This is Professor Rupert Till’s CV, also known as Professor Chill

Professor Rupert Till Curriculum Vitae

Current Post (since 2002)

Associate Dean International, School of Music, Humanities and Media; Director of the Confucius Institute; Professor of Music; Director of the Sound Archaeology Research Group; University of Huddersfield.


Career History

Employer                              Position                                                        Dates

Huddersfield University       Subject Area Leader Music Technology  July 08 – Jan 09

Self-employed                      Lecturer/Composer                                         Sept 00 – Aug 02

Bretton Hall Univ. College Senior Lecturer in Music                               Sept 96 – Aug 00

Barnsley College                  Lecturer in Music                                           April 94 – Sept 96

Self-Employed                      Musician/Composer/Sound Engineer         July 92 – April 94

Barbican Centre York          Technical Crew/Box Office                           Oct 91 – July 92

Leicester Poly. S.U.             Vice-President (Welfare)                                 July 89 – Sept 90


Institution                                        Course/Qualification                                 Dates

Chartered Manager’s Institute       CMgr MCMI                                                  June 2018

Sheffield University                          Composition              PhD                           Sep ’95 – Jan ’00

York University                                 Music Technology    MA                             Sep ’90 – Oct ’91

Leicester Polytechnic                      Performing Arts        BA (Hons)                 Sep ’86 – Jul ’89


Professorial Society/Institution                                                    (date of entry)

Austrian Science Fund (FWF) Reviewer                                                                         2019

21st Century Music Practice Journal and book series editorial board                     2016

Journal of Music, Technology and Education editorial board                                   2016

Newton Fellowships Reviewer                                                                                         2016

Leverhulme Reviewer                                                                                                        2015

Freie Universität Berlin Fellowships Reviewer                                                             2015

Modern Believing Journal Peer Reviewer                                                                      2015

Chair of the International Association for the Study of Popular Music (IASPM)

UK and Ireland Branch                                                                                                       2014

Music Research Consortium UK Committee Member                                                  2014

Routledge, CUP book proposal reviewer                                                                         2013

Studies in Religion and Popular Music Bloomsbury Book Series editorial board  2012

International Association for the Study of Popular Music Journal editorial board 2011

Journal of Contemporary Religion peer and book reviewer                                       2011

International Computer Music Conference peer reviewer                                          2011

Applied Acoustics Journal peer reviewer                                                                         2011

Popular Music Journal peer reviewer                                                                               2011

Art of Record Production Conference peer reviewer                                                     2010

Arts & Humanities Research Council Panels member                                                    2010

Arts & Humanities Research Council Peer Review College member                           2009

Dancecult Journal International Advisory Board member and peer reviewer        2009

International Study Group for Music Archaeology                                                         2009

UK Research Network for Theology, Religion and Popular Culture                             2005

Fellow of the Higher Education Academy (FHEA)                                                           2004

International Association for the Study of Popular Music                                             1999


Successful Applications for Research Support


P.I. Marie Skłodowska-Curie Individual Fellowship, Event Horizon: An Audiography of Transformation (EH) supervising Dr. Graham St. John, €212,933, 2021-2024.

P.I. Marie Skłodowska-Curie Individual Fellowship, Teotihuacan Virtual Sound Map: Exploring the Sonic Sphere of the City of the Gods, Mexico (TVSM) supervising Dr. Adje Both, €337,400, 2019-2022.

P.I. Marie Skłodowska-Curie Individual Fellowship, Virtual Reality and Archaeoacoustic Analysis to Study and exhibit Presence (VRASSP) supervising Dr Kristina Wolfe, €195,000, 2017-19.

Co-organizer, EU Culture Programme Grant, European Music Archaeology Project (EMAP). €4 million total project budget. 2013 – 2018.

P.I. for AHRC Research Development award, Songs of the Caves: Acoustics and Prehistoric Art in Cantabrian Caves with Durham, Sheffield, Salford, Cantabria, Valladolid and Zaragoza Universities, £100,000, 2013.

