Philip Tagg: Curricula Vitae
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updated 2017-07-14

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Contents of full CV

Personal details

  • Born 1944 in Oundle, Northamptonshire, UK.
    (for exact date of birth, please contact me)
  • Resident in Sweden August 1966 - March 1991.
  • Resident in UK April 1991 - October 2002.
  • Resident in Canada November 2002 - January 2010
  • Resident in UK since January 2010
  • Attended:
    • The Leys School, Cambridge (1957-1962),
    • Selwyn College, Cambridge (1962-1965),
    • University of Manchester (1965-1966),
    • University of Göteborg (1968-1971).

Current position

Retired. Visiting Professor, Leeds Beckett University and the University of Salford (UK).

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Higher Education

  • 1962-1965. Cambridge University. BA (Music)
  • 1965-1966. University of Manchester. Certificate of Education (Music and French)
  • 1968-1971, 1973-1974 (part time) University of Göteborg (Sweden). Filosofie magister [=BA] (English, French, Latin, Musicology)
  • 1977-1979 (part time). University of Göteborg. Filosofie doctor (PhD) in Musicology (distinction)

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Employment record (full-time only)

  • 1966-68. Municipality of Filipstad: Secondary school teacher of English as a foreign language
  • 1971-78. University of Göteborg: Tenured teacher of keyboard harmony and improvisation, music history and theory
  • 1980. University of Göteborg: Acting Professor of Musicology (tf professor i musikvetenskap)
  • 1981-82. University of Göteborg: Senior Lecturer (universitetslektor) in Musicology, 1981-1982
  • 1982-85. University of Göteborg: Research Fellow in Musicology
  • 1985-91. Swedish Council for Research in the Humanities and Social Sciences: Research Fellow in Musicology
  • 1991-93. University of Liverpool and Blackwell's Reference Books (Oxford): Executive Editor EPMOW ("Encyclopedia of Popular Music of the World")
  • 1993-96. University of Liverpool: Lecturer in Music
  • 1996-98. University of Liverpool: Senior Lecturer in Music
  • 1998-2002.  University of Liverpool: Reader in Music
  • 2002-2009. Faculté de musique, Université de Montréal: Professeur de musicologie

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Awards, prizes, honorary positions

  • 1962. Prize for choral composition, King's College, Cambridge (performed Trinity Sunday 1962). See List of musical works
  • 1980. University of Göteborg awards distinction for doctoral work, with honorary research fellow status (docentkompetens)
  • 1982. Guest Professor in Musicology, Universität des Landes Hessen, Kassel
  • 1987. The Japan Prize for Educational Radio Production, together with Gerard Kempers (AVRO radio, Hilversum, Netherlands) for Muziek maakt alles mooier (='Music Makes It More Amusing): 6 x 30 minute programmes for secondary school pupils on the functions and meanings of music (1987)
  • 1997. Sir Alan Sewell Research Fellowship, Griffith University, Brisbane, Australia, July - September 1997
  • 2001. Prize awarded by «wipout.net», website of the intellectual property counter-essay contest, for ‘Copyright vs. the democratic right to know’.
  • 2003. Rayson Huang Visiting Lecturer, University of Hong Kong, March 2003.
  • 2010-2015 Visiting Professor, University of Huddersfield
  • 2010- Visiting Professor, University of Salford
  • 2014 Lifetime Recognition Award, International Semiotics Institute Conference, Kaunas (Lithuania), June 2014 (ceremony video extract).
  • 2015- Visiting Professor Leeds Beckett University

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Teaching experience

  • 1965-66. Teaching practice: (1) general subjects, Rockingham Road Junior School, Corby (Northants); (2) Music and French, Central Grammar School (Kirkmanshulme Lane) and Plant Hill Comprehensive School (Rochdale Road), Manchester; average class size 25-3 0 (total 16 weeks)
  • 1966-68. English as a foreign language: 2 and 3 year secondary school courses, 16-22 hours/week for 2 years, average class size 20-25; also adult education evening classes, average class size 5-10 (Filipstad, Sweden)
  • 1968-71. English as a foreign language: adult education, average class size 5-15 (Göteborg, Sweden)
  • 1971-78. Keyboard harmony, improvisation and ensemble (undergraduates): average of 10 hours/week,individual tuition or groups of 4-6 (College of Music, University of Göteborg, Sweden)
  • 1971-2009.. Music history and/or theory and/or analysis and/or music and the media (undergraduates): modules in 2 or 3 year degree courses for at average of 5 hours/week, average class size 15-20. (College of Music and Department of Musicology, University of Göteborg, Sweden; Music Department and Institute of Popular Music, University of Liverpool; Faculté de musique, Université de Montréal, Québec, Canada)
  • 1979-2009 . Aesthetics, semiotics and analysis of music (postgraduates): parts of 2-5 year programmes, average of 1-2 hours/week, average class size 5-15. (College of Music and Department of Musicology, University of Göteborg, Sweden; Music Department and Institute of Popular Music, University of Liverpool; Faculté de musique, Université de Montréal, Québec, Canada)
  • 1982. Seminars and lectures in Popular Music History and Analysis, Gesamthochschule Kassel (West Germany)
  • 1987- . Postgraduate supervision: see next section.
  • 1991-2002 . Music and the Moving Image 1 (undergraduates, incl. non-music students): 1½ hours/week, average class size 23.
  • 1995-2002 . Music and the Moving Image 2 (incl. composition, music students only): 1½ hours/week, average class size 10.
  • 2002-2009 . Histoire de la musique populaire anglophone (undergraduates, incl. non-music students): 3 hours/week, average class size 35
  • 2002-2009 . Musique et images en mouvement (undergraduates, incl. non-music students): 3 hours/week, average class size 40
  • 2003-2009 . Tendances dans l'étude de la musique populaire (postgraduates, incl. non-music students): 3 hours/week, average class size 15
  • 2003-2009 . Analyse de la musique populaire (postgraduates, incl. non-music students): 3 hours/week, averag class size 20
  • 2010- Miscellaneous invited lectures, keynote presentations, etc; several short courses by invitation.

