Ebost: j.cunningham@bangor.ac.uk

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Lleoliad: Ysgol Cerddoriaeth a'r Cyfryngau, Adeilad Cerddoriaeth, Llawr Cyntaf

Ymunais â'r Ysgol Gerddoriaeth ym Mangor ar y pryd ym mis Medi 2011. Mae fy ngraddau yn dod o Goleg Prifysgol Dulyn (BMus, 2000; MA, 2001) a Phrifysgol Leeds (PhD, 2007). Rwy'n Uwch Gymrawd yr Academi Addysg Uwch, ac yn aelod o bwyllgorau golygyddol Cymdeithas Purcell a Musica Britannica. 

Mae fy ymchwil yn ymdrin â sbectrwm eang o bynciau a chyfnodau, er gyda phrif thema rhyng-gysylltiedig o gerddoriaeth fel hanes diwylliannol. Rwyf wedi cyhoeddi ar amrywiaeth o bynciau sy'n edrych ar gerddoriaeth seciwlar ym Mhrydain ac Iwerddon, c.1600–1900. Cyhoeddwyd fy monograff ar William Lawes gan Boydell and Brewer yn 2010. Mae gen i ddiddordeb arbennig mewn deall y broses greadigol yn ogystal â chydberthynas cerddoriaeth a llenyddiaeth. Rwyf wedi bod yn olygydd cerdd cyfrannol ar gyfer gweithiau Ben Jonson (CUP, 2014), Shakespeare (OUP, 2017, 2018) a Katherine Philips (OUP, ar ddod). Mae gen i ddiddordeb hefyd mewn cerddoriaeth boblogaidd fodern, yn enwedig ei chysylltiadau â diwylliant gweledol trwy'r fideo cerddoriaeth a chyfryngau eraill. Ymhlith fy mhrosiectau presennol, rwy'n gweithio ar ymatebion i gerddoriaeth Shakespeare a'i pherfformio ym Mhrydain yn y bedwaredd ganrif ar bymtheg hir, ac archwiliad o sensoriaeth gerddorol mewn diwylliant poblogaidd modern.

Roeddwn yn Gyfarwyddwr Addysgu a Dysgu yn yr hen Ysgol Cerddoriaeth (2012-18), yn Gyfarwyddwr Ymchwil ac yn Gyfarwyddwr Astudiaethau Israddedigion (Cerddoriaeth) yn yr Ysgol Cerddoriaeth a'r Cyfryngau (2018-20). Roeddwn yn Gyfarwyddwr Ymchwil, Effaith ac Ymgysylltu, yn Gyfarwyddwr Astudiaethau Israddedig, ac yn Llysgennad Digidol yn yr Ysgol Cerddoriaeth, Drama a Pherfformio (2020-21), ac yn Bennaeth Adran Cerddoriaeth, Drama a Pherfformio (2022-24). 

Rwy'n Bennaeth Adran y Celfyddydau ac Ddirprwy Bennaeth yr Ysgol.

Dilynwch waith John ar y byd academaidd, lle byddwch hefyd yn dod o hyd i ragor o wybodaeth am bapurau ymchwil a chyhoeddiadau.

Mae ymchwil John yn canolbwyntio ar gerddoriaeth leisiol ac offerynnol seciwlar yn Ynysoedd Prydain, tua 1600-1870. Ei ddiddordebau ymchwil allweddol yw:

• Cerddoriaeth gonsort Lloegr yr unfed ganrif ar bymtheg (a'r ffynonellau)
• Y broses gyfansoddi
• William Lawes
• Hanes cerddoriaeth a diwylliant
• Cerddoriaeth a drama yn Lloegr yn y cyfnod modern cynnar;
• Astudio'r ffynonellau;
• Golygu
• Cerddoriaeth boblogaidd
• Shakespeare a cherddoriaeth

• WXM 1004 Melody a Harmoni
• WXM 1301 Cerddoriaeth 1550–1850: Cerddoriaeth fel Hanes Diwylliannol
• WXM 2205 / 3205 Nodiant a Golygu
• WMP 4108 Ymchwilio Cerddoriaeth
• WMP 4124 Prosiect Addysg Cerddoriaeth Gyfoes
• WMP 4062 Dulliau Ymchwil Uwch (Addysg Cerddoriaeth)
• WMP 4064 Addysg Cerddoriaeth: Damcaniaethau ac Arferion
• WMP 4065 Cerddoriaeth Addysgu Heddiw
• WMP 4063 Addysg Cerddoriaeth: Prosiect Ymchwil

Rwyf hefyd yn dysgu am y modiwlau canlynol:

