MUSIC DEPARTMENT POSTGRADUATE HANDBOOK - (2014- 2015) - Maynooth University
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Music Department Postgraduate Handbook (2014-2015)
MUSIC
DEPARTMENT
POSTGRADUATE
HANDBOOK
(2014-‐2015)
https://www.maynoothuniversity.ie/music
IMPORTANT:
The
information
contained
in
this
Handbook
was
accurate
and
up-‐to-‐date
when
compiled.
The
Department
reserves
the
right
to
revise,
alter
or
discontinue
courses
of
study
and
to
amend
the
regulations
and
guidance
at
any
time,
without
notice.
In
particular,
this
Handbook
should
not
be
regarded
as
a
substitute
for
the
University
Calendar/Central
Guidelines,
which
provide
definitive
information
and
regulations.
Where
possible
any
significant
changes
to
the
information
contained
in
this
Handbook
which
affect
students
in
relation
to
such
m atters
as
timetabling
and
assessment
will
be
notified
in
writing.
1Music Department Postgraduate Handbook (2014-2015)
CONTENTS
HEAD
OF
DEPARTMENT’S
WELCOME
3
WHERE
TO
FIND
US
4
WHO’S
WHO
5
MAIN
CONTACTS
FOR
POSTGRADUATE
STUDENTS
6
RESEARCH
INTERESTS
OF
STAFF
7-‐9
COMMUNICATION:
KEEPING
IN
TOUCH
11-‐12
FACILITIES,
EVENTS
&
RESOURCES
13-‐16
Library
15
CALENDAR
16
DEGREE
PROGRAMME
REQUIREMENTS
16-‐22
MA
in
Musicology
16
MA
in
Performance
and
Musicology
17
MA
in
Composition
18
MA
in
Creative
Music
Technologies
18
PGDip
in
Music
Technology
19
Structured
MLitt
20
Structured
PhD
21
GENERAL
INFORMATION
ON
POSTGRADUATE
DEGREES,
COURSEWORK
AND
THESIS
SUBMSSION
23-‐36
Taught
MA
Programmes
23
Marking
Criteria
26
Thesis
and
Dissertation
Criteria
27
Performance
Strand
Criteria
28
Composition
Criteria
29
Plagiarism
and
Unfair
Practices
30
Research
Degrees
32
Submission
of
Theses
37
TIMETABLE
38
SUBMISSION
COVERSHEETS
(EXAMPLES)
40
RESEARCH
DEGREE
PROGRESS
REPORT
FORM
(EXAMPLE)
42
2Music Department Postgraduate Handbook (2014-2015)
HEAD
OF
DEPARTMENT’S
WELCOME
In
this,
my
first
year
as
Head
of
Department,
I
am
very
pleased
to
welcome
all
new
and
returning
postgraduate
students
to
what
promises
to
be
a
very
stimulating
and
rewarding
year
in
Music
at
Maynooth.
One
of
the
qualities
of
the
Department
that
has
impressed
me
most
since
arriving
is
the
energy
and
commitment
surrounding
research.
My
colleagues
care
passionately
about
their
research
both
as
a
way
of
enriching
their
teaching
and
as
a
contribution
to
knowledge
and
creative
endeavour
in
the
University
and
beyond.
2014/15
will
see
book
launches
by
members
of
staff,
an
exciting
roster
of
visiting
speakers
and
performers,
and
special
events
designed
to
initiate
exchange
with
researchers
in
other
departments
as
part
of
our
commitment
to
the
increasingly
important
interdisciplinary
dimension
of
research
in
the
University.
None
of
this
could
be
counted
as
a
success,
though,
without
your
participation.
As
composers,
musicologists
and
performers,
you,
our
postgraduate
students,
are
essential
to
the
research
community
of
the
Department
and
of
the
University.
Your
engagement
with
supervisors
disseminates
their
knowledge
and
enhances
their
own
research;
your
own
research
broadens
and
deepens
the
fund
of
knowledge
and
creativity
in
the
Department
and
beyond;
and
many
of
you
in
turn
pass
learning
along
as
tutors
and
teachers.
