Clement Jewitt began composing following a life review induced by simultaneous crises in his personal and professional lives in his forties.

He wished to put to deeper use his lifetime involvement in music making choral singing, recorder playing and consort direction focussed on the baroque, guitar playing and teaching focussed on 19th and 20th C music, and tuba playing largely in brass bands.

At first an auto-didact in composition, he later gained a BMus at Birmingham Conservatoire, followed in 2006 by a PhD in composition. He has won several prizes for his compositions.

PUBLICATIONS  

Music and the Arts in a Possible Future

2010: a chapter in the book A New Renaissance: trransforming science, spirit and society. Floris Books

Participative spiritual inquiry and the Music & Psyche enterprise

2009: further information and can be downloaded from

www.eidos-inventions.co.uk/ccms.asp?nodeid=7

Labyrinth: sacred space, sacred music.
in the Writings section of:: www.musicpsyche.org and in Music & Psyche, Issue 3, Jan. 04 (8-29) AND White Dragon, 41 & 42, Beltane & Lugnasa 04.

Julian Anderson s Imagin d Corners .
Review in First Performances, Tempo, 221, July 2002 (44-5)

Edward Rushton s Palaces .  
Review in First Performances, Tempo 220. April 2002 (38-9).

Mechanisms and Shadows: three composers muse on Life and Western Art Music
CJ, ed. & contributor. Music & Psyche, Issue 2, Feb 03 (42-56)

Music making and the healing of the breach. (9pp)
Available for download in the Members Articles section of : www.scimednet.org   and in the Writings section of:: www.musicpsyche.org    and is also published in: Music & Psych : the Journal of the Music & Psych Network (CJ is Associate Editor), Issue 1, Nov 2001 (27-39);

Music at the Bauhaus.
Tempo, no 213, July 2000 (5-11)

CONFERENCE PAPERS

A dynamic model of human personality attributes applications to composers procedures and other musical activity:
presented at the Birmingham Conservatoire Annual Research Study Day, May 2001

Tuning, resonance and consciousness:
presented at the Birmingham Conservatoire Annual Research Study Day, May 1998

Masculine and feminine in musical experience in the context of a post-Jungian model:
presented at Music & the Psych III, Stourhead Trust, Dorset, April 1997