School of Music

Professor of Critical Musicology

d.scott@leeds.ac.uk

+44 (0)113 343 2583

PhD, MMus, BA, PGCE

Derek B. Scott is author of The Singing Bourgeois (1989), From the Erotic to the Demonic (2003), Sounds of the Metropolis (2008), and editor of Music, Culture, and Society (2000) and the Ashgate Research Companion to Popular Musicology (2009). He has written numerous articles in which he has been at the forefront in identifying changes of critical perspective in the socio-cultural study of music. He is the General Editor of Ashgate's Popular and Folk Music Series, and Associate Editor of Popular Musicology Online. He was a founder member of the UK Critical Musicology Group in 1993 and organizer of their first major conference in 1995. He is, in addition, a composer whose works range from operetta and music theatre to symphonies for brass band. He has a particular interest in the performance of music-hall songs and drawing-room ballads, but has also worked professionally in a variety of capacities on radio and TV, and in concert hall and theatre.

• Music, Culture, and Society
• Music, Cultural History, and Ideology
• Popular Music in Europe and North America 1780 to the present
• Music in the Metropolis (especially in London, New York, Paris, and Vienna)
• Music, Nationalism, and Imperialism
• Composition

Derek B. Scott researches into music, culture and ideology. His earlier work examines the commercial popular songs of nineteenth-century Britain and America in the context of social class, nationalism, and imperialism. In later research, he develops methodologies and theoretical models for a critical musicological investigation of how ideology is embedded in musical styles. He concentrates on music's relationship with leading social topics from the past two centuries: gender, sexuality, ethnicity, Orientalism, race, class, and the opposition of the sacred and profane. Recent work has focused on cultural history, especially the rise of aesthetic antagonisms between the serious and the entertaining in metropolitan life. His argument is that a popular music revolution occurred in the nineteenth century, when popular styles first began to assert their distinctiveness. London, New York, Paris, and Vienna feature prominently as cities in which original forms of popular music arose, like the Viennese waltz and polka, blackface minstrelsy, operetta, café-concert, music hall, the black musical, ragtime, vaudeville, and cabaret. The legacy of that revolution is still with us today, and he has written on a variety of twentieth-century music, such as jazz, easy listening, musicals, and Britpop.

Current Modules

• MUSI 3721 (T&C) Popular Music and the Stage
• MUSI 3722 (T&C) Stylistic Changes in Popular Music since 1830
• MUSI 2025 Approaches to Analysis of Popular and World Music
• MUSI 1225 Understanding Popular Styles
• MUSI 3120/40 Minor/Major Dissertation
• MUSI 5060M Introduction to Musical Scholarship

• Head of School

Books (single authored)

• The Singing Bourgeois: Songs of the Victorian Drawing Room and Parlour (256pp). Milton Keynes and Philadelphia: Open University Press, 1989. (ISBN 0-335-15291-0 [hbk], 0-335-15296-1 [pbk]). Second edition (287pp): Aldershot: Ashgate, 2001.
• From the Erotic to the Demonic: On Critical Musicology (258pp). New York: Oxford University Press. (ISBN 0-19-515195-X [hbk], 0-19-515196-8 [pbk]).
• Sounds of the Metropolis: The 19th-Century Popular Music Revolution (in London, New York, Paris, and Vienna). New York: Oxford University Press. (2008. ISBN 978-0-19-530946-1) : The AMS Publications Committee awarded this book a subvention grant from the Gustave Reese Publication Endowment Fund, Dec. 2007.

Books (edited)

• Music, Culture, and Society: A Reader (248pp). Oxford: Oxford University Press, 2000. (ISBN 0-19-879011-2 [hbk], 0-19-879012-0 [pbk]).
• The Ashgate Research Companion to Popular Musicology. Farnham: Ashgate, 2009. (ISBN 978-0-7546-6476-5)