I
urge
you
to
seize
the
opportunity
to
participate
in
our
research
community
and
take
full
advantage
of
what
it
offers
for
your
own
development
as
scholar,
as
creative
practitioner,
as
individual.
Whether
joining
one
of
our
ensembles,
presenting
at
one
of
our
student
colloquia,
or
simply
participating
in
the
conversation
during
one
our
research
seminars,
your
contribution
is
most
welcome
and
you
will
find
the
community
here
welcoming,
supportive
and
collegial.
This
Handbook
is
designed
to
offer
you
an
introduction
to
what
happens
in
the
Department
and
the
important
role
you,
as
a
postgraduate
student,
play
within
it.
I
hope
you
find
the
Handbook
useful.
Please
do
read
it
carefully,
even
if
you’re
a
returning
student
and
think
you
know
your
way
around
–
there
have
been
a
few
changes
in
policy
and
personnel.
You
should
also
regularly
check
for
amendments
and
updates
within
our
shared
space
on
Moodle:
https://2015.moodle.maynoothuniversity.ie/login/index.php.
Useful
Department
news
and
information
also
appears
on
our
website:
https://www.maynoothuniversity.ie/music.
The
Department
is
unmatched
in
the
University
for
the
liveliness
and
range
of
the
events
it
organises,
and
we
are
justly
proud
of
the
contribution
it
makes
to
the
University,
the
town
of
Maynooth
and
the
region.
In
addition
to
many
and
varied
ensemble
events,
I
would
draw
your
attention
to
two
regular
events
in
particular:
the
Thursday
lunchtime
concert
series
at
13:00
in
Riverstown
Hall
and
the
fortnightly
research
seminar
series
on
Fridays
at
15:00,
which
this
year
features
an
impressive
international
roster
of
visiting
speakers.
We
would
be
very
happy
to
see
you
there.
Details
of
both
are
available
on
our
website.
Wishing
you
every
success
in
the
year
ahead,
Professor
Christopher
Morris
3Music Department Postgraduate Handbook (2014-2015)
WHERE
TO
FIND
US
The
Music
Department
is
located
in
Logic
House
at
the
southern
end
of
the
University’s
South
Campus.
Some
lectures
take
place
in
central
facilities
on
the
North
and
South
Campuses
–
see
published
timetables
for
details.
Individual
Staff
Offices
and
Main
Office
Most
offices
can
be
found
on
the
first
floor
of
Logic
House.
For
full
details
refer
to
‘Who’s
Who’
below.
Department
Lecture
Rooms
(Ground
Floor,
Logic
House)
Bewerunge
Room
New
Music
Room
O’Callaghan
Room
Music
Technology
Laboratory
To
the
rear
of
Logic
House
Performance
Suite
To
the
rear
of
Logic
House
next
door
to
the
Music
Technology
Suite
Practice
Rooms
To
the
rear
of
Logic
House:
adjacent
to
the
Performance
Suite
Riverstown
Hall
Ground
floor
of
Riverstown
House
Postgraduate
Facility
A
hot-‐desking
space
designated
for
the
use
of
postgraduate
music
students
is
available
at
room
19
in
the
IVI.
Keys
for
this
room
can
be
obtained
from
the
Music
Department
office.
Music
Department
Office
&
Technical
Support
Information:
Personnel
The
Music
Department
Office
is
run
by
Ms
Marie
Breen
(Administrative
Officer),
Ms
Dorena
Bishop
(Executive
Assistant,
mornings)
and
Emily
Cook
(Executive
Assistant,
afternoons).
The
Music
Department’s
Technical
Officer
is
Mr
Paul
Keegan
Location
Music
Office:
Room
115,
Logic
House
(first
floor).
Technical
Officer:
Room
20,
IVI
Building
Music
Office
Hours
(Monday
to
Friday)
09:30-‐12:30
and
14:30-‐16:30
Assignments
posted
under
the
door
are
deemed
unsubmitted.
Telephone:
+353
(0)1
708
3733
Fax:
+353
(0)1
628
9432
Email:
music.department@nuim.ie
4Music Department Postgraduate Handbook (2014-2015)
WHO’S
WHO
See
also
https://www.maynoothuniversity.ie/music
for
individual
staff
webpages
giving
details
of
research/expertise
and
interests.
