Dr John McGrath


Lecturer in Music
BA Hons, BMus Hons (UCD); MPhil (Trinity); PhD (Liverpool); FHEA.
+44 (0)1483 685826
41 PA 01

Biography

Areas of specialism

Popular Music Studies, Performance, Word and Music Studies, Practice as Research, Cross-Disciplinarity, Aesthetics, AV Media, Samuel Beckett, Avantjazz, Experimental Music, Guitar, Repetition Theory, Folk / Avantfolk, Improvisation

In the media

2018
Review of my monograph in Irish Studies Review Vol..26
Irish Studies Review (peer-reviewed journal)
BBC Radio Surrey interview reegarding the BBC's decision to ban Michael Jackson's music in light of documentary controversy.
Academic Commentator
BBC Radio Surrey

Research

Research interests

Research collaborations

Indicators of esteem

  • “McGrath’s book is salutary in flagging the deliberately jarring tactics of the avant garde, and getting the reader to grasp what remains permanently uncanny about our pleasure in Beckett and Feldman’s exploration of both the playful humour and subtle queasiness to be found within their repetitive forms” – Drew Daniel, The Wire

  • “a valuable addition for the critical insights it provides through meticulous analyses.” Michael Palmese, Irish Studies Review

  • “Samuel Beckett's experiments at the intersection of music and literature are among the most unique and interesting of their kind. McGrath's study contributes new elements to our understanding of Beckett's work in this area, particularly in its potential to enrich the thinking of musicians and composers. Not "just" a book on Beckett, it makes Beckett the starting point for a number of fruitful meditations on repetition, representation, improvisation, and structural experimentation in the arts. The chapters on Morton Feldman and Scott Fields are especially welcome in this regard.” - Eric Prieto, University of California, Santa Barbara

  • "a wonderful new book ... McGrath dives deep into the musicality of Beckett’s work and how it has shaped certain aspects of modern music, focusing mainly on the works of Feldman and the guitarist Scott Fields. McGrath’s book isn’t the first to deal with music and Beckett, but it is an important step forward in that area." - David Menestres, Burning Ambulance

  • "In sum, Samuel Beckett, Repetition and Modern Music benefits from having been written by someone who is as at home with music studies as he is with literature, as is evident from the wide-ranging references to historical and geographical musics with which the text is sprinkled. In all of this McGrath’s tone is just right and the discussion convincing. At no point is the impression given that literature or music have the upper hand over the other as the centre of discussion or in the author’s priorities...the text moves dynamically from one issue to another, shifting registers easily and profitably between the historical and the contemporary and trading cultural references, ‘high’ and ‘low’, so to speak, from James Bond and Batman to Joyce and Birtwistle, across several aesthetic media including film, pop, and commercial culture, in the playful course of which McGrath offers his clearly distilled and pertinent reflections. This is a study of great erudition that demonstrates admirable facility and awareness of a wide range of related fields, all of which are related to one another very much in the spirit of the topic. The text is supported by a generous number of figures and musical examples and is without doubt an important contribution to the field of Word and Music Studies." - Edward Campbell, Music & Letters

My publications

Highlights

Samuel Beckett, Repetition and Modern Music (London & New York: Routledge: 2018). ISBN: 978-1472475374.

Publications

(2020). “Conservative Purism and the Aesthetics of Popular Music in Folk Horror” in Haunted Soundtracks: AV Cultures of Memory, Landscape and Sound, Kevin Donnelly and Aimee Mollaghan eds. (forthcoming).
(2020). "On (vari)speed across David Lynch's Work" in Transmedia Directors: Sound, Image and the Digital Swirl, Carol Vernalis, Holly Rogers and Lisa Perrott eds. (Bloomsbury).
(2019). “How does a story get told from fractured bits?”: Laurie Anderson’s transformative repetition” in The Bloomsbury Handbook to Popular Music Video Analysis, Lori Burns and Stan Hawkins eds. (Bloomsbury).
(2019). Scott Walker: singer turned avant-garde composer spanned pop and classical music (The Conversation).
(2019). Original Composition: Wake and Whisper (Crooked Stem Recordings).
(2018). Monograph: Samuel Beckett, Repetition and Modern Music (London & New York: Routledge). ISBN: 978-1472475374.
(2018). Liner notes: Scott Fields, "Barclay" (Ayler Records).
(2018). Performance: Solo guitar, Kings Place, London.
(2015). Book review: “Beckett and Musicality. Ed. by Sara Jane Bailes and Nicholas Till”
Music and Letters 2015 96 (4): 681-683, doi: 10.1093/ml/gcv097.
(2012). “Musical Repetition in Samuel Beckett’s Ill Seen Ill Said”, in Time and Space in Words and Music, ed. Mario Dunkel, Emily Petermann and Burkhard Sauerwald (Frankfurt am Main: Peter Lang), pp.31-42.
(2012). Book review: “Mervyn Cooke (ed.), The Hollywood Film Music Reader and Tom Hoover, Keeping Score: Interviews with Today’s Top Film, Television, and Game Music Composers”, in Music, Sound, and the Moving Image 6:2, pp.245-251.
(2012). Conference review: “RMA Students’ Conference: Hull, 5-7 January 2012”, in RMA Newsletter XV: 1.