P.I. for AHRC/EPSRC joint funded Science and Heritage Programme Research Cluster, Acoustics and Music of British Prehistory Research Network. Sheffield, Durham and Cambridge Universities, £30,000, 2009 – 2010.


External Examining of Research Degrees

Kingston University                          External         PhD                                         2018

Aristotle Univ. Thessaloniki            Advisory         PhD                                        2016 – 2019

Kings College London                      External          PhD                                         2016

RMIT University, Australia              External         PhD                                         2015

Zaragoza University, Spain             External          PhD                                        2015

Bath Spa University                         External           PhD                                        2013

Surrey University                             External           PhD                                        2009 & 2012

Griffith University, Australia         External           Doctor of Musical Arts       2011

Salford University                            External           PhD                                        2009

Sheffield University                         External           MA by Research                  2008


External Examining

Goldsmiths University                     External Examiner MMus validation       2014

Thames Valley University               External Examiner MA validation            2010

Derby University                               External Examiner                                      2008 – 2011

Verona VSM College, Italy               External Examiner                                       2000 – 2003

Anglia Ruskin University                External Examiner                                       2000 – 2003


Research Supervision

Xueyang Fang             PhD    2016 – 2020             ancient Chinese chime stones

Grace Healy                PhD    2015 – present         popular music and dada

Paul Wolinski             PhD    2014 – present         popular music & installation art

Sebastien Lavoie       PhD    2014 – 2019               electronic dance music & 3D audio

Paul Francis               PhD    2013 – 2018               popular music performance pedagogy

Alessandro Carrera  PhD    2014 – 2016               Italian popular music

Phillip Allcock           PhD    2011 – 2014               Elton John: music and gender

Simon Bradley          PhD    2011 – 2015               sonic art, oral history, audio walks

Austin Moore            PhD    2010 – 2017               audio compression in music production

Nicholas Bougaieff  PhD    2009 – 2013               minimal techno

Mark Mynett              PhD    2008 – 2013             extreme metal production

MA by Research: Andre Sfetcu 2017 (composition), Chris Gregory 2017 (composition); Andrew Daly 2015 (genre); R. Rideout 2014 (creativity); B. Wall 2012 (Zappa); A. Smith 2012 (psychedelia – merit); D. Holbrook 2010 (ambient music).


Enterprise and Knowledge Transfer

Huddersfield On Stream and TQEF project, online learning. £3800

HEIF widening participation scheme, project manager, £120,000, also TQEF grant £80,000. 2005-9.

Vendor Training Scheme, Yorkshire Forward, SME music technology training £150,000, 2004.


Authored Books

Pop Cult: Religion and Popular Music, London/New York: Continuum/Bloomsbury. 2010.


Edited Books

Music and Ritual: Bridging Material and Living Cultures, Rupert Till, Raquel Jimenez (eds), Berlin: Echo Verlag. 2013.


Articles in Refereed Journals

  1. Sound Archaeology: A Study of the Acoustics of Three World Heritage Sites, Spanish Prehistoric Painted Caves, Stonehenge, and Paphos Theatre. Acoustics 1(3): 661-692.


  1. ‘Cave Acoustics in Prehistory: Exploring the Association of Palaeolithic Visual Motifs and Acoustic Response’, Fazenda, Bruno,Scarre, Chris,Till, Rupert, Pasalodos, Raquel J., Guerra, Manuel R., Tejedor, Cristina, Peredo, Roberto O., Watson, Aaron, Wyatt, Simon, Benito, Carlos G., Drinkall, Helen and Foulds, Frederick. Journal of the Acoustical Society of America, 142 (3). pp. 1332-1349.


  1. ‘Popular Music Practice: Music as Research’, IASPM Journal 7(2): 2-7.


  1. ‘An Archaeoacoustic Study of the Ħal Saflieni Hypogeum in Malta’, Antiquity Journal 91(355): 74-89.


  1. ‘Archaeology and Acoustics of Rock Gongs in the ASU Bone Concession Above the Fourth Nile Cataract, Sudan: A Preliminary Report’, Till, Rupert, and Kleinitz, Cornelia, Sudan and Nubia: The Sudan Archaeological Research Society 19: 106-15.


