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Courses ›
Undergraduate 2021 ›
Music BA Honours
Register your interest Book an open day
Build the skills, experience and confidence through specialist pathways in jazz, popular music, production or performance/composition to launch a career in the world of professional music making
EU/International induction: September 2021
3 years full-time
£9,250 (UK) *
£14,000 (EU / INT) *
Dr Brian Inglis
Why study music with us
The course has been designed so that you can align your studies to your passion in music and graduate with a degree that represents your interests and skills. With a wide range of optional modules leading to named degree pathways, you can graduate with any of the following titles:
BA Music
BA Music (Performance/Composition)
BA Music (Jazz)
BA Music (Popular)
BA Music (Production)
You will become a part of our friendly and supportive international community of more than 300 music students, based in the purpose-built Grove building at our vibrant North London campus. You'll collaborate with students from other courses in the Faculty of Arts and Creative Industries, especially in Dance, Theatre, Animation, TV Production, Art, Fashion and Design.
Benefit from more than 40 permanent and visiting music staff of national and international standing in their fields, as performers, composers, songwriters, scholars and music industry specialists.
Build your hands-on experience while developing your musical talents
Make the most of our state-of-the-art facilities and equipment, including an industry standard recording and mixing studio, concert grand pianos, sound insulated practice rooms and computer suites.
You will gain key industry links to the music world with regular visiting guest speakers and master-classes from leading practitioners and music industry managers and the opportunity to work with a range of artists and professors in residence including the Firebird Orchestra, Allegri String Quartet, Daniel Miller, Founder of Mute Records and Grammy award winning producer Alan Branch.
Get the support you need to succeed
You'll get plenty of support throughout your course, including access to professional staff, coaches, and personal instrumental lessons in your first study instrument or voice. You can also take advantage of our library and music practice facilities.
While you're learning, you'll be matched with a Personal Tutor directly related to your course. You'll also get support from our Student Learning and Graduate Academic Assistants, who have experience in your subject area.
Sign up now to receive more information about studying at Middlesex University London.
What our alumni say
Studying music at Middlesex University transforms knowledge into experience, creativity into real-life professional opportunities, and potential into success.
Elena Rodriguez, BA Music (Popular Music) graduate
The ethos at Middlesex University has allowed me to develop in a very positive way. The tutors believe in drawing the very best out of their students and use a hands-on approach to achieve this.
David Loxley-Blount, Music BA graduate
What will you study on the BA Music?
You'll explore performance, composition or songwriting, music technology, studio music production, music theory and specialise in genres such as classical, jazz and popular music.
You'll be encouraged to think critically about music by studying key ideas and concepts, from the historical, political and economic to the technological and aesthetic. You'll learn harmony , instrumentation, orchestration and musicianship, and how to write and/or perform music convincingly in a range of styles.
What will you gain?
As well as cultural capital gained through an in-depth knowledge of musical repertoires and practices, you will also acquire skills in original music composition, music performance and critical thinking. During your third year, you have the opportunity to propose a topic of your own choosing to investigate and explore, along with the guidance of an allocated supervising tutor.
Performance, Composition and Songwriting (30 credits) - Compulsory
This module explores the reative practice in Music in performance/improvisation and composition/songwriting. You'll develop proficient skills and techniques in these areas and can select areas of creative practice as major and minor components in the summative assessment. The exploration and development of creative practice provides a solid foundation for later specialist creative work.
Musicianship and Theory (30 credits) - Compulsory
This module will give you the skills to both understand and utilise music theory. You'll look at the use of music notation and develop a knowledge of harmony and analytical insight. You'll also develop essential musicianship skills such as aural perception, melodic/harmonic transcription, sight-reading, and the practical application of notation conventions and symbols.
Music Technologies (30 credits) - Compulsory
This module will develop your understanding and technical ability in making, recording and producing music using digital, electronic and acoustic sound sources.
Critical Thinking in Music (30 credits) - Compulsory
This module will develops your ability to think critically about music, and introduces key ideas, concepts and approaches such as the social, the material, the historical, the political, the economic, the technological, and the aesthetic.
You'll also explore current units including:
Early Jazz in New Orleans and the Swing Era
Bebop, Post-Bop and Fusion
Politics of Classical Music 1150-1790
Revolution and Modernism in Classical Music 1800-1920
Popular Music Studies
The Music Industries
Composition, Songwriting and Arranging (30 credits) - Optional
This module will develop your songwriting and compositional skills to specific briefs. You'll develop your own distinctive voice through exploration of various writing techniques and approaches as well as using a range of styles and genres.
Bop and Hard-Bop (30 credits) - Optional
This module will develop your knowledge in the styles and techniques of small group bop and hard bop. You'll gain an awareness of the roles of instruments in these styles and their inter-relationships in practical performance and workshop groups.
Musicianship and Performance (30 credits) - Optional
This module will explore creative practice in Music through performance and musicianship. You'll gain skills and techniques in these areas and begin to develop an individual and distinctive voice as an artist.
Recording and Production (30 credits) - Optional
This module will act as a study of music production theories and practices. You'll learn to confidently apply advanced techniques and procedures in digital and analogue recording and mixing environments. You'll also be able to adapt these to achieve the desired creative results.
Popular Music in the 21st Century (30 credits) - Optional
This module will explore and evaluate the appraisal of recent, current and significant trends in popular music and related concepts. You'll be encouraged to view the dialogue between musical practice, reflective thinking, and critical evaluation that benefits and develops creative and academic work.
Music and Culture (30 credits) - Optional
This module develops critical understanding of how musical practices intersect with cultural domains. You'll examine the role of music in the production and transmission of identities, knowledges, beliefs, values, attitudes and understandings, and explore how, in turn, these shape music and its interpretation.
The New Music Business (30 credits) - Optional
This module will allow you to study the contemporary business of music. You'll learn about the large and small companies that operate in this field, as well as how to self-manage a music career. You'll develop a knowledge of working in music as well as gaining a critical understanding of the issues that affect this sector.
Style and Theory (30 credits) - Optional
This module explores a range of stylistic approaches in Music. You'll be able to develop the relevant skills and techniques in these via performance or composition/pastiche work in specific styles of classical, jazz or popular music.
Live Interactive Sound and Synthesis (30 credits) - Optional
This module will develop your expertise in theoretical and practical approaches to expressive sonic manipulation in studio, installation, live, interactive and virtual environments. You'll explore the principles of synthesis, interactive sound, spatial audio and visual programming through the invention and development of different sound worlds.
Advanced Composition / Songwriting (30 credits) - Optional
This module will develop your songwriting or compositional style and technique. You'll also develop an individual and professional approach to composition/songwriting. You'll be encouraged to explore and establish a distinctive music identity – a personal creative 'voice'.
Advanced Jazz Improvisation (30 credits) - Optional
This module will enhance your understanding in the conventions and practice of improvisation in Jazz. You'll gain practical improvisation skills and associated aural awareness, and learn sophisticated techniques for the development of musical ideas through improvisation.
Advanced Performance and Musicianship (30 credits) - Optional
This module develops your technical command of an instrument or the voice so you can confidently perform in public. You'll develop the necessary knowledge and skills in forming programmes/sets for performance, gain interpretative insight and begin to project their own individual voice/identity as performer.
Production Project (30 credits) - Optional
This module will develop your knowledge, understanding and expertise in recording and producing music by allowing you to produce a self-developed project. You will be supported to achieve a highly effective and original musical output.
Popular Music Studies (30 credits) - Optional
This module will give you an advanced knowledge of popular music theories through a range of critical approaches or critical perspectives including cultural theory, sociology, political economy and musicology. You'll understand how theory can be used to explore popular music practice, and how popular music practice can be developed by using popular music theory.
Music Post-1968 (30 credits) - Optional
This module is designed to be a specialist study of musical works, composers and approaches since 1968 through the lens of contemporary classical music. The relationship between music and its cultural, political and philosophical contexts is examined through concepts such as the rise of postmodernism across the arts and its relationship with philosophy/political theory.
Working in Music (30 credits) - Optional
This module prepares you for successful engagement with the music industries. You'll gain a working knowledge of contracts, copyright, funding applications and policy documents, as well as a sophisticated understanding of theories relating to decision making and success, which can be applied to a range of music-based projects.
Music for Screen and Virtual Realities (30 credits) - Optional
This module develops the tools and competencies for making electronic and electroacoustic music for screen and virtual realities, in relation to some study of the aesthetics of screen music. You'll also gain the appropriate training in contractual and negotiation issues to support in-house and freelance composer-producers.
Music for Dance, Theatre and Live Shows (30 credits) - Optional
This module develops musical practice in collaboration with students from other courses such as Dance, Theatre and Fashion. Critical and contextual study will support practical work with relevant theory, repertoire and case studies.
Negotiated Project (30 credits) - Optional
This module enables the exploration of a specific area of academic interest and/or vocational/professional practice, providing a platform for the development of placement-related employability skills, or for the exploration and mapping of a specialised academic project that may provide the basis for further studies at MA level and beyond. The nature and aims of each project are negotiated.
Studio Production Placement (30 credits) - Optional
This module is a work placement in a professional music studio setting. You'll build upon knowledge and skills developed from previous modules in production and studio skills and be able to apply theoretical knowledge and technical skills to the challenges of a workplace environment. You'll also be able to critically reflect on practices and processes in music production, as well as evaluate your workplace experience.
More information about this course
See the course specification for more information about typical course content outside of the coronavirus outbreak:
Course specification
Optional modules are usually available at levels 5 and 6, although optional modules are not offered on every course. Where optional modules are available, you will be asked to make your choice during the previous academic year. If we have insufficient numbers of students interested in an optional module, or there are staffing changes which affect the teaching, it may not be offered. If an optional module will not run, we will advise you after the module selection period when numbers are confirmed, or at the earliest time that the programme team make the decision not to run the module, and help you choose an alternative module.
I will always remember these three years as the most important period in my academic life. It was an awesome course!
András Broskó, BA Music (Jazz) graduate
Getting the opportunity to compose for the Allegri String Quartet, and writing music for other people and media is amazing. I love collaboration and I can't see a better place to be for that.
Helen Rupp, Music BA student
Teaching and learning – changes for students in 2020
Teaching and learning - typical structure
How is the BA Music taught?
The course has a practical teaching ethos, placing practice at the centre of student learning. Study is principally via practical workshops, in performance, composition and songwriting, with access to studio sessions/loan equipment, and interactive seminars supported by regular tutorials and sessions with guest speakers from the music profession and industry.
Practical work lies at the heart of assessment in the programme, either via performances or portfolios of creative work. Critical studies of music, together with contextual and reflective work, is assessed via coursework.
If you're starting university in 2020, we'll be teaching you in different ways to make sure you get the best learning experience possible. You'll learn through live sessions with teaching staff and have the chance to study independently too, with access to all the online resources you need through our globally available student portal.
We're planning different scenarios for teaching so that we can be flexible. While we're social distancing, we're aiming to teach you through some small group sessions on campus, with other interactive teaching as well as larger lectures delivered online and recorded sessions available to you on-demand. If you're unable to make it to campus at first, or we need to limit access to campus in the future, your course can be delivered fully online.
The table below shows current plans for your learning across a typical week, including scheduled live online teaching and an indication of what we hope to teach face to face, where you can make it to campus. While some weeks might look different to this, due to how we schedule classes and make arrangements for any face to face sessions (for example, in some cases these could take place every two weeks with an increased number of hours), the table gives you an idea of what to expect based on the overall number of teaching hours on your course.
You'll receive final arrangements for your teaching and a full course timetable before you start.
Scenario 1: Course delivered fully online
Live learning
Contact time per week, per level:
Including occasional Concerts & Colloquia and SLA workshops
Year 1: 13 hrs
Self-paced learning time
Average hours per week, per level:
On demand resources
Year 1: 1 hr
Year 3: ½ hr
Scenario 2: Course delivered with a mix of online and face to face learning with social distancing in place
Year 1: ~1 hr
Year 2: 0 hrs
Face-to-face sessions
Year 2: 2.5 hrs
Read more about our scenarios for returning to campus and what they might mean for your teaching and learning experience, and how you'll be able to access student support.
Future plans for teaching
We're developing our timetable for face to face teaching with current government advice on social distancing to keep you safe. If social distancing requirements are lifted, we'll start to safely move back towards our usual teaching arrangements with more opportunities for face to face learning. Some learning and support might stay online in this scenario. If more restrictions are put in place, or there is another lockdown, we'll be prepared to deliver your learning and support fully online, with alternative arrangements made for any required placements. We'll always give you notice of any changes that we make.
Live learning – Live learning will cover everything you'll do with teaching staff like lectures, seminars, workshops and other classes, and we'll schedule all of this for you. This might include some study outside your regular timetable, like taking part in discussion forums or online blogs where you're supported by academic staff.
Independent learning – Independent learning is all the studying you'll do outside your live learning sessions with teaching staff. This self-paced study will give you the chance to learn, prepare, revise and reflect in your own time as you need to, and you'll have access to on-demand resources and materials to help you do your best.
Self-paced study – Self-paced study will give you the chance to learn wherever and whenever you want to and at your own pace, outside your live learning sessions. This independent learning could include reading and reflection, preparation for classes, revision or homework along with access to other online activities such as quizzes.
On-demand resources – You'll have access to on-demand resources like pre-recorded video lectures and workshops as part of your independent study. You'll be able to review and revisit whenever you need to at your own pace.
