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...
Medbøe, H. & Moir, Z. (2017). Promotion anxieties: Jazz promoters within the UK scene. Jazz Research Journal. 11(1), 7-27. doi:10.1558/jazz.32504. ISSN 1753-8637
De nitions and roles of the promoter within the ecology of the music industries have over recent years become the subject of attention by academics working within the eld of ...
Durkin, R. (2017). What I discovered inside Edinburgh’s museum of musical instruments. The Conversation
No abstract available.
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...
Senior Lecturer T&R
Associate Professor in Festival and Event Management
Durkin, R. (2017). The Dancing-Master's Toolkit: a Summary of the Pochette of the Seventeenth and Eighteenth Centuries and its Role in Society. The Galpin Society journal. LXX, 65-79
The pochette or kit of the seventeenth and eighteenth centuries survives in surprisingly large numbers in both specialist and general collections, and displays a variety of fo...
(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...
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. Print manuscript in the possession of the composer
Musical work (duration 19') for oneunspecified melodic sustaining instrument. Work employs specific tuning related to just intervals.
Harkins, P. (2017, June). Questioning the Digital Revolution: Continuity and Change in the Design and Use of Music Technologies. Paper presented at 19th Biennial Conference of the International Association for the Study of Popular Music, Kassel, Germany
The use of digital technologies since the 1980s have changed the way in which music is stored, distributed, and consumed. The use of digital technologies has also reshaped the...
Harkins, P. (2017, June). Following the Fairlight CMI and its Users: The Digital Reproduction of 'Real' Instruments and Sounds. Paper presented at Galpin Society/AMIS Conference on Musical Instruments, The University of Edinburgh
This paper will focus on the Fairlight Computer Musical Instrument (CMI), which is generally regarded as the first commercially available digital sampler. However, its designe...
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...
This research will investigate the nature of interactions between people and experience-oriented technologies such as new-media artw...
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...