ISSUE 10 2020 Contents Faculty News 3 Faculty Fun Days 4-5 Isabelle Carré tells us about the Faculty’s newly launched outreach project Schwarzman Centre 6 Matt Pickles introduces the new home of University’s Humanities Division Music and Manuscripts in 7 Late Thirteenth-Century Metz Elizabeth Eva Leach, Matthew Thomson Suzanne Aspden and Joseph Mason tell us about their Chair, Music Faculty Board, 2018–21 edited volume on the Bern chansonnier Sonorous Cities: 8-9 Towards a Sonic Urbanism Gascia Ouzounian tells of her new project on creative practice in architecture and urban design From the Chair of the Board The Stage Project 10 Jonathan Hicks and Michael Burden guide For universities, this is the kinds of ways. We celebrate Gascia Ouzounian has us through London theatre performances Janus-faced time of the year, the Faculty’s attainment been successful in attaining since the eighteenth century when we look both back on of a Bronze Award in the European Research what we’ve achieved and Athena SWAN process, John Malchair and Eighteenth-Century Council funding for her English Tunebooks 11 forwards to the challenges under Gascia Ouzounian’s five-year project ‘Sonorous Alice Little tells us about John Malchair and opportunities of the new leadership, which will provide Cities: Towards a Sonic and his manuscript tunebooks year. As planned, and despite a framework for our ongoing Urbanism’. Elizabeth Eva COVID-19 disruptions, work on gender equality at all Celebrating the Bate Collection 15 Leach, Matthew Thomson Bate Collection Manager Andy Lamb we have appointed our levels in the Faculty. Following and Joseph Mason have reflects upon the history of the Collection inaugural Associate Professor our Sound Thinking appeal completed editing the in Popular Music, Sarah last summer, we were important thirteenth-century Gaz Coombes and 14 Hill, who will join us from delighted to be able to offer a The Hot Fruit Orchestra French source, the Bern next April, series of Faculty Fun Days for Hear about the Sheldonian Theatre concert chansonnier. Michael Burden heralding an exciting new school children. Isabelle Carré with frontman Gaz Coombes and former Junior Research stage in the broadening of details some of that work in The World’s Music at Oxford 12-13 our curriculum. A 5-year this issue. Unfortunately, the Fellow, Jonathan Hicks, DPhil students Sophia and Pablo explore outline some of their research musical styles from across the world Departmental Lecturer programme was disrupted appointment, replacing by the COVID-19 crisis and on the history of theatre in Alumna Profile: Rachel Parris 16 Gascia Ouzounian while she consequent lockdown; thanks London. Under the guidance Alumna Rachel Parris tells of her time at of Christian Leitmeir, we Oxford and life as a comedian at the BBC is on a European Research to the Finzi Trust and the Council-funded project, generosity of alumni, we continue to prepare for Remembering Ralph Leavis 17 brings Thomas Hodgson, an hope to be able to transfer the imminent Research Alumni and Faculty members share their ethnomusicologist, to join us the remainder of the project’s Excellence Framework (REF) memories about alumnus Ralph Leavis too, alongside our other planned activities to the submission. The recent Alumni Profiles 18 departmental coming year. The creative publications, commissions June Boyce-Tillman and John Byrt speak lecturers, determination, generosity and and recordings on page 23 about their lives after graduating from Oxford Joanna ingenuity of our students in give a sense of our continued Music in Prisons: 19 Bullivant and the face of the virus lockdown role as a centre of research The Sing Inside Project Sebastian is also evident in their musical excellence. We know that Music student Holly Jackson introduces us Wedler activities, such as Livi van to the work of the Sing Inside charity our eventual move to the (pictured). Warmelo’s ‘online quarantine Schwarzman Centre, for A Musical Life in Lockdown: 22 Meanwhile, show’, The Last Five Years, which intensive planning Experiences from Jordan we bid and Graighagh Cordwell’s is under way, will advance DPhil student Graihagh tells of her time farewell to research on and in the Zaatari researching music in the world’s largest both teaching and research Syrian refugee camp Elizabeth Refugee Camp in Jordan, still further, and enable Kenny, as both featured in this issue. more people from diverse Alumni & Student News 20-21 she moves And we celebrate the Bate backgrounds to access to a new role at the Royal Collection’s 50th anniversary, Books and Project News 23 music and the Faculty. As Academy of Music, and both as a remarkable The Last Five Years: 24 ever, there’s more going on welcome , as institution in itself, and An Online Quarantine Show Peter Collyer her interim replacement. We as a force for widening at Oxford than we can do Hear how Music students have adapted justice to here, but we hope their musical plans during COVID-19 also remember Ralph Leavis, participation in musical who sadly died earlier this activity across the community. the magazine gives you a Edited by Rim Jasmin Irscheid taste of life in the Faculty and Photography by Bern Burgerbibliothek, Corpus year. Ralph was known to Christi College Library, English Folk Dance many alumni as a denizen of Colleagues’ research has encourages you to stay and Song Society, Victoria and Albert Museum the Faculty’s and University’s also continued, despite the in touch. London, Lia Breingan, Karla Gowlett, Graihagh music libraries. disruptions of lockdown, Cordwell, Ian Wallman, Helen Messenger, Jasper Suzanne Aspden Minton-Taylor and the work featured here Magazine designed by The Graphic Bomb This issue, like the continues to demonstrate just Associate Professor of Music Cover image: Visiting primary school pupil plays last, demonstrates our how diverse and active the and Chair of Faculty Board, the cello as part of our Faculty Fun Day commitment to broadening Faculty’s research community Fellow in Music, The editors would like to thank all the students, staff access to Oxford in all is. We are delighted that Jesus College and alumni who have contributed to this magazine.

2 Oxford Musician Issue 10 2020 Faculty News

Professor Robert continuously, outlining a We are excited to be able music including her own Saxton announced the Thames journey from its to share news of the new song cycle and Schubert’s premiere of his Thames Cotswold source to the Humanities building. The Dichterliebe. Journey concerto. The North Sea. Schwarzman Centre is piece for solo oboe and currently being built in the