Contributions to books and conference proceedings

• 2009 'Edward Said and the Interplay of Music, History and Ideology', Edward Said and the Literary, Social, and Political World, ed. R. Ghosh (New York: Routledge), 104–23. (ISBN 978-0-415-96323-7 hardback, 978-0-203-87978-8 electronic)
• 2009 'Sullivan's Demonic Tea-making Scene: Homage to Weber, or Parody? Die 'Schaubühne' in der Epoche des “Freischüz”, eds U. Müller et al. (Anif/Salzburg: Verlag Müller-Speiser), 1–9.
• 2008 Two articles (Gilbert & Sullivan, Music Halls) for The Greenwood Encyclopedia of Love, Courtship, and Sexuality Through History, Vol. 5: The Nineteenth Century, ed. S. Mumm (Westport, CT: Greenwood Press), 93–94, 163–65. (ISBN 978-0-313-33405-4)
• 2007 'Incongruity and Predictability in British Dance-Band Music of the 1920s and 1930s', A. F. Moore, ed., Critical Essays in Popular Musicology (Aldershot: Ashgate), 337–62. (ISBN 9-78-0-7546-2647-3). Reprint of 1994 Musical Quarterly article.
• 2007 'A Problem of Race in Directing Die Zauberflöte' „Regietheater“: Konzeption und Praxis am Beispiel der Bühnenwerke Mozarts, eds J. Kühnel, U. Müller, O. Panagl, et al. (Anif/Salzburg: Verlag Müller-Speis), 338–44. (ISBN 978-3-902537-07-2)
• 2006 'Blackface Minstrels, Black Minstrels, and Their Impact on British Popular Music', J. Rushton &R. Cowgill, eds, Europe, Empire and Spectacle in 19th-Century British Music (Aldershot: Ashga), 265–80. (ISBN 0 7546 5208 4)
• 2005 'The Power of Music,' Power, eds A. Blackwell and D. MacKay (Cambridge: Cambridge University Pr), 96–115. (ISBN 0-521-82377-3)
• 2005 'Mimesis, Gesture, and Parody in Musical Word-Setting,' J. Williamson, ed., Words and Music series (Liverpool: University of Liverpool Press), 1027. (ISBN 0-85323-619-4)
• 2005 'The Impact of Black Performance on the 19th-Century Stage,' Das (Musik)Theater in Exil und Diktatur und seine Rezeption: Vorträge und Gespräche des Salzburger Symposions 2003, eds P. Csobádi, et al. (Anif/Salzburg: Verlag Müller-Speiser), 262–74. (ISBN 3-85145-094-9)
• 2005 'England,' Umbrella entry on English popular music of the past two centuries for Continuum Encyclopedia of Popular Music of the World, Vol. 7 'Europe' (London: Continuum), 329–40.
• 2004 'Postmodernism and Music,' Companion to Postmodernism, S. Sim, ed. (London: Routledge, 2nd edn), revd version of 1998 article (see above), 122–32. (ISBN 0-415-33359-8)
• 2004 'Light Music and Easy Listening,' Cambridge History of Music, 20th Century, N. Cook and A. Pople, eds (Cambridge: Cambridge University Press), 307–35. (ISBN 0 521 66256 7)
• 2004 'Bruckner's Symphonies: A Reinterpretation,' Cambridge Companion to Bruckner, J. Williamson, ed. (Cambridge: Cambridge University Press), 92–107. (ISBN 0 521 80404 3 [hbk], 0 521 00878 6 [pbk])
• 2003 'English National Identity and the Comic Operas of Gilbert &Sullivan,' in Nineteenth-Century British Music Studies, Vol. 3, B. Zon and P. Horton, eds (Aldershot: Ashgate), 137–52 [ISBN 0-7546-3614-3]. Earlier shorter version in Wort und Musik 54: Politische Mythen und nationale Identitäten im (Musik-)Theater: Vorträge und Gespräche des Salzburger Symposions 2001, eds P. Csobádi, et al. (Anif/Salzburg: Verlag Müller-Speiser, 2003), Band II, 869–77. (ISBN 3-85145-084-1)
• 2001 '(What's the Copy?) The Beatles and Oasis,' Beatlestudies 3 (Jyväskylä Yliopisto, 2001), 201–11. (ISBN 951-39-0809-7)
• 2001 'Variety Performance on Stage and Film: The Dictates of Different Media,' Wort und Musik 48: Das Musiktheater in den audiovisuellen Medien: Vorträge und Gespräche des Salzburger Symposions 1999, eds P. Csobádi, et al. (Anif/Salzburg: Verlag Müller-Speiser), 133–42. (ISBN 3-85145-074-4)
• 2001 'Music and Social Class,' Cambridge History of Music, 19th Century, J. Samson, ed. (Cambridge: Cambridge University Press), 544–67. (ISBN 0-521-59017-5)
• 2000 'Orientalism and Musical Style,' Edward Said, 4 Vols, Part 3: Cultural Forms, Disciplinary Boundaries, Patrick Williams, ed. (London: Sage). (ISBN 0761970541)
• 1998 'Cultuur, politiek en de Britse nationale hymne,' trans. Martine de Bruin, in L. Grijp, ed., Nationale hymnen: Het Wilhelmus en zijn buren (Amsterdam: SUN/Meertens Instituut), 112–27. (ISBN 90 6168 693 8)
• 1998 'Postmodernism and Music,' The Icon Critical Dictionary of Postmodern Thought, S. Sim, ed. (Cambridge: Icon Press), 134–46. (ISBN 1-874166-65-X); republished as The Routledge Companion to Postmodernism (2004). Indonesian translation also.
• 1995 'The Jazz Age,' Chapter 4 of the Blackwell History of Music in Britain Vol. 6, S. Banfield, ed. (Oxford: Blackwell), 57–78. (ISBN 0-631174249)
• 1993 'Sexuality and Musical Style from Monteverdi to Mae West,' The Last Post: Music after Modernism, S. Miller, ed. (Manchester University Press), 132–49. (ISBN 0-7190-3609-7)

Periodical articles

• 2006 'In Search of Genetically Modified Music: Race and Musical Style in the Nineteenth Century,' Nineteenth-Century Music Review, 3/1, special issue on music and race, 3–23.
• 2004 'From the Erotic to the Demonic: Scaling the Heights and Plumbing the Depths of Musicology,' Proceedings of the 1st Annual Conference of the Society for Musicology in Ireland, ed. Barra Boydell (Maynooth: SMI), 1–19.
• 2003 'Ideology and Musical Style,' Orbis Musicae 13, Rethinking Interpretive Traditions in Musicology (Tel Aviv: Asaph Studies in the Arts), 107–115. (ISSN 0303-3937)
• 2002 'Music and Social Class in Victorian London,' Urban History, 29/1, 60–73. (ISSN 0963-9268)
• 2002 'The Music Hall Cockney: Flesh and Blood, or Replicant?,' Music and Letters, 83/2 (May), 237–58. (ISSN 0027-4224)
• 1998 'Orientalism and Musical Style,' The Musical Quarterly, 82/2, 309–35. (ISBN 0027-4631) Earlier shorter version in Critical Musicology Journal (1997), refereed Internet journal: http://www.leeds.ac.uk/music/Info/CMJ/cmj.html (ISSN 1468-6066)
• 1995 'Popular Music in the UK During the Second World War,' Popular Musicology, 2, 55–9. (ISSN 1357-0951)
• 1994 'Incongruity and Predictability in British Dance-Band Music of the 1920s and 1930s,' The Musical Quarterly, 78/2, 290–315. (ISBN 0-19-508857-3i)
• 1994 'The Sexual Politics of Victorian Musical Aesthetics,' Journal of the Royal Musical Association, 119/1, 91–114. (ISSN 0269-0403)
• 1991 'Music and Ideas: A State of Flux' (review essay), The Musical Quarterly, 75:1, 82–92. (ISBN 0-19-507073-9)
• 1990 'Music and Sociology for the 1990s: A Changing Critical Perspective,' The Musical Quarterly, 74:3, 385–410. (ISBN 0-19-506532-8)
• 1981 'Platonis Orpheus' (article on musical aesthetics), Composer, 72 (Spring), 11–15.

