The Music Research Seminar Series 2016 - 2017 has now concluded.

Details of the seminars for 2018 will be announced in September.

For reference, here are the speakers from our previous three series.


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?


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


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

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