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.
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
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
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.
Pop Cult: Religion and Popular Music, London/New York: Continuum/Bloomsbury. 2010.
Music and Ritual: Bridging Material and Living Cultures, Rupert Till, Raquel Jimenez (eds), Berlin: Echo Verlag. 2013.
Articles in Refereed Journals
- 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.
- ‘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.
- ‘Popular Music Practice: Music as Research’, IASPM Journal 7(2): 2-7.
- ‘An Archaeoacoustic Study of the Ħal Saflieni Hypogeum in Malta’, Antiquity Journal 91(355): 74-89.
- ‘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.
- ‘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).
- ‘Sound Archaeology: Terminology, Palaeolithic Cave Art and the Soundscape’, World Archaeology 46(3): 292-304.
- ‘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).
- ‘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.
- ‘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.
- ‘The Personality Cult of Prince: Sex and the Sacred, and the Implicit Religion Surrounding a Popular Icon’, Implicit Religion Journal, 13(2): 141-160.
- ‘The Nine O’Clock Service: Mixing Club Culture and Postmodern Christianity’. Culture and Religion Journal, 7(1): 93-110.
- ‘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), http://artofrecordproduction.com.
- ‘Ambient Music’, Bloomsbury Handbook of Religion and Popular Music, Christopher Partridge and Marcus Moberg (eds), Bloomsbury: London: 327-37.
- ‘Popular Music Education: A Step Into the Light, Routledge Research Companion to Popular Music Education, Gareth Dylan Smith (ed), London: Routledge.
- ‘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.
- ‘Sound Archaeology: An Interdisciplinary Perspective’, Archaeoacoustics: The Archaeology of Sound, Linda Einix (ed), Malta: OTS Foundation: 23-33.
- ‘The Return of Ritual: Sacred Popular Music Cultures and Cults, Music and Ritual, Rupert Till, Raquel Jimenez Pasalodos (eds), Berlin: Echo Verlag: 359-89.
- ‘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.
- ‘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.
- ‘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.
- ‘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.
- 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.
- ‘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.
- ‘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.
- ‘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
- ‘Clubbing – a New Performance Tradition’, ed. Tony Mitchell, in Changing Sounds, pp. 369-73, Sydney: University of Technology.
Practice Based Research
- Dub Archaeology. Professor Chill. Twin Records. (CD, Vinyl and Download). Composer, Performer, Producer.
- Apollo and Dionysus: Sounds From Classical Antiquity. European Music Archaeology Project Volume 5. Delphian Records. (CD and Download). Co-producer.
- The Edge of Time: Palaeolithic Bone Flutes from France and Germany. European Music Archaeology Project Volume 4. Delphian Records. (CD and Download). Co-producer.
- 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.
- Interactive Soundgate Museum Exhibit. In Archaeomusica Exhibition. Ystad Abbey, Sweden. Tour venues include Spain, Italy, Slovenia, Cyprus, Switzerland, Germany, Belgium, China.
- Spellweaving: Ancient Music from the Highlands of Scotland. European Music Archaeology Project Volume 1. Delphian Records. (CD and Download). Co-producer.
- Ice and Longboats: Ancient Music of Scandinavia. European Music Archaeology Project Volume 2. Delphian Records. (CD and Download). Co-producer.
- Dragon Voices: The Giant Celtic Horns of Ancient Europe. European Music Archaeology Project Volume 3. Delphian Records. (CD and Download). Co-producer.
- Songs of the Caves, music for film, created for an AHRC/EPSRC-funded project, with film-maker Aaron Watson.
- ‘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.
- ‘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 http://www.nanofolio.org/images/gallery05/video2.php.
- ‘Beauty’ released on Ambient Planet Volume 1 CD, Vagalume Records, Brazil/Ultimae Records, France. Composed and produced by Rupert Till and Anne Garner.
- Solid Water 10 track CD, i-tunes (internet). Composed and produced by Rupert Till, Andrew Brooks, Tom Howat, with Michael Eden and Emily Maguire.
- Composer for The Dancer, film directed by Sun-Young Chun.
- 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.
- Composition and production for 3D sound auditorium in National Centre for Popular Music, Sheffield, with Tim Banks.
- Composer for Wheeze, film directed by Rob Miller, sponsored by Glaxo, shown at Leeds International Film Festival, (October 1997), YTV (December 1997).
- 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
- 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.
- 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.
- Civilisations. Episode 1, UK BBC2 TV and USA PBS TV. Contributor.
- 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.
- 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.
- Ambient@40, conference co-organiser, University of Huddersfield.
- Matthew Stock, Reuters. Researchers Give Voice to Historic Sounds of Stonehenge. https://www.reuters.com/article/us-britain-tech-stonehenge/researchers-give-voice-to-historic-sounds-of-stonehenge-idUSKBN17D1RO.
- The Lost Sounds of Stonehenge. Interview & Dissemination. BBC Radio 2, 4, 5, 6 World Service. http://www.bbc.co.uk/news/entertainment-arts-38530755
- Stonehenge sounds recreated using virtual technology. Interview & Dissemination. BBC Breakfast, BBC News, BBC America.
