Maritime policy in Scotland.

This paper begins by defining the meaning of the term `maritime policy'. Since devolution in the UK, the opening of the new Scottish parliament in 1998 and the creation of the Scottish Executive, little effort has been made to establish a distinct maritime policy for Scotland. As was evident prior to devolution, the primary emphasis from any maritime policy perspective has continued to be a focus on lifeline island ferry services. This ignores significant developments in several other key maritime transport sectors, and this paper provides examples of areas that require some form of policy response, including intra-European short sea shipping, UK coastal shipping, urban/river transport and global container shipping. Long-standing institutional bias against maritime transport coupled with subsidy devoted almost entirely to land transport systems has resulted in a quite distorted marketplace. This suggests that a maritime policy is now imperative if maritime transport is to play a more significant role in the overall transport system. Further discussion centres on the need to consider, from a Scottish policy perspective, the role of various state-sponsored maritime service providers and how these bodies might fit better within evolving policy. The conclusion is that formulation of a maritime policy by the Scottish Executive is overdue and that a degree of restructuring of transport responsibilities within the Executive, combined with adequate resource allocation towards the maritime industry, will be necessary in order that market distortions can be overcome, so enabling Scotland to fully exploit the competitive and environmental advantages that maritime transport can provide.

Miniatures for Horn Trio.

This three movement work was first performed by members of the Research Ensemble at the Peninsula Arts Contemporary Music Festival, 26 February 2010. Material from the first movement reappears in the second and third in various guises. The second movement is dedicated to the choreographer, Merce Cunningham, and the constant piano part with pedal sustained throughout is a reference to the fluidity of dance. As a contrast to this there are passages of imitation between the horn and violin, some more audible than others, which are included as an acknowledgement of the intimate relationship which exists between co-dancers on stage. The third movement is dedicated to John Cage (Cunningham's partner) and, while the piano sustains chords (reworking content from the first movement), the gestures in the other parts loosely follow the outline of sections of one of Cage's watercolours, River Rocks and Smoke no.6. Much of my music is inspired by visual art and, having admired Cage's music and writings since by student days, it seemed appropriate after dedicating the second movement to Cunningham, to turn to Cage's art work in the final part of the composition.