Ed. 2, 07/03/2011 - Music - National University of Ireland, Maynooth

? Timbre
NUI Maynooth Music Department Newsletter
NUI Maynooth
Ollscoil na hÉireann, Má Nuad
This Month’s Concerts and Future
Conferences for your Diary:
10 March 13:10-13:50 Riverstown Hall
MA Recitalists: Fiona Hickey, Niall Kinsella
24 March 13:10-13:50 Riverstown Hall
MA Recitalists: Jia Lai Lu, Aileen Deely
31 March 13:10-13:50 Aula Maxima
Ladies’ Choir
Director: David Connolly
27 March 16:00 College Chapel
Johann Sebastian Bach: St John Passion
NUI Maynooth Choral Society
with the Dublin Baroque Players
Director: Dr John O’Keeffe
Tickets will be available from the Music
Department
from 28 February €20/€15
6-8 May 2011
Linux Audio Conference
The Open Source Music and Sound Conference
http://lac.linuxaudio.org/2011/
21-23 October 2011
Thanatos as Muse?:
Schubert and Concepts of Late Style
NUI Maynooth in association with UCD School
of Music and under the auspices of the Society
for Musicology in Ireland.
For further information see:
http://music.nuim.ie/newsevents/
schubertandconceptsoflatestyle
20-22 April 2012
Music in Goethe’s Faust:
Goethe’s Faust in Music
Music Department and School of Modern
Languages, Literatures and Culture, NUIM.
For further information see:
http://music.nuim.ie/newsevents/conferences/
goethesfaustinmusic
For details on other events (including the Friday
Research Seminars), programmes and tickets
please visit our website:
http://music.nuim.ie/events
Welcome to the Second Edition of Timbre
Within this newsletter you will find a variety
of articles. This variety reflects some of
the diverse activities and issues currently
engaging Music Department staff and
students. As promised in the first edition,
Professor Barra Boydell (who retired in the
autumn of 2010) has written about his time
here in NUI Maynooth from his new home in
Australia. He describes the evolution of the
Music Department to its present-day status and
his own role in that process. The Department
benefited greatly from his work over many
years and I am delighted that he has provided
this eloquent summary for Timbre readers.
His recollection of significant landmarks
during his time in post is a heartwarming
reflection of the special qualities of this
University: it will be of interest to anyone
who is connected with our work. In this
second edition we have also included articles
on the interests and outputs of academic staff.
These include the synergies that Dr Alison
Hood finds between teaching, performance
and research; the interdisciplinary projects
undertaken by Dr Gordon Delap; the research
worlds of Monteverdi and Chopin explored
by Dr Antonio Cascelli; and the importance
of eclectic listening habits to Dr Martin
O’Leary in his work as a composer. One of
our PhD students, Piaras Hoban, reflects on
aspects of the challenges facing composers
and commissioners. Finally our editor, Dr
Ronneau, concludes Timbre with his new
column ‘Editor’s Notes’.
This semester the Music Department is
hosting an extensive and stimulating range
of concerts, seminars, conferences and study
days. I hope you will participate in these in
some way, whether as performer, speaker or
audience member!
Professor Fiona M. Palmer
Head of Department
edition 2 march 2011
Professor Barra Boydell writes from
Australia
When I retired from the Music Department
at the end of September 2010 I was leaving
more than just an academic department
in which I had served as Lecturer, Senior
Lecturer and Professor for a quarter of a
century: I was leaving what had, over the
period of my association with the Music

2
timbre music department nui maynooth
Department, become the largest and most
dynamic in the country. Initially I was invited
in 1985 by Professor Gerard Gillen (who had
been appointed Professor of Music in that year)
to give lectures on the history of music as a parttime
lecturer; I became a full-time member of the
music staff in 1990. Looking back to 1985 from
today’s perspective, it is difficult to imagine
quite what a small department it then was –
indeed, what a small university Maynooth itself
was: the Music Department comprised two fulltime
staff members (Professor Gillen and Dr
Patrick Devine), it was housed in what are now
the single-storey administrative offices behind
Riverstown Hall, and the total number of music
students was not much more than forty. Music
was only taught at undergraduate level as part
of the BA programme (the BA (Music)/BMus
came later, and the BA in Music Technology
more recently) and there were no postgraduate
students (the MA in Performance started a
few years later, and the MA in Musicology
with which I was particularly involved - then
known as the MA in Historical Studies – in the
early 1990s). Perhaps more significantly when
I consider NUI Maynooth’s leading position
within the Irish musicological community today
(and the welcome establishment last semester
of the university’s own Musicology Society)
the term ‘musicology’ was still almost unknown
in Ireland at that time (although, coincidentally,
1985 was the year in which Joseph Kerman’s
ground-breaking book Musicology was
published). Back then few would have imagined
how the Department would stand twenty-five
years later, with over 300 undergraduate music
students and over fifty postgraduates, including
upwards of twenty PhD students.