- 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.
- ‘Sound Archaeology and the Acoustic Ecologies of Caves’, Invited Presentation, ICTM SGMA Conference, Wuhan, China.
- Entrancement and Entrainment. Invited Presentation, Schiev Music Festival, Brussels.
- ‘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.
- Popular Music in the UK. Invited Presentation, Tianjin Conservatory of Music, China.
- Music Research Today. Invited Presentation, Tianjin Conservatory of Music, China.
- Music Research Today. Invited Presentation, Shanghai Conservatory of Music, China.
- Popular Music Studies Workshop organiser, Institute of Musical Research, London.
- IASPM UK and Ireland Conference, Conference Organising Committee, BIMM/Sussex University, Brighton, UK.
- ‘Popular Music as Prophecy: Composing the Future’, (keynote lecture), Future Sound Conference, UCLan.
- ‘Archaeoacoustics: studying and reconstructing the acoustics of the ancient past’, invited presentation, Sound Studies Symposium, University of Copenhagen.
- ‘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.
- ‘DJ Culture, Liminal Space and Place’, (invited presentation), California State University, Northridge.
- ‘Entrancement and Entrainment: techno-shamans from pre-history to the nightclub’ (invited presentation), Heavenly Acts Conference, ICOSS, University of Sheffield.
- Archäoakustik: Auf der Suche nach Echo, Deutsche Radio Kultur, dir. Annie Goh. Featuring Rupert Till and Iegor Reznikoff. http://www.deutschlandradiokultur.de/ursendung-klingende-fruehgeschichte-archaeoakustik.1022.de.html?dram:article_id=317222
- Heritage Science Industry Consultation Workshop, (invited presentation), Westminster Conference Centre, Department for Business Innovation and Skills, London.
- ‘Streaming hits the Top 40, but is this the end of the chart itself?’ The Conversation (online), 24 June 2014. https://theconversation.com/streaming-hits-the-top-40-but-is-this-the-end-of-the-chart-itself-28370.
- ‘In Search of Lost Sounds’, Nature Podcast, Nature. http://www.nature.com/nature/podcast/index-audiofile-2015-05-26.html
- Looking Back, Moving Forward, Research Symposium, Oxford Pop Academics Network, (invited presentation) Oxford Brookes University.
- ‘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.
- ‘Volume Without Sparks’, Interview on Stonehenge research, Australian Broadcasting Corporation Radio National.
- ‘Entrancement and entrainment: techno-shamans from prehistory to Berghain’, (invited presentation), CTM Festival, Berlin.
- ‘Rock of Ages’, interview and 5 minute radio piece, PM Show, BBC Radio 4.
- ‘Acoustic Study of Sudanese Rock Gong’, consultancy, 10 day field trip to Northern Sudan, financed by Arizona State University/Qatar Sudan Archaeological Project.
- ‘Blasts from the Past: Now That’s What I Call Prehistoric Music’. New Scientist, 224(2995): 44-7.
- ‘Rupert Till: Acoustic Archaeologist’. Nature: International Weekly Journal of Science 506(7487): 158. doi:10.1038/506158a.
- ‘Vocational Studies’, (invited presentation), Popular Music Pedagogy Workshop, Higher Education Academy/IASPM UK and Ireland, University of Edinburgh.
- ‘The European Music Archaeology Project: Exploring a Common Musical Heritage in Antiquity’, invited research presentation, University of Bradford.
- 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. http://www.franceinter.fr/emission-sur-les-epaules-de-darwin-a-la-recherche-des-traces-des-musiques-de-la-prehistoire.
- ‘Cave Art Soundscapes: Experimental Music Archaeology in the Painted Caves of Northern Spain’, invited presentation, Society for American Archaeology conference, Austin Texas.
- ‘European Sound Archaeology: A Multi-disciplinary Perspective’, invited keynote speech, Archaeoacoustics: The Archaeology of Sound conference, Malta.
- Consultancy, Radio SRF2 Kultur, Switzerland, national radio interview and article on my research.
- Consultancy, Breakfast, BBC 1 television programme, interview related to popular music, sex and Mylie Cyrus.
- Consultancy, The Sky at Night, BBC 2 television programme, interview and use of Stonehenge modelling research.
- ‘Visual and acoustic Modelling of Stonehenge’, invited research presentation, Cardiff University.
- ‘Modelling Stonehenge: Visualisation, Auralisation, Apps and Films’, Computer Applications and Quantitative Methods in Archaeology Conference, Southampton University. Commendation, Recycle Award Competition.
- Consultant for Stonehenge Augmented Reality iPhone/iPad app, Ribui Multimedia. iTunes Store App of the Week. Featured on Apple advertising campaign, 2013.
- 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.
- ‘Sounds of the Stones: The Acoustics of Stonehenge’, invited presentation, Yorkshire Archaeological Society, Leeds.
