Sara Cohen (Director): I am a Professor of Music with a DPhil in Social Anthropology from Oxford University. My research has explored questions concerning music-making, the music industries and music policy; place, landscape and migration; cities and urban regeneration; heritage, memory and audiences. My books include Rock Culture in Liverpool (Oxford University Press) and Decline, Renewal and the City in Popular Music Culture (Ashgate).
David Horn (Senior Fellow): I was Director of the Institute of Popular Music from its establishment in 1988 until 2002. Currently I am co-editor, with John Shepherd of Carleton University, Ottawa, of the Bloomsbury Encyclopedia of Popular Music of the World (published until 2012 by Continuum), known for short as EPMOW. Since 2002 ten volumes have been published, the most recent (2014 and 2015) being Genres: Caribbean and Latin America, and Genres: Middle East and North Africa. I am currently completing Volume XI: Genres: Europe, with Paolo Prato. I was a founding editor, with Richard Middleton, of the journal Popular Music (Cambridge University Press, 1981+) and a founding member of IASPM (The International Association for the Study of Popular Music). Before EPMOW became an all-absorbing task, I co-edited the Cambridge Companion to Jazz with Mervyn Cooke, and edited a special issue of Popular Music in honour of the blues scholar Paul Oliver.
Freya Jarman: I am a Senior Lecturer in Music with a PhD in Music from Newcastle University. My work explores questions pertaining to music in culture, especially the voice and vocality, and especially through the critical lenses of queer theory and psychoanalytic theory. I am as likely to be found talking about overdubbing in the music of the Carpenters as I am to be read in my research on how camp works musically. My publications include the monograph Queer Voices (2011) and I have won awards for my teaching from the University of Liverpool, the Higher Education Academy and the Central European University.
Mike Jones: I am a Lecturer in Music. My research explores music industry as the active making of music outcomes – the joint working that takes place between musicians and music companies. I was in a successful 1980s band Latin Quarter that has produced 14 album. My first book, ‘Music Industries: from conception to consumption’ was published in 2012 and I am working on a follow-up book, 'Music Industry and Digitization’. I direct the MA in Music Industry Studies and a forthcoming MA in the Business of Classical Music involving partnership with the Royal Liverpool Philharmonic.
Rob Kronenburg: My interests and expertise centre on the design of architecture - influenced by innovative technology, transient demands, and the arts of film and popular music. I have a twenty year history of researching, designing and writing about mobile architecture, that has inspired and informed more recent interests in film and architecture and music performance space. I am a registered architect and hold the Roscoe Chair of Architecture at the Liverpool School of Architecture. After qualifying I worked for ten years in large and small practices before taking my first lecturing post at the University of Manchester. I received my Master of Philosophy degree from the University of Manchester and my doctorate from the CNAA.
Dave Laing (Fellow): I have been active in the field of Popular Music Studies for over 40 years. I published my first book, The Sound Of Our Time, in 1969 and was co-editor of the first scholarly reference books, the Encyclopedia of Rock, in the mid 1970s. My other monographs include two studies of the work of Buddy Holly (1971 and 2010) and a pioneering account of punk, One Chord Wonders (1985). As an editor, I contributed to the magazines Let It Rock, Music Week and Music & Copyright, the academic journals Popular Music and Popular Music History, and reference works The Faber Companion to 20th Century Popular Music (1990) and the Encyclopedia of Popular Music of the World (2005). I have contributed to several edited collections including Global Pop, Local Language (2003), The Popular Music Studies Reader (2006) and the Cambridge Companion to The Beatles (2009). My research portfolio includes reports commissioned by the Musicians Union, Welsh Music Foundation, National Music Council, Jazz Services and other agencies.
Marion Leonard: I am Senior Lecturer in Music, author of Gender in the Music Industry, and co-editor of The Beat Goes On and Sites of Popular Music Heritage. I have published on a range of topics related to popular music and have particular research interests in issues connected with gender, creative labour and the music industries; and music and museum practice. I have led an AHRC (Beyond Text) research project about collecting and representing popular music research in museums (2010-2011) conducted in partnership with National Museums Liverpool and the V&A. I have served on the executive committee of the International Association for the Study of Popular Music and worked on secondment to National Museums Liverpool as lead curator for The Beat Goes On, an exhibition about Merseyside's popular music history.