When I attended conferences overseas in
the early 1990s and people asked me where
I worked, the answer ‘Maynooth’, or even
‘the National University of Ireland’ (of which
Maynooth at the time was merely a ‘recognised
college’ rather than an integral university as
it became in 1997), was greeted at best with
politely blank expressions. That all changed in
1995 when, in association with the School of
Music in UCD, we hosted what was the largest
musicological conference held in Europe that
year, the Maynooth International Musicology
Conference. For three or four miraculously
warm and sunny days in September the
international musicological community
converged on our department (by then we had
moved to our present location in Logic House),
and Joseph Kerman (then at the height of his
international fame) came to give the keynote
address. From that date onwards, whenever
I was asked that same question overseas
about where I was from, ‘Maynooth’ was
immediately recognised and celebrated. We,
and indeed musicology in Ireland, had come
of age. The Music Department has since then
hosted numerous musicology conferences, both
national and international. The development of
the Department, under Professor Gillen and
since 2007 under Professor Fiona Palmer, has
been truly exceptional, and I feel honoured
to have been part of, and to have been able to
contribute to that development.
So, when I took my leave at the end of September
last I was leaving a true community of friends
and colleagues, of students present and past,
undergraduate and postgraduate, who have
enriched my life and from whom I have learned
so much. It has been truly heartening to observe
and, I hope, to play some part in encouraging
individual students develop over their academic
careers. Some went on to complete an MA and
even an MLitt or PhD, in the process teaching
me so much, enriching my life with their
knowledge and enthusiasm, and helping in our
common aim to further a love and understanding
of music and, in particular, of the varied and
intriguing history of music in Ireland, which
has been my special interest. However difficult
the challenges presently facing the country, and
indeed third-level education in all its aspects, I
know that the wonderful staff and enthusiastic
students will ensure that the Music Department
continues to go from strength to strength. I have
said ‘farewell’ to a community of friends and
colleagues, to whom I wish every opportunity
and success.
Barra Boydell
Spotlighting Dr Alison Hood:
My research lies predominantly in the area
of analysis and performance, particularly in
piano music from the nineteenth century, as
well as in the area of effective music pedagogy.
My PhD (TCD), entitled ‘Chopin’s Strategic
Integration of Rhythm and Pitch: a Schenkerian
Perspective’, focuses on how music analysis
can be used to illuminate performance issues
in Chopin’s piano music. It not only provides
interesting information about specific pieces,
but also presents a model of how to synthesise

timbre music department
Performance:
nui maynooth
recent analytical methods in a productive
way—one that raises questions of real interest
to scholars and performers. I have presented my
research findings in lecture-recital and paperpresentation
formats in the United States of
America and in Europe. I have been particularly
honoured to have performed and presented
various papers in Warsaw for the Fryderyk
Chopin Institute at their academic conferences
in 2005 and 2006 and, more recently, for the
3rd International Chopin Congress in 2010.
I am a member of the Royal Musical Association,
and THEME (a music theory network based in
Oregon, USA), and was elected a member of
the Council of the Society for Musicology in
Ireland in 2009. Membership of such societies
is an invaluable way to keep informed on
current developments in music scholarship and
education and I would strongly encourage all
interested students to join the SMI.
One of my secondary research areas concerns
research into teaching and learning, which is
outlined in more detail below.
Publications:
My publications include the following chapter
contributions to edited books: ‘Structural
Coupling in the Coda of Chopin’s Barcarolle’,
in Artur Szklener (ed.), Chopin 1810–2010:
Ideas—Interpretations—Influence (Warsaw,
forthcoming); ‘Intraopus Connections in
Chopin’s Nocturnes Opus 27’, in Artur Szklener
(ed.), The Sources of Chopin’s Creative Style:
Inspirations and Contexts (Warsaw, 2010);
and ‘Tonal and Rhythmic Hidden Repetition
in Chopin’s Prelude Opus 28 No. 14’, in Artur
Szklener (ed.), Chopin in Paris: The 1830’s
(Warsaw, 2007).
