As an Undergraduate I studied at the Royal Conservatoire of Scotland in classical guitar and musical composition, and was lucky enough to have composition lessons with Sir James McMillan and Dame Judith Weir, now Master of the King's Music. Instrumental studies with maestros Stephano Grondona and Paul Galbraith left a lasting impression.    

I read for a Masters in Music Theory at Edinburgh University, then for my PhD at Wolfson College Cambridge in the music aesthetics of T.W. Adorno.

Being raised on the Wirral, and naturalised as a scouser, my self-esteem is linked far too closely to the results of Liverpool Football Club.

Other University Positions:

Deputy Praelector, Fitzwilliam College (2022).

Bye-Fellow, St Edmund’s College (2022).

Foundation Year DoS, St Edmund’s College, Cambridge (2022).

Deputy Admissions Tutor,St Edmund’s College, Cambridge (2020).

Graduate Tutor, Fitzwilliam College, Cambridge (2020).

Undergraduate Tutor, Fitzwilliam College (2019).

Panel Tutor in Philosophy, Institute of Continuing Education, University of Cambridge (2018).

Director of Studies in Music, St Edmund’s College (2018).

Bye-Fellow, Fitzwilliam College (2017)

 

Publications, Links, and Resources

  • Parker Dixon, Martin (2017): “The Learning Community, a Quodlibet”, in Higher Education in Music in the Twenty-first Century. B. Heile, E. Rodriguez, J. Stanley (eds): Routledge.
  • Parker Dixon, Martin (2015): “The Poet Sings: Resonance in Paul Valery's Poietics”, Humanities, 4, 506–522.
  • Parker Dixon, Martin (2015): “Creativity and Possessive Interests” in Concepts of Music and Copyright. A. Rahmatian (Ed): Edward Elgar Publishing, 50-77.
  • Parker Dixon, Martin (2014): “Writing as Life Performed” in Adorno and Performance. W. Daddario, K. Gritzner (Eds): Palgrave MacMillian, 205-222.
  • Parker Dixon, Martin (2013): “Composition and Adorno’s Rhetoric of the New”, Scottish Music Review, Vol 3.
  • Parker Dixon, Martin (2011): “Dwelling and the Sacralisation of the Air: A Note on Acousmatic Music” Organised Sound, vol 16, no.2, 115-119.
  • Parker Dixon, Martin (2009): “Labour, Work and Action in the Creative Process” in The Discipline of Creativity: Exploring the Paradox. B. Porter (Ed.): Cambridge: CUP, 47-59.
  • Dixon, Martin (2008): “Diary: Glasgow, Scotland, Monday, 17th July 2006” in Collision: Interarts Practices and Research, D. Cecchetto, N. Cuthbert, J. Lassonde and D. Robinson (Eds.): Newcastle: Cambridge Scholars Press, 201-208.
  • Dixon, Martin (2007): “The Horror of Disconnection: The Auratic in Technological Malfunction” Transformations, 15
  • Dixon, Martin (2006): “Blackbirds rise from a field...: Production, Structure and Obedience in John Cage's Lecture on Nothing” in Neo-Avantgarde. D. Hopkins (Ed.): Amsterdam: Rodopi, 389-402 Dixon, Martin (2006): “Echo's Body: Play and Representation in Interactive Music Software” Contemporary Music Review, vol. 25, number 1/2, 17-26.
  • Dixon, Martin (2002): “Art and Life: John Cage, Avant-gardism and Technology.” Frankfurter Zeitschrift für Musikwissenschaft, 5, 86-93