Research area: Music folksomony Over a span of less than twenty years the widespread uptake of cloud computing and music streaming services have prompted a rapid and exponential growth in the accessibility of music. User made tags make up an integral part of music experiences in retrieval, cataloguing, navigation and commentary of music online. Read more . . .
Research Area: Crossover singing performance and pedagogy The central focus of this research is to investigate the practices and ideas that professional female crossover singers use to perform and teach multiple genres of voice. Read More . . .
Research area: Remix and Recontexualisation My research explores the roles of paraphrasing, borrowing and recontextualisation and their significance in our appreciation and assimilation of new cultural works. I focus on framing the importance of remixing in popular music and the use of referencing. Read More . . .
Research area: The classical singing voice and the microphone The microphone has the capacity to change how a classical singer sings, where she sings and what she sings. My thesis examines the expressive choices and techniques available to a classical singer working with a microphone that are not present when the singer performs acoustically. Read More . . .
Research area: ORI* On Folding and Technology Folding is a language of structure. This is the central tenet in an ongoing field of artistic research that to date has been known as oribotics–a conjunction of technology and tradition expressed as the robotisation Read More . . .
Michael Kieran Harvey
Research area: 21st century composer/pianist’s interpretation and composition of virtuoso piano repertoire and the classical music concert tradition. My research argues that the interpretation of concert music is a hermeneutic process based on continuity, deviation and originality. Read More . . .
Research area: The Piano Music of Raymond Hanson Raymond Hanson (1913-76) is regarded by music historians and critics as a composer of distinction and integrity with compositional skills of the highest calibre. Read More . . .
Research area: Collaboration in experimental arts The intention of this research is to bring new perspectives through focusing on the unique activity of how people collaborate in experimental art space. Read More . . .
Research area: the interactive music producer This study investigates the emerging role of the interactive music producer. In the professional music landscape this role has arisen as interactive technologies offer artists and audiences new tools and opportunities to completely reinvent forms of music. Read More . . .
Research area: The record label and new business models Record labels have been the nexus between artist and audience, product and market in the music industry for over a century and until relatively recently were the only viable option for a recording artist to monetise their creativity. Read More . . .
Research area: Conceptualisation of the composing process from a phenomenological perspective I am interested in how composers make choices about the sounds they combine and how this may be influenced by a tacit understanding of the interaction of bodies, minds and emotions with sound, based on sound parameters. Read More . . .
Research area: An Interpretive Model for Conceptual Music Conceptual music is defined as music which is primarily concerned with the presentation of ideas and concepts. This is a broad category. To some extent, it overlaps a variety of specific approaches to musical composition and production. Read More . . .
Research area: Intention, Expectation and Reception: a Syncretic Approach to the Solo Concerts of Keith Jarrett At present, Colin’s research interest is centred upon improvisation, using the solo performances of the famous American jazz pianist Keith Jarrett. Read More . . .
Research area: An Extravagant Burlesque: 19th-Century Blackface Minstrelsy and Its Contemporary Revival My research has focused on 19th-century colonial entertainment, and my practice investigates the adaptation of historical genres for contemporary audiences. Read More . . .