  1. ‘Editorial Introduction: Popular Music in Education, Special Issue’, Rupert Till, Lucy Green and Don Lebler. IASPM Journal 5(1): 1-3.


Forthcoming. Rupert Till and Nick Bougaïeff, ‘Plastikman, Richie Hawtin and the Digital DJ’, Dancecult: Journal of Electronic Dance Music Culture 6(1).


  1. ‘Sound Archaeology: Terminology, Palaeolithic Cave Art and the Soundscape’, World Archaeology 46(3): 292-304.


  1. ‘Twenty First Century Popular Music Studies’, (paper in special edition edited by Rupert Till), International Association for the Study of Popular Music Journal, 3(1).


  1. ‘Songs of the Stones: an Investigation into the Musical History and Culture of Stonehenge’, in International Association for the Study of Popular Music Journal, 1(2): 1-18.


  1. ‘Pop Stars and Idolatry: an Investigation of the Worship of Popular Music Icons, and the Music and Cult of Prince’, in the Journal of Beliefs and Values, 31(1): 69-80.


  1. ‘The Personality Cult of Prince: Sex and the Sacred, and the Implicit Religion Surrounding a Popular Icon’, Implicit Religion Journal, 13(2): 141-160.


  1. ‘The Nine O’Clock Service: Mixing Club Culture and Postmodern Christianity’. Culture and Religion Journal, 7(1): 93-110.


  1. ‘Mixing Experimental and Popular Musics: A Case Study of Production Techniques Used in the Music of Chillage People’, in the Art of Record Production Journal (online),


Book Chapters

  1. ‘Ambient Music’, Bloomsbury Handbook of Religion and Popular Music, Christopher Partridge and Marcus Moberg (eds), Bloomsbury: London: 327-37.


  1. ‘Popular Music Education: A Step Into the Light, Routledge Research Companion to Popular Music Education, Gareth Dylan Smith (ed), London: Routledge.


  1. ‘Singer-Songwriter Authenticity, the Unconscious and Emotions (feat. Adele’s “Someone Like You”)’, The Cambridge Companion to the Singer-Songwriter, Catherine Williams, Justin Williams (eds), Cambridge: Cambridge University Press: 291-304.


  1. ‘Sound Archaeology: An Interdisciplinary Perspective’, Archaeoacoustics: The Archaeology of Sound, Linda Einix (ed), Malta: OTS Foundation: 23-33.


  1. ‘The Return of Ritual: Sacred Popular Music Cultures and Cults, Music and Ritual, Rupert Till, Raquel Jimenez Pasalodos (eds), Berlin: Echo Verlag: 359-89.


  1. ‘Paganism and the Popular Music Morphic Field of Stonehenge’, Pop Pagans: Paganism and Popular Music, Andrew Bennett and Donna Weston (eds), 51-78, London: Equinox.


  1. ‘Metal and the Beast: The Adoption of Apocalyptic Imagery in Heavy Metal Music’, Anthems of Apocalypse: Popular Music and Apocalyptic Thought, Chris Partridge (ed), 90-108, Sheffield: Sheffield Phoenix Press.


  1. ‘21st Century Trance Cult: Electronic Dance Music Culture as a Form of Possession Trance, and its Role in Replacing the Traditional Roles of Religions Within Western European Popular Youth Culture,’ Religion and Popular Music in Europe, Thomas Bossius, Andreas Hager and Keith Kahn Harris (eds), 145-62, London: I. B. Tauris.


  1. ‘Songs of The Stones: The Acoustics of Stonehenge’, BAR 504 2009: The Sounds of Stonehenge, Centre for the History of Music in Britain, the Empire and the Commonwealth. CHOMBEC Working Papers No. 1, Stephen Banfield (ed), 17-42, Oxford: Archaeopress.


  1. Mark Mynett, Jonathan Wakefield and Rupert Till, ‘Intelligent Equalisation Principles and Techniques for Minimising Masking when Mixing the Extreme Modern Metal Genre’, Heavy Fundamentalisms: Music, Metal and Politics, Rosemary Hill and Karl Spracklen (eds), 141-6, Oxford: Inter-Disciplinary Press.


