School of Performance & Media Production
T: 87 6413
Dr Mark Hutchinson studied music to doctoral level at the University of York, specialising in composition, contemporary music and music analysis, as well as performing widely as an oboist and piano accompanist. All his work is inspired by a love of listening to and performing music.
Outside of his research and lecturing work he is active as a piano accompanist: he has played within the Late Music concert series in York, and the University of York concert series, as well as accompanying numerous student recitals and diplomas for ABRSM and Trinity/Guildhall. He plays oboe and cor anglais in the York Guildhall Orchestra, as well as teaching piano and oboe privately.
His teaching at York St John University encompasses recent contemporary music (via the module New Music, New Ideas), writing about performance (Solo Performance), and first-year practical studies in music theory, composition and performance (Music Skills). He has experience in coaching chamber music ensembles and pianists, especially in the field of piano accompaniment and duet/multi-piano repertoire. He also directs the Dissertation module, supporting students in planning, investigating, and writing up their own independent research project.
His research looks at ways we can make sense of very recent music from the classical tradition, using creative metaphors and ideas taken from a variety of different disciplines. A number of interlinked approaches to this task can be found within his book Coherence in New Music: Experience, Aesthetics, Analysis, published by Ashgate in 2016, which includes studies of music by György Ligeti, Kaija Saariaho, John Adams, Thomas Adès and György Kurtág, among others. He has also published articles or book chapters on the music of Henri Dutilleux, Tōru Takemitsu, and Georg Friedrich Haas, exploring connections between music and other art forms (especially visual arts and poetry), issues of national identity and politics, and overlaps with philosophical concepts of history, memory and awe. He has also enjoyed co-authoring research on the role played by empathy in piano duet collaboration, and on creative approaches to teaching music analysis in contemporary music.
Coherence in New Music: Experience, Aesthetics, Analysis. London: Routledge, 2016.
Articles and Book Chapters
‘‘Strange and Dead the Ghosts Appear’: Mythic Absence in Hölderlin, Adorno and Kurtág’. Chapter accepted for inclusion in forthcoming volume Intertextuality in Music since 1900 (ed. Paulo Ferreira de Castro and Federico Celestini).
‘Imagined Structures: Creative Approaches towards Teaching Musical Analysis’ (with Tim Howell). In Creative Teaching for Creative Learning in Higher Academic Music Education, edited by Liz Haddon and Pamela Burnard, 153–67. London: Routledge, 2016.
‘Empathy in Piano Duet Rehearsal and Performance’ (with Elizabeth Haddon). Empirical Music Review 10 (2015).
‘Dreams, Gardens, Mirrors: Layers of Narrative in Takemitsu’s Quotation of Dream’. Contemporary Music Review, 33.4 (2014): 428–446.
‘Snapshots in Sound: Mystère de l’instant and the Legacy of Moment Form’. Contemporary Music Review, 29.5 (2011): 497–512.
Review of Erling E. Guldbrandsen and Julian Johnson (eds), Transformations of Musical Modernism (Cambridge UP, 2015). Tempo 70.279 (2017): 101–3.
Review of Judy Lochhead, Reconceiving Structure in Contemporary Music (Routledge, 2016). Tempo 70.278 (2016): 104–8.
Review of Huddersfield Contemporary Music Festival, 23–24 Nov 2015. Tempo 70.276 (2016): 81–3.
Review of Jonathan Goldman, The Musical Language of Pierre Boulez: Writings and Compositions (Cambridge UP, 2014). Tempo 69.272 (2015): 94–6.
Conference Papers and Presentations
- Spectralisms international conference, March 2017 (University of Oxford): ‘Stairways in the dark: sound, syntax and the sublime in Georg Friedrich Haas’s in vain’.
Keeping Time? RMA study day, June 2016 (University of York): ‘Wandering through history: distorted temporalities in Zender’s Schubert’.
Composition seminar, February 2016 (University of York): ‘Tracing the night sky: coherent constellations in Dutilleux’s Ainsi la nuit’.
Panel member at pre-concert table ronde, February 2016 (RCM, London), with Kenneth Hesketh, Caroline Potter and Caroline Rae: ‘Il faut tuer le père (mais on ne doit pas piétiner le cadavre): Dutilleux's Stylistic Journey’.
Musical Modernity, the Beautiful and the Sublime, conference, October 2015 (University of Aberdeen): ‘Stairways in the dark: sound, syntax and the sublime in Georg Friedrich Haas’s in vain’.
International Conference: Intertextuality in Music since 1900, March 2015 (Universidade Nova de Lisboa, Lisbon): ‘‘Strange and dead the ghosts appear’: mythic absence in Hölderlin and Kurtág’.
Memory in Post-1980s Music: History, Form, Perception, RMA study day, February 2014 (University of York): ‘‘Immer ins Ungebundene gehet eine Sehnsucht’: mythic absence in Hölderlin and Kurtág’.
Music and Empathy, SEMPRE study day, November 2013 (University of Hull): ‘Empathy in piano duet rehearsal’ (with Liz Haddon).
International Conference on Music Since 1900, September 2013 (Liverpool Hope): ‘Strolling through a formal garden: shape and teleology in Tōru Takemitsu’s How slow the Wind’.
With Four Hands: Music for Two Pianists, June 2013 (IMR, London): ‘Partners in Time: establishing a new duet partnership’ (with Elizabeth Haddon).
Creative Teaching for Creative Learning in Higher Academic Music Education, HEA seminar day, May 2013 (University of York): ‘Imagined structures: creative approaches towards teaching musical analysis’.
International Conference on Music Since 1900, July 2011 (LICA, Lancaster): ‘Pulling inwards, pushing onwards: gravity and momentum in Kaija Saariaho’s Solar’.
Invited speaker at Dutilleux at 95: Study Day, January 2011 (IMR, London): ‘Snapshots in sound: Mystère de l’instant and the legacy of moment form’.
Research seminar (University of York), March 2010: ‘Holding it together: approaches to musical coherence after 1990’.
Royal Musical Association Students’ Conference, January 2010 (York): ‘Lamenting the past, living the moment: loss and memory in Kurtág and Adès’.
Nostalgia and Innovation in Twentieth-Century French Music, RMA study day, May 2009 (LICA, Lancaster): ‘Developing tradition: memory as innovation in Dutilleux’s Ainsi la Nuit’.