Professor Martyn Harry heart of Jericho and will be chamber orchestra was premiered Vehicles, completed in 2024/2025. commissioned by oboist A Children’s Opera to James Turnbull (Christ The project is made possible audiences in Newport and thanks to a £150 million gift Church, 2002) and the Didcot this year. The project St Paul’s Sinfonia and from philanthropist and provided children aged 6-12 businessman Stephen A. their Music Director, with an operatic approach Andrew Morley. The Schwarzman. For the first time, to the history of human the Humanities faculties will four movements play transport. be housed together with a new Humanities library and a wide range of academic, exhibition and performance spaces. A project on English 2019 was a year of celebrations composer Frederick Delius led The Faculty’s Emeritus and went straight to another by Professor Daniel Grimley Professor Susan Wollenberg year of important birthdays: and his Research Assistant celebrated her 70th birthday Beethoven’s 250th. The start of Dr Joanna Bullivant won a last year. We organised a Beethoven’s anniversary was Project Award in the 2019 concert in her honour last marked by Oxford’s Beethoven Vice-Chancellor’s Public November which featured a Festival Symposium in which Engagement with Research selection of Lieder and piano Professor Laura Tunbridge Awards. We had the pleasure of and Claire Holden spoke about the composer and welcoming two internationally Dr Alice his work. renowned musicians to Oxford Little last year: Pakistani singer received Professor Tunbridge is also the Ustad Rahat Fateh Ali Khan a TORCH recipient of a three-year Major and Grammy-winning cellist Knowledge Research Fellowship from the YoYo Ma. Both received an Exchange Leverhulme Trust for a new honorary degree at Encaenia Fellowship project on the social and sonic in 2019, the University’s in partnership history of the string quartet. annual ceremony that with the English Folk Dance awards honorary degrees to and Song Society (EFDSS) to distinguished men and women. research eighteenth-century tunebooks. Dr James Whitbourn In July 2019, performance for charity at received a nomination in the The Faculty Oxford Oxford’s Sheldonian Theatre 62nd Grammy Awards for of Music University in May 2019. The recording is thrilled his work as producer on the Press has now been released on CD to have announced and vinyl. Royal Opera House recording become of George Benjamin’s opera a new an Athena SWAN Bronze publishing The BBC Proms Plus Talk Lessons in Love and Violence. Award holder for the first time. relationship in 2019 featured Faculty Professor Gascia Ouzounian, academics Professor Professor Gascia Ouzounian, with who led the Athena SWAN composer Jonathan Cross, discussing Associate Professor of Music application for the Music Stravinsky and Tchaikovsky and Fellow in Music at Lady and Faculty, said: “This represents research and Dr Leah Broad, who Margaret Hall, was awarded a major step forward in fellow Dr James gave an insight in the music a €2 million grant from the identifying and addressing Whitbourn. of Sibelius and Nordic myths European Research Council inequalities due to gender & legends. Earlier this year, for the project Sonorous Cities: within the Faculty. I am proud Students, Jonathan also curated the Towards a Sonic Urbanism. of the extensive dialogue professors London Sinfonietta’s Sound achieved with the team and and alumni Across a Century at Queen Merton College Choir’s the feedback we received from in the Music Elizabeth Hall. The concert recording Gabriel Jackson: our community throughout Faculty was part of a two-part set The Passion of Our Lord Jesus the process. We look forward collaborated of lecture-concerts which Christ has won the Choral to implementing our action with explored the modernist category of the BBC Music plan and I believe that this will Supergrass frontman Gaz musical revolutions of the Magazine Awards. bring about true progress.” Coombes to give a live twentieth century.

Oxford Musician Issue 10 2020 3 About the Author: Isabelle Carré is the part-time Education and Outreach Officer for the Bate Collection of Musical Instruments. She is a freelance musician and educator. As a flute player, she specialises particularly in contemporary and early music. She also plays and teaches Javanese gamelan.

Access and Outreach Projects:

FACULTYDays planned for primary FUN DAY Bate Education Officer Isabelle Carré reports on and secondary schools the first Faculty Fun Day in Trinity term. Jonathan which was held in January brought 15 Year 6 pupils, and 2020. Pupils from Milton he explained how they were Keynes were invited to the selected for the trip: Music Faculty to experience instruments from different “There were interesting centuries and from across discussions with the teaching the world. and leadership teams regarding which children to Following a generous grant select. It was a mixture of from the Finzi Trust to the those who are particularly Faculty of Music’s Sound talented at music and those Thinking campaign last who are bright academically autumn, we were contacted but not necessarily from by alumnus Jonathan Harris backgrounds where they are (New College, 1996), who expected to aim high and is Head of Music at a state- go on to further study funded academy primary after school.” school in an economically- deprived area of Bletchley After an introduction to near Milton Keynes. Over the Faculty of Music they 80% of children at Premier took part in a hands-on Academy are from deprived Tudor Music workshop in backgrounds, whilst over 50% the Bate Collection where have English as an additional they discovered music from language. We arranged to the Tudor period, played run a small pilot day tailored on instruments from the to the Academy early in the Collection, and explored new year in the run up to sound production in different our two larger Faculty Fun instrument families. In

4 Oxford Musician Issue 10 2020 FACULTY FUNthe following gamelan improvisation: “I feel ecstatic DAYstudents from Professor “The best bit workshop, they played a to be playing my own music!” Samantha Dieckmann’s traditional Javanese piece Some reported feeling more of the day for Music Education: Practice and improvised their own confident about playing me was when and Pedagogy course and group piece on the gamelan music, and their teacher said, the partnership with the orchestra. After lunch they “Everything was excellent, we went to the Oxfordshire County Music were given an insight into interesting and inspirational… Bate Collection Service, who are helping us student life at Oxford and a I think they will be inspired to to target our outreach at the guided tour of Christ Church go to university when older.” as I played the schools most in need. by Matthew Adrian, Access sackbut which and Schools’ Liaison Officer. This pilot Faculty Fun Day We will leave the final word to The day was rounded off for a small KS2 group was I loved, and I one of our visiting students with a participatory concert complemented by a concert won the award who had never played a brass by multi-instrumentalist and given at the school to all 270 for playing the instrument before and was alumna Lauren Spiceley (St KS1 pupils by musicians on smitten by the sackbut. Her John’s College, 2011) who violin, clarinet and French loudest!” teacher promised to give introduced the students to horn. Although we have her access to a trombone at folk music and dance from paused delivery of our school as she was very keen different traditions. Faculty Fun Days because of to take it up: COVID-19, we look forward Feedback from the pupils and to developing further some “The best bit of the day for their teacher was positive. of the new relationships me was when we went to the Pupils said, “I loved trying we have made with schools Bate Collection as I played the square piano and lute and music practitioners. the sackbut which I loved, because I feel proud when I We also welcome the and I won the award for succeed.” About their group potential involvement of playing the loudest!”

Find Out More www.music.ox.ac.uk/faculty-fun-day/ If you’d like to find out more about the Sound Thinking appeal or how to take part in our Faculty Fun Days, please visit our website www.music.ox.ac.uk or call 01865 276133 to talk to our Events and Communications Officer. Oxford Musician Issue 10 2020 5 About the Author: Matt Pickles is Head of Communications for the Humanities at Oxford University promoting teaching and research in the Humanities with a particular focus on the Schwarzman Centre. A New Home For Music In June 2019, the University announced that it had received its largest donation in modern times. Stephen A. Schwarzman, a philanthropist and CEO of the investment firm Blackstone, gave £150 million towards a new Centre for the Humanities. The gift will allow the University to realise a long-held aspiration to bring together many of its Humanities faculties in a new, state-of-the-art building. The Centre will provide a new home for the Faculties of Music, English, History, Philosophy, Theology and Religion, Linguistics, advice to ensure the hall rivals Research and which will support the Philology and Phonetics, the very best in the world. experimentation through Faculty’s existing strengths in and Medieval and Modern The appointed architects, performance electroacoustic music. Hopkins, were responsible for Languages. The gift also The Schwarzman Centre’s establishes a new Humanities Glyndebourne Opera House. The organisation will have A specialist acoustician will concert hall, and a separate a vital role to play in the Cultural Programme, which 250-seat performance venue, will create opportunities for ensure the acoustics are world development of the Stephen will feature programming A. Schwarzman Centre for the musical performances and class. Michael Kaiser, who from Oxford students, Humanities. A group of Music programming. ran the Royal Opera House and Kennedy Center for the Faculty and regional academics and students also arts organisations. It will The future of performance Performing Arts, is advising meets regularly to discuss the also include a Black Box at Oxford the team. Faculty’s requirements for the experimental performance building. In the next academic A new 500-seat concert hall Professor Karen O’Brien, lab, which will be used for year, the final design will be will be a highlight of the Head of Humanities at the innovative, intimate public presented to the public and Centre. The concert hall will University, says the concert performances to bring then submitted as a planning host the performance of a hall will “attract the world’s Oxford’s research to life. The application to Oxford City wide spectrum of acoustic very best musicians, artists and Black Box lab and multimedia Council. If all goes well, the music, including solo recitals, performers, which will help digital TV broadcasting and building will open in the chamber music and 60-strong the Centre to be a popular and sound recording studios academic year 2024/25, and the orchestras. The project team financially sustainable venue will allow new forms of first performance in the concert is seeking the best possible for decades to come.” experimental performance hall will be one to remember.