Recent articles I have published include
‘Objectifs et réalisation compositionnels dans
la Barcarolle de Chopin: une forte cohérence
structurelle et un défi pour l’interprétation’,
in Analyse Musicale (Paris, 2010), ‘Engaging
Students in the Assessment Process in Large
Groups’ in Large Group Teaching-the Local
Context (Centre for Teaching and Learning, NUI
Maynooth, 2011), and various contributions to
the forthcoming Encyclopaedia of Music in
Ireland.
I am a pianist and cellist engaged in both
classical and popular performing and recording.
As a cellist, I have worked with many wellknown
recording artists in solo and group
studio recordings, and in television and concert
hall appearances. I am a founder member of the
Elgin String Quartet and Ensemble Maynooth
and maintain an active interest in chamber
music. I have performed as a soloist in the
piano concertos of Grieg and Beethoven and
have given solo piano recitals to audiences
throughout Europe and in the United States of
America. I hold a Licentiate of the Guildhall
School of Music & Drama—Pianoforte
(Performers). My debut album of John Field’s
music was released by RCA Victor (New York)
in 1999. I founded and directed the John Field
Institute from 2006. In 2007 I was delighted
to be awarded ‘Female Musician of the Year’
from Liveireland.com and ‘Female Musician of
the Year’ from Top TIR Awards (Chicago Irish
American News)
Commercially Released Solo Piano Recordings
included:
Featured Guest Artist on ‘Dreams 3: The Most
Beautiful Music in your Dreams’, Universal
Music, 2004
Guest on ‘Coulter and Company’ CD/DVD/
Video, Celtic Collections, 2003
Featured guest artist Miracle Gold, BMG, 2002
Featured guest artist Miracle 4, BMG, 2001
Featured guest artist Miracle Piano 2, Ariola,
2001
Featured guest artist Celtic Visions, RCA
Victor, New York, 1999
Recording of Grieg’s Piano Concerto 1 st
movement for Lyric FM with the National
Concert Orchestra, conductor Prionnsias O’
Duinn, 1999
Solo CD Romantic Themes and Celtic Dreams,
RCA Victor, New York, 1999
Recorded second solo CD Appassionata,
forthcoming
Teaching Interests
Research into teaching and learning is
particularly pertinent to music, given the
multi-faceted nature of music education. My
3

4
timbre music department nui maynooth
experience in analytical research and practical
performance informs my teaching as well as
my research. Topics in modules reflecting this
include performance tradition, performance
practice, editorial considerations, and
interpretive issues.
I spent time as a visiting lecturer in the
University of Oregon, USA and I now
collaborate with Professor Steve Larson at the
University of Oregon on pedagogical research
into teaching Schenkerian music analysis and
we are currently researching Chopin’s cello
sonata as a joint academic project.Following my
supervision of the 2009 Summer Programme
for Undergraduate Research, we initiated an
ongoing research programme for the automation
of music analysis as a teaching tool, involving
the Music Technology, Computer Science and
Music Departments of NUI Maynooth.
As part of my Postgraduate Diploma in Higher
Education I completed an Action Research
project entitled ‘Whose Responsibility is
it? Encouraging Student Engagement in the
Learning Process’. This research aimed to
provide students with improved control and
responsibility of their own learning by engaging
them more fully in assessment, and helping them
to understand the principles behind assessment
criteria. I was encouraged and delighted by the
enthusiastic cooperation of the students who
took part in this research (graduation class of
2010) and the benefit of such an approach was
reflected in their final results.
I presented a paper based on my action research
project entitled ‘Whose Responsibility is
it? Encouraging Student Engagement in the
Learning Process’ at the National Academy
for the Integration of Research, Teaching, and
Learning (NAIRTL) 3 rd Annual Conference in
November 2009 in TCD.
I am an elected Member of the NUI Maynooth
Academic Council 2010–2013 and a member
of the All Ireland Society for Higher Education
(AISHE) Special Interest Group on Action
Research (2009–) and the NUI Maynooth
Project on Large Group teaching (2009–). I was
nominated NUI Maynooth Music Department
Learning Outcomes Fellow in 2009. I have a
Postgraduate Diploma in Higher Education
(2009) and a certificate in Counselling Skills
(2006) from NUI Maynooth, which I feel has
enhanced my ability to help students through
my role as student advisor.
