A complete list of publications and works-in-progress, organised as follows:
books, refereed articles,
book chapters, reviews and other
(non-refereed) publications, conference/seminar
Rock: the primary text (third edition); due for delivery February 2017; Routledge.
The rock music handbook (editor); in a new series of academic music handbooks,
at approval stage by Bloomsbury Academic.
Companion to Progressive Rock (co-editor); under development.
The Beatles: Sgt. Pepper's Lonely Hearts Club Band; Italian edition, in press.
Song Interpretation in 21st-century pop music (co-edited with Ralf von Appen, Andre
Doehring and Dietrich Helms); Ashgate Press, 2015 (xix+282pp.).
Legacies of Ewan MacColl: the Last Interview (co-edited with Giovanni Vacca); Ashgate
Press, 2014 (xvi+267pp).
Song means: analysing and interpreting recorded song; Ashgate Press,
Library of Essays in Popular Music, eight volumes (series editor),
Ashgate Press, 2011/13.
Critical readings in popular musicology (editor), Ashgate Press,
Jethro Tull: Aqualung (trans. Natalie Pirrera & Andrea Soncini);
Modena: Sublime, 2007 (140pp).
Jethro Tull: Aqualung; New York: Continuum, 2004 (xvii+110pp).
Analyzing popular music (editor), Cambridge University Press, 2003
Cambridge Companion to Blues and Gospel Music (editor), Cambridge
University Press, 2003 (208pp).
Rock: the primary text; (revised edition), Ashgate Press, 2001 (253pp).
The Beatles: Sgt. Pepper's Lonely Hearts Club Band; Cambridge
University Press, 1997 (xi+98pp).
Rock: the primary text; Open University Press, 1993 (227pp).
'An outlandish as-if: the Rock and Pop Passacaglia'; Rivista di Analisi e Teoria Musicale
20/1-2, 2014, pp.259-90..
'An interrogative hermeneutics of popular song'; El oido pensante 1/1, February
'The end of the revival: contextualising the folk aesthetic'; Popular
Music History 4/3, 2011, pp.289-307.
'Where is here? An issue of deictic projection in recorded song'; Journal
of the Royal Musical Association 135/1, 2010, pp.145-82.
'Configuring the sound-box, 1965-72', with Ruth Dockwray, Popular Music
29/2, 2010, pp.181-97.
'A hermeneutics of spatialization for recorded song', with Ruth Dockwray
and Patty Schmidt; twentieth-century music 6/1, 2009, pp.81-112.
'The establishment of the virtual performance space in rock', with Ruth
Dockwray; twentieth-century music 5/2, 2008, pp.219-41.
'Le style et le genre comme mode esthÃ©tique', trans. O. Julien; Musurgia
14(3-4), 2007, 45-55.
'Hallelujah: il gusto amaro del cantar lode'; Rivista di Analisi e Teoria
Musicale 13/2, 2007, pp.45-65.
'Gentle Giant's Octopus', Philomusica on-line: Composition And
Experimentation In British Rock 1967-1976, 2007,
'What story should a history of popular music tell?'; Popular Music
History 1/3, December 2006, pp.329-38.
'Popular Music. Where are we?'; CHARM symposium papers, November 2005,
'The Persona/Environment relation in recorded song'; Music Theory Online
11/4, October 2005, http:www.music-theory.org/mto/issues/mto.05.11.4/
'Beyond a musicology of production'; Proceedings of the Art of Record
Production Conference, September 2005, http://mercury.tvu.ac.uk/music
'Principles for Teaching & Assessing Songwriting in Higher Education';
Palatine papers, 2004, http://www.lancs.ac.uk/palatine/reports/
'Looking for the Kingdom Come: questioning spirituality in U2'; Popular
Musicology Online 2002, http://www.cyberstudia.com/popular-musicology-
'Authenticity as authentication'; Popular Music 21/2, May 2002,
'Categorical conventions in music-discourse: style and genre'; Music
and Letters 82/3, 2001, pp.432-42.