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ICompleted PhDs supervised or co-supervised

  • Completed PhDs supervised or co-supervised: (1) Alf Björnberg on Swedish entries to the Eurovision Song Contest (1987); (2) Ola Stockfelt on modes of listening, with particular reference to Mozart’s 40th symphony (1988); (3) Gaston Rochon (Montréal) on compositional process in the work of Gilles Vigneault (1992); (4) Mércia Pinto (Fortaleza) on the Brazilian Pastoríl (1996); (5) Elba Ramalho (Fortaleza) on the work of baião pioneer Luís Gonzaga (1996); (6) Garry Tamlyn (Brisbane) on drumkit patterns in rock 'n' roll (1998); (7) Serge Lacasse (Québec) on the history, technology, aesthetics and semiotics of vocal staging in rock and pop recordings (2000); (8) Karen Collins (Kitchener, Ontario) on the Industrial genre (2002); (9) Ivy Man (Hong Kong) on Cantopop (2003); (10) Tim Wise (Liverpool) on yodel in US popular music (2004); (11) Bob Davis (Leeds) on funk music (2005); (12) Ruth Dockwray (Liverpool) on the rock anthem (2005); (13) Ian Darrington (Wigan) on trumpet mouthpieces (2006); (14) Audrée Deschenaux (Montréal) on music in French inter-war political film (2011).


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External examining and adjudication

  • 1981: External examiner, MA in Musicology, University of Helsinki.
  • 1995-2000: External examiner in Music Business, University College of Buckinghamshire.
  • 1996-1997: Jury member, International Musicology Award, Campus internazionale di musica, Università Pontina, Latina.
  • 1996: External examiner, PhD in Music, Southern Cross University, Australia.
  • 1999: External examiner, PhD in Musicology, Université Paris I (Sorbonne).
  • 1999: External examiner, PhD in Media Studies, Queensland University of Technology, Brisbane.
  • 2000: Jury member, ‘A Song for Peace’ international songwriting competition, Rome.
  • 2001-2002: External examiner in Music, Barnsley College, University of Sheffield.
  • 2004-2009: External adviser, Département de musique, Université du Québec à Montréal.
  • 2009: External examiner, PhD in Music, University of Talinn, Estonia.

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Course development

Founding member of staff and co-responsible for construction of complete curriculum for new music teacher training course (including popular music) at University of Göteborg 1971-1976, in particular music theory, music analysis, music history and en semble. Solely responsible for course development in Keyboard Harmony and Popular Music Studies 1971-1976. Responsible for development of entrance and examination procedures in the above areas.

Consultant to Swedish Ministry of Education's Committee for the Reform of Higher Education in Music (OMUS = Organisationskommittén för högre musikutbildning) on Keyboard Harmony and Popular Music Studies (1972-1974).

Co-responsible for drafting of current W320 degree course (Music / Popular Music) at the University of Liverpool (1992-1993). Co-responsible for development of modules in Aural Skills, Music & Business Technology and Studio Techniques. Solely responsible for development of modules Popular Music & Musicology, Popular Music Analysis and Music & the Moving Image (I & II) (1993-2002).

Responsible for development of postgraduate teaching in the Semiotics of Music at the Institute of Popular Music (1991-…).

Responsible for original drafting of W310 degree programme (Popular Music) at the University of Liverpool (1999). Co-responsible for final drafting and for its implementation (2000-2001). Responsible for development and teaching of modules Introduction to Popular Music Studies, Origins of Popular Music, Creative Music Theory, Music and the Moving Image, Composition for the Moving Image (2001-2002).

Responsible for drafting and implementation of following courses at the Faculté de musique, Université de Montréal: Musique et images en mouvement; Analyse de la musique populaire; Histoire de la musique populaire anglophone; Tendances dans l’étude de la musique populaire.

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Guest lecturing, invited conference papers, etc.