Spotlighting Dr Gordon Delap:
Interdisciplinary Research Activities
Some of the most rewarding and interesting
projects I have worked on over the past few years
have involved conversations between music
and other disciplines. I have been fortunate
to have carried out a considerable volume of
work with authors, video artists, filmmakers
and researchers working on physical modeling
sound synthesis. One of the valuable aspects
of working with electroacoustic sounds, I
think, is that it allows sound art to step more
easily outside of conventional “concert hall”
scenarios.
Most recently, I have been experimenting with
generating visual material for audiovisual
works. Several years ago, I collaborated with
the Belgian video artist Antonin de Bemels.
He was capable of generating what I consider
to be extraordinarily rich and beautiful visual
imagery with which to work, and I gleaned some
useful insights into the process of conceiving
and dealing with visuals through working with
him.
My first work dealing with audiovisual
material, “Under Observation”, was completed
several months ago. I was interested in the idea
of manipulating the activity of liquid droplets
using stop motion technology. Initially, I chose
to employ stop motion because of the high
levels of image quality that the technique might
afford, as well as the capacity to manipulate
inanimate objects that it afforded. Stop motion
is, however, not an entirely pain-free process.

timbre music department nui maynooth
It’s very time-consuming, and for one reason
or another, much of the material generated was
unusable. In these aspects, at least, the process
was much akin to working with electronic
sounds!
I’ve started work on a new audiovisual work,
which explores very different subject matter to
the earlier piece. I’m excited by the prospect of
building on experiments developed through my
earlier work in this area.
Where is the ‘Modern’ in Modern Irish
music? A Personal View
Piaras Hoban (PhD Student)
A recent paper by Irish musicologist Áine Sheil
questioned the apparent absence of political
discourse instigated by productions of opera
in Ireland. The same question might also be
asked of the music of many contemporary
Irish composers. In fact, the rational observer
may even go so far as to ask (chronological
synchronicity aside): ‘What contemporary
relevance does the music being composed in
Ireland have to those who seek it out?’
Recently, audiences in Dublin witnessed the
premiere of a symphony by a composer who,
at least in terms of age and academic standing,
could be considered ‘establishment’. Leaving
aesthetic arguments to one side for a moment,
this should have been an exciting event. The
preceding day’s Irish Times ran a full-page
feature on the composer (an rarity in this
newspaper). What’s more, the concert featuring
the National Symphony Orchestra was free
and took place at lunchtime. For the curious,
there was even an interview with the composer
before the concert.
This is all genuinely praiseworthy and is
exactly the kind of musical activity we need
more of in our cities and towns. In fact, the only
thing wrong with the whole business was the
composer and his music. What we heard was
the music of a composer who has, and this is
with some degree of charity, utterly failed to
engage with musical (or aesthetic or cultural)
thinking post-1930. Of course, the cynical
amongst us might observe that this is exactly
the kind of music orchestras would like to
commission on a regular basis, as it offers few
technical challenges and more or less conforms
to standard practice. But as a culturally literate
and engaged audience, should we not expect
more from our artists?
It would seem that the majority of composers,
of what might be termed an ‘establishment’
(though I hesitate to use this term as it
implies distinction), seem at pains to put as
much distance between themselves and art
as possible. On the one hand, whilst it may
be understandable (if not acceptable) that
composers with comfortable and somewhat
prestigious academic positions might
occasionally exhibit a certain complacency, it
is a wretched indictment of cultural life here
that our composers display such cowardice
of mind (in both imaginative and intellectual
capacities).
The final twist in this particular tale was the
subsequent Irish Times review, conspicuous in
its praise for the recently premiered symphony
in essence rewarding complacency.
The above remarks may seem somewhat
vitriolic, but my overriding emotion leaving this
concert was one of profound disappointment: it
is disappointing to discover such mediocrity of
ambition in one’s forbearers.
Why as a society are we commissioning
composers to write symphonies in which the
only kind of space considered is vertical pitchspace
and in which the rhythmic language is
fundamentally tied to a system of tonality?
(Do we still use public monies to commission
classical marble sculpture?) As we set about
the process of rebuilding this country we need
to think. Perhaps we need some new ways of
understanding and thinking about commissions.
Spotlighting Dr Antonio Cascelli: Research
Activities
My research interests focus mainly on the
history of music theory, with emphasis on
analysis, theory, metaphor and performance,
particularly in nineteenth-century music and
sixteenth/seventeenth century Italian music. I
am currently working on two articles.