'Come si ascolta la popular music' in Jean-Jacques Nattiez (ed.):
Enciclopedia Einaudi della Musica, vol.1, Einaudi, 2001, pp.701-18.
'Questioni di stile, genere e idioletto nel rock', trans. P. Polselli;
Musica realtÃ 64, March 2001, pp.85-102.
24 articles for the 2nd edition of the New Grove Dictionary of Music and
Musicians (ed. Sadie, MacMillan, 2001) on: The Animals, Beat Music,
the Blues Progression, Blues Rock, Classic Rock, Phil Collins, Deep Purple,
Peter Gabriel, Genesis, Glam Rock, Hard Rock, The Hollies, Indie Music,
The Kinks, Mike Oldfield, Pink Floyd, Progressive Rock, Psychedelic Rock,
Punk Rock, Rock instrumentation, The Rolling Stones, The Small Faces, U2,
The Who (varying between 200-1500 words).
'Constructing authenticity in rock'; Performance Arts International 1,
Winter 2000, http://www.performanceartsinternational.net/html/Ampaper.html.
'Analizzare il rock: strumenti e finalitÃ ', trans. P. Polselli;
Musica realtÃ 62, July 2000, pp.95-118.
'U2 and the myth of authenticity in rock'; Popular Musicology 3,
'Method in popular music analysis' in Tarja HautamÃ¤ki and Helmi JÃ¤rviluoma
(eds.): Music on show: issues of performance; University of Tampere,
1998, pp.224-29 (8th biennial Conference of the International Association
for the Study of Popular Music keynote address).
'In a big country: the portrayal of wide open spaces in the music of Big
Country' in Raymond Monelle (ed.): Musica Significans: Proceedings of the
3rd International Congress on Musical Signification; Harwood Academic
'Anachronism, responsibility and historical intension'; Critical Musicology
Journal 1997 http://www.leeds.ac.uk/music/info/critmus/.
'Signifying the spiritual in the music of Yes'; Contemporary Music Review
14, 1996, pp.197-205.
'Serialism and its contradictions'; International Review of the Aesthetics
and Sociology of Music 26/1, 1995, pp.75-93.
'The so called "flattened seventh" in rock music'; Popular Music 14/2,
'Patterns of Harmony'; Popular Music 11/1, 1992, pp.73-106.
'The textures of rock'; Secondo Convegno Europeo di Analisi Musicale,
ed. R. Dalmonte, M. Baroni, UniversitÃ degli Studi di Trento, 1992, pp. 241-44.
'Shreds of memory in post-milennial prog' in Martin Lücke and Klaus Näumann (eds.): Reflexionen zum Progressive Rock; Munich: Allitera, pp.116-37.
'Foreword' to Philippe Gonin (ed.): Prog Rock in Europe: Overview of a persistent
musical style, Dijon: Editions Universitaires de Dijon, 2016, pp.5-8.
'Singer-songwriters and the English folk tradition' in Justin Williams & Katherine Williams (eds.):
The Cambridge Companion to Singer-Songwiters, Cambridge University Press, 2016, pp.55-66.
'On the inherent contradiction in worship music' in Thomas Wagner & Anna Nekola (eds.):
Singing a New Song, Ashgate, 2015, pp.183-98.
'Recorded British folk song' in Paul Theberge, Kyle Devine & Tom Everett (eds.): Living Stereo:
Histories and Cultures of Multichannel Sound, Bloomsbury, 2015, pp.165-82.
'So just what kind of life is this? Amy McDonald's "This is the life"', in von Appen et al (eds.):
Song Interpretation in 21st-century pop music (above), Ashgate, 2015, pp.157-71.
'MacColl singing' in Moore and Vacca (eds.): The legacies of Ewan MacColl
(above), Ashgate, 2014, pp.193-208.
'Dystopian progressions' in Philippe Gonin (ed.): Musicologie des Musiques
Actuelles: approches historiques, esthetiques et analytiques; France: Delatour,
'British rock: the short 1968 and the long' in Beate Kutschke & Barley Norton (eds.):
Music and Protest in 1968, Cambridge University Press 2013, pp.154-70.