Face to face sessions – Wherever it's possible to do so, and we can make the necessary arrangements to ensure your safety, you'll be able to attend scheduled sessions, workshops or appointments on campus as part of your live learning. The number of hours given in this scenario provides an indication of the number of hours of face to face learning you could expect, and a full timetable will be provided to you before the start of your course.
You'll have a strong support network available to you to make sure you develop all the necessary academic skills you need to do well on your course.
Our support services will mainly be delivered online and you'll have access to a range of different resources so you can get the help you need, whether you're studying at home or have the opportunity to come to campus.
You'll have access to one to one and group sessions for personal learning and academic support from our library and IT teams, and our network of learning experts. Our teams will also be here to offer financial advice, and personal wellbeing, mental health and disability support.
More on teaching for your subject in 2020/21
Read our guide to what's been happening in your subject area recently and more about what to expect this autumn.
You will be taught through a combination of lectures, workshops, seminars, tutorials, instrumental lessons (according to music specialization), opportunities for collaborative projects and concert performances. Lectures allow you to gain and develop knowledge in specific subjects. You can discuss and develop your understanding of topics covered in lectures and practicals in smaller seminar groups usually made up of 7-12 students or so. Tutorials enable students to go over their own work individually with a music specialist, this helps them to develop their individual voice as a musician. In addition, you can arrange one-to-one sessions with your personal tutor or module leader. You will also have access to and use resources to support your learning throughout your course. These include: a suite of Macintosh computers loaded with Logic Pro digital audio workstations, Sibelius music notation software and other softwares for sound generation and processing; printing facilities; access to a hybrid analogue-digital recording studio connected digitally with sound-proofed practice rooms and live recording spaces; a library open 24/7 well-stocked with music scores, books, CDs and online portals to the latest music research; free access to the complete Naxos Music Library online; a Graduate Academic Assistant and Student Learning Assistants to support you in your studies; a concert room and communal spaces to meet students specialising in other disciplines which need music (e.g. film, animation and television production).
During your first year (Level 4), your weekly timetable will typically consist of 90-minute lectures for four modules, in music history, performance and composition projects, harmony with musicianship and music technology and production. Included either as part of or alongside these, are related tutorials and practical sessions in composition and performance, keyboard skills classes, university choir, an optional specialist singers' ensemble and opportunities to collaborate with other music students outside of timetabled course delivery.
When not attending your teaching, sessions mentioned above, you will be expected to continue learning independently through self-study. Typically, this will involve reading journal articles and books, working on projects, undertaking research, and preparing for assessments including coursework, presentations and examinations. Your independent learning is supported by the facilities available including the library and Study Hub, Laptop hire, and with online materials in MyUniHub (see student support section below).
Overall Workload
Your overall workload will include the activities listed above, and with each credit being completed equating to 10 hours of study time (You will complete 120 credits per level of study, which are broken down into modules of typically 30 credits). While your actual hours may depend on the optional module that you choose (if available), the following information will give you an indication of how much time is allocated to teaching and independent study on your course:
18% of your time is spent in timetabled Teaching and learning - typical structure activity:
Teaching, learning and assessment: 216 hours
Independent Learning: 984 hours
Independent Learning: 1020 hours
You will have access to academic support services that you assist you in the following areas:
Study Skills, including academic writing, reading and numeracy skills
Employability, with workshops and tutorials on CV writing, interview and presentation skills
Library Support, including sessions on finding, and choosing the right resources and software and tutorials on referencing and plagiarism
Progression and Support Advisors to assist you with if you experience difficulties with your studies
Well-being Services.
These services can be accessed through the UniHelp Desk in the Library building.
The course will provide you with opportunities to test your knowledge and understanding informally through 'formative' assessment. This will be completed before your formal 'summative' assessment which will count towards your final marks. Each module normally contains at least one piece of formative assessment from which you will receive feedback from your tutor. Formative assessments are developmental and any grade you receive from formative assessment does not count towards your final marks.
There is formal 'summative' assessment as part of the module, usually towards the end of the module. Assessment methods could include essays (with support available for the writing of these), building research logs in the form of an online 'wiki', live performances in ensembles and solo, original composition(s), recordings and live performance of electronic music, music theory tests, music pastiche exercises to begin to train you in the imitation of earlier music styles. The grades from the summative assessments count towards your module mark. Assessments are reviewed annually and may be updated based on student feedback, to suit content or based on feedback from an external examiner.
Percentage of course assessed by coursework
The balance of assessment will depend on the modules that you complete throughout your course. The approximate percentage of the course which is assessed by coursework is outlined below:
Level 4 60% coursework 40% performance/presentation/test
Level 5 75% coursework 25% practical exam
You will receive feedback on the formative assessment, and written summative assessments. Feedback on examination performance can be requested from the module leader. Feedback is intended to help you learn and progress, and you are encouraged to review and discuss your feedback with your module or personal tutor.
We will aim to provide you with feedback within 15 working days of submission.
Details of progression and pass marks for assessment can be found in the university regulations.
Life at Middlesex
What our people say
I loved the learning atmosphere; students are given free time and space to explore their musical inclinations.
Joanne Yeoh, Music BA graduate
Standard entry requirements
International (inc. EU)
Our entry requirements provide a guide to the qualifications that you'll need to study our courses. We have a personalised admissions approach and we make fair but aspirational offers. We want you to aim high and achieve great results.
We understand that things have been very different at school and college since the pandemic started however and that you might be worried about what changes to exams in 2021 will mean for you.
We'll always aim to be as flexible as possible and take into consideration any barriers you may have faced in your learning. So if you don't quite get the grades you hoped, we'll look at more than your qualifications like your achievements in other areas and your personal statement.
At Middlesex, we're proud of how we recognise potential in future students like you and how we can support you to succeed in the future.
We have taken the decision to change our on-campus applicant interviews into online interviews until Government guidelines allow us to return to campus. We will be in contact with specific arrangements for your subject area, so please check your email. Visit information for new students in 2021 for updates
We accept applications from students with a wide range of qualifications, including combinations of qualifications. The requirements for our most common entry qualifications can be found below:
112-128 UCAS Tariff Points
BBC-BBB
Overall pass: must include 45 credits at level 3, of which all 45 must be at Merit or higher
A combination of A-Level, BTEC and other accepted qualifications that total 112 - 128 UCAS Tariff points
Our general entry requirements page outlines how we make offers where we have given a range (e.g. BBB – BBC in A levels), and how you will be made an offer if you are studying a combination of qualifications (e.g. BTEC and A level). In both cases, we will base this on information you've provided on your application.
Applications from mature candidates without formal qualifications are welcomed, provided they can demonstrate appropriate levels of relevant ability and experience.
If you are unable to meet the entry requirements for this course you may still be eligible for our Foundation year course. This is an extra year of study to prepare you for the full degree. For more information see our Foundation Year in Performing Arts page.
UK/EU and international students are eligible to apply for this course.
Academic credit for previous study or experience
If you have achieved a qualification such as a foundation degree or HND, or have gained credit at another university, you may be able to enter a Middlesex University course in year two or three. For further information please visit our Transfer students page.
If you have relevant qualifications or work experience, academic credit may be awarded towards your Middlesex University programme of study. For further information please visit our Accreditation of Prior Learning page.
Interviews, entrance tests, portfolios and auditions
Entry onto this course requires an online Zoom interview. The interview will start with a group welcome talk followed by 1-1 interviews. Details of your subject specific interview will be emailed to you.
Your audition is a chance to show us what stage you're at in your musical development. You'll be asked to perform on your first-study instrument or voice. Choose a short (max 3') piece you've learned in advance and are comfortable performing.
You will be expected to be familiar with standard musical notation, and basic music theory and harmony. As a rough guide, you should aim to be at Associated Board (ABRSM) Grade 5 level or similar.
We'll also invite you to talk briefly about a musical topic of your choice, and ask about your musical interests and aspirations.
If you are unable to attend the interview, you can submit a portfolio instead.
Please visit our Interviews, portfolios and auditions page where you will find tips and advice to help you prepare and do your best on the day.
In addition to qualifications such as A level and International Baccalaureate, we accept a wide range of international qualifications.
Find out more about the qualifications we accept from your country on the relevant support in your country page. If you are unsure about the suitability of your qualifications or would like help with your application, please contact your nearest regional office for support.
English language requirements for international students
You must have competence in English language to study with us. The most commonly accepted evidence of English language ability is IELTS 6.0 (with minimum 5.5 in all components). We also normally require Grade C GCSE or an equivalent qualification. Visit our English language requirements page for a full list of accepted tests and qualifications. For some EU countries, we may be able to accept English language competency evidenced through your high school qualification. If you don't meet our minimum English language requirements, we offer an intensive pre-sessional English course.
In order to study in the UK, you will need to apply for a student route visa. Please see our visas and immigration page for further information.
Please apply via UCAS using this course's UCAS code W301.
For help with your application, please view our undergraduate application page.
Help with your application
EU / International students
EU / International
The fees below refer to the 2021/22 academic year unless otherwise stated.
UK students*
Full-time students: £9,250
Part-time students: £77 per taught credit
*Course fees are subject to annual inflation so the total costs for part-time study are shown here as a guide.
For more information and to answer your frequently asked questions, please visit our undergraduate funding page.
EU / International students*
Full-time students: £14,000
Part-time students: £117 per taught credit
*Course fees are subject to annual inflation.
The following course-related costs are included in the fees:
A free electronic textbook for every module
All printing and copying required for your study
Self-service laptops available for loan for a maximum of 24 hours
Audio-visual equipment available for loan, including digital stills cameras, digital video recorders, digital audio recorders
The following course-related costs are not included in the fees, and you may be required to purchase these to complete the course.
Manuscript and other paper, and writing implements
Specific dress for concerts and other performances (typically all black)
Additional books, CDs and DVDs that you wish to purchase
Scholarships, fees and bursaries
Undergraduate funding Undergraduate scholarships
Video clip from a title sequence animation. Collaboration between the media and performing arts departments. Music by third year student Sukanyan Sunthareswaran.
Popular music student gallery
The well-attended Pop gigs, held multiple times per year in a variety of London venues, are an outlet for both solo and band artists to perform.
Popular music students perform at their end of year gig held in the Hope and Anchor, Islington.
A vocal pop group performs on stage in the Grove Concert Room at one of our popular 'Grove Sessions' open mic nights.
Performance / composition student gallery
2019 graduate Euan Lloyd-Taylor performs the solo part in Emmanuel Séjourné's Conterto for vibraphone and string orchestra.
The University Choir conducted by Jonathan Rathbone performs with members of our ensemble-in-residence the London Firebird Orchestra at our showcase concert in St Pancras Church, spring 2019.
A moment of light relief in a University Choir rehearsal
Jazz student gallery
Jazz students across all three years perform as part of a large Post-Bop ensemble led by Nikki Iles.
A trio of Middlesex University Jazz students performs as part of the 'MDX Jazz Presents' series at the Spice of Life Jazz Club in Soho.
A vocal jazz ensemble, led by MDX graduate Joy Ellis, performs a cappella arrangements of jazz standards.
How can the BA Music support your career?
Careers in music continue to grow. Music is an excellent choice of study because it combines science, technology, history, arts, social and cultural studies, business and media.
Careers in music are exciting and diverse. You could find yourself working in media, publishing, cultural organisations, education, festivals, libraries, merchandising, PR, recording studios or record labels, or art charities as any of the following roles:
Artist Management Audio Production
Business Consultancy Composer
Concert Performer Event Management
Legal (Music) Music Arranger
Music Distribution Music Industry Accountancy
Journalism (Music) Music Mastering and Post-Production
Web Design (Music) Orchestral Management
Session Fixers (Music Contractors) Session Musicians
Specialist Music Insurance Studio Design and Construction
Teaching is also a popular choice, and might be combined with any of the above to form a 'portfolio' career.
You could also go into further (postgraduate) study, and our graduates have gone on to such prestigious institutions as the Royal Hague Conservatoire, Trinity Laban Conservatoire of Music and Dance, Royal Conservatoire of Scotland, York University and King's College, London.
Based in The Grove, you will have access to world-class facilities:
Concert and recital rooms
15 soundproofed practice rooms
23 pianos (including a Steinway grand and a Bosendorfer grand)
Hybrid analogue-digital sound recording facilities
Recording and mixing studio
Digital media workshop with 15 workstations (Mac computer with specialist music software, two monitors and piano keyboard)
You will also have access to external venues and collaborative access to other creative areas of the University such as dance, theatre, film, television, animation and computer games.
As part of the music community at Middlesex you will become part of a culture of excellence driven by first-class equipment and production facilities.
Our digital media workshops have high-end work stations for all kinds of digital media, from video editing to 3D graphics and music composition.
Specially designed for the Faculty of Arts and Creative Industries by Sony, our television studio complex is a self-contained facility and provides an environment identical to most broadcast installations.
Dr Inglis makes and writes about music. He studied at City University London (PhD, MA) and the University of Durham (BA), and has previously taught at Trinity Laban and the Royal College of Music. Having been involved in a range of genres and projects, including 2000s artrock band Hicks Milligan-Prophecy, his music and arrangements have been heard at the Sonorities Festival (Belfast), Huddersfield Festival, Spitalfields Festival, Deal Festival, Guildford International Festival, Secret Garden Party, Greenbelt, Truck, Bestival and I Kärlekens Namn (Sweden) as well as on BBC Radios 1&3, BBC2, BBC Wales, Radio Cymru and Bayern 2 (Germany). His interests encompass composition, musicology and journalism, and his writing projects include pieces for Tempo and PRS for Music's M magazine and for BBC performing ensembles/Proms.
