Dr Christopher Dromey joined Middlesex University in 2005, having previously taught at King's College London (music analysis), the Open University (music theory), the Royal Opera House (Thomas Adès's The Tempest), and Birkbeck College, University of London (twentieth-century music). In addition to music theory and analysis, Chris teaches musicology and copyright law.
A synopsis of his book on The Pierrot Ensembles: Chronicle and Catalogue, 1912-2012 (London: Plumbago, 2013), the first of its kind, is available to read here. He has also published on Benjamin Britten, Alexander Zemlinsky and Peter Maxwell Davies. For several years Chris worked for the copyright collection society PRS for Music. An active organist and pianist, he also regularly writes for the London Chamber Music Society.
Besides email, you can find Chris on Twitter, LinkedIn or Facebook, where he oversees a dedicated forum for students of the programmes he leads, BA Music Business and Arts Management and MA Arts Management. He also organises Music's weekly "Concerts and Colloquia", a Thursday evening series open to the public featuring musicologists, prominent figures from the music industry, performers and composers.
BMus in Music at Goldsmith's College, London Specialist studies in music analysis, performance (violin, piano), twentieth-century music, dissertation on tonal structure in Bartók.
MMus in Music Theory and Analysis at King's College, London Music analysis, historical musicology, dissertation on Second-generation Serialism versus Post-tonality: Ernst Krenek's Third Piano Sonata, Op. 92, No. 4.
PhD on The Pierrot Ensembles at King's College, London The 'Pierrot' ensemble of mixed single strings, winds and piano has become standard in contemporary music: yet it is a genre that had neither been categorised nor explored historically. This novel line-up, derived from Arnold Schoenberg's Pierrot lunaire, Op. 21 (1912), inspired a new, British-led repertory that influenced composition as much as concert life. I chronicled this lineage of Pierrot ensembles to offer an alternative reading of twentieth-century music and culture. The thesis included analysis of salient works by Peter Maxwell Davies, Elisabeth Lutyens and Humphrey Searle, and drew on research in the Paul Sacher Stiftung (Basel) and Britten-Pears Archive (Aldeburgh), rediscovering previously unpublished works by Harrison Birtwistle and Benjamin Britten.
GCAP (Academic Practice) at King's College, London Qualification in the theory and practice of teaching and communication, including extended reflective critique of my teaching at Middlesex, self-designed learning materials and teaching observations by: Dr Peter Fribbins, Director of Programmes for Music, Middlesex University; Dr François Evans, Principal Lecturer in Music, Middlesex University; Dr Stylianos Hatzipanagos, King's Institute of Learning and Teaching, King's College London.
Middlesex University Link Tutor for Open University Hong Kong's Middlesex-franchised BMus Popular Music programme, 2010 – present.
External Assessor for the validation of BA Popular Music at the Royal Northern College of Music, 2013
Module Leader in various areas (see Teaching and Learning) at foundation, undergraduate and postgraduate levels, including three Middlesex University Summer School courses – SUM0043 Music Access, SUM0046 Music Industry Management and SUM0071 Popular Music – each designed as pathways to undergraduate study for successful students.