In this section:
- Major research funding
- Research Clusters
- Research Centres
- Research Seminars
- REF2014 information
Situated in a research-intensive University, the School supports a substantial community of staff and postgraduate students working in a wide range of music research areas, including: composition (acoustic, electro-acoustic), performance, film music, music technology (history and development, computing, multimedia, musical instruments), music psychology, historical & critical musicology, ethnomusicology, popular music & culture, music & literature, music journalism, music education, and music & wellbeing (health, environment, sustainability). PhD supervision and opportunities correspond with this breadth.
We have an outstanding track record of attracting funding support from the Arts and Humanities Research Council and other major funders (more than £3m for projects led by members of the School since 2013). A lively Research Seminar Series takes place every Thurs 4.30pm in term time.
REF2014: the Research Excellence Framework is a five-yearly exercise assessing the quality of research in the UK’s universities, and in 2014 for the first time this included the impact of that research.
83% of the School’s overall submission was rated as internationally excellent or world-leading, with a significant music-only volume of 14.90fte entered, overall GPA=3.25
100% of the School’s Impact submission was rated as internationally excellent or world-leading (Impact GPA=3.70)
100% of the School’s Environment submission was rated as internationally excellent or world-leading (Environment GPA=3.60)
The full results for REF2014 Unit 35 Music, Drama, Dance and Performing Arts can be found here
(NB many universities combine music, drama, theatre research into one Unit 35 submission; the University of Leeds made two submissions, the volume of research in the School justifying a music-only submission)
The institutional environment offers extensive cognate and cross-disciplinary opportunities, and a distinctive faculty grouping places the School alongside performance, art history/fine art, design and communications units. These contexts resonate with the School’s research environment, developing around three cluster domains: Music and Science, Music as Culture, and Making Music.
Major research funding
Links to some of the School’s funded research projects:
Hearing Aids for Music (Alinka Greasley), £247k AHRC Early Career Award, 2015-2018.
Weaving Codes, Coding Weaves (Alex McLean PI, Kia Ng Co-I), £64k AHRC Digital Transformations, 2014-2016
German Operetta in London and New York (Derek Scott), €1m European Research Council project, 2013-
The Professional Career and Output of Trevor Jones (David Cooper, Ian Sapiro), £570k of AHRC grant, 2013-2016.
Collection of Historical Annotated String Editions, CHASE (Clive Brown), £502k AHRC project, 2008-2012
Hosted at the School of Music, or led by School researchers at other venues where indicated:
- Alternative Histories of Electronic Music (AHEM), Hugh Davies Project, Science Museum London (15-16 April 2016)
- Sounds Heard: Avant-garde, experimental, electronic and improvised musics and workshop (17-18 Oct 2015)
- (Per)Forming Art: Performance as Research in Contemporary Artworks, blog, RMA-funded conference (Sept 2015)
- Audio-Visual Archives, Trevor Jones project conference at British Library, London (July 2015)
- International Conference on Live Coding (July 2015)
- Performing Brahms in the Twenty-first Century, CHASE (June 2015)
- ‘Magnified and Sanctified: The Music of Jewish Prayer’, Performing the Jewish Archive (June 2015)
- iscMME2015 Music, Multimedia & Electronics conference (June 2015)
- Sound;Space;Play, practice-led research symposium (June 2015)
- Methodology, Sources, Repertoire 1600-1900, Musica Britannica/RMA Critical Music Editing Day (Oct 2014)
- Music for Audio-Visual Media (Sept 2014)
- Royal Musical Association 50th Annual Conference (Sept 2014)
- Music Literature, Historiography and Aesthetics Institute of Musical Research, London (July 2014)
- Amateur Music-Making in the British Provinces, RMA/LUCEM Study Day, event
- Continuities and Ruptures: Artistic Responses to Jewish Migration, Exile and Internment in the Long Twentieth Century (2014)
- Music and Mathematics, RMA Study Day (April 2014)
- Richard Wagner’s Impact on His World and Ours (2013)
- Live interfaces: Performance, Art, Music (Sept 2012)
- Authorship and ‘Authenticity’ in Composition, Editing and Performance’ (2012)
- The Theory, Practice and Business of Opera Today (2012)
- Leeds Film Music Conference (2011)
- Collaborations in Practice Led Research RMA Study Day (2010)
- International Symposium: “Non-Nationalist” Russian Opera (2010)
- Empirical Musicology II: Empirical Approaches to Performance (2009)
- Sex and Sensationalism in Early Romantic Opera (1800-1830) (2009)
- New Wave, New Views: Re-visiting the post-punk moment (2009)
- School of Music Film Music Conference (2009)
- 13th Biennial International Conference on Baroque Music (2008)
- From Notation to Performance: Perspectives on Tempo and Rhythm 1700-1950 (2008)
- Case Studies in Nineteenth-Century Performance Study Day (2008)
- Lichtung: music of Emmanuel Nunes (with dept of Spanish & Portuguese) (2008)
- Victorian Soundscapes (LUCEM with Centre for Victorian Studies) (2007)
- A Day in the Life: Sgt Pepper at 40 (PopuLUs) (2007)
- Baltic Music RMA Study Day (2007)
- Film Music Conference (with Bradford International Film Festival) (2007)
- RMA Research Students’ Conference (2006)
- AXMEDIS2006: Second International Conference on Automated Production of Cross-Media Content for Mult-Channel Distribution, ICSRiM (2006)
- The Sounds of the Guitar, a Global Crossroads (PopuLUs) (2004)
Research ClustersThe shared interests of the School’s researchers has led to the formation of research clusters, demonstrating interaction between staff who, primarily, make music, study music as culture, or investigate the science of music. The Research Clusters provide a creative academic context for PhD student supervision, collaborative research and impact building, and they also identify key themes within our research portfolio.
