You are in: Submissions
> Select institution
> City University, London
> UOA 67 - Music
City University, London
UOA 67 - Music
RA5a: Research environment and esteem
The research strategy and its operation
Since RAE2001, our policy has been to expand our research base, to increase integration among disciplines and to continue to develop the cosmopolitan and international profile of the Department.
There are now six new staff working in the area of Historical Musicology (as opposed to one in total at RAE2001), Alexander Lingas, Melania Bucciarelli, Simon Keefe, Malcolm Gillies (University VC and Professor of Music) and Christopher Wiley, and a University Research Fellow, Carlo Bosi. In Ethnomusicology, Laudan Nooshin is joined by Lingas; Wiley also researches Popular Music, while University Research Fellow Ben Winters researches Film Music. Women’s and Gender Studies involve Rhian Samuel, Wiley and Nooshin. In Performance, musicologist Lingas is internationally recognized for his direction of a professional vocal group, based on the West Coast of the USA, specialising in Greek-Byzantine repertoire. The new DMA degree with the Guildhall School of Music and Drama is attracting internationally-outstanding postgraduate performers (including the 2nd prize winner in the Leeds International Piano Competition 2006); in this degree performance is fully integrated with other disciplines including Historical Musicology and Composition, but successful professional performers are also undertaking doctorates in Historical Musicology and Women’s Studies, underscoring the fluidity of disciplinary boundaries. Composition continues to flourish: composers Denis Smalley and Samuel have been joined by Laurie Radford, and City’s central London base is constantly exploited via relationships with outside organisations, for instance the SPNM and Making Music (with three students on the Adopt-a-Composer scheme, as well as several on the SPNM short list), the Park Lane Group (Composers’ Forum), The British Music Information Centre (including New Voices), the PRS Foundation, and the London Sinfonietta. Other London links created by postgraduates include projects at the British Library Sound archive and Gamelan teaching at the South Bank Centre.
During the current RAE period the Department, in competition with all other departments in the University, has been awarded five two-year University Research Fellowships, of which only two are awarded each year. These are in Film Studies, Composition, Music Therapy and Historical Musicology (Renaissance and 20th century, this latter not yet taken up). Active recruitment of the UK’s strongest and most promising music post-doctoral researchers as potential City research fellows remains a key strategic goal.
Sustainability of the research environment
The University is firmly committed to supporting research in the Music Department. Recently, for example, Research Council funds of £32,650 for research sustainability were allotted to the Department to further several staff projects (including CD production, specialist space hire for the City-London Sinfonietta project, support for a seminar series, and a residency by a leading Iranian performer who will collaborate with Nooshin). In 2004, the University also provided £100,000 from strategic funds to support teaching relief and additional sabbatical leave in Music over a three-year period.
The School of Arts at City University supports research in Music through a dedicated Research Office and weekly interdisciplinary School-wide seminars. New facilities are being built in 2007-08 (a c. £13M investment for the School in total), including additional studios, a large improved concert space, and additional dedicated space for research-student based ensembles. The appointment of five young researchers to full-time academic posts in 2005, including researchers at early-career stage, ensures a vibrant research culture in the years ahead.
City University’s close-knit music research community is nurtured by a weekly series of broad-ranging research seminars, attended by staff and student researchers in all disciplines. Other events held throughout each term are public concert series, both electro-acoustic and instrumental/vocal, and further specialist seminars, in Composition, Women’s Studies, etc. Public dissemination of postgraduate students’ compositions continues to be fundamental to departmental research policy, the most high-profile manifestation being the joint project with the London Sinfonietta funded by the Leverhulme Trust (a project with strong possibilities of renewal), where postgraduate students have their compositions regularly performed by the London Sinfonietta at LSO St Luke’s.
