Programme

11th April 2011, The Richard Hamilton Building, Oxford Brookes University 

9:00 Registration, coffee and cakes 

9:30 Welcome from Jan Butler (Oxford Brookes University) 

9:45 Session 1 – Publishing of music (Chair: Lee Marshall, Bristol University) 

Tim Shephard (University of Nottingham), The Beginning of European Music Printing: A Music-Cultural Bombshell 

Eveline Vernooij (University of Udine), Editing electro-acoustic music: the variety of Invenzioni su una voce 

Andrew Chatora (Institute of Education, London University), Digital Delinquencies: Cross Generational Perspectives on Music Downloading 

Davo van Peursen (Head of Music Publishing at Music Center, Netherlands), Intelligent Music Content at Interacting Frameworks 

11:45 – Refreshments break 

12:00 Keynote: Stephen Navin, Chief Executive of the Music Publishers Association (Chair: Leander Reeves, Oxford Brookes University) 

1:00 Lunch 

2:00 Session 2 – Publishing on music (Chair: Simon Warner, Leeds University) 

Rob Chapman (University of Huddersfield), Dancing to Architecture 

Rob Horrocks and Matt Grimes (Birmingham City University), Music webzines – acts of defiance in a digital age? 

Lucy O’Brien (University of Goldsmiths), Writing a life: locating the human in a virtual world 

Christopher Dingle (Birmingham Conservatoire), Prophets of Doom and the Doom of Profit: Music Criticism in the 21st Century 

4:00 – Refreshments break 

4:30 Journalism plenary session featuring Barney Hoskyns, Alyn Shipton and Fiona Maddocks (Chair: Jennifer Skellington, Oxford Brookes University) 

5:30 – Refreshments break 

5:40 Round table – where do we go from here? 

6:30 – Thanks and close 

Our contributing chairs and speakers

ROB CHAPMAN 

Rob is a senior lecturer in Music Journalism and Media at the University of Huddersfield. He has written extensively for the music press, mostly for Mojo, Uncut and Word magazine and occasionally for The Times, Guardian and Independent on Sunday. He is also the author of a history of offshore pirate radio, Selling The Sixties, and a novel, Dusk Music. His most recent book was 'A Very Irregular Head' a biography of Syd Barrett. 

ANDREW CHATORA 

Andrew is a part-time doctoral candidate at the Institute of Education, University of London, supervised by Professor David Buckingham. He has a particular interest in music as my PhD research is currently entitled: Regulating Digital Music Cultures: Changing Practices and Ethics in Music Consumption - Cross Generational Perspectives. Andrew is Head of Media Studies at a large comprehensive school in Oxfordshire county. A keen follower of current affairs, Arts and Literature, his doctoral research is on the interface between popular culture and digitization. Other research interests include: Digital Media And New Literacies, Internet Cultures, New Media and Democracy, Digital Media Production, Participatory Media, Popular Culture, Web 2.0. 

CHRISTOPHER DINGLE 

Christopher is Reader in Music and Assistant Course Director for the BMus course at Birmingham Conservatoire. He is a specialist in French Music, notably Messiaen, and the history and practice of music criticism. He is currently working on the British Music Criticism since 1945 project at Birmingham Conservatoire, the first fruits of which are beginning to be disseminated, and, with Chris Morley, is preparing The Cambridge Introduction to Music Criticism (CUP, 2013). He was invited to speak at the IMR on Music Criticism in 2009 and he is planning a major conference on Music Criticism for 2013. He is also an authority on French Music, notably Messiaen, and is author of the acclaimed biography The Life of Messiaen (Cambridge University Press, 2007) and Messiaen’s Final Works: developments in style and technique (Ashgate, 2012). He is also co-editor of the two-volume collection of essays Messiaen Perspectives (Ashgate, 2012), and was co-editor of Olivier Messiaen: Music, Art and Literature (Ashgate, 2007). He was the organiser of the Messiaen 2008 International Centenary Conference hosted by Birmingham Conservatoire in June 2008, having previously conceived and organised the Messiaen 2002 International Conference in Sheffield. He is a member of the review panel for BBC Music Magazine, contributes regularly to Tempo, has broadcast on BBC Radio 3, and has written for Music and Letters, The Guardian, The Independent, The Herald and Organists’ Review. He is a member of the jury for the BBC Music Magazine Awards 2011, having also served on the jury for the 2008 awards. 

MATT GRIMES

Matt is a Music Industries Degree Leader/PhD Student investigating the Punk canon and how British Anarcho Punk is constructed as a cultural object at Birmingham School of Media, Birmingham City University 

ROB HORROCKS 

Rob is a Research Student investigating music heritage practice at Birmingham School of Media, Birmingham City University. 

