Professor Stephen Goss


Professor of Composition and Director of the International Guitar Research Centre
BA (Hons), MMus, PhD, LRAM, ARAM, FRAM
+44 (0)1483 686504
43 PA 01
I work part-time at the University, usually Tuesdays and Wednesdays

Academic and research departments

Department of Music and Media.

Biography

Areas of specialism

Composition; Music of the late 20th and early 21st Centuries; Pluralism in music; Guitar history and repertoire; Performance practices in 20th and 21st Century music

University roles and responsibilities

  • Director of the International Guitar Research Centre
  • Departmental Director of Post Graduate Research

    My qualifications

    2018
    FRAM - Honorary Fellowship, limited to 300 living graduates of the Royal Academy of Music
    Royal Academy of Music
    1999
    ARAM - Honorary Associate
    Royal Academy of Music
    1997
    PhD in Musical Composition
    University of London
    1987
    MMus in Musical Performance
    Royal Academy of Music
    1986
    LRAM in Performance
    Royal Academy of Music
    1985
    BMus (Hons) in Music
    University of Bristol

    Affiliations and memberships

    Incorporated Society of Musicians
    Board Member
    Guitar Foundation of America
    Board Member
    International Guitar Foundation
    Board Member

    Research

    Research interests

    Supervision

    Postgraduate research supervision

    Completed postgraduate research projects I have supervised

    My teaching

    Courses I teach on

    Undergraduate

    Postgraduate taught

    My publications

    Publications

    For full details of publication, recordings, programme notes, audio clips and news of forthcoming performances and CD releases please visit www.stephengoss.net

     

    Compositions

     

    Theorbo Concerto (2018) for theorbo and strings, 20 mins

    Minimal Effort (2018) for guitar orchestra, 7 mins

    A Concerto of Colours (2017) for guitar and wind ensemble, 16 mins

    Invisible Cities (2017) for violin, guitar, strings, and percussion, 30 mins

    Carnival of Venice (2017) for guitar and orchestra (2.2.2.2., 3.2.2.0., t+1, strings)

    Cinema Paradiso (2017) for guitar, 14 mins 

    Songs of Ophelia (2016) for soprano and guitar, 9 mins

    Labyrinth (2016) for guitar, 5 mins 

    Talking Drums (2016) for two guitars, 8 mins

    Sound of Iona (2016) for guitar, 4 mins

    The Miller's Tale (2015) for theorbo, 10 mins

    Watts Chapel (2015) for guitar, 6 mins

    Sonata Capriccioso (2015) for guitar, 11 mins

    Cantigas de Santiago (2014) for guitar, 20 mins

    The Book of Songs (2014) for tenor and guitar, 18 mins

    Illustrations to the Book of Songs (2014) for guitar, 12 mins

    The Paganini Concerto (2014) for guitar and orchestra (2.2.2.2., 2.2.2.0., t+1p, strings)

    Concerto for Five (2013) for violin, saxophone, cello, bass, piano and orchestra (2.2.2.2., 4.2.3.0., t+2p, strings)

    Sonatina after a Concerto (2013) for guitar, 17 mins

    Piano Concerto (2013) for piano and orchestra (2.2.2.2., 4.2.3.1., t+2p, strings)

    The Flower of Cities (2012) for violin, 2 guitars, percussion and double bass, 26 mins

    Songs of the Solar System (2012) for SSA choir and harp, 16 mins

    Piano Cycle (2012) for piano, 12 mins

    Marylebone Elegy (2012) for guitar, 6 mins

    The Shard (2011) for large orchestra, 5 mins

    River Winds (2011) for violin and piano, 12 mins

    Caught Between (2011) for cello and piano, 17 mins

    Mahler Lieder (2011) for four guitars, 17 mins

    The Sea of the Edge (2010) for solo flute, 6 mins

    Portraits and Landscapes (2010) for piano, 10 mins

    Northern Lights 
(2010) for flute, guitar and bass clarinet (doubling C clarinet and soprano sax), 14 mins

