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. Significant Works Sample Scores e-mail: twelvenineteenasdigitscj@phonecoop.coop telephone: +44 (0)121 766 5449   PUBLICATIONS   Labyrinth: sacred space, sacred music.     in the Writings section of: www.labyrinthmusic.com, and in Music & Psyche, Issue 3, Jan.’04 (8-29) AND White Dragon, 41 & 42, Beltane & Lugnasa ’04, and to appear in part quoted in two forthcoming books by Dr Sydney Baggs 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 is also published in: Music & Psyché: the Journal of the Music & Psyché 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 Psyché III, Stourhead Trust, Dorset, April 1997