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Liam Maloney graduated in Sound Technology from Liverpool Institute of Performing Arts (BA Hons 2007). He began lecturing in further education, specialising in audio production and electronic music composition. During this time, he achieved an MSc in Music & Creative Industries Management with distinction from the University of Bolton (2011), with his dissertation examining the dissemination of taste after the digital revolution winning the Vice-Chancellor’s award for “outstanding academic achievement”. He undertook his doctoral work in the Music Research Centre at the University of York (2014-2020). His PhD, titled ‘Music Like Water: Exploring the Functions of Music Through Thematic Bibliometric Analysis and Comparative ESM Study’, supervised by Dr Jez Wells and Dr Catherine Laws, and was examined by Professor John Sloboda. He was awarded a Humanities Research Doctoral Fellowship for his doctoral work (2018).
His postdoctoral work, a joint venture between the Digital Creativity Labs and the Department of Music at the University of York for the ‘Musical Creativity and Emotional Content’ project (2020) concerned the development of real-time emotional expression prediction embedded within music sequencing systems.
In addition to this his sonic practice has seen him work with, support, remix, and play alongside many electronic musicians including Pendulum, Imogen Heap, Dom & Roland, DJ Fresh, Ruby, and Andrew Weatherall. His performed or presented work at the Bridgewater Hall, the Festival of Ideas, the Royal Institution, the People’s History Museum, LGBTQ+ History Month, BBC One, BBC Radio 2, and numerous festivals, clubs, and galleries.
Liam’s main research interests concern:
Music Production and History: the development and use of the studio as an instrument; creative studio practice; production and compositional features of electronic music; historical development of production processes; the role of technology in the development of dance music genres.
Dance & Electronic Music Sociomusicology: the intersection of race, gender, sexuality and popular musics; popular music and marginalised/minority audiences; queer African American music and audiences; LGBTQ+ music history; disco and house music; the impact of redlining on musical developments; grassroots music venues and DIY music scenes/collectives.
Sound and Listening Studies: the development and innovation of technologically augmented listening; the history and (incomplete) historiography of listening technology; the development and deployment of recording technologies in everyday life; the role of listening technology in everyday life.
Music in Everyday Life: music psychology; the role of music in everyday life with specific focus on the functions of music for goal attainment; utilitarianism; the observation and analysis of listening episodes; experience sampling methodologies.
Qualitative and Mixed Methods Research: thematic analysis; sentiment analysis; ethnography and ecologically valid research; ESM studies; bibliometric and meta-analyses; inter- and trans-disciplinary research.
Liam also runs and maintains the Foundations of House research project, a project dedicated to researching and recording the history of marginalised communities in early dance music.
In collaboration with Dr Jack McNeill, Liam co-leads the Dance Music Cultures Research Group at the University of York.
Liam is accepting PhD proposals from candidates working the areas above.