Examples of work in these cluster areas (see staff profiles under People for more publication information):
Music as Culture
From 2014-2018 Steve Muir is leading an international team for the AHRC ‘Care for the Future’ Large Grant: Performing the Jewish Archive, a £1.5m interdisciplinary project.
James Mooney has won a £130k AHRC Fellowship to work on ‘Hugh Davies: Electronic Music Innovator’, 2015-16
David Cooper’s book Béla Bartók is being released in 2015 by Yale University Press
Derek Scott’s German operetta project is supported by 1million Euros of European Research Council funding.
In 2014 Lady Gaga and Popular Music: Performing Gender, Fashion, and Culture, edited by Martin Iddon and Melanie Marshall was published by Routledge.
Ed Venn was awarded a Leverhulme Research Fellowship in 2013 for work on Thomas Adès’s Asyla
Michael Allis published Temporaries and Eternals: the Music Criticism of Aldous Huxley, 1922-23 in 2013
Music and Science
David Cooper, Ian Sapiro and Laura Anderson are working on the Trevor Jones film music project , supported by £570k of AHRC funding.
Alinka Greasley has been awarded a £247k AHRC Early Career award for ‘Hearing aids for music: exploring the music listening behaviour of people with hearing impairments’.
Alex McLean and Kia Ng’s Weaving Codes, Coding Weaves is an 18-month AHRC Digital Transformations Amplification project, involving live coding of music and collaboration with partners in design and textiles, in Denmark, Nottingham, Aarhus and Munich.
Karen Burland has been awarded a BA/Leverhulme Small Research Grant for ‘Musical Leisure: Exploring Identities at Work and Play’.
Clive Brown received a large AHRC grant for work on 19th- and early 20th-century annotated editions of string music (bibliographical problems, editorial content and implications for performance practice), leading the CHASE project team.
Mic Spencer, Scott McLaughlin, Ewan Stefani and Martin Iddon have had compositions performed in Copenhagen, Vancouver, Paris, San Francisco, New York, Stuttgart, Glasgow, Darmstadt, Freiburg, Huddersfield (HCMF); they have worked with and been performed by artists such as Bozzini Quartet, Duo Contour, Ensemble Modelo62, hand werk, loadbang+, Trio Atem, Trio Scordatura, Diego Castro (guitar), John Eckhardt (bass), Paul Hession (drums), Nina Whiteman (voice), Eva Zöllner (accordion), and broadcast by the BBC.
Staff in the School collaborate on projects within:
The School of Music hosts: Institutional Centre for Scientific Research in Music (Burland, Cooper, Greasley, McLean, Mooney, Ng, Windsor) http://icsrim.leeds.ac.uk/
The School contributes to: Centre for Practice-Led Research in the Arts (Iddon, McLaughlin, Mooney, Spencer, Stefani) http://www.cepra.leeds.ac.uk/
School staff also contribute to University Centres, for instance:
Centre for African Studies (hosted by the School of Politics and International Studies)
Popular Cultures Research Network (hosted by the School of Modern Languages and Cultures)
We are linked to other institutions facilitated by the White Rose and Worldwide Universities networks, grants from UK and European partners, RCUK, and the University’s creative partnership with Opera North (DARE). Music is also part of the University’s Culture, Society and Industry Transformation Fund initiative, and participate in the Cultural and Creative Industries Exchange.
Thursdays 4.30-6.00pm, LT1, School of Music (during term)
The School holds a series comprising over twenty research seminars each academic year. These are predominantly delivered by guest speakers, but also feature outcomes of staff research leave and recently completed PhDs in the School. Format ranges from delivery of research papers, to lecture-demonstrations, and composers and practitioners talking about their own work. All are welcome.
Details of our Research Seminar series can be found here
Previous visiting speakers include:
Freya Bailes, Dieog Castro, Eric Clarke, Annette Davison, Mark Doffman, Jonathan Eato, Ellen Fallowfield, Fabrice Fitch, Denis Flannery, David Fligg, Nicasio Gradaille, Bjorn Heile, Wieland Hoban, Colin Huehns, Seth Josel, George Kennaway, Paul Kildea, Karol Krumhansl, Gretchen Larsen, Malcolm Miller, Dick Mills, Neal Peres da Costa, Lisa Peschel, Sarah Potter, Lauren Redhead, James Roberts, Stephen Rose, Nick Ryland, Antti Sakari Saario, Rohan de Saram, Mark Slater, Philip Tagg, Renee Timmers.
HEFCE publish details about the Research Excellence Framework Exercise, providing information on results and elements of submissions. These include quality ratings, Impact statements and case studies, and Environment statement:
‘Informing and influencing the representation of popular music, its history, and its significance in the context of modernism and nationalism’
‘Performance and recording of classical and romantic music: informing changes in practice within a worldwide community of professional and amateur musicians’