Recent projects include a piano music album Living Stones (Sargasso); book chapters on classical music and copyright for The Classical Music Industry (Routledge) and on music and spirituality/John Tavener (Peter Lang); and an acclaimed edition (with Barry Smith) of Kaikhosru Sorabji's letters to Peter Warlock (Routledge). He is on the Editorial Board of the Journal of the Royal Musical Association, a trustee and board member of alternative classical record label Nonclassical, and an organiser of the international research network Music, Spirituality and Wellbeing.
Read more about Dr Inglis
Dr François Evans
Pathway leader, Music Production
Dr Evans is a composer, music producer and conductor. His film scores include Edgar Wright's first feature A Fistful of Fingers, Stefan Archetti's The Mermaid Mushroom, Shaun Mosley's The 3 Kings (featuring Ron Moody and Vanessa Redgrave) and Darren Ward's Sudden Fury. Trained in Paris, he is a player of the rare ondes Martenot and has performed live at Glastonbury with members of Portishead and Goldfrapp.
Dr Evans studied film scoring at Goldsmiths' College University of London and music at the University of Ulster, before winning a RVW Trust scholarship to work at IRCAM in Paris under Tristan Murail. He completed a PhD in electroacoustic music composition at City University and has research interests in spectral music and audiovisual sound languages including Barry Gray, whose Centenary Concert he conducted in 2008 at London's Royal Festival Hall.
An award-winning teacher, Dr Evans runs a vintage recording studio in West France, and is working on the solo album The Lunatic, the Lover & the Poet for La.M.P. Recordings.
Dr Fiorenzo Palermo
Senior Lecturer in Music
Dr Palermo studied sonic art with the composer, performer, instrument inventor and musicologist Hugh Davies. After obtaining an MA in sonic art researching on concrete and sound poetry, he was awarded a PhD on Davies' work in 2015. He has presented his research internationally and at institutions such as the British Library and the V&A.
In 2012 he co-curated the Sho-Zyg exhibition at Goldsmiths College. His latest output details how a queer, critical organology could help understand better Davies's invented instruments as well as serve to question received notions about musical instruments more broadly.
Dr Palermo is also interested in popular music studies and in particular in the articulation of queer identities in song. His current publication focuses on exploring the mechanisms and metaphor of the gay closet in the genres of pop/country, indie/rock, and dance/electronica. He presented this research at the twentieth conference of the International Association for the Study of Popular Music (IASPM) held in Canberra, Australia.
Jenna Doyle
Co-pathway leader, Popular Music
Jenna is a platinum-selling songwriter, lyricist and musician. Training in voice and piano, she has been writing and producing commercially-released works, under the pseudonym Jenna Donnelly, for over a decade. With US Billboard #1, Japanese Oricon #1 and Spanish iTunes #1 records under her belt, she has also diversified into music for primetime ITV television shows and critically acclaimed musicals.
Signed to Galactic Music and Peer Music as a member of production house Audiofreaks, Jenna is also one half of Donnelly & Maltby, with works published by Theatrical Rights Worldwide. She also recently contributed a chapter to Innovation in Music: Performance, Production, Technology and Business, published by Routledge.
Mike Dines
Mike Dines is a musician, writer, scholar and publisher. He gained his undergraduate degree in Music from the University of Chichester and gained an MA in Music focusing on aesthetics and musical analysis at the University of Sussex. He then moved to Salford University to complete his PhD on punk under Professor Sheila Whiteley. His thesis focused on the anarcho-punk scene of the 1980s, specifically on the work of Crass. He founded Itchy Monkey Press, a DIY punk publisher with the publication of the anarcho-punk novella the darkening light (2014), followed by Tales From the Punkside (2014), Some of Us Scream, Some of Us Shout (2016), and And All Around Was Darkness (2017).
As a scholar, Mike's research interests cover subcultures and the cultural context of popular music, recently co-editing The Punk Reader: Research Transmissions from the Local and the Global (Intellect, 2019), Punk Now!! Contemporary Perspectives on Punk (Intellect, 2020), Trans-Global Punk Scenes: The Punk Reader Vol. 2 (Intellect, 2020) and Punk Identities, Punk Utopias: Global Punk and Media (Intellect 2021). His current writing takes him in the direction of popular music and spirituality with the co-edited collection Exploring the Spiritual in Popular Music: Beatified Beats (Bloomsbury, 2021).
Rob Townsend
Co-pathway leader, Jazz
Saxophonist Rob Townsend has performed with many notable jazz artists such as Eddie Henderson, Sam Rivers, Django Bates, Mark Lockheart, Iain Ballamy and Tim Garland. He plays regularly with iconic acid-jazz organist James Taylor. As well as working with jazz artists, Rob is a member of legendary Genesis guitarist Steve Hackett's band, appearing on more than 10 CDs and DVDs. Rob has also performed with Rick Wakeman, Bill Bruford and played with Robbie Williams at the Queen's Diamond Jubilee concert.
As a composer, Rob works mostly in the commercial world. He has scored 8 computer games for companies such as Sony, Disney, Supermassive Games, DR Studios, Frontier Games and Blitz Games. Most recently, he wrote the music for F1 Racestars, a multi-platform worldwide release for Codemasters. Rob has written music for BBC, ITV, Channel 4, Five and Discovery. In 2011 he wrote the music for Mechanical Musical Marvel which was nominated for BAFTA in the best childrens' animation category.
Chris Batchelor
Trumpeter Chris Batchelor was a founder member, composer and soloist with the influential British big band Loose Tubes and has performed alongside many international stars, such as Michael Brecker, Sam Rivers, Hermeto Pascoal, Uri Caine and John Taylor. His band Big Air won a BBC Jazz Award for Best New Work and their 2009 CD was described by Brian Morton in Jazz Journal as "the best British jazz record for 20 years". In the same year Chris won the prestigious Paul Hamlyn Foundation Award for Composers.
He currently leads two groups, Pigfoot which is dedicated to reinterpretations of iconic repertoire from Mozart to Elvis, and the chamber jazz group Zoetic, featuring fellow Loose Tubes guitarist John Parricelli, which he formed to play his own wide ranging compositions. He is an extremely experienced jazz educator, having taught on the jazz courses at the Royal Academy of Music, Trinity Laban, Guildhall School of Music and the Royal Welsh College of Music and Drama.
Sam Leak
Lecturer in Popular Music
Sam is a London-based jazz pianist described by JazzFM as 'One of the brightest stars in the Jazz piano galaxy, a heavenly improviser, and a brilliant prospect for the future.' His eponymous 2011 debut album was listed in MOJO as one of the 'Top Ten International Releases of the Year.' The 2013 follow up, Places, was described by The Guardian as 'surefooted creativity... way beyond respectful expertise,' and by BBC Music Magazine as 'assured and sophisticated acoustic jazz with deep roots in the tradition, that knows exactly what it's trying to do - and succeeds.'
Jamie Cullum introduced Leak's cohort as 'the heavyweights of the British Jazz scene' and described himself as a fan of the band in his regular BBC broadcast. In 2018, Leak released Adrift, a duet with New York's Dan Tepfer, a long-time collaborator of legendary veteran saxophonist Lee Konitz. Of this album, The Wire wrote: "Sam Leak and Dan Tepfer are two of the best pianists of their generation, and their convergence on this recording is astonishing." The New York City Jazz Record described it as "magical" and "constantly evolving and engaging."
He's a regular jazz and pop performer, having played internationally with jazz musicians including Gregory Hutchinson, Colin Stranahan, and Stan Sulzmann, and pop musicians including Detroit Techno Pioneer Derrick May, B*witched, and Postmodern Jukebox's Aubrey Logan. He holds a BMus Hons in Musicology from Kings College London, an MMus in Jazz Studies from the Royal Academy of Music, and is currently working towards a PhD in Music Psychology at Cambridge University.
His main research interest is in absolute pitch (otherwise known as perfect pitch). Recently, he has also embarked upon research, alongside Julia Haferkorn and Brian Kavanagh, into monetisation strategies for online content for musicians, in the wake of coronavirus. He is an Associate of the Royal Academy of Music, and a Fellow of the Higher Education Academy.
Richard Osborne
Senior Lecturer in Popular Music
Richard is a music scholar and researcher. He has played in several bands, worked in music retail and music copyright, and published widely in the field of popular music studies. His academic qualifications span a BA in English Literature and History, an MA in Popular Culture and a PhD in Cultural Studies.
Richard's research interests include the music industries and music technologies. His book Vinyl: A History of the Analogue Record was published by Ashgate in 2012. He co-edited Mute Records: Artists, Business, History, published by Bloomsbury in 2018. An edited collection, Music by Numbers: The Use and Abuse of Statistics in the Music Industries is in press; a monograph on sound recording copyright is forthcoming. He is engaged in a new research project examining creators' earnings from streaming.
Richard is reviews editor of IASPM Journal, and his blog Pop Bothering Me looks at a wide range of popular music matters.
Visiting and part-time lecturers
You will benefit from the input of a wide range of part-time and visiting staff.
Performance/Composition
Dr Arthur Keegan-Bole teaches on modules in composition/songwriting, performance and music technology
Kate Ryder coaches performance, specialising in ensemble and contemporary music performance
Jonathan Rathbone directs the University Choir and also teaches harmony
Simon Limbrick teaches drums, percussion and steel pan
Mark Oldfield teaches classical and musical theatre singing, and directs our Singers' Ensemble
Laura O'Gorman is our main classical piano teacher and staff accompanist
Alan Mills teaches stylistic composition
Teaching on this pathway is also contributed by:
Professor Peter Fribbins - Director of Music Programmes
Professor Benjamin Dwyer
Pop and Production
Mark Vallance is a part-time lecturer in Songwriting and Music Business Studies. Juggling his teaching with a busy career as a songwriter and music manager, he also has several hits to his name featuring artists including Tom Walker, Flynn and Zak Abel.
David Clements - Technical Tutor for Recording and Production
John Myers - Guitar tutor and leads performance workshops
Tor Hills - Vocal tutor
Faye Patton - Vocal tutor
Cleo Stewart - Vocal tutor
Sam Crowe - Keyboard tutor
Paul Jones - Drum tutor
Kevin Glasgow - Bass tutor
Part-time jazz lecturer Nikki Iles is an award-winning pianist and composer in the front rank of British jazz musicians. She has published with OUP, Faber Music and ABRSM and leads on harmony teaching as well as performance/improvisation.
Gareth Williams - Piano/improvisation tutor
Kate Williams - Piano tutor
Hannes Riepler - Guitar tutor
Dave Ohm - Drum tutor
David Pattman - Drums and percussion, Latin specialist
Jeremy Shaverin - Drummer, percussionist, cavaco player and vocalist; Brazilian specialist
Joanne Yeoh
Music BA graduate
It was FABULOUS studying in London. This eventually became a stepping stone towards my future studies, providing me with the opportunity to attend and participate in music festivals - an experience one simply can't get in Malaysia.
Studying at Middlesex University was definitely a door opener to opportunities in the UK. I loved the learning atmosphere, which was very different from back home in Malaysia. Students were given free time and space to explore their musical inclinations.
When I returned to Malaysia, I was selected to participate in the prestigious Asian Youth Orchestra and travelled with the orchestra to Vietnam, Japan, Australia, Korea and Hong Kong. I was then lucky enough to perform alongside Hong Kong superstar Jacky Cheung in his Music Odyssey Tour 2002/03 which was a 40 concert tour around the world. The following year, I performed with Taiwanese heart-throb David Tao in his 2003 Soul Power Tour and in 2008 I was invited to play with another Hong Kong superstar, Alan Tam.
I have received several awards since my time at Middlesex University. I was also selected to be included in Marquis Who's Who in the World 2012 edition and in the Malaysia Book of Records 2012. I am also a fully accredited examiner for the esteemed Trinity College Music London Examination board and I currently head the Music Department of Universiti Putra Malaysia.
Helen Rupp
Music BA student
One of the reasons I came at Middlesex University was because I wanted to collaborate with other people. Having a module where you can collaborate with theatre and dance students has been really important for me, and being around the other music courses has led to loads of collaborations. I don't think I'd have done that if I went anywhere else, because here it's all in one building. This year I got an amazing singer from the pop course to do a rock solo in the middle of my opera!
There are topics that have come up that I wouldn't have looked at before, that have really captured my attention. I got a placement with the English Touring Opera, before even thinking about writing opera or studying it, and now I might go into opera after I graduate. Before university I was just writing short piano pieces, and I would never have dreamed of writing something that could be called a string quartet or an opera. Now I've got two string quartets and an opera, and I'm writing a viola concerto for another student.
Oliver Pugh
A highlight of my time at Middlesex has to be performing as a soloist with the London Firebird Orchestra in the university's Spring Concert. Being given the opportunity to work with a professional ensemble while still at university is something that many do not get the chance to do, and so for Middlesex to offer this really made a positive impact on my time here.
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We'll carefully manage any future changes to courses, or the support and other services available to you, if these are necessary because of things like changes to government health and safety advice, or any changes to the law.
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Our priority will always be to maintain academic standards and quality so that your learning outcomes are not affected by any adjustments that we may have to make.
At all times we'll aim to keep you well informed of how we may need to respond to changing circumstances, and about support that we'll provide to you.
Music Business and Arts Management BA Honours
Start: October 2021, EU/International induction: September 2021
Duration: 3 years full-time, 4 to 6 years part-time
Code: W3N2
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The Second Amendment protects my right to keep and bear arms. The exact same arms as those wielded by the military.
When the Second Amendment was written, the usual means of fighting was to stand in lines and shoot at each other. Some talk about how dumb this was, ask why rifles weren't used, but given the technology of the time, it was the only way to conduct war.
The rifles of the time worked well as a weapon of asymmetric war, ideal for sniping, ambushes, and hit and run attacks, but it failed as a weapon of regular war. This was because the only ammunition available to anyone of the time was the lead ball. It wasn't until 1847 that the first successful real bullet was introduced. Until then, the only way for rifles to be effective was to force a lead ball slightly larger than the bore of the rifle, to engage the rifling, making it impossible to load a rifle quickly, allowing early riflemen to be easily overran and slaughtered by cavalry or advancing musketeers should they try to hold a battlefield.
The musket, on the other hand, was specifically designed as a weapon of war. Because it was a smooth-bore firearm, it could be loaded quickly (although at the expense of accuracy). This made musketeers harder to overrun, while forcing them to engage at much shorter distances.
While the rifle wielding irregular forces harried the British forces, there were a few times when the rebels had to hold or take ground, and for that they had regulars, trained by the Baron von Steuben of Prussia.
The Second Amendment was written to protect our right to bear the same arms as those used by the military - weapons which at the time were useful only for war and self-defense. It applies to all advances in military technology.
Right after the Revolution, a man could go and buy the exact same weapon as used by our nation's army.
Nowadays, we have people agitating for more gun control. While its perfectly legal to buy tanks and military fighter jets, such equipment is prohibitively expensive, even for older models of Soviet and Russian equipment, which starts out much cheaper than the equivalent Western models. I can't afford a modern military vehicle, I can only buy a fully automatic firearm which predates the May of 1986 "Firearm Owners Protection Act" (and even then I have to pay a tax), and now the jackwagons in government, both federal and local, are acting to further restrict firearms rights.
I cannot own any modern military weapons, in fact, the best that I can buy are reduced capability clones. And now the inconsiderate, ignorant, pinko commie, refugees from Woodstock *ssholes in positions of authority wish to further infringe upon my Constitutional right to keep and bear arms. The right which the Second Amendment says "shall not be infringed". All gun laws are unconstitutional. There is no such thing as reasonable compromise.