Many guest seminars at City in 2007-08 will be hosted by a newly-established research centre, the Centre for Global Studies, Multimedia and Popular Music, which fuses three major research preoccupations of Music staff and feeds into two other disciplinary strengths – gender/women’s studies and electroacoustic composition. The general research theme, the integral role of music in contemporary society in world- and popular-music contexts, will encourage interdisciplinary interaction within and outside City. In December 2006 £3K was allocated from the sustainability income mentioned above to fund the first year of seminars at the Centre. The recent establishment of MA pathways in Ethnomusicology and Popular Music Studies (2006) has also sown seeds for further growth.
While new staff have been added since 2001, few have left, leaving Music in a strong position for further developing its research base in the years ahead. The musicologist Anya Suschitzky left her full-time post in 2005, but remains with us as both a visiting lecturer and an Honorary Visiting Fellow; Radford, a composer focussing on live electronics, has replaced Simon Emmerson. Our colleague, ethnomusicologist Gerry Farrell, died in 2003; Nooshin succeeded to his post. In 2007, David Pear, who has held research positions at the Australian National University (2002-06) and Monash (2004-06) and has worked closely with Gillies, joined us as an Honorary Visiting Professor.
Research grant applications and other forms of research income
All research staff in the Department are actively encouraged to apply for external research income and considerable support re such applications is offered from within the Department and School.
The Department is in receipt of a grant over three years (2005-08) from the Leverhulme Trust for collaboration with the London Sinfonietta in the composition and performance of new music. A three-year Electroacoustic Composition Research Exchange Programme with the Ferenc Liszt Academy, Budapest, funded by the British Council and the Hungarian Research Council, was completed in 2002. A similar research exchange programme is now underway with the Royal Danish Academy of Music, and several exchange visits have already occurred, involving both staff and research students.
Staff have also participated in externally-funded projects including ‘Petrarca in musica’ and ‘Chansons Françaises de l'Ars Nova’ (2005); the European Science Foundation International research project, Musical Life in Europe, 1600-1900: Circulation, Institutions, Representation, 1998-2001 (core member); The Self-Portrait of Percy Grainger project (OUP, 2002-4), and an Anthology of Australian Music on Disc.
Funding for individual researchers has been received from the following sources in Britain: the Royal Musical Association; British Academy; AHRC Research Leave Scheme, Oxford University Research Development Fund; Faculty of Music, Oxford University and Wadham College, Oxford University. Internationally, funding has emanated from the American Musicological Society; American Council of Learned Societies (ACLS); European Science Foundation; the European Agency, INTAS; Research Council of Norway (Norges Forskningsråd); German Academic Exchange Service (DAAD); A. G. Leventis Foundation, Virginia H. Farrar Foundation, Katherine K. Herberger College of Fine Arts, Gladys Krieble Delmas Foundation (New York), Fondazione Ezio Franceschini; Istituto Italiano Antonio Vivaldi; Fondazione Giorgio Cini.Composition commission fees and sponsorships have been funded by the Arts Councils of England, Scotland and Wales; the National Lottery through the Arts Council of Northern Ireland; the PRS Foundation and the AHRC Research Leave Scheme; and abroad by UNESCO, the Danish Institute for Electroacoustic Music, Canada Council for the Arts, McGill University, the Daniel Langlois Foundation, Grame (Centre de création musicale, Lyon, France), the Ministère de la Culture Française, and SOCAN (Canada). Alex Lingas’s group, Capella Romana, has been in receipt of grants of over $56,000 during this period.
Since RAE2001, composers on the staff have received a total of 29 commissions; the resulting works have been premiered internationally.
Research students, supported by School and Department staff, have received awards from international bodies including the Danish Ministry of Culture; Norwegian Research Council; Lithuanian Ministry of Culture; Fondation SPES; Foundation A. S. Onassis; Canada Council; CAPES (Brasil), Yamaha Music Foundation Europe, English-Speaking Union, Menuhin/Banff, Daiwa Anglo-Japanese Foundation, Sasekawa Foundation,the Lilian Voudouri Foundation (Greece), International Computer Music Association, Menzies Scholarship Foundation (Australia) and others; in Britain, they have won 10 AHRB/C Fellowships, as well as City University Studentships and Overseas Research Scholarships, and grants from the Sound Inventors Scheme (SPNM); Adopt-a-Composer Scheme (3, supported by PRS Foundation, SPNM and Making Music), Music and Letters Trust, the British Federation of Women Graduates Charitable Foundation and the Sir Richard Stapely Educational Trust.
