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.

Qualifications

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drew on research in the Paul Sacher Stiftung (Basel) and Britten-Pears Archive (Aldeburgh), rediscovering previously unpublished works by Harrison Birtwistle and Benjamin Britten.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.

Programme Leadership

Teaching Interests

  • Tonal and post-tonal analysis
  • Contemporary music
  • Concerts history
  • Arts management
  • Intellectual property rights

Module Leadership

  • SUM0043 Music Access
  • SUM0046 Music Industry Management
  • SUM0071 Popular Music
  • MUS2092 Music Theory and Analysis
  • MUS3055 Independent Project
  • MUS3071 Music Contracts and Copyrights
  • MUS4046 Dissertation Project

Books, Chapters, Articles and Proceedings

  • The Pierrot Ensembles: Chronicle and Catalogue, 1912-2012 (London: Plumbago, 2013).
  • 'Prospects for Neomodernism in the Music of Matthew Taylor and Peter Fribbins', International Journal of Contemporary Composition, vol. 7 (2013), 1-19.
  • 'A Snapshot of the Pierrot Ensemble Today', Proceedings of the Third International Meeting for Chamber Music (2013), http://paulinyi.com/anexos/textos/MeetingJanuary2013.pdf.
  • 'Benjamin Britten's "Pierrot" Ensembles', in British Music and Modernism, 1895-1960, ed. Matthew Riley (Farnham: Ashgate, 2009), 219-47.
  • 'Zemlinsky's Surface Structures: Maiblumen blühten überall and the String Sextet Genre', in Zemlinsky Studies, ed. Michael Frith (London: Middlesex University Press, 2007), 77-89.

Other Publications

  • 'Dances and Laments: Chamber Music by Peter Fribbins', sleeve-notes to Dances and Laments: Chamber Music by Peter Fribbins (Guild, 2013; GMCD 7397), 2-6.
  • 'Peter Fribbins: Chamber and Orchestral Works', sleeve-notes to The Moving Finger Writes... (Guild, 2011; GMCD 7381), 3-7.
  • 'Peter Fribbins: Chamber Music for Strings', sleeve-notes to I Have the Serpent Brought: Peter Fribbins – Chamber Music (Guild, 2010; GMCD 7343), 3-6.
  • Programme notes (1,500 words per weekly programme) for the London Chamber Music Society (LCMS), Kings Place, London, 2008 – present.
  • 'Peter Maxwell Davies', in New Makers of Modern Culture, vol. 1, ed. Justin Wintle (New York: Routledge, 2007), 357-59.

Conferences and Colloquia

  • 'A Century of Pierrot Ensembles, 1912-2012', paper given for "Music Colloquia" series, King's College, University of London, 16 October 2013.
  • 'The Pierrot Ensembles, 1912-2012', paper given for "Concerts and Colloquia" series, Middlesex University, 24 January 2013.
  • 'A Snapshot of the "Pierrot" Ensemble Today', paper for conference organised by Dr Zoltan Paulinyi, “Third International Meeting for Chamber Music', University of Évora, Portugal, 8-10 January 2013.
  • 'Prospects for a British "Second Modernity" in the Music of Matthew Taylor and Peter Fribbins’, paper for IMR/SMA-sponsored conference organised by Dr Eva Mantzourani on "New Music in Britain", Canterbury Christ Church University, 10-12 May 2012.
  • 'Twenty-first-century Learning in Music and Arts Management' (with Mario Anastasiades and Christiana Yiangou), paper for conference co-presented by the School of Health and Social Science and the Centre for Learning and Quality Enhancement (CLQE) "On Formative Assessment", Middlesex University, 12 November 2007.
  • 'Schoenberg, Zemlinsky, and the String Sextet', paper for Alexander Zemlinsky Fonds-sponsored conference, "Zemlinsky Lost and Found", organised by Dr Mine Dogantan Dack, Dr Peter Fribbins and Dr Christopher Dromey, Middlesex University, 11 October 2006.
  • 'The "Pierrot" Ensemble before the Pierrot Players', paper for AHRB-sponsored conference, "Schoenberg's Pierrot lunaire and Its Legacy", organised by Dr Jane Manning and Dr Caroline Potter, Kingston University, 2 March 2006.
  • 'The "Pierrot" Ensemble in London: The Birth of a Genre?', paper given at conference, Society for Music Analysis TAGS Day, organised by Dr Vanessa Hawes, University of East Anglia, 23 April 2005.

Forthcoming

  • Entries on 'The Pierrot Ensemble', 'Dorothy Dorow', 'The Fires of London' and 'Sound and Music', The New Grove Dictionary of Music and Musicians (OUP).
  • Extended essays on 'Competitions' and 'Hierarchical Organization', Music in the Social and Behavioral Sciences, ed. Bill Thompson and Geoffrey J. Golson (SAGE).
  • 'Edwin Burdis's Sound Art for 18 Happenings in 6 Parts', in Re-inventing the Past: Rosemary Butcher encounters Allan Kaprow's 18 Happenings in 6 Parts, ed. Rosemary Butcher, Ramsay Burt and Steffi Sachsenmaier.
  • HEA/Middlesex University 2007 Learning and Teaching Project Scheme Award
  • KCL 2005 Small Grants Award for travel to Paul Sacher Stiftung, Basel
  • Musica Britannica 2005 Louise Dyer Award for Doctoral Study
  • Musica Britannica 2004 Louise Dyer Award for Doctoral Study
  • Society for Music Analysis (SMA) 2001/02 Award for Postgraduate Study

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.

Professional Membership