'Conclusion: A hermeneutics of protest music' in Jonathan C. Friedman (ed.):
The Routledge History of Social Protest in Popular Music, Routledge, 2013,
'Beyond a musicology of production' in Simon Zagorski-Thomas and Simon
Frith (eds.): The Art of Record Production: An Introductory Reader for a
New Academic Field; Cambridge University Press, forthcoming 2013, pp.99-111.
'One way of feeling: contextualising a hermeneutics of spatialization' in Stan
Hawkins (ed.): Critical Musicological Reflections, Ashgate Press, 2012, pp.209-29.
'Rock' in Theodore Gracyk & Andrew Kania (eds.): Routledge Companion
to Music and Philosophy, Routledge, 2011, pp.416-25.
'The track' in Amanda Bayley (ed.): Recorded Music: Society, Technology
and Performance; Cambridge University Press, 2010, pp.252-67.
'Interpretation: so what?' in Derek B. Scott (ed.): Research Companion
to Popular Musicology; Ashgate, 2009, pp.411-25.
'The act you've known for all these years: a re-encounter with Sgt. Pepper'
in Olivier Julien (ed.): Sgt. Pepper: it was forty years ago today;
Ashgate 2008, pp.139-46.
''Defining' and 'doing' musicology in popular music' in Moore (ed.):
Critical readings in popular musicology (above), 2007, pp.ix-xxii.
'L'appropriazione della musica celtica', trans. L. Marconi, in Nicola Dusi &
Lucio Spaziante (eds.): Remix-Remake; Rome: Meltemi, 2006, pp.229-39.
'Sounds like Teen Spirit: identifying Radiohead's idiolect', with Anwar Ibrahim
, in Joseph Tate (ed.): Strobe-Lights and Blown Speakers: essays on the
music and art of Radiohead; Ashgate, 2005, pp.139-58.
'The contradictory aesthetics of Woodstock' in Andrew Bennett (ed.):
Remembering Woodstock; Ashgate, 2004, pp.75-89.
'Jethro Tull and the case for modernism in mass music' in Moore (ed.):
Analyzing popular music (above), 2003, pp.158-72.
'Introduction' in Moore (ed.): Analyzing popular music (above), 2003,
'Surveying the field: our knowledge of blues and gospel music' in Moore (ed.):
Cambridge Companion to Blues and Gospel Music (above), 2003, pp.1-12.
'Come si ascolta la popular music' in Jean-Jacques Nattiez (ed.):
Enciclopedia Einaudi della Musica, vol.1, Einaudi, 2001, pp.701-18.
'On the pop-classical split' in Derek B. Scott (ed.): Music, culture and
society; Oxford University Press, 2000, pp.161-4.
'Sgt. Pepper's Lonely Hearts Club Band' in Anthony Aldgate, James Chapman and
Arthur Marwick (eds.): Windows on the Sixties; I.B.Tauris, 2000,
'Personic analysis'; seminar paper at Kingston University, January 2016.
'Beyond Realism: changing performance practice in British folk song; seminar paper at Kingston University,
'Principles of personic analysis'; seminar paper at University of Chester, November 2015.
'Reflections on popular music analysis'; seminar paper at Methods of popular music analysis II,
International Doctoral Summer School, University of Osnabrueck, September 2015.
'So what's in a name? 50 years of progressive rock'; keynote paper at Le Rock Progressif!;
University of Bourgogne, December 2014.
'Addressing meaningfulness in popular song'; Euromac VII, University of Leuven,
'Worship music and/as interpretation'; Church music: spirited performance,
Christ Church Canterbury University, April 2014.
'Worship as an illocutionary act: words and music in recordings by Kathryn Scott';
Christian congregational music: local and global perspectives, Ripon College,
Cuddesdon, August 2013.
'Musicology and popular music studies, the missing third term and the Beatles'
eminence'; keynote paper at Popmac: International Conference on Analyzing
Popular Music, University of Liverpool, July 2013.
