Byron Dueck joined the Open University Music Department in January 2012. He was previously Lecturer in Music at the Royal Northern College of Music and before that held posts as University Fellow in Music at the Open University and Coordinator of Musicology at Columbia College Chicago. He studied ethnomusicology at the University of Chicago, where his doctoral research focused on public performances of First Nations and Métis music and dance in the western Canadian city of Winnipeg. His earlier musical studies, in piano performance, were undertaken at the University of Minnesota (MMus 1998) and Wilfrid Laurier University (BMus 1994).
Dueck’s research interests include North American Indigenous music and dance, the music of Cameroon, and the musical mediation of relationships. His current research looks at xylophone music performed in and around Yaoundé, the Cameroonian capital. His work on Indigenous music and dance is the subject of Musical Intimacies and Indigenous Imaginaries: Aboriginal Music and Dance in Public Performance (Oxford University Press, 2013). He was a co-investigator on the AHRC-funded ‘Online Networks and the Production of Value in Electronic Music’ project and on the AHRC-funded ‘What is Black British Jazz?’. He was also a member of the ‘Experience and Meaning in Music Performance’ group, whose research is published in the edited collection Experience and Meaning in Music Performance (Oxford University Press, 2013). He supervises doctoral research in ethnomusicology.
Books, including edited volumes
Musical Intimacies and Indigenous Imaginaries: Aboriginal Music and Dance in Public Performance. Oxford: Oxford University Press, 2013.
Martin Clayton, Byron Dueck, and Laura Leante, eds. Experience and Meaning in Music Performance. Oxford: Oxford University Press, 2013.
Jason Toynbee and Byron Dueck, eds. Migrating Music. London: Routledge, 2011.
‘Powwow and Indigenous Modernity: Traditional Music, Public Education, and Child Welfare’ in Music and Modernity Among First Peoples of North America, Victoria Lindsay Levine and Dylan Robinson, eds. Middletown, Conn.: Wesleyan University Press, 2019.
'Indigenous Song, the Sacred, and the Senses' in Sensual Religion: Religion and the Five Senses, Graham Harvey and Jessica Hughes, eds. Sheffield and Bristol: Equinox Publishing, 2018.
‘Imagining Identifications: How Musicians Align Their Practices with Publics’ in The Oxford Handbook of Musical Identities, Raymond MacDonald, David Hargreaves, and Dorothy Miell, eds. Oxford: Oxford University Press, 2016.
‘Song, Participation, and Intimacy at Truth and Reconciliation Gatherings’ in Arts of Engagement: Taking Aesthetic Action in and beyond the Truth and Reconciliation Commission in Canada, Dylan Robinson and Keavy Martin, eds. Waterloo, ON: Wilfrid Laurier University Press, 2016.
‘Standard, Advantage and Race in British Discourse about Jazz’ in Black British Jazz: Routes, Ownership and Performance, Jason Toynbee, Catherine Tackley, and Mark Doffman, eds. Aldershot: Ashgate, 2014.
‘Rhythm and Role Recruitment in Manitoban Aboriginal Music’ in Experience and Meaning in Music Performance, Martin Clayton, Byron Dueck, and Laura Leante, eds. Oxford: Oxford University Press, 2013.
‘Civil Twilight: Country Music, Alcohol and the Spaces of Manitoban Aboriginal Sociability’ in Music, Sound, and Space: Transformations of Public and Private Experience, Georgina Born, ed. Cambridge: Cambridge University Press, 2013.
‘“No Heartaches in Heaven”: A Response to Aboriginal Suicide’ in Aboriginal Music in Contemporary Canada: Echoes and Exchanges, Anna Hoefnagels and Beverly Diamond, eds. Montreal: McGill-Queen’s University Press, 2012.
D. Allington, B. Dueck and A. Jordanous. ‘Networks of Value in Electronic Music: SoundCloud, London, and the Importance of Place’, Cultural Trends 24/3 (2015): 211–222.
: Jazz Endings, Aesthetic Discourse, and Musical Publics’. Black Music Research Journal 33/1 (Spring 2013): 91–115.
‘Public and Intimate Sociability in First Nations and Métis Fiddling’. Ethnomusicology 51/1 (2007): 30–63.
‘“Suddenly a Sense of Being a Community”: Aboriginal Square Dancing and the Experience of Collectivity’. Musiké 1 (2006): 41–58.
Jason Toynbee and Byron Dueck, eds. Black Music Research Journal 33/1 (Spring 2013). Special issue on Black British jazz.
‘Ethnic North America’ in Excursions in World Music, sixth edition, Timothy Rommen, ed. Upper Saddle River, NJ: Pearson Prentice Hall, 2011.
See also Open Research Online for further details of Byron Dueck’s research publications.