Professor Derek Scott
Professor of Critical Musicology
0113 343 2589
Office hours: Monday 4.00-5.00pm (Semester 2 only)
PhD, MMus, BA, PGCE
Derek B. Scott is Professor of Critical Musicology and researches into music, culture and ideology. He has a special interest in the historical sociology of popular music and music for the stage. His musical compositions range from music theatre to symphonies for brass band and a concerto for Highland Bagpipe. He has also worked professionally as a singer and pianist on radio and TV, and in concert hall and theatre.
Derek B. Scott is the author of The Singing Bourgeois (1989, R/2001), From the Erotic to the Demonic: On Critical Musicology (2003), Sounds of the Metropolis: The 19th-Century Popular Music Revolution in London, New York, Paris, and Vienna (2008), and Musical Style and Social Meaning (2010). He is the editor of Music, Culture, and Society: A Reader (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 sociocultural study of music. He is the General Editor of Ashgate’s Popular and Folk Music Series (over 90 books published between 2000 and 2012), 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.
- 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
Derek B. Scott’s earlier work examined 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, musical comedy, operetta, and Britpop.
- MUSS1020 Understanding Music
- MUSS1030 Music in History and Culture
- MUSS2721 Music in Context
- MUSI 3140 Dissertation
- MUSI 5060M Introduction to Musical Scholarship
Head of the School of Music (Aug. 2009 – Feb. 2013).
(2015) The Business of Opera. Ashgate Interdisciplinary Studies in Opera. Farnham: Ashgate.
(2011) Bawdy Songbooks of the Romantic Period, Volume 4.. Bawdy Songbooks of the Romantic Period. London: Pickering & Chatto.
(2010) Musical Style and Social Meaning. Ashgate Contemporary Thinkers on Critical Musicology. Farnham, UK: Ashgate.
(2009) The Ashgate Research Companion to Popular Musicology. Ashgate Research Companions. Farnham: Ashgate.
(2008) From The Erotic To The Demonic: On Critical Musicology.
(2008) Sounds of the Metropolis: The 19th-Century Popular Music Revolution in London, New York, Paris, and Vienna. New York: Oxford University Press.
(2003) From the Erotic to the Demonic: On Critical Musicology. New York: Oxford University Press.
(2001) The Singing Bourgeois: Songs of the Victorian Drawing Room and Parlour. Expanded 2nd edn. Aldershot: Ashgate.
(2000) Music, Culture, and Society: A Reader. Oxford: Oxford University Press.
(2014) “Invention and Interpretation in Popular Music Historiography”, Beiträge für Popularmusikforschung Helms D; Phelps T (eds.). : 41-54.
Repository URL: http://eprints.whiterose.ac.uk/95096/
(2013) “Review of The Life and Music of Eric Coates, by M. Payne (Ashgate, 2012)”, NABMSA Newsletter. Spring: 6-7.
(2013) “Review of Daniel M. Grimley, ed., Jean Sibelius and His World.”, Music and Letters. 94.2: 352-54.
(2011) “La révolution des musiques populaires au xix-ème siècle”, Musurgia: analyse et pratique musicales Julien, O. (Translator) (eds.). 18.4: 45-60.
(2011) “Review of Regina B. Oost, Gilbert and Sullivan: Class and the Savoy Tradition, 1875–1896.”, Music and Letters. 92.2: 307-310.
(2011) “Orientalism and Musical Style”, Mahoor Music Quarterly Chubineh, N. (Translator) (eds.). 14.53
(2009) “Review of Peter Holman, ed., Charles Dibdin: The Sadler’s Wells Dialogues (1772–1780).”, Early Music Performer, Journal of the National Early Music Association. 25: 37-38,.
(2009) “Review of Charles Dibdin: The Sadler's Wells Dialogues, by P. Holman”, Early Music Performer. 25: 37-38.
(2007) “Review of E. David Gregory, Victorian Songhunters: The Recovery and Editing of English Vernacular Ballads and Folk Lyrics, 1820–1883.”, Music and Letters. 88.4: 684–85,+.
(2006) “In Search of Genetically Modified Music”, Nineteenth-Century Music Review. 3.1: 3-23,.
(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) “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. : 1-19,.
(2004) “Review of Paul Maloney, Scotland and the Music Hall, 1850–1914.”, Music and Letters. 85.3: 469–71,+.
(2003) “Ideology and Musical Style”, Orbis Musicae Burstyn S; al E (eds.). 13: 107-115,.
