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Contact Information


Visit Ian Pace

ALG15, College Building

Postal Address

City, University of London
Northampton Square
United Kingdom



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 25 countries, recorded over 35 CDs, and given over 250 world premieres, by composers including Patrícia de Almeida, Julian Anderson, Richard Barrett, Luc Brewaeys, 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, Impuls, Graz, and the Akademie für Neue Musik, Munich.

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 was 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 in Music at City University London. Since 2011 he has been Head of Performance at City.

His undergraduate teaching has encompassed 19th and 20th century musical history and performance, issues of critical musicology and music and society (in particular the work of the Frankfurt School), aesthetics of modernism and postmodernism, music under fascism and communism, 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 the monograph Michael Finnissy’s The History of Photography in Sound: A Study of Sources, Techniques and Interpretation (Swarland: Divine Art, 2013), and has published widely in Music and Letters, Search: Journal for New Music and Culture, 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 articles on 'Composition and Performance can be, and often have been, Research; (Tempo 70/275 (January 2016)), 'Positions, Methodologies and Aesthetics in the Published Discourse about Brian Ferneyhough: A Critical Study', in Search: Journal for New Music and Culture 2015 (11), 'Ferneyhough Hero: Scholarship and Promotion', Music and Letters 96/1 (February 2015), and chapters on 'Instrumental Performance in the nineteenth century', in The Cambridge History of Musical Performance, edited Colin Lawson and Robin Stowell (Cambridge: Cambridge University Press, 2012), '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 conference papers and guest lectures, recently on the Cold War in Germany and modernist historiography; American Experimentalism and Exceptionalist ideologies in musical historiography; mediations between scholarly and performance-based approaches to playing the Sonata of Paul Dukas; critical views on the ethnography of Western Art Music; conceptualising practice-as-research in relation to performers' activities; and on the writings on music by Clifford Hindley and the aestheticisation of pederasty. 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 after 194. He is also completing a book on Brahms Performance Practice, and a history of the specialist music schools in the UK in the context of the Cold War.


  1. ACT (Master's Equivalent), The Juilliard School, United States, 1991 – 1992
  2. BA, The Queen's College, Oxford, United Kingdom, 1986 – 1989


  1. Lecturer in Music, City University London, London, 2010 – present
  2. Lecturer in Music, City University London, London, 2010 – present
  3. Lecturer in Contemporary Musicologies, Dartington College of Arts, 2007 – 2010
  4. AHRC Creative and Performing Arts Research Fellow, University of Southampton, Southampton, 2003 – 2006


French (can read, write, speak and understand spoken) and German (can read, write, speak and understand spoken).


Geographic Areas

  • Europe
  • Europe - Central
  • Europe - Western


Research interests

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.


Books (3)

  1. 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.
  2. Pace, I. Brahms Performance Practice: Documentary, Analytic and Interpretative Approaches. Ashgate Publishing.
  3. Pace, I. Instrumental Performance from the Congress of Vienna to the Berlin Philharmonic.

Chapters (9)

  1. 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.
  2. 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.
  3. 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.
  4. Pace, I. and Saunders, J. (2009). Fox, Christopher. Grove Music Online Oxford: Oxford University Press. ISBN 978-1-56159-263-0.
  5. Cross, J. and Pace, P. (2001). Finnissy, Michael (Peter). Grove Music Online Oxford: Oxford University Press. ISBN 978-1-56159-263-0.
  6. 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.
  7. 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.
  8. Pace, I. Instrumental performance in the nineteenth century. The Cambridge History of Musical Performance (pp. 643–695). Cambridge University Press. ISBN 978-1-139-02596-6.
  9. Pace, I. Performance as Analysis, Analysis as Performance. In Cervino, A. (Ed.), Collected Writings of the Orpheus Institute

Conference papers and proceedings (18)

  1. Pace, I. (2014). Beyond Werktreue: Ideologies of New Music Performance and Performers. 14 January, Royal College of Music.
  2. Pace, I. (2013). The Cold War in Germany as ideological weapon for anti-modernists. May, City University London, UK.
  3. Pace, I. (2013). The Cold War in Germany as ideological weapon for anti-modernists. Impuls festival 2013 9-20 February, Graz, Austria.
  4. 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.
  5. Pace, I. (2011). The Cold War in Germany as ideological weapon for anti-modernists. Radical Music History Conference 8 December, Helsinki, Finland.
  6. Pace, I. (2011). Instrumental Technique and Scholarly Enquiry: Issues and Methods. The Art of Artistic Research 6 May, Norwegian Academy of Music, Oslo, Norway.
  7. 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.
  8. Pace, I. (2009). Performance as Analysis, Analysis as Performance. From Analysis to Music 27 May, Ghent, Belgium.
  9. Pace, I. (2008). Between Adorno and HIP: Possibilities of Synthesis. Adorno and Musical Reproduction Conference 13-14 September, Manchester, UK.
  10. Pace, I. (2008). Recording, Ideology and Critical Approaches to Interpretation. CHARM 11 September, Royal Holloway College, Egham, Surrey.
  11. Pace, I. (2007). Graphic Notation. Lecture 13 June, Hochschule für Musik, Freiburg, Germany.
  12. 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.
  13. 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.
  14. 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.
  15. Pace, I. (2005). Performance as ideology. Radical Philosophy Conference 19 March, Birkbeck College, London, UK.
  16. Pace, I. (2004). Rethinking Romanticism. 16 February, University of Southampton, UK.
  17. Pace, I. (2004). Rethinking Romanticism. 18 January, Hochschule der Kunst, Berlin, Germany.
  18. Pace, I. (2003). Rethinking Romanticism. 12 November, King's College, London, UK.