BARNEY HOSKYNS 

Barney co-founded and editorially directs the online music-journalism library Rock’s Backpages (www.rocksbackpages.com). He is the author of, among other books, Across the Great Divide: The Band & America (1993), Waiting for the Sun: Strange Days, Weird Scenes & the Sound of Los Angeles (1996), Hotel California: Singer-Songwriters & Cocaine Cowboys in the LA Canyons (2006) and the Tom Waits biography Lowside of the Road (2009). Formerly US correspondent for MOJO, he resides in London's leafy East Sheen, the birthplace of rock and roll. 

FIONA MADDOCKS 

Fiona is Chief Music Critic of the Observer. She spent six years as chief feature writer and opera critic of the London Evening Standard and was founder editor of BBC Music Magazine, quickly establishing it as a world market leader. Her first job was as a news trainee then Shifting Ground II: A Symposium on Music and Publishing a producer in radio current affairs. She became music commissioning editor at Channel 4 TV and then Associate Arts Editor and Music Editor of the Independent. Her biography on the medieval composer Hildegard of Bingen (Headline) has been used as the basis of an opera and a stage play. Earlier this month she was writer-in-residence at the Salzburg Global Symposium on the Transforming Powers of Music. 

LEE MARSHALL 

Lee is a Senior Lecturer in Sociology at Bristol University. He is a sociologist of culture and his main research interests centre on issues concerning authorship, stardom and the music industry. Theoretically, Lee is interested in how ideological constructions about individuality and personality inflect cultural practices. Although his work includes different types of cultural production, his main substantive interest is popular music, and Lee is an active member of the International Association for the Study of Popular Music. The main focus of his work is on the music industry, but not merely in terms of economics and institutions. Rather, he is interested in how the structuring of the music industry shapes the discourses and practices involved in popular music consumption. In his early career, Lee specialised on copyright and piracy in the music industry. He coedited Music and Copyright with Professor Simon Frith in 2004 and his first sole-authored book Bootlegging: Romanticism and Copyright in the Music Industry (2005) won the Socio-Legal Studies Association’s early career book prize. Since then, Lee has become interested in sociologically understanding celebrity and stardom and his most recent book, Bob Dylan: The Never Ending Star (2007) is an attempt to understand an individual star through a sociological lens. Lee is currently working on a number of projects that maintain his interests in stars and also contemporary developments in the music industry. He is editing a book entitled The International Recording Industries, to be published by Routledge in 2012. He is also investigating contemporary changes in the music industry and what these mean for those working in the industry, and for popular music more broadly. He is currently completing an article on new contractual models in the recording industry (“360 deals”) and their implications, and intends is to develop these ideas into two books, one on the music industry in the twenty-first century, and one on popular music stars. 

STEPHEN NAVIN 

Stephen is Chief Executive of the Music Publishing Association. 

LUCY O'BRIEN 

Lucy has written the award-winning She Bop 1 and II, a history of women in popular music (1995 & 2002), plus in-depth biographies Madonna: Like An Icon (2007), Dusty (1999), and Annie Lennox (1993). She is currently teaches Media & Communications at Goldsmiths, University of London, and popular music studies at Solent and Westminster University. She has been a writer/broadcaster since the early '80s, working for a range of titles including The Sunday Times, Mojo, NME, and The Guardian. 

DAVO VAN PEURSEN

Davo is head of Music Publishing at Music Center the Netherlands, the resource and promotion center for the professional music world. Its mission is to propagate and enhance the position of Dutch musical life, both nationally and internationally. MCN contains publishing rights for contemporary classical music over last 60 years. Davo is responsible for the historical archive, production of new titles, rentals and sales and R&D of distribution channels. 

LEANDER REEVES 

Leander started her publishing career with a BA Hons in Publishing and Visual Studies at Oxford Brookes University. Her first teaching appointment at Brookes began during her Masters in Electronic Media, where she taught on the undergraduate degree module, Electronic Publishing Processes. Her main area of interest and teaching is Magazine Publishing. Leander has a broad range of Book and Magazine publishing experience, with many years spent as a print and interactive designer in London and New York. She continues to freelance for magazines as well as advise. Her academic research interests are based around Magazine Publishing and Hyperreality as well as Sexual Behaviour in Consumer Magazines. Leander also helps students to run the student emag www.theafternoonview.com. She recently gave a lecture to the International Shifting Ground II: A Symposium on Music and Publishing Journalism course, Hogeschool, Amsterdam entitled: The Influence of Niche Pornography on Consumer Magazines. 

TIM SHEPHARD 

Tim studied music as an undergraduate at the University of Manchester, then a few years later took the PGDip in art history at the Courtauld Institute, University of London. His PhD, examining music and identity at the court of Ferrara during the Renaissance, was completed at the University of Nottingham in 2010 with the help of an AHRC award. He is now an Associate Lecturer at the University of Nottingham, but along the way he has worked as a peripatetic cello teacher and an art handler. The majority of his research focuses on questions of identity in Renaissance musical culture, resulting in recent articles in Renaissance Quarterly, Early Music and Renaissance Studies; however, he also pursues an interest in the first commercial music printers, Ottaviano Petrucci and Andrea Antico. He has presented papers and research seminars on early music printing in the UK and abroad, and has several articles in preparation on aspects of music printing. 