'Who sings "Love me do"?'; invited paper at Love me do: the Beatles at fifty,
University of Loughborough, October 2012.
'Prolegomena to a consideration of the hero trope in popular music'; invited paper
at The Heroic in Music, University of Leipzig, September 2012.
'Tech-processual shaping of recorded popular song' (with Sam Bennett); research paper given at
Music and shape, CMPCP, University of London, July 2012.
'Shreds of memory in post-milennial prog'; invited paper at Progressive
Rock: zwischen Kultur und Kommerz, University of Cologne, November
'The process of interpretation: "Suspicious minds" and "Bridge of Sighs"';
seminar paper at Methods of popular music analysis, International
Summer school, University of Osnabrueck, September 2011.
'Reflections on the church musician as servant'; Christian congregational
music: local and global perspectives, Ripon College, Cuddesdon,
'Addressing the persona'; 'Black Box Pop', APSM Mannheim, November
'Aspects of embodied meaning'; invited paper at third Art of Record
Production conference, University of Glamorgan, November 2009.
'A hermeneutic method for spatialization in recorded song'; research paper given
at L'Â’Analyse musicale aujourd'hui: crise ou (r)evolution?,
University of Strasbourg, November 2009.
'Theorising spatialization in popular song'; research seminar given at
University of Helsinki, October 2009.
'Against semiotics?'; research seminar given at Universities of Oslo and
Agder (Kristiansand), September 2009.
'Dystopian progressions'; research seminar given at University of Dijon,
'Enculturation issues in pre-/post-18 music study'; position paper delivered
to NAME South-East meeting, University of Reading, March 2009.
'Interpretation: so what?'; keynote address at Society for Music Analysis
day, Liverpool University, November 2007.
'The end of the revival: addressing the folk aesthetic'; research paper given
at City University, October 2007?
'Forming the diagonal mix'; research paper given at the Fifth International
Conference on Music since 1900, University of York, July 2007.
'The act I've known for all these years'; research paper given at University
of Oxford, May 2007.
'An analytical practice for late 1960s rock'; invited paper delivered at
Conservatorio Arrigo Boito, Parma, March 2007.
'Introducing Sgt. Pepper'; invited paper delivered at Como Conservatory, March
'Questions on popular music analysis'; research seminar given at Como
Conservatory, March 2007.
'The act you've known for all these years: a re-encounter with Sgt. Pepper';
invited paper delivered at Conservatorio Arrigo Boito, Parma, and at
University of Pisa, March 2007.
'Criteria for musicianship'; invited paper delivered to East Sussex County
Music Service, September 2006.
'Exploring the personic environment'; research paper delivered at University
of Westminster, April 2006.
'Reading the personic environment'; research paper delivered at University
of Kingston, February 2006.
'The persona/environment relation'; research paper delivered at
University of Southampton, January 2006.
'Thinking space'; keynote address: Leeds International Music technology
Education Conference; Leeds College of Music, November 2005.
'Gentle Giant: Octopus'; invited paper at Composition and Experimentation in
British Rock: 1966-1976; University of Cremona, October 2005.
'Beyond a musicology of production'; invited paper at The Art of Record
Production, Thames Valley University, September 2005.
'Popular Music. Where are we?'; invited paper at CHARM symposium;
Royal Holloway, University of London, April 2005.
'What story should a history of popular music tell?';
History and Music interdisciplinary conference co-hosted by Royal Historical
Society & Royal Musical Association, University of Cambridge, March 2005.
'The music behind the singer'; research paper delivered at University of
Manchester, February 2005.
'Principles for teaching and assessing songwriting in HE'; UK songwriting
conference, Bath Spa University, November 2004.
'Borrowing in Celtic Music'; invited paper at Remake rework: sociosemiotics
and 'replica practices'; University of Urbino, July 2004.
'Functions of accompaniment in style analysis'; invited keynote at 7th Finnish
Musicology Conference, March 2004.
'Keltia: the empty third'; research paper delivered at Kings College London,
'The disappearance of the song from popular culture'; invited keynote at
The State of Song, Trinity College, December 2002.
