Archive of past events
Links to previous events in the Music Research Seminars series from AY 2018-19.
Katia Chornik (University of Manchester and Surrey County Council) discusses her work of collecting and archiving music and testimonies on musical experiences from survivors, perpetrators and other witnesses of the political detention centres operated in Chile during the dictatorship led by General Augusto Pinochet (1973-1990)
James Cook (University of Edinburgh) focuses on a single episode of Showtime’s historical drama The Borgias, arguing that anachronism simply fails to explain adequately the creative use of the musical past on show here.
Harald Krebs (University of Victoria) discusses and performs (with Sharon Krebs, soprano) numerous relevant song excerpts and complete songs, most of them unpublished and previously unheard.
With Diva Mukherji (VP Education, EUSA), Radhika Govinda (Lecturer in Sociology, University of Edinburgh), and Luke Simumba a.k.a. TAAHLIAH (Glasgow School of Art POC Society)
Karen McAulay (Royal Conservatoire of Scotland) shares how she set about exploring the Edinburgh legal deposit music, and what she found out about it.
Anne Desler presents a recent conference paper on the castrato Grimaldi and the publisher Metastasio, and uses this to lead into a discussion about what makes a good conference paper.
Dr. Will Lamb discusses the relationship between music and song in Scottish Gaelic culture – and argues that song rather than music is the superordinate category.
In this special seminar, held in conjunction with the postgraduate course Music on Screen, James Wierzbicki asks how filmmakers use modern cinematic technology to create new sorts of meaningful sound.
The panel discusses different approaches to teaching music history in higher education, and examples of best practice. We'll also brainstorm some ideas about what music history teaching should be achieving for students in the twenty-first century.
Patrick Valiquet explores the concept of "experimental music" and its impact on music education in England in the late twentieth century.
Maria Varvarigou (Canterbury Christ Church University) explores how engaging in playing by ear from recordings (alone and in groups) contributes to the development of musical autonomy in learners within formal and non-formal music education settings.
Jonna Vuoskoski explores the connection between musical activities and empathy, based on empirical evidence from the field of music cognition.
Marian Jago discusses Lennie Tristano's use of innovative studio technologies in the 1950s.
Members of the Reid School of Music discuss the ways in which emotions are framed and understood with regard to music, with a particular focus on how this relates to the history and politics of emotions more generally.
Tom Wilkinson explores why J. S. Bach's music fitted so well with early nineteenth-century musical sensibilities.
Nanette de Jong discusses the role of music in mediating between cultural autonomy and gender equality in the controversial practice of virginity testing.
Rachel Beckles Willson reflects on musical work with young asylum-seekers in southern Europe, focusing especially in the role of mobile phones in facilitating musical creativity.
Tim Summers provides an introduction to the musicological study of video game music.
Matthew Head discusses how 1930s musical theatre and film in the USA celebrated a new fictional character: the 'lady composer'.
Tom Mudd discusses the role nonlinear dynamic processes play in musical instruments and how we use them, with a special focus on free improvisation.
David Ireland explores how film music that is at odds with the images or narrative affects our perception and interpretation of meaning in films.