Contributions to encyclopaedias

• 2008 Two articles (Gilbert &Sullivan, Music Hall) for The Greenwood Encyclopedia of Sex, Love, and Culture, Vol. 5: The Nineteenth Century, ed. S. Mumm (Westport, CT: Greenwood).
• 2004–7 Nine articles (Stanley Black, Al Bowlly, Michael Carr, Robert Farnon, Josef Locke, Anne Shelton, Victor Silvester, Lawrence Wright) for the new Oxford Dictionary of National Biography (Oxford University Press).
• 2003 61 bibliographic entries and 15 subject entries of varying length on blues, folk, chanson, country, and critical musicology for the Danish Musik Leksikon, 2 vols, F. Gravesen &M. Knakkergaard, eds (Copenhagen: Gads Forlag).
• 2001 Entry on Charlotte Alington Barnard for the revised New Grove Dictionary of Music and Musicians (London: Macmillan).
• 1994 Six entries for the New Grove Dictionary of Women Composers, J A Sadie and R Samuel, eds (London: Macmillan). (ISBN 0-333-51598-6)

Reviews

Reviews in Refereed Journals

• 2007 E. David Gregory, Victorian Songhunters: The Recovery and Editing of English Vernacular Ballads and Folk Lyrics, 1820–1883 (Lanham, MD and Oxford: Scarecrow Press, 2006), Music and Letters
• 2006 Ian Bradley, Oh Joy! Oh Rapture! The Enduring Phenomenon of Gilbert and Sullivan (Oxford and New York: Oxford University Press, 2005), Music and Letters, 87:4, 676–78.
• 2004 Paul Maloney, Scotland and the Music Hall, 1850–1914 (Manchester: Manchester University Press, 2003), Music and Letters, 85:3, 469–71.
• 1998 F. Gunther Eyck, The Voice of Nations: European National Anthems and Their Authors (Westport, CT: Greenwood Press, 1995), Chapter 2,
• 1993 S M Schwanauer &D A Levitt, eds, Machine Models of Music (Cambridge, Mass.: MIT Press), AISB Quarterly, 85, 64–65. (ISSN 0268-4179)
• 'The United Kingdom', 13–21, in Volkskundig journal of ethnology.
• 1993 M Balaban, K Ebcioglu &O Laske, eds, Understanding Music with AI: Perspectives on Music Cognition (California: AAAI Press, 1992), Artificial Intelligence and Simulation of Behaviour Quarterly, 83/84, 82–83. (ISSN 0268-4179)

