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Jan Butler studied Music at Nottingham University, from BA to MA through to the completion of her AHRC-funded PhD exploring the origins of authenticity in 60s rock music. She specialises in the study of rock in the context of its surrounding institutions, exploring how musicians negotiate the expectations of their audience, the industry and the media and analysing the resultant sounds and visuals. Jan also has a related interest in popular music in and on film. She has presented her work at international conferences, organised events exploring music publishing and journalism, and has published several aspects of her work.
David Carugo is a Senior Lecturer and Subject Coordinator for Creative Music Production. He has a long background in the music and audio industry, having worked as a touring sound engineer, professional musician, electronic engineer, acoustic consultant, music producer, and recording/mixing/mastering engineer. His teaching work includes many aspects of music and sound production, and concentrates on the application of technical theory to professional practice. He holds a BSc(Hons) in Applied Physics and an MSc in Music Technology, and is a member of the Audio Engineering Society and the Institute of Acoustics. He has been awarded a Senior Fellowship of the Higher Education Academy in recognition of his excellence in teaching.
Paul Dibley is a composer and sonic artist, and is also Principal Lecturer in Music and Programme Lead for Music and Publishing at Oxford Brookes University, UK. He is Co-Director of the Sonic Art Research Unit and founder of the Audiograft festival. Paul studied at Oxford Brookes University for his first degree, where he studied computer science alongside music. He gained a distinction for his MA in Digital Music Technology from Keele University, supervised by Professor Rajmil Fischman and Professor Mike Vaughan. In 2003 Paul completed a PhD in Musical Composition at the University of Birmingham, where he studied with Professor Jonty Harrison. As well as composing electroacoustic compositions (often specializing in using the human voice), he creates compositions for instruments and live electronics (MAX and Pure Data). Recent projects include working with Okeanos, Jane Chapman and Jos Zwaanenburg. His work has been performed in Europe, Australasia and in America.
Barbara Eichner is an internationally recognised music historian, whose research focuses on nineteenth-music and (national) identity, opera (especially the works of Wagner and Strauss), and sacred music in nunneries and monasteries in the early modern era. Her monograph History in Mighty Sounds(Boydell 2012) was published to critical acclaim, and she regularly engages with wider audiences through appearances on BBC Radio 3, public talks and programme notes for international ensembles. Together with Dr Alexandra Wilson she co-directs the opera research group OBERTO. Barbara’s teaching is inspired by a passion for the music of the European past and a strong interest in historiography.
Dai Griffiths, Senior Lecturer in Music, has contributed to the academic study of popular music for over thirty years. His first published article was on Bruce Springsteen’s ‘The River’, his latest on Lorraine Feather’s ‘The girl with the lazy eye’. Songs have been at the heart of this labour, their words increasingly so: published in 2003, the essay ‘From lyric to anti-lyric: analysing the words in popular song’ prompted many avenues of attention. Two books were published: on Radiohead’s album OK Computer, and on Elvis Costello. He has taught popular-music related topics to undergraduates and postgraduates at Oxford Brookes since 1990. Doctoral students covered topics as varied as jazz history, film music, newspaper journalism, the cross-disciplinary art work, and the travails of genre appellation. For the journal Music Analysis he gave two state-of-the-nation addresses: ‘The high analysis of low music’ and ‘After relativism’. Elsewhere, papers on Welsh popular music, including one on John Cale. Dai is currently book reviews editor for the journal Popular Music.
Craig teaches performance and musicianship on the undergraduate course. He is director of the University Choir, Orchestra and Chamber Choir, as well as adviser to the musical societies at Brookes. he has worked with numerous choir, orchestras and choirs in the UK and France as conductor, pianist or singer. Craig is also responsible for preparing third year students for the world of work through the Professional Practice module. He has a particular interest in students' instrumental/vocal practice methods.
Paul Whitty is a composer, sound artist and field recordist whose work has featured at the Venice Biennale, Tate Britain, Southbank Centre, ICA and Huddersfield Festival. Recent BBC broadcasts include This is what happens when nothing happens (Hear & Now); and Love (Late Junction). Paul is a founder of the Sonic Art Research Unit (SARU) and co-directs audiograft, an annual festival of Experimental Music and Sound Art. At present Paul is working on two field recording projects: somewhere a field - a close study of the sonic conditions of a field in Devon; and Get Rid! - an investigation of the sound of grassroots football. Both projects are part of the Sound Diaries project developed with artist Felicity Ford. AHRC funded research includes the sonic archaeology project Vauxhall Pleasure created in collaboration with artist Anna Best.
Dr Alexandra Wilson is an internationally-renowned opera historian and co-director (with Barbara Eichner) of the OBERTO opera research unit at Brookes. Her monograph The Puccini Problem: Opera, Nationalism, and Modernity was awarded the American Musicological Society's Lewis Lockwood Award for a work of outstanding musical scholarship and her current project on opera in 1920s Britain was supported by a British Academy Mid-Career Fellowship. Alexandra has a high profile as a public musicologist, regularly speaking on BBC Radio 3 and 4, working with the UK’s leading opera companies and writing articles for national periodicals.