Internet publications (21)

  1. Pace, I. (2016). Ethnographically sourced experiences of Ethnomusicology – a further response to the debate.
  2. Pace, I. (2016). Quilting Points and Ethnomusicology.
  3. Pace, I. (2016). My contribution to the debate ‘Are we all ethnomusicologists now?’
  4. Pace, I. (2016). Responses to Simon Zagorski-Thomas’s talk on ‘Dead White Composers’.
  5. Pace, I. (2015). Those 300-word statements on Practice-as-Research for the RAE/REF – origins and stipulations.
  6. Pace, I. (2015). Some final thoughts on composition, performance, the REF, and teaching.
  7. Pace, I. (2015). Composition and Performance as Research: some wider responses to John Croft and others.
  8. 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.
  9. Pace, I. (2014). Yefim Golyshev, Arnold Schoenberg, and the Origins of Twelve-Tone Music.
  10. Pace, I. (2014). Child abuse and identity politics – the normalisation of abuse on such grounds.
  11. Pace, I. (2014). Alan Doggett, first conductor of Joseph and Jesus Christ Superstar, and the Paedophile Information Exchange.
  12. Pace, I. (2014). Clifford Hindley: Pederasty and Scholarship.
  13. Pace, I. (2013). The Fetish of the 'Contemporary'.
  14. Pace, I. (2013). Hierarchies in New Music: Composers, Performers, and 'Works'.
  15. Pace, I. (2013). Musicology is not Musical PR.
  16. Pace, I. (2013). Robert Waddington, Former Dean of Manchester Cathedral, and Chetham's School of Music.
  17. Pace, I. (2013). The culture of music education lends itself to abuse. Times Educational Supplement.
  18. Pace, I. (2013). Marcel Gazelle and the Culture of the Early Yehudi Menuhin School.
  19. Pace, I. (2012). Frank Cox on Richard Taruskin's The Oxford History of Western Music.
  20. Pace, P. and Bruce, D. (2005). Ian Pace Interview. Composition: Today.
  21. Pace, I. (2001). Interview with Marc Bridle. Seen & Heard.

Journal articles (44)