Jonathan "Baldwin" Baldwin is a North American Starcraft II player. Baldwin is a former competitive Halo 3 player, and made the switch to Starcraft II after seeing it for the first time at a MLG event in 2012. Baldwin achieved Grandmasters NA for the first time in 2013. He is currently playing for Team Gravity.
Played for Eternal Dreamers in the 2013 Union of Americas Star League Season 2 Contender Division finals. He reached Grand Master for the first time in season 5 2013.
September 14th 2013, he went to his second LAN event called "E-Sports Initiative" and he ended up winning the event, walking away with $150 dollars in gear.
In March of 2014 Baldwin was picked up by the ROOT Gaming Academy, SEED Gaming.
This page was last edited on 5 June 2018, at 10:24.


I am running book tours for other authors and am looking for bloggers to participate as hosts.
"Sarajane Anderson is your regular twenty one year old. With family, friends and a normal job. She also happens to be the only person who can save Saskia, a world parallel to earth.
Review- you can review the authors book and post your review on the date specified, it has to be honest the author is aware that the review might not be good, but it is a chance they take.
Also a logo to state that you are a host for SASKA BOOK TOURS will be supplied to you.
When you sign up for a certain date, the night or day before I will remind you, to make sure everything runs smoothly as possible for the author.
I will also supply you with a HTML for people to leave comments below the post.
Some authors will also do prizes at each stop, so the best way for people to enter is to leave a comment.
I hope this helps. But if you have any more questions don't hesitate to ask.
I wanted to share this with everyone as I appreciated this so much. A young boy, aged 12 called Craig Doherty read my first Novel Titled Eden Forest, he loved it so much he wrote me a story called the master of shadows using some of my characters and settings. He said he wanted me to see how much he loved Eden Forest. So thank you so much Craig.
Craig turned and ran as fast his could. The reason the bullies called him poo eyes was because he had hazel eyes. Craig looked over his shoulder, the biggest bully Chris was following him. Chris was muscular (he goes to the gym) blue eyes and blond hair. He looks annoyed; this was because Craig was lightening fast. Craig was heading towards the forest, Chris figured this out and he got angry because Craig was like a monkey when it came to tree climbing. He found a suitable tree to climb and grabbed the closet branch and started to climb.
Craig was panting from climbing the tree but had managed to lose the bully Chris. Craig looked all around he realised that he wasn't in a place that he knew. Climbing down from the tree, he noticed something move. At first he thought it was an animal, maybe the wind moving the leave. But it was swirling then he realised it wasn't an animal or the wind but it was the shadows. He was about to scream but the shadows consumed him. They whispered in his ear "It is okay, you will be fine Master" Then he passed out.
Craig awake in a desert. "Where am I?" he asked looking around. He noticed a wall of flames.
He ran from the wall of fire as fast as he could. Then he stopped. The fire was just a glow. He started walking, he was walking for hours. Craig's throat was raw, he fell to his knees, and then he saw a figure. It was a man. He passed out the moment the man pulled him on the horse.
Craig had nightmares that night. He woke up in a tent with a start. His chest was covered with sweat, he was bear chested. "It was only a dream" he said. He got off the sleeping pallet and made his way to a mirror. He looked at himself; he had bruises and cuts in various places. He could see the scar running down his arm. He traced it with his finger.
"How did that happen?" someone said from behind him. He turned startled.
"O I am sorry" it was a women with dark brown curly hair, unusual grey eyes, and pink lips and a round chin. She was holding a black tunic, black trousers and boots.
"It's okay" Craig said going a little red.
"My name is Sarajane" she said with a smile.
"My name is Craig, pleasure to meet you Sarajane" he said holding out his hand. She shook his hand, and her face changed. "How did that happen?" Sarajane asked tracing the scar running down his arm.
"You don't want to know" Craig said.
"Please?" Sarajane asked looking into his eyes.
"Okay. I have always been bullied, from the first day I entered primary school, sometimes I can escape or I get beat up. One day the worst bully I ever had, Chris, brought a pen knife and cut down my arm" Craig said all this and looked down at his feet. Sarajane was shocked. "I ….I don't know what to say" she said.
"You don't have to say anything" Craig replied.
"These cloths are for you" Sarajane said giving the cloths to me. She left; Craig got dressed and walked out of the tent also.
There where three others (not counting Craig and Sarajane). Their names were Tristan, Alana and Kiar. Kiar had blond hair which goes to his ears and brown eyes. Tristan has broad shoulders, very tall and he has green eyes. Alana has strawberry blond straight hair and a full fringe, dark blue eyes. Craig looked around they were in a forest.
"How old are you?" Someone said. Craig turned to see Kiar.
"I am twelve" he answered and smiled, an idea coming into his head.
"Want to climb a tree?" he asks grinning.
Tristan looks back at Craig, Sarajane whispers something to him.
"Okay" Tristan says getting up and coming towards Craig, he grabs his bow and some arrows.
"See that tree over there?" Craig says pointing at a tree, which was about a five minute run away and was really high. Tristan and Kiar nod.
"First one who climbs to the top wins and no holding back" Craig says and they all take off. Craig is in the lead, Tristan is second and Kiar is last. Craig reaches the tree and climbs it as fast as he can, Branch to branch then suddenly he is at the top. "I win" he says while looking down. Tristan has a shocked expression on his face but he is smiling and Kiar's jaw is hanging open. Then they hear a scream. They all sprint back to the camp. Alana is holding back creatures and Sarajane is shouting "Exiles". Tristan pulls out his bow and starts firing. Then they are on Craig's back, the weight of the exile takes Craig down. An exile bites into his shoulder he screams but then he feels a rumbling inside himself. The shadows burst out of him and tear the exiles apart. He stands up all the exiles are dead.
"Craig what did you do?" Sarajane asks.
"I …. I don't know" Craig says.
The story starts on a farm with Lily and Mel who are twins, only Mel has autism and Lily is her only way to survive. The farm is meant to be a safe haven from the ticks outside the fence, that come out at night to feed but more sinister things are happening inside the farm, it's a breeding ground and a blood bank for the ticks.
I loved Lily she is intelligent, smart mouthed and would throw down her life for her sister. Her strength and courage throughout the book kept me backing her every decision that she makes even when it's one of those "don't go down the dark alley alone" and she does and I rooted for her each time. I loved that I could also read from Mel's perspective the way she seen everything as music and noise, I really found it fascinating. An amazing story and one I would read again.