(2002) “The Music-Hall Cockney: Flesh and Blood, or Replicant?”, Music and Letters. 83.2: 237–59,+.
(2002) “Music and Social Class in Victorian London”, Urban History. 29.1: 60-73,.
(1998) “Review of F. Gunther Eyck, The Voice of Nations: European National Anthems and Their Authors, Chapter 2, ‘The United Kingdom’, 13–21”, Volkskundig Journal of Ethnology.
(1998) “Orientalism and Musical Style”, Musical Quarterly. 82.2: 309-35,+.
(1995) “Popular Music in the UK During the Second World War”, Popular Muscology. 2: 55-59,.
(1994) “The Sexual Politics of Victorian Musical Aesthetics”, Journal of the Royal Musical Association. 119.1: 91-114,.
(1994) “Incongruity and Predictability in British Dance-Band Music of the 1920s and 1930s”, Musical Quarterly. 78.2: 290-315,.
(1993) “Review of S M Schwanauer & D A Levitt, eds, Machine Models of Music.”, Artificial Intelligence and Simulation of Behaviour Quarterly. 85: 64-65,.
(1993) “Review of M Balaban, K Ebcioglu & O Laske, eds, Understanding Music with AI: Perspectives on Music Cognition.”, Artificial Intelligence and Simulation of Behaviour Quarterly. 83/84: 82-83,.
(1991) “Music and Ideas: A State of Flux (Review Article)”, Musical Quarterly. 75.1: 82-92,.
(1990) “Music and Sociology for the 1990s: A Changing Critical Perspective”, Musical Quarterly. 74.3: 385-410,.
(1981) “Platonis Orpheus”, Composer. 72: 11-15,.
(2015) ““I changed my Olga for the Britney”: Occidentalism, Auto-Orientalism, and Global Fusion in Music”, In: Kurkela V; Mantere M (eds.) Critical Music Historiography: Probing Canons, Ideologies and Institutions. Farnham: Ashgate. 141-159
Repository URL: http://eprints.whiterose.ac.uk/95107/
(2014) “Comic Style and Character Psychology in the Music of Arthur Sullivan”, In: Heikkinen O; Kilpiö K; Mantere M; Rantanen S; Tolvanen H; Uimonen H (eds.) Valistus on viritetty: Esseitä musiikista, huvittelusta ja historiasta. Helsinki: Sibelius-Akatemian julkaisuja. 203-217
(2014) “Musical Theatre(s)”, In: Greenwald HM (eds.) The Oxford Handbook of Opera. Oxford Handbooks in Music. New York: Oxford University Press. 53-72
DOI: 10.1093/oxfordhb/9780195335538.001.0001, Repository URL: http://eprints.whiterose.ac.uk/95097/
(2014) “German operetta in the west end and on broadway”, In: Popular Musical Theatre in London and Berlin: 1890-1939. 62-80
(2013) “Comic Style in Sullivan’s Music”, In: The Magic That Is Gilbert & Sullivan. Halifax: International Gilbert & Sullivan Festivals. 43-54
(2013) “Imagining the Balkans, Imagining Europe: Balkan Entries in the Eurovision Song Contest”, In: Pennanen RP; Poulos PC; Theodosiou A (eds.) Ottoman Intimacies, Balkan Musical Realities. Papers and Monographs of the Finnish Institute at Athens. Helsinki: Finnish Institute at Athens. 125-135
Repository URL: http://eprints.whiterose.ac.uk/95101/
(2011) “Postmodernism and Music”, In: Sim S (eds.) The Routledge Companion to Postmodernism. Third Edition (revised). Routledge. 182-193
(2011) “Postmodernism and Music”, In: Sim S (eds.) The Routledge Companion to Postmodernism. 3rd Edition (revised). London: Routledge. 182–93.+
(2010) “The Britpop Sound”, In: A Bennett; J Stratton (eds.) Britpop and the English Music Tradition. Farnham: Ashgate. 103-122
(2009) “Sullivan’s Demonic Tea-making Scene: Homage to Weber, or Parody?”, In: Die Schaubühne in der Epoche des Freischütz. Anif/Salzburg: Verlag Müller-Speiser. 1-9
(2009) “The Popular Music Revolution in the Nineteenth Century: A Third Type of Music Arises”, In: Väkevä L (eds.) De-Canonizing Music History. Cambridge Scholars Publishing. 3-19
(2009) “Edward Said and the Interplay of Music, History and Ideology”, In: Ghosh R (eds.) Edward Said and the Literary, Social, and Political World. New York: Routledge. 104-123
(2008) “Two articles (Gilbert & Sullivan, Music Halls)”, In: Howell JW (eds.) The Greenwood Encyclopedia of Love, Courtship, & Sexuality Through History: The Nineteenth Century.
