Mark Everist

Mark Everist photoProfessor of Music

Location: Room 1099, Building 6 (Nuffield Theatre), Highfield Campus

Telephone: +44 (0)23 8059 4563 (internal ex. 24563)

Fax: +44 (0)23 8059 3197

Email: Mail Mark Everist

Mark Everist’s research focuses on the music of western Europe in the period 1150-1330, French nineteenth-century stage music between the Restoration and the Commune, Mozart, reception theory, and historiography. He is the author of Polyphonic Music in Thirteenth-Century France (1989), French Motets in the Thirteenth Century (1994), Music Drama at the Paris Odéon, 1824-1828 (2002) and Giacomo Meyerbeer and Music Drama in Nineteenth-Century Paris (2005), as well as editor of three volumes of the Magnus Liber Organi for Editions de l’Oiseau-Lyre (2001-2003).

He has published in Journal of the American Musicological Society, Journal of the Royal Musical Association, Revue de Musicologie, Revue Belge de Musicologie, 19th-Century Music, Early Music History, Cambridge Opera Journal, Acta Musicologica, Plainsong and Medieval Music, Music & Letters, Journal of Musicology and elsewhere. He was editor of the Journal of the Royal Musical Association from 1990-1994, continues to serve as a member of its editorial board, and is currently the editor of the Royal Musical Association's monographs series. A member of the Arts and Humanities Research Council's Advanced Research Panel 7 (Music and Performing Arts) from 2001 to 2005, he is now a member of its Peer Review College. He was an institutional auditor for the Quality Assurance Agency from 2002-2005, and was chair and leader for research of the committee of the National Association for Music in Higher Education from 2004 to 2008.

He taught at King's College London (1982-1996), and is now Professor of Music at the University of Southampton, where he was Head of Department from 1997-2001, and again from 2006. He teaches undergraduate courses on the middle ages, the eighteenth and nineteenth centuries, and Masters courses on research methods and critical practice. His PhD supervision encompasses dissertations on early nineteenth-century French opera, Sibelius, Verdi, the Notre-Dame conductus, the thirteenth-century motet and fifteenth-century mass composition.