Recent notable publications and other research outputs (2010– ) include:
Composition and Music Technology
Heavy Western, for violin and amplified ensemble (2013). Premiered London and Birmingham, March 2013.
E! for large ensemble and dance (2010). Commissioned by Orkest de Ereprijs, Artez Dance Academy and Generale Oost (Theatre); a collaboration with the choreographer Anne Van den Broek.
Even, for multitracked cello, electronics and dance (2012). Commissioned by Province Oost-Vlaanderen, Danscentrum Jette and Theater Melkweg (Amsterdam); a collaboration with the choreographers Caroline D’Haese and Leena Keizer.
Organ Grinder, for large amplified ensemble and MIDI organ (2012). Commissioned by Orkest de Ereprijs and the Orgelpark Amsterdam with further assistance from a Philip Leverhulme Prize. Premiered at the Orgelpark, Amsterdam, November 2012.
Islands, for double ensemble and improvisers (2012). Commissioned by Arts Council of Ireland and Akbank Jazz Festival (Istanbul) for the joint forces of Yurodny (Ireland) and Hezarfen Ensemble (Turkey). Premiered at the Akbank Jazz Festival in Istanbul, 2012.
Jackie’s Taxi. Mini-opera for six singers and large ensemble (2012). Commissioned by Northern Ireland Opera and the 2012 Cultural Olympiad; a collaboration with the writer Stacey Gregg. Premieres: MAC Theatre, Belfast, also performed on the South Bank, London (2012).
Dzama Stories, for amplified ensemble, electronics and improvising soloist, CD recording: Decibel, dir. Ed Bennett (Quartz QTZ 2082); score published by the Irish Contemporary Music Centre. Composed 2009; CD issued 2011.
Profile CD album ‘My Broken Machines’, containing inter al. Stop Motion Music for ensemble(2010); Slow Down, for piano trio (2011); Ghosts, for amplified viola d’amore (2008), various artists, including Decibel, cond. Daniele Rosina; Fidelio Trio; Garth Knox (NMC Recordings:NMC D169); scores published by the Irish Contemporary Music Centre; CD issued 2011.
Jamie Bullock and Lamberto Coccioli
‘Integra Live: Research, Development & Practice’, International Journal of Digital Computing and Applications (AICIT, Korea, 2012).
Jamie Bullock, D. Beattie and J. Turner
‘Integra Live: a new graphical user interface for live electronic music’, Proceedings of the 2011 NIME conference (NIME, Oslo, 2011).
Jamie Bullock and H. Frisk
‘The Integra Framework for rapid modular audio application development’, Proceedings of the 2011 ICMC (ICMA, UK, 2011).
Extended Play (2013). Composed for Decibel.
Boogie Nights (2012). Composed for Orkest de Ereprijs.
Slippery Music, for piano quartet (2010). Score publ. by Contemporary Voices.
Violin Concerto, for electric violin, samples and strings (2010). Score publ. by Contemporary Voices.
Hearing Ragas, BBC Radio 3, September 2012.
Between the Ears: Playing the Form: BBC Radio 3 composition commission.
Is This It? Chamber opera, performed in the Linbury Studio Foyer, Royal Opera House, Covent Garden, July 2011, by The Opera Group.
Inflorescence, for saxophone and piano. Work premiered (Kyle Horch (saxophone) and Pavel Timofejevsky (piano) at St Peter’s Church, Kensington Park Road, Notting Hill, London, June 2011.
Cry, Want: CD including six works by Koller, with composer also as one of the principal performers. Works contained: Nocturne, Farewell, Riff Raff, Estuary, Hermetique, Reunion. Arrangements of other works (by Charlie Parker and Jimmy Giuffre) also by Koller. PSI Records (psi 10.08: issued 2010).
Tychonas Michailidis and Jamie Bullock, ‘Improving Performers’ Musicality Through Live Interaction With Haptic Feedback: A Case Study’, Proceedings of the 2011 SMC conference (SMC, Padova, 2011).
Concerto for Orchestra. Premiered by BBC Symphony Orchestra, cond. Andrew Davis, Barbican, London, October 2010.
