Staff A-Z

Huw Daniel was a pupil at Ysgol Gyfun Ystalyfera, South Wales, and continued his education as an organ scholar at Robinson College, Cambridge, where he graduated with first-class honours in music in 2001. He then studied baroque violin at the Royal Academy of Music for two years with Simon Standage.

Guido De Groote was born in Cape Town, South Africa to a family of professional musicians. He studied with Jack De Wet at the University of Stellenbosch, and then with Simon Fischer on full scholarship at the Royal Conservatoire of Scotland. He spent a number of years freelancing with British orchestras, in recording sessions and with alternative performing groups, until he became a permanent member of the BBC Scottish Symphony Orchestra.

Mr Deacon is a lecturer of violin, viola and chamber music at the RCS. Mr Deacon also enjoys leading sectional rehearsals for the RCS Symphony Orchestra. Donnie also enjoys online teaching with students in the Middle East and North America.

Timothy Dean studied music at Reading University, and then piano and conducting at the Royal College of Music. He has been the Director of the RSNO Chorus since 2006 and is the Artistic Director of the RCS ‘Song Studio’.

Born in Glasgow, graduate of the New University of Ulster, Joyce trained as an actor at the Royal Scottish Academy of Music and Drama (now Royal Conservatoire of Scotland), then studied at Ecole Jacques Lecoq in Paris.

Born in Glasgow, Scott Dickinson (viola) studied at the Music School of Douglas Academy and then in Manchester, London and Salzburg, where he won the Mozarteum Concerto Competition.

Born and raised in Alaska, Joshua arrived in Scotland in 1992 to study Scottish Gaelic at the University of Aberdeen (MA, 1996). He then undertook doctoral research in the history of the piping tradition of the southern Outer Hebrides at the School of Scottish Studies, University of Edinburgh (PhD, 2001), now published under the title When Piping Was Strong: Tradition, Change and the Bagpipe in South Uist (John Donald, 2006).

Bernard Docherty is a prizewinning violin graduate of the Royal Scottish Academy of Music and Drama and was for many years co-leader of the BBC Scottish Symphony Orchestra. He is in constant demand as a guest orchestral leader at home and abroad.

Visiting Artist in Classical Improvisation

Ruari has been Principal Timpanist with Scottish Opera since 1998 and guest timpani player with other orchestras including the Royal Scottish National Orchestra, the Scottish Chamber Orchestra, Opera North, the Northern Sinfonia and the Halle.

Dr Emily Doolittle is a composer and researcher with an ongoing interest in the relationship between human music and animal songs, which she explores through music, writing, and in interdisciplinary collaborations with scientists. Other research interests include environmental activism through the arts, interdisciplinarity, music and gender, musical storytelling, and folklore. Originally from Canada, Doolittle has been an Athenaeum Research Fellow and Lecturer in Composition at RCS since 2017.

Former Principal Tuba, Ulster Orchestra

Mel holds an MA in Voice Studies from the Royal Central School of Speech and Drama. She trained as an actress at Queen Margaret College, Edinburgh, gained a Postgraduate Certificate of Education from Moray House Institute, is a Fellow of the Higher Education Authority and is an accredited teacher of Nadine George Voice Work.

Dr Rachel Drury is a researcher and creative artist working in the field of music psychology and therapeutic arts. She is Co-programme Lead for the MA Psychology in the Arts (Music) programme at the RCS and the music specialist for Rachel House Children’s Hospice in Kinross (CHAS).

Marc is a lecturer on the Traditional Music course.

Celia’s ‘squiggly’ career has ranged from mainstream music academia, technology-assisted learning and research (when it was new and more interesting), corporate training, and institutional senior management where she played a key role in RCS’s development as a research institution.

The focus of her current work is the need for rapid evolution and change in higher music education and driving institutional innovation to achieve that – including maximising the potential of knowledge exchange and innovation in the small specialist arts sector.