I have sung extensively (some may say excessively) ever since I was a little chorister, so I shall limit myself here to those few occasions where it actually intersected with academia.
As many academics will be able to relate to, George Dyson's DPhil thesis (by composition) was locked up in the Oxford university library for no-one to see for quite some time. So somewhat belatedly, this Choral Symphony had its world premiere some decades later in March 2014 in St John's Smith Square and I somehow ended up being the tenor soloist. Whilst this was huge fun in its own right (wearing white tie in front of a full London symphony orchestra and a choir of 140 - despite being somewhat precariously positioned between the conductor's baton and the first cellist's bow) it also initiated a lovely correspondence with George Dyson's son, the mathematician and physicist Freeman Dyson, who is one of my academic idols and similarly has strong connections with Germany, the UK and the US. I was also marking some 4th year dissertations on the connections between zeros of the Riemann zeta function, quantum chaos and random matrix theory at the time (which he had worked on), so it was all rather neat!
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Similarly serendipitous was the alignment of the stars for the Lincoln meeting of the Ordered Universe project in April 2015. Grosseteste was bishop there in the 13th century, and a few of us sang a piece by Perotin (which we hope was the latest thing in Paris when Grosseteste was around) in the Grosseteste Chapel in Lincoln Cathedral. The piece Viderunt Omnes stretches rather few words over rather many notes (at around 15 minutes) - which means you hear quite a lot of vowel. This was much in the spirit of the manuscript we had been working on for few months leading up to this - De Generatione Sonorum, the Generation of Sounds, which explains in great detail how the vowels get formed by shaping the vocal tract!
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I have also fairly regularly been a lab rat for York, either through the York audio lab in their anechoic chamber, St Olave's, in the York Theatre Royal, the Music Department, or the Department for Theatre, Film and TV trying to reconstruct the medieval soundscape of Stonegate for the York Mystery Plays and medieval cathedrals - another connection with my past at Cambridge, where Malcolm Longair from Cavendish Astrophysics and John's Choir (where I did my PhD/sang a fair bit) had a project recreating soundscapes of Venetian churches.
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2009 also saw a fortunate coincidence in Boston, with both SUSY09, the supersymmetry conference at Northeastern university, and the Boston Early Music Festival, where I performed the gorgeous Song of Songs programme with Stile Antico.