ROOM
PH.
EMAIL
ADDRESS
Professor
Christopher
Morris
119
3733
music.department@nuim.ie
(Head
of
Department)
Music
Department
Office
Ms
Marie
Breen
(Administrative
Officer)
115
3733
music.department@nuim.ie
Ms
Dorena
Bishop
(.5
Executive
Assistant)
115
3733
music.department@nuim.ie
Ms
Emily
Cook
(.5
Executive
Assistant)
115
3733
music.department@nuim.ie
Department
Technician
Mr
Paul
Keegan
138
6718
paul.keegan@nuim.ie
Full-‐Time
Lecturing
Staff
Dr
Lorraine
Byrne
Bodley
(Senior
Lecturer)
120
4672
lorraine.byrnebodley@nuim.ie
[on
research
sabbatical
leave
in
Semester
I]
Dr
Antonio
Cascelli
(Lecturer)
134
6716
antonio.cascelli@nuim.ie
Dr
Gordon
Delap
(Lecturer)
128
4640
gordon.delap@nuim.ie
Dr
Alison
Hood
(Lecturer)
123
6457
alison.hood@nuim.ie
Dr
Victor
Lazzarini
(Senior
Lecturer)
1
Mus
Tech
3545
victor.lazzarini@nuim.ie
Dr
Ryan
Molloy
(Lecturer)
109
3730
ryan.molloy@nuim.ie
Dr
Estelle
Murphy
(Lecturer)
111
3754
estelle.murphy@nuim.ie
Dr
Martin
O'Leary
(Lecturer)
110
3924
martin.oleary@nuim.ie
Prof.
Fiona
Palmer
(Professor)
135
3733
fiona.palmer@nuim.ie
Dr
Francesca
Placanica
(Lecturer)
120
4672
francesca.placanica@nuim.ie
[Sabbatical
cover
for
LBB
Semester
I]
Dr
Adrian
Scahill
(Lecturer)
107
4638
adrian.scahill@nuim.ie
[on
research
sabbatical
leave
in
Semester
II]
Dr
Laura
Watson
(Lecturer)
136
6717
laura.watson@nuim.ie
Director
of
Choral
Groups:
Joint
Post
with
St
Patrick’s
College
Maynooth
Dr
John
O'Keeffe
112
3732
jokeeffe@nuim.ie
Occasional
Lecturers:
Mr
Martin
Fahy
106
3733
martin.fahy@nuim.ie
Mr
Ray
O’Donnell
106
3733
raymond.odonnell@nuim.ie
Ms
Marian
McEvoy
106
3733
marion.mcevoy@nuim.ie
Graduate
Students
with
TA
Roles:
Ms
Anja
Bunzel
PG
3733
anja.bunzel.2013@nuim.ie
Mr
Shane
Byrne
PG/Tech
3733
shane.byrne.2011@nuim.ie
Mr
Brian
Connolly
PG/Tech
3733
brian.a.connolly.2009@nuim.ie
Ms
Emma
Higgins
PG
3733
emma.m.higgins@nuim.ie
Ms
Darina
McCarthy
PG
3733
darina.mccarthy@nuim.ie
Department
Ensemble
Contacts:
Dr
John
O’Keeffe
(Choral
Society)
See
Above
Mr
Sebastien
Petiet
&
Mr
Lorcan
Daly
135
3733
sebastien.petiet@nuim.ie
(Chamber
Orchestra)
Mr
Michael
Dawson
(Chamber
Choir)
135
3733
chamber.choir@nuim.ie
Mr
David
Connolly
(Ladies’
Choir)
135
3733
david.a.connolly@nuim.ie
Dr
Adrian
Scahill
(Irish
Traditional
Group)
See
Above
Mr
David
Kennedy
(Guitar
Ensemble)
135
3733
kennedd9@tcd.ie
Dr
Ryan
Molloy
&
Dr
Martin
O’Leary
(FUAIM)
See
Above
5Music Department Postgraduate Handbook (2014-2015)
MAIN
CONTACTS
FOR
POSTGRADUATE
STUDENTS
HEAD
OF
DEPARTMENT
Prof.