Support and training for research staff, and for associates, fellows and research students
The University’s Research Grants and Contracts Office supports the creation of grant applications; the School of Arts also provides a Research Office, comprising an Associate Dean of Research and a Research Administrator. The School Research Committee guides and advises on research strategy and management. Personal support at departmental level for early-career researchers is provided by a mentor; regular consultation about individual research projects, progress and plans forms an important topic for discussion during the probationary period. Such discussions are continued in the yearly appraisal process. Academics newly embarking on research student supervision are advised by experienced supervisors and supported by course offerings from City’s Staff Training and Development Unit. In a relatively small department, however, much personal support is also given to new staff in informal ways, ensuring the smooth integration of a new researcher into an established research environment.
Each staff member is allocated a period of sabbatical leave every 2-3 years as well as at least one research day per week during the academic year. The School also supports a generous policy towards individual teaching allocations, enabling research to continue year round. Financial support is available for attendance at research-related events. The University offers Staff Development courses for research staff and runs a series of research days for staff and postgraduate researchers on a broad range of interdisciplinary topics and provides access to the COS funding database and bibliographic software for all staff.
In 2007 alone, papers have been presented by postgraduates at venues including the British Forum of Ethnomusicology Annual Conference, Newcastle University; 39th World Conference of the International Council for Traditional Music, Vienna; PhD Conference, University of Edinburgh; British Library International Conference (‘The Proms and British Musical Life’), the International Computer Music Conference, Copenhagen, and the Visiones Sonores Electroacoustic Music Festival, Mexico City, Mexico. Articles by postgraduates have appeared in journals such as British Postgraduate Musicology Online and Popular Music. DMA students have given international concerts such as playing concertos with the Aarhus Symphony Orchestra, the Athens State Orchestra and The Lithuanian National Symphony Orchestra and chamber music at the Yamaha Centre, Paris, The Banff Centre, Canada,the Beurs, Amsterdam, and the Aix-en-Provence Festival.
Other research activities
Staff have participated in Research Council panels including the AHRB and AHRC (two members), the Irish Council for the Humanities and Social Sciences’ Post-Graduate Scholarship Scheme and Research Fellowship Scheme, the British Academy, the Leverhulme Trust (two members), Palatine (The Higher Education Authority for Dance, Drama and Music, 2007) and the SPNM Reading Panel (2005, 2006, 2007).