Just in time for Holiday get togethers, I get to share this YUMMY pate recipe with you!!
P.S. how do you make fancy accents over the word pate??!!
More about the cookbook below, here's the recipe!
Add the onions and cook on medium-high heat for about 5 minutes, stirring. Add the garlic and cook for a minute, 5 minutes per side, or until the liver is no longer pink in the center. Set aside to cool for a few minutes.
Transfer the mixture into a blender of food processor with the coconut oil and sea salt. Process until if forms a thick paste.
Storage: Keep in the refrigerator for several days. Also freezes well.
Note: This recipe is difficult to make in a standard blender; you really need a high-powered machine with a tamper for best results. Alternately you could use a food processor. I think this device is the BEST for this kind of stuff.
But I think this might be one of the best AIP lifestyle books.
The majority of the book isn't just recipes and general "stress reduction" tips.
It's an amazing compilation of plans, advice, and empathetic anecdotes that will help those of you with autoimmune issues really find holistic well-being.
It truly is a DIY guide to living well with chronic illness and I highly recommend it. Find it on Amazon here.
Where will you make this pate? How do you find holistic well-being in your life?
So many excellent cookbooks are coming out these days!
It seems like every time I turnaround, one of the amazing recipe bloggers I follow is publishing a book.
And somehow they always seem to come up with new and amazing recipes to share with you all!
So today I bring you a brand new recipe from the brand new book Lexi's Clean Kitchen.
More about the book below, but I think these carrot cake bars will speak for themselves!
Preheat the oven to 350 F and line an 8-inch square baking dish with parchment paper.
In a bowl, whisk together the almond flour, coconut sugar, baking powder, baking soda, cinnamon, and salt until well blended. Whisk in the eggs , applesauce, vanilla and ginger, if using, until smooth.
Store the bars in a closed container in the refrigerator for up to 5 days.
I'm so psyched this book is coming out because it has so much to offer.
What I like best is that these recipes are clean (or have simple modifications), meaning that they come dairy-free, grain-free, soy and refined-sugar free.
That seems like a given but I'm finding that fewer and fewer books take that approach.
I'm ALL for a little fudging now and then (you guys know I eat gluten sometimes!) but I like to have the majority of my meals be purposefully simple and filled with healthful, not harmful ingredients.
That helps me feel good, look good, and all around ROCK it.
I can trust that every recipe in this book can be customized to be gentle on me, my digestive system, and my health in general and that's something I really love.
Lexi's Clean Kitchen Cookbook comes with 150 recipes including many breakfast, main dishes, soups and salads, side dishes, appetizers, basic recipes, sweets, and beverages.
Step by step instructions are included and full color photos for each recipe.
An allergy and special diet set of labels is included for dairy-free, egg-free, nut-free, vegan, and paleo-friendly to help you easily navigate within your own personal dietary restrictions.
Plus it comes with a guide to clean eating, conversion charts, cheat sheet guides and more!
Find the book on Amazon here and support the great work of the woman who gave us this AWESOME recipe.
Today I'm reviewing the GREAT Well Fed Weeknights, Melissa Joulwan's newest cookbook.
The main thing I hate about eating paleo is the pure and total inconvenience of cooking my meals.
With so much going on in my life -being a student, being a dancer, blogging, working on a podcast, etc- trying to fit in time for healthy, home cooked food is really tough.
I know many of you struggle with that as well.
I know many of you have much busier lives than even I do.
You've got school. You've got kids. You've got extremely demanding jobs.
Because, if I'm being truly honest, most of the time I'm not cooking an actual, balanced meal.
Most of the time, I'm opening a can of wild-caught salmon and plopping it on top of some greens.
I review a lot of cookbooks and I always test out the recipes.
They are good, delicious, excellent recipes, too.
But the reality is that many of those recipes just aren't practical for me personally.
And that's why I get so psyched when cookbooks come out that truly speak to my heart.
Other cookbooks I've reviewed will sit prettily on my counter.
I might pull them out on weekends or holidays or special occasions.
But mostly, they end up collecting dust while I scarf down an Epic bar.
Melissa Joulwan's new book, Wellfed Weeknights, is a cookbook after my own heart.
It's a workhorse cookbook that you'll use again and again.
Because every SINGLE recipe takes under 45 minutes to prepare (many of them less).
And because she helps you come up with ways to be creative about food prep that mean more leftovers and less cooking, without sacrificing on enjoyment.
There's about a hundred ways to make a hamburger or hot dog (I'm exaggerating, but you get the point!) so that you can cook less and still eat something that feels different every night.
Greek burgers, Californian burgers, Hawaiian burgers, breakfast burgers, there's something for every mood.
There are ethnic dishes and classic American dishes.
And there are ways to add to your meal for fancier nights when you might want some fries with that.
What I love about this book is what I love about all of Melissa Joulwan's work.
It's a no-nonsense, good eating, practical cookbook that will help you not only figure out what to cook tonight, but help make you more creative so that you can start coming up with your own recipes.
I've lived off of Melissa's first book Well Fed for a long time and I couldn't be more excited for this one.
I'll stop gushing now and just tell you how you can find it!
Well Fed Weeknights is available for pre-order and comes out on November 1st. Find it on Amazon here.
What do you love about Melissa's books? Are you excited for this one? How do you fit paleo cooking into a busy schedule?
Guys, your favorite Paleo book is updated and expanded.
Remember the INCREDIBLE Practical Paleo?
It was Diane Sanfilippo of Balanced Bites' seminal work, combining the brilliance of her recipe making with her intelligence and skill in meal planning.
Practical Paleo contained hundreds of recipes and several 30 day meal plans to help you make the transition to paleo easy, simple and delicious.
Well, Diane has updated Practical Paleo with tons of new recipes and information in a fabulous 2nd edition! Yay!
I'll tell you more about it in a minute, but first, you've got to try one of the NEW recipes from the book.
It's an AMAZING, egg-free breakfast option and it's already a favorite of mine!
Heat a large skillet over medium heat. Add the pork, season with the Italian Blend and stir to incorporate. Cook the meat for 5 minutes, stirring to break it up with a spatula as it cooks then add the kale. Continue cooking for another 5 to 7 minutes until the kale begins to wilt and the meat is cooked through. Remove the pork and kale from the skilled and set aside.
Melt the ghee in the skillet, still over medium heat, then add the potatoes and Diner Blend, gently stirring to coat the potatoes with the fat and spices. Spread the potatoes into an even layer and cook for 2 to 4 minutes, until they start to brown. Stir midway through cooking so they don't stick. If they do start to stick, add a little more ghee to the pan.
Return the meat and kale to the pan, then garnish with red pepper flakes, coarse sea salt, and chives, if desired.
So what's so great about the new Practical Paleo?
Well first, the thing is 480 pages long with 2 BRAND NEW chapters that cover the big hot topics that have come up since the first edition came out.
Most importantly for YOU is that there are now chapters on Adrenal Health/Stress Management, Healthy Hormones, and Liver Detox Support!
Those are 3 very important fertility related topics!
There are new photos, a hard cover, and even new labels to help you find which recipes fit with designations like Quick & Easy, 21 DSD-friendly, Freezer Family, Great for Parties, and more.
This book just came out so it's in HUGE demand! You can find it on Amazon here.
It's almost like a totally new book with all the new information and it still makes Paleo easy and practical.
You can simply and conveniently dial down on issues in your health that are important to you.
AND it makes an AWESOME gift for your friends who have always thought of going paleo but never had the courage.
Find Practical Paleo Updated & Revised Edition here.
A wonderful new cookbook called Fed & Fit by the excellent Cassy Joy Garcia has just hit the market and it's AMAZING.
And in celebration, Cassy has let us share her wonderful Eggplant Lasagna recipe from the new book!
It's yummy, and yes, it takes some time. But the results are SO worth it.
This is a creamy, delicious take on Eggplant Lasagna that will ensure you hardly notice the lack of cheese.
I'll tell you all about the book in a minute, but first, the lasagna!
To make the red sauce: melt the tablespoon of butter in a large pot over medium heat. Add the onion and cook until translucent, about 10 minutes, then add the garlic and cook for 2 more minutes until fragrant. Empty the onion and garlic mixture into a bowl.
Add the sausage to the pot, break it up with a spoon and cook over high heat until the sausage starts to crisp, about 10 minutes. Drain the fat by pouring the sausage into a colander, then return meat to the pot.
Return the onion and garlic mixture to the pot with the sausage. Add the drained diced tomatoes, tomato puree, balsamic vinegar, 2 tablespoons of the Italian seasoning and 1 teaspoon salt. Stir to combine, bring to simmer, and then cover and set aside over low heat while you make the bechamel.
To make the bechamel: Melt the tablespoon of butter in a saute pan. Once melted, whisk in the coconut milk, coconut butter, lemon juice, salt, and pepper. Bring to a simmer over medium heat whisking constantly, then set aside.
To assemble the lasagna: place a layer of eggplant noodles in a 9×13 inch of similar sized baking dish. Cover the noodles with about 1/4 cup of the bechamel, followed by several full ladles of the red sauce. Repeat until all of the noodles are used up. For the final layer, place the sliced tomatoes across the top, then drizzle and remaining bechamel over the top. Sprinkle the top with the remaining 2 teaspoons of Italian seasoning.
Bake for 35 minutes, or until bubbly. Let the lasagna rest for at least 15 minutes so that the juices can settle back down. Serve warm and garnished with fresh basil.
Admittedly, there are hundreds of paleo cookbooks on the market, some better than others.
So what do I like about this one?
Cassy's book, first of all, is based on her 4 pillars of health, helping you to gain a grasp of a well-rounded life that takes into account fitness, nutrition, and sleep, among other things.
This is SUPER important because we KNOW it isn't just about eating all the right things.
The book contains 190 delicious recipes that follow a squeeky clean paleo approach.
Hey, I'm not always squeeky clean, but it's good to make the majority of your meals with these principals in mind.
There's a chapter with simple meals – 5 ingredients, 5 steps or less.
That is/will be a TRUE lifesaver to anyone just starting out, getting back on track, or who leads a busy life.
There are even modifications and tags to identify recipes that comply with certain special diets like GAPS, low-FODMAP, AIP, egg-free and nut-free.
There's even a 28-day meal plan, with weekly shopping list, home workouts, journal prompts, and a DIY template for those who want to design the plan themselves!
This is great for those of you who need a little help changing your lifestyle and aren't quite ready to jump right into paleo. If everything seems a bit confusing, this is the book to help un-confuse you!
And LOTS of fitness help is included for those of you who want to get a little more fitness into your life without having to join a gym.
This book is over 400 pages, full color, with beautiful paper. It's absolutely beautiful and an instant classic.
So, enjoy the recipe and, check out the book here!