- ‘Pop Cult: Religion and Popular Music’, plenary presentation, International Association for the Study of Popular Music conference, Grahamstown, South Africa.
- ‘Pop Cult: Religion and popular music’, invited presentation, Field of Dreams: Contemporary Explorations at the Interface Between Religion and Popular Culture, Sarum College, Salisbury.
- ‘Pop Cult: religion and popular music’, invited research presentation, Fakultät für Sprach und Literaturwissenschaften, Ludwig Maximilians Universität, Munchen, Germany.
- ‘Sound Archaeology: The categorisation of archaeological sites according to their sonic characteristics’, Invited Keynote Presentation, Space Matters Conference, University of Manchester.
- ‘Impact of Acoustic Research in the Landscape and Built Environment’, Invited Presentation, Sound, Stones & Sculpture: the acoustics of rocks and concrete, University of Leeds.
- Consultant for Songs of Stonehenge, Mystery Quest, The History Channel, Dir. Haewon Yom, History Channel USA. Broadcast in English, Spanish and German worldwide.
- Stone Age Sounds, New Scientist, 21.08.10, 44-7.
- ‘The Sounds of Stonehenge’, invited presentation, British Library, London.
- ‘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.
- ‘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.
- ‘The Acoustic Properties of Stonehenge and Other Neolithic Sites’, Invited Presentation, Council for British Archaeology, National Centre for Early Music, York.
- ‘Songs of the Stones: Methodological Issues Within an Archaeacoustical Study of Stonehenge’, Invited Presentation, Sounds of Stonehenge, Chombec, Bristol University.
- ‘Composing Electronic Dance Music’, Invited Keynote Speaker, Royal Musical Association Study Day on Electronic Dance Music, Keele University.
- ‘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.
- Consultant for ‘Holiday Hit Formula’. High Life, British Airways’ magazine.
- ‘Club Culture and Religion’, Invited Presentation, Popular Culture and Religion Conference, Birmingham University.
- ‘Club Culture, Worship, Spirituality and Generation X’, Invited Presentation, Generation X Conference, Durham University.
- ‘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.
- ‘Kairos: stopping time with ambient dub’, Ambient@40 Conference, University of Huddersfield, UK.
- ‘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.
- ‘DJ Culture, Liminal Space and Place’. Association of American Geographers Annual Meeting, San Francisco.
- ‘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.
- ‘Circle Game: the vocal inflections of Joni Mitchell’, Court and Spark: An international conference on the work of Joni Mitchell, University of Lincoln.
- ‘Songwriting and Composition in Popular Music Education’, Research in Popular Music Education Symposium.
- ‘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.
- ‘Acoustic and Interactive Modelling in the European Music Archaeology Project’, Visual Interactive and Sound Technology in Archaeology symposium, University of Huddersfield.
- ‘Multimedia, Archaeology, Public Engagement’, Theoretical Archaeology Group Conference, University of Manchester.
- ‘Sound Archaeology, Acoustics and Cave Art’, International Study Group on Music Archaeology Conference, Das Archaologisches Institut, Berlin.
- ‘Computer Assisted Analysis of the Music of Elton John’, Society for Music Analysis International Conference on Analysing Popular Music, University of Liverpool.
- ‘Popular Music as Prophecy: Composing the Future’, International Association for the Study of Popular Music conference, Universidad de Oviedo, Gijon, Spain.
- ‘Popular Music Songwriting and the Singer Songwriter’, From Adele to Zeca Afonso: The Singer Songwriter in Europe, Leeds University.
- ‘Sound Archaeology: The categorisation of archaeological sites according to their sonic characteristics’, Theoretical Archaeology Group Conference, Bristol University.
- ‘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.
- ‘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.
- ‘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.
- ‘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.
- ‘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.
- ‘Sign of the Times: Pop Stars as Idealised Consumers and Icons of Consumer Culture’, Implicit Religion and Contemporary Spirituality Conference, Denton Hall.
- ‘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.
- ‘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.
- ‘The Use of Experimental Production Techniques in the Work of Chillage People’, Art of Record Production Conference, Edinburgh University.
- ‘The Nine O’Clock Service: mixing club culture and postmodern Christianity’, International Association for the Study of Popular Music Conference, University of Rome.
- ‘Been Caught Stealing: the appropriation of African American musical culture by British musicians’, Overseas Blues Conference, Gloucester University.
- ‘Club Cultures and Authenticity’, Critical Musicology Study Day, Surrey University.
- ‘Chillage People, a Postmodern Agenda: integrating experimental art music and electronic dance music techniques. IASPM UK Conference, Surrey University.
- ‘Clubbing: a New Performance Tradition’, International Association for the Study of Popular Music Conference, Sydney, and at Dance Music Conference, Leeds University.
- ‘Towards a historical Perspective on Britpop: tracing a history of British electric guitar based popular music traditions’, Britpop Conference, Leeds University.
- ‘The use of technology in performance in contemporary British club culture’, Popular Music and Technology Conference, Salford University.