Focusing predominantly on British and American music of the 20th century, my research interests cut across popular culture and the avant garde. I studied at the Universities of Cambridge (PhD 2015, King’s College), York (MRes 2010), and Oxford (BA 2009, Christ Church), where I was awarded the Gibbs Prize for the highest mark in music. Prior to my current position at Homerton, I held a Temporary Lectureship at Cambridge, where I offered courses at both undergraduate and MPhil level including ‘Popular Music of the Black Atlantic: From Slavery to Hip Hop’ and ‘Musical Countercultures of the 1960s’. I was awarded the Faculty of Music’s Teaching Prize in 2016.
experimental music, minimalism, folk revivalism, blues, African American music, 1960s culture, fin de siècle Britain, modernism, modernity, and the poetics of song
‘Vernacular Song and the Folkloric Imagination at the Fin de Siècle.’ 19th-Century Music (forthcoming).
‘Notes on Troubling “the Popular”.’ Popular Music (forthcoming).
‘On the Politics of Folksong Theory in Edwardian England.’ Ethnomusicology, (forthcoming).
‘Mastery and Masquerade in the Transatlantic Blues Revival.’ Journal of the Royal Musical Association, 143/1 (2018): 173–210.
‘Industrial Balladry, Mass Culture, and the Politics of Realism in Cold War Britain.’ Journal of Musicology, 34/3 (2017): 354–390.
‘“Sound Effects (O.K., Music)”: Steve Reich and the Visual Arts in New York City, 1966–68.’ Twentieth-Century Music, 11/2 (2014): 217–244.
‘“Fun, Yes, but Music?” Steve Reich and the San Francisco Bay Area’s Cultural Nexus, 1962–65.’ Journal of the Society for American Music, 6/3 (2012): 315–348.
‘Traversing the Great Divide? Stravinsky, Modernism, and Mass Culture.’ In Stravinsky in Context, ed. Graham Griffiths (Cambridge: Cambridge University Press), forthcoming.
‘“Join That Troubled Chorus”: Nick Cave, the Bad Seeds, and the Blues.’ 40 Years of Mute Records, ed. Zuleika Beaven, Marcus O’Dair, and Richard Osborne (London: Bloomsbury Academic), forthcoming.