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Music

Current PhD students

PhD students in Music come from around the world, with musical interests ranging from soundscape composition, to live electronics.

Find out what some of our PhD students are currently researching using the links below:

  • Rachel Albert – ‘A History of Composer Ascriptions in Western Art Music of the Sixteenth Century’
  • Samuel Amusan – ‘Music and Spirit Possession in Yoruba Worship’
  • Julián Ávila Sausor – ‘Sound Spatialisation as a Compositional Focus, Employing Interactive Systems in Mixed Media Environments’
  • Joshua Brown – ‘Music Created from the Combination of Mathematical Structures and Eastern European Forms’
  • Matthew Burke – ‘Exploration of the Artistic Potential found when combining Compositional Technique from the Western Art Tradition with that of Progressive Rock/Metal.
  • Chi-Fang Cheng – ‘The Relationship between Beethoven's Pedal Marks and Harmonic Direction/Prolongation’
  • Rosemarie Darby – ‘The Music of the Roman Oratory (1565-1622)’
  • Ruth Davies – ‘The Sketches for Beethoven's Seventh Symphony: Genesis and Evolution’
  • Guillaume Dujat Des Allimes – ‘Portfolio of Electroacoustic Compositions’
  • Epameinondas Fasianos – ‘Melody in Musique Concrete versus Abstract Musique Concrete Structures: The Effects of a Dramatic Juxtaposition in the World of Electroacoustic Music’
  • Kerry Firth – ‘British Amateur Singers and Black South African Choral Music: The Politics of Access and Encounter’
  • Samuel Flynn – ‘Why Did Rock 'n' Roll Stop Rolling?’
  • William Frampton – ‘Portfolio of Compositions’
  • Patrick Friel – ‘Portfolio of Compositions’
  • Andrew Garbett – ‘Portfolio of Original Compositions’
  • Mario Duarte García – ‘Biological Approaches to Musical Composition’
  • Richard Gillies – ‘The Soviet Song Cycle in the Stagnation Era (1964-1985)’
  • Izabella Goldstein – ‘Songs of the Jewish Underworld in Pre-World War Two Warsaw’
  • Simon Hellewell – ‘Portfolio of Compositions’
  • Agnes Kory – ‘Tenor Violin or Tenor Cello? Problems of Identification and Repertoire’
  • Ginte Medzvieckaite – ‘Paraphrases of Biblical and Liturgical Texts in Italian Spiritual Madrigal in the Context of Wider Poetic and Religious Tendencies’
  • Falk Morawitz – ‘Recording the Nanoverse: Molecular Sounds as a New Catalyst for Music Composition and Tool for Raising Social Awareness of Environmental and Biochemical Issues of Global Importance’
  • Anna Neale – ‘The Composition and Context of Beethoven's `Grosse Fuge' Op. 133’
  • James Nissen – “Unveiling WOMAD's Human Face': Towards a Critical Ethnography of WOMAD’
  • Philip Robinson – ‘The Soviet Symphony, 1945-1950: Analysis, Hermeneutics, and Cultural Discourse’
  • Adriana Ruiz Hurtado – ‘Portfolio of Electroacoustic Compositions’
  • Stephan Schönlau – ‘The Ground Bass in Restoration England’
  • Richard Scott – ‘Hybrid Strategies for Electroacoustic Music Composition and Improvisation’
  • Daniel White – ‘The Music of Fantasy Film Franchises: On the Creation, Evolution and Destruction of Musical Worlds’
  • Emma Wilde – ‘Applying Antiquated Devices in Contemporary Composition’
  • Yuhao Wu – ‘Portfolio of Compositions’
  • Jos Van Der Zanden – ‘Graecophile Beethoven - A Study of Beethoven's Interest in Graeco-Roman Antiquity and the Impact of this on his Life and Music’
  • James Vail – ‘The Cassette Revival in the Digital Age’