Compositions

Compositions with Opus Numbers

• Op. 1 Salisbury Plain (1972) fantasia for horn and piano. Da Capo Music (DC73), 1993.
  Mrs Sunderland prize for composition, Huddersfield (1st perf. Huddersfield)
• Op. 2 Pagan Overture (1973) for full orchestra. Saga Music (THA 978452), 1993 [distributor William Elkin Music Services].
  First performed Middleton Hall, University of Hull (cond. R. Marchant)
• Op. 3 Trio Apathique (1973) for clarinet, horn and piano. Da Capo Music (DC18), 1992.
  First performed Recital Room, University of Hull
• Op. 4 Scherzo (1974) for double bass and piano. Da Capo Music (DC97), 1993.
  First performed Middleton Hall, University of Hull (Bernie Cash, d. b.)
• Op. 5 Three Shakespeare Sonnets (1974) for mezzo-soprano and piano. Da Capo Music (DC69), 1993.
  Yorkshire Arts prize for composition (1st perf. Doncaster, Peter and Yvonne Seymour)
• Op. 5a Three Shakespeare Sonnets (arr. 2004) for mezzo-soprano, clarinet, cello, and piano
• Op. 6 Fugal Overture (1975) for small orchestra. Da Capo Music (DC367), 1997.
  First performed Cottingham High School, Kanon (cond. D. B. Scott)
• Op. 7 Brass Quintet (1976) for two trumpets, horn, trombone and tuba. Da Capo Music (DC4), 1992.
  First performed Middleton Hall, University of Hull
• Op. 8 Lament (1977) for fifteen instruments.
  Northern Arts prize for composition (1st perf Newcastle, Northern Sinfonia)
• Op. 9 Motorcyle Michael (1979) for narrator, young audience and chamber orchestra (words by Steve Davis).
  First performed by Johnny Morris and Milton Keynes Chamber Orchestra.
• Op. 10 Wilberforce, or The Liberator Reflects (1978-82) operetta (libretto by Steve Davis) for seven principals, ten minor characters, chorus and nine-piece band (cornet, alto saxophone, euphonium, bassoon, drums, banjo, accordion, violin and double bass).
  Performed Middleton Hall, University of Hull, 18-21 May 1983 as part of the Wilberforce sesqui-centenary celebrations
• Op. 10a Wilberforce March (1978) for brass band. Saga Music (THA 978473), 1994.
  First performed by Driffield Silver Band (Driffield)
• Op. 11 Six Blake Songs (1981) for SAATTB. Seresta Music (SER 95023), 1995.
  First performed in Goole by Hull-based ensemble Voices in Concert
• Op. 12 Suite for Harpsichord (1981). Da Capo Music (DC366), 1997.
• Op. 13 Danny Deever (1981) for baritone, trombone, timpani and piano.
  First performed Logie Theatre, University of Stirling
• Op. 14 Five Yeats Songs (1982) for low voice and piano. Da Capo Music (DC70), 1993.
• Op. 14a Five Yeats Songs (arr. 1983) for low voice and string quartet.
  Nos 3 &5 first performed Derek Scott and Allegri String Quartet, Middleton Hall, Hull
• Op. 15 The Silver Sword (1983) songs and incidental music (to Stuart Henson's play based on Ian Serraillier's novel) for soloists, chorus and small band (violin, oboe, percussion, piano, and cello). Da Capo Music (DC SP 8) &Heinemann (ISBN 0435 234072), 1998.
  Performed Hull Library Theatre, 5-7 and 12-14 December 1983
• Op. 16 The Isle of Skye (1984) original and traditional tunes for Highland bagpipe. Saga Music (THA 978452), 1993.
• Op. 17 Prelude and Fugue in E Minor (1985) for piano. Topiary: A Tribute to Anthony Hedges on His 60th Birthday. Fentone Music (F583), 1991.
  First performed Middleton Hall, University of Hull (Peter Sproston, piano)
• Op. 18 The Warning Song (1985) dramatic cantata for four principals, chorus of children and small orchestra.
  Performed Spring Street Theatre, Hull.
• Op. 19 Three Love Songs (1986) for low voice and piano.
• Op. 19a Three Love Songs (arr. 2004) for voice, violin, piano, and cello.
• Op. 20 La Marseillaise (1989) for soloists, chorus, brass quartet, strings (ad lib.), two pianos and organ.
  First performed Middleton Hall, University of Hull
• Op. 21 Clear the Decks! (1991) boogie woogie for piano.
• Op. 21a Clear the Decks! (arr. 1995) for jazz big band.
• Op. 22 Four Yeats Songs (1993) for high or low voice and piano. Da Capo Music (DC70a), 1993.
• Op. 22a Four Yeats Songs (arr. 2004) for low voice, string quartet, and piano.
• Op. 23 Symphony No. 1 (1995) for brass and percussion.
  First performed Peel Hall, University of Salford (cond. David King)
• Op. 24 Chacony (1995) for clarinet, tenor sax, trombone, percussion, electric violin, synthesizer, electric guitar, and bass guitar.
• Op. 24a Chacony (1995, rev. 2005) for full orchestra.
• Op. 25 Dafydd y Garreg Wen (1996) fantasia for male voice choir, brass band, and percussion.
• Op. 26 Symphony No. 2 (1997) for brass and percussion.
  First performed Peel Hall (1998), University of Salford Brass Band (cond. David King). 2nd perf. Hebden Bridge, 13 May 1998.
• Op. 27 Prelude and Fugue in A Minor (1998) for piano.
• Op. 28 Airs and Dances (1998), Concerto for Highland bagpipe and brass band.
• Op. 29 Perpetuum Mobile (1999) for brass band.
  First performed Peel Hall, University of Salford (cond. David King).
• Op. 30 Brannigan's Journey (2003) for orchestra.
  First performed Peel Hall (24 Oct. 2004), Salford Symphony Orchestra (cond. Barrie McKinnon) Based on music composed for the film Brannigan's March (dir. Erik Knudsen, One Day Fims), premiered Manchester, 7 June 2003 (then on limited release in 2004: Hebden Bridge, York, Manchester, Sheffield, London).
• Op. 31 Kirkliston Waltz (2005) for orchestra.

Compositions without Opus Numbers

• City of Hull Pipers [DBS 39] (March) (1986) for Highland Bagpipe, Piping Times 38:5 (February, 1986), 49.
• Wenn Mein Stündlein Vorhanden Ist, Funeral Chorale Prelude for organ [DBS 18] (1972), Da Capo Music (DC 24), 1992.

Recordings

• 2000 CD re-release of Celebrated Victorian and Edwardian Ballads, Tonic Records. Accompanies 2nd edn of The Singing Bourgeois (2001).
• 1997 CD release of Celebrated Victorian and Edwardian Ballads, Fairview 2-80250
• 1992 Recording of second cassette (examples of early vocal music, nineteenth-century lieder, and traditional airs) for above course.
• 1991 BBC recording of audio cassette to accompany second level music course A214 Understanding Music, Open University.
• 1989 'Comrades' (F. McGlennon), BBC recording for the Open University.
• 1988 Victorian Ballads, Music-Hall Songs and Folksongs, 2 audio cassettes for A102 Arts Foundation Course, Open University.
• 1988 Celebrated Victorian and Edwardian Ballads, Willerby, Yorks.: Fairview Music.
• 1985 Victorian Vocal Gems, Beverley, Yorks.: Argus Music.

