Research Staff

Musicology

Professor Barbara Kelly, Director of Research

Barbara L Kelly is Professor of Music and Director of Research at the Royal Northern College of Music. Her research is focused on French music between 1870 and 1939.  She has published two monographs: Music and Ultra-Modernism in France: A Fragile Consensus, 1913-1939 (Boydell, 2014) and Tradition and Style in the Works of Darius Milhaud, 1912-1939 (Ashgate, 2003) and two edited collections. She is currently preparing an edited collection with Christopher Moore: Authority, Advocacy, Legacy: Music Criticism in France (1918-1939), and is working on a study of concert societies devoted to new music in France; she is also preparing a study of the singer, Jane Bathori’s war-time concerts at the Vieux Colombier.

She welcomes applications for PhD study in the following or related areas: French music from 1870-1945; Stravinsky and contemporaries in Paris; Anglo-French concert life (1900-1939); music, war and peace during and after the First World War, and on questions of nationalism, internationalism and identity in late 19th and 20th-century European music.

Music Psychology

Professor Jane Ginsborg, Associate Director of Research

Professor Jane Ginsborg read music at the University of York, and trained as a singer at the Guildhall School of Music and Drama. She has published widely on expert musicians’ approaches to practising and memorizing, and won the British Voice Association’s Van Lawrence Award in 2002 for her research on singers’ memorizing strategies. She is Chair of the Conservatoires UK (CUK) Research Ethics Committee and was elected President of the European Society for the Cognitive Sciences of Music (ESCOM) in 2012.

Composition

Professor Adam Gorb , Head of Composition

Professor Adam Gorb studied music at Cambridge University and Composition at the Royal Academy of Music in London where he graduated with the highest honours including the Principal’s Prize. His compositions include orchestral, ensemble, chamber, solo and choral works, and have been performed, broadcast and recorded world-wide. His works have been featured in new music feativals festivals in Huddersfield, Cheltenham, Spitalfields and Canterbury, and he has been a featured composer at Luton and Bromsgrove music clubs. He has had concerts devoted to his music in the UK, the USA and Canada.

All Research Staff

Composition

Dr Laura Bowler – Composition.

Professor Gary Carpenter – Composition and arranging.

Dr Steven Daverson – Composition.

Dr Fabrice Fitch – Western art music, 1380–1520; discography of early music; notation; editing and editorial practice; collaboration between performers and composers; composition.

Professor Adam Gorb – Composition and arranging.

Dr Larry Goves – Composition and electroacoustic music.

Dr David Horne – Composition; instrumentation; electroacoustic music with live instruments; arranging; improvisation; twentieth-century analysis; contemporary British music; contemporary performance practice.

Professor Emily Howard – Composition.

Dr Simon Parkin – Composition.

Paul Patterson – Composition and arranging

Dr Mauricio Pauly – Composition, production and performance practice with an emphasis in amplified instrumental chamber music and live/performative electronics

Dr Thomas Scott – Electroacoustic composition

Dr Gavin Wayte – Composer, Lecturer in Academic Studies

Dr Nina Whiteman  – Composition

Music education and pedagogy

Dr John Habron – Music and movement in educational / therapeutic contexts; Dalcroze Eurhythmics (theory, practice, history) and related reform pedagogy movements; musical creativities; music and spirituality; the history of music therapy; music in the medical humanities; music and dementia; and whole-person approaches to care within the field of music, health and wellbeing.

Karin Greenhead – Chief research interests: Dalcroze Eurhythmics;  improvisation and movement/music relationships and their implications and applications in musical interpretation, performance, teaching and learning especially using a hermeneutic phenomenological approach (philosophy).

Robert Gardiner – Deputy Head of Education

Musicology

Dr Simon Clarke –  Continental philosophy in general, deconstruction and critical theory in particular, the long 19th century, Ravel, orchestration, metal.

Dr Cheryll Duncan  – Professional music culture in London during the long eighteenth century; impresarios and singers; music publishing; iconography; newspapers; archival studies, especially legal documents.

Dr Fabrice Fitch – Western art music, 1380–1520; discography of early music; notation; editing and editorial practice; collaboration between performers and composers; composition.

Professor Martin Harlow – Classical wind repertory and performance practice; Mozart; reception of music; editing and editorial practice; scholarly and performance editions.

Professor Denis Herlin, International Chair in Musicology: French music, Debussy, Rameau and Couperin, editions, source studies

Dr David Horne – Composition; instrumentation; electroacoustic music with live instruments; arranging; improvisation; twentieth-century analysis; contemporary British music; contemporary performance practice.

Emeritus Professor Douglas Jarman – 20th century music, including Second Viennese School; chamber music.

Dr David Jones – French music 1800 to the present; later 20th century British composers.

Professor Barbara Kelly  –  French music from 1870-1945; Stravinsky and contemporaries in Paris; Anglo-French concert life (1900-1939); music, war and peace during and after the First World War, and on questions of nationalism, internationalism and identity in late 19th and 20th century European music.

Dr Pauline Nobes – 17th and 18th century violin music; Baroque performance practice, especially strings.

Professor Nicholas Reyland, Head of Undergraduate Programmes: Polish Music, Lutoslawski, trauma, narrativity, film, popular music.

Dr Geoff Thomason – Musicology.

Dr David Vickers – Handel, Vivaldi, Purcell; 17th century vocal music; 18th century opera.

Dr Kris Worsley – Music history and performance practice, including keyboard improvisation, 1780–1830; Beethoven.

Music psychology

Professor Jane Ginsborg– Music psychology: preparation for expert performance, particularly singing; memory for music; musicians’ health and well-being.

Dr Michelle Phillips – Research interests include music analysis and the golden section, and perception of large-scale musical form.

Performance 

Dr Amanda Babington – Performance.

Rob Buckland – Saxophonist; composer.

Harvey Davies – Performance.

Dr Fabrice Fitch– Western art music, 1380–1520; discography of early music; notation; editing and editorial practice; collaboration between performers and composers; composition.

Mark Heron – Performance.

Dr David Horne – Composition; instrumentation; electroacoustic music with live instruments; arranging; improvisation; 20th century analysis; contemporary British music; contemporary performance practice.

Professor Anders Ljungar-Chapelon – Performance.

Melinda Maxwell – Oboist, composer. Research project with composer David Horne exploring the boundaries between improvisation and the written score.

Professor Linda Merrick – Clarinettist.

Professor John Miller – Research into 19th century transcriptions for brass band.

Stephen Preston – Baroque flute; Ecosonics.

Professor Clark Rundell – Performance.

Dr Adam Swayne – Performance.