Christopher
Morris
Room
119,
Logic
House.
music.department@nuim.ie
,
tel
+353
(0)1
708
3733
DIRECTOR
OF
POSTGRADUATE
STUDIES:
Dr
Alison
Hood
Room
123,
Logic
House.
alison.hood@nuim.ie,
tel:
+353
(0)1
708
6457
TAUGHT
POSTGRADUATE
PROGRAMME
DIRECTORS:
MA
MUSICOLOGY:
Dr
Laura
Watson.
laura.watson@nuim.ie
MA
PERFORMANCE
AND
MUSICOLOGY:
Dr
Antonio
Cascelli.
antonio.cascelli@nuim.ie
MA
COMPOSITION:
Dr
Martin
O’Leary
and
Dr
Ryan
Molloy.
martin.oleary@nuim.ie,
ryan.molloy@nuim.ie
MA
CREATIVE
MUSIC
TECHNOLOGIES/PG
DIPLOMA
IN
MUSIC
TECHNOLOGY:
Dr
Gordon
Delap.
gordon.delap@nuim.ie
HDip
CHURCH
MUSIC:
Dr
John
O’Keeffe.
jokeeffe@nuim.ie
6Music Department Postgraduate Handbook (2014-2015)
RESEARCH
INTERESTS
OF
ACADEMIC
STAFF
Dr
Lorraine
Byrne
Bodley
Lorraine
Byrne
Bodley
holds
a
PhD
in
Music
and
in
German
from
University
College
Dublin,
and
has
completed
postdoctoral
studies
in
German
at
Trinity
College
Dublin
(2001-‐03),
with
further
postdoctoral
studies
in
Music
at
the
National
University
of
Ireland
Maynooth
(2003-‐04),
where
she
was
appointed
a
Lecturership
in
Musicology
(2005).
Awards
include
a
Visiting
Professorship
at
the
University
of
Leipzig
(2010),
funded
by
a
DAAD
Senior
Academics
Study
Grant
Award
(2010);
a
Government
of
Ireland
IRCHSS
Post-‐Doctoral
Scholarship
(2001-‐03);
a
DAAD
scholarship
(2002)
and
the
Goethe
Prize
of
the
English
Goethe
Society
(2001).
Dr
Byrne
Bodley
is
known
internationally
for
her
work
on
Schubert,
on
Goethe
and
Music
and
on
German
Song,
on
all
of
which
she
has
lectured
internationally
(in
German
and
in
English)
in
Germany,
Belgium,
Russia,
Canada,
North
America,
UK
and
Ireland.
She
is
active
in
the
promotion
of
unknown
works
in
Ireland,
Germany
and
Canada,
among
them:
Claudine
von
Villa
Bella:
Goethe’s
Singspiel
set
by
Franz
Schubert;
Anna
Amalia’s
setting
of
Goethe’s
Erwin
und
Elmire
and
Eberwein’s
setting
of
Goethe’s
melodrama,
Proserpina.
More
recently,
she
has
written
on
the
music
of
her
husband,
Seóirse
Bodley.
Dr
Byrne
Bodley
has
published
10
books
and
has
contributed
to
leading
journals
including
Music
and
Letters
and
Nineteenth
Century
Music
Review.
Recent
books
include:
Goethe
and
Zelter:
Musical
Dialogues
(Ashgate,
October
2009);
The
Unknown
Schubert
(Ashgate,
2008);
A
Hazardous
Melody
of
Being:
Seoirse
Bodley’s
Song
Cycles
on
the
Poems
of
Micheal
O’Siadhail
(Carysfort
Press,
2008)
and
Proserpina:
Goethe’s
Melodrama
with
Music
by
Carl
Eberwein
(Carysfort
Press,
2007).
Books
in
Progess
include:
Goethe’s
Correspondence
with
Contemporary
Composers:
A
Critical
Edition;
Goethe
and
the
Allure
of
Music
(a
critical
biography
of
Goethe’s
engagement
with
music)
and
an
analytical
study
of
Irish
poetry
in
contemporary
song:
Dancing
at
the
Precipice:
Modernism
and
National
Identity
in
the
Songs
of
Seóirse
Bodley.