Radio / TV broadcasts

Radio Broadcasts

• 2010 Participant in Piano Stool Beethovens (with Ian McMillan), BBC Radio 4, 16 Feb., 30 mins.
• 2009 Participant in 'The Good Old Days?' (Feature on music hall with Billy Bragg), BBC Radio 3, 29 Nov., 45 mins.
• 2009 Participant in Britain's Other Music Hall — The Blackface Minstrels, BBC Radio 4, 10 Nov., 30 mins.
• 2009 Participant in Michael Rosen's Oh My What A Rotten Song! (The Songs of Bob Weston and Bert Lee), BBC Radio 4, 1:30pm 16 and 20 June, 30 mins.
• 2002 Moral Notes rebroadcast Nov–Dec, BBC Radio 4
• 2001 Author and presenter of Prom Concert interval talk on musical crazes, BBC Radio 3 (5 Aug), 20 mins.
• 2001 Participant in BBC Radio 4's Moral Notes (music and morals), four programmes Jan–Feb, 30 mins each.
• 1999–2000 Participant in BBC Radio 4's All the Rage, two programmes, 30 mins each.
• 1980–82 Presenter, author and performer of two series of programmes (11 in total), BBC Radio Humberside.
• Short radio interviews (less than 10 mins) not included.

TV Programmes

• 2007 Three Kings at War rebroadcast, Channel 4, (7:00 PM, 12 May).
• 2006 Consultant and performer for Three Kings at War, Channel 4 Television, Lion TV production (9:00 PM, 14 Dec.). One-hour documentary on Queen Victoria's relatives in the first quarter of the twentieth century.
• 2005 Participant in Music for Everybody, BBC 4 Television (8:10 PM, 8 Oct.), producer Andy King-Dabbs, One-hour documentary on British light music, 1945–55, following a one-hour concert programme from the Mermaid Theatre, London.
• 1985 One of the four principal singers in jazz opera Prez, the subject of Thames Television's hour-long South Bank Show.

Public Performances

Professional experience on radio and television, and in concert hall and theatre; scriptwriter and presenter of two series of radio programmes for the BBC; Equity card holder (full member [H00094196] – minimum requirement 44 weeks' FT professional work); ex-member of Hull Truck Theatre; principal performer in London premiere of jazz opera Prez (1985) by Bernie Cash and Alan Plater; appeared on Thames Television's South Bank Show; toured extensively with ensemble Voices in Concert (1978–90) and previously as conductor for own contemporary chamber orchestra (1973–77). Toured in 1995 with Salford Soundworks (electro-acoustic ensemble) and the Norwegian composers' group Ny Musikk (Hamar, London, Manchester, Oslo, Rekjavík).

Keynote & invited lectures

• 2009 Invited lecture: Operatic Aspirations in the Late 20th-Century Musical, University of Oslo (Norway), 28 October.
• 2008 'Imagining the Nation, Imagining Europe' (invited paper). Musical Anthropologies, RMA Study Day, Senate House, University of London, 29 November.
• 2008 Invited lecture, University of Aalborg (Denmark), March.
• 2007 Invited lecture, Seminar on Cultural Musicology, University of Jyväskylä (Finland), May.
• 2007 'The Popular Music Revolution in the Nineteenth Century' (invited keynote). De-Canonizing Music History. Sibelius Academy. Helsinki, 29 Nov.–1 Dec.
• 2007 Invited chair and speaker, "Does Light Music Have a Future?" Bloomsbury Festival, School of Advanced Study, University of London Goodenough College, 19–21 October.
• 2007 Invited to organize and present a concert (involving five professional performers) interspersed with social and historical commentary: “God Bless the Music Halls”: Victorian and Edwardian Popular Song in America and Britain, Bard Music Festival, Annandale-on-Hudson, New York State, 18 Aug.
• 2007 'The Cockney and the Question of Working-Class Authenticity on the Music-Hall Stage' (invited lecture). New Issues in Theatre Historiography. University of Birmingham, 5–7 July.
• 2007 'Race and Musical Style in the 19th Century' (invited keynote). Cultural Musicology Conference. University of Jyväskylä, 7–8 May.
• 2007 'The Victorian Soirée' (invited lecture recital), University of the Third Age (U3A), Cottingham, Yorks., 19 Apr.
• 2007 'Parody and 'Aesthetic Sham' in Sullivan's Music' (invited lecture). Gilbert &Sullivan Society, 16th National Convention, Stockport, 14 Apr.
• 2007 'Ravel and Orientalism' (invited lecture). Queen Elizabeth Hall, London, 21 Feb.
• 2006 'Music, Modernity and Politics in the Cabarets of Late Nineteenth Century Paris' (invited lecture). University of Copenhagen, 29 Sep.
• 2006 'The Revolution in European Popular Song in the 19th Century' (Inaugural Lecture as Adjunct Professor of Music, Aalborg Universitet, 26 Sep.
• 2005 'Rational Amusement in the Home' (invited lecture). Domestic Interiors. Birkbeck and RAM research seminar series. Senate House, University of London, January.
• 2004 Invited speaker on music and imperialism panel. American Musicological Society Annual Conference. Seattle, November.
• 2004 'The Musical Soirée' (invited lecture recital). Interdisciplinary Nineteenth Century Studies Conference. University of Iowa, April.
• 2003 Respondent to papers by Lawrence Kramer and Bruce Robbins (invited). In(ter)discipline: New Languages for Criticism. University of Cambridge, September.
• 2003 'From the Erotic to the Demonic: Scaling the Heights and Plumbing the Depths of Musicology' (invited keynote). Aontas Ceoleolaíochta na hÉireann (Society for Musicology in Ireland), 1st Annual Conference, Maynooth, May.
• 2002 Invited to give the music lecture at the 17th Annual Darwin College Lecture Series, University of Cambridge, on the theme of Power, 22 February. (The second time only that music had featured in this series.)
• 1999 Inaugural Lecture (the Cockney in music hall), Peel Hall, University of Salford.
• 1998 Invited lecture on British music hall, New England Conservatory, Boston, USA, November.
• 1998 'The Impact of African-American Music-Making on the Western European Classical Tradition' (invited keynote). Black American Music. University of Utrecht, May.
• 1997 'Culture, Politics, and the British National Anthem' (invited lecture). Royal Dutch Academy Ethnology Symposium. Amsterdam, April.
• 1995 'The Victorian Drawing-room Ballad' (invited lecture recital). Defining Centres, Research Society for Victorian Periodicals International Conference. University of Edinburgh, July.

