Dr Edward Venn
Director of Student Education and Associate Professor in Music
0113 343 8210
Music Building, Room 2.12
Office hours: I will be on sabbatical in Semester 1. In Semester 2 my office hours will be Wednesdays, 10.00-11.00am (except on 3 May), or by email appointment
BA, MA, PhD, LRSM
Edward Venn was appointed at Leeds in 2013. Prior to that, he worked at Lancaster University (2001-13). He is Associate Editor for the journal Music Analysis.
Edward Venn studied as both undergraduate and postgraduate at the University of Birmingham. On leaving Birmingham, he took up a post at Lancaster University, where he worked for twelve years before coming to Leeds. His research has focused on the analysis and interpretation of music since 1900, with particular focus on the work of composers such as Thomas Adès, Michael Tippett and Hugh Wood. He serves on the editorial boards for the Journal of Music and Meaning and Music Analysis, and is Critical Forum editor for the latter. Edward has an LRSM in conducting.
- Music since 1900 (including popular music)
In 2016-17 I will be teaching on the following modules:
MUSS1020 Understanding Music (Level 1)
MUSS2020 Interpreting Music (Level 2)
MUSS3040 Analysing Music (Level 3)
Director of Student Education
(2017) Thomas Adès: Asyla. Landmarks in Music Since 1950. Abindgon and New York: Routledge.
(2008) The Music of Hugh Wood. Ashgate Pub Co.
(2013) “Review: Robert Saxton: Caritas by Wyndham Thomas (Aldershot: Ashgate, 2012)”, CHOMBEC News. 15: 12-14.
Repository URL: http://eprints.whiterose.ac.uk/88591/
(2011) “Review: 'Composing in Words: William Alwyn on his Art', ed. Andrew Palmer”, Music and Letters. 92.3: 506-508.
(2011) “Review: 'Harrison Birtwistle: The Mask of Orpheus', by Jonathan Cross”, Music and Letters. 92.2: 332-334.
(2010) “Review: Nicolas Bacri Orchestral Music (CD)”, Tempo. 64.254: 92-93.
(2010) “Review: Hugh Wood's Chamber Music (CD)”, Tempo. 64.254: 87-88.
(2010) “Review: 'Dane Rudhyar: His Music, Thought, and Art', by Deniz Ertan”, Tempo (London, 1939): a quarterly review of modern music. 64.254: 70-72.
(2010) “Rethinking Russolo”, Tempo (London, 1939): a quarterly review of modern music. 64.251: 8-16.
(2010) “Narrativity in Thomas Adès's 'Ecstasio'”, Res Facta Nova. 11.20: 69-78.
(2010) “Review: 'Landscapes of the Mind: The Music of John McCabe', compiled and ed. by George Odam and 'The Innumerable Dance: The Life and Work of William Alwyn', by Adrian Wright”, Music and Letters. 91.2: 295-297.
(2009) “Review: Gubaidulina and Cercos piano music (CD)”, Tempo. 63.250: 85-86.
(2009) “Review: Simon Mawhinney instrumental music (CD)”, Tempo. 63.250: 84-84.
(2009) “Review: 'The Cambridge Companion to Shostakovich', ed. Pauline Fairclough and David Fanning, and 'Composing the Modern Subject: Four String Quartets by Dmitri Shostakovich', by Sarah Reichardt”, Tempo (London, 1939): a quarterly review of modern music. 63.250: 72-73.
(2009) “Review-article: A Very British Modernism?”, Twentieth Century Music. 6.2: 237-253.
(2009) “Review: Hugh Wood’s Violin Concerto No. 2 (first performance)”, Tempo. 63.249: 54-55.
(2009) “Review: 'Nicholas Maw: Odyssey', by Kenneth Gloag”, Music and Letters. 90.3: 519-521.
(2008) “Review: 'All the Gods: Benjamin Britten's Night-piece in Context', by Christopher Wintle and ed. by Julian Littlewood”, Music and Letters. 89.4: 684-685.
(2008) “Review: 'Benjamin Britten: The Spiritual Dimension', by Graham Elliott”, Music and Letters. 89.1: 143-148.
(2006) “Cornelius Cardew's 'Autumn 60 for Orchestra'”, Tempo (London, 1939): a quarterly review of modern music. 60.238: 2-7.