  1. ‘Possession Trance Ritual in Electronic Dance Music Culture: a Popular Ritual Technology for Reenchantment, Addressing the Crisis of the Homeless Self, and Reinserting the Individual into the Community’, Exploring Religion and the Sacred in a Media Age, Chris Deacy and Elisabeth Arweck (eds), 169-88, London: Ashgate.


  1. ‘Popular Music as Religion: From Trance Dancing to Worshipping Popular Music Icons’, in Faith is. Searching for Faith and Religion/Es Glaubt. Suchen nach Glauben und Religion, Lukas Niederberger and Lars Müller (eds), 221-38, Zurich: Springer.


  1. ‘The Blues Blueprint: The Blues in the Music of the Beatles, The Rolling Stones and Led Zeppelin’, Cross the Water Blues, Neil Wynn (ed), 183-202, Jackson, MS: University of Mississippi Press.


Papers Published in Refereed Conference Proceedings

  1. ‘Clubbing – a New Performance Tradition’, ed. Tony Mitchell, in Changing Sounds, pp. 369-73, Sydney: University of Technology.


Practice Based Research

  1. Dub Archaeology. Professor Chill. Twin Records. (CD, Vinyl and Download). Composer, Performer, Producer.


  1. Apollo and Dionysus: Sounds From Classical Antiquity. European Music Archaeology Project Volume 5. Delphian Records. (CD and Download). Co-producer.


  1. The Edge of Time: Palaeolithic Bone Flutes from France and Germany. European Music Archaeology Project Volume 4. Delphian Records. (CD and Download). Co-producer.


  1. Soundgate Museum Exhibit. In Archaeomusica Exhibition. Ystad Abbey, Sweden. Artistic Director and Soundtrack Composer. Tour venues include Spain, Italy, Slovenia, Cyprus, Switzerland, Germany, Belgium, China.


  1. Interactive Soundgate Museum Exhibit. In Archaeomusica Exhibition.  Ystad Abbey, Sweden. Tour venues include Spain, Italy, Slovenia, Cyprus, Switzerland, Germany, Belgium, China.


  1. Spellweaving: Ancient Music from the Highlands of Scotland. European Music Archaeology Project Volume 1. Delphian Records. (CD and Download). Co-producer.


  1. Ice and Longboats: Ancient Music of Scandinavia. European Music Archaeology Project Volume 2. Delphian Records. (CD and Download). Co-producer.


  1. Dragon Voices: The Giant Celtic Horns of Ancient Europe. European Music Archaeology Project Volume 3. Delphian Records. (CD and Download). Co-producer.


  1. Songs of the Caves, music for film, created for an AHRC/EPSRC-funded project, with film-maker Aaron Watson.


  1. ‘European Spallation Source’ composition for EPSRC-funded short film featuring Patrick Stewart, Produced by Optic Verve / Prof. Bob Cywinski, Premiere at European Spallation Source Industry Day, Copenhagen.


  1. ‘IPod and Nanotechnology’ composition for short film, Produced and Directed by Jeff Baggott and Richard Jones, The ESPRC Nanotechnology Image Library, The Engineering and Physical Sciences Research Council, available at


  1. ‘Beauty’ released on Ambient Planet Volume 1 CD, Vagalume Records, Brazil/Ultimae Records, France. Composed and produced by Rupert Till and Anne Garner.


  1. Solid Water 10 track CD, i-tunes (internet). Composed and produced by Rupert Till, Andrew Brooks, Tom Howat, with Michael Eden and Emily Maguire.


  1. Composer for The Dancer, film directed by Sun-Young Chun.


  1. Composition and sound design for For What We Are About To Receive, film directed by Yoav Factor, shown at Leeds International Film Festival, Portobello Film Day.


  1. Composition and production for 3D sound auditorium in National Centre for Popular Music, Sheffield, with Tim Banks.


  1. Composer for Wheeze, film directed by Rob Miller, sponsored by Glaxo, shown at Leeds International Film Festival, (October 1997), YTV (December 1997).