'Revisiting the soundbox'; Society for Music Analysis Autumn Study Day,
University of Sheffield, October 2002.
'Reading "Leonard Cohen's 'Hallelujah'"'; International Association of Popular
Music conference, University of Newcastle, July 2002.
'Location, location, location! An issue in analysing rock recordings';
research paper delivered at the University of Surrey, Roehampton, February
'Reforming Alfie'; research paper delivered at the University of Southampton,
'Expressing transcendent love in popular music'; research paper delivered
at Anglia Polytechnic University, November 2001.
'Formal transcendence in popular music'; research paper delivered at
University of Sheffield, February 2001.
'Constructing authenticity in rock'; invited paper at Comparative music
praxes, Middlesex University, May 2000.
'Analysing popular music'; invited paper at Teaching Pop Music,
Institute of Education, London University, May 2000.
'Style, genre and idiolect: Richard Thompson, the Beatles, and Oasis';
research paper delivered at University of Durham, 1999.
'Idiolect in Richard Thompson, the Beatles, and Oasis'; research paper
delivered at University of Cardiff, 1998.
'Music analysis and popular music'; 'Constructing and interpreting the
primary text'; 'Issues of style, genre and idiolect in rock'; Round-
table presentation; at a three-day workshop devoted to my research, University
of Bologna, April 1998.
'Methodological and theoretical implications of researching in the rock
field'; research paper delivered in Denmark to Nordic popular music
researchers, jointly organised by the Universities of Copenhagen and
Ã…rhus, April 1997.
'Jethro Tull and the case for modernism in mass music'; research paper
delivered at the University of Leeds, October 1996.
'Responsibility and historical intension: teasing anachronism'; British
Musicology Conference, King's College London, April 1996.
Keynote address: 8th biennial Conference of the International Association for
the Study of Popular Music, Strathclyde University, July 1995.
'Diversifying music studies'; NAMSHE/EHE conference on best practice in
teaching; University of Leeds, July 1995.
'Baker, Bruce and Boulez: responsibility and historical intension'; First
Critical Musicology Conference: Goodbye Great Music, University College
Salford, April 1995.
'The myth of authenticity in rock music: U2'; research paper delivered at
University of Surrey, February 1994.
'U2 and authentic rock music'; research paper delivered at University of
Keele, February 1994.
'In a big country: the portrayal of wide open spaces in the music of
Big Country'; 3rd International Conference on Musical Signification, Edinburgh,
'The textures of rock'; 2nd International Conference on Music Analysis,
'The principle of octave equivalence in late Gerhard'; 22nd RMA research
students' conference, Kings College London, December 1988.
'Questions of harmony'; Theory and Analysis Graduates' Day, Southampton
University, February 1986.
'Towards an understanding of the late works of Roberto Gerhard'; 17th
RMA research students' conference, Manchester University, December 1983.
Review of Personal Jesus: how popular music shapes our souls by Clive Marsh & Vaughan S. Roberts,
Reviews in Religion and Theology 21/2, 2014, pp.237-40.
'Aspects du rock progressif: l'exemple d'Aqualung, de Jethro Tull' in Muriel Joubert
& Laurence Le Diagon-Jacquin (eds.): Analyse Musicale 68 2012, pp.110-12.
Review of Pop Music, Pop Culture by Chris Rojek, Music & Letters 93/2, 2012,
Review of The foundations of rock by Walter Everett, Journal of
Music Theory Spring 2011, pp.161-6.
Review of Everyday tonality: towards a tonal theory of what most people
hear by Philip Tagg, Popular Music 29/3, October 2010, pp.490-2.
Review of American Popular Music; from Minstrelsy to MTV by Larry Starr
& Christopher Waterman, Popular Music 28/1, January 2009, pp.124-5.
Review of Empire of dirt: the aesthetics and rituals of British Indie music
by Wendy Fonarow, Music and Letters 89/2, May 2008, pp.292-3.
