Patrick Valiquet is a musicologist specialising in historical and anthropological approaches to experimental music and music technologies, with particular interests in the framing of experimentalism as an object of science, education, and cultural policy, and in the political and mediatic conditions of musical and musicological change more broadly. His empirical focus has so far been on francophone traditions of music theory, composition and pedagogy in the late twentieth century. Recent projects include an ethnographic study of the representation of digital music practices by artists, educators, and policy-makers in the Canadian city of Montreal, and a study of the history and cultural politics of Quebec's acousmatic tradition.
Patrick completed his doctoral work at the University of Oxford as a member of a European Research Council-funded project on global digital music practices led by Georgina Born, earning his degree in 2014. He holds a Masters degree from the Institute of Sonology at the Royal Conservatoire in The Hague, and a Bachelors degree in Performance from McGill University. Prior to commencing his British Academy project he held fellowships from the Institute of Musical Research and the Fonds de Recherche du Québec - Société et Culture. He also serves as Associate Editor of the journal Contemporary Music Review.
Patrick's teaching centres on the history, politics, and aesthetics of musicology and music technology. He lectures on the histories of studio recording and automation for the first year course Instruments, Culture and Technology, and in 2018-19 he will be course organiser for the honours option Music and Technoscience: Cultural and Historical Perspectives.
For the British Academy, Patrick will be conducting new research to assess how liberal humanist ideas about media, politics and personhood informed post-war practices of 'music research' such as those developed at Pierre Schaeffer's Groupe de Recherches Musicales, and to understand the mutations the liberal humanist model underwent as it circulated among subsequent generations of students, educators, musicologists, and scientists in France, the United Kingdom, and Canada. This research will be collected into his first monograph, provisionally titled Phonopolis: Media, Education, and Democracy in Experimental Music Research, 1958-1995.