ALYN SHIPTON 

Alyn is the jazz critic of The Times, and a contributor to Jazzwise Magazine. He has previously written for The Guardian, Gramophone and Piano magazine. From 1981-87 he was the music publisher of Macmillan Press Ltd., responsible for Grove's Dictionaries of Music, and the firm's academic and educational music book publishing lists. He has subsequently edited music series for Continuum and Equinox, and is presently editor of the latter's Popular Music History series. His own writing includes several musicians' biographies, "A New History of Jazz" (2001, revised 2007), and an introductory series on music for children. He has edited a number of oral history memoirs. He currently presents "Jazz Library" for BBC Radio 3, and lectures at the Royal Academy of Music on jazz history. 

JENNIFER SKELLINGTON 

Jennifer is an Oxford Brookes graduate, at both BA and MA level, and is currently finalising minor corrections to her PhD thesis entitled ‘Transforming Music Criticism? An examination of changes in music journalism in the English broadsheet press 1981 – 1991’. Jennifer’s research was funded by Oxford Brookes University, and she is a member of IASPM and MeCCSA. Her research interests include the changing emphases upon different types of music coverage, the shifting fortunes of music genres within the broadsheet arts page hierarchy, styles of broadsheet music writing and the impact of the political climate of the 1980s upon broadsheet music coverage. Having previously worked as a Human Resources Manager, with Chartered Membership of the CIPD, her research interests also include all aspects of broadsheet music journalists’ employment conditions. Jennifer has held part-time music teaching posts at Oxford Brookes University and the University of Bristol, and currently teaches ‘Music and Identity’ at the University of Northampton. After obtaining a Bachelor's degree in Musicology at the University of Utrecht (Netherlands) with a thesis on Italian contemporary music. 

EVELINE VERNOOIJ 

Eveline graduated cum laude in Performing Arts (curriculum Music) at the University of Udine (Italy) with a master’s thesis in musical philology. Presently she is a second-year Ph.D. student of the International Research Doctorate in Audiovisual Studies at the University of Udine. With the support of Casa Ricordi and as part of the Equipe of the Audio Laboratories of the DAMS Music Department, she is working on a philologicalcritical study of both the textual and audio sources of (Etude pour) Espace, Deserts and Poeme electronique by Edgard Varèse. As part of the Equipe of the Audio Laboratories Eveline also collaborates in various projects regarding sound documents and electronic music. The Audio Laboratories serve as a research centre for the preservation, restoration and editing of sound recordings, which has led to agreements and collaborations with the principal Italian and European sound archives. The interdisciplinary knowledge of its staff members provides an operational environment ideal for transferring the historical-philological knowledge to the audiovisual industry. This approach has culminated in various projects for the editor Ricordi of preservation, restoration and critical edition Shifting Ground II: A Symposium on Music and Publishing of works of Luigi Nono. Currently the Audio Lab is working, in agreement with Ricordi, on the critical edition of Jour contre Jour by Gérard Grisey. Eveline’s research interests are directed primarily towards textual criticism applied to twentieth-century music, concentrating in particular on the influences of the tecnological innovations on compositional practice (interaction between text and act, electronic influences in instrumental writing) and its implications for editorial criteria. 

SIMON WARNER

Simon, who teaches Popular Music Studies at the University of Leeds, has been a journalist, academic and broadcaster. His research interests are principally concerned with the relationship between the Beat Generation writers – Jack Kerouac, William Burroughs, Allen Ginsberg and others – and the rock music culture that followed in their wake. He has published on Beat/rock associations in his edited collection Howl for Now (2005) and in the volume Centre of the Creative Universe: Liverpool and the Avant Garde (2007). His 75th birthday tribute to British Beat poet Michael Horovitz was heard on BBC Radio 4 in April 2010. His most recent publications include a chapter on genre in Stereo: Comparative Perspectives on the Sociological Study of Popular Music in France and Britain (2011) and an account of the musical and footballing rivalries between Manchester and Liverpool for the journal Soccer & Society (2011). Forthcoming items include a volume on the Beats and rock culture entitled Text and Drugs and Rock’n’Roll for Continuum, an article on the new wave for The Journal of Punk and Post-Punk and a chapter on Patti Smith and the Beats in Profils Américains for the Presses Universitaires de la Méditerranée. His live rock reviews and obituaries have appeared in The Guardian and he has contributed to the magazines Beat Scene and Beatdom. Presently, he is developing a Beat-based recording project with the US record and film producer Jim Sampas.