Report on NAMHE/PALATINE transferable skills project, co-authored with
Dr. Ruth Dockwray: 'Evidencing Transferable Skills in Undergraduate Music
'Il mio Sgt. Pepper'; Rolling Stone (Italian edition), May 2007, 149-52.
Review of The producer as composer: shaping the sounds of popular music
by Virgil Moorefield, twentieth-century music 4/1, March 2007, pp.127-9.
Review of Neil Young and the poetics of energy by William Echard,
Popular Music 25/3, October 2006, pp.490-2.
Review of Music Scenes edited by Andy Bennett and Richard Peterson,
Music and Letters 87/3, August 2006, pp.485-7.
'Aqualung' in David Barker (ed.): 33 1/3 Greatest Hits, vol.1; Continuum
, 2006, pp.171-80.
Review of Ten Little Title Tunes by Philip Tagg and Bob Clarida,
Popular Music 24/2, May 2005, pp.298-300.
Review of Celtic Modern edited by Philip Bohlman and Martin Stokes,
Popular Music 24/2, May 2005, pp.303-4.
'Editorial', with Christopher Mark, twentieth-century music 1/1,
March 2004, pp.3-4.
Review of The Cultural Study of Music: a Critical Introduction edited
by Martin Clayton, Trevor Herbert and Richard Middleton, British Journal of
Music Education 20/3, November 2003, pp.326-9.
Review of Popular Music Studies edited by Dave Hesmondhalgh and Keith
Negus, Popular Music 22/3, October 2003, pp.386-90.
Review of What to listen for in rock by Ken Stephenson, Popular
Music 22/2, May 2003, pp.250-1.
Review of The Cambridge Companion to Pop and Rock edited by Simon Frith,
Will Straw, and John Street, British Journal of Music Education 19/2,
July 2002, pp.203-5.
Review of The Musical Work: Reality or Invention? edited by Michael
Talbot, Popular Music 21/2, May 2002, pp.237-9.
Review of Reading Pop: Approaches to textual analysis in popular music
edited by Richard Middleton, British Journal of Music Education 18/1,
March 2001, pp.83-6.
Review of Expression in Pop-Rock Music edited by Walter Everett,
Music and Letters 82/1, February 2001, pp.145-9.
'Spiritless music'; International Christian Mensa 1/9, July 2000, pp.9
Review of Frock Rock by Mavis Bayton, Music and Letters 80/4,
November 1999, pp.661-2.
Review of Analysing Musical Multimedia by Nicholas Cook, Music
and Letters 80/2, May 1999, pp.328-30.
Review of Understanding Rock by John Covach and Graeme M. Boone, Music
and Letters 80/1, February 1999, pp.153-6.
Review of The American Popular Ballad of the Golden Era 1924-1950 by
Allen Forte, Music Analysis 17/ii, 1998, pp.256-60.
'The fall and rise of "modernism"'; Critical Musicology Newsletter 4
, 1996, pp.21-5.
Review of Interpreting Popular Music by David Brackett, Music and
Letters 77/4, November 1996, pp.658-9.
'Revisiting Lucy Green's theory of musical meaning'; Critical Musicology
Newsletter 3, 1995, pp.30 32.
'The postmodern Frank Zappa'; Rubberneck 16, 1994, pp.30 35.
'A problem of history'; Critical Musicology Newsletter 2, 1994, pp.5 7.
Review of Cultural Studies, vols. 1-6; Critical Musicology
Newsletter 1, 1993.
'More than pleasant, more than delightful'; Critical Musicology Newsletter
1, 1993, pp.17 18.
'Authentic jazz'; Clarinet and Saxophone 14/3, 1989, pp.28-30.