Beyond items listed in RA2, many projects have been completed or are in progress. Keefe has edited, for Cambridge University Press two ‘Cambridge Companions’: Mozart (2003) and The Concerto (2005), and (with Cliff Eisen) The Cambridge Mozart Encyclopedia (2006). The Cambridge History of Eighteenth-Century Music is forthcoming in 2008 and a 17,000-word article on Suessmayr’s orchestration of Mozart’s Requiem will appear in JAMS (2008). Other articles appear in Music and Letters, The Journal of Musicology, Acta musicologica, Tijdschrift voor Muziektheorie, the Mozart-Jahrbücher 2002 and 2006 (forthcoming). Lingas has two books currently under contract: 'Byzantine Chant: A History from Late Antiquity to the Present' (Yale University Press), while ‘Sunday Matins in the Byzantine Cathedral Rite: Music and Liturgy (Birmingham Byzantine & Ottoman Monographs)’ will be published by Ashgate in June, 2008. He has contributed to many encyclopaedias and dictionaries, including major articles to the New Grove2, MGG, the Enciclopedia Einaudi and the Oxford Handbook of Byzantine Studies. Since RAE2001 Gillies has published articles focussing on Bartok and on Percy Grainger in journals includingMusical Times, International Journal of Musicology, Studia Musicologica, Australasian Music Research, Meanjin, Sounds Australian, and a dozen book chapters. Nooshin has two books under contract with Ashgate: (as author) Iranian Music: The Discourses and Practice of Creativity; and (as editor) Music and the Play of Power in the Middle East, North Africa and Central Asia and has contributed to Media, Culture and Society in Iran, ed. Mehdi Semat (Routledge, 2007) and The New (Ethno)musicologies, ed. Henry Stobart (Scarecrow Press, forthcoming), and co-edited a special issue of twentieth-century music on ‘Musicians and Social Liminality’ (2007). She is also contributing chapters to three edited volumes published by Chicago University Press and Ashgate. Since RAE2001,Samuel has published 31 pieces, with Stainer & Bell, AB Publications and Cadenza Music; a CD of her music, ‘Light and Water’ was issued by Deux-Elles (DXL 1128) in 2007. She will write on the music of Birtwistle’s The Minotaur for the programme booklet, ROH (April 2008), contribute on her own music to Contemporary British Music: Technique and the Compositional Process, ed. Robert Saxton and Paul Archbold (Ashgate, 2008), and, on Clytemnestra for soprano and orchestra, to Ancient Drama in Modern Opera, ed. Peter Brown (OUP, 2008). Bucciarelli is co-editor of Italian Opera in Central Europe, vol. 1: Institutions and Ceremonies (Berliner Wissenschafts-Verlag, 2006. Radford has 6 premieres of electroacoustic works in the next year, in Montreal, Toronto and Amsterdam; a DVD including 6 works will be published in late 2007 (Les points de l’espace, empreintes DIGITALes, 0891), as will an article, ‘From Mixed Up to Mixin' It: Evolving Paradigms in Electronic Music Performance’, in Compositional Crossroads: Music, Montréal, McGill (McGill-Queens University Publishing, December, 2007). David Pear (Honorary Visiting Professor) has co-edited three books with Malcolm Gillies during this RAE period; Anya Suschitzky (Honorary Visiting Fellow) has published articles in the Musical Quarterly and 19th Century Music.
The intellectual infrastructure and the wider context of the research infrastructure
Research is subdivided by discipline (musicology/ethnomusicology, performance and composition), although in practice co-operation within and across groups is emphasized and the blurring of distinctions actively embraced.
Historical research incorporates the Medieval period, the Renaissance and Byzantine chant (Lingas and Bosi), Mozart and the Classical period (Keefe), Italian Baroque opera (Bucciarelli), 19th-century French Music (Suschitzky) and Musical Biography (Wiley). It extends into contemporary studies with Music and Gender/Women’s Studies (Wiley and Samuel), classical music of the 20th and 21st centuries (Gillies, Smalley, Samuel, Lingas, Pear), Film Studies (Winters) and Western Popular Music (Wiley, Keefe). In each of the areas mentioned above, doctoral students are also carrying out research.
Ethnomusicology includes Nooshin (Iranian Music, Classical and Popular) and Lingas, with postgraduates working in areas that include diasporic societies, Iranian Kurdish music and Balinese Gamelan music.
For the MMA/DMA performance research degree, Department staff share supervision with Guildhall professors; a fusion of disciplines is often achieved. Lingas’s research has a strong vocal performance dimension, involving recording projects based on editions and reconstructions carried out by Lingas himself.
Composition includes instrumental/vocal (Samuel), electroacoustic (Smalley) and combinations of the two (Radford). Compositional output of staff and students is carried through to public performance, publication and CD release, the latter often with the participation of DMA students (as in Samuel’s recent CD).
The operational infrastructure
The Department contains purpose-built spaces (being rebuilt in 2007-08) and offers advanced technological resources, with two departmental specialist technical support staff. As well as the University’s large range of computer facilities, the Department provides its own facilities (also under renovation in 2007-08) with practice rooms and audio/recording equipment; a separate computer laboratory houses ten workstations with notation software. All facilities have 24-hour access for research students and staff.