(2006) “Review: 'Letters From a Life: Selected Letters of Benjamin Britten, Volume Three 1946–51', ed. by Donald Mitchell, Philip Reed and Mervyn Cooke, and 'Selected Letters of Michael Tippett', ed. by Thomas Schuttenhelm”, Tempo (London, 1939): a quarterly review of modern music. 60.236: 61-64.
(2006) “Review: [Wood, ‘Overture’] ‘Shrewsbury, Maidment Hall’”, Tempo. 60.235: 77-78.
(2006) “Review: [Casken, ‘Rest-Ringing’ and CDs] ‘Manchester: Bridgewater Hall’”, Tempo. 60.235: 73-75.
(2006) “Asylum Gained?: Aspects of Meaning in Thomas Adès's Asyla”, Music Analysis. 25.1-2: 89-120.
(2005) “Review: Maxwell Davies Naxos Quartets 3 and 4”, Tempo. 59.234: 58-59.
(2005) “Review: Thomas Adès's Piano Quintet.”, Tempo. 59.234: 73-74.
(2005) “Review: Birtwistle Complete Piano Works”, Tempo. 59.234: 64-65.
(2005) “Review: George Benjamin on Nimbus.”, Tempo. 59.233: 73-74.
(2005) “Serenades and Elegies: The Recent Music of Hugh Wood - Part II”, Tempo (London, 1939): a quarterly review of modern music. 59.233: 26-37.
(2005) “Review: Peter Maxwell Davies new and classic”, Tempo. 59.233: 79-80.
(2005) “Review: London, Temple Church and Cheltenham, Pittville Pump Room: Wood's ‘Cantilena and Fugue’ and ‘Tribute to Michael Berkeley’”, Tempo. 59.231: 52-53.
(2005) “Serenades and Elegies: The Recent Music of Hugh Wood”, Tempo (London, 1939): a quarterly review of modern music. 59.231: 2-13.
(2004) “Review: London, Royal Opera House: ‘The Tempest’”, Tempo. 58.229: 72-73.
(2004) “Review: Manchester, RNCM: Robin Holloway's String Quartet, op. 97”, Tempo. 58.228: 64-66.
(2004) “Review: 'Sing, Ariel: Essays and Thoughts for Alexander Goehr's Seventieth Birthday', ed. Alison Latham”, Tempo (London, 1939): a quarterly review of modern music. 58.228: 42-44.
(2016) “Turnage, Mark-Anthony (1960--)”, In: Routledge Encyclopedia of Modernism. Routledge.
(2016) “Bennett, Sir Richard Rodney (1936–2012)”, In: Oxford Dictionary of National Biography.
(2016) “Harvey, Jonathan Dean (1939–2012)”, In: Oxford Dictionary of National Biography.
(2015) “Birtwistle and the labyrinthine processional”, In: Beard D; Gloag K; Jones N (eds.) Harrison Birtwistle Studies. Cambridge Composer Studies. Cambridge University Press. 206-231
(2015) “Bedford, David Vickerman (1937-2011)”, In: Oxford Dictionary of National Biography. Oxford Dictionary of National Biography. Oxford University Press.
DOI: 10.1093/ref:odnb/104214, Repository URL: http://eprints.whiterose.ac.uk/88597/
(2014) “Matthews and the Single-movement Symphony”, In: Hyde T (eds.) David Matthews: Essays, Tributes and Criticism. Plumbago Books. 160-180
(2013) “'Symphonic Music in our Modern Times': Tippett and the Symphony”, In: Gloag K (eds.) The Cambridge Companion to Michael Tippett. Cambridge: Cambridge University Press. 144-167
(2013) “Words and Music”, In: Gloag K; Jones N (eds.) The Cambridge Companion to Michael Tippett. Cambridge: Cambridge University Press. 264-285
(2010) “Thomas Adès”, In: Nowa Muzyka Brytyjska. Kraków: Ha!Art.
(2007) “Proliferations and Limitations: Re-working the Sequenzas”, In: Berio's Sequenzas: Essays on Performance, Composition and Analysis. Ashgate. 171-190
(2007) “Finzi's Serenade”, In: The Clock of the Years: A Gerald and Joy Finzi Anthology. 149-152
(2002) “Ideology and Idealism in Tippett's Writings”, In: Michael Tippett: Music and Literature. Ashgate. 35-59
(2013) Interpreting 'High' and 'Popular' Cultures in Music. 11th International Congress on Musical Signification Proceedings: Music: Function and Value Kraków: Akademia Muzyczna w Krakowie. 1: 667-675.