    American Pastoral (2010) for violin and guitar, 17 mins

    Still the Sea 
(2009) for two guitars, 9 mins 



    The Autumn Song (2009) for cello (or flute) and guitar (or piano), 7 mins

    Variations on a Burns Air: Scherzo (2009) for piano quartet, 2 mins

    The Albéniz Concerto (2009) for guitar and orchestra, 28 mins

    Rough Music (2009) for piano and spoken voice, 15 mins, text: Fiona Sampson, music: Stephen Goss

    Six Welsh Folksongs (1991/2008) for two guitars, or violin and guitar, or voice and guitar, 12 mins

    Interludes (2008) for piano, 32 mins

    El Llanto de los Sueños (the Weeping of Dreams) (2007) for guitar, 11 min

    The Chinese Garden (2007) for guitar, 12 mins

    from Honey to Ashes (2007) for flute and guitar, 16 mins

    Sonata (2006) for solo guitar, 15 mins

    Dark Knights and Holy Fools (2006) for percussion and guitar, 15 mins

    Uneasy Dreams (2006) for saxophone quartet, 8 mins

    Frozen Music (2005) for guitar and string trio, 20 mins

    Park of Idols (2005) for cello and guitar, 11 mins

    Drums and Trumpets (2005) for six trumpets and timpani, 1 min

    The Garden of Cosmic Speculation (2005) for violin, cello, bass clarinet and piano, 26 mins

    The Raw and the Cooked (Le Cru et le Cuit) (2004) for two guitar, 15 mins

    Raise the Red Lantern (2004) for solo guitar, 16 mins

    invisible starfall (2003) for solo piano, 1 min

    Tango: The White Queen (2003) for violin, bandoneon, guitar, piano and double bass, 5 mins

    Oxen of the Sun (2003) for ten-string and six-string guitar, 17 mins

    Gymnopédies after Erik Satie (2003) for flute and piano, 7 mins

    Spin (2003) for six dancers, flute, soprano saxophone, piano, guitar, sitar, video and electronics, 32 mins

    Gnossiennes after Erik Satie (2002) for four guitars, 12 mins

    First Milonga, Last Tango (2002) for flute and guitar, 8 mins

    Trumpets and Clocks (2002) for four trumpets, two trombones and timpani, 2 mins

    an ideal insomnia (2002) for piano, 11 mins

    Cottleston Pie (2001) for unaccompanied choir, SSAATTBB, 9 mins

    Lachrymae (2001) for four guitars, 5 mins

    Tango (2001) for four dancers, clarinet, accordion, vibraphone, marimba, suspended cymbal and double bass, 5 mins

    Looking Glass Ties (2001) for solo guitar, 21 mins

    Carmen Fantasy
 (1998) a fantasy, for four guitars, on themes from Bizet's Carmen, 22 mins

    Defying Gravity
 (1997) for high voice and guitar, 13 mins

    Arcadia 
(1996) for nineteen solo strings, 22 mins

    E 
(1996) an encore piece for solo guitar, 2 mins

    Dreamchild
 (1994/5) for soprano and large ensemble, 35 mins(flute, clarinet, soprano saxophone, alto saxophone, two trumpets, trombone, two marimbas, vibraphone, celesta, glockenspiel, untuned percussion, harp, piano, and bass guitar)

    One-Nil
 (1994) a fanfare for brass quintet, 2 mins

    Tempo of Three Quartered 
(1993) for three eight-part guitar orchestras, 9 mins

    Saviour of the World
 (1992) an English anthem for double SATB choir and organ, 6 mins

    Under Milk Wood Songs
 (1990) for soprano and guitar, 11 mins

    Under Milk Wood Variations (1989) for narrator and four guitars, 14 mins

    Six Inventions (1986) for solo cello, 8 mins

    Hymnen an die Nacht
 (1985) an orchestral song-cycle for solo mezzo-soprano and solo baritone, 17 mins

     