(2007) “A Problem of Race in Directing Die Zauberfloete”, In: Kühnel J; Müller U; Panagl O; et al. (eds.) Regietheater: Konzeption und Praxis am Beispiel der Bühnenwerke Mozarts. Anif/Salzburg: Verlag Müller-Speiser. 338-344
(2007) “Incongruity and Predictability in British Dance-Band Music of the 1920s and 1930s”, In: Moore AF (eds.) Critical Essays in Popular Musicology. Aldershot: Ashgate. 337-362
(2006) “Blackface Minstrels, Black Minstrels, and Their Impact on British Popular Music”, In: Rushton J; Cowgill R (eds.) Europe, Empire and Spectacle in 19th-Century British Music. Aldershot: Ashgate. 265-280
(2005) “England”, In: Continuum Encyclopedia of Popular Music of the World. London: Continuum. 329-340
(2005) “The Impact of Black Performance on the 19th-Century Stage”, In: Csobábi P; al E (eds.) Das (Musik)Theater in Exil und Diktatur und seine Rezeption. Anif/Salzburg: Verlag Müller-Speiser. 262-274
(2005) “Mimesis, Gesture, and Parody in Musical Word-Setting”, In: Williamson J (eds.) Words and Music. Liverpool: University of Liverpool Press. 10-27
(2005) “The Power of Music”, In: Blackwell A; MacKay D (eds.) Power. Cambridge: Cambridge University Press. 96-115
(2004) “Nine articles”, In: Matthew HCG; Harrison BH (eds.) Oxford dictionary of national biography. Oxford: Oxford University Press.
(2004) “Bruckner’s Symphonies – A Reinterpretation”, In: Williamson J (eds.) The Cambridge companion to Bruckner. Cambridge Univ Pr.
(2004) “Postmodernism and Music”, In: Sim S (eds.) Companion to Postmodernism. 2nd. London: Routledge. 122-132
(2004) “Light Music and Easy Listening, 1920-70”, In: Cook N; Pople A (eds.) The Cambridge History of Twentieth Century Music. Cambridge: Cambridge University Press. 307-335
(2003) “English National Identity and the Comic Operas of Gilbert & Sullivan”, In: Zon B; Horton P; Britain SFTSOMIN-C (eds.) Nineteenth-century British music studies. Ashgate.
(2003) “English National Identity and the Comic Operas of Gilbert & Sullivan”, In: Csobádi P (eds.) Politische Mythen und nationale Identitäten im (Musik-)Theater. Verlag Müller-Speiser. 869–77+
(2003) “61 bibliographic entries, 15 subject entries”, In: Knakkergaard M; Gravesen F (eds.) Gads musikleksikon. Copenhagen: Gards Forlag.
(2001) “Variety Performance on Stage and Film”, In: Csobádi P (eds.) Das Musiktheater in den audiovisuellen Medien. Anif/Salzburg: Verlag Müller-Speiser. 133–42+
(2001) “(What’s the Copy?) The Beatles and Oasis”, In: 2000 BC; Jyväskylä (eds.) Beatlestudies.
(2001) “Orientalism and Musical Style”, In: Williams P (eds.) Edward Said. London: Sage.
(2001) “Charlotte Alington Barnard”, In: Sadie S; Grove G (eds.) The new Grove dictionary of music and musicians. London: Macmillan.
(2001) “Music and Social Class”, In: Samson J (eds.) Cambridge History of Nineteenth Century Music. Cambridge: Cambridge University Press. 544–67+
(1998) “Postmodernism and Music”, In: Sim S (eds.) The Icon critical dictionary of postmodern thought.
(1998) “Cultuur, politiek en de Britse nationale hymne”, In: Grijp LP; De Bruin, M. (Translator) (eds.) Nationale hymnen. Amsterdam: SUN/Meertens Instituut. 112–27+
(1995) “The Jazz Age”, In: Banfield S (eds.) The Blackwell History of Music in Britain. Oxford: Blackwell. 57–78+
(1994) “Seven short articles”, In: Sadie JA; Samuel R (eds.) The New Grove dictionary of women composers. London: Macmillan.
(1993) “Sexuality and Musical Style from Monteverdi to Mae West”, In: Miller S (eds.) The Last post. Manchester Univ Pr.
