research interests - university of...
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Michael Allis ([email protected])19th- and early 20th-century British music and musical life;interdisciplinary studies of music and literature; reception ofcomposers and their works; sketch studies and the creativeprocess; performance studies.
Laura Anderson ([email protected])Film music, including French film music; currently postdoctoralresearch assistant on project investigating the professional careerand output of Trevor Jones; sound design; 19th and 20th centuryFrench music; and symbolist opera.
Freya Bailes ([email protected])Musical imagery (i.e. imagining music in the ‘mind’s ear’); musicand memory; mental representations in musical creativity;cognition and perception of musical structures; cognitive andsocial processes in performance; music and wellbeing; generalinterests in the psychology of music.
Simon Baines ([email protected])Orchestral performance practice and studies of national style inperformance, particularly in the twentieth century (including viaoral histories, player biographies and analysis of recordings);music for big band and associated musicians.
Karen Burland ([email protected])Musical identities, career transitions of musicians, creativecollaboration, music therapy and understanding audiencebehaviour; general interests in the Psychology of Performance andmusical development across the life-span.
Silviu Cobeanu ([email protected])Music events design, programming, management and promotion;arts marketing; audience development; music tourism; sacredmusic and sacred space in the tourism context; performing artsadministration and management; audience experience.
David Cooper ([email protected]) Twentieth-century music (especially the music of Béla Bartók);music for film and television (including the scores of BernardHerrmann); Irish traditional music (especially Ulster); scientificresearch in music; composition.
Robert Fulford ([email protected])Music Psychology, Educational and Occupational Psychology;special interests in music and deafness, cross-modal sensoryperception, sign language and gesture, interactive performance,and musical development, careers and identities.
Daniel Gordon ([email protected])Performance tutor and resident repetiteur;pianist/organist/harpsichordist for LUCEM/LUCHIP (LeedsUniversity's centres for English Music, and Historically InformedPerformance); accompanist and examiner for degree-recitals,concerts, classes, masterclasses and auditions; choral singer anddirector/arranger.
Alinka Greasley ([email protected])Psychology of music; musical preferences; listening behaviour;music consumption; cultural consumption; music festivals; clubcultures; DJ performance; electronic dance music.
Martin Iddon ([email protected]) History, aesthetics and analysis of music from 1945 to present day,particularly in North America and Western Europe; Aesthetics ofmusic from Plato onwards, but especially contemporaryFrancophone thought; Composition.
Dave Ireland ([email protected])Psychology of music in multimedia; perceived meaning in, andemotional responses to, music; film music analysis and history;musical semiotics; interdisciplinarity and multidisciplinarity.
Marian Jago ([email protected])Popular music, improvisation, scenes, jazz studies, culturalmusicology, ways of listening, and the music and pedagogicalpractices of Lee Konitz and Lennie Tristano.
RESEARCH INTERESTS Staff and associated teachers and researchers
School of MusicFACULTY OF PERFORMANCE, VISUAL ARTS AND COMMUNICATIONS
School of MusicUniversity of LeedsLeeds LS2 9JTt +44 (0) 113 343 2583 w www.music.leeds.ac.uk
Clive McClelland ([email protected])Musical representations of the supernatural, topic theory,expressivity in the English madrigal, Elgar’s ‘Enigma’ theme,analysis, vocal performance practice, choral music, opera.
Scott McLaughlin ([email protected])Acoustic composition, resonance, material agency; experimentalmusic and open-form works, especially Lucier and Wolff; spectralmusic and issues of perception (whole/part ambiguity); liveelectronics and interaction.
James Mooney ([email protected])Electronic/electroacoustic music studies (particular specialism inthe work of Hugh Davies); spatial audio and multi-loudspeakersound diffusion; history of science and music technologies; soundstudies.
Simo Muir ([email protected])20th century East-European Jewish music and theatre; Yiddishtheatre and cabaret; Ashkenazi Jewish liturgical tradition andchoral music; representation of the Holocaust in Jewishperformative art; archives, ethnographic recordings.
Stephen Muir ([email protected])19th-century Russian and East European music, especially opera;the interface between music and religion, particularly in the Anglo-Jewish tradition; Jewish music in Southern Africa; critical editing ofmusic; historical performing practices, especially vocal.
Kia Ng ([email protected])Interdisciplinary research in Computing and Music, includinghuman/technology interface, interactive multimedia for augmentedperformance and environment; multi-modal sensing and analysis;interactive feedback with visualisation, sonification and vibrotactile;computer vision; artificial intelligence; scientific research in music.
Matthew Pritchard ([email protected])History of music aesthetics, particularly in German-speakingcountries, from the mid-18th century to the present day; history ofmusic theory over the same period, with a focus on the theory of themotive and practices of motivic analysis; ethnomusicology of Indianand especially Bengali music, concentrating on the music ofRabindranath Tagore (1861-1941).
Ian Sapiro ([email protected]) Music for film and television, particularly the film-score productionprocess in the UK and USA and the roles and responsibilities ofthose involved in it; musical theatre (especially the Broadwaymusical); orchestration and arrangement; the overlaps andrelationships between these areas.
Dorien Schampaert ([email protected])History of science and music technology; electronic instruments,particularly the use of the Ondes Martenot in various contexts;popular music studies; gender and popular music; hip-hop andelectronic dance music.
Derek B. Scott ([email protected])Music, cultural history, and ideology; popular music in Europe andNorth America 1780 to the present; music in the metropolis(especially in London, New York, Paris, and Vienna); comic opera,operetta, and musical theatre.
Michael Spencer ([email protected])Composition; improvisation; aesthetics of twentieth-century music; themusic of Ferneyhough, Dillon, Feldman; semiotic analysis; aspects ofcontemporary notation; Contemporary music performance practice(including conducting).
Ewan Stefani ([email protected])Experimental electronic music composition and performancepractice, focussing upon areas such as audiovisual composition,free improvisation, site-specific works, multi-channel loudspeakerarrays, field recording, working with analogue/digital synthesizers,and software development.
Edward Venn ([email protected])Music theory, analysis and interpretation; twentieth and twenty-firstcentury repertoires (particularly British music and the music ofMichael Tippett, Hugh Wood and Thomas Adès); popular music;semiotics.
Simon Warner ([email protected])Post-war Anglo-American popular music with particular reference tosigns of resistance; the Beat Generation writers and their influenceon rock culture; the counterculture in the 1960s; and politicalexpressions as framed by punk in the 1970s.
Bryan White ([email protected])17th- and 18th-century British Music (especially Henry Purcell andhis contemporaries, music for St. Cecilia’s Day, and middle-classpatronage of music), critical editing of music, choralmusic/conducting, the music of Michael Tippett.
Luke Windsor ([email protected])The psychology of music perception and performance, especiallymeasurement and modelling of performance; rhythm perception andproduction; ecological approaches to music psychology; semiotics;analysis of electroacoustic music; critical theory; improvisation.
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