    Journal Articles and Interviews

    for links to full text, video, and audio click here

     

    BBC Radio 3, In Tune, feature on the Theorbo Concerto, August 9th 2018, 20 mins

    Classical Guitar Insider Podcast, New York, USA, July 2018, 66 mins

    Guitar Conversations Podcast, Melbourne, Australia, July 2018, 34 mins

    BBC World Service, The Story of the Guitar, The Forum, 30th September 2017, 60 mins

    Versopolis, Translating the composer's ideas into sound, Autumn 2017, online article

    Classical Guitar Magazine, 5 Composers on Composing, Stringletter, San Francisco, Summer 2017, 5pp

    Classical Guitar Magazine, Water Wearing Stone: practical matters of classical guitar composition, Stringletter, San Francisco, Summer 2017, 3pp

    Classical Guitar Corner Podcast, Colorado, USA, 2016, 55 mins 

    Interview with John Williams, Guitar Coop, Sao Paulo, Brazil, 2016, 75 mins

    Eclectic Influences: An In-Depth Look at Stephen Goss’s Park of Idols for Cello and Guitar by Kimberly Patterson, Sounboard, Guitar Foundation of America, Spring 2016, 6pp

    John Williams talks about Stephen Goss's Guitar Concerto, Soundboard, Guitar Foundation of America, Spring 2015, 6pp

    Classical Guitar Alive NPR, USA Tony Morris talks to Stephen Goss, 30th January 2015, 20 mins

    BBC Radio 3, In Tune, feature on Illustrations to the Book of Songs, October 21st 2014, 20 mins

    BBC Radio 3, In Tune, feature with John Williams on the Guitar Concerto, June 10th 2018, 20 mins

    Stephen Goss Interview, Soundboard, Guitar Foundation of America, Fall 2013, 4pp

    Meet the Artist... The Cross-Eyed Pianist, July 2013 

    Concerto for Five Podcast, Nicky Thomas Media, May 2013 5 mins

    BBC World Service, World Update, Piano Concerto interview, 26th April 2013

    BBC Radio 3, In Tune, feature on the Piano Concerto, April 24th 2013, 20 mins

    The Independent - feature article on Piano Concerto, 2nd April 2013, 1p

    BBC Radio 3, In Tune, feature on residency with the Orpheus Sinfonia, September 20th 2012, 20 mins

    Classic FM, John Brunning interview with John Williams about Stephen Goss's Guitar Concerto, 12th September 2012.

    BBC Radio 3, In Tune, feature on Portraits and Landscapes, September 12th 2011, 20 mins

    The Albéniz Concerto Cover article in Classical Guitar Magazine, January 2011, 6pp (Ashley Mark, Blaydon on Tyne)



    BBC Radio 3, In Tune, feature on The Autumn Song, February 2nd 2010, 20 mins

    BBC Radio 3, In Tune, feature on Variations on a Burns Air, February 2010, 20 mins

    Developing a Medium: The collaborative process in Stephen Goss's Oxen of the Sun, Jonathan Leathwood PhD Thesis, Surrey, 2010

    BBC Radio 3, In Tune, feature on The Chinese Garden, May 2009, 20 mins

    Uneasy Dreams: compositional process in the music of Stephen Goss Filmed interview 60 mins (Kingston University, FMR DVD004-0310, June 2009)

    To-ing and Fro-ing: collaboration in the music of Stephen Goss
 Cover article and extended interview by Colin Cooper in Classical Guitar Magazine, May and June 2008, 12pp (Ashley Mark, Blaydon on Tyne)



    The Society of Influences Cover Article New Notes, March 2005, 4pp (Journal of the Society for the Promotion of New Music, London)

    Contemporary Composers: Stephen Goss Interview feature in Classical Guitar Magazine February 2004, 8pp (Ashley Mark, Blaydon on Tyne)



    Come Heavy Sleep: motive and metaphor in Britten's Nocturnal for Guitar Op. 70 Guitar Forum 1, 24pp, (EGTA, UK, September 2001) Refereed Journal