• Cerddoriaeth WXM 1300 ers 1850
• WMP 4103 Cerddoriaeth mewn Cymdeithas
• KAH 4401 Deall yr Oesoedd Canol
• QXE 4025 Llawysgrifau a Llyfrau Printiedig

Modiwlau blaenorol

• WXM 1001 / 1002 Astudiaeth Cerddoriaeth
• WXM 1004 Cyflwyniad Cytgord a Gwrthbwynt
• WXM 2001 / 3001 Telemann
• WXM 2002 / 3002 Symffoni Glasurol
• WXM 2007 / 3007 Cerddoriaeth a Gwleidyddiaeth yn Lloegr yr 17eg Ganrif
• WXM 2014 / 3014 Y Triawd Sonata yn Lloegr
• Opera WXM 2019 / 3019: Monteverdi i Mozart
• WXM 2022 / 3022 Dadansoddi Cerddoriaeth Boblogaidd
• WXM 2127 / 3127 Cerddoriaeth ar lwyfan Lloegr, c.1600–95
• WXM 2160 / 3160 Y Beatles
• WXM 2198 / 3198 Handel
• WXM 2207 Harmoni Uwch a Gwrthbwynt
• WXM 2303 / 3305 Genres a Chyfansoddwyr A / C (Mozart)
• WXM 2304 / 3306 Genres a Chyfansoddwyr B / D (Y Concerto: Baróc i Gyfoes)
• WXM 3302 Ffiwg
• WXP 2247 / 3247 Perfformiad Hanesyddol
• WMP 4101 Music in Historical Context
• WMP 4041 Cerddoriaeth Gynnar

Myfyrwyr PhD cyfredol

• Rong Rui
• Anna Huang
• Min Zhu
• Luxi Tian
• Hanniel Wei Cheung
• Christopher Johnson
• Minghong Tang
• Danping Li
• Yanchen Hou

Myfyrwyr PhD wedi'u cwblhau'n ddigonol

• Fueanglada (Organ) Prawang: Dylanwad cerddoriaeth orllewinol ar ddatblygiad opera Gwlad Thai (2021)
• Stephen Bullamore, 'The Anthems of John Weldon' (2014)