24/11/15 BBC Radio 4 'Soul Music' on ELO's 'Mr Blue Sky'
5/9/15 Daily Telegraph, interview for Chris Moss, 'After almost half a century,
Prog is as misunderstood as ever'
24/4/15 New Musical Express on Oasis' 'Some might say'
18/9/12 BBC Radio 4 'Soul Music' on Dire Straits' 'Brothers in Arms'
25/8/09 BBC Radio 4 'Train tracks' (documentary), interviews
25/6/09 BBC World Service 'The Strand' on Brubeck Quartet's Time
26/9/08 BBC 1 'BBC Breakfast' interview on music & memorability
23/6/08 BBC Radio Scotland 'Songlines' on Leonard Cohen's 'Hallelujah'
7/2/08 BBC Radio 4 'Front Row' on rhythmic peculiarities in pop music
6/12/07 BBC Radio 4 'Front Row' on music in sci-fi films
12/10/07 BBC 3 Interviews for How Pop Songs Work
22/8-12/9/07 BBC Radio 4 'Earth, Wind for Hire', (4 programmes),
11/4/07 BBC 3 Interviews for The most annoying pop songs we love to hate
14/7/06 BBC Radio 4 'Front Row' on music & memorability
6/7/06 BBC Radio 4 'Silverscreen Beats' on Life of Brian
4/7/06 BBC Radio 4 'Silverscreen Beats' on Godspell
3/7/06 BBC Radio 4 'Silverscreen Beats' on King of Kings
7-28/3/06 BBC Radio 2 'It's the same old song' (4 programmes),
12/2/06 Channel 5 'UK's Favourite Break-Up Songs' various interviews
26/10/05 BBC World Service 'DNA of Pop' with Alex James (2 programmes)
13/9/05 BBC 3 Interview for documentary on Gloria Gaynor's 'I will survive'
23/9/05 BBC Radio 4 'Front Row' on Ronald Binge's 'Sailing By'
9-23/4/05 BBC Radio 4 presenting 'Armitage & Moore's Guide to Song', series 2
2/3/05 Interviews for DVD documentary Inside the Beatles (Music Reviews)
21/2/05 Channel 5 'Britain's Favourite No.1s', various interviews
14/2/05 Channel 5 'Britain's Favourite Love Songs', various interviews
9/2/05 BBC Radio 4 'Front Row' on Robbie Williams' 'Angels' (Brits award)
25/1/05 BBC Radio Newcastle 'Drive Time' interview on Madonna/Mary J. Blige
24/1/05 BBC Radio 5 Live 'Drive' interview on Madonna/Mary J. Blige copyright
15/1/05 LBC Radio 'David Preever' interview on new use of muzak in Tube
16/12/04 BBC Radio 4 'Silverscreen Crackers' on The Snowman
14/12/04 BBC Radio 4 'Silverscreen Crackers' on It's a Wonderful Life
13/12/04 BBC Radio 4 'Silverscreen Crackers' on Holiday Inn
7/12/04 Interviews for DVD documentary Atom heart Mother (Angry Penguin)
26/10/04 BBC Radio 4 'Killing me Softly' on the song 'Gloomy Sunday'
28/5/04 BBC Radio 4 'Front Row' on the Farm's 'All together now' remix for
20/2/04 BBC World Service 'Newshour' on Brian Wilson's Smile project
2/7/03 BBC Radio 4 'Front Row' on piano transcriptions of Radiohead songs
2/7/03 BBC Radio 5 Live 'Drive' interview on music & sport
24/6-8/7/03 BBC Radio 4 presenting 'Armitage & Moore's Guide to Song', series
1 (3 programmes)
4/4/03 BBC Radio 4 'Front Row' on versions of 'My Favourite Things'
29/1/03 BBC Radio 3 'Lebrecht Live' discussion panel 'What is 'great'?'