Dr
Antonio
Cascelli
Antonio
Cascelli
studied
piano
in
Rome
with
the
pianist
Elena
Matteucci,
a
member
of
the
acclaimed
Italian
‘Quartetto
Michelangelo’.
He
also
studied
at
the
University
of
Rome
‘La
Sapienza’
and
at
the
University
of
Southampton,
where
he
completed
his
Master
and
PhD
respectively
on
Monteverdi
and
on
Schenker’s
unpublished
analyses
of
the
music
of
Chopin.
Antonio
collaborates
with
Radio
Vaticana
in
Rome,
Italy,
for
which
he
has
recorded
programmes
on
Schenkerian
Analysis,
English
Art
Songs,
the
Fitzwilliam
Virginal
Book,
and
Chopin.
He
has
presented
papers
at
several
international
conferences,
including
Renaissance
Society
of
America
Conferences
in
Washington
DC
(2012)
and
New
York
(2014);
the
Fourth
International
Schenker
Symposium
in
New
York
(2006)
and
the
Seventh
and
Eighth
International
Academic
Conference
organized
by
the
Fryderyk
Chopin
Institute
(Warsaw,
2007
and
2008),
the
Anniversary
Chopin
Congress
in
Warsaw
(2010),
and
the
16th
Biennial
Conference
on
Nineteenth-‐Century
Music
at
the
University
of
Southampton
(2010).
Recent
publications
include
articles
on
the
importance
of
Chopin’s
music
in
the
development
of
Schenker’s
analytical
thought
(Schenker
Studies)
the
influence
of
Chopin
on
Busoni,
Schenker’s
interpretation
of
the
last
movement
of
Chopin’s
Sonata
Op.
35,
and
the
role
of
architectural
metaphors
in
Galilei's
Dialogo
della
musica
antica
e
della
moderna
in
the
Routledge
Companion
to
Music
and
Visual
Culture
(2014).
He
has
published
articles
and
reviews
in
Ad
parnassum,
Studi
Musicali,
Music
&
Letters,
JSMI,
Nuova
Rivista
Musicale
Italiana,
and
Chopin’s
Musical
Worlds
–
The
1840’s
(Warsaw
2007).
He
is
in
the
editorial
board
of
the
online
music
analysis
journal
Analitica
(http://www.gatm.it/analitica/0en_index.htm)
and
on
the
board
of
GATM
(Gruppo
di
Analisi
e
Teoria
Musicale.
http://www.gatm.it).
Antonio’s
main
research
interest
is
the
history
of
music
theory,
with
particular
focus
on
analysis,
theory,
metaphor
and
performance.
He
is
currently
working
on
a
project
about
the
importance
of
metaphors
in
the
discourse
about
music
in
sixteenth-‐century
Italian
art
and
music
treatises.
In
March
2015
Antonio
will
present
a
paper
on
the
treatise
on
theatre
by
the
music
theorist
Ercole
Bottrigari
at
the
annual
meeting
of
the
Renaissance
Society
of
America
in
Berlin.
He
is
coordinating
a
conference
on
Music
and
Visual
Culture
(2016)
and
the
Medieval
Renaissance
Conference
(2018)
in
Maynooth.
As
a
performer,
Antonio
is
an
active
accompanist,
collaborating
with
singer
Niamh
Murray,
Eamonn
Mulhall,
Dr
Francesca
Placanica,
and
cellist
Dr
Alison
Hood.
Dr
Gordon
Delap
Gordon
Delap
studied
at
City
University,
London,
and
at
the
Sonic
Arts
Research
Centre
at
Queen’s
University,
Belfast,
completing
his
doctorate
in
2004.
He
has
undertaken
international
residencies
at
Nadine
Arts
Centre
in
Brussels,
and
recently
at
the
Technische
Universität
in
Berlin,
where
he
carried
out
research
into
7Music Department Postgraduate Handbook (2014-2015)
compositional
applications
of
non-‐linear
plate
models.
Dr
Delap’s
interests
lie
in
the
area
of
electronic
music,
particularly
in
the
creation
of
acousmatic
music,
works
for
video
and
sound
art,
and
speech-‐based
composition.
