Ian Pace studied at Chetham's School of Music, The Queen's College, Oxford and the Juilliard School, New York, where he studied with the Hungarian pianist György Sándor. He has pursued a parallel career as both a pianist and musicologist since returning to the UK in 1992, with a particular focus on contemporary music.
He has played in 22 countries, recorded over 20 CDs, and given over 150 world premieres, by composers including Julian Anderson, Richard Barrett, James Clarke, Chaya Czernowin, James Dillon, Pascal Dusapin, Brian Ferneyhough, Michael Finnissy, Christopher Fox, Volker Heyn, Horatiu Radulescu, Frederic Rzewski, Gerhard Stäbler, Howard Skempton and Walter Zimmermann. He has also played with major orchestras including the Orchestre de Paris under Christoph Eschenbach, the SWR-Orchestra Stuttgart under Rupert Huber, and the Dortmund Philharmonic under Bernhard Kontarsky, and given many workshops and masterclasses, including as a teacher at the festivals in Acanthes, Metz, and Impuls, Graz.
Ian taught first at the London College of Music and Media from 1998 to 2001, where he was co-director of a department for contemporary piano, then as an AHRC Research Fellow at the University of Southampton from 2003 to 2006 (where he wrote a monograph on Michael Finnissy's The History of Photography in Sound). He was Lecturer in Contemporary Musicologies at Dartington College of Arts (now University College Falmouth) from 2007 to 2010, before taking up the position of Lecturer and DMA Programme Director at City University London. Since 2011 he has been Head of Performance at City.
His undergraduate teaching has encompassed 20th century musical history and performance, issues of music and society (in particular the work of Theodor Adorno and also the New Musicology), aesthetics of modernism and postmodernism, historical performance practice, instrument history, site-specific music, as well as supervising many dissertations at undergraduate and postgraduate level on various areas of classical and popular music.
He co-authored and co-edited the volume Uncommon Ground: The Music of Michael Finnissy (Aldershot: Ashgate, 1998) and has published widely in The Musical Times, Tempo, Contemporary Music Review, International Piano, Open Space Magazine, Liszt Society Journal, Classical Music, Musiktexte and Musik und Aesthetik, as well as authoring many programme and CD liner notes.
Recent publications have included chapters on 'Verbal Discourse as Aesthetic Arbitrator' in Björn Heile (ed), The Modernist Legacy (Aldershot: Ashgate, 2009), 'Notation, Time and the Performer's Relationship to the Score in Contemporary Music', in Darla Crispin (ed), Unfolding Time: Studies in Temporality in Twentieth-Century Music, edited Darla Crispin (Leuven: Leuven University Press, 2009), and 'Coldness and Cruelty as Performance in Deleuze's Proust', in Mary Bryden and Margaret Topping (Eds), Beckett's Proust/Deleuze's Proust (Basingstoke: Palgrave Macmillan, 2009).
He has given many guest lectures and conference papers. His book Brahms Performance Practice: Documentary, Analytic and Interpretive Approaches was published by Ashgate in 2010, and his chapter on 19th century instrumental performance will appear in Colin Lawson and Robin Stowell (Eds), The Cambridge History of Musical Performance. Since 2006, he has been engaged on a large scale research project concerning the development of the musical avant-garde and its institutions in West Germany between 1945 and 1963.
19th Century performance history and practice; romantic aesthetics; Beethoven, Schumann, Chopin, Liszt, Brahms; history of the piano and pianists; history of violin style; the 19th-century orchestra; Russian music and performance; aesthetics of modernism and postmodernism; Second Viennese School; Debussy, Ravel, Stravinsky, Bartók; music in the Third Reich; the post-1945 avant-garde; music, culture, and society in West Germany; music in the Cold War; contemporary music in Britain; institutions and festivals of new music (including Darmstadt, Donaueschingen, Musica Viva, etc.); music of Stockhausen, Xenakis, Nono, Cage, Schnebel, Kagel, Ligeti, Lachenmann, Radulescu, Ferneyhough, Finnissy and others; early electronic music; music-theatre; contemporary performance techniques and issues; issues of notation; historiography; music and identity; the role of verbal discourse around music; Theodor Adorno; Pierre Bourdieu.
- Fox, C., Brougham, H. and Pace, I. (Eds.), (1998). Uncommon Ground: the music of Michael Finnissy. Farnham: Ashgate Publishing. ISBN 978-1-85928-356-1.
- Pace, I. Instrumental Performance from the Congress of Vienna to the Berlin Philharmonic.
- Pace, I. Brahms Performance Practice: Documentary, Analytic and Interpretative Approaches. Ashgate Publishing.