    The guitar and the musical canon: myths of tradition and heritage in concert repertoire and didactic methodology The Journal of the European Guitar Teachers' Association, 6pp, (EGTA, UK, July 2000).Refereed Journal also published on-line

    Supporting skills for guitarists Course units for Reading University's Music Teaching in Private Practice postgraduate diploma course and MA in Music Education, 33 pp (Reading University Press, 1997)

    Innovations in Post-1970 European Guitar Composition MMus dissertation published in Classical Guitar Magazine in monthly instalments from October 1989 to January 1990 under the serial title Innovations, 23 pp (Ashley Mark, Blaydon on Tyne, 1989&1990)

     

    Selected conference papers and invited lectures

     

    Finding Good Notes: the interaction of ideas, craft, and technique in the compositional process Keynote Lecture (University of Melbourne, Australia, July 26th 2018) 

    A Concerto for Theorbo: compositional process and collaboration Keynote Lecture: Third Altamira Hong Kong International Guitar Symposium (Hong Kong Academy for Performing Arts, Hong Kong, July 2018)

    The Guitar and the Politics of Nostalgia: the mutability of history through an Arcadian retrotopia Invited Lecture: Guitar Foundation of America Convention (University of Louisville, Kentucky, USA, June 2018)

    Pitches, Rhythms, and Rests: are we mis-reading Bach’s music? Keynote Lecture Koblenz International Guitar Festival (Hochschule Mainz, Germany, May 2018)

    Paganini and the Guitar Keynote Lecture Koblenz International Guitar Festival (Hochschule Mainz, Germany, May 2018)

    Fingerprints of Style: Mario Castelnuovo-Tedesco and Astor Piazzolla Keynote Lecture Koblenz International Guitar Festival (Hochschule Mainz, Germany, May 2018)

    Finding Good Notes: the interaction of ideas, craft, and technique in the compositional process Keynote Lecture (University of Arizona, Tucson, 26th February 2018)

    Finding Good Notes: the interaction of ideas, craft, and technique in the compositional process Research Seminar (University of Surrey, 15th November, 2017)

    Proactive or Reactive? The collaborative process between Julian Bream, Laura Snowden and Julian Anderson on Catalan Peasant with Guitar (2015) Invited Lecture: Julian Anderson Total Immersion (GSMD, Barbican, London, 20th October 2017) 

    The Julian Bream Trust: Collaborative processes in new guitar works by Harrison Birtwistle and Julian Anderson ICMSN 2017 (University of Surrey, September 2017)

    Reinventing the past musical forgery and imagined guitar concertos from the 19th Century Keynote Lecture: Second Altamira Hong Kong International Guitar Symposium (Hong Kong Academy for Performing Arts, Hong Kong, August 2017)

    Guitarists Collaborating with Composers: Segovia, Julian Bream, and John Williams Keynote Lecture, New Mexico Guitar Festival (University of New Mexico, NM, USA, June 2017)

    The Maurice Summerfield Collection at the IGRC Invited Lecture: Guitar Foundation of America Convention (California State University Fullerton, CA, USA, June 2017)

    Public Interview with Leo Brouwer and John Williams Leo Brouwer Festival, London (Insituto Cervantes, 28th April 2017) 

    The Guitarist Heitor Villa-Lobos Keynote Lecture Koblenz International Guitar Festival (Hochschule Mainz, Germany, May 2018)

    The continuing legacy of Julian Bream and John Williams Keynote Lecture: Moscow Guitar Festival (Gnesins Academy, Moscow, Russia, March 2017)

    The continuing legacy of Julian Bream and John Williams Keynote Lecture (Royal Conservatoire of Scotland, Glasgow, 5th November 2016)

    The Continuing Legacy of Julian Bream and John Williams: commissions from Harrison Birtwistle and Julian Anderson Keynote Lecture: International Guitar Foundation (Kings Place, London 23rd July 2016)

