output & appointments

PUBLICATIONS

K. Whitney (forthcoming). “Following performance across the research frontier”, in M. Dogantan-Dack (Ed.), Artistic Practice as Research in Music: Theory, Criticism, Practice. Farnham: Ashgate.

Charlotte Krahé, Ulrike Hahn, and Kathryn Whitney (2013). Is seeing (musical) believing? The eye versus the ear in emotional responses to music. Psychology of Music 0305735613498920, first published on October 8, 2013 doi:10.1177/0305735613498920

Whitney, K. (2003). Schoenberg’s” Single Second of Maximum Spiritual Excitement”: Compression and Expansion in” Erwartung”, Op. 17. Journal of Music Theory, 47(1), 155-214.

“The Score 3 (vi) History: 1945”, The New Grove Dictionary of Music & Musicians, 22, ed. S. Sadie (Macmil-
lan, 2001), 900-905.

NEW MUSIC CREATION

WORLD & NATIONAL PREMIÈRES
(Select. Have performed 40+ premières. *Denotes written for Kathryn)

Commissioning and first performance funding secured from Arts Council of England, Ralph Vaughan Williams Trust, PRS Foundation UK, Oxford City Council, University of Oxford, Wolfson College, Oxford, the Canada Council for the Arts, the British Columbia Arts Council.

Nick Fairbank (Canada, SOCAN), Le Rossignol (2012)*. Song cycle, voice, organ, flute. Text: Fairbank
2012, World première (Victoria, Canada).

Stephen Chatman (Canada, SOCAN), You are Happy, (1998). Song cycle. Poet: Margaret Atwood.
2011, British première (Cardiff); Italian première (Ischia); Portuguese première (Aveiro).

David L. McIntyre, (Canada, SOCAN), ‘Waiting’ (2006); ‘Bird of Dawning’ (2001); ‘Shall I Compare thee to a
Summer’s Day?’ (2008). Solo songs. Poets: Kenneth Vaughan; Shakespeare; Shakespeare.
2010, British première (Cardiff); Italian première (Ischia).

David L. McIntyre, (Canada, SOCAN), ‘How do I Love Thee’ (2008)*. Song. Poet: Elizabeth Barrett Browning.
2010, British première (Cardiff); Italian première (Ischia); Saskatchewan provincial première, with the
composer at the piano (Regina); 2009, World première (Victoria, Canada).

David Loeb (USA, Mannes), Interim (2003). Song cycle for voice & lute. Poet: Dorothy Livesay.
2009, World première (Metchosin, Canada).

John Caldwell (UK), La Subida del Monte Carmelo (2006-2007)*. Song cycle. Poet: St Juan de la Cruz.
2009, Canadian première (Victoria); 2008, World première (full cycle) (Oxford).
2007, Word premiere, “En una noche oscura” (song 1), (Oxford).

Luke Nickel (Canada), Jack and his Jillions. Opera. Libretto by James Nickel. Role: Smoulder.
2008, World première (Winnipeg, Canada).

Susan Wollenberg (UK), Alles auf der Welt ist Wandel (2005-2006)*. Song cycle. Poets: various German.
2007, World première (full cycle), with the composer at the piano (Oxford); 2006, World première (songs 1-4), with the composer at the piano (Oxford).

Lorna Paterson, (Canada), Three Songs (2004)*. Song cycle. Poet: Sylvia Plath.
2005, World première (Victoria, Canada).

John McCabe, CBE (UK), Heloise to Abelard (Novello & Co., 2005). Scena. Text: John McCabe.
2005, Canadian première (Nanaimo); 2005, World première (Oxford).

Susan Wollenberg (UK), The Survivor (2001-2003)*. Song cycle. Poet: Primo Levi.
2005, London première, with the composer at the piano (St John’s Smith Square); 2004, World première, with the composer at the piano (Oxford).

PUBLIC PRESENTATION

2013 Canadian University Music Society Conference, University of Victoria (June)
Lecture-recital: ‘Singing in duet with the listener’s voice: A dynamic model of the joint shaping of musical content in live concert performance”. (Charlotte Hale, piano)

2013 Performance Studies Network Conference, Cambridge University (April)
Lecture-recital: ‘Singing in duet with the listener’s voice: A dynamic model of the joint shaping of musical content in live concert performance”. (Gavin Roberts, piano)

2013 4th Annual Meeting of the SongArt Performance Research Group, Royal College of Music, London (January) “Performing Goethe’s Mignon”. Experimental performance workshop. Participants: Amanda Glauert (RCM), Paul Barker (Central School of Speech & Drama), Alban Coombs (RCM), Kathryn Whitney (Institute of Musical Research), Louise Gibbs (jazz singer, Leeds)

2012 Schubert Institute, London. 20th Anniversary Schubert & Goethe Study Day (November).Lecture-recital: “Performing Goethe’s lyric through Schubert’s lyric songs.” With Amanda Glauert (Sholto Kynoch, piano)

2012 Music & Shape Conference, AHRC Centre for Music Performance as Creative Practice,
Institute of Musical Research, School of Advanced Study, London (July)
Lecture recital: “Shaping Liveness in Song Performance: a performer-audience paradigm”

