Martyn Shaw (MMusRAM, BMus(Hons), AGSMD(P), LGSMD(T), PGCE, FHEA) is a Senior Lecturer in Flute for the BA (Hons) Classical programme and specialist in historical performance practice.
Martyn studied at Chetham’s School of Music before accepting a place at the Trevor Wye Studio, funded by a Graucob Award. He continued his studies at the Guildhall School of Music and Drama, and was subsequently awarded a double entrance scholarship by the Royal Academy of Music, where he completed the Masters programme. Martyn studied with Edward Beckett, Sam Coles, Michael Cox, Kate Hill, Paul Edmund-Davies, Averil Williams and Trevor Wye, and Baroque and Classical flutes with Lisa Beznosiuk, Rachel Brown and Stephen Preston. Alongside his work at the conservatoire, Martyn is Assistant to the Head of Woodwind at Chetham’s School of Music. He is also a fellow of the Higher Education Academy.
As a performer Martyn has freelanced with several leading ensembles including English Touring Opera, Orchestra of the Age of Enlightenment, London Handel Orchestra, Armonico Consort, English Scholars, the Eighteenth Century Concert Orchestra and Welsh Baroque. He was a founding member of Consort 1700 with whom he performed in the Leeds International Concert Season, the Ripon International Concert Season and at the Bridgewater Hall, Manchester. Martyn has recorded his own edition of Hummel’s D major flute sonata with the pianist Yi-Heng Yang on an original ‘Nicholson’s “Improved” Flute’ (c.1839) and Collard & Collard Piano (c.1848). Currently he is working towards a recording of unpublished nineteenth-century English flute works with the pianist Jonathan Gooing.
Martyn recently completed his PhD at the University of Birmingham. His doctoral research focused on ‘tone’ in early nineteenth-century English performance practice. The research uniquely assessed the interrelationship which existed between performance, pedagogy and instrumental design in the work of Charles Nicholson (1795-1837). It represents the first detailed study of the form and function of tone-colour, vibrato and the glide within the performance practices of the period. He carried out a spectral analyse of the distinct tone-colours used by early nineteenth-century musicians before applying these in practice. Martyn’s research interests include the development of the minuet, nineteenth-century extemporisation and preluding, the life and work of Charles Nicholson, the development of the English conservatoire, and reception history. He is a past recipient of the British Land Award (2003), Jean Vincent Award (Dalcroze Society UK) and winner of Barber, Barton, Cunningham, Goldsborough, Jerwood and MBF scholarships. Martyn has presented academic papers and research seminars for the Royal Musical Association, Society for Musicology in Ireland, University of Birmingham, and the International Conference on Nineteenth-Century Music.