Conference papers (oral)

• 2008 'A Revolution on the Dance Floor, a Revolution in Musical Style: The Viennese Waltz'. 15th Biennial International Conference on Nineteenth-century Music, University College Dublin, 25–28 June.
• 2008 'Imagining the Nation, Imagining Europe'. Singing Europe: Spectacle and Politics in the Eurovision Song Contest,Volos, Greece, 29 February – 2 March.
• 2007 'The Chat Noir and the Birth of the Chanson Moderne.' American Musicological Society Annual Conference. Quebec, 31 October–4 November.
• 2007 'Sullivan's Demonic Tea-making Scene: Homage to Weber, or Parody?' Die 'Schaubühne' in der Epoche des “Freischütz.” International Salzburg Association, 31 July–4 August.
• 2007 'Copyright in the 21st Century: The Slow Transition from 'Permission Required' to Fair Use' (symposium organizer &chair). 18th International Congress of the IMS. University of Zürich, 10–15 July.
• 2007 'Success or Excess, Concept or Conceit? Exploring the Paradoxes of Sgt Pepper.' Sgt Pepper at 40. University of Leeds, 19 June.
• 2006 'The Revolution in European Popular Song' (evening session). American Musicological Society Annual Conference. Los Angeles, November.
• 2006 Session xii: “Global Musical Encounters” (chair). 14th Biennial 19th Century Music Conference. University of Manchester, 4–7 July.
• 2006 'Monostatos and the Question of Racism in Die Zauberflöte.' Mozart Then and Now. The British Library Conference Centre, 29–30 January.
• 2005 Invited chair of 20th century Session vi: “Technique and Presentation Today.” Royal Musical Association, 41st Annual Conference. Manchester, November.
• 2005 'A Problem of Race in Directing Die Zauberflöte. 'Regietheater': Konzeption und Praxis am Beispiel der Bühnenwerke Mozarts. International Salzburg Association, August.
• 2005 'Imperialism and Anti-Imperialism in 19th-Century Popular Song.' 5th Biennial International Conference on Music in Nineteenth-Century Britain. University of Nottingham, July.
• 2004 'The Reception of Black and Blackface Minstrelsy in Nineteenth-Century Britain.' American Musicological Society Annual Conference. Seattle, November.
• 2004 'The City, The Region and the Other' (organizer and chair of panelr). Popular Music: Issues of Culture and State,IASPM UK and Ireland Biennial Conference. Coláiste Mhuire Gan Smál, University of Limerick, July.
• 2004 'In Search of Genetically-Modified Music: Race and Musical Style in the 19th Century.' 13th Biennial International Conference on Nineteenth-Century Music. University of Durham, July.
• 2003 'English Identity and the Victorian Popular Stage.' International Conference on Music and National Identity. Ionian University, Corfu, November.
• 2003 'The Impact of Black Performance on the19th-Century Stage.' Das (Musik) Theater in Exil und Diktatur und seine Rezeption. International Salzburg Association, August.
• 2003 'Blackface Minstrels, Black Minstrels, and Their Impact on British Popular Music.' 4th Biennial International Conference on Music in Nineteenth-Century Britain. School of Music, University of Leeds, July.
• 2002 'The Demonic in the Music of Franz Liszt.' Royal Musical Association, 38th Annual Conference. Glasgow, November-December.
• 2002 Invited chair of panel on Victorian music and literature. American Musicological Society. Columbus, Ohio, November.
• 2002 'Mimesis, Gesture, and Parody in Musical Word-Setting' (invited paper). Words and Music Symposium. University of Liverpool, September.
• 2002 'Ideology, Identity, and Musical Style' (invited paper). Music and Sociology Conference. Nordens Folkliga Akademi. Göteborg, Sweden, August.
• 2002 'Popular Music in Higher Education' (organizer of round table, and speaker). IASPM UK. University of Newcastle, July.
• 2002 'Musical Parody and 'Aesthetic Sham' in Offenbach and Sullivan' and Chair of Round Table: Musical Parody and Tribute on the Popular Stage. Invited Organizer. 12th Biennial International Conference on Nineteenth-Century Music. University of Leeds, July.
• 2001 'Diabolus in Musica: Liszt and the Demonic.' American Musicological Society Annual Conference. Atlanta, November.
• 2001 'Englische nationale Identität und die Operetten von Gilbert und Sullivan.' Politische Mythen und nationale Identitäten im (Musik)Theater. International Salzburg Association, August.
• 2001 'The Impact of African-American Music-Making on Parisian Concert Music of the 1920s.' Americans in Paris Conference. Mona Bismarck Foundation, Paris, July.
• 2001 'English National Identity and the Operas of Gilbert and Sullivan.' Music in Nineteenth-Century Britain, 3rd Biennial Conference. RCM, July.
• 2001 'Variety Performance on Stage and Film.' Music and Film, RMA Annual Conference. University of Southampton, April.
• 2000 'No Smoke Without Water: The Incoherent Message of Montmartre Cabaret.' International Conference on Nineteenth-Century Music. Royal Holloway, Egham, July.
• 2000 'What's the Copy? The Beatles and Oasis.' Beatles 2000 Conference. University of Jyväskylä, Finland, June.
• 2000 'The Reception of Jazz in the UK, 1912-54.' European Jazz Conference. Carolinum University, Prague, June.
• 1999 'Variety Performance on Stage and Film: The Dictates of Different Media.' Das Musiktheater in den audiovisuellen Medien. Universities of Vienna, Siegen, and Salzburg, Salzburg, August.
• 1999 'The Music Hall Cockney [invited lecture recital].' Music in 19th-Century Britain, 2nd Biennial Conference. University of Durham, July.
• 1999 'The Impact of African-American Music-Making on the European Classical Tradition.' British Musicological Societies, 3rd Triennial Conference. University of Surrey, July.
• 1999 'Ideology and Musical Style' [paper] and 'Musicology and the French Critical Gaze' [invited chair and respondent]. Rethinking Interpretive Traditions. University of Tel Aviv, June.
• 1998 'Replication and Reflexivity on the Music Hall Stage.' Music and Theatre. RMA Annual Conference. New College, Oxford, March.
• 1997 Chair of Jazz and Pop session (invited). International Musicological Society 16th International Congress. London, August.
• 1997 'The Native American in Popular Music.' The Ethnic in Music. University of Leeds, July.
• 1997 Speaker and Chair of Round Table: “Authority, Discipline and the Study of Musical Difference.” Music Studies and Cultural Difference. Open University, London, July.
• 1996 'Orientalism and Musical Style.' British Musicology Conference. King's College, London, April.
• 1996 B'ruckner and the Dialectic of Darkness and Light.' International Bruckner Conference. University of Manchester, April.
• 1992 'The Sexual Politics of Victorian Musical Aesthetics.' International Conference on Nineteenth-Century Music. Exeter University, September.
• 1992 'Sexuality and Musical Style from Monteverdi to Mae West.' Music and Eroticism, RMA 27th Annual Conference. Exeter College, Oxford, March.
• 1991 'Sexuality and Musical Style from Monteverdi to Mae West.' International Music and Gender Conference. King's College London, July.