2012 3rd Annual Meeting of the SongArt Performance Research Group, Institute of Musical Research
London (June) “Lyric Song in Idea and Performance”. One-day conference featuring speakers from
Britain, the USA, Canada, and Finland. Organiser and Convenor: Kathryn Whitney. Keynote: Amanda Glauert (RCM). Respondents: Paul Barker (CSSD), Natasha Loges (RCM)

2012 Music & Shape Conference, AHRC Centre for Music Performance as Creative Practice,
Institute of Musical Research, School of Advanced Study, London (July)
Lecture recital: “Shaping Liveness in Song Performance: a performer-audience paradigm”
(Chris Hopkins, piano)

2012 Visiting Fellowship Workshops, “Shaping Liveness in Song Performance” in association with the
AHRC Centre for Music Performance as Creative Practice, King’s College, London.
Series of three public experimental song performance workshops (June, July):
1. Shaping Liveness in Song Performance: a performer-audience paradigm
2. The Morphology of Liveness: performer-audience interaction in live vs. video recorded
song performance
3. The Mechanism of liveness: audience expressivity and the shaping of musical content in live vs.
video recorded song performance
Respondents: John Sloboda, John Rink, Daniel Leech-Wilkinson. Pianists: Gavin Roberts, Chris Hopkins

2012 Love to Death: Transforming Opera Conference, Cardiff University/ Wales National Opera House
“Millennium Centre”/ Royal Musical Association (May)
Lecture-recital: “Aesthetic transfer in live performance: singing in duet with the audience’s voice.”
(Caradog Williams, piano)

2012 IMR/CMPCP Seminars, (May), School of Advanced Study, University of London
Lecture-recital: “‘Liveness’: a quality, a platform, an essential creative space in notated music.”
(Sholto Kynoch, piano)

2011 RMA Music & Philosophy 1st Annual Conference, King’s College, London (July)
Lecture-recital: “What kind of thing is liveness?: preliminary answers from the interior of an
operatic voice.” (Edwige Herchenroder, piano)

2011 Canadian University Music Society Conference, Mt Allison University, New Brunswick (June)
Paper: “Inside song performance: mapping the interior of the performative act.”

2011 PERFORMA Conference in Performance Studies, University of Aveiro, Portugal. (May)
Lecture-recital: “What kind of thing is liveness?: preliminary answers from the interior of the
performative act.” (Helena Marino, piano)

2011 2nd Annual Meeting of the SongArt Performance Research Group, Institute of Musical Research,
London (May) Study Day: Inside Song Performance: mapping the interior of the performative act
Organiser: Kathryn Whitney; Convenor: Amanda Glauert
Respondents: Paul Barker (CSSD), Amanda Glauert (RCM)

2011 Canadian University Music Society Conference, Mt Allison University, New Brunswick (June)
Recital: “Coastal Voices: songs of Alasdair MacLean and Stephen Chatman” (David Rogosin, piano)
Paper: “Inside song performance: mapping the interior of the performative act.”

2011 SongArt Performance Research Group Study Day, Institute of Musical Research, London (May)
Inside Song Performance: mapping the interior of the performative act
Lecture-recital: “Inside Song Performance: structured or unstructured space?”
(Sholto Kynoch, piano)

2011 University of Bristol Department of Music: Graduate Research Seminar (March)
Lecture-recital: “Is (art song) performance creative?: conflicting perspectives from the interior of
the performative act.” (Paul Israel, piano)

2011 Royal Welsh College of Music & Drama: Symposium: Words & Music in the 17th century (February)
Lecture-demonstration 1: “Poetry in performance as time travel”
Lecture-demonstration 2: “Performance as existence” (with student singers, instrumentalists)
Lecture-demonstration 3: “Performance as belief and symbol” (with student singers,
instrumentalists)
Collaborating colleagues: Dame Emma Kirkby, Judy Tarling.

2010 Canadian University Music Society Annual Conference, University of Regina (June)
Recital: “Mediations on Love & Grace: songs by Elizabeth Raum & David L. McIntyre” (David L.
McIntyre, piano)
Paper: “Performativity, poetry and creation: in search of a language of live art song performance.”

2010 SongArt Performance Research Group Study Day, Institute of Musical Research, London (May)
Performativity, Poetry, Creation: Investigating the creative space of live song performance
Organiser and Convenor: Kathryn Whitney. Respondent: Amanda Glauert

2010 SongArt Performance Research Group Study Day, Institute of Musical Research, London (May)
Performativity, Poetry, Creation: Investigating the creative space of live song performance
Lecture Recital: “Performativity, Poetry Creation: the creative space of live art song performance.”
Sholto Kynoch, piano)

2006 Royal Academy of Music, London: Lyric Song Salon (September)
Lecture-recital: “Songs of Survival: a performance of music on the theme of Holocaust survival,”
(Susan Wollenberg, piano & composer)

2006 Oxford Lieder Festival (October)
Pre-concert talk: “Constructions of Englishness in Walton’s A Song for the Lord Mayor’s Table”
Pre-concert talk: “Wagnerian visions, comedy and tragedy: a view on Wolf’s Italienisches
Liederbuch”

2004 Wolfson College, University of Oxford: Creative Arts Fellow Research Events (May)
Lecture-recitals: “Reclaiming Müller’s Die Winterreise”: a series of two experimental performance
of Schubert’s Winterreise, with the songs reordered to reflect the poet Müller’s 1824 publication.
With Professor Suzannah Clark (Harvard) Schubert specialist

2004. Recording: An Autumn Evening of English Song, with Peter Smith, piano.
Songs by Vaughan Williams, Stanford, Butterworth, Britten and Sterndale Bennett.