Available now! Released Winter 2017.
In THE RIVER KING, Bob Romano returns to western Maine, but this time with a cast of new characters.
Born out of wedlock, Thelma Louise Shannon, Harry's "friend-with-benefits," works behind the bar at Sparky's Tavern while dreaming of the day she'll leave behind the tannin-stained ponds and sun-speckled streams that Harry has grown to love.
Donnie Gilroy is obsessed with catching a brook trout as big as the one he lost as a young boy on account of two anglers "from away." This leads Harry's best friend to declare war on anyone fishing his home waters, a war that eventually impacts his life and the lives of his friends in ways they never imagined.
Known as Petey Boy to his friends, Peter Jordan's mind has never caught up with his body. As a result, Harry, Donnie, and Thelma Louise must protect the young man with special needs from the outside world, at least until now.


I saw this outside my window an hour ago. I've seen hundreds of bicycle users waiting at this spot in the evening, casting shadows from the car headlights. Suddenly, like a vision, a heart formed. It lingered there, imprinted on the asphalt for more than a minute. Until the light changed and the bicycle was set into motion. But the heart remains in these photographs. This is urban living. This is bike love. This is the future for our cities, baby.
This one is 1400 x 800. Click on it, new window, right click to save as.
This one is 1024 x 768.
That is indeed a message!
Another H.C. Bresson moment . You're getting good at those !
As to the future of cities being bicycles though ? As far as here in the US ..... I wish !
Never gonna happen , but I wish !
Lovely. Thanks for making them savable.
Love appears in unexpected places!