    Chinese influences on contemporary Western guitar composition explored through the music of Stephen Goss Keynote Lecture: Shanghai International Guitar Festival (Shanghai, China, July 2016)

    Chinese influences on contemporary Western guitar composition explored through the music of Stephen Goss Keynote Lecture: First Altamira Hong Kong International Guitar Symposium (Hong Kong Academy for Performing Arts, Hong Kong, July 2016)

    The continuing legacy of Julian Bream and John Williams Invited Lecture: Guitar Foundation of America Convention (Metropolitan State University, Denver, CO, USA, June 2016)

    Artistic Practice in the Academy: Creative Freedom and the Research Agenda Keynote Lecture, University of Newcastle, NSW, Australia, 9th April 2016)

    IGRC Conference Conference Convenor (IGRC, University of Surrey, 6-day conference, March 2016)

    Composing, Collaborating and the ‘Sonata Capriccioso’ Invited Lecture (Mannes School of Music, The New School, Manhattan, New York, USA, 5th November 2015)

    Composing, Collaborating and the ‘Sonata Capriccioso’ Invited Lecture (Manhattan School of Music, New York, USA, 4th November 2015)

    Collaborations between guitarists and composers Keynote Lecture (National Conservatory of Peru, Lima, Peru, 15th July 2015)

    North American Launch of the IGRC Invited Lecture: Guitar Foundation of America Convention (Oklahoma City University, OK, USA, June 2015)

    Come, heavy Sleep: motive, metaphor and melancholy in Britten’s Nocturnal Op. 70 Invited Lecture: Guitar Foundation of America Convention (California State University Fullerton, CA, USA, June 2014)

    Landscape and Memory Inaugural Lecture (Ivy Arts Centre, University of Surrey, 7th May 2014)

    Composing and Collaborating Keynote Lecture Toronto Guitar Weekend (University of Toronto, 12th April 2014)

    Composing and Collaborating Keynote Lecture: Leo Brouwer Guitar Festival (University of São Paulo, Brazil, 2nd November 2013) 

    Collaboration and Intervention in the Concerto for Five (2013) Keynote Paper (Ivy Arts Centre, University of Surrey 24th September 2013)

    The Segovia Repertoire: Romanticism, nostalgia and the imaginary tradition Invited Lecture: Guitar Foundation of America (College of Charleston, South Carolina, June 2012)

    Holy Grail or Merry Dance: The delusion of urtext in collaborations between guitarists and composers Keynote Lecture (Guitar Festival of Ireland, Dublin, 28th April 2012)

    Notes from the margin Keynote Lecture (Dublin Institute of Technology, Ireland, 27th April 2012)

    Holy Grail or Merry Dance: The delusion of ‘urtext’ in collaborations between guitarists and composers Invited Lecture: Guitar Foundation of America (University of Columbus, Georgia, USA, June 2011)

    Rhetoric and Melancholy in Britten's guitar music Keynote lecture: Iserlohn Guitar Symposium (Iserlohn, Germany, August 2010)

    Has Modernism had its day? Keynote paper: soundSCAPE festival (Maccagno, Italy, July 2010)

    Preludes and Interludes Invited paper (Royal Academy of Music, London, May 2010)

    Processes in Music-Making Research Group, PiMMReg: an introduction Conference: The Collaborative Process (University of York, March 2010)

    The Collaborative Process in the music of Stephen Goss Invited lecture (Manhattan School of Music, New York, USA, February 2010)

    Songs without words: setting poetry in music Invited lecture: Beyond the Lyric University of Warwick, November 2008, (King's College, University of London, December 2009, Arizona State University, Phoenix, Arizona, USA, November 2009, )

    The Music of Stephen Goss Artist-in-residence lecture (Arizona State University, Phoenix, Arizona, USA, November 2009)

    Bach on the Guitar Invited lecture (Guildhall School of Music and Drama, London, November 2008)

