BMus (Hons) Jazz

She has led knowledge exchange and public engagement music projects with international cultural and educational organisations such as the Alliance Française, Glyndebourne, ACE Cultural Tours, the Casa de los Tres Mundos (Nicaragua), and Rivages du Monde and she has recently given performance masterclasses and lectures at the Xinghai Conservatory of Music in Guanzhou (China), the Hong Kong Baptist University, the Sorbonne University in Paris and the Liszt Academy in Budapest. While touring Latin America, she received the ExpressArte award for her exceptional contribution to Nicaraguan culture, art and education. Her involvement in emerging impact contexts within the wider healthcare community has led to performances in hospitals for BreatheArts Health Research (St Thomas’ and Guy’s Hospitals), at the Royal Hospital for Neuro-disability, and in dementia care.

As well as mainstream repertoire, Emilie is also an advocate for contemporary music, marginalised artistic voices and cross-art collaborations and has recently released the premiere recording of Richard Lambert’s solo piano, chamber music and song cycles on the Quartz label, as well as the first recording of the complete solo piano music of the French-Corsican composer Henri Tomasi (1901-1971) on the Calliope label, which was awarded a ‘Grand Frisson’ by Audiophile Magazine and ffff in Pizzicato Magazine. She has also recorded Beethoven and Chopin for BNP. She has been broadcast on BBC Radio 3, Radio Canada, France Musique, Radio Télévision Suisse, Bayern Klassik, and Nicaraguan television and radio and has appeared live on Sky News as their classical music expert.

Emilie has extensive experience in Higher Education in both conservatoire and university settings. She holds a dual French Doctorate and British PhD on musical forms and aesthetics in the works of Virginia Woolf as well as a Master of Music in Performance from the Guildhall School of Music and Drama and an MA on Shakespeare from the Université de Provence. Emilie is committed to enhancing the student experience by bringing together theory and practice in order to create an inclusive and interdisciplinary curriculum, leading students to rethink the way we approach the histories and contexts of music performance today. By encouraging students to explore a network of often tacit or embodied knowledge, and to critically appraise the cultural, mythopoetic, social and political contexts of music composition and performance, Emilie encourages meaningful and engaged musical performances in order to open up new possibilities in creative artistic practices.

Undertaking ground-breaking interdisciplinary research at the interface of historical enquiry, musicology, performance and intermedial/transmedial cultural studies, Emilie has published her research in peer-reviewed journals and books. One of her recent interdisciplinary and collaborative projects on hyper-production addressed issues in musical ontology by following a practice-centered research approach and by exploring creative contemporary interpretations and reconfigurations of historical musical texts, including works by Haydn, Schubert, Chopin, Franck, Debussy and Ravel. Through non-linear editing, 3D spatial staging, immersive audio experience, and digital signal processing, the interdisciplinary and collaborative research team produced technologically mediated performances for which they received funding by the Arts and Humanities Research Council. She is currently the recipient of a prestigious Leverhulme Research Fellowship for a project centering on the French-Corsican composer Henri Tomasi (1901-1971), exploring the construction of cultural identity, music and political engagement, issues in auto-/biographical writing, and an assessment of diversity, class, legacy and knowledge production in Western classical music. She is a member of the Peer Review College of the Arts and Humanities Research Council.

Michelle’s research focuses on music and memory in Britain from the nineteenth century to today, with special attention to trauma, gender and print culture. Currently she is completing a monograph titled Music, Healing, and Memory in the English Country House, 1914-1919 (Oxford University Press), and her edited collection A Great Divide? Music, Britain and the First World War is forthcoming with Routledge. She is also working on a project on the soundscapes of maternity, including an article titled ‘Contractions, Calls, and Cries during COVID: The Traumatic Soundscapes of Lockdown UK Hospital Maternity Wards’ for a special issue of Women and Music, which she is co-editing. Her previous work has been published in The Journal of the Royal Musical Association, The Journal of Musicological Research, Nineteenth-Century Music Review, and various edited collections, on topics from shell shock, trauma theory and mourning to motherhood; women’s magazines, travel writing, diaries and music collections; and opera.

In addition to Fulbright, her research has been funded by grants from the National Endowment for the Humanities, American Association of University Women, Music and Letters Trust, English Speaking Union, and Presser Foundation. In 2014, she was a fellow at the National Endowment for the Humanities research institute, “World War I and the Arts: Sound, Vision, Psyche.”

She has been involved in organising international conferences, including ‘Music, Sound and Trauma: Interdisciplinary Perspectives’ (virtual, Indiana University, 2021); North American British Music Studies Association (Utah State University, 2018); ‘A “Great Divide” or a Longer Nineteenth Century? Music, Britain, and the First World War’ and ‘Conflict, Healing, and the Arts in the Long Nineteenth Century’ (both at Durham University in 2017). She has presented her work at and organised panels for conferences throughout Europe and North America, including annual meetings of the Royal Musical Association and the American Musicological Society.

