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

Conference Presentations

‘”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, https://www.surrey.ac.uk/arts/music/20170911-icmsn-surrey-mac-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, https://oldisnew2016.wordpress.com/ )

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, http://music-essence.lmta.lt/ )

‘Berio’s Sinfonia and the “Death” of Modernism’
Envisioning Modernity, (Durham, 11 March 2014, https://www.dur.ac.uk/music/research/events/envisioningmodernity/ )


Area of proposed thesis

William’s thesis, supervised by Prof. Daniel Grimley, seeks to develop 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

The String Quartet After Beethoven (2016/2017)