The first is an elaboration of the paper that I
5

6
timbre music department nui maynooth
presented the Chopin Symposium that took
place last October here at NUI Maynooth.
The main idea supporting the article is the
literary concept of intertextuality, whose first
application to music has been developed by
the musicologist Kevin Korsyn. Intertextuality
indicates the possibility that the meaning of a
text is not constructed in an empty space, where
the text has no connection to any other text. On
the contrary, meaning is built in collaboration
between texts.
As an example: In our world of global
communication, we build our own identities
through a network of relationships, from the
most obvious family ties to Facebook and
Twitter; the books we read; the movies we
watch; the music we listen to and so on. In
this network, we respond continuously to our
understanding of what is around us. We can
even respond to what we said yesterday, a week
or a year ago. In a similar way, a music text is
a response to another music text (by the same
composer or another).
So in this first article on Chopin, I explore
aspects of intertextuality between Schumann’s
Lied ‘Auf einer Burg’ from his Liederkreis op.
39 and Chopin’s Prelude Op. 28, no. 2 in A
minor. A review written by Schumann in 1839
is evidence that Schumann knew Chopin’s
Preludes Op. 28 well. Using Schumann’s
own review as a guideline, it is possible to
recognise links between the two compositions.
Schumann’s Lied thus becomes a linked
response to Chopin’s Prelude.
In the second article I discuss the way that
Claudio Monteverdi prepares and uses cadences
in the first three madrigals from his Fifth Book
of Madrigals, published in 1605. In particular
I analyse how cadences on different pitches
highlight the emotional and narrative plots
of the madrigals; they create what the music
scholar Susan McClary defines “trajectory of
desire”, a trajectory that runs through the three
madrigals, forming a single theatrical scene.
Listening as Research
Dr Martin O’Leary
For a composer, the most important thing
is, in my opinion, to listen to as much music
as possible. One can learn (and appropriate
ideas) from any music one hears, and solutions
to compositional problems may come from
surprising angles. It is important, I feel, to listen
to as many different types of music as possible.
To a composer, the surface sound world, though
important (especially where taste is concerned)
is not the only area of interest. A technique, a
formal strategy or an aesthetic stance – as well
as the sounds – can act as a creative stimulus,
whether the reaction is positive or negative. It
is important for a composer to know what one
doesn’t want to do as well as what one does.
My listening is usually quite varied – I like
to be constantly surprised by what the music
presents. The consort music of Christopher Tye
has impressed me with its striking approach
to dissonance – absolutely fearless, and based
on a contrapuntal mastery that is breathtaking.
It also intrigues me that all his twenty-one
‘In Nomines’ - based as they are on the same
cantus firmus usually played at the same pitch –
can be heard as a (very) large set of variations –
almost on the ‘Diabelli’ scale. So a large number
of relatively small scale pieces can be heard to
form a larger whole, while still retaining their
individual character.
I have also been listening to the Unplugged
session by Alice in Chains – in particular a song
called ‘No excuses’. I like the idea of a song
stripped down to its essential harmonic and
melodic content, and the starkness and beauty
of the writing emerges very clearly. This song
makes the most out of its material and the craft
is something I can admire, and strive to emulate
in my own (very different) sound world.
A Mendelssohn cantata movement (from ‘O
Haupt voll Blut und Wunden’) offers a striking
use of augmentation within a chorale preludelike
structure. As each line of the chorale
melody is sung in turn by the four choral parts,
the last occurs at twice the note values of the
preceding entries (usually in the basses). How
this affects the pacing within the piece is one of
the most fascinating things – how Mendelssohn
manages to offset the latent danger that each
augmented entry will slow the piece up is
one of the wonders of this movement. It is an
interesting thing to abstract from the piece as a
compositional task – to use augmentation (and

timbre music department nui maynooth
why not diminution as well?) within a piece
while maintaining one’s grip on the pacing of
the musical events.
Some, all, or perhaps none, of these ideas may
bear fruit in a future compositional project. One
can always be influenced consciously – and
unconsciously – by one’s listening. The great
thing is that we- as listeners – will never run out
of music to listen to!
Editor’s Notes
This is a new (and regular) final column in
Timbre by Dr Jesse Ronneau.
‘What do you know?’
Dr Jesse Ronneau
As a young undergraduate student I became
a bit concerned about how the world worked.
In the world of music, academia and the arts,
the old adage it’s who you know, not what you
know never seemed to be more true.