  1. Pace, I. (2017). Music after the Fall: Modern Composition and Culture since 1989 by Tim Rutherford-Johnson . Oakland: University of California Press, 2017. £24.95. Tempo, 71(282), pp. 101–103. doi:10.1017/s0040298217000766.
  2. Pace, I. (2017). Darla Crispin and Bob Gilmore, eds, Artistic Experimentation in Music: An Anthology (Leuven: Leuven University Press, 2014). Tempo, 71(281).
  3. Pace, I. (2017). The insidious class divide in music teaching. The Conversation.
  4. Pace, I. (2017). Luigi Dallapiccola and Musical Modernism in Fascist Italy. By Ben Earle. Music and Letters, 98(1), pp. 163–167. doi:10.1093/ml/gcx013.
  5. Pace, I. (2016). How to negotiate the tricky territory of ‘fascist music’. The Conversation.
  6. 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.
  7. 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.
  8. Pace, I. (2015). Between Worlds: the dangers of transforming 9/11 into stylised art. The Conversation.
  9. Pace, I. (2015). Music teacher sentenced to 11 years in prison as abuse film Whiplash prepares for Oscars. The Conversation.
  10. Pace, I. (2015). Does elite music teaching leave pupils open to abuse? Daily Telegraph.
  11. Pace, I. (2015). Ferneyhough Hero: Scholarship as Promotion. Music and Letters, 96(1), pp. 99–112. doi:10.1093/ml/gcu111.
  12. 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).
  13. Pace, I. (2014). Music in Germany Since 1968 by Alastair Williams. Cambridge: Cambridge University Press, 2013. £60.00. Tempo, 68(268), pp. 116–121. doi:10.1017/s0040298213001940.
  14. Pace, I. (2012). Maintaining Disorder: Some Technical and Aesthetic Issues Involved in the Performance of Ligeti'sÉtudesfor Piano. Contemporary Music Review, 31(2-3), pp. 177–201. doi:10.1080/07494467.2012.717359.
  15. Pace, I. (2009). Dialogue. Notations, 1.
  16. (2007). Book Reviews. Tempo, 61(242), pp. 61–73. doi:10.1017/s0040298207000307.
  17. Pace, P. (2007). “The Best Form of Government…”: Cage’s Laissez-Faire Anarchism and Capitalism. The Open Space Magazine, (8/9), pp. 91–115.
  18. Pace, P. (2007). Gordon Downie and Ian Pace: A Dialogue. The Open Space Magazine, (8 & 9), pp. 181–208.
  19. Pace, I. (2007). Performing Liszt in the Style Hongroise. Liszt Society Journal, 32, p. 55.
  20. Pace, I. (2006). Interview. International Piano.
  21. Pace, P. (2006). Conventions, Genres, Practices in the Performance of Liszt’s Piano Music. Liszt Society Journal, 31.
  22. Pace, I. and Bruce, D. (2005). Ian Pace Interview 528. Composition Today.
  23. Pace, I. (2005). Lachenmann'sSerynade--Issues for Performer and Listener. Contemporary Music Review, 24(1), pp. 101–112. doi:10.1080/0749446042000293646.
  24. Pace, P. (2003). György Sándor: From East to West. International Piano, (Jan/Feb 2003).
  25. Pace, I. (2003). Review, Serge Prokofiev – Fiftieth Anniversary Set (Warner Classics). Three Oranges Journal, (5), pp. 32–34.
  26. Pace, I. (2001). The harpsichord works of Iannis Xenakis. Contemporary Music Review, 20(1), pp. 125–140. doi:10.1080/07494460100640121.
  27. Pace, P. (1999). Modulor von Ian Willcock. Musik & Ästhetik, (10), pp. 47–58.
  28. Pace, I. (1999). UK Gold? The Musical Times, 140(1869), pp. 2–3.
  29. Pace, P. (1998). Positive or negative 2. The Musical Times, 139(1860), pp. 4–15.
  30. Pace, P. (1998). Positive or negative 1. The Musical Times, 139(1859), pp. 9–17.
  31. Pace, P. (1998). Northern Light. The Musical Times, 139(1863), pp. 33–44.
  32. 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.
  33. Pace, P. (1997). Never to Be Naught. The Musical Times, 138(1857), pp. 17–20.
  34. Pace, P. (1997). Archetypal Experiments. The Musical Times, (1856), pp. 9–14.
  35. Pace, P. (1997). Music of the Absurd? Thoughts on Recent Kagel. Tempo (London, 1939): a quarterly review of modern music, (200), pp. 29–34.
  36. Pace, P. (1997). 'Die Soldaten' in London. Tempo (London, 1939): a quarterly review of modern music, (200), pp. 41–42.
  37. Pace, P. (1997). Recent Sciarrino Premières. Tempo (London, 1939): a quarterly review of modern music, (200), pp. 49–51.
  38. Pace, P. (1997). The Panorama of Michael Finnissy (II). Tempo (London, 1939): a quarterly review of modern music, (201), pp. 7–16.
  39. Pace, P. (1996). Repertoire Guide: Richard Barrett. Classical Music pp. 29–29.
  40. Pace, P. (1996). The Panorama of Michael Finnissy (I). Tempo (London, 1939): a quarterly review of modern music, (196), pp. 25–35.
  41. 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.
  42. 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.
  43. 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.
  44. Pace, I. The new state of play in performance studies. Music and Letters.


  1. Pace, I. (2015). Ian Pace & Michael Finnissy.

Scholarly edition

  1. Pace, P. (2013). Michael Finnissy's "The History of Photography in Sound": A Study of Sources, Techniques and Interpretation.

Other (14)

  1. Pace, I. (2017). Michael Finnissy - The Piano Music (10 and 11) - Brochure from Conference 'Bright Futures, Dark Pasts'.
  2. Pace, I. (2005). Michael Finnissy - Verdi Transcriptions.
  3. Pace, I. (2004). Review: Shining City - Conor McPherson, Royal Court Theatre.
  4. Pace, I. (2003). Tradition and Invention: A personal response to The Book of Elements and contemporary culture.
  5. Pace, I. (2000). Dusapin-Material.
  6. Pace, I. Michael Finnissy at 70: The piano music (1).
  7. Pace, I. Michael Finnissy at 70: The piano music (2).
  8. Pace, I. Michael Finnissy at 70: The piano music (3).
  9. Pace, I. Michael Finnissy at 70: The piano music (4).
  10. Pace, I. Michael Finnissy at 70: The piano music (5).
  11. Pace, I. Michael Finnissy at 70: The piano music (6).
  12. Pace, I. Michael Finnissy at 70: The piano music (7).
  13. Pace, I. Michael Finnissy at 70: The piano music (8).
  14. Pace, I. Michael Finnissy at 70: The piano music (9).