• 2008 3000 Euros from HERA for international workshop on urban cultural dynamics.
• 2008 $2000 from Gustav Reese Foundation towards publication costs of Sounds of the Metropolis.
• 2007 £32,348 from AHRC for research leave.
• 2006 £1428 from British Academy for research in Vienna.
• 2004 £219, 970 from ESF for a two-year Gender &Digitization project.
• 2003 £6000 to fund two-month visiting research professorship.
• 2002 £17,000 raised for a Bookeye scanner for Salford's Brass Band Archive.
• 1999 £12,000 from AHRB for research leave.
• 1997 £168,000 of FDTL money to lead a project concerning strategies for the assessment of popular music performance. Two further extensions of funding of some £40,000 were obtained to extend the project by six months.
• 1996 £4000 for an academic partnership research project (British Council and Norwegian Research Council).

University College Bretton Hall, 1995–97; Leeds College of Music, 1996–98; University of Derby, 1997–99; Oxford Brookes University (MA), 1998–2000; Brunel University, 1999–2001; University of the Highlands and Islands, 1999–2003; University of Southampton, 2000–2004; City University (London), 2002–4; National Institute of Education, Singapore (MA), 2004; University of Ulster 2005–9, Queen's Belfast 2009–.

PhD Examining

University of Edinburgh, 1994; University of Leeds, 1996; University College Bretton Hall, 1996; Strathclyde University, 1999; University of Southampton, 2000; University of Central England, 2002; City University (London), 2002; Southern Cross University (Australia), 2003; Rhodes University, Grahamstown (South Africa), 2003, University of Leeds, 2003; University of Birmingham [MPhil], 2005; University of Oxford [D.Litt], 2005, University of Westminster, 2005, University of Leeds, 2005, University of Cardiff, 2006, University of Durham, 2006, University of Westminster, 2007, University of Wales, Bangor, 2007, University of Durham, 2007, University of London, 2007, University of Liverpool [MPhil], 2007, University of York, 2007; University of Ulster, 2008; University of Durham, 2008; City University, 2008; University of Nottingham, 2008.

• 2004 Member of International Editorial Board for Jazz Research Journal.
• 2004 Member of International Advisory Board for Studia Musicologica Norvegica.
• 1998 General Editor of the Popular &Folk Music Series (Aldershot: Ashgate, 1998 to present): 65 books published as of March 2010.
• 1996–99 Member of Editorial Board of Critical Musicology Journal (StudyWeb award-winning internet journal).
• 1994 Associate Editor of Popular Musicology, now Popular Musicology Online (1994 to present, ISSN 1357-0951): <http://www.popular-musicology-online.com/>

• 2004 Chair and joint organizer of two workshops, Quality Standards &Enhancement Conference, UHI, Aviemore, Scotland, 2–3 September.
• 2003–7 Chair of Academic Council for Rockschool examinations.
• 2000 Chair of Review Panel for MMus Composition for Screen, Royal College of Music.