I noticed the same young composers were
selected for spotlight performances, the same
young theorists presented year after year;
place after place. It wasn’t because their ideas
were more advanced then anyone else’s. It all
seemed to come down to the fact that they
knew ‘so-and-so’ or studied at ‘University X’.
I became concerned that at my ripe old age
of 21 I might never break into the worlds I
wished to inhabit. I didn’t know X, wasn’t
nationality Y or could not afford University Z.
Then, as I entered my post-graduate studies,
a simple axiom dawned on me: it’s what you
know that determines who you know.
This simple realization led me to the
conclusion that I must continually broaden
my field of study. Yes I would still study my
theory, music history and composition. But
I could not isolate myself in the cocoon of a
Music Degree. Even within the Degree I must
not isolate myself into one stream of thought
or practice. I intentionally set out to devour
as much knowledge as I could. My depth and
breadth of knowledge increased exponentially
during my studies. My aesthetic sensibilities
matured through considered critical
contemplation. I expanded into electronic
music (a field I had never previously taken
to) simply to see what it had to offer. This
exposure opened my ears and eyes to a whole
new chest of tools. It led to an entire new set
of interests; fields of study; interpretations of
history; and opportunities to present my work.
I began improvising thus putting me in
direct contact with a variety of instruments,
instrumentalists and music-making. More
areas of inquest opened; more opportunities
to connect to the larger world appeared.
I read contemporary philosophical and
aesthetics treatises. I closely followed
trends in other art forms to gain a different
aesthetic perspective. I studied languages
and etymologies to see where ideas of
representation intersect and where they differ.
With this constant grazing I found it easier
and easier to engage with complete strangers
at concerts, festivals and conferences.
More excitingly I found engaging with the
‘superstars’ of my field was not a jittery fiveminute
cup of coffee trying not to say too much
so as not to make a fool of myself. Instead I
could easily hold long and in-depth discussion
between intelligent, passionate experts in
Composition, Performance, Musicology, etc.
etc.
Most importantly I connected with a large
swath of composers and performers of my
generation. Connecting meaningfully with
these individuals was possible not because we
are close in age but because I know something
about their homeland, or I know a bit about
the inner workings of a piano. At this point
I began to be asked to present papers at
conferences; my music began to be played
around the globe. I was an insider.
Now I am not saying I am an expert in all
fields - believe me - not even remotely close.
But a very limited understanding of Japanese
influence on some contemporary music led
to an interesting series of contacts with a
well-established composer. These contacts
eventually led to a fellowship in Germany.
It was a limited amount of exposure to
arcane Greek mythology that led to a lasting
association with a well-established composer
and conductor in Vienna. My awareness of the
difficulties in accurately translating German
sarcastic texts into English led to a long
lasting friendship that eventually cracked the
door open to my first position here in Ireland.
Everything we do can be informed by
everything we know. By attempting to infuse
7

8
timbre music department nui maynooth
cross-knowledge into my works I hope pieces
become interesting and engaging. The more
engaging they become, the more they get
performed. Thus I get to hear them more and
learn more from them. The more other people
hear my works the more interesting people I
come in contact with; people who might teach
me a thing or two about Hawaiian Ukulele
Music or Fast Fourier Transforms.
There are plenty of talented composers,
musicians, and academics out there. Talent
combined with a broad perspective of subjects
and honed skills of lateral thinking is rare.
The various subjects studied at University
often seem to be unhinged from one another.
The last thing one might want to do after a long
day of lectures is read or think more. However,
these taught disciplines and specialisms do
not exist in vacuums. They are not creatures
isolated in specimen jars. They should...they
must...interact with each other. They must
interact in our thoughts, in our opinions, in
our discourse and in our work. Otherwise they
are simply trivia for the initiated.
Just a little effort into seeing, knowing,
understanding, or even simply being aware
of the broader world and its sinews pays off
quickly.
A drop of water can become a lake over time.
So, what do you know?
The next issue of Timbre will focus on a sample of
the research activities and interests of the large and
diverse postgraduate community within the NUI
Maynooth Music Department.
Timbre the Newsletter of the Music Department,
NUI Maynooth seeks submissions from students
(articles,reviews, profiles, etc.)
Please contact Dr Jesse Ronneau for further details of
the submission process: jesse.ronneau@nuim.ie
Contact Us:
Music Department
Room 56d Logic House,
National University of Ireland Maynooth,
Maynooth,
Co. Kildare
Tel: +353-1-708 3733
Fax: +353-1-628 9432
http://music.nuim.ie/