All my conference activity is listed under "Conferences" in Professional Activities..
Research Projects & Grants
- 2013 €1,061,762 ERC award for project “German Operetta in London and New York, 1907-1939: Cultural Transfer and Transformation”
- 2012 £850 Music & Letters funding towards the Leeds Opera conference of Apr. 2012.
- 2010 £1516 BA award for project “Song Performance in Early Sound Film.”
- 2009 £3960 HEIF funding for project “Song at the Year’s End.”
- 2008 €3000 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).
Research Centres & Groups
Leeds University Centre for Opera Studies (LUCOS)
Popular Cultures Research Network (PCRN)
- 2006–12 Adjunct Professor of Music, University of Aalborg, Denmark.
- 1998– General Editor of the Popular &Folk Music Series (Aldershot: Ashgate, 1998 to present): 100 books published as of March 2013.
- 2004 Member of International Editorial Board for Jazz Research Journal.
- 2004 Member of International Advisory Board for Studia Musicologica Norvegica.
- 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.
- 2004–7 Member of AHRC Peer Review College.
- 2005–7 Research project reviewer for Agentúra pre podporu výskumu a vývoja (Slovakia).
- 2010 Research project reviewer Der Fonds zur Förderung der wissenschaftlichen Forschung (Austria).
- 2000 Chair of Review Panel for MMus Composition for Screen, Royal College of Music.
- 2005–6 and 2011–12 Member of organizing committees for the Biennial International Interdisciplinary Nineteenth Century Studies Conferences held at Durham in 2006 and Edinburgh in 2012.
- 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.
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–.
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; University of Ulster, 2010; City University, 2010; University of Oslo, 2011; EUI Florence, 2011; City University, 2012; Brunel University, 2012; Goldsmiths, 2012.
PhD & Postdoctoral Supervision
Current Research Students
- James Félix, “Fado, Authenticity, and Portuguese National Identity.”
- Nikos Ordoulidis, “Vasilis Tsitsanis as Composer and Performer.”
- Xiao Ping Lu, “Han National Culture and the Guqin.”
- Jessica Walker, “The Opera Singer in Contemporary Britain.”
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.”
- Nigel Horne (MPhil), Portfolio of Compositions and Critical Evaluation.
- 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.”
- Sharadai Rambarran, “Postmodern Strategies in British Popular Music since 1999.”
- Lauren Redhead, “Relational Aesthetics: A Practice-Led Investigation into Their Ontological Basis.”
- Nicola Smith, “Performing Fandom on the British Northern Soul Scene: Competition, Identity and the Post-Subcultural Self.”
- Young Mi Song, “Korean Municipal Orchestras: Current problems and Future Prospects.”
- Nicola Spelman, “All the Madmen: Popular Music, Anti-Psychiatry, and the Myths of Madness.”
- Tim Warner, Portfolio of Publications on the Impact of Audio Technology on Popular Music and Critical Evaluation.
- Christian Weaver, “The Voice of the Drum in the Vision of the Dispossessed: Social Context, Musical Language and Participation in Cuban Rumba.”
- Roger Webster, “New Developments in the Teaching of Trumpet Technique: A Psychomusicological Approach.”
- Roxanne Yeganegy, “Aesthetic Experimentation and the Contemporary Boutique Festival: Participation, Enchantment and the Evolution of Audience Experience.”
- Louisa Yong, “A Web-Based Audio Synthesis Resource: A Case Study in Manchester and Salford.”
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).
- 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 vocal 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.
- 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.
- 2002–4 Member of ESF funded project: Gender and the Music Industry.
Enterprise and Knowledge Transfer
- 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.
1999–2000 Participant in BBC Radio 4’s All the Rage, two programmes, 30 mins each.
2001 Participant in BBC Radio 4’s Moral Notes (music and morals), four programmes Jan–Feb, 30 mins each.
2001 Author and presenter of Prom Concert interval talk on musical crazes, BBC Radio 3 (5 Aug), 20 mins.
2002 Moral Notes rebroadcast Nov–Dec, BBC Radio 4
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.
2009 Participant in Britain’s Other Music Hall—The Blackface Minstrels, BBC Radio 4, 10 Nov., 30 mins.
2009 Participant in “The Good Old Days?” (Feature on music hall), BBC Radio 3, 29 Nov., 45 mins.
2010 Participant in Piano Stool Beethovens (with Ian McMillan), BBC Radio 4, 16 Feb., 30 mins.
2010 Participant in Chopsticks at Dawn (with Anna Chen and Jonathan Walker), producer Chris Eldon Lee. BBC Radio 4, 8 Jun., 30 mins.