Get Involved To find out more about the Centre, please visit www.Schwarzmancentre.ox.ac.uk. Support for academic posts, graduate scholarships and cultural programmes will be vital for realising the transformational vision of the Stephen A. Schwarzman Centre for the Humanities. If you would like to help, please contact our development office at [email protected].

6 Oxford Musician Issue 10 2020 Music and manuscripts in late thirteenth-century Metz

About the Researchers Elizabeth Eva Leach (Magdalen College, 1990) is Professor of Music at the and the Tutorial Fellow of St Hugh’s College. Matthew P. Thomson (St Peter’s College, 2008) is Fitzjames Research Fellow in Music at Merton College. Joseph W. Mason (Lincoln College, 2010) is a postdoctoral research fellow at University College .

A lavish medieval the first letter of each song. “There are over 500 Our edited volume, to be manuscript with song texts Each letter section opens published in 2021, promises and staves—but no notation: with a highly ornate pen- song texts in the to address these themes, what is a musicologist to flourished initial. Precisely chansonnier, many and more. To return to our do with such a source? The why the songbook lacks opening question: even Bern chansonnier (now music notation is unknown. found in other a source with no music shelved as no.389 in the The scribes responsible thirteenth-century notation can tell us much Burgerbibliothek in Bern, for the copying of the book about musical practice in the Switzerland) is one of over clearly intended for notation sources, some found past, the ways that music was 50 sources for thirteenth- to be entered, leaving space nowhere else” written and remembered, and century French song, at least for and drawing staves in the priorities and pleasures of 20 of which present song red ink. For whatever reason, a musical community in late texts with music notation. the last stage of copying— medieval France. entering music notation—was The trouvères were never attempted. thirteenth-century poet- composers who wrote The chansonnier also songs in medieval dialects provides important clues of French. Histories of the for how songbooks were trouvères centre on the copied. By comparing the courts of Champagne and the organisation of the Bern urban context of Arras. They chansonnier to other sources pay little attention to the copied in Metz, it is possible handful of sources that attest to speculate on the type of to a vibrant musical scene exemplars from which scribes further to the east. The Bern were copying. Scholars chansonnier, produced in or have previously assumed around Metz in Lorraine, is that surviving songbooks one of these sources. must have been copied from other large anthologies, now Bringing together lost. The evidence from the musicologists, art historians, Bern chansonnier suggests philologists and literary otherwise: scribes may scholars, our edited volume instead have copied songs provides perspectives on from loose parchment leaves this important and under- with one song on each side. researched source. There are over 500 song texts in the A second theme of our chansonnier, many found volume is the musical culture in other thirteenth-century of Metz. The songbook sources, some found nowhere provides evidence for the else. Several different types poet-composers who were of song are contained within active in Metz during the the songbook: male-voiced thirteenth century, shedding and female-voiced love light on the musical culture songs, songs of devotion of the town and of its elite to the Virgin Mary, debate families. Famous trouvères songs known as jeux-partis, also find their names in the crusade songs, and narrative margins of the songbook, songs called pastourelles. evidence that the scribes Unlike many other sources for for the source had a trouvère song, the songbook strong sense of their is organised alphabetically by musico-poetic heritage. Bern, Burgerbibliothek MS 389, fol.121r. Oxford Musician Issue 10 2020 7 About the Author: Professor Ouzounian is a sound theorist and practitioner who specialises in experimental music and sound art, music technology studies, and sound studies. In addition to her articles in leading journals of musicology, visual arts, architecture and philosophy, she is the author of the forthcoming book Stereophonica: Sound and Space in Science, Technology and the Arts.

SONOROUS CITIESTowards a Sonic Urbanism Gascia Ouzounian, Associate to be reduced or eliminated. “The neglect of paradigm for cities. We will Professor of Music and The neglect of sound on the conduct unprecedented Fellow in Music at Lady part of the built environment sound on the ethnographic research with Margaret Hall, has been professions has been part of the built urban communities to discover awarded a €2 million grant damaging for cities, which how people experience from the European Research suffer from poor acoustic environment and shape soundscapes in Council for the project design. As cities come under professions has their everyday lives. We will ‘Sonorous Cities: Towards increasing scrutiny in a generate new sonic modes a Sonic Urbanism.’ The rapidly urbanising world, it is been damaging of urban analysis in dialogue project extends Professor time to turn attention to one for cities, which with international built Ouzounian’s work with of the most pervasive - yet environment practitioners. architects and urban most neglected - aspects of suffer from poor The aim is to develop new designers on issues of urban life: how cities sound; acoustic design” sonic modes of urban design urban sound, in particular how the experience of urban in the context of Design soundscapes is differentiated through her research group Weeks, public exhibitions, and along social and cultural Recomposing the City and creative sonic interventions in the organisation Theatrum lines; and how to harness the cities. Through SONCITIES, Mundi. She writes: creative potential of sound to build healthier, more inclusive, sound will be placed at the Architecture and urban design, more sustainable cities. forefront of creative practice disciplines heavily rooted in in architecture and urban visual epistemologies, have SONCITIES brings together design, and sonic urbanism long neglected sound, or else sound theorists, urban will emerge as an innovative treated it in limited ways: as sociologists, architects, urban theoretical paradigm that a physical quantity that can designers and sound artists fundamentally transforms be modelled and controlled; to develop the framework of how cities are understood, or else as noise, something sonic urbanism: a new acoustic experienced, and designed.

8 Oxford Musician Issue 10 2020 Oxford Musician Issue 10 2020 79 About the Authors: Michael Burden is Fellow in Music at New College, and Professor in Opera Studies at Oxford. He is the Director of the London Stage Project. Dr Jonathan Hicks (St John’s College, 2006) is co-director of the London Stage Project and lecturer in music at the University of . He completed his MSt at St John’s College and his DPhil at New College. The London Stage Project The London Stage Project is also combine queries to find previous. This play was also by an envelope title for a number appearances by a given actor Holcroft and again, its intrigue of research projects exploring in a role. depended on the actions of London’s flourishing theatre a mute orphan. This is one scene across centuries. From there, you can make example of the myriad ways more connections. Drury in which the new London The premise of the London Lane’s response to the arrival Stage calendar will support Stage Project is deceptively of A Tale of Mystery was to research into performances simple: at present, if you want bring back Deaf and Dumb, that captivated the residents of to find out what was playing a minor hit from two seasons a vast and restless city. in London theatres between 1660 and 1800, you can consult a single reference work; yet, if you want comparable information on the nineteenth- century, you’re at the mercy of widely-scattered and unwieldy primary sources. When the new, open-access London Stage is launched, 1800 will no longer mark a cliff edge in the Samuel de Wilde’s painting of scholarly record. Beginning Charles Farley as Francisco, the mute orphan character in Holcroft’s A Tale with the first nights of the of Mystery. 1800/01 season and running up to the mid-1840s, this online of print material discussing calendar of performances will theatrical performance. provide an invaluable guide for amateur and professional The new London Stage, in enquiry into late-Georgian and using a week-to-view calendar early-Victorian theatre. format, offers one way of balancing the competing The premise of the project is demands of information deceptively simple because retrieval with contextual there were good reasons why understanding. Let’s imagine the earlier London Stage you’re interested in early stopped at 1800. At the end melodrama. Thomas Holcroft’s of the eighteenth-century A Tale of Mystery, with music London had the largest by Thomas Busby, is widely population of any European recognised as the first work city, and by 1850, it had in English to be advertised as outgrown even Beijing to a melodrama and it was first become the greatest gathering put on at Covent Garden in of souls the world had ever November 1802. By organising known. Unsurprisingly, this search results by year and by increase in the number of theatre a user can find the first Londoners tracked an increase performance of a melodrama Covent Garden playbill from the tail end of the 1802/03 theatrical season, in the scale and scope of at, say, the Surrey Theatre advertising A Tale of Mystery with Mr Farley. By this point Holcroft’s work had metropolitan theatre which where the genre proved been performed over 30 times. © London, Victoria and Albert Museum, S.695:18- was reflected in the explosion rather popular. You could 1997, Eddison Collection.