29/12/02 BBC Radio 4 'Front Row' special on women's voices in pop
24/6/02 BBC Radio 4 'Front Row' on the songwriter Diana Warren
25/2/02 BBC Radio 4 'Front Row' on Will Young ('Pop Idol' winner)
13/7/01 BBC Radio 4 'Front Row' on rock/opera singer collaborations
2/4/01 BBC Radio 4 'Front Row' on the Bee Gees
10/12/00 BBC Radio 4 'Soul Music' on Simon & Garfunkel's 'Bridge over troubled
29/7/00 BBC Radio 4 'Front Row' on MJ Cole & U.K. garage music
29/6/00 BBC Radio 4 'Front Row' on the music of Burt Bacharach & Hal David
19/6/00 BBC Radio 4 'Front Row' on the music to Jaws and Psycho
20/2/00 BBC Radio 4 'Front Row' on the music of Simon & Garfunkel
23/11/99 BBC Radio 4 'Front Row' on orchestral arrangements of rock songs
4/11/99 BBC Radio 4 'Front Row' on the Milennium celebrations' rearrangement
of the National Anthem
13/9/99 BBC Radio 4 'Front Row' on the theme tune to Blue Peter and
23/7/99 BBC Radio 4 'Front Row' on Philip Glass and background music
24/5/99 BBC Radio 4 'Front Row' on radio station idents
4/5/99 BBC Radio 4 'Front Row' on the music to the Star Wars films
6/4/99 BBC World Service 'Outlook' on the music of Abba
23/3/99 BBC Radio 4 'Today' on classical influences on the music of Abba
17/5/97 BBC Radio 3 'Music Matters' reviewing Robin Maconie's Science of
'Gudrun's waltz'; One minute wonders, Cadenza Music, 2006.
'Lay on the seductive ground of this womans work'; International Journal of Contemporary
Although I am now barely active as a composer (I do still compose piano pieces
for my own pleasure, and occasionally songs for self-performance), what
follows is a list of main performances etc.
Five aphorisms of Lao Tzu for soprano & ensemble.
Commissioned by Gemini for first performance, University of Surrey, March 2004
The king of Laoise and the milk-white hind for piano.
Part of the multimedia, multi-authored work Reflections (combining
poetry by Charles Hadfield, this music, dance and computer-manipulated
photography by Marina Wilson). First performance at Thames Valley University,
Lay on the seductive ground of this womans work for piano.
First performed by Karen Kingsley, November 1996, British Music
A singular lament for harp. Commissioned by Satu Salo;
first performed by her, April 1992, Thames Valley University.
Three Blake songs for voice and piano. Commissioned by Carol Bishop.
First performed by her and Karen Kingsley, March 1991, Southampton Art
Sweet surrender for piano. First performed by the composer,
February 1991, Thames Valley University.
Chill heart of England - song cycle (to poems of A. E. Housman)
for soprano and piano. First performed by Carol Bishop and Karen Kingsley,
February 1988, Southampton Art Gallery; subsequent performances by Gordon
Pullin and the composer.
Euphony for clarinet quartet. First performed by Endymion,
conducted by John Whitfield, November 1987, runner-up in London College
of Music Centenary Prize; recorded by Linda Merrick on Serendipity
Uisgeachan for flute and piano. First performed by Marion Ackrill
and the composer, April 1986, British Music Information Centre.
This rock on which we stand for string quartet. Gained Distinction in
Weber Prize, Dresden Festival, July 1985. Gained Commendation, Budapest Quartet
Composition Prize, April 1987.
Psalms and canticles for the second head for woodwind sextet
and vibraphone. Performed by Endymion, conducted by Greg Rose, March 1984,
Camden Festival, SPNM promotion.
From evening till dawn for soprano and ensemble. Poetry by Charles
Hadfield. First performed by New Ensemble, conducted by David Sutton Anderson,
April 1983, Purcell Room, in final of the Humphrey Searle Composition
Caamora: which shall be the darkness of God for piano. First performed
by the composer, January 1983, Southampton University.
The upward cycle for piano. First performed by Peter Lawson,
October 1978, Royal Northern College of Music; broadcast on BBC Radio 3
as part of the BBC Young Composers' Forum 1978. Also performed elsewhere
by Peter Lawson and by Richard Dering.
The dancers - surrounded for clarinet and piano. First performed by
Janet Hilton and Keith Swallow, October 1978, Royal Northern College of
Music; broadcast on BBC Radio 3 as part of the BBC Young Composers'
The carven bright radiance for chamber ensemble. First performed by
an ensemble conducted by Chris Fox, March 1977, Southampton University.
Ouroboros for flute. First performed by Marion Ackrill, February
1977, Southampton University, broadcast on BBC Radio Solent.