- Pace, P. (2012). Instrumental performance in the nineteenth century. In Lawson, C. and Stowell, R. (Eds.), The Cambridge History of Musical Performance (pp. 643–695). Cambridge University Press. ISBN 978-0-521-89611-5.
- Pace, I. and Saunders, J. (2009). Fox, Christopher. Grove Music Online Oxford: Oxford University Press. ISBN 978-1-56159-263-0.
- Pace, P. (2009). Notation, Time and the Performer’s Relationship to the Score in Contemporary Music. In Crispin, D. (Ed.), Unfolding Time (pp. 151–192). Leuven University Press. ISBN 978-90-5867-735-8.
- Pace, P. (2009). Verbal Discourse as Aesthetic Arbitrator in Contemporary Music. In Heile, B. (Ed.), The Modernist Legacy (pp. 81–99). Ashgate Publishing, Ltd.. ISBN 978-0-7546-6260-0.
- Pace, P. (2009). Coldness and Cruelty as Performance in Deleuze's Proust. In Bryden, M. and Topping, M. (Eds.), Beckett's Proust/Deleuze's Proust (pp. 183–198). Palgrave Macmillan. ISBN 978-0-230-20141-5.
- Cross, J. and Pace, P. (2001). Finnissy, Michael (Peter). Grove Music Online Oxford: Oxford University Press. ISBN 978-1-56159-263-0.
- Pace, I. (1998). The Theatrical Works. In Pace, I., Fox, C. and Brougham, H. (Eds.), Uncommon Ground: Music of Michael Finnissy (pp. 259–346). Farnham: Ashgate. ISBN 978-1-85928-356-1.
- Pace, I. (1998). The Piano Music. In Pace, I., Fox, C. and Brougham, H. (Eds.), Uncommon Ground: the music of Michael Finnissy (pp. 43–134). Farnham: Ashagate. ISBN 978-1-85928-356-1.
- Pace, I. Performance as Analysis, Analysis as Performance. In Cervino, A. (Ed.), Collected Writings of the Orpheus Institute
- Pace, I. (2014). Beyond Werktreue: Ideologies of New Music Performance and Performers. 14 January, Royal College of Music.
- Pace, I. (2013). The Cold War in Germany as ideological weapon for anti-modernists. May, City University London, UK.
- Pace, I. (2013). The Cold War in Germany as ideological weapon for anti-modernists. Impuls festival 2013 9-20 February, Graz, Austria.
- Pace, I. (2012). Tempo and its modifications in the music of Brahms from primary sources and evidence of early performers. Symposium 'Über das Forteilen und Zurückhalten. Zur Tempogestaltung in der Musik des frühen 19. Jahrhunderts' 31 March, Berlin, Germany.
- Pace, I. (2011). The Cold War in Germany as ideological weapon for anti-modernists. Radical Music History Conference 8 December, Helsinki, Finland.
- Pace, I. (2011). Instrumental Technique and Scholarly Enquiry: Issues and Methods. The Art of Artistic Research 6 May, Norwegian Academy of Music, Oslo, Norway.
- Pace, I. (2010). Militarisation, Industrialisation and the growth of the Symphony Orchestra in the Nineteenth Century. The Symphony Orchestra as Cultural Phenomenon 1-3 July, Institute of Musical Research, London, UK.
- Pace, I. (2009). Performance as Analysis, Analysis as Performance. From Analysis to Music 27 May, Ghent, Belgium.
- Pace, I. (2008). Between Adorno and HIP: Possibilities of Synthesis. Adorno and Musical Reproduction Conference 13-14 September, Manchester, UK.
- Pace, I. (2008). Recording, Ideology and Critical Approaches to Interpretation. CHARM 11 September, Royal Holloway College, Egham, Surrey.
- Pace, I. (2007). Graphic Notation. Lecture 13 June, Hochschule für Musik, Freiburg, Germany.
- Pace, I. (2007). Making possible the irrational: strategies and aesthetics in the music of Stockhausen, Cage, Ligeti, Xenakis, Ferneyhough, Barrett. Tempo, Meter, Rhythm. Time in Music after 1950 11-14 April, Orpheus Institute, Ghent, Belgium.
- Pace, I. (2007). Complexity as Imaginative Stimulant: Issues of Rubato, Barring, Grouping, Accentuation and Articulation in Contemporary Music, with Examples from Boulez, Carter, Feldman, Kagel, Finnissy. Tempo, Meter, Rhythm. Time in Music after 1950 11-14 April, Ghent, Belgium.
- Pace, I. (2006). The Marxist programme note: The logic of the supplement in the textual accompaniment. Society for Musical Analysis Study Day 25 November, University of Sussex, Sussex, UK.
