Past Seminars

2016-2017

  • Graham Dunning: ‘Public making and collage-based instrument building and sound art’
  • Jointly organized by ICMUS and MEMS: Professor Wendy Scase (University of Birmingham): 'How did Medieval Scribes Copy? Evidence from Middle English Manuscripts'
  • Dr Will Edmondes (Newcastle University): ‘Wild Productivity: Music & Arts in the Age of Evaporation’
  • Jointly organized by ICMUS and MEMS: Professor John Milsom (Oxford University, and Visiting Professor, Newcastle University): 'Tallis, Byrd and the Late Tudor Music Trade’
  • Dr Katia Chornik (Cantos Cautivos Archive): ‘The Rite of Spring in Cuban key: Alejo Carpentier and the musical text’
  • Dr Richard Elliott (Newcastle University): ‘The Sound of Nonsense’
  • Professor Greg Walker (Edinburgh University): ‘John Heywood and the Early Tudor Interlude’
  • Professor Valentina Sandu Dediu (Rector, National University of Music Bucharest): How Traditional Music Matches Romanian Avant-Garde
  • Dr Shzr EE Tan (Royal Holloway College, University of London): Aspirational Cosmopolitanism and the Sound Art Scene in Singapore (and for That Matter Many Postcolonial States), or Class, Sex and Eroticism in Latin American Dance Scenes of East Asia
  • Professor Lester P Monts (University of Michigan): Noodlin’and Doodlin’: Style and Change in Michigan Folk Music
  • Professor Marina Frolova-Walker (Cambridge University): Topic tbc
  • Professor Ashley Solomon (Royal College of Music): Music from the Missions: Rediscovering the Baroque Music from the Moxos and Chiquitos Indians in Bolivia

2014-2015

2014-2015

  • Desi Wilkinson (Newcastle), 'Play me a Lonesome Reel'
  • Tim Lawrence (University of East London), 'Mutant Music and the New York Dance Floor, 1980–83'
  • Frances Wilkins (Elphinstone Institute, University of Aberdeen), 'Scots in the Sub-Arctic: Discovering Musical Fingerprints among the Cree Fiddlers of James Bay'
  • Emilie Murphy (National University of Ireland, Galway), 'Sounding Catholic in Post-Reformation England’ (in association with the Medieval and Early Modern Studies research group)
  •  David Robb (Queen's University Belfast), ‘The mobilising of the German 1848 revolutionary song tradition in the context of 20th century folk revivals’
  • Harriet Manning (ICMuS), ‘Michael Jackson and the blackface mask: The legacy of nineteenth-century blackface minstrelsy’ Research Seminar
  • 'One Century of Record Labels: Mapping Places, Stories and Communites of Sound' Conference (Devonshire Building)
  • Pauline Fairclough (University of Bristol), ‘From enlightened to sublime: musical life under Stalin, 1930–1940’ Research Seminar
  • 'Musical Life outside London' Study Day (The Black Gate Learning Suite, Newcastle Castle)
  • Defining Scotland Musically Conference (Research Beehive, Old Library Building
  • Neil Eaves (Music Therapist), 'What is music therapy? An insight into the work of a therapist within a children's hospice’

 

2013-2014

2013-2014

  • Colin Quigley (Irish World Academy of Music and Dance, University of Limerick), ‘Critical Heritage: Music Dance and Custom in Central Transylvania’
  • Laudan Nooshin (Music Department, City University London), ‘Music, Trauma and Social Media: The case of the 2009 Iranian Presidential Elections 
  • Heather Sparling (Cape Breton University), ‘Moving Memories: Disaster Songs as Vernacular Commemorations of Death’
  • Martyn Hudson (Newcastle University), Music and knowledge exchange in rural Northumberland'
  • Tricia Rose (Brown University, Rhode Island), ‘What is the “popular” in black popular culture, today?’
  • Ann-Marie Hanlon (Newcastle), 'Effeminate Satie: Gender and the Musical Canon'
  • John Milsom (Liverpool Hope University), ‘Singing Sternhold’s Psalms’: part of Medieval and Early Modern Studies Symposium, John Sheppard and the Mid-Tudors
  • Simon Waters (Sonic Arts Research Centre, Queen’s University Belfast), 'Inhabiting Sound’