2011 Today programme on BBC Radio 4, discussing successful musical devices in Eurovision Song Contest, and playing and singing excerpts from his own “perfect” song. Sat. 14 May, 07:40. <http://news.bbc.co.uk/today/hi/today/newsid_9485000/9485886.stm>
2011 Newshour on BBC World Service radio, discussing Eurovision. Sat. 14 May. <http://www.bbc.co.uk/iplayer/episode/p00gk5kp/Newshour_14_05_2011_%281300_GMT%29/>
2011 “As It Happens,” CBC Radio (Canadian Broadcasting Corporation), 16/05/2011 (station broadcasting throughout Canada and the USA). <http://www.cbc.ca/video/news/audioplayer.html?clipid=1930215381>
2011 Participant in The Devil in Music (presented by film composer Christopher Young), producer Colin McNulty. BBC Radio 3, 19 November. 45 mins.
2011 Participant in programme on Thomas Hardy and music, presenter David Owen Norris, producer Elizabeth Burke. BBC Radio 4, 10 December. 30 mins.
Local radio interviews not included.
TV BROADCASTS AND FILMS
1985 One of the four principal singers in jazz opera Prez, the subject of Thames Television’s hour-long South Bank Show.
2005 Participant in Music for Everybody, BBC FOUR 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.
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.
2007 Three Kings at War rebroadcast, Channel 4 (7:00 PM, 12 May).
2009 Performer of “On the Road to Mandalay” used in feature-length film Under the Radar: Burma, Adventure Film Productions, Paris. <http://celebritydarwinism.com/burma.html>
2009 3 musical performances contributed to film Mapping the Moment: Performance Culture in Nottingham 1857–67 (dir. Emma Rayner). <http://www.youtube.com/watch?v=4eqbIpb8YEg>
2010 Consultant for Sacred Music (Series Two) Programme 1: Brahms and Bruckner, Series Producer Helen Mansfield, BBC 4 (March).
2011 Two appearances on BBC Breakfast TV (08:55 & 09:20). (not online) BBC World News discussing Eurovision (14 May). (not online)
2011 Academic contributor and performer for The Story of Music Hall, presented by Michael Grade. BBC 4 (25 October). 90 minutes, feature length documentary. (Repeat broadcasts: 11:20 PM, 26 Oct., 10:00 PM, 12 Jan. 2012) <http://www.bbc.co.uk/iplayer/episode/b016fn23/The_Story_of_Music_Hall_with_Michael_Grade/>
2012 Contributor to Titanic: A Commemoration in Music and Film, a mixture of music and documentary presented by John Humphrys. BBC 2 (90 mins) – talking about the Titanic’s band and the music played on board in April 1912. Sat., 14 Apr., 8:30 PM. <http://www.bbc.co.uk/iplayer/episode/b01g99m8/Titanic_A_Commemoration_in_Music_and_Film/>
2012 Academic contributor and performer for Len Goodman’s Dancing Feet, a documentary of ballroom dance produced by Roger Keech and Paul Greenan. BBC FOUR (Dec.)
2012 Academic contributor and performer for The One and Only Mrs Mills, a documentary of the popular pianist. BBC FOUR (Sep.)
- 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)
2007 Stevie Smith, “Overarchingly Elgar: Victorian, Modern, Worldly and Quite British.” New York Times (21 August). <http://www.nytimes.com/2007/08/21/arts/music/21elga.html>.
2010 Video of public interview and Q&A session with Slavoj Žižek, Leeds (10 March 2009). <http://zizekstudies.org/video/zizek_wagner.html>
2010 Performance of Henry Russell’s “Woodman, Spare That Tree!” YouTube <http://www.youtube.com/watch?v=MjyD5wZjZ-U>. 8,104 hits by 24 Jul. 2012.
2011 Anna-Louise Taylor, “Eurovision winning song formula revealed.” BBC Online. <http://www.bbc.co.uk/news/entertainment-arts-13389239> (from 14 May). University of Leeds: <http://lutube.leeds.ac.uk/mktsra/videos/5321>. Vancouver Sun <http://www.vancouversun.com/entertainment/news/4780347/story.html?tab=PHOT>.
2011 (Interview with) Sarah Lyall, “Britain’s conflicting entry rules stymie visiting artists.” New York Times (19 October). <http://www.nytimes.com/2011/10/20/arts/britains-conflicting-entry-rules-stymie-visiting-artists.html>.