I joined the then School of Music at Bangor in September 2011. My degrees are from University College Dublin (BMus, 2000; MA, 2001) and the University of Leeds (PhD, 2007). I am a Senior Fellow of the Higher Education Academy, and a member of the editorial committees of the Purcell Society and of Musica Britannica. 

My research covers a broad spectrum of topics and periods, though with a main interlinking theme of music as cultural history. I have published on a range of topics looking at secular music in Britain and Ireland, c.1600–1900. My monograph on William Lawes was published by Boydell and Brewer in 2010. I am especially interested in understanding the creative process as well as the interrelationship of music and literature. I have been the contributing music editor for the works of Ben Jonson (CUP, 2014), Shakespeare (OUP, 2017, 2018) and Katherine Philips (OUP, forthcoming). I am also interested in modern popular music, especially its interconnections with visual culture through the music video and other media. Among my current projects, I am working on responses to and the performance of Shakespearean music in Britain in the long nineteenth century, and an exploration of musical censorship in modern popular culture.

I 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). I was Director of Research, Impact and Engagement, Director of Undergraduate Studies, and Digital Ambassador at the School of Music, Drama and Performance (2020-21). 

I am the Assessment Officer for the School of Arts, Culture and Language. At departmental level, I am also the undergraduate Music lead, research/impact lead, and subject lead in Musicology. I am currently the Head of Dept: Music, Drama and Performance.  

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

 

Email: else17@bangor.ac.uk

Phone: +44 (0) 1248 388278

Location: Dept. of Music, Drama and Performance, First Floor 

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

I teach a wide range of topics across a range of historical periods, with an emphasis on music before 1900. I also teach on modern popular music. In 2021/22 he coordinates and teaches the following modules:

  • WXM 1004 Harmony and Counterpoint
  • WXM 1301 Music 1550–1850
  • WXM 2025 / 3025 Music Video & Popular Culture
  • WXM 2205 / 3205 Notation and Editing
  • WXM 2207 / 3207 The Craft of Tonal Composition
  • 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

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 2022 / 3022 Analysing Popular Music
  • WXM 2127 / 3127 Music on the English Stage, c.1600–95
  • WXM 2160 / 3160 The Beatles
  • WXM 2198 / 3198 Handel
  • 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
  • KAH 4401 Understanding the Middle Ages
  • QXE 4025 Manuscripts and Printed Books

 

Current PhD students

  • Rong Rui
  • Anna Huang
  • Min Zhu
  • Luxi Tian 
  • Hanniel Wei Cheung

Sucessfully completed PhD students

  • Fueanglada (Organ) Prawang: The influence of Western music on the development of Thai opera (2021)
  • Stephen Bullamore, ‘The Anthems of John Weldon’ (2014)

 

John's research focusses on music as cultural history. His main interests are:

  • Secular music in the British Isles, c.1600–1900
  • Compositional process
  • Music and drama in early modern England
  • Modern popular music (contexts and analysis)
  • Music videos and popular culture
  • Shakespeare and music
  • Music pedagogy
  • Music and controversy
  • Source studies and Editing
I would be interested in supervising postgraduates in any of the areas in which I teach and research. Secular vocal and instrumental music in the British Isles, c.1600-1870; seventeenth-century English consort music (and sources); compositional process; music and cultural history; music and drama in early modern England; source studies; editing; popular music; Shakespeare and music; opera; opera in non-Western contexts; music education; popular music and visual culture; popular music analysis

2023

  • E-pub ahead of printAnalysing Law in Opera
    Machura, S., Litvinova, O. & Cunningham, J., 10 Jan 2023, (E-pub ahead of print) In: Law and Humanities. 22 p.
    Research output: Contribution to journal › Article › peer-review

2022

2021

2020

2019

2018

2017

  • PublishedMusic Introduction
    Cunningham, J., 30 May 2017, New Oxford Shakespeare: Critical Reference Edition. Taylor, G., Jowett, J., Bourus, T. & Egan, G. (eds.). Oxford: OUP
    Research output: Chapter in Book/Report/Conference proceeding › Chapter › peer-review
  • PublishedReview: Musica Britannica 100
    Cunningham, J., 31 Oct 2017, In: Early Music. 45, 2, p. 320-321
    Research output: Contribution to journal › Book/Film/Article review › peer-review
  • PublishedThe New Oxford Shakespeare: Music
    Cunningham, J., 2017
    Research output: Non-textual form › Web publication/site
  • PublishedThe reception and re-use of Thomas Arne’s Shakespeare songs of 1740/1
    Cunningham, J., 2017, Shakespeare, Music and Performance . Barclay, B. & Lindley, D. (eds.). Cambridge: Cambridge University Press
    Research output: Chapter in Book/Report/Conference proceeding › Chapter › peer-review