Find Out More Visit the London Stage Project website for the latest updates: londonstage.bodleian.ox.ac.uk

10 Oxford Musician Issue 10 2020 About the Author: Alice Little (St Edmund Hall, 2003) is a Research Fellow at the Bate Collection of Musical Instruments where she is responsible for the Anthony Baines Archive Project. She is a Junior Research Fellow in Music/History at Corpus Christi College, and for 2019-20 is a Humanities Knowledge Exchange Fellow. She completed her D.Phil in Musicology at St Cross College in 2018, where she wrote about the tunebooks of John Malchair (1730-1812) and the collecting of music in eighteenth-century England.

John Malchair and Eighteenth- Century English Tunebooks

Manuscript tunebooks are musical notebooks or commonplace books, in which musicians jot down melodies to learn. Teachers could write fingering charts and exercises into their students’ tunebooks, and in the nineteenth century musicians regularly included hymns too, often writing these upside down from the Page of music. QM3619, p.31 Frontcover of tunebook. QM3619, Malchair’s ‘Vol. 3d’ - EFDSS. back of the book. John Reproduced with permission from the English Folk Dance and Song Society Malchair, leader of the orchestra at the Oxford (now Holywell) Music Room in 1760, collected many ‘old tunes’ in a series of tunebooks. Malchair recorded several tunes from live performances by friends, acquaintances, or street musicians – and on one occasion when he ‘heard a Man whistle this tune in Magpey Lane Oxon Dbre 22 1789. Came The Tower of the Observatory, Oxford, 6th June 1792 (8pm), home and noted it down ‘Sketchbooks of John Malchair, Volume IV’, p. 14, Corpus directly’. Christi College Library, MS 443:4

In addition to his work as a violinist at the Music Room, Malchair was a drawing master, teaching undergraduates and others, and preserving in his work many Oxfordshire scenes – including buildings marked for demolition. The drawings shown here are from Malchair’s sketchbooks at Corpus Magdalen Bridge, Oxford, 2nd June 1772 (10am), Christ Church Meadow, Oxford, 26th May 1792, Christi College. ‘Sketchbooks of John Malchair, Volume III’, p. 27, Corpus ‘Sketchbooks of John Malchair, Volume III’, p. 10, Corpus Christi College Library, MS 443:3 Christi College Library, MS 443:3 Reproduced with permission from Corpus Christi College, Oxford.

Oxford Musician Issue 10 2020 11 Ethnomusicology in Practice Interview with Sophia Frankford and Pablo Infante-Amate

put together some ideas to the genres or styles featured create a concert series that in every concert. But as would fill that gap, be free the series grew, we asked for all and include a research performers to explain to the or academic component. audience what they thought We have been lucky to win was most relevant about The World’s Music at grants and funding from their tradition or repertoire. So some concerts became Oxford (WMO) is a student a number of institutions, lecture-recitals and others project which has been including the AHRC-TORCH gave a full workshop before running since 2016 and Graduate Fund, the Andrew the actual performance, which aims to combine W. Mellon Foundation, the allowing participants a performance and research Music Faculty, and especially, St John’s College. Tutorial hands-on experience of of musical styles originating the genre. In our last show from the Global South. Fellow and Music Faculty Professor Jason Stanyek in Hilary Term 2020, with Anthropology DPhil student Brazilian guitarist Mathias Sophia Frankford (Wadham has been exceptionally supportive in bringing the Pinto, around ten people College, 2014) and Music brought their instruments, DPhil student Pablo idea to life and ensuring we are able to continue with it.” and Mathias worked with Infante-Amate (St John’s them to compose and College, 2016) tell us how 2) In what ways does the perform their own the series started and how choro, a style it ties in with Oxford’s rich project merge performance and research? of Brazilian music scene. popular song.” 1) Tell about the project: how Pablo: “The project first did it come about? started as a way to link the performances with our Pablo: “In Michaelmas Term own individual research 2016, Rosie McMahon, Sophia and geographic interests Frankford and I started (Sophia: Egypt-Middle our DPhil programmes East; Rosie: Brazil- at St John’s College. The Latin America; Pablo: three of us focused on Equatorial Guinea- ‘ethnomusicology’ - a branch ). We began of music studies that usually providing short takes an anthropological and introductions to ethnographic approach, often taking an interest in a range of non-Western classical music traditions from across the world. Shortly after starting our programmes, we noticed few performances featuring these musics in Oxford. So we started to

12 Oxford Musician Issue 10 2020 3) What’s the most renowned young Spanish memorable response you’ve pianist attracted one of the had to one of the WMO’s largest audiences we have performances? ever had. It was the first band we flew in from outside the Sophia: “For me, it was UK, so it was very rewarding Oxford Maqam’s concert in to see a great response from 2017, where they performed the public. It was particularly songs from the Arab exciting for me, as the artists renaissance (nahda) period came directly from my of the late nineteenth/early hometown in Andalusia, twentieth century. When Spain (Jaén).” Maqam started playing a song called Ya Salat az- zayn, half of the audience, obviously familiar with the “As the series song, began enthusiastically singing and clapping grew, we asked along. The other half of performers to the audience, not familiar with the musical tradition, explain to the peered around, pleasantly audience what they astonished.” thought was most Pablo: “I remember Chico relevant about Pérez’s concert in May 2019. Accompanied by his their tradition or flamenco-jazz band, the repertoire”

Find Out More To find out more about the series and concert programme please visit: theworldsmusicatoxford.com

Oxford Musician Issue 10 2020 13 Gaz Coombes and The Hot Fruit Orchestra On 19 May last year, the arranged by composer and Music, who had never played kind of felt like Christmas... Sheldonian was taken over Faculty of Music DPhil together before. in May.” for a night by Supergrass alumnus Luke Lewis (Merton frontman Gaz Coombes College, 2010), one of Oxford’s Speaking of the sublime The response from the and the 42-piece Hot most influential musicians collaboration, Gaz said: “It players and the audience Fruit Orchestra. The delivered a mesmerising was such a seat of the pants was equally enthusiastic. concert celebrated the performance that will be performance on the night, but Professor Gascia Ouzounian, 350th anniversary of the etched into the memory of that’s how I like it. We only who performed at the concert, had a couple of run throughs iconic Sheldonian Theatre, those who were there for years said that “the concert raised on the day with the orchestra. designed by Christopher to come. In concluding his 5/5 funds for two very worthwhile I felt we were all playing on Wren, and raised £7,500 review for the Oxford Mail, causes in style: every person instinct, propelling each other for two local charities: Tim Hughes wrote “The hairs in the hall felt the power and forward. In that setting, with beauty of Gaz’s music, taken The Young Women’s on the back of every neck the lights and orchestra, it to new heights through Music Project and Yellow must have pricked up … what Luke’s imaginative Submarine. The use of a tune, what a venue, what a arrangements.” DPhil student the venue was provided man... what a night!” “It was such a and performer Patrick free-of-charge as part of seat of the pants The concert – a concept Brennan (Wadham College, the Sheldonian Theatre initially conceived over a performance on 2018) said: “I really enjoyed Curators’ 350th Anniversary pint in the Old Tom pub on the night, but that’s the fusion that took place that Community Engagement St Aldates - saw Gaz and evening - the chance to play Scheme - a way of allowing his band perform a bespoke how I like it... my violin at an orchestral the community and different set with the 42-piece Hot that’s when strange desk, accompanied by guitars, groups of people to access Fruit Orchestra made up drums, synthesisers, and the historic building. Nick of students, professors and and magic things of course Gaz Coombes’ Fowler, Gaz’s guitarist and alumni of the Faculty of happen” sensational vocals.” the Faculty’s Graduate Studies Administrator, shares his reflections on the evening. As Gaz Coombes strummed the final chord of the Supergrass classic Moving and set down his guitar, the sold-out Sheldonian audience rose to its feet and gave a thunderous standing ovation. Backed by an orchestra

Listen The Sheldonian Live EP gives audiences the chance to hear much-loved songs with a new aesthetic. The EP is available to stream and download on all major digital platforms and was released on limited edition vinyl in December 2019 through the Caroline International label.