Please note that invited conference papers not delivered (due to regular commitments or lack of funds) are not included in the list, nor are public lectures, nor courses or lectures delivered in schools or in any other institution outside (the equivalent of) higher education, except in the case of qualified in-house training, e.g. for radio producers. Conference papers and guest lectures have covered the following areas: music semiotics, music analysis, music and the media, film and TV music, soundscape studies, philosophy of music and interdisciplinary studies. [last update 2016-09-23]

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Australia. Sir Alan Sewell Research Fellow at Queensland Conservatorium of Music, Griffith University, Brisbane, July - September 1997. Invited paper at IASPM Australia/New Zealand conference, UTS, Sydney, July 1997. Guest lecturer Bachelor of Popular Music Degree, Griffith University, Gold Coast, July - September 1999; Department of English, University of New South Wales, September 1999. Invited paper at conference of IASPM (Australasia), University of Technology, Sydney (July 1997).

Austria.Invited papers at (1) European Musicology Conference, Musikwissenschaftliches Institut, Universität Wien (1979); (2) Conference on Music in the Mass Media, ORTF, Vienna (1983); Guest lecturer, Hochschule für Musik und darstellende Kunst, Vienna (1980).

Belgium.Course leader in Music Semiotics, Belgian Radio (Flemish section, Brussels) in-house training course for producers (1994). Guest lecture Du microcosme musical à l''économie politique, Interdisciplinary seminar, Université de Liège (November 2006).

Brazil.Guest lecturer (3 weeks) in Popular Music Analysis, Cursos latinoamericanos de música contemporânea, Conservatório do Estado de São Paulo (1984). 5-day workshop, Música e Imagem en movimento, UniRio (June 2004). Keynote speaker, V Congresso da Seção Latino-Americana da Associação Internacional para o Estudo da Música Popular, IASPM-LA, Rio de Janeiro, 21 June 2004.

Bulgaria. Keynote speaker at first symposium organised by IASPM (Bulgaria), Sofia (June, 2000)

Canada. Guest lecturer at (1) Faculty of Music, McGill University, Montréal (1984); (2) Faculté de Musique, Université de Montréal (1984); (3) Faculté de Musique, Université de Québec à Montréal (1984); (4) Département de sociologie, Université d'Ottawa (1985); (5) Départment de sociologie, Université de Montréal (1984); (6) Music Department, Carleton University, Ottawa (1985). Invited papers delivered at (1) International Conference on the Sociology of Music, Trent University, Peterborough, Ontario (1984); (2) 3rd IASPM conference in Montréal (1985); (3) IASPM Canada conference at Carleton University, Ottawa (1992). (4-5) Invited lectures, Music Department, McGill University (2002, 2004). (6) Invited lecture, Communications Departmen, McGill University (2005); (6) Colloque sur l'étude des musiques populaires, Université Laval, Québec (March 2006); (7) Colloque sur la musique et les droits d'auteur (UQÀM, 2008).

Chile. (1) Curso magistral Hacia una musicología para la vita cotidiana; (2) Seminario Introducción al análisis semiótico de la música popular; (3) Open lecture Comprender la música: ¿abstracción artística, entretenimiento académica o necessidad básica? Departamento Música y Sonología, Universidad de Chile, Santiago de Chile, August 2013.

China (incl. Hong Kong). Rayson Huang Visiting Lecturer at (1) Department of Music, University of Hong Kong (March 2003).

Czechoslovakia (former). Invited paper at Czech Musicological Society Symposium, Brno (1986).

Denmark.Guest lecturer at (1) Musikvidenskabelig Institut, Københavns Universitet (1979, 1995 -- 1 week); (2) Institut for Massmediestudier, Københavns Universitet (1995); (3) Musikvidenskabelig institut, Århu s universitet (1980); (4) Institut for musik og musikterapi, Ålborg universitetscentrum (1987, 1988). Invited paper at Danish Music Educators' Conference, Holsterbro (1986);  4 guest lectures, Institut for Æstetik og Kommunikation, Århus Universitet (2011)

Estonia. [1] Guest lecture on Popular Music Analysis at Eesti Musika- ja Teatriakadeemia, Talinn (April 2008); [2] 5-day popular music analysis workshop/seminar, Eesti Musika- ja Teatriakadeemia, Talinn (March 2015); Introduction to Music Semiotics, Department of Semiotics, University of Tartu and Popular Music Analysis seminar, Estonian Academy of Music and Theatre, Tallinn (March 2017)..

Finland. Guest lecturer at (1) Department of Musicology, University of Helsinki (1980, 1981); (2) Department of Popular Culture Studies, University of Tampere (1981, 1990); (3) Rytmi-instituutti, Seinäjoki, Vaasa län (19 89). Invited papers at (4) Nordic musicology conference, Turku (1977); (5) International Soundscape Conference, Virrat (1991). Keynote speaker at (5) tenth IASPM international conference, University of Turku (2001). 2 keynote addresses at [6] NIMiMS symposium, University of Helsinki and Helsinki Jazz and Popular Music Conservatory (2015).