Research in ethnomusicology is supported by a large collection of instruments. The Department possesses three gamelans (Javanese, Balinese and Sudanese); research is being undertaken in this field by postgraduate students, both in this country and in Java. A wide range of Indian and African instruments and a major record collection of Jewish music are housed in the Department.
The Departmental Director of Research coordinates issues of academic supervision, personal tutoring and programme monitoring in close liaison with the School Research Committee, chaired by the Associate Dean of Research. Reports on student progress are prepared six-monthly in the first year, and annually thereafter, and are monitored by the School Board of Studies.
The University provides an induction programme for research students, and a course for research students with teaching responsibilities, while the School of Arts presents a course in research methods and skills training that is designed to complement the Department’s own offerings. The School coordinates an annual student feedback process. Student feedback and formal responses to it are also discussed at the Music Postgraduate Staff-Student Liaison Committee, on which research students are represented.
Financial support is available for research students to present conference papers, and to attend conferences or other national/international forums where their compositions are presented. These include, for instance, Yumi Hara Cawkwell, whose paper, ‘The oral traditions of Japanese blind mediums, musical improvisation in their calling of dead spirits’, was given at CHIME, Sorbonne Paris (July 2004), and Ambrose Seddon, who received the Visones Sonoras E/A Music Composition Prize (2006), and attended the Festival at the National University of Mexico.
4. EVIDENCE OF ESTEEM
All staff members and University Fellows have given invited papers, nationally and internationally, in the present research period. Gillies is a Fellow of the Australian Academy of the Humanities (FAHA), having been its President (1998-2001). He was also President of the [Australian] Council of Humanities, Arts and Social Sciences (2004-6), of the National Academies Forum (1998-2002) and a member of the Management Committee for the 2004 Melbourne Symposium (2001-4) of the International Musicological Society. He is the General Editor of Studies in Musical Genesis, Structure and Interpretation, Oxford University Press, New York (1997-) and is closely allied with the Hungarian Academy of Sciences, as a Member of the ‘Bartók’s Orbit’ conference committee. His book, Self-Portrait of Percy Grainger, co-authored with Pear, won a Deems Taylor Award (concert music division, 2006) of the American Society of Composers, Authors and Publishers. Keefe was elected in 2005 to life membership of the Akademie für Mozart-Forschung of the Internationale Stiftung Mozarteum Salzburg, as the only British member. Lingas’s many radio appearances with Cappella Romana include those on BBC Radio 3, on Greek National Radio and on nationally broadcast programmes on American public radio. Nooshin has organized conference sessions for the Third Biennial International Conference on Twentieth-Century Music (2003), the 6th Biennial Conference on Iranian Studies (2006) and the 39th World Conference of the International Council for Traditional Music (2007). In 2006, she established the twice-yearly Middle East and Central Asia Music Forum at the Institute of Music Research. Premieres of Samuel’s works have taken place in Los Angeles (UNESCO World Music Days), Bavaria, Miami, and many British venues, while other performances have taken place in Leipzig, Istanbul, Dublin, Tokyo, Beijing, the USA, and in Great Britain. She was awarded the Glyndwr Medal (2006) for services to the Arts in Wales, and was a finalist in the British Academy Composers’ Awards (2005). Her vocal works are examined in Joyce Andrews, 'Composer Rhian Samuel: the Female Viewpoint and Welsh Influences in her Vocal Music', Women & Music, 8 (2004), 61-73, and Sharon Mabry, Exploring Twentieth-Century Vocal Music (OUP, 2002). Smalley’s CD Impacts Intérieurs (2005), originally issued in 1992, was re-issued in 2005 by Empreintes Digitales, IMED-0409-CD, Montréal. He was the invited keynote speaker at the Electroacoustic Music Studies Network Conference, Leicester, 2007; he has also given masterclasses by invitation at the Conservatorio G. Perluigi da Palestrina, Cagliari, Sardinia and the Ionian University, Corfu. A study of this composer will appear in the Portraits Polychromesseries (Editions Michel de Maule in collaboration with the Groupe de Recherches Musicales, Paris, 2009). Radford was a finalist in the Prix Opus 2002 (Conseil québecois de la musique) (2004). He has held the position of Langlois Visiting Professor in Music Technology and Composition, Schulick School of Music, McGill University Montreal), was Editorial Advisor to Musicworks Magazine (Toronto, ON; wwwmusicworks.ca), and was Treasurer and Member of the Board of the Canadian Electroacoustic Community, serving as its Vice-President in 2004-08. He has been Lecturer/Composer-in-residence at the Cantai Dance and Music Festival, National Taipei University of the Arts, Taipei, Taiwan and was also composer-in-residence at Grame (Centre de création musicale), Lyon, France).Bucciarelli was a Core member of the European Science Foundation International research project, Musical Life in Europe, 1600-1900: Circulation, Institutions, Representation.