14 Oxford Musician Issue 10 2020 About the Author: Andy Lamb is the Bate Collection Manager and responsible for curatorial matters, care and development of the collection. He arranges family and community events, concerts, academic visits and museum education activities. Celebrating the Bate Collection of Musicial Instruments The Bate Collection the initial of instruments: for Retford Memorial Collection is celebrating its 50th Honorary example, Michael of Bows. More recent gifts anniversary this year. We Curator was Dr Morrow’s renaissance include, from Dr. George asked the Bate Collection Horace Fitzpatrick, basset recorder, Gordon, the first clavichord Manager Andy Lamb to tell to whose unstinting which was by Arnold Dolmetsch. us about the beginnings efforts the eventual presented of the Bate Collection acceptance by by the Since its origins in the at Oxford, its historical the University is National Art 1960s there have been many donations and the gems of in great part due. Gallery. This further acquisitions. With today’s collection. Dr Fitzpatrick organisation the help of the National maintained his has also Heritage Memorial Fund, In 1963, Philip Bate generously interest. To take one given us a we acquired the Edgar Hunt gave to the University example, it is thanks rare Grenser Accession, consisting of over of Oxford his extensive to him that the bassoon and sixty instruments, including and systematic collection Collection acquired contributed the world-famous Bressan of European orchestral on indefinite loan towards the treble recorder which is woodwind instruments. cost of the the six surviving the basis of many modern Subsequently, he continued wonderful oboe instruments copies. Another major gift to augment the Collection by Hendrik Richters. portrayed in was the Javanese Gamelan with gifts and loans, both the well-known When William Retford the Kyai Madu Laras (Venerable of woodwind and brass. His painting by famous bow-maker died in Sweet Harmony), a complete original condition of gift was Zoffany of The 1970, his colleagues Mr. Porter that students should be able Sharp Family, a and Mr. Yeoman arranged slendro and pelog gamelan, to play these historic reproduction of which that all his tools and other which was presented by the instruments. The Bate hangs in the gallery. material should come as a gift Minister of Forestry of the Collection is therefore There is a significant in his memory. In addition, Republic of Indonesia, H.E. unique in that many of group of historical they and Arthur Bultitude Sudjarwo in 1985, and which its instruments are used. and modern keyboard established the nucleus of the is played regularly. Philip Bate’s friend and instruments, including colleague Reginald Morley- harpsichords, spinets, Pegge both gave and also virginals, early pianos permitted instruments and an important to be bought from collection of his collection. After clavichords. A his death in 1972, number of these his extensive are from the library and all Roger Warner his remaining Collection. A instruments were significant gift, by given by his son the Austin & Hope William Morley- Pilkington Trust, Pegge as was of a number of a memorial. instruments from the Michael Thomas Collection. It takes time for any such collection to be accepted by There have been many gifts The Bandmaster’s Course of the Royal Military School of Music, a University. For seven years of individual or groups Kneller Hall, visiting the Bate Collection

Find Out More We invite you to celebrate the anniversary of the Bate Collection with us. More information can be found online at www.music.ox.ac.uk

Oxford Musician Issue 10 2020 15 About the Interviewer: Rim Jasmin Irscheid (Wadham College, 2017) works across the Events, Finance and Academic Office at the Faculty of Music. Prior to this, she completed an MSt in Musicology at Oxford and read Music and Psychology at the University of Heidelberg. This October Jasmin will commence an AHRC-funded doctorate on experimental music in the Middle East supervised by Professor Martin Stokes at King’s College London.

Alumnus Profile: Rachel Parris Rachel Parris (St Hilda’s third year I spent every Friday College, 2002) is a night singing pop songs with comedian, musician, a covers band at The Bridge improvisor and presenter on nightclub. I also enjoyed the BBC Two’s The Mash Report. degree very much and learnt She began improv comedy in a huge amount, but for me 2007 with the Oxford Imps what was so special about my and can since frequently be time at Oxford was how many seen on TV shows including performing opportunities there The IT Crowd, QI, Would I Lie were. It was such a good way to to You?, and Mock the Week. figure out what you love doing and to make friends while Jasmin spoke with Rachel doing it. about her time at Oxford, her funniest moments on What was your most television, and the way memorable encounter with a music has influenced fellow comedian? Rachel’s career as a comedian and presenter. At my wedding last year, at the moment when the celebrant Tell us about your time asked if there were any at Oxford. What are your objections, Paul Merton slowly, memories of your time as silently stood up from the back a student? row and then silently sat back down again. Only me and my Well I loved it, from start to husband could see him doing finish. I remember the first days it and everyone wondered why - moving in to my little attic we were laughing! room at St Hilda’s, meeting the college friends who are still my Your performance of “How best friends, I was blown away NOT to sexually harass by it all. I loved the city, the someone” followed the history and the atmosphere. #MeToo movement, landed In my first year I got the millions of views and part of Eliza Doolittle in the addressed the pressing issues Magdalen Players’ production faced by women worldwide. of My Fair Lady, performed How do you successfully the Gershwin Preludes on the meld comedy with serious piano at the JdP, and joined political issues? a choir called Magdala which performed early polyphonic That’s something I’m still music. I kept doing plays and trying to figure out. Every jazz and recitals all through piece that we do on The Mash my time there and by the Report is a new challenge -

16 Oxford Musician Issue 10 2020 what are we actually mocking here, and is it clear what the target is? Have we gone too far, have we gone far enough, Remembering and crucially, is it funny? Satire is worthless if it doesn’t have a point to make. That balance is tricky and you Ralph Leavis never please everyone.

How has music influenced your career in comedy?

