Dr Martyn Shaw

Senior Lecturer: Classical Music



Job Title: Principal Lecturer

Courses Taught: BA (Hons) Music (Classical)

Specialisms: Historical Performance Practice

Dr Martyn Shaw (PhD, MMusRAM, FHEA, BMus(Hons), PGCE, AGSMD(P), LGSMD(T)) is a Principal Lecturer for the BA (Hons) Classical programme and specialist in historical performance practice. Martyn teaches flute and other performance related modules.

Martyn studied at Chetham’s School of Music before accepting a place at the Trevor Wye Studio, funded by a Graucob Award. He continued his studies at the Guildhall School of Music and Drama, and was subsequently awarded a double entrance scholarship by the Royal Academy of Music, where he completed the Masters programme. Martyn studied modern flute with Edward Beckett, Sam Coles, Michael Cox, Kate Hill, Paul Edmund-Davies, Averil Williams and Trevor Wye, and Baroque and Classical flutes with Lisa Beznosiuk, Rachel Brown and Stephen Preston. Alongside his work at the conservatoire, Martyn is Assistant to the Head of Woodwind at Chetham’s School of Music. He is also a fellow of the Higher Education Academy.

As a flautist Martyn has freelanced with several leading ensembles including English Touring Opera, Orchestra of the Age of Enlightenment, London Handel Orchestra, Ex Cathedra, Armonico Consort, English Scholars, the Eighteenth Century Concert Orchestra and Welsh Baroque. Martyn’s latest recording ‘The Nicholsonian Effect’ was released on the Omnibus Label in June 2016.  The disc features works for ‘Nicholson’s “Improved” Flute’ and pianoforte, from nineteenth-century England. Also included on the recording is Martyn’s own edition of  Hummel’s D major flute sonata op.50. Martyn performs on an original T. Prowe (Junior) flute (c.1839) together with LCoM staff pianist Jonathan Gooing.

Martyn completed his PhD (performance practice) at the University of Birmingham in 2014.  His doctoral research focused on the use of ‘tone’ in early nineteenth-century English performance practice. The research uniquely assesses the interrelationship which existed between performance, pedagogy and instrumental design in the work of Charles Nicholson (1795-1837), England’s first concert flautist and one of the key figures at the Royal Academy of Music at its inception in 1822.  It represents the first detailed study of the form and function of tone-colour, ‘vibration’ (vibrato) and the glide (flute portamento) within the performance practices of the period. He carried out a spectral analysis of the distinct tone-colours used by early nineteenth-century musicians before applying these in practice. Martyn is a past recipient of the British Land Award (2003), Jean Vincent Award (Dalcroze Society UK) and winner of Barber, Barton, Cunningham, Goldsborough, Jerwood and MBF scholarships. Martyn has presented academic papers, research seminars and lecture recitals, and chaired sessions for the Performance Studies Network, Royal Musical Association, Society for Musicology in Ireland, International Conference on Nineteenth-Century Music, at the Universities of Birmingham, Edinburgh, Hull, Leeds and at the Dublin Conservatory of Music and Drama.



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