France. (1) Invited paper at First European Conference on Music Analysis, Colmar (1990). (2) 1st participant in exchange Montréal/Tours: 5 jours de conférences, séminaires et ateliers en Analyse de la musique populaire, Université François Rabelais, Tours (November 2006). (3) Keynote speaker, Colloque de la Société Française de l'Ethnomusicologie, Saumur (Juin 2007). (4) Keynote speaker, Colloque « Peut-on parler de la musique noire ? », Bordeaux (avril 2010); [5] guest lecture, séminaire Musique et Sciences Sociales, EHESS, Paris (novembre 2011); [6] invited paper, colloque La musique de séries TV, Université de Nantes (mai 2013); [7] guest lecture, Salle des Actes, Sorbonne (avril 2014); [8] invited paper IASPM-francophone (Europe), Sorbonne (novembre 2014); comité scientifique et modérateur, Musimorphoses, Paris (11-13 novembre 2015); [8] Keynote speaker, colloque sur La voix (Universités de Lyon et de la Sorbonne, mars 2016) .

Germany. Guest lecturer at (1) Musikwissenschaftliches Institut, Institut für Ästhetik und Philosophie, Forschungszentrum populäre Musik, all in Berlin (1983-1989, annually under exchange scheme); (2) Hochschule des Landes Hessen (Musikwissenschaft), Kassel (summer semester 1982); (3) Invited paper delivered at Annual Conference of Dachverband der Musikw issenschaftstuderenden Deutschlands, Cologne (1993); (4) Invited paper at symposium Quid sit musica, Humboldt-Universität (May 2012). (5) Guest seminar, Media Dept., University of Köln (June 2014) M.A. course Popular Music and Media, University of Paderborn (2017)

Ghana. Invited paper at fourth IASPM International Conference on Popular Music Studies, Accra (1987).

Hong Kong: see China

Hungary.Guest lecturer at Musicological Institute, Hungarian Academy of Sciences (Zenetudomnyi Intézet), Budapest (1980).

Italy. Guest lecturer at (1) Dipartimento di Arte, Musica e Spettacolo, Università di Bologna (1984, 1988, 1994); (2) Scuola di jazz, Milano (1985, 1985, 1987, 1990); Conservatorio di Sassari (December 1999). Invited papers at (1) 1st IASPM (Italia) Conference on Popular Music Studies, Milano (1983); (2) 2nd IASPM International Conference, Reggio Emilia; (3) IASPM (Italia) Conference on Popular Music Analysis, Bologna (1994); (5) International Conference on Music Semiotics, I pomeriggi musicali di Milano (1989); (6,7) Annual Musica/Realtà Conferences, Conservatorio di Cagliari (1987, 1988); (8) Conference Musica e Cinema, Accademia musicale Chigiana, Siena (1990); (9) Annual conference of Associazione dei fonografici italiani, Milano (1983); (10) Convegno internazionale La musica come linguaggio universale, Latina (1988); (11) Second European Conference on Music Analysis, Università di Trento (1991); (12) Conference Sulle culture del rock, Istituto Gramsci, Bologna (1993); (13) Conference Night Wave '96, sulle culture del rave, Rimini (June 1996); (14) International Conference on the Semiotics of Music, Bologna (November 1996); (15) Symposium 'La musica come ponte tra i popoli', Istituto per l'educazione musicale in lingua italiana, Bolzano/Bozen (November 1998); (16) Symposium in conjunction with Laurea honoris causa for Maestro Morricone, University of Cagliari, December 1999. (17) Ethnomusicological symposium on the visualisation of music, University of Venice (January 2000); (18) Symposium on The Musical Text, Department of Musicology, University of Padua (at Cremona, April 2002); (19) Department of Media Studies, University of Turin (April 2002). (20) Invited paper, Conference on links between ethnomusicology and popular music, Fondazione Cini, Venezia (January 2005). (21-22) Guest lectures at Department of Media, University of Savona and Department of Music, University of Turin (June 2006). (23) Invited one-day workshop, conservatory at Rodi Garganico (June 2008); (24) University of Turin (October 2011, March 2012); (25) Radio programme with Franco Fabbri about La tonalità di tutti i giorni, RAI 3, 2012-09-12. 23:00-24:00. Keynote speaker at weekend symposium Incontro con Philip Tagg, University of Bologna (November 1993); (25) Euromac music analysis conference, Roma (October 2011).

Japan. Keynote speaker (concluding remarks) at eighth IASPM International Conference, Kanazawa University (July 1997) and at tenth IASPM International Conference, Turku (July 2001) .

Mexico. Guest lecturer, opening course of the Diplomado Internacional de la Semiologia Musical, Escuela Nacional de Musica, Universidad Nacional Autonoma de México, Mexico City (February 1998). (2) Guest lecturer and seminar leader, Department of Media and Literature, Universidad Nacional Autonoma de México, Mexico City (March 2008).

Netherlands. Guest lecturer at (1) Sweelinckkonservatorium, Amsterdam (1979); (2) Department of Musicology, University of Amsterdam (1980); (3) Department of Musicology, University of Utrecht (1988); (4) Dutch Educational Radio in-house training (1994). Invited paper at First International Conference on Popular Music Research, University of Amsterdam (1981).