  1. Composer, sound diffusion and performer with Idee Fixe multimedia performance company on Bon Voyage, published as multimedia booklet by Sunderland University Press/Hopwood, (1999), performed nationally in UK.


Composer and performer with Whoopee Stomp Dance Company. 1993 – 1999.

Impact 1994, Molotov Cocktail 1994, Chiaroscuro 1996, Remote Control 1996, Optic Nerve 1997. Commissioned by Yorkshire Regional Arts Board for Bored 1999. Various British performances.


Other Research Activity and Distinctions

  1. Popular Music and Education: A New Model of Musician Development. Invited Presentation. Music Creates Future: Cross-border Talents and Industry Propserity International Forum, Tsingua University and Communications University of China, Beijing, China.


  1. The Development of Popular Music Research and Teaching. Invited Presentation. Popular Music Studies in Europe: History, Methodologies, Perspectives.

Warsaw, Cardinal Stefan Wyszynski University, 10-11 October.


  1. Civilisations. Episode 1, UK BBC2 TV and USA PBS TV. Contributor.


  1. Keynote. Moisa (International Society for the Study of Greek and Roman Music and it’s Cultural Heritage) Conference 2018: Music and Materiality, University of Reading, UK.


  1. IASPM UK and Ireland/Association for the Study of the Art of Record Production/International Society for Metal Music Studies/Dancecult Joint Conference Organiser, University of Huddersfield.


  1. Ambient@40, conference co-organiser, University of Huddersfield.


  1. Matthew Stock, Reuters. Researchers Give Voice to Historic Sounds of Stonehenge.


  1. The Lost Sounds of Stonehenge. Interview & Dissemination. BBC Radio 2, 4, 5, 6 World Service.


  1. Stonehenge sounds recreated using virtual technology. Interview & Dissemination. BBC Breakfast, BBC News, BBC America.


  1. BBC World Service documentary Symphony of the Stones, contributor/consultant.


2016, 2018. Pet Shop Boys, Singspiel and Electronic Gesamtkunstwerk. Invited Essay in the Pet Shop Boys programme for their performance at the Royal Opera House.


  1. ‘Sound Archaeology and the Acoustic Ecologies of Caves’, Invited Presentation, ICTM SGMA Conference, Wuhan, China.


  1. Entrancement and Entrainment. Invited Presentation, Schiev Music Festival, Brussels.


  1. ‘Liminality and Communitas: Victor Turner, popular music, spirituality and the dancefloor as a form of collective effervescence healing the homeless self’, Invited Presentation. Boom Festival, Portugal.


  1. Popular Music in the UK. Invited Presentation, Tianjin Conservatory of Music, China.


  1. Music Research Today. Invited Presentation, Tianjin Conservatory of Music, China.


  1. Music Research Today. Invited Presentation, Shanghai Conservatory of Music, China.


  1. Popular Music Studies Workshop organiser, Institute of Musical Research, London.


  1. IASPM UK and Ireland Conference, Conference Organising Committee, BIMM/Sussex University, Brighton, UK.


  1. ‘Popular Music as Prophecy: Composing the Future’, (keynote lecture), Future Sound Conference, UCLan.
  2. ‘Archaeoacoustics: studying and reconstructing the acoustics of the ancient past’, invited presentation, Sound Studies Symposium, University of Copenhagen.
  3. ‘Caves, Tombs and Megaliths: Sound Archaeology and the Development of Ritual Acoustics’, International Conference in Växjö in Honour of Cajsa S. Lund, (invited presentation), Linneaus University, Sweden.
  4. ‘DJ Culture, Liminal Space and Place’, (invited presentation), California State University, Northridge.


  1. ‘Entrancement and Entrainment: techno-shamans from pre-history to the nightclub’ (invited presentation), Heavenly Acts Conference, ICOSS, University of Sheffield.


  1. Archäoakustik: Auf der Suche nach Echo, Deutsche Radio Kultur, dir. Annie Goh. Featuring Rupert Till and Iegor Reznikoff.


