Dr Paul Fleet
Deputy Head of School and Senior Lecturer
- Email: email@example.com
- Telephone: +44 (0) 20 83577
- Personal Website: http://sacs-tig.s3-website-eu-west-1.amazonaws.com/
- Address: School of Arts and Cultures
Newcastle upon Tyne
A balanced academic journey is of paramount importance to our educational development. I firmly believe in this and have done so since leaving school and working in a recording studio whilst studying at College and playing in a band.
Aged 19, I recognised a gap in the market and set up a business as travelling private music teacher. I created innovative learning strategies for my students that were not purely exam focussed (many of these students I am proud to say are now educators in primary, secondary and tertiary education), and I scaled its provision throughout my undergraduate and postgraduate studies. In 2007 I completed my PhD and, after a short while teaching music theory and practice in local HEIs, I became a lecturer at Newcastle University whilst publishing my first monograph: Ferruccio Busoni: A Phenomenological Approach to his Music and Aesthetics (2009).
I have most recently been the Dean of Academic Affairs for Newcastle University London where I worked with businesses in the City to create 'industry informed' education through my REILTE strategy (Research & Employer Informed Learning & Teaching Excellence). I have led significant curriculum design and redesign as a Director of Excellence in Learning and Teaching, as a Degree Programme Director, and as a Chair of Board of Studies; I have looked after and advised several educational partnerships; and I am an academic advisor to exam bodies, the academic lead for Newcastle’s lecture capture provision, a Senior Fellow of the Higher Education Academy and a Fellow of the Royal Society of Arts.
My current role as Deputy Head of the School of Arts and Cultures at Newcastle University involves me looking after Music, Fine Art and Media, Culture, Heritage’s digital profile, our international strategy, and elements of our staff’s wellbeing which includes a set of email principles seeking to restore our work/life balance.
Current Roles and Responsibilities
- Senior Lecturer in Music
- Deputy Head of the School of Arts and Cultures
- Academic Lead for ReCap
Prior Roles and Responsibilities
- Dean of Academic Affairs (Newcastle University London)
- 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
Most Recent External Activities
- Delegate at the Royal Academy of Music Aural Skills Pedagogy Symposium (2017)
- Academic Representative at Dame Allan's Bridging the Gap between Curriculum and Careers (2017)
- Academic Representative at the CPA Australia Future Leaders' Luncheon (2016)
- 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 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).
- Senior 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
Current Research Projects
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.
- The music and aesthetics of Ferruccio Busoni
- Metatonal Musics
- Popular Music Pedagogy
- Time-Consciousness in Music at the Turn of the Twentieth Century
- Analysis as a practical tool for the exploration of music
- Embodiment Learning Strategies for the teaching of music theory
- Recording Technologies
Research Word List
Analysis, Aesthetics, Busoni, Phenomenology, Metatonality, Time-Consciousness, Fin-de-siècle, Husserl, Nielsen, Grainger, Reduction, Intentionality, Drum-Kit, Popular, Contemporary, Music-Theory, Heidegger, Merleau-Ponty, Sartre, Piano, Guitar, Vai, Satriani, Rock, Western-Art-Music, Fusion-Musics
Undergraduate Module Leader and Teaching
Music Theory Modules
These three modules 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.
Practising Music Analysis
This module is aimed at helping the student explore the workings of music: how pieces of music hang together, how music as sound organised around events is meaningful in musical (as well as in any other) terms. The case-study approach is intended to foster coverage of various 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.
- MUS1010: Music Theory: Technique and Practice in Studio Production
- MUS1020: Music Theory: Technique and Textures in Common Practice
- MUS1050: Music Theory: Folk and Traditional Textures and Techniques
- MUS2004: Themes in Musical Modernism
- MUS2018: Contemporary Musical Materials
- MUS2044: Practising Music Analysis
- MUS3013: Major Specialist Study Dissertation
- MUS3015: Major Specialist Study Project
- MUS3017: Minor Specialist Study Dissertation
- MUS3019: Minor Specialist Study Project
- MUS8160/1/2: Debates in the Philosophy and Theory of Music
- MUS8160/1/2: Music Analysis for Postgraduates
- PhD Supervisor for Chris Whiting
- MMus Supervisor for Luke Gaul and Tom Furniss
- Fleet P. 'I've heard there was a secret chord': Do we need to teach music notation in UK Popular Music Studies?. In: Smith G; Moir Z; Brennan,M; Rambarran S; Kirkman P, ed. The Routledge Research Companion to Popular Music Education. Aldershot: Ashgate, 2017, pp.166-176.
- Fleet P. Rethinking the Guidonian Hand for twenty-first century Musicians. Journal of Popular Music Education 2017, 1(2).
- Fleet P. Ferruccio Busoni: A Phenomenological Approach to his Music and Aesthetics. Cologne, Germany: Lambert Academic Publishing, 2009.
- Fleet P. The Provision in “Music Skills” for degree students on Popular Music Programmes across selected North Eastern and National Institutions. Newcastle upon Tyne: Centre for Excellence in Teaching and Learning (CETL) for Music and Inclusivity, 2008.