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Christopher Corcoran

Christopher Corcoran

PhD student

MA, MMus, BA


Biography:

Chris Corcoran is a German-Irish composer and researcher currently studying for a PhD in Music at the University of Cambridge. His PhD is divided between studying composition with composer Richard Causton and music psychology with Dr Neta Spiro (formerly Prof Nicholas Cook). He is currently a visiting researcher at the Department of Psychology, University of Copenhagen.

Composition

Chris is an active composer, with performances and workshops across Europe, among others with the Birmingham Contemporary Music Group, musicians of the Irish National Symphony Orchestra, Ensemble Lontano, Ensemble Plus-Minus, and cellist Matthew Barley. In 2015 he was a Composer-in-residence with the avant-garde and jazz music venue Club Inégales in London through Sound and Music’s ‘Embedded’ scheme. Based on his experience as a guitarist, Chris’s compositions draw on blues, jazz, and rock, as well as on classical music and contemporary composition techniques. His composition studies with Richard Causton focus on the application of groove rhythms in contemporary concert music. He also writes music for film and theatre.

Research

Chris’s empirical research with Dr Neta Spiro focuses on issues in swing and groove performance for score-reading musicians. As part of this, he is developing an empirically-based notation aimed at helping unenculturated score-dependent musicians to swing or groove. This includes executing appropriate microrhythmic swing techniques and performer interactions. The project will test empirically for performance differences associated with different swing notations styles, including the experimental notation. Therefore Chris's research explores a wide range of topics, including: psychology of swing and groove techniques and their performer interactions; empirical assessment of microrhythms; notation-based learning vs. aural learning; cognitive factors in sight-reading and score-dependency; issues in internal representation of music associated with aural feedback and pitch-to-pace mapping; issues in jazz, popular, third-stream, and contemporary classical music notation.

Education & Work Experience

Before coming to Cambridge, Chris spent several years working in London’s music industry, including for publishers Schott Music, Oxford University Press, and the Philharmonia Orchestra. From 2015 to 2016 he had the pleasure of working as Personal Assistant to composer Sir Peter Maxwell Davies. Chris holds an MMus (with Distinction) from King’s College London, where he studied contemporary composition, and an MA from City University London, where he studied composing with digital and studio resources. He gained a BA in English and Music from NUI Maynooth with double First-Class Honours, winning the class prize for the highest final exam results in BA Music. He is acknowledged for his work as a research assistant on the international musicological online database Francophone Music Criticism (Institute of Musical Research, University of London).

Teaching & Presentations

Chris has taught both at university-level and as a guitar instructor. At Cambridge, he has taught as a supervisor on four different undergraduate courses: ‘Orchestration’, ‘The Music Industry in the Digital Age’, ‘Introduction to Music and Science’, and 'Exploring Music Psychology'. He has presented at various institutions, including the Cambridge Centre for Music and Science, the Cambridge University Composer’s Workshop, Copenhagen Business School, Copenhagen University's Psychology Department, and the Center for Music in the Brain Aarhus. His review of International SysMus conference 2017 (with Emma Allingham) was recently published in the SAGE journal Music and Science.

 

Research Interests

Contemporary music and composition techniques; empirical studies of jazz and groove music (microyrhythms, physiological/psychological responses, techniques, performer interactions); notation-based learning vs. aural learning; internal representations of music; jazz, popular, third-stream, and complexity music notation.