  1. Heritage Science Industry Consultation Workshop, (invited presentation), Westminster Conference Centre, Department for Business Innovation and Skills, London.


  1. ‘Streaming hits the Top 40, but is this the end of the chart itself?’ The Conversation (online), 24 June 2014.


  1. ‘In Search of Lost Sounds’, Nature Podcast, Nature.


  1. Looking Back, Moving Forward, Research Symposium, Oxford Pop Academics Network, (invited presentation) Oxford Brookes University.


  1. ‘Sounds of the Past: archaeological and musicological perspectives on rock gongs at the Fourth Nile Cataract’, Recent archaeological Fieldwork in Sudan, Sudan Archaeological Research Society, British Museum.


  1. ‘Volume Without Sparks’, Interview on Stonehenge research, Australian Broadcasting Corporation Radio National.


  1. ‘Entrancement and entrainment: techno-shamans from prehistory to Berghain’, (invited presentation), CTM Festival, Berlin.


  1. ‘Rock of Ages’, interview and 5 minute radio piece, PM Show, BBC Radio 4.


  1. ‘Acoustic Study of Sudanese Rock Gong’, consultancy, 10 day field trip to Northern Sudan, financed by Arizona State University/Qatar Sudan Archaeological Project.


  1. ‘Blasts from the Past: Now That’s What I Call Prehistoric Music’. New Scientist, 224(2995): 44-7.


  1. ‘Rupert Till: Acoustic Archaeologist’. Nature: International Weekly Journal of Science 506(7487): 158. doi:10.1038/506158a.


  1. ‘Vocational Studies’, (invited presentation), Popular Music Pedagogy Workshop, Higher Education Academy/IASPM UK and Ireland, University of Edinburgh.


  1. ‘The European Music Archaeology Project: Exploring a Common Musical Heritage in Antiquity’, invited research presentation, University of Bradford.


  1. Jean Claude Ameisen ‘A la recherche des traces des musiques de la préhistoire’ (radio programme featuring my research), France Inter, Radio France, 22 February 2014.


  1. ‘Cave Art Soundscapes: Experimental Music Archaeology in the Painted Caves of Northern Spain’, invited presentation, Society for American Archaeology conference, Austin Texas.


  1. ‘European Sound Archaeology: A Multi-disciplinary Perspective’, invited keynote speech, Archaeoacoustics: The Archaeology of Sound conference, Malta.


  1. Consultancy, Radio SRF2 Kultur, Switzerland, national radio interview and article on my research.


  1. Consultancy, Breakfast, BBC 1 television programme, interview related to popular music, sex and Mylie Cyrus.


  1. Consultancy, The Sky at Night, BBC 2 television programme, interview and use of Stonehenge modelling research.


  1. ‘Visual and acoustic Modelling of Stonehenge’, invited research presentation, Cardiff University.


  1. ‘Modelling Stonehenge: Visualisation, Auralisation, Apps and Films’, Computer Applications and Quantitative Methods in Archaeology Conference, Southampton University. Commendation, Recycle Award Competition.


  1. Consultant for Stonehenge Augmented Reality iPhone/iPad app, Ribui Multimedia. iTunes Store App of the Week. Featured on Apple advertising campaign, 2013.


  1. Consultant for Hearing the Past, BBC Radio 4 documentary, Winner of Association of British Science Writers’ Award, Royal Society Radio Prize for the best scripted/edited radio programme or podcast.


  1. ‘Sounds of the Stones: The Acoustics of Stonehenge’, invited presentation, Yorkshire Archaeological Society, Leeds.


  1. ‘Pop Cult: Religion and Popular Music’, plenary presentation, International Association for the Study of Popular Music conference, Grahamstown, South Africa.


  1. ‘Pop Cult: Religion and popular music’, invited presentation, Field of Dreams: Contemporary Explorations at the Interface Between Religion and Popular Culture, Sarum College, Salisbury.


