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Dr. Mark Gotham

Dr. Mark Gotham

‘Postdoctoral Associate in Computational Music Theory Pedagogy’, Cornell University

Affiliated Researcher, Centre for Music and Science, University of Cambridge

Director, Four Score and More


Biography:

MARK GOTHAM is a composer-theorist based at the Cornell University where he holds the post of ‘Postdoctoral Associate in Computational Music Theory Pedagogy’.

He graduated from the University of Oxford (Christ Church) 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).

During his PhD, he took up some professional appointments at the University, and he remained in Cambridge to continue and expand that range. These appointments included: Affiliated Lecturer in the Faculty of Music, College Lecturer and Director of Music-Making at Churchill College, and Director of Music and Director of Studies in Music at Murray Edwards College. He also ran the University’s choral awards scheme (which populates Cambridge’s celebrated collegiate choirs) where he introduced various efficiency measures and also graduate students into the scheme for the first time.

His early career encompassed a wide range of musical activities including performance, composition and arrangement, teaching, and research (including a first post as McCann Research Fellow at the Royal Academy of Music prior to starting his PhD). Performance engagements have included playing several instruments, singing (both as a freelance baritone and as a Lay Clerk in the Chelmsford and Ely Cathedral Choirs), and conducting. As a conductor he worked primarily with student groups through his university roles. Professional highlights included conducting conducting principals of the LSO and Philharmonia Orchestra in contemporary music projects.

The debut commercial recording of his compositions – ‘Utrumne est Ornatum’ – was released by Regent Records in 2018, featuring a range of (mostly choral) works and performers including the celebrity guest narrator, Tom Hollander. The disc has been highly favorably reviewed by the Choir and Organ and Organists’ Review magazines, with both awarding the maximum 5 stars. Other composition highlights have included broadcasts on BBC Radio 3 and national Chinese television, performances at St Martin in the Fields and the Aldeburgh Festival, commissions from the King’s Lynn and Thaxted Festivals. Future plans include a growing collaboration with the poet John Kinsella, and a new piece for the 50th anniversary of the Fitzwilliam String Quartet.

Mark’s composition is directly linked to his music theoretic research: his research explores compositional concerns systematically (what is possible, and what have composers chosen to do with those possibilities), and his compositions are often motivated by a specific structural idea originating from music theory. This research has encompassed a wide range of topics including theoretical work on pitch, metre, and timbral structures; analysis of modal, tonal and post-tonal repertoires; and an increasing focus on mathematical and computational approaches to these questions. He has published extensively in music theory, analysis, and computational musicology journals.

In addition to teaching, research and composition, Mark is passionate about making a positive contribution to social issues through music and has recently focussed on using computational resources in this connection to democratise access to music theory. He established a social enterprise – ‘Four Score and More’ – to this effect through which he has organised mass encoding projects, and an automatic music theory exercise generator called ‘Cut Outs’. He is excited about continuing that work in collaboration with new colleagues at Cornell.

Departments and Institutes

Churchill College:

Key Publications

Gotham, M. and M. S. Cuthbert (2018, in press): ‘Species or Specious? On the ‘Rules’ of Intervals and Range in Early Music’, in Quinn and Shanahan eds The Oxford Handbook of Corpus Study, O.U.P.

2018 (in press): ‘Towards a Cognitively-Based Quantification of Metrical Dissonance’, in Doffman, Payne, and Young eds The Oxford Handbook of Time in Music, O.U.P.

Gotham et al. (2018): ‘Scores of Scores: An OpenScore project to encode and share sheet music.’ In Proceedings of 5th International Conference on Digital Libraries for Musicology (DLfM’18). ACM, New York, NY, USA. https://doi.org/10.1145/3273024.3273026

2018: ‘Attractor Tempos in Brahms 2/iii’, Music Theory Spectrum 40/1 pp.138–153, https://doi.org/10.1093/mts/mty010

Liang, F., Gotham, M., Johnson, M., and Shotton, J. (2017): ‘Automatic Stylistic Composition of Bach Chorales with Deep LSTM’. ISMIR 2017: 449–456
https://ismir2017.smcnus.org/wp-content/uploads/2017/10/156_Paper.pdf

2017: ‘Hierarchy and position usage in mixed metres’. Journal of New Musicological Research, 46/2. http://dx.doi.org/10.1080/09298215.2016.1253752

Gotham M. and I. Gunn (2016): ‘Pitch Properties of the Pedal Harp, with an Interactive Guide’, Music Theory Online, 22/4. http://mtosmt.org/issues/mto.16.22.4/mto.16.22.4.gotham.html

2015: ‘Metre Metrics’, Music Theory Online, 21/2. http://www.mtosmt.org/issues/mto.15.21.2/mto.15.21.2.gotham.html

2015: ‘Attractor Tempos for Metrical Structures’, Journal of Mathematics and Music, 9/1, 1–22. http://www.tandfonline.com/doi/full/10.1080/17459737.2014.980343

2014: ‘Coherence in concert programming’, International Review of the Aesthetics and Sociology of Music (IRASM), Vol. 45/2, pp.293–309. http://www.jstor.org/stable/43198649

2014: ‘First impressions: on the programming and concert presentation of new music today’, Tempo 68/267, pp.42–50. http://dx.doi.org/10.1017/S0040298213001320