Paul has blended vocational experience and academic practice since leaving school, when he began working weekends in a recording studio alongside studying at College. Recognising a gap in the market, aged 19, he set up his own business as a travelling private music teacher creating innovative learning strategies for his students (many of which he is proud to say are now teachers in Schools, Further and Higher Education environments) and scaled its provision throughout his undergraduate and postgraduate studies. In 2007 he completed his PhD and began work at Newcastle University the following year whilst publishing a monograph Ferruccio Busoni: A Phenomenological Approach to his Music and Aesthetics (2009). He has led significant curriculum design and redesign as a Degree Programme Director and as a Chair of Board of Studies. He has looked after and advised on several educational partnerships, is an academic advisor to exam bodies, has most recently been a Director of Excellence in Learning and Teaching, and is a Fellow of both the Higher Education Academy and the Royal Society of Arts.
Prior Roles and Responsibilities
- Director of Excellence in Learning and Teaching for the School of Arts and Cultures
- Chair of the Newcastle University London Academic Procedures and Policy Committee
- External Examiner for Edinburgh Napier University BA (hons) Popular Music programme
- Chair of Board of Examiners for Music
- Chair of PEC for the School of Arts and Cultures
- Senior Tutor for Music
- Chair of Board of Examiners for the FdA in Music Production and the FdA in Popular Music for Newcastle College
- Research supervisor for Undergraduate and Postgraduate Students
Most Recent External Activities
- Speaker at the RSA Regional Showcase Conference (2015)
- Academic Advisor to the NCFE (from 2015)
- Delegate at IASPM/APME/NAMHE Research in Popular Music Education Symposium (2015)
- External Examiner for Edinburgh Napier University BA (hons) Popular Music programme (from 2014/15)
- Delegate at Westminster Higher Education Forum on Innovative Approaches to curriculum design and delivery in Higher Education (27th November 2014)
- Validation Panel Member for QAA Access to HE Diploma (Music) for Gateshead College and Middlesborough College (13th May 2014)
- Delegate at Popular Music and Pedagogy Conference sponsored by the Higher Education Academy and IASPM (24th January 2014)
- Lecture on Ferruccio Busoni and Time-Consciousness given to Master's Students at Université Paris-Est Marne-la-Vallée (25th March 2013)
- Chair of Board of Examiners for the Foundation Degrees in Music Production and Popular Music at Newcastle College (2011 - present).
- External Academic Representative for the revalidation of BA (HONS) Music Enterprise course at Newcastle College (2011).
- External Academic Representative for the revalidation of Foundation Degree in Popular Music Performance and Production at City College Norwich (2011).
- External Academic Representative for the validation of the BA in Creative Practice at City College Norwich (2011).
- Fellow of the Higher Education Academy
- Fellow of the Royal Society of Arts
- International Association for the Study of Popular Music (IASPM)
- Performing Right Society for Music
Forgetting to Remember: Cross Faculty Engagement Project
Can you name ten female scientists? That this proves to be a difficult task for many may directly contribute to our, and specifically our younger generation’s, awareness of the roles that have and are being played by women in science. The project will host a café style gathering where female scientists are active in the coproduction of their research in a cultural and creative presentation alongside composers and performers. Drawing from colleagues across the three faculties of medicine (Eileen Kaner), science (Lynsay Blake) and humanities (myself) at Newcastle University and in partnership with the Electric Voice Theatre, the public event will showcase the science ‘being done’ in an active environment at the Northern Rock Foundation Hall at the Sage Gateshead, UK. Funding has been secured for this event through the British Academy Rising Star Engagement Award.
GILES: Gestural Interval Learning Exercises
The immediate recognition and description of the thirteen enharmonic intervals within the octave is a quest that students of music regularly undertake but rarely achieve. The problem often lies in a disconnect between the sound heard and the sound recognised when the task is undertaken without recourse to an instrument. During the 11th Century, Guido d’Arezzo is known to have used the joints on the hand to help music students to recognise and sing intervals from hexachords; this research considers a rethinking of this tool with regard to recent investigations into corporeal intentionality and presents a methodology for the 21st Century musician. This research informs the undergraduate modules in Music Theory and Introduction to Music Analysis.