Michelle is also the editor for NABMSA Reviews and serves on Fulbright reading and interview panels. She holds a Senior Fellowship of the Higher Education Academy.

She is also in demand as a woodwind performer in London’s West End Shows and has played in Phantom of the Opera, Legally Blonde, A Little Night Music and Cats to name but a few.

Melanie is a Professor of Saxophone and Associated Doubling Skills at Trinity Laban. As well as delivering principal study lessons, she coaches chamber music and lectures on two academic modules ; Artist as Citizen and Artist as Educator. Melanie is a music faculty representative on the Learning and Teaching Board at Trinity Laban and she also examines and adjudicates for other London music conservatoires.

Melanie is a key member of the City of London Sinfonia outreach team which involves delivering workshops and interactive concerts in hospitals and community venues. These include GOSH, Evelina London Children’s Hospital and Headway East.
As a saxophone syllabus selector for the ABRSM, Melanie collaborates with many renowned music educators and composers and has recently recorded pieces from grade six, seven and eight of the new syllabus. She was also part of the team responsible for developing the new scales and sight-reading requirements. Melanie’s contribution to music was honoured by the Royal Academy of Music when she was awarded an ARAM.

After attending Royal Grammar School, Worchester, Philip Colman became a student at Trinity College of Music, where he studied piano, oboe, conducting and composition.

Philip has taught at Avery Hill Training College, Watford School of Music and Trinity Laban Junior and Senior Departments, where he teaches both academic and performing studies.

As a guest artist he has performed with the Royal Philharmonic Orchestra, the Philharmonia, the Hallé, City of Birmingham Symphony Orchestra, Royal Northern Sinfonia, Royal Liverpool Philharmonic Orchestra, BBC Concert Orchestra, RTÉ Concert Orchestra and Ronnie Scott’s Jazz Orchestra.

Embracing both jazz and classical styles has led to performances alongside John Scofield, Vince Mendoza, David Arnold, Seth Macfarlane, Sir Richard Rodney Bennett and Claire Martin OBE in venues as diverse as the Royal Albert Hall, the O2 Arena and the Blue Note clubs Japan & New York.

Matthew also has a passion for vintage keyboard instruments, regularly working as both restorer and performer on Hammond organ, Fender Rhodes and Wurlitzer electric pianos.

Qualifications/ Educational Background

• MA in Music Education
• BA in Music Education with Qualified Teacher Status
• DRSAM (Singing Teacher)
• FHEA
• FISM

Research Interests

• Pedagogy
• Vocal Health

Creative Outputs

Raising awareness of the benefits of effective voice screening: a study of vocal health among undergraduate singing students
Janet Munro, Patricia Holmes, Terry Clark, Emma Redding

Reflective Conservatoire (2012) GSMD

He is passionate about the role of the violin in jazz and other improvised music from across the world, and has played in the London, Montreux and Berlin Jazz Festivals and toured with Jamie Cullum and Bill Lawrence (Snarky Puppy). In 2012, Kit travelled to Mysore, India, where he studied with Nadayogi V. Ambaprasad, writing an article about Karnatic violin that was published in The Strad magazine. His television work includes hand-doubling for Rupert Everett in the BBC’s adaptation of Sherlock Holmes. He also wrote and performed the music for a Renault Clio advert.

Andrew has also partnered instrumentalists including Richard Watkins (French horn), Joby Burgess (percussionist) and the    Allegri and Brodowski String Quartets.

A notable champion of contemporary music, Andrew has commissioned and given first performances of scores by composers including Michael Berkeley, Charlotte Bray, Laurence Crane, Jonathan Dove, Alun Hoddinott, Simon Holt, Hannah Kendall, Joseph Phibbs, Arlene Sierra and Augusta Read Thomas.

Andrew’s critically acclaimed recordings for the Naxos, NMC, BMS, Ty Cerdd and Nimbus labels have been Editor’s Choice (Gramophone), featured in the Classical Charts and are often broadcast on BBC Radio 3 and Classic FM.

Andrew studied at the Royal Academy of Music, where he was recently elected an honorary associate. His teachers have included Eugene Asti, Christine Croshaw, Roger Vignoles and Andrew West. He is the recipient of numerous prizes and awards including the Sir Henry Richardson Award for Accompanists, Elisabeth Schumann Lieder Prize, John Ireland Trust Prize and the Ryan Davies Memorial Award. Andrew is a Fellow of the Royal Society of the Arts, and received the Outstanding Achievement in Music in Wales award from the Welsh Music Guild.