Team

Philip Thomas

Principal Investigator

Philip Thomas (b.1972, North Devon) is a Professor of Performance, having joined the University of Huddersfield in 2005. He specialises in performing and writing about new and experimental music, including both notated and improvised music. He places much emphasis on each concert being a unique event, designing imaginative programmes that provoke and suggest connections. You can find out more about Philip's work and forthcoming events here.

Martin Iddon

Co-Investigator

Martin Iddon is a composer and musicologist. He joined the staff at Leeds in December 2009, having previously lectured at University College Cork and Lancaster University. He studied composition and musicology at the Universities of Durham and Cambridge, and has also studied composition privately with Steve Martland, Chaya Czernowin, and Steven Kazuo Takasugi. His musicological research has largely focussed on post-war music in Germany and the United States of America. His books New Music at Darmstadt, John Cage and David Tudor, and John Cage and Peter Yates are published by Cambridge University Press.

Christopher Melen

Research Assistant

Dr Christopher Melen's main role within the project is the development of an interactive website, but also covers collation and analysis of the work's materials. Christopher studied music at Cardiff University, being awarded a BMus (1st class) in 2001, then continued at Cardiff with a PhD in Composition, under the supervision of distinguished composer Anthony Powers. He has a long-standing interest in computer-aided composition, and has used IRCAM's OpenMusic computer-aided composition environment extensively. Since leaving Cardiff in 2006 Christopher worked mainly as a programmer and web developer, working most recently for the award-winning US text analytics company Synapsify.

Emily Payne

Postdoctoral Research Assistant

Dr Emily Payne was a Postdoctoral Research Assistant on the project, and now works as a Lecturer in Music at the University of Leeds. Emily undertook her PhD at the University of Oxford, employing an ethnographic approach to examine creativity in clarinet performance. Her work is published in Contemporary Music Review, cultural geographies, Musicae Scientiae, and Music & Letters. She is co-editor of the Handbook of Time in Music, under contract with Oxford University Press. Emily also holds the role of Editorial Assistant at Music & Science.

Contributors

The research team wishes to thank the following individuals who played an instrumental role in the creation of research outputs for the project:

Stuart Mellor, creative technologist for the Concert Player app.

Pablo Galaz, researcher and data analyst for the Solo for Piano app.

The musicians of Apartment House, for their participation in interviews and performances.

Alex Bonney, sound engineer and producer for the CC recording and Concert Player app.

Angela Guyton, videographer for the interviews and performances.

Other musicians who were interviewed about their experiences of performing the Concert (see individual pages, Performing the Concert).

Acknowledgements

The research team is grateful to the following individuals for their support and encouragement throughout the duration of the project:

Gene Caprioglio (Vice President of New Music and Rights, Edition Peters)

Malcolm Gillies (Series Editor, Studies in Musical Genesis, Structure, and Interpretation, Oxford University Press)

Sam Gillies (Manager, CeReNeM and Huddersfield Contemporary Records)

Jonathan Hiam (Curator of the American Music Collection and The Rodgers and Hammerstein Archives of Recorded Sound at the New York Public Library)

Laura Kuhn (Executive Director, John Cage Trust)

Greg MacAyeal (Curator of the Music Library, Northwestern University)