Norway. Guest lecturer at (1) Musikkvitenskapelig institut, Oslo Universitet (1980, 1981); (2-3) Norwegian Radio & TV Staff Training Programme (Personaloplæringen, NRK ) Oslo (1986) and Trondheim (1986, 1987). (4-5) Invited papers at Nordic Music Educators' Conference, Rogalands Musikkonservatorium, Stavanger (1986) and Nordic Musicology Conference, Trondheim (1987); (6-7) Musikkvitenskap, Oslo Universitet (February 2011 and 2012). (8) Keynote speaker, Nordic Musicology Congress, Musikkvitenskap, Oslo Universitet (August 2008).

Portugal. Invited paper at International Conference on 'Music and Life-world. Otherness and Transgression in the Culture of the 20th Century. In memoriam Fernando Lopes-Graça (1906-1994)', organised by Universidade Nova de Lisboa (Department of Musicology) and Fundação Dom Luiz I in December 1996 at Cascais.

Spain. Keynote presentations, [1] Congreso 'La música en torno a 1812'. Universidad de Granada (May 2012); [2] Film music conference, Universidad Internacional de Andalucía, Baeza (August 2012); [3] XII Congreso SIBE, Universidad de Extremadura, Cáceres (November 2012); [4] Second International Conference on Sound, Silence and Image, Fundació Tecnocampus, Barcelona (July 2017). Guest lecture and invited papers, Universidad de Oviedo (Sept. 2016)

Sweden(selection only). Guest lecturer at (1) Musikvetenskapliga institutionen, Uppsala universitet; (2) Musikvetenskapliga institutionen, Stockholms universitet; (3) Musikvetenskapliga institutionen, Lunds universitet; (4) Musikhögskolan i Stockholm; (5) Musikhögskoaln i Piteå; (6) Musikhögskolan i Malmö; (7) Masskommunikationssociologi, Lunds universitet; (7) Institutionen för Vetenskapsteori, Göteborgs universitet; (8) Avdelning för Masskommunikation, Göteborgs universitet; (9) Institution för lingvistik, Göteborgs universitet; (10-11) Avdelningen för Masskommunikationsforskning, Statsvetenskapliga institutionen, Göteborgs & Stockholms universitet; (12-13) Swedish Radio & TV Staff Training Programme (Personalutbildningen, Sveriges Radio, Göteborg & Stockholm); (14) Dramatiska institutet, Stockholm; (15) Filminstitutet, Stockholm; (16) Örebro musikpedagogiska institut; (17) Högskolan i Kalmar; (18) Högskolan I Karlstad. (19) Invited paper at conference on Music and Manipulation, organised by Karolinska institutet, 16-19 September 1999.  (20-24) Visiting lecturer, University of Göteborg since (1991-1997, 2012). Invited papers at various conferences and symposia in (1) musicology and music analysis; (2) music education; (3) music and cultural research; (4) interdisciplinary studies; (5) mass media studies; (6) music and cultural policy.

Switzerland. Invited paper Colloque Ferdinand Gonseth, La Chaux-de-Fonds (1989)

Turkey. Keynote speaker, Istanbul Technical University and Turkish Music State Conservatoire ‘Seminars for Youth’ (December, 2015).

United Kingdom (selection only). Guest lecturer at (1) Arts Faculty, Open University, Milton Keynes (1979); (2) Department of Cultural Studies, University of Kent (1980); (3) Centre for American and Commonwealth Studies, University of Exeter (1980, 1982, 1986); (4) Department of Sociology, University of Warwick (1985); (5) Department of Music, University of Edinburgh (1985); (6) Music Department, Goldsmiths College, University of London (1987); (7) Department of Music, University of Liverpool (1988, 1989); (8) Research Seminar, University of Keele (1993); (9) Research Seminar, Department of Music, University of Southampton (1994); (10) British Film Institute, London (1995); (11) Research Seminar, Department of Music, University of Leeds (1996). (12) Department of English, Manchester Metropolitan University (annually 1991-1999); (13) Research seminar, Department of Latin American Studies, King's College, London (April 1997). (14) Department of Music, University of Sheffield (January 1998); (15) Research seminar, Department of Music, University of Newcastle-on-Tyne (December 1998); (16) Research seminar, Department of Music, University of Bangor (February 1999); (17) Research Seminar, Department of Music, Oxford University (2000); (18) Film Studies, University of Southampton (October 2011); (19) Music Department, University of Glasgow (October 2011); (20) Music Department, Durham University (November 2011); (21) School of Music, University of Liverpool (January 2012); (22) Music Department, University of Newcastle (February 2012); (23) Music Department, Lancaster Institute for the Contemporary Arts, Lancaster University (March 2012); (24) Music Department, University of Nottingham (March 2012); (25) Music Department, City University (London, October 2012); (26) Music Department, University of Manchester (November 2012). [27] Part-time lecturing, University of Liverpool (Department of Music, Institute of Popular Music, Communication Studies, Women's Studies: 1991-1993); [28] modules for Communication Studies Department, University of Liverpool. (1993-1995). Invited papers and guest lectures at [29] International Conference on Music Semiotics, University of Edinburgh (1992); [30] Film Studies Conference on 'The Detective', John Moores University, Liverpool (November 1996); [31] IASPM (UK) conference, University of Guildford (July 2001); (4) UK and Ireland Soundscape Community Conference, Dartington (February 2001); [32] Society for Music Analysis symposium, Department of Music, University of Cardiff (November 2001); [33] Sound Studies conference, Open University, Milton Keynes (July 2008); [34] Department of Music, University of Glasgow (October 2011, November 2016); [35] Conference on music and vehicles, University of Chester (June 2012); [36] International Conference on Music Semiotics in Memory of Prof. Raymond Monelle, University of Edinburgh (October 2012); Keynote speaker at [37] 7th IASPM International Conference, University of Strathclyde (1995);[38] IASPM (UK) conference, Guildford (July 2000); [39] International Symposium on the role of punk in Post-Soviet Eastern Europe, University of Warwick (April 2010); Masterclass, PAMS, University of Salford (December 2015);

