WRITING

Writing is a way of thinking, of working out and clarifying thinking, and of communicating. I learnt this from my mum Kay who is a beautiful writer. Here most of my writing is in critical musicology: I assess what was, what is, and what could be. This is the part of me that is an engaged and practically-minded tertiary academic. If you want to read other stuff, click on my OUTLIERS page.

My doctoral thesis examined the micro-politics affecting the Paris Opera (Opéra National de Paris), the Orchestre de la Société des Concerts du Conservatoire (Orchestre de Paris), and the Conservatoire de Paris (Conservatoire national supérieur de musique et de danse de Paris), between 1820 and 1880. As a piece of historical musicology (with some organology, biography, and musical analysis thrown in) it concerns the power relationships that determined the use of the modern valve trumpet over that of the cornet in the elite orchestras of Paris. This was a time during which ideas of ‘elite-art-music’ and ‘popular-music’ crystalised into forms that shaped who chose what when and how in Parisian orchestral politics; more broadly, this thinking also framed the delineation between ‘orchestral’ and ‘pop’ music in C20th thought. It’s ok if that doesn’t spark your interest, even though I think it is fascinating, read my thesis for some stories of allegiances, back-stabbing, and career winners and losers if you will. Publication is in process, but if you are keen on C19th music history you can access a copy at the Monash University Archive, click here: MY THESIS

Italian trumpeter Girolamo Fantini (1600-1675)… who claimed to be able to play lotsa notes outside the harmonic series way back when…

Beyond historical inquiry my writing goes to current music education pedagogy and policy. My focus is music education in Tasmania (AU)…