- Pace, I. (2005). Performance as ideology. Radical Philosophy Conference 19 March, Birkbeck College, London, UK.
- Pace, I. (2004). Rethinking Romanticism. 16 February, University of Southampton, UK.
- Pace, I. (2004). Rethinking Romanticism. 18 January, Hochschule der Kunst, Berlin, Germany.
- Pace, I. (2003). Rethinking Romanticism. 12 November, King's College, London, UK.
- Pace, I. (2014). Clifford Hindley: Pederasty and Scholarship..
- Pace, I. (2014). Child abuse and identity politics – the normalisation of abuse on such grounds. https://ianpace.wordpress.com/2014/07/18/child-abuse-and-identity-politics-the-normalisation-of-abuse-on-such-grounds/
- Pace, I. (2014). Alan Doggett, first conductor of Joseph and Jesus Christ Superstar, and the Paedophile Information Exchange..
- Pace, I. (2014). New article on abuse and classical music by Damian Thompson in the Spectator, and some wider reflections on classical music and abuse..
- Pace, I. (2014). Yefim Golyshev, Arnold Schoenberg, and the Origins of Twelve-Tone Music..
- Pace, I. (2013). Musicology is not Musical PR..
- Pace, I. (2013). Hierarchies in New Music: Composers, Performers, and 'Works'..
- Pace, I. (2013). The Fetish of the 'Contemporary'..
- Pace, I. (2013). Marcel Gazelle and the Culture of the Early Yehudi Menuhin School..
- Pace, I. (2013). Robert Waddington, Former Dean of Manchester Cathedral, and Chetham's School of Music..
- Pace, I. (2013). The culture of music education lends itself to abuse. Times Educational Supplement.
- Pace, I. (2012). Frank Cox on Richard Taruskin's The Oxford History of Western Music..
- Pace, P. and Bruce, D. (2005). Ian Pace Interview. Composition: Today
- Pace, I. (2001). Interview with Marc Bridle. Seen & Heard.
- Pace, I. (2016). To do justice to Arnold’s enviable legacy, we should reverse the tendency towards the de-skilling of a discipline. Society for Musical Analysis Newsletter, 2015, pp. 28–29.
- Pace, I. (2015). COMPOSITION and PERFORMANCE CAN BE, and OFTEN HAVE BEEN, RESEARCH. Tempo (United Kingdom), 70(275), pp. 60–70. doi:10.1017/S0040298215000637.
- Pace, I. (2015). Does elite music teaching leave pupils open to abuse? Daily Telegraph .
- Pace, I. (2015). Music teacher sentenced to 11 years in prison as abuse film Whiplash prepares for Oscars. The Conversation .
- Pace, I. (2015). FERNEYHOUGH HERO: SCHOLARSHIP AS PROMOTION. MUSIC & LETTERS, 96(1), pp. 99–112. doi:10.1093/ml/gcu111.
- Pace, I. (2015). Positions, Methodologies and Aesthetics in the Published Discourse about Brian Ferneyhough: A Critical Study. Search – Journal for New Music and Culture, Fall 2015(11) .
- Pace, I. (2014). Music in Germany Since 1968. TEMPO, 68(268), pp. 116–121. doi:10.1017/S0040298213001940.
- Pace, I. (2012). Maintaining Disorder: Some Technical and Aesthetic Issues Involved in the Performance of Ligeti's Etudes for Piano. CONTEMPORARY MUSIC REVIEW, 31(2-3), pp. 177–201. doi:10.1080/07494467.2012.717359.
- Pace, I. (2009). Dialogue. Notations, 1 .
- (2007). Book Reviews. Tempo, 61(242), pp. 61–73. doi:10.1017/S0040298207000307.
- Pace, I. (2007). Performing Liszt in the Style Hongroise. Liszt Society Journal, 32, p. 55.
- Pace, P. (2007). Gordon Downie and Ian Pace: A Dialogue. The Open Space Magazine, (8 & 9), pp. 181–208.
- Pace, P. (2007). “The Best Form of Government…”: Cage’s Laissez-Faire Anarchism and Capitalism. The Open Space Magazine, (8/9), pp. 91–115.
- Pace, I. (2006). Interview. International Piano .
- Pace, P. (2006). Conventions, Genres, Practices in the Performance of Liszt’s Piano Music. Liszt Society Journal, 31 .
- Pace, I. and Bruce, D. (2005). Ian Pace Interview 528. Composition Today .
- Pace, I. (2005). Lachenmann's Serynade --Issues for Performer and Listener. Contemporary Music Review, 24(1), pp. 101–112. doi:10.1080/0749446042000293646.
- Pace, I. (2003). Review, Serge Prokofiev – Fiftieth Anniversary Set (Warner Classics). Three Oranges Journal, (5), pp. 32–34.