Uruguay. Weekend seminar at University of Montevideo (July 2004); invited paper, conference Musicologia y colonialismo (October 2009).

USA. (1) Keynote speaker at Sonnek Society annual conference, Madison, Wisconsin (1995). (2) Special lecture, Music Department, University of Texas at Austin (invited by postgraduate student association, April 2008). (3) Guest lecture, Music Department, University of Virginia (Charlottesville, April 2009); (4) Guest lecture, Department of Music, University of Maryland (November 2009);. (5) Keynote speaker, Music and Moving Image conference, Steinhardt School of Music, New York University (May 2011). (6) Committee member, Music and Moving Image conference, Steinhardt School of Music, New York University (June 2012).

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Musical experience

  • 1960-62. School Organist, The Leys School, Cambridge.
  • 1962. Prize for choral composition, King's College, Cambridge (performed Trinity Sunday 1962). See List of musical works.
  • Composer of commissioned Preces and Responses for The Edington Festival (1963). Broadcast on Radio 3 (Third Programme). See List of musical works.
  • 1962-65. Member of CUMS (Cambridge University Musical Society) choir (2nd tenor) and orchestra (timpani).
  • Keyboard player in soul/rock/blues band The Soulbenders, Cambridge (1963-1965).
  • Keyboard player in The Finesilver-Ker Quintet (R&B, mainstream jazz), Manchester (1965-1966).
  • 1966-68. Keyboard player and arranger in The Nazz (rock, R&B) and The Disturbance (rock, pop, soul), Karlstad (1966-1968).
  • 1968-73. Arranger for, keyboard player with and member of Göteborgs Kammarkör (second tenor).
  • 1972-76. Founder member, composer, lyricist, arranger and keyboard player of Röda Kapellet (left-wing political rock cabaret band), Göteborg, co-producing 2 albums and 1 EP (total sales c. 8500 + 2 live TV appearances and ample radio play). See List of musical works.
  • 1979-84. Composer of one radio and two TV title themes for Swedish radio/TV (broadcast 1979-1984). See List of musical works.
  • 1990. Composer of underscore to short film Århundradets kärlekssaga (dir. Eva Wilhelmsson, Göteborg).
  • 1998. Arranger of tracks on CD 'Prime Time Vol.2' for Reliable Source Music Ltd. (Library Music)

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Media activities

  • 1975. Scriptwriter and co-producer of Pop i örat for UR (Swedish Educational Radio): 6 x 20 minute programmes for 13-16 year-olds on the history and functions of pop music, including materials for pupils (25 pp.) and teachers (61 pp.).
  • 1987. The Japan Prize for Educational Radio Production, together with Gerard Kempers (AVRO radio, Hilversum, Netherlands) for Muziek maakt alles mooier (='Music Makes It More Amusing): 6 x 30 minute programmes for secondary school pupils on the functions and meanings of music (1987).
  • 1975- . Collaboration as speaker or interviewee in numerous radio programmes (on music education, music policy, entertainment, media, culture etc.) in Denmark, Finland, Germany, Italy, Netherlands, Norway, Sweden, the UK and the USA.
  • 1979. 10-minute TV presentation of research into popular music affect analysis. TV2, Göteborg.
  • 1979-84. Composer of one radio and two TV title themes for Swedish radio/TV (broadcast 1979-1984). See List of musical works.
  • 1990. Composer of underscore to short film Århundradets kärlekssaga (dir. Eva Wilhelmsson, Göteborg).
  • 1994. 3-minute TV presentation of popular music analysis, Look North, BBC1, Manchester.
  • 1998. Compositions and arrangements issued as Library Music (Reliable Source Music, Ltd.)
  • 2000- Creator and manager of www.tagg.org. In mid 2008 tagg.org was one of the ten most visited musicology sites and one of the three most visited popular music studies sites on the internet. Ref.
  • 2006. 1-hour programme about music analysis for Westdeutscher Rundfunk.
  • 2007-. 57 educational videoclips posted on YouTube (mostly popular music analysis and semiotics, incl. music and the moving image) with around 120,000 views in all (2016).