Lingas, Gillies, Keefe, Nooshin, Bucciarelliand Samuel have served as readers for publishers including Ashgate, CUP, OUP, Boydell & Brewer, Routledge, RMA Monograph Series, Charles Darwin University Press, U. Illinois Press, Yale University Press, Australian Research Council, the Nederlandse Organisatie voor Wetenschappelijk Onderzoek, and the Hungarian Academy of Sciences (Institute for Musicology). Keefe, Lingas, Gillies, Nooshin and Wiley (early researcher) have refereed articles for Music & Letters, Eighteenth-Century Music, Dumbarton Oaks Papers, Research Chronicle of the Royal Musical Association, Journal of the Royal Musical Association, Journal of the American Musicological Society, Tempo, Musicology Australia, twentieth-century music, Plainsong and Medieval Music, and Byzantine and Modern Greek Studies, Ethnomusicology and Ethnomusicology Forum.
Gillies has served in an external capacity on staff selection, promotion or tenuring committees of 13 Australian universities, as well as on the Australian Research Council, the Commonwealth Department of Education, Science and Training (DEST), Teaching Australia, the Hungarian Scientific Research Fund (OTKA)and five American universities. He also serves (or has served) on the following: editorial board of Miscellanea Musicologica (Adelaide); board of advisors, Context (Melbourne); international advisory panel, Journal of the Royal Musical Association (OUP); board of advisors, twentieth-century music (CUP). Keefe is Founding Editor (Reviews) of Eighteenth-Century Music, CUP. He has been an External Assessor for AHRC research applications and for the Irish Council for the Humanities and Social Sciences Post-Graduate Scholarship Scheme and Research Fellowship Scheme. Lingas is/has been a member of the following: the Editorial Committee of Plainsong and Medieval Music (CUP); the Steering Committee for the proposed Centre for Orthodox Music at the University of Jonesuu, Finland; the Advisory Board of the Pan-Orthodox Society for the Advancement of Liturgical Music and the St. Romanos Society, Chicago; the Academic Planning Committee of the Orthodox Theological Institute at the University of Cambridge; and the Advisory Board for the American Society of Byzantine Music and Hymnology, based at the University of Pittsburgh. He was also a Council Member of the Plainsong and Mediaeval Music Society. Nooshin is co-Editor of Ethnomusicology Forum (Routledge) and serves on the Editorial Board of twentieth-century music (CUP) and the Advisory Board,Journal of the Royal Musical Association (OUP). She has acted as external advisor for SOAS, the British Academy and Leverhulme Trust, AHRC and Music and Letters Trust, among others. She is a committee member of the British Forum for Ethnomusicology. She is on the Advisory Committee for the AHRC-funded network ‘Performance, Politics, Piety: Music and Debate in Muslim Societies of North Africa, West Asia, South Asia and their Diasporas’, and is an academic partner in the project, ‘Perspectives on the Female Voice: Identity, Representation and Control’, based at the University of Winchester. Samuel has acted as advisor to the AHRB, the Leverhulme Foundation and Palatine, and a member of the SPNM Reading Panel (05, 06, 07). She also served as a judge for the Lutoslawski Prize, GSMD, and the Royal Philharmonic Society Composition Prize. Radford has acted as advisor to the AHRC Creative Development Awards (2006) and served on juries for the Edmonton Arts Council; Alberta Music Festival; Jeu de temps/Times-Play National Electroacoustic Music Competition (Canada), Canada Council for the Arts and Da Camera Singers Choral Composition Contest. Among our early-career researchers, Ben Winters was a freelance writer and editorial content advisor for Classical Music Online (Classical International Inc), 2001-03, and Carlo Bosi is a Freelance CD-Reviewer for CD Classics Magazine.