  1. ‘Pop Cult: religion and popular music’, invited research presentation, Fakultät für Sprach und Literaturwissenschaften, Ludwig Maximilians Universität, Munchen, Germany.


  1. ‘Sound Archaeology: The categorisation of archaeological sites according to their sonic characteristics’, Invited Keynote Presentation, Space Matters Conference, University of Manchester.


  1. ‘Impact of Acoustic Research in the Landscape and Built Environment’, Invited Presentation, Sound, Stones & Sculpture: the acoustics of rocks and concrete, University of Leeds.


  1. Consultant for Songs of Stonehenge, Mystery Quest, The History Channel, Dir. Haewon Yom, History Channel USA. Broadcast in English, Spanish and German worldwide.


  1. Stone Age Sounds, New Scientist, 21.08.10, 44-7.


  1. ‘The Sounds of Stonehenge’, invited presentation, British Library, London.


  1. ‘Pop Cults: studying popular music subcultures and Scenes’, Invited Presentation, Insititute for Theology, Imagination and the Arts, St. Mary’s College, University of St. Andrews, Scotland.


  1. ‘Songs of the Stones: Exploring the Acoustics of Stonehenge’, Invited Presentation, Sound and the Heritage Experience, I Hear Too Science and Heritage Research Network, National Railway Museum, York.


  1. ‘The Acoustic Properties of Stonehenge and Other Neolithic Sites’, Invited Presentation, Council for British Archaeology, National Centre for Early Music, York.


  1. ‘Songs of the Stones: Methodological Issues Within an Archaeacoustical Study of Stonehenge’, Invited Presentation, Sounds of Stonehenge, Chombec, Bristol University.


  1. ‘Composing Electronic Dance Music’, Invited Keynote Speaker, Royal Musical Association Study Day on Electronic Dance Music, Keele University.


  1. ‘Hollowing Out of the Symbol: popular iconography and the artist currently known as Prince’, plenary presentation, International Association for the Study of Popular Music Conference, Universidad Iberoamericana, Mexico City.


  1. Consultant for ‘Holiday Hit Formula’. High Life, British Airways’ magazine.


  1. ‘Club Culture and Religion’, Invited Presentation, Popular Culture and Religion Conference, Birmingham University.


  1. ‘Club Culture, Worship, Spirituality and Generation X’, Invited Presentation, Generation X Conference, Durham University.


  1. ‘Pop Stars and Priests, Postmodernity and Religion.’ Invited Seminar Presentation, Theology and Popular Culture Research Group, Kings College London.


Other Conference Presentations

2019 Dub Archaeology: An autoethnographic account of a 21st century electronic
release of reimagined music from antiquity, XX IASPM Biennial Conference, ‘Turns and Revolutions in Popular Music’, Canberra, Australia, June 24-28.


  1. ‘Kairos: stopping time with ambient dub’, Ambient@40 Conference, University of Huddersfield, UK.


  1. ‘The Acoustic Ecology of Sculptor’s Cave: Musical Responses to Pictish Iconography in Scotland’. Sounds of Prehistory and Antiquity: 14th Conference of the Research Center for Music Iconography, City University of New York.


  1. ‘DJ Culture, Liminal Space and Place’. Association of American Geographers Annual Meeting, San Francisco.


  1. ‘An Archaeoacoustic Study of the Ħal Saflieni Hypogeum in Malta’, Archaeoacoustics II: Second International Mult-Disciplinary Conference on the Archaeology of Sound, Istanbul Technical University, Istanbul, Turkey.


  1. ‘Circle Game: the vocal inflections of Joni Mitchell’, Court and Spark: An international conference on the work of Joni Mitchell, University of Lincoln.


  1. ‘Songwriting and Composition in Popular Music Education’, Research in Popular Music Education Symposium.


  1. ‘The Acoustic and Musical Qualities of a Nugara, a Sudanese Rock Gong’, International Council for Traditional Music Study Group for Music Archaeology Conference, Biskupin Archaeological Park, Poland.


  1. ‘Acoustic and Interactive Modelling in the European Music Archaeology Project’, Visual Interactive and Sound Technology in Archaeology symposium, University of Huddersfield.


