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Dr. Mark Gotham

Dr. Mark Gotham

Visiting lecturer, Faculty of Music

Visiting lecturer, Royal Holloway, University of London

Affiliated researcher, Centre for Music and Science

Artist By-Fellow and Director of Music Making, Churchill College


Mark Gotham is a composer, conductor, and scholar based in Cambridge, UK. He graduated from the University of Oxford with the Gibbs prize for the highest-ranking first class degree awarded in music; from the Royal Northern College of Music with an MMus in composition (supported by a full Arts and Humanities Research Council scholarship); and from the University of Cambridge with a Ph.D. in music theory (Newton Trust scholarship). His thesis was described by the examiners as 'excellent' (Alan Marsden) and 'formidable' (Robert Pascall).

Mark now works at the University of Cambridge as Artist By-Fellow and Director of Music-Making at Churchill College, and as a supervisor and visiting lecturer at the Faculty of Music. He is also an orchestral conductor with 'a natural ability' (Mark Heron), a choral director with 'much to offer' (Tim Brown) and a composer with 'an exciting new voice' (Sarah MacDonald). Highlights include conducting principal players of the London Symphony Orchestra and Philharmonia Orchestra in contemporary music projects, and a debut disc of music for choir(s) and keyboard(s) featuring The Choir of Selwyn College, Cambridge to be released in 2016 by Regent Records.

Departments and Institutes

Churchill College:
Director of Music-Making

Key Publications

(single authored except where otherwise stated)

Research articles in music theory and analysis:

In preparation: ‘Automatic Musical Composition with LSTM networks’. Collaborative project with the Department of Engineering, University of Cambridge and Microsoft Research Ltd.

2018 (in press): ‘Attractor Tempos in Brahms 2/iii’, (accepted and in press with Music Theory Spectrum). URL to be confirmed.

2017 (in press): ‘Hierarchy and position usage in mixed metres’. Accepted and in press with the Journal of New Musicological Research, 46/2.

2016 (in press): ‘Pitch Properties of the Pedal Harp, with an Interactive Guide’, Music Theory Online, 22/4. Joint paper with Iain Gunn. URL to be confirmed.

2015: ‘Metre Metrics’, Music Theory Online, 21/2.

2015: ‘Attractor Tempos for Metrical Structures’, Journal of Mathematics and Music, 9/1, 1–22.

Book reviews:

2016: Review of E. Roxburgh 2014: ‘Conducting for a new era’, Music and Letters, 97/1.

2013: ‘Music of the Circles’, a Review of G. Toussaint 2013, Music Theory Online, Issue 19.2.

Research articles in concert programming / contemporary music:

2014: ‘Coherence in concert programming’, International Review of the Aesthetics and Sociology of Music (IRASM), Vol. 45/2, pp.293–309.

2014: ‘First impressions: on the programming and concert presentation of new music today’, Tempo 68/267, pp.42–50.

Selected writing for a public audience:

2012: ‘End of Transmission’ (a survey of John Cage’s Radio music), Muso Magazine.

2012: ‘A Very Short History of the New’, Classical Music Magazine.

Conference papers

2016: Making Time in Music, University of Oxford. “Towards a Quantification of Metrical Dissonance”

2015 École Polytechnique Fédérale de Lausanne: Invited speaker at the ‘Distinguished Lecture Series in Digital Humanities’. “Musical Musicologies for the Digital Age”.

2014 IRCAM, Paris: Invited speaker at the Mathematics and Music (MaMux) seminar series. “Mathematical models for Metrical Theory”.

2014 RMA Music and Mathematics study day, University of Leeds. Contributor.

2014 BIBAC, Cambridge: “Mixed metres in theory and Practice”; conference co-organiser.

2014 Analytical Approaches to World Music, S.O.A.S., London: Chosen to represent the Society for Music Analysis (with Costas Tsougras and Shay Loya) for a three-paper session on Balkan music.

2012 Nancarrow International Conference, Southbank Centre: “A Quantification of Metrical Instability”

2010 ‘Music and Numbers’ Conference, Canterbury Christ Church University (joint paper with Pete McAllister): “Towards an Algorithmic Segmentation of Music”.