Five Rings Triples (2011): Commissioned for Britain’s Cultural Olympiad 2012, part of the 20 x 12 project; used by BBC Radio 3 to herald New Year 2012.
The Voyage (2012): Commissioned for Britain’s Cultural Olympiad 2012, part of the 20 x 12 project. Performed by Stan’s Cafe and 12 recorders, April 2012 at A. E. Harris Factory, Birmingham; broadcast by BBC Radio 3.
I see with my eyes closed (2010): Music theatre work commissioned by BCMG; performed at Midlands Arts Centre on 20 May 2010 by Birmingham Contemporary Music Group and Stan’s Café.
Odes, Songs, Sonatas & Divine, Moral, Entertaining: Music by Barnabas Gunn, John Pixell, Jeremiah Clark, Joseph Harris and Richard Mudge.
CD recording, Musical & Amicable Society, directed by Martin Perkins (Barn Cottage Records, BCR010: issued 2013).
Frédéric D’Erlanger, Concerto symphonique (BBC Concert Orchestra, cond. Johannes Wildner: Dutton CDLX7300: issued 2013).
Benjamin Godard, Piano Concerto No. 2 and Fantaisie persane (Royal Scottish National Orchestra, cond. Martin Yates: Dutton CDLX7291: issued 2012).
Benjamin Godard, Piano Concerto No. 1; Introduction et Allegro (Royal Scottish National Orchestra, cond. Martin Yates: Dutton CDLX7274: issued 2011).
Gabrieli, Sacred Symphonies, Ex Cathedra, His Majesty’s Sagbutts & Cornetts, Concerto Palatino, dir. Jeffrey Skidmore (Hyperion CDA67957: issued 2012).
Shared Ground (Music by Alex Roth, words by Vikram Seth), Ex Cathedra, dir. Jeffrey Skidmore (Signum Classics 2 CD set SIGCD270: issued 2011).
Twentieth-Century Sonatas for Cello and Piano: Delius, Bridge, Ireland, Clarke, Keys. Alexander Baillie (cello) and John Thwaites (piano). Double CD disc (Somm, SOMMCD 251-2: issued 2013).
(with Susanne Stanzeleit, Robin Ireland and Andrew Fuller)
Brahms, Piano Quartet in G minor, Op. 25; Gabriel Fauré, Piano Quartet in C minor, Op. 15, Primrose Piano Quartet (Meridian CDE 84599: issued 2011).
Peter Maxwell Davies, Piano Quartet; Dmitri Smirnov, Quintet for Piano, Violin, Viola, Violoncello and Double Bass; (various composers,) Variations on a Burns Air, Primrose Quartet (Meridian, CDE 84586: issued 2010).
‘Music Printing in Early Eighteenth-Century Bologna: The Case of Giuseppe Antonio Silvani and Pirro Albergati (1716–1717)’, Fonti Musicali Italiane, 17 (2012), pp. 105–134.
Jeffrey J. Dean
‘Towards a Restoration of Tinctoris’ L’homme armé mass: Coherence, Mensuration, Varietas’, Journal of the Alamire Foundation (Leuven: Brepols), 5 (2013), pp. 11–40. (Special issue ‘Johannes Tinctoris I’, guest-edited by Ronald Woodley: see also David Lewis and Ronald Woodley).
Messiaen’s Final Works: Developments in Style and Technique (Aldershot: Ashgate, 2013).
‘Messiaen as Pianist: A Romantic in a Modernist World’, in Scott McCarrey and Lesley Wright (eds.), Perspectives on the Performance of French Piano Music, (Aldershot: Ashgate, 2012).
‘Cue the Big Theme? The Sound of the Superhero’, in The Oxford Handbook of New Audiovisual Aesthetics, ed.John Richardson, Claudia Gorbman and Carol Vernallis (Oxford: Oxford University Press, 2013), pp. 171–193.
Music, Sound and Silence in ‘Buffy the Vampire Slayer’, ed. Paul Attinello, Janet K. Halfyard and Vanessa Knights (Aldershot: Ashgate, 2010). (Winner of Long Mr. Pointy award for best Whedon Studies book, Whedon Studies Association, 2011).