Description: 8 Twisted Cloth Covered Wire Plug Vintage Light Rewire Kit 8 Twisted Cloth Covered Wire Plug Vintage Light Rewire Kit Lamp Cord Rayon Ebay Cloth Covered Electrical Wire #2412 from the above 1000x955 resolutions which is part of the "DIY Needed" directory. Download this image for free in HD resolution the choice "Save full resolution" below. If you do not find the exact resolution you are looking for, then go for a native or higher resolution.
Considered one of the most frequent electrical wiring questions is regarding how to wire a switch. While applying switches in your house is fairly simple, wiring just one might not be that easy for everyone. An ON-OFF switch is really quite simple to wire. There are actually several types of switches, but for this example, let's say you're setting up a single-pole toggle switch, a really common switch (plus the most straightforward).
You will discover 3 shades of wires inside a standard single-pole toggle switch: black, white, and inexperienced. Splice the black wire in two and hook up them to the terminal screws - a single on top rated plus the other over the base screw with the swap. The white wire serves as a source of uninterrupted electricity which is ordinarily linked into a light-weight coloured terminal screw (e.g., silver). Join the eco-friendly wire into the ground screw of your respective change.
These steps would frequently be sufficient for making an average switch work without having a difficulty. Nevertheless, should you will not be self-confident you can achieve the process properly and properly you greater let the professionals do it in its place. Immediately after all, you can find a reason why this task is without doubt one of the commonest electrical wiring inquiries requested by plenty of people.
For a few cause, the best way to wire a ceiling fan is usually certainly one of probably the most typical electrical wiring concerns. To simplify this process, you should use an individual switch to get a single ceiling fan. To wire the admirer, it is only a make a difference of connecting the black wire in the ceiling fan to your black wire in the swap. If there is a light-weight, the blue wire really should be related into the black wire in the switch at the same time.
There are motives why these are definitely essentially the most normally requested electrical wiring inquiries. A person, lots of imagine it truly is easy to do, and two, these are the common electrical duties in the home. But then you really must not place your protection in danger with your aim to economize. The stakes could even be substantially greater if you try to lower your expenses and do an electrical wiring occupation without the need of enough know-how or encounter.


text:
Sergeant Patrick Snook
Sergeant Patrick Snook died from complications after contracting COVID-19 during an outbreak within the unit he supervised.
Sergeant Snook was a U.S. Army veteran and had served with the Henry County Police Department for 22 years. He is survived by his wife and four children.
In early 2020, thousands of law enforcement officers and other first responders throughout the country contracted COVID-19 during the worldwide pandemic due to requirements of their job. Many of these first responders died as a result of COVID-19.

redpajama_set_name: RedPajamaCommonCrawl


Logitech has released K780, its latest multi-device wireless keyboard that allows to switch between 3 devices, and unlike K380, the wireless keyboard features integrated numbers pad lets you work more efficiently.
The K780 is a versatile and practical wireless keyboard that supports PC, Mac, iOS, Android and Chrome OS. The keyboard measures 6.2 x 15.0 x 0.3 inches, weighs 2.0 lbs, and as we can see from the images, the K780 boasts a slim, low-profile and compact design that allows it to decently work with your iMac or a stylish desktop computer.
As a multi-device wireless keyboard, the K780 is capable off pairing up to three devices and it allows you to quickly switch between the devices just using three white keys, while its powerful wireless connection supports 40ft range and 128-bit AES encryption. Furthermore, using Logitech PerfectStroke key system, the keyboard with concave keys provides a comfortable, silent and smooth typing experience, and shortcut keys and integrated numbers pad enhance your productivity. In addition, an integrated rubber cradle keeps your iPhone 7 and up to 12″ iPad Pro upright for a comfortable reading angle and easy to reach, and 2 AAA batteries offer up to 24 months of usage.
Logitech K780 wireless keyboard is priced at $79.99 USD. If you're interested, jump to Logitech for its more details.


text:
Q: Removing last trailing comma from the arguments of a macro I need to remove the last trailing comma from a list of macro arguments (because they will be eventually expanded into template arguments where the trailing comma is not admitted).
So I need a macro remove_trailing_comma() which called like remove_trailing_comma(arg1, arg2, arg3, ) expands to arg1, arg2, arg3.
I've tried with different combinations of varargs and __VA_OPT__ but I seem to not be able to do it.
For example:
#define discard_trailing_comma(arg, ...) \
    arg __VA_OPT__(,) discard_trailing_comma(__VA_ARGS__)

discard_trailing_comma(1, 2, 3, )

does not work (with g++ 10) because expands to 1 , discard_trailing_comma(2, 3,), I do not know why (are macro not expanded recursively?)
Is this possible in C++20?

