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Medboe, H., Bares, W., Webster, E., Frost Fadnes, P., Inglis, C., Kahr, M., …Heyman, M. (2017). Continental Drift: 50 years of jazz from Europe. In Moir, Z. & Atton, C. (Eds.). Continental Drift: 50 years of jazz from Europe - Conference Proceedings, v, vi. ISBN 978-1-78808-706-3
Following popular exposure in France to the proto-jazz of James Reese Europe and his 369th “Harlem Hellfighters” Infantry Regiment during the latter years of WW1, the jazz bug...
(2016). Beyond Borealism: New Perspectives on the North. ISBN 1909408336
Since the 1970s, jazz from Scandinavia has represented a distinct reimagining of the erstwhile American music form with the term “Nordic tone” being liberally applied in the m...
Moir, Z. & Medbøe, H. (2015). Reframing popular music composition as performance-centred practice. Journal of Music, Technology and Education. 8(2), 147-161. doi:10.1386/jmte.8.2.147_1. ISSN 1752-7066
This article reports on a qualitative study of four undergraduate students specializing in popular music composition, and examines links and overlaps between three related are...
12 October 2016
Wednesday 12 October 21.00
Michael Harris plays an organ concert of British and German music of the sixteenth to nineteenth centuries, as part of the Musical Wednesdays...
Associate Professor in Festival and Event Management
Senior Lecturer T&R
0131 455 6201
0131 455 5021
Harkins, P. (2015). Following the Instruments, Designers, and Users: The Case of the Fairlight CMI. Journal on the Art of Record Production.. ISSN 1754-9892
The focus of this article is the Fairlight Computer Musical Instrument (CMI), which is generally regarded as the first commercially available digital sampler. However, its des...
Harkins, P. (2011). La Transmission Perdue et Retrouvee : Le Sampler Comme Outil de Composition et de Decontextualisation de L’Enrigistrement. Réseaux. 172, 92. doi:10.3917/res.172.0092. ISSN 0751-7971
According to Brian Eno, the recording studio is a composition tool that enables musicians to enjoy a more direct relationship with sound. This article examines the role of the...
Harkins, P. (2010). Appropriation, Additive Approaches & Accidents: The Sampler as Compositional Tool. Journal of the International Association for the Study of Popular Music. 1(2). doi:10.5429/2079-3871(2010)v1i2.3en. ISSN 2079-3871
Brian Eno describes the recording studio as a compositional tool that has enabled composers to enjoy a more direct relationship with sound. This article will explore the use o...
Harkins, P. (2009). Transmission Loss and Found: The Sampler as Compositional Tool. Journal on the Art of Record Production. 4. ISSN 1754-9892
This article explores the use of the digital sampler as one of the studio tools that forms part of this creative process and focuses on interviews with a group of Edinburgh mu...
Currie, J., Brechin, S., Mill, A., Oke, W., Anderson, R. & Brady, P. The Edinburgh Festival FRINGE - Sandy Brechin Band. Performed at Acoustic Music Centre@St Brides. 23 August 2016 - 23 August 2016. (Unpublished)
Wild man of the accordion and frontman of Burach and the Sensational Jimi Shandrix Experience, Sandy Brechin plays fast and funky favourites from his albums, Out of his Box an...
Hails, J. (2016). for one
Musical work (duration 19') for oneunspecified melodic sustaining instrument. Work employs specific tuning related to just intervals.
Harkins, P. (2017, March). 'The Rest is History': Writing a History of Music Technologies and their Users. Presented at Burgundy School of Business Research Seminar, University of Burgundy, Dijon
The socio-musical practice of sampling is closely associated with the re-use of pre-existing sound recordings and the technological processes of looping. These practices, base...
Harkins, P. (2016, December). Real Sounds, Real Instruments: Discourses of Fidelity and Authenticity in the Design and Use of Digital Sampling Technologies. Paper presented at Art of Record Production (ARP) conference, University of Aalborg
This paper explores how an ideology of realism was central to the designers of early digital synthesizer/sampling technologies and how discourses of authenticity remain import...
Harkins, P. (2015, June). The Art of the Loop: JJ Jeczalik and the Fairlight CMI Series II/III. Paper presented at Over and Over: Exploring Repetition in Popular Music, University of Liege, Belgium
The socio-musical practice of sampling is closely associated with the quotation of sound recordings, the technological processes of looping, and an aesthetic based on appropri...
Harkins, P. (2014, December). Following the Instruments, Designers, and Users: A Conceptual Framework for the Study of Digital Sampling Technologies. Paper presented at Art of Record Production (ARP) conference, University of Oslo
No abstract available.
Harkins, P. (2014, September). The Sounds of Everyday Life (and Death): Digital Sampling, House Musique Concrete, and Field Recordings. Paper presented at IASPM UK and Ireland Conference, University College Cork
Harkins, P. (2014, April). Replies to the Critics: The Grounded Theories of Simon Frith. Paper presented at Studying Music: An International Conference in Honour of Simon Frith, The University of Edinburgh
This study focuses on three albums of original music performed and recorded by...
Niche tourism refers to how a specific tourism product can be tailored to meet the needs of a particular audience/market segment. Locations...