I have taught at a wide range of universities: the University of Oxford, the University of Birmingham, Newcastle University and the Open University. Since 2005 I have taught at Oxford Brookes University, where I now hold the position of Reader.
I am currently first supervisor to two PhD students:
- Anna Maria Barry’s PhD (supported by an Oxford Brookes doctoral scholarship in opera studies) examines the representation and reception of nineteenth-century British male opera singers
- Corrina Connor’s PhD examines the representation and performance of masculinity in Johann Strauss’s Die Fledermaus
I welcome enquiries from prospective PhD students at any time. I am particularly interested in supervising PhDs in the following areas:
- Opera and operatic culture of the late 19th and early 20th centuries
- Contemporary / postmodern interpretations and appropriations of opera
- The use of opera in film
- Opera and gender
- The staging of opera
- Reception studies (broadly conceived) and canon formation
- Music criticism and music journalism
- Music and national identities
- Singers, recordings and constructions of celebrity
- Debates surrounding ‘high’ and ‘low’ culture
I am Subject Coordinator for the Oxford Brookes MA in Music. The MA has four distinctive specialist pathways, each of which places an emphasis upon recent critical debates in music.
I teach on two pathways of the MA:
- ‘Music on Stage and on Screen’, which explores how music functions in film and in opera
- ‘Music in 19th-Century Culture’, which explores 19th-century musical works within their aesthetic, social and political contexts, with a particular focus upon opera.
I lead the core research training module (‘Key Concepts and Methods in Research’) and teach the specialist opera module, ‘Approaches to Opera’.
The undergraduate modules I currently teach at Oxford Brookes University are wide-ranging. I particularly enjoy teaching ‘Music, History and Ideas’ (a historiographical module that investigates recent debates concerning music’s contexts, performance and consumption) and ‘Opera and Politics’ (which explores how issues such as race, imperialism, gender and censorship relate to opera). I have supervised dissertations on topics as varied as: opera and the French Revolution; Elgar, Vaughan Williams and English identity; gender politics in the conducting industry; and music used for royal weddings.
Further information about the undergraduate programme in Music at Oxford Brookes University, which combines studies in music history with popular music, performance and composition, can be found here.