Áine Mangaoang: My doctoral research investigated the use of popular music in prison as a method of discipline and rehabilitation, while simultaneously exploring the impact of internet cultures on popular music audio-visual practice. It combined audio-visual analysis, critical musicology, popular culture and postcolonial studies. I was the recipient of the IPM 21st Anniversary PhD Scholarship and Visiting Research Associate at the Institute of Philippine Culture, Ateneo de Manila University (2012). In 2013 I was Visiting Lecturer in New Media and Musicology at Iceland Academy of Arts, Reykjavik. My research on music and torture has been published by the University of Göttingen. I have presented at new media, musicology and digital cultures conferences across Europe and Asia and since 2011 have served on the executive committee of the International Association for the Study of Popular Music (UK & Ireland). I graduated with a PhD in 2015 and in 2016 I returned to the IPM to take up the position of Postdoctoral Researcher on the project Music, Photography and Cultural Memory.
Les Roberts: My research falls within the areas of urban cultural studies, cultural memory, and digital spatial humanities. With a background in anthropology and cultural studies, it explores the intersection between space, place, mobility, and memory with a particular focus on film and popular music cultures. I worked as a researcher on the multi-disciplinary projects 'City in Film: Liverpool's Urban Landscape and the Moving Image' (2006-8), 'Mapping the City in Film: a Geo-Historical Analysis' (2008-10), and Popular Music Heritage, Cultural Memory and Cultural Identity (POPID) (2010-12). I am author of Film, Mobility and Urban Space: a Cinematic Geography of Liverpool, editor of Mapping Cultures: Place, Practice and Performance and co-editor of Locating the Moving Image: New Approaches to Film and Place, Liminal Landscapes: Travel, Experience and Spaces In-between and The City and the Moving Image: Urban Projections.
Lisa Shaw: I am a Reader in Portuguese and Brazilian Studies at the University of Liverpool, and my research interests include Brazilian popular music and the use of popular song in both Brazilian and Portuguese popular cinema. I wrote my Phd thesis on the social history of samba lyrics in Rio de Janeiro in the 1930s and 1940s, which was published as a book by Ashgate. More recently I published a book on the Brazilian-Portuguese singer and film star Carmen Miranda (Palgrave Macmillan) and co-edited the volume Screening Songs in Hispanic and Lusophone Film (Manchester University Press).
Kenneth Smith: I have worked at Liverpool since 2011 after holding posts at Keele and Durham (where I completed my PhD in 2009). My first book, 'Skryabin, Philosophy and the Music of Desire' was published in 2013, and I have published essays in major international journals on Alexander Skryabin, Karol Szymanowski, Charles Ives and Alexander von Zemlinsky. My next book, a psychological model of twentieth century harmony, examines works by such composers, setting these into theoretical and philosophical contexts based on fin-de-siècle aesthetics. I am also interested in the analysis of popular music and have published on Modest Mouse and Suede. As vice-president and events officer for the Society of Music Analysis, I co-organised the Liverpool popMAC conference (2014), and assist with running conferences in the UK and Europe.
Rob Strachan: I am a lecturer in Music. I have published numerous articles on a variety of aspects of popular music culture including DIY music cultures, electronic music and creativity, the history of British black music and music and audiovisual media (such as music video and documentary). I am co-editor of The Beat Goes On: Liverpool, Popular Music and the Changing City and commissioning editor of the Journal Popular Music History. I am also an active musician and sound artist. My interests lie at the intersection of electronica, drone and sound art. Recent collaborative work includes audiovisual installations exhibited at the Wordsworth Trust, Liverpool Biennial 2012, the Bluecoat and FACT. I have also explored the use of digital audio technologies in one-off hybrid performances including my work with the Hive Collective at METAL (2012), FutureEverything (2010) and Tate Liverpool (2009). My two collaborative performances of 'Blue Remix' with the Swiss performance artist Yann Marussich (including the National Review of Live Art, Glasgow) formed part of a project which would receive the award of Distinction: Hybrid Art at the 2008 Prix Ars Electronica. My collaborative album ‘Mountain’ with the pianist Anni Hogan was released by Coldspring records in 2011. My music and commentary have been heard on various radio stations including BBC Radio 3 and a central role in BBC Radio 2’s Beyond the Telescope documentary.
Haekyung Um: I completed my music training at Seoul National University and my PhD in Anthropology and Ethnomusicology at Queen’s University Belfast. I subsequently received grants and fellowships from the Leverhulme Trust, the UK Economic and Social Research Council and the International Institute for Asian Studies in the Netherlands, which took me to Central Asia, Russia and China. I am a kayagûm zither player and kapok singer, a council member for the Society for Ethnomusicology, and UK representative for the World Association for Hallyu Studies. Recent publications include Korean Musical Drama and Rediscovering Traditional Korean performing Arts.
Jan Fairley was Honorary IPM Fellow from the early 1990s until her death in June 2012. During this time she contributed a great deal to the development and activity of the IPM and she has since been much missed. Please click here for an obituary written by former visiting IPM fellow Helmi Jarviluoma, and here for a map Jan produced shortly before her death for an IPM project on music and memory. Her significant contribution to the field is celebrated in this publication.