Professor of Music
+44 (0)20 7919 7446
Simon McVeigh is a musicologist specialising in London concert life, 1700-1945, and in violin music and performance practices of the eighteenth and nineteenth centuries. Following doctoral studies at Oxford University he took up a lectureship at the University of Aberdeen before joining the Music Department at Goldsmiths in 1980. He was appointed Professor of Music in 1997 and was Head of Department from 1997 to 2000. From 2001 to 2013 he was a member of the College’s Senior Management Team, initially as Pro-Warden (Research and Enterprise) and then Deputy Warden responsible for academic development and international strategy.
His research interests as a musicologist are in London concert life, 1700-1945, and in violin music and performance practices of the eighteenth and nineteenth centuries. Formerly editor of the RMA Research Chronicle, he is currently a Strategic Reviewer for the Arts and Humanities Research Council, and Deputy Chair of Sub-panel 35 for the Research Excellence Framework 2014.
In addition, he is a violinist, baroque violinist and conductor, directing the London Mozart Players and the Hanover Band in concerts and recordings. A governor of Trinity College of Music from 1998 to 2005, and now of the Royal Central School of Speech and Drama, he was made an honorary Fellow of the Royal College of Music in 2007.
Simon McVeigh has supervised a wide range of research topics from the eighteenth to the twentieth centuries, primarily relating to British musical life and to violin music. He would be happy to hear from doctoral students interested in discussing possible topics for supervision.
Current students’ research areas include late eighteenth-century English song, the violin concerto around 1800, the nineteenth-century piano and the Great Exhibition, and the English flute school from Nicholson to Morris.
Calendar of London Concerts 1750-1800
advertised in the London daily press
The calendar database is now freely available online here in both a universal csv format and as a formatted xls spreadsheet to be read in Excel. The calendar contains records of nearly 5,000 concerts, advertised in London daily newspapers from 1750 to 1800: subscription concerts, benefits, oratorio performances, meetings of musical societies, concerts at the principal gardens. Information on concert programmes is provided where known, with editorial standardization of names, genres and instruments. Accompanying the two spreadsheets are an information sheet and a list of abbreviations, including editorial identification of names.
‘The Impact of “Impact”: Music Research and its Publics’, Royal Musical Association Annual Conference: Horizons, University of Sussex (16 July 2011)
‘Influence and Anxiety: Music in Edwardian Britain Revisited’, Expressions of Britishness: Music and the Arts in the Twentieth Century, Conference at the Institute of Musical Research (11 January 2013)
Following his widely-cited book on London concert life in the late eighteenth century (Concert Life in London from Mozart to Haydn) and the associated Calendar of London Concerts 1750-1800, his research on music in Britain is now largely focussed on the period around 1900. The AHRC-funded project ‘The Transformation of London Concert Life, 1880-1914’ (in collaboration with Leanne Langley and the late Cyril Ehrlich) has led to numerous publications, including a major reassessment of the first decade of the London Symphony Orchestra, in the Journal of the Royal Musical Association. He is also contributing to the Concert Life in 19th-Century London Database and (with Peter Lynan) preparing an edition of Arne’s oratorio Judith for Musica Britannica.
The early eighteenth-century Italian concerto was the subject of a large-scale project with Jehoash Hirshberg, resulting in The Italian Solo Concerto 1710-1760: Rhetorical Strategies and Style History and an extensive programme of editing of violin concertos by Tessarini, Zani and others. Related publications include contributions to two recent Cambridge Histories: Eighteenth-Century Music and Musical Performance.
He is a frequent contributor to radio and TV, advising and appearing on the Haydn programme in the highly regarded BBC2 series ‘The Birth of British Music’ and contributed to the BBC4 Series ‘Music, Mischief and Morals in the 18th Century’.
Content last modified: 29 Jul 2014
Goldsmiths, University of London, New Cross, London, SE14 6NW, UK
Telephone: + 44 (0)20 7919 7171
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