Ethereal Eye - a musical meditation for an un-built city
Simon McVeigh (Goldsmiths, University of London) | Writing Concert History in the Digital Age: Data, Big Data, Narrative
Julian Horton (Durham University) | Form and Meaning in the Andante of Brahms’ Second Piano Concerto
Anne Desler (University of Edinburgh) | "The little that I have done is already gone and forgotten": Farinelli and Burney Write Music History
Katya Emolaev (Royal Conservatoire of Scotland and Princeton University) | Crafting the Musical Image of a Medieval Tsar: The Prokofiev-Eisenstein Collaboration on Ivan the Terrible
Nick Prior (University of Edinburgh) | On Vocal Assemblages
