Note: Many of these publications are available on www.researchgate.net. If you search diligently enough, you can find pirated copies of everything I have published available on the web. Which I guess is good, really.
Music's Interdisciplines: Critical Practices in the Study of Music; contracted to Routledge. I have now stepped down from this editorship.
Library of Essays in Popular Music, eight volumes, Ashgate Press, 2011/13.
The Oxford Companion to Progressive Rock (co-edited with Sarah Hill); in preparation.
The Bloomsbury Handbook of Rock Music Research (co-edited with Paul Carr); Bloomsbury Academic, 2020 (xviii+636pp.)
Rock: the primary text (third edition, co-authored with Remy Martin); Routledge, 2019 (xxiv+321pp.)
The Beatles: Sgt. Pepper's Lonely Hearts Club Band; Italian edition, trans. S. Pogelli; Stampa Alternativa, 2016 (110pp.)
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, 2012 (xvi+395pp).
Critical readings in popular musicology (editor), Ashgate Press, 2007 (xxii+608pp).
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 (xi+270pp).
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).
'Songs for our soils: How soil themes have been represented in popular song' with Gian Franco Capra & Antonio Ganga, Soil Science & Plant Nutrition 63/5, 2017, pp.517-25.
'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 2013, http://ppct.caicyt.gov.ar/index.php/oidopensante/issue/view/152.
'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 esthetique', 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, http://www.unipv.it/britishrock1966-1976/testien/moo1en.htm.
'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, http://www.charm.rhul.ac.uk/content/events/s1Moore.pdf.
'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/ mto.05.11.4.moore_frames.html.
'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/ allanmoore.htm.
'Looking for the Kingdom Come: questioning spirituality in U2'; Popular Musicology Online 2002, http://www.cyberstudia.com/popular-musicology- online/papers-6/moore-1.html.
'Authenticity as authentication'; Popular Music 21/2, May 2002, pp.209-223.
'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 realta; 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 finalitÃƒ ', trans. P. Polselli; Musica realta; 62, July 2000, pp.95-118.
'U2 and the myth of authenticity in rock'; Popular Musicology 3, 1998, pp.4-24.
'Method in popular music analysis' in Tarja Hautamaki and Helmi Jarviluoma (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 1998, pp.1-6.
'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, 1995, pp.185-201.
'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, UniversitÃƒ degli Studi di Trento, 1992, pp. 241-44.
'Living in Political Song' in Hans Giessen (ed.): Living in a Political World. Social Commentary from Singer-Songwriters to Rap, Helsinki: Société Néophilologique, 2020, pp.11-28.
'Introduction: Rock Music's Emergence, Censorship, and Perceived Death' (with Paul Carr) in Moore and Carr (eds.): Bloomsbury Handbook of Rock Music Research, Bloomsbury Academic, 2020, pp.1-23.
'Frankie Armstrong, Brian Pearson, Blowzabella and Jon Gillaspie's Tam Lin (1984)' in Will Stockton & D. Gilson (eds.): The 33 1/3 B-Sides, Bloomsbury, 2020, pp.124-26.
'Afterword' to Nick Braae & Kai Arne Hansen (eds.): On Popular Music and its Unruly Entanglements; Palgrave MacMillan, 2019, pp.257-61.
'Listening to the sound music makes' in Ciro Scotto, Kenneth Smith & John Brackett (eds.): The Routledge Companion to Popular Music Analysis; Routledge, 2018, pp.45-57.
'The bitter taste of praise: singing Hallelujah' in Lori Burns and Serge Lacasse (eds.): The Pop Palimpsest: Intertextuality in Recorded Popular Music; Ann Arbor MI: University of Michigan Press, 2018, pp.85-105.
'Shreds of memory in post-milennial prog' in Martin Lucke and Klaus Naumann (eds.): Reflexionen zum Progressive Rock; Munich: Allitera, 2016, 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, 2014, pp.257-67.
'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, pp.387-99.
'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, pp.1-15.
'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, pp.139-53.
'Disciples of the Cockroach King? Listening, understanding and recent prog'; seminar
paper at Durham University, March 2018.
'So what is it, to understand a piece of music?; seminar paper at Kingston University, February 2018.
'Living in political song'; keynote paper (delivered in absentia), Living in a political world, Helsinki University, October 2017.
'Music's making sense'; seminar paper at University of Salford, March 2017.
'The End of Analysis'; the Cramb Lecture, University of Glasgow, March 2017.
'The singing of Melanie Safka: a metanalytic investigation'; seminar paper at Kingston University, March 2017.
'Personic analysis'; seminar paper at Kingston University, January 2016.
'Beyond Realism: changing performance practice in British folk song; seminar paper at Kingston University, November 2015.
'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, September 2014.
'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 2011.
'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, September 2011.
'Addressing the persona'; 'Black Box Pop', APSM Mannheim, November 2010.
'Towards a hermeneutics of spatialization'; seminar paper given at Sorbonne University, Paris, February 2010.
'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 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.
'Dealing with popular music'; IMR research training in music programme, June 2009.
'Dystopian progressions'; research seminar given at University of Dijon, April 2009.
'Enculturation issues in pre-/post-18 music study'; position paper delivered to NAME South-East meeting, University of Reading, March 2009.
'Interpretation: so what?'; seminar paper given at Open University, May 2008.
'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 2007.
'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, March 2004.
'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 2002.
'Reforming Alfie'; research paper delivered at the University of Southampton, January 2002.
'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¢€šÃƒ‚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, 1992.
'The textures of rock'; 2nd International Conference on Music Analysis, Trento, 1992.
'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 The Quest for the Melodic Bass: from Jameson to Spenner by Per Elias Drablos,
World of Music 6/2, 2017, pp.157-59.
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, pp.274-6.
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 Education'; http://www.namhe.ac.uk/publications/reports/transferable_skills.pdf.
'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 -11.
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.
11/4/18 BBC Radio 4 'Soul Music; on Procol Harum's 'Whiter shade of pale'
7/10/17 BBC4 interviews for Nile Rodgers: how to make is in the music business'
17/5/17 BBC Radio 4 'Soul Music' on the Kinks' 'Waterloo sunset'
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 Out
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), various interviews
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), various interviews
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 (3 programmes)
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 copyright case
24/1/05 BBC Radio 5 Live 'Drive' interview on Madonna/Mary J. Blige copyright case
15/1/05 LBC Radio 'David Preever' interview on new use of muzak in Tube stations
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 Euro 2004
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 water'
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 similar programmes
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 Music
Since retirement I have produced an extensive series of piano works.
Recordings of (to date) 11 albums of piano music can be found at www.musiquallan.bandcamp.com. These recordings are also lodged with the British Library, Sound Recording Archive.
Some of the individual pieces are available for streaming at https://audiomack.com/musiquallan and at https://soundcloud.com/user-520460812.
Prior to this, I occasionally composed pieces for specific performance, as follows.
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, May 1999.
Lay on the seductive ground of this womans work for piano. First performed by Karen Kingsley, November 1996, British Music Information Centre.
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 Gallery.
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 SERCD0200.
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 Prize.
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' Forum 1978.
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.