In
recent
times
he
has
received
commissions
from
the
British
Council,
Spacenet,
and
BBC
Radio
3,
and
in
2005
he
won
first
prize
in
the
Projet
Itinerant
competition
‘Point
de
repere’.
Dr
Alison
Hood
Alison
Hood
is
a
first-‐class
honours
graduate
of
Trinity
College
Dublin.
She
graduated
from
Trinity
with
a
PhD
entitled
‘Chopin's
Strategic
Integration
of
Rhythm
and
Pitch:
a
Schenkerian
Perspective’.
During
her
time
at
Trinity
she
was
awarded
the
Taylor
Entrance
Exhibition
(1992),
the
Home
Hewson
Scholarship
(1996),
the
Trinity
College
Postgraduate
Award
(1999),
and
the
Government
of
Ireland
Scholarship
(1999).
She
was
elected
Scholar
of
Trinity
in
1994.
She
lectured
part-‐time
in
Trinity
from
1997
to
2003
and
was
appointed
visiting
lecturer
at
the
University
of
Oregon
for
the
autumn
term
of
2001.
She
began
lecturing
in
Maynooth
University
in
2003
and
was
appointed
Acting
Head
of
Department
in
2012–2013.
Her
research
interests
lie
in
the
area
of
analysis
and
performance,
particularly
in
piano
music
from
the
nineteenth
century.
Recent
publications
include:
‘Structural
Coupling
in
the
Coda
of
Chopin’s
Barcarolle’,
in
Artur
Szklener
(ed.),
Chopin
1810–2010:
Ideas—Interpretations—Influence,
(Warsaw,
forthcoming);
‘Shared
Compositional
Strategies
in
Chopin’s
Nocturnes
Opus
48’,
in
Irish
Musical
Studies
11
(2014);
and
‘Ambiguity
of
Tonal
Meaning
in
Chopin’s
Prelude
Opus
28,
No.
22’,
Music
Theory
Online
(2012).
Her
monograph
Interpreting
Chopin:
Analysis
and
Performance
was
published
by
Ashgate
in
April
2014.
Dr
Victor
Lazzarini
Victor
Lazzarini
is
a
graduate
of
the
Universidade
Estadual
de
Campinas
(UNICAMP)
in
Brazil,
where
he
was
awarded
a
BMus
in
Composition.
He
completed
his
doctorate
at
the
University
of
Nottingham,
UK,
where
he
was
received
the
Heyman
scholarship
for
research
progress
and
the
Hallward
composition
prize
for
one
of
his
works,
Magnificat.
His
interests
include
musical
signal
processing
and
sound
synthesis;
computer
music
languages;
electroacoustic
and
instrumental
composition.
Dr
Lazzarini
received
the
NUI
New
Researcher
Award
in
2002
and
the
Ireland
Canada
University
Foundation
scholarship
in
2006.
He
currently
leads
the
Sound
and
Digital
Music
Research
Group
at
Maynooth
University
and
has
authored
over
one
hundred
articles
in
peer-‐reviewed
publications
in
his
various
specialist
research
areas.
He
has
also
forged
links
with
Industry,
providing
consultancy
and
research
support
to
Irish
companies
in
the
area
of
computer
music.
In
addition
to
these
activities,
Dr
Lazzarini
is
active
as
a
composer
of
computer
and
instrumental
music,
having
won
the
AIC/IMRO
International
Composition
prize
in
2006.
His
music
is
regularly
performed
in
Ireland
and
abroad,
and
has
been
released
on
CD
by
FarPoint
Recordings.
Recent
publications
include:
The
Audio
Programming
Book
(with
R.
Boulanger,
Cambridge,
Mass,
MIT
Press,
2010)),
Ubiquitous
Music
(with
D.
Keller
and
M.
Pimenta,
Springer
Verlag
2014),
and
“Interactive
Spectral
Processing
of
Musical
Audio”
(in
Oxford
Handbook
of
Interactive
Audio,
Oxford
Univ.
Press,
2014).
Dr
Lazzarini
is
currently
the
Dean
of
Arts,
Philosophy
and
Celtic
Studies.