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Research

Research Grant Experience

  • 1983-1985. Swedish Council for Research in the Humanities and Social Sciences (Humanistiska-samhällsvetenskapliga forskningsrådet). 'Method Development in the Aesthetics of Popular Music'. Part-time research fellowship.
  • 1985-1989. Swedish Council for Research in the Humanities and Social Sciences (Humanistiska-samhällsvetenskapliga forskningsrådet). 'Development of Analytical Method and Basic Resources in Popular Music Studies'. Full-time research fellowship. Grant renewed in 1989 for period July 1989 - April 1991. Supervision of 3 doctoral students and 1 research assistant 1983-1989.
  • 1991-1993. University of Göteborg, P H Holt Trust (via University of Liverpool), Blackwell's Reference Books (Oxford). Construction of database, taxonomy and headword list for EPMOW (Encyclopaedia of Popular Music of the World).
  • CV menu
  • P Tagg home page

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Current research interests

[1] Gestural interconversion and connotative precision.
[2] Anguish in music.
[3] Vocal personae.
[4] Terminological reform of music theory. [MMMSP site]
[5] Musicology for "non-musos".

Together with ex-Fullbright scholar of mine, now media attorney, Bob Clarida, I have also set up a non-profit-making corporation (charitable association) which will allow musicologists of the mass media to publish their analyses of musical work under copyright. The corporation, the Mass Media Music Scholars' Press (MMMSP)  is based in New York.

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Miscellaneous professional activities

  • 1973-77. Consultant to Swedish Ministry of Education's Committee for the Reform of Higher Education in Music (OMUS = Organisationskommittén för högre musikutbildning) on Keyboard Harmony and Popular Music Studies
  • 1981: Founder of IASPM (International Association for the Study of Popular Music, at present organising over 500 members in over 30 different nations). Author of the association's statutes
  • 1981: Co-organiser first International Conference on Popular Music Research, Amsterdam
  • 1981-1983: Executive Secretary, IASPM
  • 1982. Guest Professor in Musicology, Universität des Landes Hessen, Kassel (summer semester)
  • 1983: Co-organiser 2nd International Conference on Popular Music Studies, Reggio Emilia
  • 1983-1984: Organiser of two International Symposia on Popular Music Research, Göteborg.
  • 1983-1985: Vice chairman, IASPM
  • 1983- : Corresponding editor, Popular Music (Cambridge University Press)
  • 1984- : Member of Editorial Board, Musica Realtà (Milan)
  • 1984-91: Member of Editorial Board, Svensk tidskrift för musikforskning (Uppsala, Göteborg)
  • 1986-91: Chairman, IASPM, Nordic branch
  • 1986-91. Compiler of DOPMUS (=Documentation of Popular Music Studies): database of 6000 titles, forming the basis of the bibliography for the current Cassell's project Encyclopaedia of Popular Music of the World (EPMOW).
  • 1987-1989: Member of executive committee, IASPM
  • 1992. Consultant on popular music production for RVU educational TV, Hilversum (1992)
  • 1992. Musicological expert in music copyright case against Leeds United FC
  • 1993- : Personal tutor for undergraduates. (Currently supervisor for 1 masters and 8x PhD students)
  • 1993- : Founding member and chairperson of the Merseyside Music Industry Association (MMIA).
  • 1993, 1997. Musicological expert in ongoing music copyright case
  • 1994-2000 Member of Board of Trustees, Liverpool Music Centre.
  • 1994-2001. Admissions Tutor W320 degree course (University of Liverpool)
  • 2000 - : Chairperson, Mass Media Music Scholars' Press
  • 2001-2002 : Admissions Tutor W310 degree programme (University of Liverpool)

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Other training, qualifications and experience

  • Computer Literacy. word processing, database management, web publishing, desktop publishing, sequencing, notation, sound-editing and video-editing software.

  • Linguistic skills. Oral and scribal fluency in English, Swedish, French; reasonably conversant in German and Italian; some skill in Dutch, Danish and Norwegian; able to read and understand some Spanish and Portuguese.

  • 1980. Completed University of Göteborg's basic in-house video production course.

  • Musical experience

  • Media activities

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Other activities

  • 1963-65. Active member of CUSSO (Cambridge University Social Service Organisation).
  • 1964-65. Secretary of Cambridge University Branch of The Fellowship of Reconciliation.
  • 1963-64. Part-time pop critic of Varsity (Cambridge University).
  • 1965-66. Part-time pop critic Manchester Students' Union newspaper (1965-1966).
  • 1966-1967: Founder and organiser of youth club in Filipstad (Sweden).
  • 1968-72. Translator (English-Swedish, Swedish-English) of poetry and documents (technical and administrative), Göteborg and Uppsala.
  • 1972-77. Interpreter (English, Swedish, French) for foreign delegates at political conferences.
  • 1974-83. Contributor to various cultural and educational policy documents.
  • 2007-09. Member of Board of Administrators, joint property 3600 Van Horne (Conseil d'administration, Syndicat des copropriétaires 3600 Van Horne, Montréal).