Music has always been at the Jonathan Simon centre of it. When I started Authors Roberts McVeigh improv in 2007, I would always favour the musical scenes in shows. I’d write Ralph Leavis attended memorised Palestrina’s pseudonym Mr Verdant songs for sketch shows and Dartington Hall School entire five-part repertoire Green. His father was of then when I finally got on the between 1946 and 1950. so as not to be caught out course none other than F.R. solo comedy circuit in 2010, it He matriculated at Lincoln in the final examination: he Leavis.” - Simon McVeigh wasn’t with stand-up, but with College in 1951 and obtained was suspected of cheating funny songs that I sang and First Class Honours in Music because he wrote exactly “Although he had been a performed at the piano. And in 1954. He was a regular what Palestrina wrote, but the regular reader in both the that’s still my act - whether figure in the Faculty Library, examiners concluded that Music Faculty Library and the in a basement comedy club known to students and staff. cheating was impossible and Bodleian Library for as long or a big tour show, my act is had no choice but to accept as anyone can remember, half stand-up, half songs. I’ll Following the sad news of his paper.” - Jonathan Roberts we knew very little of his always feel more comfortable his death on 6 October 2019, “When I was a student in the personal circumstances. He sitting behind a piano than Jonathan Roberts (Jesus 70s, he was the Librarian of the was very much a ‘private’ doing anything else and I’ll College, 1971), Simon McVeigh OU Chamber Music Society person. He would always give always write and perform (Keble College, 1971) and a firm and direct response to songs as part of my career. Gregory “Tigger” Burton have collection, housed in one of Stand-up is something I have shared their memories with us. the back rooms behind the anyone who took the trouble to keep learning how to do, Holywell Music Room, and he to engage in conversation, but but the music is my anchor, “I was sorry to read of the knew absolutely everything: a would not wish to engage in my happy place. death of Ralph Leavis. I came totally photographic memory, small-talk beyond sharing the to know him by sight and so there was no need of a occasional cartoon or music- What advice would you reputation while reading catalogue. He always wore related anecdote from the a gown, though I can’t say it give to any of our alumni music at Oxford. One rumour newspapers. It is rumoured added greatly to the scholastic wanting to pursue similar about him was that he had that he was a child prodigy careers? ensemble, as personal “He always appearance was not one of on the piano and there was I love giving advice and I his priorities. But he always a period in his life when he assume only about 5% of it is dispensed the music dispensed the music with engaged in much music- helpful. But here it goes. with charm and charm and (when questioned) making. As well as carrying with the most detailed musical scores in his head, My advice is: fish around. (when questioned) scholarly knowledge. He Mr Leavis was intimately Take some time to try out used to contribute erudite acquainted with the Library of lots of different things before with the most and trenchant comments narrowing your path. Don’t Congress Numbering System; detailed scholarly to the newsletter and other close off weird creative this gave rise to the occasional knowledge” publications under the opportunities that could note addressed to Library Staff change your life. Without explaining why some of the meandering around for a Chamber Music in the Library few years when I was in was incorrectly numbered. my twenties - while doing He took an interest in current different jobs, and meeting affairs and wrote to the new people, I’d never have Oxford Mail with sometimes dreamed of trying comedy - controversial views. Shortly and even now, it only works before he died, Mr. Leavis had because I keep trying new expressed a wish to promote a things - like Madonna, but much poorer. recital of lesser known musical treasures in the Faculty Library – perhaps this is Find Out More something we could explore in Follow Rachel on Twitter due course. Mr. Leavis will be @rachelparris or visit: much missed in the Library.” - www.rachelparris.com Gregory “Tigger” Burton

Oxford Musician Issue 10 2020 17 AlumniProfiles

The Rev in the 1990s, including classical, The Arts as Wellbeing and the Tavener ethnic and popular traditions. We Centre for Music and Spirituality. A Professor recruited students with very varied book on The Spirituality of the Music June Boyce- musical experiences. I became Head of John Tavener was published this Tillman of Postgraduate Study and produced year. For over 10 years I have organised MBE publications and guidance for the a multi-faith and multi-choir event at St Hugh’s inclusion of performance as research in Winchester Cathedral. My latest piece College, 1962 postgraduate study. used Zoom to create an international improvising choir. After leaving My research moved to the medieval I received an MBE in 2007 for my services University, mystic Hildegard and feminist to music and education. I am an ordained I went into musicology, particularly women in Christian church music and the Anglican priest and an Extra-ordinary primary school teaching to explore movement for the ordination of women. Professor at North West University South improvising and composing in the I edited one of the earliest collections Africa where I contribute to research classroom. I became Head of Music of women’s contributions to hymnody. projects such as the forthcoming book at Burlington Girls’ Grammar School. Many of my compositions are inspired Ritualised Belonging. I am an Associate I gave up paid work to raise two by her, including two operas, one of of the Institute for Theology, Imagination children and began a PhD in children’s which has been recorded. I have written and the Arts, St Andrews University. I musical development at the Institute over 150 hymns and chants which are now convene Music, Spirituality and of Education. My research contributed used internationally. Wellbeing International which organises to the development of composing and conferences, debates and anthologies improvising in the national curriculum I have performed and devised one from five continents. I am extremely in the UK and elsewhere. I got divorced, woman shows internationally using grateful for my time at St Hugh’s in the and entered higher education as a music, storytelling and movement to 1960s and the variety of tutors, especially lecturer in music education at what explore the women mystics and feminist Bernard Rose and J.D. Bergsagel, although was King Alfred’s College Winchester. issues. I started two research centres at I have somewhat rebelled against some of I initiated a course in world musics what was then Winchester University: what I learned.

John Byrt service. Then I started researching even playing a scale. Clearly, my career St John’s College, ‘notes inegales’ and dared to perform had come to an end. Finally, I took an 1959 Handel’s Dixit dominus in this manner unexacting job in Devon, but I managed with the Schola in the Sheldonian to write up my research completely and After studying at in February 1968. A recording of the a local firm published it as a book. They John’s College as performance is now in the historical made a very good job of it. On the cover an organ scholar, archive at the British Library in London. are generous endorsements by Andrew I took over as Parrott and Prof. John Butt. The main conductor of the However, almost immediately I was argument of the book is that in the Schola Cantorum admitted to the Warneford Hospital Baroque, the French were not the only of Oxford from with a diagnosis of manic depression, nation to use rhythmic inequality. This Laszlo Heltay now called bipolarity. Yet I was soon is still contrary to the general view of and travelled all over the world afterwards invited to become a coach the subject, but anyone who looks into with them. I took up composing and with the Glyndebourne Opera. I the matter carefully will find that current one of my carols was sung at King’s reported for duty but the heavy drug I practice is based on serious misreadings Cambridge at their Christmas carol was on (lithium) made me incapable of of the period sources.

Send Us Your News It is always good to hear from you. Stay in touch and let us know what you have been up to since graduating from the Faculty. [email protected]. 18 Oxford Musician Issue 10 2020 About the Author: Holly Jackson (St Hilda’s College, 2017) is a third-year music student and cellist at St. Hilda’s College. She was president of the Oxford branch for the charity Sing Inside and a volunteer at Turtle Opera and Artlink (Oxford University Hospitals). Sing Inside: Bringing music into prisons across the UK

The most meaningful “The week was The Oxford branch was line. Contributions from project I have been created at the end of 2018 and participants helped us reach involved in while at Oxford super great. has been thriving ever since. the final product. University was working with Working together Over the past couple of years, the charity Sing Inside. Sing we have run workshops in December 2019 saw our Inside is a national charity as a group was HMP Bullingdon, Woodhill, first 4-day project at HMP founded by Cambridge a really positive Huntercombe and Long Huntercombe. With generous University students with Lartin. We have also hosted funding secured by the the aim of bringing music experience. I feel a many fundraising events in Faculty of Music, we became education initiatives into lot more confidence Oxford such as charity jazz a volunteer placement for prisons in the form of choral in singing and concerts and carol singing. the Music in the Community workshops. The charity has course. Nine students were since expanded to Oxford, opening up in HMP Long Lartin has been awake at 6am every day London and York. one of our recent successes. for a week, excited by the general. The week The Oxford Committee has prospect of a day of running We strongly believe that has brought a organised three-day trips to workshops. Watching an group singing can bring Long Lartin and has built audience of 50 staff and people together and smile to my face a strong rapport with the residents come together break down the barriers of I’ll be keeping group of participants. It to chant “Sing Inside” communication that are for months.” - has been great to see the brought us to tears. It was a usually in place in penal participants come back for humbling experience. institutions. For this reason, Resident, HMP each workshop with fresh workshops involve a musical Huntercombe ideas and motivation. At our Getting involved in Sing leader teaching the music last workshop in January Inside is a way to get orally to the participants and 2020 we performed I’m experience first-hand the volunteers all together as Feelin’ Good by Nina Simone, powerful potential of music in one group. complete with choral bass bringing people together.