Dr
Ryan
Molloy
As
a
composer
and
performer,
Ryan’s
work
has
been
performed
to
international
audiences
on
four
continents
for
over
ten
years,
including
major
concert
venues
such
as
Tanglewood
(U.S.A.),
Lucerne
Hall,
KKL
(Switzerland),
Kölner
Philharmonie
(Germany),
Holywell
Music
Room
(England)
and
Waterfront
Hall
(N.
Ireland).
In
great
demand
as
an
accompanist,
he
has
recorded
over
a
dozen
albums
and
his
repertoire
spans
numerous
genres
from
traditional
Irish
music
to
contemporary
classical
music.
Ryan
studied
at
the
University
of
Oxford
and
latterly
at
Queen’s
University
Belfast
where
he
completed
his
PhD
‘The
Traditional
Contemporary
Dichotomy
in
Irish
Art
Music:
A
New
Compositional
Approach’
under
Dr
Simon
Mawhinney
and
Prof.
Piers
Hellawell.
Ryan’s
research
interests
include
Irish
‘art
music’
from
the
late
twentieth
century
to
the
present;
Irish
traditional
music
and
its
development
in
the
late
twentieth
century;
microinterval
modality
in
older
traditional
Irish
music;
new
compositional
styles
allowing
fuller
incorporation
of
Irish
traditional
music
in
the
contemporary
medium;
the
examination
of
identity
in
contemporary
art
and
the
response
of
contemporary
performers
to
‘traditional’
material;
the
place
of
contemporary
composition
in
modern
society;
improvisation
in
a
cultural
context.
Ryan’s
compositional
work
has
won
numerous
prizes
and
has
been
broadcast
both
nationally
and
internationally
on
BBC
Radio
3
and
Radio
Ulster,
RTÉ
Lyric
FM,
Radio
1
and
Ráidió
na
Gaeltachta
as
well
as
on
BBC
2,
UTV
and
BBC
World.
Ryan
is
also
currently
supported
by
a
BBC
Performing
Arts
Fund
Fellowship
in
association
with
Moving
on
Music.
Recently
completed
works
include
Gealach
Chríoch
Lochlann,
a
new
string
quartet
for
BBC
Radio
3
New
Generation
Artists
the
Danish
8Music Department Postgraduate Handbook (2014-2015)
String
Quartet,
Cantaireacht
for
clarinettist
Carol
McGonnell
and
Seisiún,
a
new
commission
from
the
Concorde
Ensemble.
Future
projects
include
a
new
work
for
the
Fidelio
Trio
and
a
large
scale
piano
work
based
on
the
music
of
Thomas
Moore.
Ryan
is
represented
by
the
Contemporary
Music
Centre,
Dublin
Professor
Christopher
Morris
Christopher
Morris
is
a
musicologist
with
research
interests
in
opera,
film
music,
cultural
theory
and
music
in
Austro-‐German
modernism.
He
is
a
graduate
of
the
University
of
Toronto
(BMus,
MA)
and
holds
a
PhD
in
Musicology
from
the
University
of
Leeds.
He
was
Archivist
of
the
Canadian
Opera
Company
before
his
appointment
to
a
Lectureship
in
Music
at
University
College
Cork.
There
he
led
the
development
of
new
postgraduate
programmes
in
music
and
was
a
member
of
interdisciplinary
boards
of
study
in
Film
Studies
and
Theatre
Studies.
In
his
book
Reading
Opera
Between
the
Lines:
Orchestral
Interludes
and
Cultural
Meaning
from
Wagner
to
Berg
(Cambridge,
2002)
Professor
Morris
considers
the
theatrical
and
musical
role
of
the
extensive
but
overlooked
orchestral
transitions
that
characterise
Wagnerian
and
post-‐Wagnerian
opera.
His
Modernism
and
the
Cult
of
Mountains:
Music,
Opera,
Cinema
(Ashgate
Interdisciplinary
Studies
in
Opera,
2012)
examines
the
cultural
role
of
the
Alps
in
Austro-‐German
modernism,
showing
how
attitudes
to
nature
intertwined
with
the
aesthetics
of
music.
Professor
Morris’s
articles
have
appeared
in
The
Journal
of
Musicological
Research,
The
Musical
Quarterly,
The
Journal
of
the
Royal
Musical
Association,
19th-‐Century
Music
and
The
Opera
Quarterly.
