This is the personal site of Allan Moore, musicologist. It presently exists to make available English-language versions of papers published abroad, copies of hard-to-access (or not yet available) papers, where I've managed to get the agreement of copyright holders, and some material for my own students. If you have any comments or queries on anything here, you can email me at email@example.com.
A full list of my publications and work in progress can be found here.
I retired in 2015 from my position as Professor of Popular Music
at the University of Surrey. I am now Professor Emeritus at the University of Surrey, and I also
hold Visiting Professorships at the University of Chester and the University
of Kingston. I gained a first in music
from the University of Southampton and a Masters' in Composition from the
University of Surrey before returning to Southampton to complete a PhD in
1990 on the late chamber music of Roberto Gerhard and the problem of an
adequate analytic method. Until 1999 I led research in the London College
of Music and Media at Thames Valley University, and have also taught at
Royal Holloway (University of London) and City University.
Subsequent to my doctoral research, I changed tack towards researching popular music, with a particular interest in questions of meaning in recorded song. I was a founder member of the Critical Musicology Forum, was founding co-editor of twentieth-century music and am currently coordinating editor for Popular Music. I have served on various other editorial and advisory boards: (Popular Musicology Online, the Journal of the Art of Record Production, the Journal of the Society for American Music, Rivista di Analisi e Teoria Musicale, El oido pensante, Vox popular, The University of Michigan Press series Tracking Pop and the Palgrave series Pop music, Culture, and Identity). I have served as a member of the AHRC peer review college and of the committee of NAMHE (the National Association for Music in Higher Eductation) and am on the Music Publishers' Association Register of Expert Witnesses. I have received research grants from the Arts & Humanities Research Council and from PALATINE (the Higher Education Funding Council for England teaching & learning centre for the performing arts). I work very occasionally as a forensic musicologist.
I still compose (mainly piano pieces) and arrange when I have time, and manage to play in church bands and, particularly, local folk clubs (what wonderful institutions!) particularly here some Sunday evenings.
Borrowing in Celtic music. This paper is a part of my Folk project, which will find its way somewhere into my book- in-progress. It was translated by Luca Marconi and appeared in the proceedings of an interdisciplinary conference held in Urbino.
Analysing rock: means and ends and Issues of style, genre, and idiolect in rock came out of a series of invited papers given at the University of Bologna and translated, if memory serves correctly, by Paola Polselli.
These four (rather inexpertly scanned!) papers appeared in the Critical Musicology Newsletter, nos. 1-4 respectively. Edited by Dai Griffiths, this was published by Oxford Brookes University between 1993-1995. More than pleasant, more than delightful addresses folk performance, A problem of history addresses the issue of historical perspective (somehow I've managed to scan the first page twice); Revisiting Lucy Green's theory of musical meaning compares her position with Alan Chambers' work in the sociology of science, while The fall and rise of modernism addresses the absence of the term in musicology until fairly recently (and this one is upside down - you'll need to rotate it).