As a music analyst, my focus is on how we hear music, as I aim to keep the aural understanding of a work at the heart of my work. I approach pieces from the point of view of both composer and listener, curious as to why a piece is successful as much as how it achieves that. I focus on music of the twentieth and twenty-first centuries and have a particular research interest in Kurtág, Webern and Stravinsky.

I am currently working on a PhD which combines analysis and composition in a thesis which aims to explore a vein of thinking in music from the last 100 or so years. These themes, which concentrate on idea of time – fragmentation, brevity, miniaturisation, continuity, etc – are explored through analyses of music by Kurtág, Webern, Stravinsky and others, alongside compositions which demonstrate how these concepts are used in my own music. Composition acts as a key part of my methodology, as it acts as the best possible way to explore and demonstrate a musical concept.

Recent & Forthcoming Paper Presentations

June 2016 Musicological Conference on the 90th Birthday of György Kurtág, Research Centre for the Humanities, Hungarian Academy of Sciences, Budapest: The fragment and the fragmentary in the music of György Kutág

June 2016 York Festival of Ideas (public lecture and performance): Keeping time: music, metronomes, machines and Ligeti’s Poème Symphoniuqe

February 2016 Research Seminar Series, University of York: Tradition and innovation in composing Harlequin

May 2015 Creativity: Method or Madness?, University of Glasgow: Compositional practice in and as musical research: a led/based solution.

May 2015 Beyond Speech: Silence and the Unspeakable across Cultures, University of Manchester: Perceiving musical concepts and creating languages in composition: George Benjamin’s Sudden Time. [More]

April 2015 Centre for Modern Studies, Humanities Research Centre, University of York: Movements and Shakers – Complexity to simplicity and back again. (In collaboration with Richard Powell)

March 2015 Centre for Research in New Music, University of Huddersfield: My recent music.

February 2015 The Making of Musical Time: Temporality in musical composition and performance, Orpheus Institute, Ghent, Belgium: Inventing fragments, manipulating time. More.

October 2014 Department of Music, University of York: The narratives and continuities of Movements.

October 2014 ISCM World Music Days, International Association of Music Information Centres Conference, Ksi?? Castle, Poland: ‘The isle is full of noises’: musical traditions in Britain from the 1960s to the present day.

May 2014 Poetics of Collage Conference, Centre for Creative Collaboration, University of London:  Fragmentation in the music of György Kurtág.

March 2014 Preparing Future Academics Symposium, University of York: Adjusting the level: an approach to diverse learning backgrounds in first-year undergraduate music teaching.

February 2014 Department of Music Postgraduate Forum, University of York: Embedded at the British Music Collection.

June 2013 University of York, Composers’ Seminar Series: Time and form in some recent music

December 2012 Centre for Modern Studies, Humanities Research Centre, University of York: Kafka, Kurtág and the musical fragment

October 2012 Postgraduate Students’ Forum, University of York: Kurtág and the musical fragment

April 2012 Society for Musical Analysis TAGS conference, University of Southampton: Destination, path, hesitation: issues of scale, structure and unity in György Kurtág’s Kafka Fragments

January 2012 Royal Musical Association Research Students’ Conference, University of Hull: Philip Cashian and the Chamber Concerto: losing the italics, finding the form

October 2011 Research Students’ Forum, University of York: The twentieth-century chamber concerto: losing the italics, finding the form

June 2011 MA Conference, University of York: Artistry and Artefact in my music