A: Assuming you have a bounded number of parameters, you could make a delegate function-like macro as a helper to choose the appropriate implementation macro.
#define GET_DTC(_1,_2,_3,_4,NAME,...) NAME
#define DTC4(_1,_2,_3,_4) _1,_2,_3
#define DTC3(_1,_2,_3) _1,_2
#define DTC2(_1,_2) _1
#define DTC1(_1)
#define discard_trailing_comma(...) \
    GET_DTC(__VA_ARGS__, DTC4, DTC3, DTC2, DTC1)(__VA_ARGS__)

int arr[] = {
discard_trailing_comma(1, 2, 3, )
};

A: You'll probably should go with @eljay's answer, but if you need to support way more arguments, here is one that supports ~2000 arguments in 22 lines and adding more lines grows that number exponentially.
#define E4(...) E3(E3(E3(E3(E3(E3(E3(E3(E3(E3(__VA_ARGS__))))))))))
#define E3(...) E2(E2(E2(E2(E2(E2(E2(E2(E2(E2(__VA_ARGS__))))))))))
#define E2(...) E1(E1(E1(E1(E1(E1(E1(E1(E1(E1(__VA_ARGS__))))))))))
#define E1(...) __VA_ARGS__

#define EMPTY()
#define TUPLE_AT_2(x,y,...) y
#define TUPLE_TAIL(x,...) __VA_ARGS__

#define CHECK(...) TUPLE_AT_2(__VA_ARGS__,0,)
#define EQ_END_END ,1

#define SCAN(...) __VA_ARGS__
#define CAT(a,b) CAT_(a,b)
#define CAT_(a,b) a##b

#define LOOP_() LOOP
#define LOOP(x,y,...) CAT(LOOP, CHECK(EQ_END_##y))(x,y,__VA_ARGS__)
#define LOOP1(x,...) (TUPLE_TAIL x)
#define LOOP0(x,y,...) LOOP_ EMPTY() ()((SCAN x, y),__VA_ARGS__)

#define DTC(...) E4(LOOP((),    __VA_ARGS__ END))

DTC (1, 2, 3, 4, 5, 6, 7, 8, 9,) // expands to: (1, 2, 3, 4, 5, 6, 7, 8, 9)

Let me try to explain this.
Firstly, when LOOP is called inside E4() it can recursively call itself, which is done in LOOP0. The simplest example for this would be #define LOOP(...) __VA_ARGS__ LOOP_ EMPTY() ()(__VA_ARGS__) which repeats the argument until the recursion limit, which is bound by the nesting of E4. Understanding DEFER and OBSTRUCT macros already explains the behavior quite well, so I'll skip that part of the explanation.
Now the idea is the following: We loop over every argument until we reach the last one, where we've inserted an END mark. Whilst doing that, we construct a new argument list, but this also stops when we reach the END mark.
CAT(LOOP, CHECK(EQ_END_##y)) branches to LOOP1 if the argument y holds the end mark END and otherwise to LOOP0.
LOOP1 appends a new argument to our argument list in x using (SCAN x, y). Since we start off with an empty argument list, we'll end up with a leading empty argument, which we can trivially remove on LOOP0.
PS: This concept can be trivially extended to E5, E6, ..., although there is a larger overhead using that because once the recursion ends the preprocessor still needs to rescan the result till the recursion limit. If you want to remedy that, you can use something like the continuation machine from order-pp, which can actually terminate, but it's about 150 loc.
Edit, I just revisited this and realized that using x to build up the tuple is quite inefficient, here is a version that doesn't do that:
#define E4(...) E3(E3(E3(E3(E3(E3(E3(E3(E3(E3(__VA_ARGS__))))))))))
#define E3(...) E2(E2(E2(E2(E2(E2(E2(E2(E2(E2(__VA_ARGS__))))))))))
#define E2(...) E1(E1(E1(E1(E1(E1(E1(E1(E1(E1(__VA_ARGS__))))))))))
#define E1(...) __VA_ARGS__

#define EMPTY()
#define FX(f,x) f(x)
#define TUPLE_AT_2(x,y,...) y
#define TUPLE_TAIL(x,...) __VA_ARGS__

#define CHECK(...) TUPLE_AT_2(__VA_ARGS__,0,)
#define EQ_END_END ,1

#define CAT(a,b) CAT_(a,b)
#define CAT_(a,b) a##b

#define LOOP_() LOOP
#define LOOP(x,...) CAT(LOOP, CHECK(EQ_END_##x))(x,__VA_ARGS__)
#define LOOP1(x,...)
#define LOOP0(x,...) LOOP_ EMPTY() ()(__VA_ARGS__),x

#define DTC(...) (FX(TUPLE_TAIL,E4(LOOP(__VA_ARGS__ END))))

DTC (1, 2, 3, 4, 5, 6, 7, 8, 9,) // expands to: (1, 2, 3, 4, 5, 6, 7, 8, 9)

A: There are already good answers here for removing a trailing comma, but they require quite a lot of boilerplate pre-processor code.
However, from the example code, my guess would be that the list from which it is desired to remove the trailing comma is itself the result of pre-processor macros expansion (use of "X macro" C pre-processor coding pattern maybe?).
In this case, it seems the code that generates the list contents could be modified to have a leading comma instead of a trailing one, which is much simpler to remove:
#define REMOVE_FIRST(X, ...) __VA_ARGS__
const int some_const_array[] = { REMOVE_FIRST(,1,2,3) };
// -> expands to just 1,2,3

With the actual contents of the initializer list coming from X-macro expansion:
#define REMOVE_FIRST(X, ...) __VA_ARGS__
// Indirection macro required to perform expansion of macro parameters
#define EXPAND_AND_REMOVE_FIRST(...) REMOVE_FIRST(__VA_ARGS__)

#define SOME_COLLECTION_DEF(X) \
  X(item1, 1, whatever) \
  X(item2, 2, one_wants_to) \
  X(item3, 3, include_in_here)

#define INITIALIZER_LIST_VALUE(name, value, other) ,value

const int values[] = {
  EXPAND_AND_REMOVE_FIRST(
    SOME_COLLECTION_DEF(INITIALIZER_LIST_VALUE) )
  // SOME_COLLECTION_DEF(INITIALIZER_LIST_VALUE) expands to ,1 ,2 ,3
  // and first comma is removed by EXPAND_AND_REMOVE_FIRST
  // resulting in just 1 ,2 ,3
};

redpajama_set_name: RedPajamaStackExchange


I was reading over at In The Labyrinth where these hand-painted clothespins from Made with Love by Hannah were posted -- and my head exploded with thoughts about clothespins.
While these hand painted wooden clothespins are utterly charming, I do have some practical concerns... I don't see them for sale at the site, so I don't know if these are varnished or sealed in any way to prevent the paint from adhering to wet laundry -- or, for that matter, even to sticking to or rubbing off on on dry textiles. (Something that as a collector of textiles should consider before even using them indoors to display items.) But in any case, there are practical matters to consider regarding painted wooden clothespins.
I'm sure most of us recall the various craft projects involving painting wooden clothespins we did as kids. I vividly remember painting the traditional wooden clothes pins to look like soldiers, adding glitter and pom-pons at the top for hats, to make ornaments for the Christmas tree in Girl Scouts. I also remember most of us were not familiar with this form of clothespins; we were used to the wooden ones with metal springs. But we knew what clothespins where. And not in some abstract or crafting-only way either. Back then, we saw laundry hanging on the line to dry -- often we'd helped to put it there.
This is another one of those things I've seen change, nearly disappear, in my lifetime of 46 years.
It's not (just) that appliances were part of the consumption mentality marketed to Americans, but that as more women entered the workforce (either as women's libbers who sought careers, like my mother, or as the economy forced both parents to work outside the home) hanging the laundry outside to dry was no longer practical.
I don't recall the pivotal moment when the habit of hanging wet laundry outside to dry ended in my childhood -- but I do distinctly remember having a conversation with my mother, when I was an adult with a child of my own, that drove the point home.
I asked her why she didn't go home and do the same? She sighed and said even if she had started the load of laundry in the morning and drove straight home to hang the laundry outside, there wasn't enough time to have it dry before it was dark. Plus, there was dinner etc. to deal with then. And once, she did hang the laundry out to dry while she was at work, but it rained and what laundry hadn't been blown to the ground was still covered in dirt splashing up from the ground, etc. One really had to be home to notice the weather changes and respond to it.
So despite the sensual delights in hanging laundry out to dry, and the economic savings too, the whole practice has become one based on the luxury of time.
I simply loved this blog entry! My daughter Puppet (now 18) and I still celebrate an annual Make-a-Dolly-from-Our-Dear-Friend-the-Clothespin Day!
Where I live (Iceland) I don't think I know anyone with a clothes dryer, so hanging laundry is still very much a necessity of life.
However, given the unpredictable weather, people mostly hang inside where they just drape the things instead of pinning them. Clothespins are still very much a part of life though, for cramming more socks on the line in a tight drying room.
Even though I don't "have" to hang my laundry outside, it is one of my favorite housekeeping chores! And my toddlers love to play outside, running between the towels while I work. We are blessed to live a little farther south where the laundry dries fairly quickly, even when I hang it after work. There's just something so relaxing in that simple task!
Some communities don't even allow clotheslines, or at least permanent fixtures for them, because they say it looks sloppy.
I use some plastic ones, and hang my stuff indoors. Too much pollen, and I can leave it up when I leave the house, no worries it will blow away!
There is laundry hanging on my line right now as I'm writing this! It's a perfect day for "hanging out."