Daniel Grimley (Oxford)
Dan is a Professor of Music at the University of Oxford, a fellow and tutor at Merton College and a Lecturer at University College. His research is concerned with music, landscape, and cultural geography, with particular reference to Scandinavian music and early twentieth-century English music. Drawing widely on analytical, historical and critical theoretical models, Dan’s writing examines landscape both as a medium of representation or description and as a mode of embodiment or performance. His work is concerned with the ways in which particular landscapes shape our responses to music and sound, and equally the extent to which our sense of landscape and environment responds to patterns or fields of acoustic perception.
Dan’s first monograph, Grieg: Music, Landscape and Norwegian Identity (Boydell and Brewer , 2006), developed a critical reappraisal of cultural nationalism through analysis of the role which music and landscape played in the formation of Norwegian identity in the nineteenth century. His second monograph, on Carl Nielsen, considers landscape as part of a complex engagement with musical modernism, in dialogue with received traditions of identity, structure and narrative.
Dan has taught at the Universities of Surrey (2000-2002) and Nottingham (2002-9), before which he was Centenary Research Fellow at Selwyn College, Cambridge. He is Principal Investigator of the interdisciplinary Leverhulme Network Hearing Landscape Critically, and in 2011 he was Scholar-in-Residence at the Bard Music Festival, for which he edited a volume with Princeton University Press. Future research plans include a monograph on Delius, a wider study of landscape in Nordic Music, 1890-1930, and a co-edited volume on music, landscape, and cultural geography.
Dan has spoken widely at conferences in the USA, Australia, Canada and Europe, and convened meetings on Nielsen (2001), Elgar (2002), and co-convened (with Sarah Hibberd) the Annual Meeting of the Royal Musical Association at Nottingham in 2006. He was one of the editors of the leading peer-review journal Music & Letters (Oxford University Press) for over 8 years, and is now an associate editor of The Musical Quarterly . He has been one of the leaders of the interdisciplinary Environmental Humanities initiative at Oxford, hosted by TORCH.
More about Dan and his department here.
Jonathan Hicks (King’s College London)
Jonathan (Jo) Hicks is a postdoctoral researcher on the European Research Council project, Music in London, 1800-1851, based at King’s College London. In addition to preparing a monograph on performance and public space in early Victorian London, he is co-editing a volume of essays with Katherine Hambridge entitled The Melodramatic Moment, 1790-1820. Prior to joining King’s College London, Jo held a Junior Research Fellowship at Lincoln College, Oxford. His doctoral thesis, on “Music, Place, and Mobility in Erik Satie’s Paris,” was also completed at Oxford, under the supervision of Professor Peter Franklin. Jo has published in Cambridge Opera Journal, Theatre Notebook, and the Routledge Companion to Music and Visual Culture.
Stephanus Muller (Stellenbosch)
Since returning to South Africa in 2001 after the completion of his studies in Oxford, Stephanus Muller has worked at the University of the Free State (2002-2004) and Stellenbosch University, where he is currently Professor of Musicology. He co-edits the Journal of South African Music Studies and is the founder of the Documentation Centre for Music (DOMUS), a research and music heritage conservation initiative that has developed into an important repository of recorded music, scores and archival documents on the African continent (www.domus.ac.za). He has a large cohort of PhD students working on a variety of topics relating to music in South Africa.
Michael Uy (Harvard)
Michael Uy is a Ph.D. candidate in Historical Musicology at Harvard University. He received his BA in Political Economy and Music from UC Berkeley in 2007 and his MPhil in Historical Musicology from Merton College, Oxford in 2011. He has published on Venezuela’s music education program, El Sistema, and is interested in the relationships between government patronage and art and music policies. His dissertation focuses on the Rockefeller Foundation, the Ford Foundation, and the National Endowment for the Arts from the 1950s to the 1970s. In it he analyzes the relationships between private and public forms of institutional patronage, the influence and impact of music experts and panelists in arts grantmaking, and the development of national music during the Bicentennial celebrations. His other areas of interest include social and cultural capital, national arts education and cultural policy, and the nature and exercise of expertise, connoisseurship, and privilege.
Carina Venter (Oxford)
Carina is currently a Junior Research Fellow at Merton College, Oxford. She holds a BMus degree from the University of Pretoria, Masters degrees from the Universities of Stellenbosch and Oxford, and is currently completing her doctoral work at the University of Oxford with a dissertation entitled ‘Music, Violence, Response: Experiments in Postcolonial Reading.’ She is interested in music as a mode of approaching problems and possibilities that are endemic to late capitalism and the so-called postcolonial. She has written about Steve Reich, Philip Glass, music historiography and apartheid aesthetics, music and reconciliation in post-apartheid South Africa, and the problem of aesthetics and response in post-Marikana South Africa.
Publications and creative projects:
Venter C (2011), ‘Ras, die Afrikaanse kunslied en die verband tussen vroed Apartheidsintellektualisering, Afrikanermusiekhistoriografie en die ontluiking van ‘n Apartheidsestetika in die toonkuns’, Litnet Akademies, 8/3.
Venter C (2012), a contribution to a round table lead by Chris Ballantine entitled ‘Looking back, looking ahead: the state of our discipline’, South African Journal of Music Studies 32, 129-131.
Venter C (forthcoming, 2015) ‘Cataloguing Seepage: apartheid intellectualisation, Afrikaans music historiography and a cantometrics of early Afrikaner nationalism’, South African Journal of Music Studies.
Venter C (forthcoming, 2015), ‘Negotiating Vision: from “listening with the eyes” to “hearing landscape critically’, South African Journal of Music Studies.
The Flaw in Love, a Film by Carina Venter and Aryan Kaganof (2015).
Adam Harper (Oxford)
As well as administrating the HLC network, Adam researches the aestheticisation of technology in twentieth- and twenty-first-century popular musics, particularly in relation to notions of realism.
From Local Organising Committees:
Marietjie Pauw (Stellenbosch)
William Fourie (Oxford)
Tamar Sella (Harvard)