Dr John Cunningham

Reader in Musicology

Contact info

 

Email: else17@bangor.ac.uk

Phone: +44 (0) 1248 388278

Location: School of Music, Drama and Performance, First Floor 

 

Contact Info

 

Email: else17@bangor.ac.uk

Phone: +44 (0) 1248 388278

Location: School of Music, Drama and Performance, First Floor 

 

Overview

John Cunningham joined the School of Music at Bangor in September 2011. He read music at University College Dublin (BMus, 2000), where he subsequently completed his MA degree in musicology (2001). In 2007 he received his PhD from the University of Leeds (supervised by Prof. Peter Holman), with a thesis on the early modern English composer William Lawes. John has taught a range of subjects at UCD and the Dublin Institute of Technology Conservatory of Music and Drama, and has held research posts at the University of Limerick, the University of Leeds, and at University College Dublin (where he was an Irish Research Council for the Humanities and Social Sciences Post-doctoral fellow in 2008-2009). John is a Senior Fellow of the Higher Education Academy. He is also a member of the editorial committees of the Purcell Society and of Musica Britannica. 

John’s research primarily focusses on secular music in Britain and Ireland, c.1600–1870. His current projects include a monograph on the composer Charles Dibdin, as well as a number of edition projects, including a volume of Matthew Locke’s consort music (with Dr Silas Wollston) for the Musica Britannica series. His edition, with Prof. Peter Holman, of Restoration Music for Three Violins and Bass, Musica Britannica 103 was published in 2018.  

John was Director of Teaching and Learning in the former School of Music (2012-18), Director of Research and Director of Undergraduate Studies (Music) in the School of Music and Media (2018-20). He is now Director of Research, Impact and Engagement at the School of Music, Drama and Performance. 

Follow John’s work on academia, where you will also find further information on research papers and publications.

Research

John's research focusses on secular vocal and instrumental music in the British Isles, c.1600-1870. His key research interests are:

  • Seventeenth-century English consort music (and sources)
  • Compositional process
  • William Lawes
  • Music and cultural history
  • Music and drama in early modern England
  • Source studies
  • Editing
  • Popular music
  • Shakespeare and music

Teaching and Supervision

John teaches a wide range of musicological topics across a range of historical periods, with an emphasis on music before 1900. In 2020/21 he coordinates and teaches the following modules:

  • WXM 1004 Harmony and Counterpoint
  • WXM 1301 Music 1550–1850
  • WXM 2205 Notation and Editing
  • WXM 2022 / 3022 Analysing Popular Music
  • WXM 3283 Edition project
  • WMP 4108 Investigating Music
  • WMP 4113 Performance Studies Education

 He also teaches on the following modules:

  • WXM 1300 Music since 1850 
  • WXM 2211 Musicology Year 2
  • WXM 3277 Dissertation project
  • WMP 4106 Independent Research Project
  • KAH 4401 Understanding the Middle Ages
  • QXE 4025 Manuscripts and Printed Books

Previous modules

  • WXM 1001 / 1002 The Study of Music
  • WXM 1004 Introduction Harmony and Counterpoint
  • WXM 2001 / 3001 Telemann
  • WXM 2002 / 3002 Classical Symphony
  • WXM 2007 / 3007 Music and Politics in 17th-Century England
  • WXM 2014 / 3014 The Trio Sonata in England
  • WXM 2019 / 3019 Opera: Monteverdi to Mozart
  • WXM 2127 / 3127 Music on the English Stage, c.1600–95
  • WXM 2160 / 3160 The Beatles
  • WXM 2198 / 3198 Handel
  • WXM 2205 Notation and Editing
  • WXM 2207 Advanced Harmony and Counterpoint
  • WXM 2303 / 3305 Genres and Composers A/C (Mozart)
  • WXM 2304 / 3306 Genres and Composers B/D (The Concerto: Baroque to Contemporary)
  • WXM 3205 Notation and Editing
  • WXM 3302 Fugue
  • WXP 2247 / 3247 Historical Performance
  • WMP 4101 Music in Historical Context 
  • WMP 4041 Early Music
  • WMP 4043 Music in Society

 

Current PhD Student

  • Fueanglada (Organ) Prawang: Organ is working on the influence of Western music on the development of Thai opera 

Previous PhD Student

  • Stephen Bullamore, ‘The Anthems of John Weldon’ (2014)

Other

Conference papers and research seminars 

  • ‘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)

 

Education / academic qualifications

  • 2019 - Professional , Senior Fellowship of the Higher Education Academy
  • 2015 - Professional , Fellowship of the Higher Education Academy
  • 2015 - Professional , PGCertTHE , Bangor University
  • 2007 - PhD , ‘Music for the Privy Chamber: Studies in the Consort Music of William Lawes (1602−45)’ (2003 - 2007)
  • 2001 - MA (2000 - 2001)
  • 2000 - Other , BMus (1996 - 2000)

Research outputs (46)

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Prof. activities and awards (5)

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