  1. ‘Multimedia, Archaeology, Public Engagement’, Theoretical Archaeology Group Conference, University of Manchester.


  1. ‘Sound Archaeology, Acoustics and Cave Art’, International Study Group on Music Archaeology Conference, Das Archaologisches Institut, Berlin.


  1. ‘Computer Assisted Analysis of the Music of Elton John’, Society for Music Analysis International Conference on Analysing Popular Music, University of Liverpool.


  1. ‘Popular Music as Prophecy: Composing the Future’, International Association for the Study of Popular Music conference, Universidad de Oviedo, Gijon, Spain.


  1. ‘Popular Music Songwriting and the Singer Songwriter’, From Adele to Zeca Afonso: The Singer Songwriter in Europe, Leeds University.


  1. ‘Sound Archaeology: The categorisation of archaeological sites according to their sonic characteristics’, Theoretical Archaeology Group Conference, Bristol University.


  1. ‘Experimental sound archaeology: the sonic analysis and reconstruction of Stonehenge as a methodology for understanding the experience of acoustics and music in prehistoric ritual culture’, Theoretical Archaeology Group Conference, Durham University.


  1. ‘The stone circle as musical instrument: predictions and reconstructions of music-ritual activity at Stonehenge, based on an analysis of Its acoustic properties’, Drawing on the Musical Past: Music iconology, instrument making, and experimental playing in music archaeology, Research Center for Music Iconography and Study Group for Music Archaeology, International Council for Traditional Music with Metropolitan Museum of Art, City University of New York.


  1. ‘Songs of the Stones: an investigation into the musical history and culture of Stonehenge’, International Association for the Study of Popular Music International Conference, Liverpool University.


  1. ‘Dancing to a Different Drum: The Effects of External Temporal Synchronisation of Individuals and Groups, and the Control of Gesture, Entrainment, Entrancement and Possession in Electronic Dance Music’, The Musical Body: Gesture, Representation and Ergonomics in Musical Performance, Institute of Musical Research, University of London and Royal College of Music.


  1. ‘The Sacred Popular: A 21st Century Music-Led Reformation’, Nothing New? Understanding Newness in Mediaeval and Contemporary Music, Plainsong and Mediaeval Music Society, Royal Musicological Association and the University of Huddersfield, University of Huddersfield.


  1. ‘Sign of the Times: Pop Stars as Idealised Consumers and Icons of Consumer Culture’, Implicit Religion and Contemporary Spirituality Conference, Denton Hall.


  1. ‘The Influences of Religion on British Club Culture and Electronic Dance Music’, Secularity and Religious Vitality, International Society for the Sociology of Religion Conference, Leipzig University.


  1. ‘The influences of religion on British club culture and electronic dance music’, Religion, Media and Culture: Exploring Religion and the Sacred in a Media Age, British Sociological Association Sociology of Religion Study Group / UK Research Network for Theology, Religion and Popular Culture Conference, St. Catherine’s College, Oxford.


  1. ‘The Use of Experimental Production Techniques in the Work of Chillage People’, Art of Record Production Conference, Edinburgh University.


  1. ‘The Nine O’Clock Service: mixing club culture and postmodern Christianity’, International Association for the Study of Popular Music Conference, University of Rome.


  1. ‘Been Caught Stealing: the appropriation of African American musical culture by British musicians’, Overseas Blues Conference, Gloucester University.


  1. ‘Club Cultures and Authenticity’, Critical Musicology Study Day, Surrey University.


  1. ‘Chillage People, a Postmodern Agenda: integrating experimental art music and electronic dance music techniques. IASPM UK Conference, Surrey University.


  1. ‘Clubbing: a New Performance Tradition’, International Association for the Study of Popular Music Conference, Sydney, and at Dance Music Conference, Leeds University.


  1. ‘Towards a historical Perspective on Britpop: tracing a history of British electric guitar based popular music traditions’, Britpop Conference, Leeds University.


  1. ‘The use of technology in performance in contemporary British club culture’, Popular Music and Technology Conference, Salford University.






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