2004 Oxford Lieder Festival (October)
Pre-concert talk: “He isn’t listening: the unacknowledged knowing presence in Schumann’s Dichterliebe”

2004 Oxford Song Evenings Concert Series (April, May)
Pre-concert talk: “The voice of the beloved in Schumann’s Dichterliebe”
Pre-concert talk: “Berg’s 7 frühe Lieder: window to the new century”

APPOINTMENTS

2013 Co-Artistic Director (with Brian Wismath), Summer Academy Choral Program, Victoria Conservatory of Music. 7-day full-time choral instruction in full-choir and chamber choir singing

2012-15, Associate Fellow, Institute of Musical Research, School of Advanced Study, University of London

2012- Visiting Choral Clinician, British Columbia Choral Federation
Healthy Singing Workshops for community choral singers throughout British Columbia.

2012 Visiting Fellow (Artist in Residence) AHRC Centre for Music Performance as Creative Practice
(King’s College, London, University of Cambridge, University of Oxford, May-July)
Designed and performed a series of song performance workshops in London in collaboration
with performance studies researchers, and music psychologists.
Colleagues: Daniel Leech-Wilkinson, Helen Prior, Matts Küssner (King’s)

2010, 2011 Visiting Research Fellow, Institute of Musical Research, School of Advanced Study, London
Hold song performance workshops with singers, pianists, and theatre professionals.
Founded and co-direct SongArt Performance Research Group (www.songart.co.uk)

2010- Founder and co-director (with Amanda Glauert), SongArt Performance Research Group (www.songart.co.uk). International cross-disciplinary research group based in the Institute of Musical Research, School of Advanced Study, University of London.

2010- Voice Faculty, Victoria Conservatory of Music, Canada

2010- Faculty Member, Summer Oratorio Program, Victoria Conservatory of Music
Teach singing, early music performance practice, give coachings and masterclasses. Colleagues: Nancy Argenta, Daniel Taylor, Lawrence Cummings, Catherine Wyn-Rogers, Stephen Devine, Noemi Kiss

2009-11 Walton Fellow (Artist in Residence), Royal Welsh College of Music & Drama, Cardiff
Gave song interpretation postgraduate seminars, undergraduate masterclasses.
Performed concerts of William Walton’s solo songs in Wales, England, Canada and Italy
Creating web resource on solo songs of William Walton: http://waltonssongs.org.

2008 Visiting Faculty Member, Vancouver International Song Institute
Lecture-recital on song interpretation with Robert Holliston, piano.

2006 Faculty Member, Viva Voce Teen Summer Vocal Academy, Victoria Conservatory of Music

2006-8 Stipendiary Lecturer in Music, Lady Margaret Hall & Brasenose College, University of Oxford
Taught music history & aesthetics 1600-present, gave singing lessons to undergraduates.
Course administration, pastoral care. Interviewed undergraduates for Oxford admission.

2007 Visiting Artist, St Hilda’s College, University of Oxford
Masterclasses for undergraduate singers. Recital performances.

2007 Visiting Artist, Royal Welsh College of Music & Drama, Cardiff, Wales
Masterclasses on English song interpretation to undergraduates & postgraduates.

2006-7 Stipendiary Lecturer in Music, New College, University of Oxford
Taught music history c.1600-present, 1st year analysis.
Course administration, pastoral care. Interviewed undergraduates for Oxford admission.

2002-5 Creative Arts Fellow (Artist in Residence), Wolfson College, University of Oxford
Gave three 90 minute song recitals per year for three years. Ran monthly concert series.

2001-3 College Supervisor in Music for 7 colleges, University of Cambridge
Taught 19th-century vocal music and 19th- to 20th-century instrumental music.

2001-2 Academic Studies Lecturer, Royal Academy of Music, London
Taught seminars on musical modernism to undergraduate and postgraduate performers.

1998-2001 Departmental Lecturer, University of Oxford Faculty of Music
Lectured on 20th-century music to undergraduate cohort.

1996-2001 Stipendiary Lecturer in Music, Worcester College, University of Oxford
Taught music history & aesthetics, 1600-present, gave masterclasses and singing lessons.
Course administration, pastoral care. Interviewed undergraduates for Oxford admission.

1995-96 Stipendiary Lecturer in Music, Christ Church, University of Oxford
Taught music history & aesthetics, 1800-present. Course administration, pastoral care.