2016

  • PublishedColeman, Charles
    Spink, I. & Cunningham, J., 25 May 2016, Oxford: OUP.
    Research output: Other contribution › peer-review
  • PublishedColeman, Edward
    Spink, I. & Cunningham, J., 25 May 2016, Oxford: OUP.
    Research output: Other contribution › peer-review
  • PublishedJonson, Ben
    Sabol, A. & Cunningham, J., 25 May 2016, Oxford: OUP.
    Research output: Other contribution › peer-review
  • PublishedShakespeare and Music
    Cunningham, J., 27 Oct 2016, New Oxford Shakespeare : The Complete Works. Taylor, G., Jowett, J., Bourus, T. & Egan, G. (eds.). Modern Critical Edition ed. Oxford: Oxford: OUP
    Research output: Chapter in Book/Report/Conference proceeding › Chapter › peer-review

2015

2014

2013

2012

  • PublishedHenry Lawes’s music for the songs in A Mask: Volume III: The shorter poems
    Cunningham, J., 25 Oct 2012, The Complete Works of John Milton: Volume III: The shorter poems. Lewalski, B. & Haan, E. (eds.). Oxford: Oxford: OUP, Vol. 3. p. 587-598 11 p.
    Research output: Chapter in Book/Report/Conference proceeding › Chapter › peer-review
  • PublishedRestoration Trio Sonatas
    Holman, P. (ed.) & Cunningham, J. (ed.), 1 Sep 2012, 2012 ed. Stainer & Bell.
    Research output: Book/Report › Book › peer-review

2011

2010

2009

2008

2007

2006

2005

  • Published‘A New Bach Aria’; ‘Hyperion vs Sawkins’
    Cunningham, J., Nov 2005, In: Early Music Performer: Journal of the National Early Music Association. 16, p. 22-24 3 p.
    Research output: Contribution to journal › Article › peer-review

2022

  • Katherine Philips’s Pompey songs on the Restoration stage and page

    First performed in Dublin (1663) one of the most significant aspects of Philips’s Pompey was her addition of a song after each act, something unique in the period. Although, according to the playbook, the songs ‘were added only to lengthen the Play’ they have proved fertile ground for interpretation (e.g. Russell, 2010). However, little has been written about the songs as performed, and experienced, musical events. Lack of documentary evidence is problematic. Only one of the song settings heard on the Dublin stage appears to have survived. When the play was revived in London (early 1670s?) new settings were composed: several of these survive and can be used to shed light on the now lost music heard in Dublin. Drawing upon newly prepared performances of the Pompey songs, this paper will argue that the music in the play was carefully designed to help audiences navigate its central themes.

    2 Apr 2022

    Links:

    Activity: Oral presentation (Speaker)
  • External examiner

    Jenifer Wagnhorn, Composers for the King's Men: Robert Johnson, John Wilson and Institutional Developments in the Company's use of Original Theatre Music, 1610 to 1625

    23 Mar 2022

    Activity: Examination (Examiner)
  • External Examiner

    Undergraduate and postgraduate programmes in Music

    1 Mar 2022 – 1 Jul 2026

    Activity: Examination (Examiner)

2021

  • The Third International Conference on Women’s Work in Music

    From conference website:

    Following on from our first two Conferences (2017, 2019), we are pleased to announce that the Third International Conference on Women’s Work in Music will take place on 1-3 September 2021. The conference will be held online this year, and will provide virtual spaces for discussion, music and networking.

    The Conference will celebrate the achievements of women musicians, and aims to critically explore and discuss the changing contexts of women’s work in music on the international stage. The conference aims to bring together academics, composers, performers and music professionals from around the world to share their research and experience of all aspects of women working in music, past, present and future.

    1 Sep 2021 – 3 Sep 2021

    Activity: Participation in conference (Member of programme committee)
  • THE TRIPLE HARPS OF BASSETT JONES (1809 –1869): CONTEXT AND ORGANOLOGY

    MRes

    2021 →

    Activity: Examination (Examiner)

2020

2019

  • External Examiner

    Undergraduate programmes in music

    1 Sep 2019 – 30 Aug 2023

    Activity: Examination (Examiner)
  • Internal examiner

    Internal examiner for Matthias Wurz, 'Shades of Pierrot: Exploration of analytical concepts for performing Arnold Schoenberg's Pierrot Lunaire' PhD submission

    2019 →

    Activity: Examination (Examiner)

2012

2010

2008

  • Suffolk Villages Festival

    I prepared performing editions of the following music for this public concert:

    William Boyce, David’s Lamentation over Saul and Jonathan (Dublin version, 1744), short oratorio; William Boyce, O be joyful in God, anthem (St Mary’s Church, Hadleigh, Suffolk; 26 May 2008, Psalmody, Essex Baroque Orchestra, dir. P. Holman)

    26 May 2008

    Links:

    Activity: Types of Public engagement and outreach - Festival/Exhibition (Contributor)

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)