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Quite short biography    [go to:  • very short bio  • complete CV  ▪  ]

After studying music in Cambridge and education in Manchester, Philip Tagg (b. 1944) moved to Sweden in 1966. From 1971 to 1991 he worked at the University of Göteborg, helping in the foundation of a new music teacher training college and completing his doctorate in 1979 on the semiotic analysis of television music. In 1981 he co-founded the International Association for the study of Popular Music (IASPM). In 1991 he returned to the UK to initiate the Encyclopedia of Popular Music of the World (EPMOW). From 1993 until 2002 he taught at the Institute of Popular Music at the University of Liverpool. From November 2002 until November 2009 he was Professor of Musicology at the Université de Montréal where he taught such subjects as Analyse de la musique populaire anglophone and Musique et images en mouvement. He now lives in Yorkshire (UK) where he is Visiting Professor in Musicology at Leeds Beckett University and at the University of Salford.

Trained in the classical tradition as an organist and composer, Tagg has also composed a number of choral works, as well as in the 1970s writing songs, playing keyboard and producing albums in the rock/pop sphere. He has written, coproduced or otherwise collaborated in a number of educational radio projects relating to popular music and written extensively on the semiotics of popular music. His website, tagg.org, is one of the most widely visited musicology and popular music studies site on the internet. In late September 2016, Tagg’s ‘edutainment’ videos had received 253,825 views.

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Very short biography  [go to:  • very short bio  • complete CV  ▪  ]

While studying music at Cambridge and education at Manchester in the 1960s, Philip Tagg was also active as songwriter, arranger and musician in both the 'classical' and 'popular' fields. From 1971 to 1991 he taught music history, analysis, film music and keyboard harmony at the University of Göteborg (Sweden). In 1991 he initiated work on EPMOW (Encyclopedia of Popular Music of the World). From 1993 to 2002 he taught at the University of Liverpool's Institute of Popular Music. He was Senior Professor of Musicology at the Université de Montréal from 2002 to 2009. He is now retired and lives in Yorkshire where he continues to write and to produce his ‘edutainment’ videos. In 2014 he received a Lifetime Achievement Award from the International Semiotics Institute for his contribution to music semiotics. His most recent books are Music's Meanings (2013) and Everyday Tonality II (2015)

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Extremely short biography   [go to:  • very short bio  • complete CV  ▪  ]

Philip Tagg is a musician and composer turned musicologist with a background in both popular and euroclassical music. In 1981 he co-founded the International Association for the Study of Popular Music (IASPM) and in 1991 initiated work on the Encyclopedia of Popular Music of the World (EPMOW). He has taught at the universities of Göteborg, Liverpool and Montréal. He is an internationally recognised authority on topics like Popular Music Analysis and Music and the Moving Image. In 2014 he received a Lifetime Achievement Award from the International Semiotics Institute.

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Alternative ultra-short biography

Philip Tagg is a composer and musician turned musicologist in both the euroclassical and popular fields. Between 1971 and 2009 he taught full-time at universities in Sweden, Canada and the UK. In 1981 he co-founded IASPM and in 1991 he initiated work on EPMOW. Retired since 2010, he contunes to write and to produce ‘edutainment’ videos about music.

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Français

Désolé, mais aucun curriculum n’existe encore en français. Cependant, vous trouverez ici un entrevue dans laquelle j’essaie d’expliquer les enjeux principaux de l’enseignement et de la recherche dans les musiques populaires. Vous trouverez également ici une courte introduction à mes activités. 

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Português

Philip Tagg entrevistado por Martha Ulhôa (Debates 3, 1999) .

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Perfíl basico
by Alexandre Laluz in Brecha, Montevideo, 2004-07-30

La trayectoria Philip Tagg está basada en una interesante integración de formación y experiencia como músico práctico y una rigurosa formación en el campo de la musicología. A su importante producción bibliográfica hay que sumar su decisiva participación en procesos como la formación de la IASPM y sus ramas locales, como la latinoamericana.

En la actualidad se desempeña como profesor de musicología en la Facultad de Música de la Universidad de Montreal, Canadá. Simultáneamente, participa activamente como docente e investigador en diferentes institutos y universidades a nivel internacional. Sus investigaciones han sido expuestas en numerosos artículos para publicaciones periódicas especializadas, enciclopedias y antologías. En su sitio web es posible consultar un número importante de escritos, así como trabajos de otros autores y también de estudiantes de sus cursos y seminarios en los niveles de grado y posgrado

La primera obra que marcó un punto de inflexión decisivo en este campo de estudio fue Kojak: 50 Seconds of Television Music. Towards the Analysis of Affect in Popular Music, de 1979. Le siguió Fernando the Flute (1991), un riguroso análisis de la canción “Fernando” del mítico grupo pop sueco ABBA, y en 1994 Popular music: da Kojak al Rave.

El año pasado se publicó su último y monumental libro en coautoría con Bob Clarida, Ten Little Title Tunes (Towards a musicology of the mass media)... Hay que mencionar también sus aportes como director y responsable de varias de las voces de la Enciclopedia de la música popular del mundo (EPMOW, por sus siglas en inglés). Este proyecto tuvo su puntapié inicial en 1991 y uno de sus aportes sustanciales fue el de lograr un consenso sobre una definición de “música popular”.

Véase tambien

“Metodología de la investigación artistica - música: la perspectiva musicológica de Philip Tagg, UNC (Chile), 2000.

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