Get Involved Contact Ellen O’Brien (St. Hilda’s College) at [email protected] to get involved. You can also sign up to the Sing Inside mailing list by visiting www.singinside.org. @singinside @singinside Oxford Musician Issue 10 2020 19 Alumni &Student NEWS

Francesca Amewudah- Sophia Alexandra Hall (Jesus (St John’s College, College, 2015) won an award Sophia Rivers Alexandra 2016) directed Oxford’s first for Outstanding Achievement Hall all BAME cast and crew in Education from the production of Euripides’ Fostering Network. Medea (2018). Freddie Crowley (Merton Conductor Olivia Clarke (The College, 2018) formed a Queen’s College, 2010) was new choir, the New Oxford appointed as Mackerras Fellow Consort with singers drawn at the English National Opera from alumni choral scholars for two years. of Oxford, Cambridge, Durham, Royal Holloway and Trumpeter Simon Debruslais Manchester universities, as (Christ Church, 2007) well as London conservatoires. returned to the Faculty to give a performance on the Bate The Cathedral Singers of Collection’s Renaissance and Christ Church, conducted by James Morley Potter Claire Baroque trumpets for the BBC Roberts (The Queen’s College, 2007), Radio 3 Early Music Show. released a new CD Henry Singer Claire Roberts Aldrich: Sacred Choral Music. (St Hugh’s College, 2011) The project makes use of released a new album Cheating new editions made from Hearts (2020). The album is a manuscripts held in Christ mix of jazz standards, originals Church Library and features and old-time tunes, made Henry Aldrich as an important figure in Oxford’s in collaboration with fellow musical history. musicians and colleagues in Manchester. Conductor Alice Farnham (St Hugh’s College, 1989) came After his premiere at the back to Oxford last October BBC Proms in 2018 in the for a Royal Philharmonic Royal Albert Hall, composer Society event at Trinity Alexander Campkin (St College to inspire twelve young Catherine’s College, 2002) was women conductors. commissioned to write a piece for Bournemouth Symphony Composer Ryan Wigglesworth Orchestra and Chorus and (New College, 1998) was has recently signed with featured in the 2019 BBC Edition Peters. Proms playing piano,

James Potter

20 Oxford Musician Issue 10 2020 First-year student Reuben Tendler (Pembroke College, 2019) won a composition competition organised by Oxford Philharmonic, judged by John Traill and Deborah Pritchard. The piece was performed at the Sheldonian Theatre in January 2020.

DPhil composer Thomas Metcalf’s (Worcester College, 2014) composition was been awarded £1,000 as part of the Lord Mayor’s Composition Prize for 2020. Another piece of Tom’s was also chosen for the London Festival of Contemporary Church Music 2019. This April, Tom has also been given generous project funding by the Humanities Caitlin Cultural Programme at TORCH Harrison to write a large-scale piece for the Kreutzer quartet and host a conducting & premiering his University, the RNCM and Competition 2020. Caitlin small conference and workshop own work with Britten Sinfonia, an early career poet to has also been shortlisted for focusing on graphical and as well as conducting Mozart create full-length opera. The the Ernest Read Symphony musical crossovers. on the same stage the project receives support and Orchestra’s Emerging evening before. mentoring plus a broadcast Composers Competition, where concert performance from the she composed a fanfare for full Annabelle Lee (Lady Margaret BBC Philharmonic. symphony orchestra. Caitlin’s Hall, 2012) launched a podcast work has included blindfolding Talking Classical. As part Congratulations to second year performers, filming in an old of one of the episodes, she Music student, Ewan Miller, Jewish ghetto and recording interviewed alumnus and who has reached the category dancers in a swimming pool. established tenor Toby Spence finals for BBC Young on his career in music. Musician 2020. In 2019, the BBC Singers performed a piece written by Graduate students Paul Kenyon (Oriel College, Emma Music Student Will Harmer 1961) has edited the first Kavanagh (Linacre College, (Worcester College, 2018). 2018) and volume of the complete works George Haggett One of Will’s pieces was also (St Hugh’s College, 2014) of Ercole Pasquini, published performed at BBC Young established a new study day by the Italian Musicological Musician 2020. Society. The volume has been for MSt, MPhil and DPhil favourably reviewed by Rivista students to present their As part of the Music Kyogen Italiana di Musicologia and research to a friendly Project Oxford Team, DPhil will introduce more people to a environment of peers and student Moeko Hayashi composer of ‘remarkable skill colleagues. This year’s study (Wadham College, 2016) and originality’. day took place virtually and had Chris organised Dickens’ A Lovell-Jones the theme Music & Identity. Christmas Carol as Kyogen Siriol Jenkins (Magdalen DPhil composer Carol Jones (a form of traditional College, 2016) won first Third-year student Charlie (St Catherine’s College, 2018) Japanese Theatre) with two (and second) prize in the Lovell-Jones (Christ Church, wrote a piece for the Red Note leading Kyogen masters, Composer’s Medal, 2017) has been recognised as Ensemble for their online Juro Zenchiku and Daijiro Under 25s at the Urdd one of the most promising Noisy Nights series during Zenchiku last November. National Eisteddfod. young violinists in the UK, COVID-19. Carole also received The research of DPhil student receiving the Harriet Cohen Anna Appleby (St Hilda’s a commission from Deutscher (Magdalen Memorial Award. Charlie College, 2011) is taking part in Chor London for a concert at Kathryn King College, 2016) was featured also reached the semi-finals a unique collaboration between Halloween 2020. in Martin Bashir’s BBC of the Sendai International Manchester Metropolitan Leo Geyer (St Catherine’s News story about choral Music Competition in 2019, College, 2019), Musical evensong. Kathryn’s research is where his performance of Bach Director, was featured in concerned with experiences of Violin Concerto No.1 received BBC News for his innovative choral evensong in the twenty- public commendation from digital rehearsals with Devon first century. the chair of the jury. He was Philharmonic Orchestra. also selected for the Leonidas Jonathan Watt (St Hugh’s Kavakos International Violin Caitlin Harrison (St Hilda’s College, 2018) received a Masterclass April 2020 on a College, 2019) and Noah Bray composition prize as part of the full scholarship, and in (Hertford College, 2019), both annual competition organized February 2021 he will Anna first year MPhil composition by the Oxford University give a Young Artists’ Appleby students, were shortlisted in Sinfonietta (OUSinf) for his Recital at the Andermatt the NCEM Young Composers orchestral piece Apogee. Festival, Switzerland. Oxford Musician Issue 10 2020 21 About the Author: Graihagh Cordwell (St John’s College, 2018) is a DPhil candidate in Music at Oxford. Her AHRC-funded DPhil project, supervised by Professor Jason Stanyek and Professor Mohamed-Salah Omri, examines the role of music and humanitarianism in Zaatari Refugee Camp in Jordan. Before joining Oxford, Graihagh studied at The University of Manchester and the Royal Northern College of Music. A Musical Life in Lockdown: Experiences from Jordan