- Pace, P. (2003). György Sándor: From East to West. International Piano, (Jan/Feb 2003) .
- Pace, I. (2001). The harpsichord works of Iannis Xenakis. Contemporary Music Review, 20(1), pp. 125–140. doi:10.1080/07494460100640121.
- Pace, I. (1999). UK Gold? The Musical Times, 140(1869), pp. 2–3.
- Pace, P. (1999). Modulor von Ian Willcock. Musik & Ästhetik, (10), pp. 47–58.
- Pace, I. (1999). Modulor by Ian Willcock. .
- Pace, P. (1998). Positive or negative 2. The Musical Times, 139(1860), pp. 4–15.
- Pace, P. (1998). Book Review: Brian Ferneyhough - Collected Writings by James Boros; Richard Toop; Brian Ferneyhough; Ferneyhough: String Quartet No.4; Kurze Schatten II; Trittico per G. S.; Terrain by Arditti String Quartet with Brenda Mitchell; Magnus Andersson; Stefano Scodanibbio; Irvine Arditti; ASKO Ensemble; Jonathan Nott; Brian Ferneyhough; Ferneyhough: Prometheus; La Chute D'Icare; On Stellar Magnitudes; Superscriptio; Carceri d'Invenzione III by Luisa Castellani; Félix Renggli; Ernesto Molinari; Ensemble Contrechamps; Giorgio Bernasconi; Zsölt Nagy; Emilio Pomàrico; Brian Ferneyhough. Tempo (London, 1939): a quarterly review of modern music, (203), pp. 45–48.
- Pace, P. (1998). Northern Light. The Musical Times, 139(1863), pp. 33–44.
- Pace, P. (1998). Positive or negative 1. The Musical Times, 139(1859), pp. 9–17.
- Pace, P. (1997). Never to Be Naught. The Musical Times, 138(1857), pp. 17–20.
- Pace, P. (1997). The Panorama of Michael Finnissy (II). Tempo (London, 1939): a quarterly review of modern music, (201), pp. 7–16.
- Pace, P. (1997). Recent Sciarrino Premières. Tempo (London, 1939): a quarterly review of modern music, (200), pp. 49–51.
- Pace, P. (1997). 'Die Soldaten' in London. Tempo (London, 1939): a quarterly review of modern music, (200), pp. 41–42.
- Pace, P. (1997). Music of the Absurd? Thoughts on Recent Kagel. Tempo (London, 1939): a quarterly review of modern music, (200), pp. 29–34.
- Pace, P. (1997). Archetypal Experiments. The Musical Times, (1856), pp. 9–14.
- Pace, P. (1996). Repertoire Guide: Richard Barrett. Classical Music pp. 29–29.
- Pace, I. (1996). CD Review - Julio Estrada: ishini'ioni; miqi'nahual; yuunohui'se; Canto mnémico; yuunohui'yei'nahui; Canto alterno; yuunohui'se'Ome'yei'nahui by Arditti String Quartet; Stefan Scondanibbio; Julio Estrada; Emmanuel Nunes: quodlibet by Ensemble Modern; Orquestra Gulbenkian Lisboa; Kasper de Roo; Emilio Pomárico; Emmanuel Nunes. Tempo (London, 1939): a quarterly review of modern music, 198, pp. 62–63.
- Pace, P. (1996). The Panorama of Michael Finnissy (I). Tempo (London, 1939): a quarterly review of modern music, (196), pp. 25–35.
- Pace, I. (1996). Lachenmann: Pression; Wiegenmusik; Guero; Toccatina; Dal Niente (Interieur III); Interieur I; Ein Kinderspiel by Ensemble Recherche; Helmut Lachenmann; Lachenmann: '... Zwei Gefühle...'; Musik mit Leonardo; Notturno; Interieur I by Helmut Lachenmann; Andreas Lindenbaum; Björn Wilker. Tempo (London, 1939): a quarterly review of modern music pp. 51–54.
- Pace, I. (1996). 'Secret Theatres' - The Harrison Birtwistle Retrospective, 12 April-4 May 1996. Tempo (London, 1939): a quarterly review of modern music, 197, pp. 25–27.
- Pace, P. (2013). Michael Finnissy's "The History of Photography in Sound": A Study of Sources, Techniques and Interpretation.
- Pace, I. (2005). Michael Finnissy - Verdi Transcriptions.
- Pace, I. (2004). Review: Shining City - Conor McPherson, Royal Court Theatre.
- Pace, I. (2003). Tradition and Invention: A personal response to The Book of Elements and contemporary culture.
- Pace, I. (2000). Dusapin-Material.