Lingas was a Fellow (2003–04) in the School of Historical Studies at the Institute for Advanced Study in Princeton, New Jersey; he also received an American Council of Learned Societies (ACLS) NEH/SSRC International and Area Studies Fellowship and has been a Fellow of the European Humanities Research Centre, University of Oxford, since 1997. Gillies is Adjunct Professor of the Queensland University of Technology (2005-present), Honorary Research Fellow, Royal Holloway, University of London (2000-present) and was Woodward Fellow, Yale University (2006-7). Smalley spent a three-week residency at the Atlantic Center for the Arts, Florida, 2007, as ‘Master Artist in Residence’. Nooshin has received several British Academy Conference Grants, an AHRC Research Leave Scheme Grant in 2003-4, and an award from the Institute of Musical Research (University of London) to convene the first two meetings of the Middle East and Central Asia Music Forum. In the research period, Bucciarelli has received an AHRC Research Leave Scheme Grant of £36,000 for summer, 2008, and as well as awards from the following: the Gladys Krieble Delmas Foundation (New York); the AMS (Janet Levy Award); Oxford University (Research Development Fund); the Faculty of Music, Oxford University; Wadham College, Oxford University; the RMA; the Istituto Italiano Antonio Vivaldi, Fondazione Giorgio Cini; the British Academy; and the European Science Foundation. Samuel has received commissions from the School of European Studies, Cardiff University (Arts Council of Wales), UNESCO (Donne in Musica), British festivals including Presteigne, Fishguard and the Hampstead and Highgate, the Walthamstow Concert Series, and ensembles including the chamber group, Mobius. Other commissions/premieres/recordings have been funded by the RVW Trust and the Britten-Pears Foundation. Nationwide tours of Daughters’ Letters (with Patricia Rosario) by the BT Scottish Ensemble and of Primavera by Crwth received Scottish and Welsh Arts Council funding. Radford has received ten commissions during the submission period, supported by funds from the Alberta Foundation for the Arts, The Canada Council for the Arts Composer Commissioning Program, Le Fondation Daniel Lanois pour les arts et technologies and McGill University. Research and composition work on horizo was funded by Grame and the Ministère de la culture française. He received Canada Council Travel Grants to attend world premieres in France, Montréal and York, UK. He has also held two SOCAN Foundation Composer Residencies. In summer 2007 Bosi’s participation in the Second Course on Bibliographical and Classificatory Methods in Medieval Music, Collazzone, Italy was funded by the Fondazione Ezio Franceschini. He recently held a 6-month Fellowship from the Research Council of Norway, and previously a fellowship from the German Academic Exchange Service (DAAD); he also participated in the EU project, Digital Archives for the Safeguard of European Musical Heritage, ‘Petrarca in musica’ and ‘Chansons Françaises de l'Ars Nova’, in collaboration with the Universities of Bolgna, Leuven and Tours. Winters has received a Harold Hyam Wingate Foundation Scholarship, a University Graduate Studentship and a Halstead Scholarship (both the latter awarded by the Faculty of Music, University of Oxford).