YouTube Tutorials on GILES:
Introduction to GILES (Gestural Interval Learning Exercises): https://www.youtube.com/watch?v=-DAPlzl1qSg
GILES First Exercise: https://www.youtube.com/watch?v=_Xyq6sLkj10
GILES Second Exercise: https://www.youtube.com/watch?v=77VBWP9zWKk
GILES Third Exercise: https://www.youtube.com/watch?v=WMIOO5bE7Cw
NEone Creative: RSA Grant Funded Research Activity
Following the call from the Royal Society of Arts to consider the 'Creative Gap' in society I am the PI on the NEone Creative project that seeks 'to close the creativity gap by leading an approach to learning and development that enables everyone, regardless of background, to generate original, valuable ideas and make them happen'. More information on this project can be found at https://www.thersa.org/action-and-research/fellowship-projects/fellowship/neone-creative/
#HearingHistory: A Journey through Sound Recording Technologies.
Following on from the NISR funded workshops (Short video: https://vimeo.com/125725020) Tyne and Wear Archives and Museums has funded the opportunity of two more workshops but this time in the public sphere using the space in the Grainger Market to engage people in the inclusivity and exclusivity of recording technologies. A journal article for Popular Musicology Online will be drawn from the research. Phase 3 of this project will then seek AHRC Knowledge Exchange Funding for a larger scale event and supporting research activity. This research informs the undergraduate module on Contemporary Musical Materials.
Temporal Intentionality Graphs (Metatonal Music Analysis)
Following on from my published research into the musics and aesthetics of Ferruccio Busoni (Ferruccio Busoni: A Phenomenological Approach to his Music and Aesthetics ISBN: 3838323904) I have been working on applying this methodology, taking into account the phenomenological leanings of the early 20th Century, and developing a framework for understanding musics that are neither tonal nor atonal but are metatonal (both 'with' and 'after' tonality). The research seeks to understand such music in its own terms and not enforce a mode of analysis but let the piece create its own dialogue with the analytic frame and therefore provide a rich and otherwise hidden reading of such musics. I have called the analytic model which generates this framework Temporal Intentionality Graphs and the computer programme that draws up these charts can be found at: Link for Temporal Intentionality Graph Music Analysis Generator TIGMAG. This research informs the undergraduate module on Early 29th Century Musics.
Undergraduate Module Leader and Teaching
Music Theory and Studio Skills
This module aims to provide the student with a choice of foundational skills in music writing and production, covering an introduction to Western tonal, modal and harmonics practices, as applied in Western European art music, acoustic folk and popular musics, and techniques of music production in the recording studio. It aims to help the student build upon, or learn from scratch theoretical knowledge, aural abilities (through using Research-led-Teaching in GILES: https://www.youtube.com/watch?v=-DAPlzl1qSg), music notation skills, studio approaches and techniques, and to ultimately cultivate a musically intelligent practice and a practical musical intelligence. Skills learned inform stage 2 and 3 modules in composition, analysis, and performance, as well as offering secure theoretical grounding for historical and cultural theory modules.
Introduction to Musical Analysis
This module aims to help you develop skills in the various practices of music analysis and theory, partly drawing on skills and knowledge acquired in MUS1010, Music Theory and Studio Skills. MUS1019, Introduction to Musical Analysis, aims to provide you with technical skills that will give you insight into the harmonic and contrapuntal workings of tonal music; and to develop your knowledge of form, genres and pieces from the Baroque period through to the early twentieth Century. Overall, the module stages aural and analytic encounters to help you gain self-sufficiency in critically understanding the form and content of musical pieces.
Contemporary Musical Materials
Students will be introduced to a variety of different musical practices, from a variety of different contemporary and popular practices, and will study these examples with reference to their musical material. Some approaches will be analytical but others will deal with musical forms that are seemingly resistant to conventional analysis. Students will engage with the current research of staff in the delivery of this module and be encouraged to think of themselves as active participants in the research activity.
Early 20th Century Musics
This module draws upon the research of Drs Biddle, Fleet, Hogg and Williamson to deliver a contextual and analytic understanding of musics at the dawn of the 20th Century. By the end of this module the students will have evaluated the relationships between musical materials and historical/cultural contexts; identified both short-term and long-term social and cultural factors in the formation of these musical repertories; applied historical and historiographical techniques learnt during the module in their own independent work.