William Drummond

Research Interests

  • Theories of musical arrangement, transcription, and recomposition
  • Music and listening
  • Phenomenology
  • The music of Gérard Pesson
  • Music and temporality
  • Noise, timbre, and extended performing techniques

William is an active member of the TAROT (Transcription, Arrangement, Recomposition, Orchestration, Translation) study group (https://tarotmusicology.wordpress.com/about/).

Conference Presentations

‘Transcription of and as (Mahler) Reception: Embarrassment, Nausea, and Gérard Pesson’s Adagietto’, Eleventh Biennial International Conference on Music Since 1900 (Huddersfield, 8-10 September 2019)

‘Arrangement and Analytic Philosophy: A Music(ologic)al Response’, Seventh Biennial Conference of the Music and Philosophy Study Group (King’s College, London, 11-12 July 2019)

Nebenstück, Nostalgia, and Noise: Rethinking Metaphors of Depth in Musical Arrangements’, part of the themed session A Post-Brahmsian Musical Future: Echoes, Resonances, and Spectres, 54th Annual Conference of the Royal Musical Association (Bristol, 15 September 2018)

‘Reimagining Musical Reimaginings: a Roundtable on the Study of Transcriptions and Arrangements’, 54th Annual Conference of the Royal Musical Association (Bristol, 14 September 2018)

Roundtable ‘Thinking Through Musical Arrangement’ (with Prof. Helen Abbott, Prof. Daniel Leech-Wilkinson, and Prof. Laura Tunbridge) at Rethinking Musical Transcription and Arrangement (Cambridge, 19 May 2018)

‘Analysing erasure: Gérard Pesson’s Wunderblock‘, Theory and Analysis Graduate Students‘ (TAGS) Conference, (Society for Music Analysis) (Durham, 7-8 April 2018)

‘”Following step by step”: Pesson’s Ambre Nous Resterons and arrangement as temporal re-presentation’, part of the panel ‘Déjà entendu? Approaching Musical Arrangements and Reworkings’
10th Biennial International Conference on Music Since 1900 and Surrey Music Analysis Conference (Guildford, 11-14 September 2017)

‘Presence and (Anti)monumental Seduction in Pesson’s ‘Erasure’ of Bruckner’s Sixth Symphony’
Old is New: The Presence of the Past in the Music of the Present (Lisbon, 24-26 November 2016)

Ambiguities of Listening: Essence and Context in the Arrangements of Gérard Pesson’
Essence and Context: A Conference Between Music and Philosophy (Vilnius, 31 August-3 September 2016)

‘Berio’s Sinfonia and the “Death” of Modernism’
Envisioning Modernity, (Durham, 11 March 2014)

Area of proposed thesis

William’s thesis, supervised by Prof. Daniel Grimley, develops a critical framework for the study of musical arrangement, transcription, and recomposition. These theoretical explorations are advanced through close readings of examples by the French composer Gérard Pesson (born 1958). In particular, the thesis examines the how such arrangements engage with concepts of listening, musical temporality, and the re-negotiation of meaning.




Christ Church Stone Scholarship
Clarendon Fund

Subjects Taught

Music History (Prelims, FHS topics in music history after 1700)

Music Analysis (Prelims, FHS musical analysis and criticism)

Musical Thought and Scholarship

Additional Freestanding Courses:

Introduction to Post-Tonal Analysis

Music and Nationalism