Papurau cynadleddau a seminarau ymchwil 

• ‘The Fantasias from William Lawes’s Royall Consort’, RMA Research Students’ Conference, Durham and Newcastle Universities (30 March−1 April 2005)
• ‘The Lyra-Viol Trio in Early Stuart England’, RMA Research Students’ Conference, University of Leeds (4−7 January 2006)
• ‘William Lawes and the “Irish” Harp Consort?’, Annual Conference of the Society for Musicology in Ireland, Mary Immaculate College, Limerick (5−7 May 2006)
• ‘Revisions in the Lyra-Viol Trios of William Lawes’, Twelfth Biennial International Conference on Baroque Music, University of Warsaw (26−30 July 2006)
• ‘William Lawes and the Harp Consort’, Research Students’ Study-Day, School of Music, University of Leeds (13 December 2006)
• ‘The Division of Originality: Lawes, Jenkins and the “Division-Fantasia”’, RMA Research Students’ Conference, University of Bristol (3−6 January 2007)
• ‘Anglo-Irish Musical Relations in the Seventeenth Century’, Musical Journeys with the Flight of the Earls: Interdisciplinary Symposium, Dublin Institute of Technology, Conservatory of Music and Drama (3 February 2007)
• ‘The Development of the Two-Part Aire in Early Seventeenth Century England’, Annual Conference of the Society for Musicology in Ireland, Dublin Institute of Technology, Conservatory of Music and Drama (11−13 May 2007)
• ‘“Composed in the way of a Fancy’: William Lawes and the Fantasia-Suite’, Annual Conference of the Society for Musicology in Ireland, Waterford Institute of Technology (9−11 May 2008)
• ‘A Musical Miscellany: Marsh’s Library, Dublin, MS Z3.4.13’, Thirteenth Biennial International Conference on Baroque Music, University of Leeds (2−6 July 2008)
• ‘A Meeting of Amateur and Professional: Playford’s “Compendious Collection” of Two-Part Airs, Court-Ayres (1655)’, Concepts of Creativity in Seventeenth-Century England: Two-day International Interdisciplinary Symposium, Martin Harris Centre for Music and Drama, University of Manchester (6−7 September 2008)
• ‘A Neglected Source of Lyra-Viol Music in Marsh’s Library, Dublin’, Seminars in Musicology, University College Dublin, School of Music (30 Oct. 2008): invited 
• ‘Appropriation and Approbation: Music and Cultural Assimilation in Ben Jonson’s Irish Masque at Court (1613)’, Music, Plantation and Migration: Interdisciplinary Symposium, Dublin Institute of Technology, Conservatory of Music and Drama (25 April 2009)
• ‘Ben Jonson’s Use of Music in the Early Plays’, Joint Annual Conference of the Society for Musicology in Ireland and the Royal Musical Association, Royal Irish Academy of Music, Dublin (9−12 July 2009)
• ‘Composition and Arrangement in the Lyra-Viol Repertoire’, Fourteenth Biennial International Conference on Baroque Music, Queen’s University Belfast (30 June−4 July 2010)
• ‘“I fear the little gentleman is in a galloping consumption”: The death and resurrection of Arne’s The Fairy Prince (1771)’, Annual Conference of the Society for Musicology in Ireland, Royal Irish Academy of Music, Dublin (24–26 June 2011)
• ‘“Irregular and not always correct in harmony”: Revisions and re-creations in the consort music of William Lawes (1602–45)’, Seminars in Musicology, Bangor University (5 October 2011) 
• ‘“I have brought you a variety of noise”: Ben Jonson and Music, the late seventeenth century and beyond’, Seminars in Musicology, Edinburgh University (1 March 2012): invited
• ‘Mason’s Caractacus (1759) on the British stage’, Annual Conference of the Society for Musicology in Ireland, Dundalk Institute of Technology (15–17 June 2012)
• ‘Music and identity in Ben Jonson’s Irish Masque at Court’: The Inaugural Bangor Conference of Celtic Studies, Bangor University (20–23 July 2012)
• ‘Music and Ben Jonson’s dramatic works’, Fifteenth Biennial International Conference on Baroque Music, University of Southampton (11−15 July 2012)
• ‘Performance, expectation and tradition in Shakespearean songs, c.1740–1760’: Shakespeare, Music and Performance Conference, The Shakespeare Globe, London (3–5 May 2013): invited
• ‘Transgressive soundscapes: “art” vs “popular” song in the early modern theatre’, Early Modern Soundscapes, Bangor University (24−25 April 2014) 
• ‘A New Messiah: Shakespeare, music, and the 1864 Tercentenary celebration’, Annual Conference of the Society for Musicology in Ireland, University College Dublin (6–8 June 2014)
• ‘Revision and revival: William Boyce’s David’s Lamentation over Saul and Jonathan (1736−1744)’, Sixteenth Biennial International Conference on Baroque Music, University of Music and Dramatic Arts Mozarteum, Salzburg (9–13 July 2014)
• ‘The roots of English Restoration opera in masque’ (panel on English opera), Eighth European Music Analysis Conference, University of Leuven (17−21 September 2014)
• ‘Words, music, and the cult of Shakespearean veneration: the 1864 Tercentenary Celebration’, Words and Music Study Day, Bangor University (2 May 2015) 
• ‘“Faint copies” and “excellent Originalls”: Composition and consumption of trio sonatas in England, c.1690–1710’, The geography of the trio sonata: new perspectives, University of Fribourg, Switzerland (21–22 May 2015): invited
• ‘Dowland’s Ayres in Transmission: Texts and Contexts’: John Dowland (?1563–1626)Study Day, Magdalene College, Oxford (4 May 2016): invited
• ‘New Light on Thomas Arne’s Setting of The Fairy Prince’, panel and roundtable on Thomas Arne Revisited, RMA Annual Conference, Guildhall, London (3–5 September, 2016)
• ‘Jonson’s songbook?’: Ben Jonson’s Workes and their contexts: 400 years on, Sheffield Centre for Early Modern Studies, Sheffield (12 Nov. 2016)
• ‘Arne, Shakespeare and the development of a canon’: Seminars in Musicology, Liverpool Hope University (15 March 2017)
• ‘Arne, nationalism and the English stage’: Seminars in Musicology, University College Dublin (5 April 2017)
• ‘Reimagining the “English” Trio Sonata’, Faculty of Music Research Colloquia, Oxford University (6 June 2017)
• ‘The Charles Dibdin Autograph Manuscripts in the Freemantle Collection’, Nineteenth-Century Music Conference, Birmingham University (28–30 June 2017)
• ‘Charles Dibdin at Leeds: the Freemantle Collection’, Music Research Colloquia, University of Leeds (15 February 2018)
• ‘Pompey’s Ghost’ from play-house to pulpit?, Traditional Tunes and Popular Airs Conference, University of Sheffield (8 June 2019)
• ‘Corbett’s last catalogue’, Musical Instrument Collectors and Collections, University of Oxford (23–5 August 2019)