Staff Research
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Staff Research
Staff Research at Guildhall
Overseen by the Head of Research and facilitated by the Research Office, systematic creative and exploratory work at the Guildhall School is guided by an integrated Research Strategy that forms part of its Innovation and Engagement strategy, feeding into an overarching institutional strategic five-year plan redrafted to coincide with the City of London Corporation’s Corporate Plan 2018–23.
The foundation of that work is the wide range of projects within the School’s flourishing Doctoral Research programme, above which we have developed an inclusive and flexible structure, supported directly by the Corporation, that involves a significant and growing proportion of the School’s academic staff.
Some colleagues undertake self-contained projects in the context of our internal Research and Innovation Funding schemes. Others are supported to pursue doctoral study with 100% fee-waivers and resources to backfill their roles. Others still are appointed to various kinds of research fellowship (permanent, temporary, fractional). We also from time to time welcome on a selective basis Visiting Research Fellows whose work complements that of colleagues.
Recognising the breadth of research potential in the School’s range of disciplines, we currently do not try to confine activity within branded strands of work; as part of our mission to promote a culture of enquiry encompassing the whole institution, we support research wherever it emerges, allowing all staff members the opportunity to identify and pursue individual areas of exploration.
Staff research by artform
Recent and current activity in Music embraces—but is not limited to—composition (Julian Anderson, Richard Baker, Laurence Crane, Hollie Harding, Rolf Hind, Matthew Kaner, Paul Newland), performance practice (Kate Bennett-Wadsworth, Matthew Jones, Laura Roberts, Jacqueline Ross, Christopher Suckling), historical musicology (Sarah Fuchs, Barry Ife, Graham Johnson, Cormac Newark, Maria Razumovskaya, Sam Wilson), pedagogy (Steve Berryman, Ian Clarke, Matteo dalle Fratte, Biranda Ford, Mirjam James, Evan Rothstein), and audience experience (David Dolan, John Sloboda).
In Drama and Production Arts, work is ongoing or in preparation in the areas of devised performance, performance and spectatorship, video art and scenography, rhetoric, and actor training (Andy Lavender, Alex Mermikides, Orla O’Loughlin, Dan Shorten, Eliot Shrimpton).
In fact, most colleagues work across the rather arbitrary areas named above, and much of the research outlined here is implicitly Interdisciplinary, as befits a School of Music & Drama. Projects that are explicitly boundary-crossing include those in music psychology, musical dramatisation, sound installation, and cross-cultural performance (Iain Burnside, Nell Catchpole, Jan Hendrickse, Preetha Narayanan, Nye Parry, Karen Wise), as well as opera and education (Julian Philips, Stephen Plaice, Toby Young), and community music and outreach (Detta Danford, Sean Gregory, Natasha Zielazinski).
Notable in the cross-subject research of the School is the work of the new Institute for Social Impact Research in the Performing Arts, which includes studies of music and migration and outreach evaluation (Maia Mackney, Alessandro Mazzola); community music (Jo Gibson); and in the area of arts and health (Nick Barwick, Noriko Ogawa, Irene Pujol Torras, Ann Sloboda, Donald Wetherick, Stuart Wood).