(2013) Thomas Adès and the pianto. International Conference on Music Semiotics: In Memory of Raymond Monelle Proceedings: Proceedings International Project on Music and Dance Semiotics (IPMDS).: 309-317.
Repository URL: http://eprints.whiterose.ac.uk/88590/
(2010) Evoking the 'Marvellous': Ritual in Michael Tippett's 'The Midsummer Marriage'. Ritual Dynamics and the Science of Ritual Proceedings: Ritual Dynamics and the Science of Ritual Wiesbaden: Harrassowitz Verlag. 2.Body, Performance, Agency, and Experience: 183-193.
(2008) Finding Pathways from Onions: Large-scale Gestures in Berio's Reworkings of his 'Sequenza VI for Viola'. 9th International Congress on Musical Signification Proceedings: Music Sense Body International Semiotics Institute.: 273-278.
(2010) Music Performance Tuition in Higher Education - Student Expectations.
Repository URL: http://eprints.whiterose.ac.uk/76748/
Research Projects & Grants
- Music and Letters Trust (2016)
- Leverhulme Research Fellowship (2013)
- Ernst von Siemens foundation (2011)
- Music and Letters Trust (2011)
- Music Analysis Development Fund (2008)
- PALATINE Development Award (2008)
- German SFB 619 RitualDynamik (2008)
- Music Analysis Development Fund (2007)
- AHRB PhD Award (1999)
- Associate Editor, Music Analysis (2017-present)
- Critical Forum Editor, Music Analysis (2011-2016)
- Member of Music Analysis Editorial Board (2007-present)
- Member of Journal of Music and Meaning Editorial Board (2004-present)
- Member of Executive Committe, National Association for Music in Higher Education (2008-11)
- Member of Executive Committee, Society for Music Analysis (2003-11)
- Organising and directing Be Not Afeard: Language, Music and Cultural Memory in the Operas of Thomas Adès (Senate House, London, 2017)
- Organised and directed two international conferences: Seventh International Conference on Music Since 1900 and Lancaster University Music Analysis Conference (Lancaster, 2011)
- Organised ‘Performance and Gesture’ study day (Lancaster, 2008)
- Organised SMA/PALATINE Study Day ‘Music Analysis and Teaching’ (Lancaster, 2006)
- Programme Committee, XIIIth Congress on Musical Signification (Canterbury Christ Church, 2016)
- Programme Committee, Keele University Music Analysis Conference (Keele, 2015)
- Programme Committee, Eighth International Conference on Music Since 1900 (Liverpool, 2013)
- Programme Committee, RaAM (Researching and Applying Metaphor) 9, (Lancaster, 2012)
- Programme Committee, European Music Analysis Conference (Rome, 2011)
- Co-director, 13th International Doctoral and Postdoctoral Seminar on Music Semiotics (University of Helsinki, March 2010)
- Phd, Kingston University (2011)
- Phd, Keele University (2014)
- Phd, Birmingham City University (2015)
- Phd, University of Huddersfield (2017)
- MA by Research, University of Birmingham (2017)
PhD & Postdoctoral Supervision
Current Research Students
- Robin Dymond
- Hans Kretz
- Colleen Lloyd
Past Research Students
- Emma Gallon (Narrativities in the music of Thomas Adès)
- Helen Thomas (Authorial Metaphors of Temporality in Music of the 1950s and 1960s)
- Christopher Fuller (Deconstruction and Music Analysis)
- Vivienne Saunders (Narrative in Modern Media)
The Music of Hugh Wood (Birmingham, 2002)
I have directed a range of ensembles based in Birmingham and the North-West of England, performing repertoire from 1500 to the present day. Ensembles include:
- Morecambe and District Philharmonic Choir
- Lancaster and District Male Voice Choir
- Contemporary Music Making for Amateurs (North west)
- Lancashire Chamber Orchestra
- Workers’ Education Association Sinfonia (Birmingham, Ladywood)
- Aesklepios Orchestra (University of Birmingham Medical School)