    Collaboration and Creativity: The evolution of a new work Guitar Foundation of America Convention (San Francisco Conservatory, California, USA, August 2008)

    Oxen of the Sun: Reflections on the Collaborative Process Invited lecture (Cleveland Institute of Music, Ohio, USA, March 2008, University of Denver, Colorado, USA, March 2008) 

    Improvisation and the Creative Process (University of Denver, Colorado, USA, February 2008)

    The Collaborative Process in the music of Stephen Goss Invited lecture (Cornish College, Seattle, Washington, USA, February 2008, University of Washinton, Seattle, Washington, USA, February 2008, California State University, Northridge, Los Angeles, California, USA, February 2008)

    Frozen in Time, notes from the margin: the composer in contemporary culture  (California State University, Northridge, Los Angeles, California, USA, February 2008, University of Denver, Colorado, USA, January 2009, Guildford International Music Festival University of Surrey, March 2007)

    Britten and the Guitar Invited lecture (Guildhall School of Music and Drama, London, November 2007)

    Collaboration, experimentation and improvisation in notated concert music Fifth Biennial International Conference on Music Since 1900 (University of York, July 2007)


    The music of Stephen Goss lecture and masterclass (Robert Schumann Hochschule, Düsseldorf , Germany, November 2006)

    Sonata for solo guitar a lecture recital with Michael Partington (University of Washington)(Royal College of Music, University of London, November 2006)

    The Anxiety of Affluence: the music of Ades, Nyman and Benjamin (Royal Scottish Academy of Music and Drama, Glasgow, November 2006)

    Collaboration and Urtext: notions of the 'original score' in new music (University of Denver, Colorado, USA, October 2006)

    Intertextuality in the music of Stephen Goss composition department research seminar (University of Denver, Colorado, USA, October 2006)

    Keynote Paper:The Guitar in Mozart and Mozart on the Guitar 14. Internationales Pfingstseminar (University of Koblenz, Germany, June 2006)

    Post-modern or Post-mortem: intertextuality in new music (University of Keele, November 2005)

    Round Table: Marketing New Music: From Assimilation to Affiliation? Nicholas Reyland (London Sinfonietta, Keele University - chair) Karen Cardy (Marketing Manager, London Symphony Orchestra) John Fosbrook (Promotion Manager, Chester Music/Novello & Co., formerly SPNM) Stephen Goss (Composer and guitarist, University of Surrey) Gillian Moore (Artistic Director, London Sinfonietta) Keith Potter (The Independent , Goldsmiths College)
 Philip Tagney (Senior Producer BBC Radio 3, responsible for new music); The Fourth Biennial International Conference on Music Since 1900 (University of Sussex, August 2005)

    Keynote Paper: Composing in the Society of Influences Second Mtpp Research Conference on Music Teaching and Learning 'Musical Creativity' Reading University International Centre for Research in Music Education (University of Reading, July 2005)

    Keynote Paper: Idiom versus Imagination 13. Internationales Pfingstseminar (University of Koblenz, Germany, May 2005)

    The Garden of Cosmic Speculation Guildford International Music Festival (University of Surrey, March 2005)

    an ideal insomnia: Mahler and Alter Klang Public Lecture (Royal Academy of Music, University of London, January 2005)

    Keynote Paper: The recent guitar music of Stephen Goss Dundee International Guitar Festival (Caird Hall, Dundee, July 2004)

    The guitar in music education, an introduction First Mtpp Research Conference on Music Teaching and Learning, Reading University International Centre for Research in Music Education (University of Reading, July 2004)

    New Music for Guitar: latest techniques and trends composition department lecture-recital (Royal Academy of Music, University of London, November 2003)

    an ideal insomnia: assimilating borrowed materials (University of Surrey, December 2002)

    Keynote Paper: The Guitar and the Musical Canon: The myths of tradition and heritage in concert repertoire and didactic methodology 3rd EGTA International Congress 'The Teacher as Composer, The Composer as Teacher' (Girton College, Cambridge, July 2000)