2009 - 2010

Opera in the British Provinces in Late Victorian England

Speaker(s): Paul Rodmell (Birmingham) Chair: David Wright (RCM)

Performing Editions of the Leipzig School, 1850-1900 and their Testimony to Nineteenth-Century

Speaker(s): George Kennaway and David Milsom (Leeds/LUCHIP), Chair: John Irving (IMR)
Whilst editions of the eighteenth century and before rarely contain more than the simplest performance information, some prominent editors...

Pitfalls and Pleasures of Recording on a 1764 Harpsichord

Speaker(s): John Irving (IMR) and Chair: Mike Edwards
Dean's Seminar

Hearing Music's Words: Imagery in Shakespeare's Theatre

Speaker(s): Christopher Wilson (Hull) Chair: John Pitcher (Oxford)
As with most of Shakespeare’s musical imagery, a knowledge and understanding of contemporary practice and theory are implicit in our...

Speaking Truth to Power: The Public Policy Implications of Modern Musicology

Speaker(s): Andrew Pinnock (Southampton) and Chair: Robert Stradling (Cardiff - Emeritus)
At the time of their formation and for decades afterwards the BBC, British Council and Arts Council of Great Britain (Britain's three main...

Music, Philosophy and Sexual Politics in Mozart's Music for Figaro, Don Giovanni and Cosi fan tutte

Speaker(s): Charles Ford (IMR), Chair: Eric Clarke (Oxford)
The thought of the European, and most especially, the Viennese Enlightenment, is implicit within the chords, melodies, rhythms and textures...

My Life as a Composer

Speaker(s): Adam Gorb (Royal Northern College of Music), Chair: Giles Easterbrook (Independent scholar)
I started composing at the age of ten, but I was in my thirties before I became a professional composer. I will be talking about what made...

The Musicians’ Tales: Status and Identity in the Musician-Novels of the German Baroque

Speaker(s): Stephen Rose, Royal Holloway
Institute for Musical Research,

New Music and Critical Cosmopolitanism

Speaker(s): Björn Heile (University of Sussex), Chair: Arnold Whittall (King's College London)
Although it has successfully spread around the globe, new music is usually regarded as ‘western’. While there are historic reasons for this...

The Swan on the Barricades: Reconsidering the Case of Lohengrin

Speaker(s): Barbara Eichner (Oxford Brookes University)
Institute for Musical Research,