• 2005–6 Member of steering committee for Biennial International Interdisciplinary Nineteenth Century Studies Conference (Durham, 2006).
• 2005–6 One of three organizers of 14th Biennial International Conference on Nineteenth-Century Music (Manchester, 2006).
• 2004–7 Steering committee (one of three), Manchester Centre for Music in Culture, day conferences.
• 2003 Royal Musical Association 36th Annual Research Students' Conference, Salford, 9–11 January.
• 1995 Goodbye Great Music? The first UK Critical Musicology Conference, Salford, 1–2 April. Some seventy delegates were present, representing over thirty different universities in the UK, Europe and North America.

Current Research Students

• James Félix, “Fado, Authenticity, and Portuguese National Identity.”
• Nigel Horne, Portfolio of Compositions.
• Nikos Ordoulidis, “Vasilis Tsitsanis as Composer and Performer.”
• Xiao Ping Lu, “Han National Culture and the Guqin.”
• Sharadai Rambarran, “Postmodern Strategies in British Popular Music since 1999.”
• Lauren Redhead, “Composition and Non-Linearity.”
• Young Mi Song, “Korean Municipal Orchestras.”
• Nicola Smith, “Socio-Cultural Identity Constructs in Northern Soul.”
• Jessica Walker, “The Opera Singer in Contemporary Britain.”
• Christian Weaver, “Cuban Rumba and Its Socio-Religious Contexts.”
• Roxanne Yeganegy, “The Cultural Significance of the Contemporary Arts Festival.”

Past Research Students

• Jesus Bello, Portfolio of Compositions and Critical Evaluation.
• Robin Dewhurst (DMA), Portfolio of Compositions and Arrangements.
• Ian Dobie, “The Impact of New Technologies and the Internet on the Music Industry, 1997–2001.”
• Peter Graham, Portfolio of Published Compositions and Critical Evaluation.
• Tommy Harrison, “Van Halen: Changes in Their Stylistic Development as a Result of Shifts in the Music Industry, and a Critical Look at the Impact on Their Audience, 1978–1986.”
• David King (DMA), Portfolio of Performances and Recordings.
• Erik Knudsen, Portfolio of Films and a Critical Evaluation.
• Roy Newsome, “The 19th-Century Brass Band in Northern England: Musical and Social Factors in the Development of a Major Amateur Musical Medium.”
• Beate Peter, “Jung on the Dance Floor.”
• Xiao Yan Qin, “The Chinese Government's Culture and Arts Policy, and the International Exchange of Performing Arts, 1949–2005.”
• Nicola Spelman, “Popular Music and the Anti-Psychiatry Movement.”
• Tim Warner, Portfolio of Publications on the Impact of Audio Technology on Popular Music and Critical Evaluation.
• Roger Webster, New Developments in the Teaching of Trumpet Technique: A Psychomusicological Approach.
• Louisa Yong, “A Web-Based Audio Synthesis Resource: A Case Study in Manchester and Salford.”

Abstract

PhD awarded for The Singing Bourgeois; see single-authored books.

MMus (2 yrs FT) awarded for original compositions, and dissertation “The Symphonies of Arnold Bax” (1977).

• 1997–99 CD ROM on assessment strategies in popular music performance funded by FDTL (Fund for the Development of Teaching and Learning).
• 2000–01 Member of Quality Assurance Agency's Academic Standards Benchmarking Group for Music and co-author (with others) of QAA music benchmarks document.

• 2004 Chair and joint organizer of two workshops, Quality Standards &Enhancement Conference, UHI, Aviemore, Scotland, 2–3 September.

• 2004–6 Co-ordinator of ESF funded project: Gender and the Digital Creative Industries.

Other WP related activities

• 2002–4 Member of ESF funded project: Gender and the Music Industry.

• 2009 Public interview and Q&A session with Slavoj Žižek relating to the work of Richard Wagner, Howard Assembly Room, Opera North, Leeds, Tuesday, 10 Mar.
• 2009 Invited research seminars (2): Theory and Method in Popular Musicology, University of Tampere (Finland), 11–12 May.
• 2008 Minstrelsy and Ballads, presentation and performance, A Municipal Musical Miscellany, CCCH, Leeds, September. (Celebrating sesqui-centenary of Leeds Town Hall.)
• 2003–6 Member of ESF funded Freeflow project to showcase student performance on the Internet.

Other EKT related activities

• 2006 Consultant and performer for Three Kings at War, Channel 4 Television, Lion TV production (first broadcast 14 Dec.).
• 2006 Invited to Virrat, to give two lectures and comment on research papers at the annual research retreat for music PhD students from the Finnish universities and the Sibelius Academy (June).
• 2003 Invited to attend European Institutes of Liberal Arts Senior Managers' Forum, Getty Research Centre, Los Angeles, 1–4 December.
• 2000 Invited to present a morning lecture and lead an afternoon discussion on the theme of “The German Tradition vs. New Musicology vs. Critical Musicology,” Musicology Debate Week, Aalborg University (Denmark), November.

• Professional experience on radio and television, and in concert hall and theatre; Equity card holder (1981–98). See TV and radio broadcasts.

• Conductor of contemporary chamber orchestra, Kanon (1973–77).

• Toured extensively with ensemble 'Voices in Concert' (1978–90)
• Toured in 1995 with Salford Soundworks (electro-acoustic ensemble) and the Norwegian composers' group Ny Musikk (Hamar, London, Manchester, Oslo, Rekjavík).

• Ex-member of Hull Truck Theatre; principal performer in London premiere of jazz opera Prez by Bernie Cash and Alan Plater, 1985.

• Popular Musicology Online (opens in a new window)
• The Drawing-room Ballad or Parlour Song (opens in a new window)
• Sounds of the Metropolis - Oxford University Press (opens in a new window)