‘Boldly Going: Music and Cult TV’, in The Cult TV Book, ed. Stacey Abbott (I. B. Tauris: 2010), pp. 121–128.
‘“Everybody scream!”: Tim Burton’s Animated Gothic-Horror Musical-Comedies’, in Drawn to Sound: Animation Film Music and Sonicity, ed. Rebecca Coyle (Equinox, 2010), pp. 25–39.
‘“Labyrinthine Pathways and Bright Rings of Light”: Hoffmann’s Aesthetics of Music in Performance’, Nineteenth-Century Music Review 9 (June 2012), pp. 75–92.
‘Illusion and Aura in the Classical Audio Recording’, in Recorded Music: Performance, Culture and Technology, ed. Amanda Bayley (Cambridge: CUP, 2010), pp. 37–51.
‘Digital Scholarship for the New Tinctoris Edition’, Journal of the Alamire Foundation (Leuven: Brepols, 2013), vol. 5, pp. 111–130. (Special issue ‘Johannes Tinctoris I’, guest-edited by Ronald Woodley: see also Jeffrey J. Dean and Ronald Woodley).
‘Music-Dance (and Design) Relations in Ballet Productions of Ravel’s Daphnis et Chloé’, Les Cahiers de la Société québéquoise de recherche en musique, 13/1-2 (Sept. 2012), pp. 77–85.
‘Le jazz gallicisé et ravelisé: théorie et pratique du “blues”’, in Pascal Terrien (ed.), Musique française: Esthétique et identité en mutation 1892-1992 (Sampzon: Les Editions Delatour France, 2012), pp. 215–225.
‘“Parisomanie”? La French Connection de Jack Hylton’, in Vincent Cotro, Laurent Cugny and Philippe Gumplowicz (eds.), La Catastrophe apprivoisée: Regards sur le jazz en France, Jazz en France (Paris: Outre Mesure, 2013), pp. 67–99.
‘French Music Reconfigured in the Modal Jazz of Bill Evans’, in Janne Mäkelä and Jouni Eerola (eds.), Jazz Chameleon: 9th Nordic Jazz Conference Proceedings (Helsinki: The Finnish Jazz and Pop Archive, 2011), pp. 77–89. http://iipc.utu.fi/jazzchameleon/Mawer.pdf.
Ravel Studies, ed. Deborah Mawer (Composer Studies Series) (Cambridge, Cambridge University Press, 2010).
Giovanni Battista Vitali, Sonatas, Op. 5: vol. 1 (2011); vol. 2 (2011); vol. 3 (2012), ed. Martin Perkins (Launton: Edition HH, 2011–12).
Jean-Philippe Rameau: Zaïs, vol. IV/15 of the complete critical edition Jean-Philippe Rameau: Opera Omnia (Kassel: Bärenreiter/Société Jean-Philippe Rameau, 2011), ed. Graham Sadler, full score.
Marc-Antoine Charpentier, Amor vince ogni cosa, Pastoraletta 1a, H492, for five voices, two treble instruments and basso continuo, ed. Shirley Thompson (Launton: Edition HH, 2013).
‘Charpentier and the Language of Italy’, in Musique à Rome au XVIIe siècle, ed. Caroline Giron-Panel and Anne-Madeleine Goulet (Rome: L’École française de Rome, 2012), pp. 423–438.
New Perspectives on Marc-Antoine Charpentier, ed. Shirley Thompson (Aldershot: Ashgate, 2010).
‘Tinctoris’s Family Origins: Some New Clues’, Journal of the Alamire Foundation (Leuven: Brepols, 2013), vol. 5, pp. 69–94. (Special issue ‘Johannes Tinctoris I’, guest-edited by Ronald Woodley: see also Jeffrey J. Dean and David Lewis).
‘Brussels, Bibliothèque Royale, MS II 4147: The Cultivation of Johannes Tinctoris as Music Theorist in the Nineteenth Century’, in Ars musica septentrionalis: De l’interprétation du patrimoine musical à l’historiographie, ed. Barbara Haggh and Frédéric Billiet, with Claire Chamiyé and Sandrine Dumont (Paris: Presses de l’Université Paris-Sorbonne, 2011), pp. 121–158.