He
is
author
of
numerous
chapters,
reviews
and
review
essays
on
topics
in
musical
modernism,
the
aesthetics
of
music,
opera
after
Wagner
and
film
music.
His
current
project
centres
on
the
impact
of
contemporary
media
technology
on
the
production
and
consumption
of
opera.
Some
of
the
initial
findings
of
the
project
have
appeared
in
two
articles
in
The
Opera
Quarterly
and
in
the
chapter
‘“Too
Much
Music”:
Opera
as
Medium’
in
the
Cambridge
Companion
to
Opera
Studies
(2012).
Recent
presentations
include
an
invited
lecture
at
the
Harvard
Opera
Seminar
and
conference
papers
at
the
American
Musicological
Society
and
Royal
Musical
Association.
Professor
Morris
is
Associate
and
Reviews
Editor
of
The
Opera
Quarterly
and
has
presented
at
annual
symposia
organized
by
the
journal’s
editorial
board
since
2008.
Dr
Estelle
Murphy
Estelle
Murphy
is
a
musicologist
whose
primary
areas
of
specialization
are
Baroque
music
and
contemporary
popular
music.
Her
PhD
dissertation
The
Fashioning
of
a
Nation:
The
Court
Ode
in
the
Late
Stuart
Period
(University
College
Cork,
2012)
considered
the
relationships
between
music,
politics
and
propaganda
at
the
London
court
from
1689
to
1720.
Estelle
teaches
and
supervises
on
topics
in
eighteenth-‐century
music
as
well
as
her
other
areas
of
research:
music
and
gender
and
popular
music.
Modules
taught
have
included
an
undergraduate
seminar
on
women
in
music
from
1650
to
the
present
day,
undergraduate
introductions
to
Heavy
Metal
and
Restoration
court
music
in
England,
and
a
postgraduate
seminar
on
the
musicology
of
recent
popular
music.
Her
publications
include
a
major
book
chapter
‘“Sing
Great
Anna’s
Matchless
Name”:
Images
of
Queen
Anne
in
the
Court
Ode’,
for
Queen
Anne
and
the
Arts
(Bucknell
University
Press,
2014);
a
review
of
Johann
Pepusch’s
Concertos
and
Overtures
for
London
for
the
journal
Eighteenth-‐Century
Music
(Cambridge
University
Press,
2014);
an
article
on
Richard
Leveridge
and
the
Dublin
ode
for
the
journal
Music
&
Letters
(Oxford
University
Press,
forthcoming,
2015);
an
article
on
John
Eccles
and
the
court
ode
for
the
journal
Eighteenth-‐Century
Music
(Cambridge
University
Press,
forthcoming,
2015);
and
an
article
on
the
performance
of
female
masculinity
in
Metal
music
(forthcoming).
She
is
also
currently
working
on
a
critical
edition
of
John
Eccles’s
theatre
music
as
part
of
the
series
The
Complete
Works
of
John
Eccles,
to
be
published
with
A-‐R
Editions
in
2015.
Dr
Martin
O'Leary
Martin
O’Leary
is
a
composer
of
over
seventy
works,
ranging
from
pieces
for
solo
instruments
to
works
for
full
orchestra.
He
is
also
active
as
a
pianist
(both
solo
and
chamber
music).
A
graduate
of
Trinity
College
Dublin,
he
completed
his
PhD,
entitled
‘Beyond
the
Gothic:
Havergal
Brian
and
his
Orchestral
Music
of
the
1930s’
at
TCD
in
2004.
He
is
a
committee
member
of
the
Association
of
Irish
Composers
and
a
Director
of
the
Irish
Composition
Summer
School.
Recent
works
include
Agnus
Dei
for
tenor,
baritone
and
bass
(2008),
Bluescape
for
piano
trio
(2007)
which
is
featured
on
the
CMC
CD
Contemporary
Music
from
Ireland
(volume
8)
(2009),
and
Fantasia
Elegiaca
for
guitar
(2008).
The
latter
was
released
on
CD
in
a
performance
by
the
Danish
guitarist
Christian
Fergo,
who
commissioned
the
work.
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