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100 Objects

Object #14. Poulenc’s Organ Concerto: Allusions and Receptions

Posted on 9 February 2018 by Lauren Sourbutts

By Thomas Pitt (MA in Music Studies) Francis Poulenc (1899-1963) was never shy of borrowing (or, more accurately, stealing) materials from other composers’ works, whether by direct quotation or by stylistic evocation. Often, he does this in order to create what Daniel Albright (in Untwisting the Serpent, 2000) calls an ‘acoustic collage’, cutting and pasting
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CoMa Contemporary Music for All logo

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CoMa Music for All 2018

Posted on 11 January 2018 by Lauren Sourbutts

Martin Humphries (PhD in Composition) CoMA (Contemporary Music for All) is a UK-wide organisation promoting new music at an amateur level. This chimes perfectly with my own views, with the pre-occupation of much of my research and composing practice being that contemporary repertoire should not be the reserve of professional ensembles.
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South Korean Wall of Loudspeakers

100 Objects

Object #13. GFRIEND’s ‘Me Gustas Tu’ (오늘부터 우리는) and the South Korean wall of loudspeakers

Posted on 9 January 2018 by Lauren Sourbutts

By Andrew Goddard (MA Music) Being a fan of K-pop – that is, pop music from South Korea – I decided to present at the Postgraduate Forum the music video of GFRIEND’s song ‘Me Gustas Tu’ as an object of discussion. I shared GFRIEND’s video because it exemplifies the deeply politicised nature of K-pop.
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100 Objects

Object #12. Rob Young’s Electric Eden and Environmental Disaster.

Posted on 6 December 2017 by Lauren Sourbutts

By Isabel Thomas (MA Music) About three years ago I bought the book Electric Eden: Unearthing Britain’s Visionary Music, (London: Faber, 2010) by Rob Young, in the brilliant second-hand section of Blackwell’s in Oxford. It provides a survey of ‘the idea of folk’ in British music over the last century, from composers such as John
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