1 3

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On 18 March 2020, in Amman’s typical sights and restricted, maintaining three months of lockdown response to the coronavirus sounds was stark. Zaatari’s musical culture measures, the country has pandemic, the Jordanian is particularly important. opened up. Curfews have government imposed what Yet, lockdown had its silver Together with NGOs and been relaxed and we have was considered to be one linings. I spent it with dear camp musicians, we moved mostly returned to the of the world’s strictest family friends. We talked to music activities online, Amman of pre-quarantine lockdowns. Martial law was one another and shared our providing music-relaxation days: one hears again the implemented, and the army stories. We walked through videos and pre-recorded hum of traffic in the busy uncharacteristically empty spread out across the country. singing and music theory streets and the shouts of streets. We played piano The borders were closed. training for those without fruit sellers emanating from duets, sang songs, and even Any movement outside the instruments or strong colourful pick-up trucks. raised some baby turtles! home was fully prohibited internet connectivity. We Families gather once more, and essentials such as bread distributed keyboards. and friends meet for coffee My doctoral research has Musicians in the camp and milk for babies were also been impacted by the in local cafes, albeit clad in delivered to neighbourhoods shared recordings of songs masks and gloves. There is quarantine. Zaatari Refugee and performances on social in buses. Over time the an old Arabic saying, il-janna Camp, my main fieldwork site media. This new approach to lockdown was gradually and the world’s largest Syrian bidūn nās ma bitindās (a eased, but certain measures fieldwork affirmed both the refugee camp, has been in integral place of music in paradise without people is not were enforced such as lockdown since the beginning worth stepping foot in). If I curfews and commuting only Zaatari and the resilience and of the crisis. Outside NGO innovation of its residents. have learnt anything from life by foot to local supermarkets access has been reduced, under lockdown in Jordan, it and pharmacies. Travel by except for essential services, At the time of writing, is the power and importance car was later permitted but in order to protect the camp’s Jordan has recorded just 953 of people to make and shape with restrictions. Every night densely populated refugee cases of COVID-19 and 9 our lives — as well as a little we would hear the whirring community. Zaatari’s musical fatalities. In June, after nearly bit of music, too. of sirens and loudspeakers life is usually thriving, with ordering our return home. We music sounding out from 1. Bus delivering bread under lockdown. Graihagh Cordwell 2020 celebrated Ramadan and Eid homes, classrooms, and 2. Socially distanced queuing for vegetables. Graihagh Cordwell 2020 without many of the usual community events. With 3. A secret haven of a back garden. Graihagh Cordwell 2020 customs. The contrast to such group gatherings now 4. Baby turtles. Graihagh Cordwell 2020

22 Oxford Musician Issue 10 2020 Faculty Books & Recordings

Professor Laura Tunbridge edition of the French classical Oxford by Professor Aspden. British tenor Ed Lyon on the published a new book on music magazine Diapason. This collection of essays takes lute. described Beethoven in July 2020, a closer look at the ways in it as “one of the year’s most entitled Beethoven: A Life in The first modern edition of which opera and the physical enjoyable discs”. Kenny also Durante’s Mass, edited by Nine Pieces. Each chapter environment of the opera received a nomination in the Emeritus Professor Stephen focuses on a period of his life, a house have shaped each BBC Music Magazine Awards Darlington, has been piece of music and a revealing other, considering aspects of for the Instrumental Category theme, from family to friends, published by Peters Edition. territoriality and power. for Ars Longa – an album of from heroism to liberty. Magdalen College Choir, Delius and the Sound of old and new music for the Professor Gascia Ouzounian directed by Mark Williams, Place by Professor Daniel theorbo with works written will publish a monograph released a new CD, The Grimley has been published specifically for Kenny. The entitled Stereophonica Pillar of the Cloud, in June by Cambridge University BBC Music Magazine jury Sound and Space in Science, 2019. The disc reached the Press. Drawing on archival described it as a “tour de Technology and the Arts Classical Specialist Charts sources, contemporary art and force … an intoxicating take (The MIT Press). The book and received favourable literature, and more recent on ancient and modern”. examines concepts and reviews in the press. The writing in cultural geography technologies of acoustic Choir released another and the philosophy of place, Professor Jason Stanyek and auditory space from the recording in May 2020. Dan Grimley offers a new published a new book as part nineteenth century to the interpretation of Delius’ work of his book series 33 1/3 Brazil. present day. Operatic Geographies: The as one of the most original Place of Opera and the Opera The series examines the most and compelling voices in early important Brazilian albums of A new disc of English music House, edited by Professor twentieth-century music. by The Queen’s College Suzanne Aspden, has been the twentieth and twenty-first Choir and Contrapunctus, published by the University Director of Performance Liz century, spanning a variety of directed by Professor Owen of Chicago Press. The book Kenny released a new record genres from tropicália to rock, Rees, received a Diapason grew out of an international in 2019, 17th Century Playlist hip hop, bossa nova, heavy d’or in the January 2020 conference organised in (Delphian), accompanying metal and funk.

Oxford Musician Issue 10 2020 23 About the Author: Livi van Warmelo (St Anne’s College, 2018) Stay in touch... is a violinist, pianist and composer. Since arriving in Oxford, she has worked as Musical Alumni Benefits Director on a number of plays including Alumni of the University Chicago (2019), Joseph and his Technicolour of Oxford are entitled Dreamcoat (2020) and Oxford’s first virtual to an ever-expanding musical, The Last Five Years (2020). range of benefits and services, from discounts associated with the Oxford Alumni Card to exclusive holidays and opportunities for professional development. To register The Last Five Years: An for an Alumni Card or to find out more about the benefits available visit: Online Quarantine Show www.alumni.ox.ac.uk. Events Mailing List We were scheduled to If you would like to perform ‘The Last Five Years’ sign up to our events live on stage but instead we mailing list, please changed tack and streamed contact events@music. the show in May 2020 ox.ac.uk or telephone following the outbreak of 01865276133. COVID-19. The project was funded by the Music Faculty Alumni Career Talks and Oriel, New and Worcester Harvey Dovell Imogen Albert Livi van Warmelo The Oxford Careers Colleges. The project was Producer & Editor Director Musical Director, Service provides careers Keys & Mixer support for life for all initially supposed to be the alumni. Email alumni. inaugural Anne’s Garden [email protected] to Musical. After we realised this arrange an alumni career would no longer be possible guidance session in in the current climate, we person or via Skype, or were too far invested in the log into Career Connect project and too stubborn to for job and networking say goodbye to the show, so opportunities and we decided to make it a fully- Maggie Moriarty Marianne Sutton Peter Todd e-guidance: www.careers. digital theatre piece recorded Cathy Violin Jamie ox.ac.uk/alumni. from our own homes. Alumni Weekends: Taking place over five crucial ‘Meeting Minds’ years, The Last Five Years The University hosts bi- follows the individual and annual alumni weekends shared lives of Cathy and that provide a series Jamie, as they grow together of discussions and and grow apart. Beginning events, such as tours of from the final moments, Cathy conservation collections demonstrates the devastating Samuel Hopkins Tao Gu Toby Anderson and gin tasting. The effects of a relationship that Bass Guitar Cello events also cater for family has crumbled, whilst Jamie activities. Visit www. revels in the naïve discovery “If online productions like Marianne Sutton (St Anne’s alumni.ox.ac.uk/meeting- of what he thinks is true love this will be the ‘new normal’ College, 2018) on violin, Toby minds for more details or call us on 01865 276133. for the first time. From here, for theatre over the next Anderson (St Anne’s College, the two embark along the few months, 00Productions 2018) on cello, Sam Hopkins same relationship in opposite have shown that we are (Pembroke College, 2018) directions, although along two in safe hands.” - Oxford on bass, Tao Gu (Wadham SEND US very different paths. With a Opening Night. College, 2017) on guitar. The YOUR NEWS nuanced and ultimately soul- combined dedication from destroying score, The Last Five Involved were several Music everyone to the project and the We hope you enjoy receiving this magazine. We are always Years is a story of discovery students, myself as the Musical resulting recording makes it interested in hearing your views, and accomplishment, as much Director, Imogen Albert (Oriel one that we will surely return to comments and news. Email us at as it is one of love and deceit. College, 2019) as the Director, again and again. [email protected]. Music Faculty Events, University of Oxford

Find Out More @OxMusicFaculty You can watch bloopers and the show’s Q&A ‘on their website: www.00productions.co.uk/the-last-five-years @OxMusicFaculty

24 Faculty of Music, St Aldate’s, Oxford, OX1 1DB • 01865 276125 • www.music.ox.ac.uk