Research
My research explores relationships between musical and visual forms, both in theory and practice. In particular, I am interested in the applications of post-structural philosophy, visual studies, and art history to music based upon works (or processes) of visual art, privileging notions of medium, materiality, and cultural imagination in their discourse and analysis. Other research interests include musical semiotics and notation, music and politics, and the histories of (post)modernism.
Publications
‘Imagetext, Indeterminacy, Iconoclasm: What Do Graphic Scores Want?’, Music in Art 48(1-2), Research Center for Music Iconography, City University of New York, 2023, 175-186.
‘Between Audiation and Ekphrasis: Pascal Dusapin’s “False Trails”’, Tempo 75(305), CUP, July 2023, pp. 26-43.
‘Cornelius Cardew's Camouflage and “Bun No. 2”’, Music Analysis, 42(1), March 2023, pp. 112-151.
‘Graphics, Extended Techniques, Timbral Diversity: Collaborative Approaches to Contemporary Organ Music’, RCO Journal 15, 2022, pp. 80-94. (co-authored with Daniel Mathieson)
‘Anne Boyd at 75: A Celebration through the String Quartet’, Tempo, 75(297), CUP, July 2021, pp. 35-47.
‘Graphical Data Sets as Compositional Structure: Sonification of Colour Graphs in ‘RGB’ for clarinet and piano’, Leonardo, MIT Press, 2021, pp. 329-336
‘Labyrinths, Liminality and Ekphrasis: The Graphical Impetus of Kenneth Hesketh’, Tempo 75(295), Cambridge University Press. January 2021. pp. 45-71
‘Pixelation as a Teleological Strategy in Music Composition’, Principles of Music Composing 20, Lithuanian Academy of Music and Theatre, 2020, pp. 135-146.
‘Graphical Ekphrasis: Translating Graphical Spaces into Music’, Question Journal, AHRC. September 2020, pp.78-91.
Conference Presentations
(Photo)Graphic Scores, American Musicological Society Annual Meeting, Minneapolis, forthcoming, 6-9 November 2025.
Re-thinking Musical Modernism through Photography, Musical Modernism and its Art Worlds, Centro Studi Opera Omnia Luigi Boccherini /IAM – Italian Institute for Applied Musicology, 6-8 June 2025.
If We Do Not Succeed, What Does It Matter!: Analysing Cubism and/as Music, Picasso and Musical Modernity, Parador de Mojácar, Almeria / University of Melbourne, forthcoming, October 12-14 2023.
Speaker at roundtable: ‘Multimodality as Translation?’, Multimodal Translation in the Arts: (Multi)Modalities, Languages and Codes In/As Translation?, Cardiff University / Trinity Laban Conservatoire, 22-23 May 2023.
Composition and Visuality: Approaches in Theory and Practice, Reid School of Music, Edinburgh, April 2023.
Ekphrasis in the Work of Iannis Xenakis, Xenakis 22: International Centenary Symposium, Athens/Nafplio, May 2022.
Methods of Confronting the Parergon in Transmedial Art Music, PERLEGO: Methods of Research in Literature and the Visual Arts, Freie Universität, Berlin, 6th-8th April 2022,
Aesthetic synthesis in transmedial music: approaches, limitations, frameworks, Royal Musical Association Annual Conference, University of Newcastle, 14–16 September 2021.
The parergon of the ‘transmedial’ work: the intrinsic and extrinsic of music after art, Visualizing the Unseen: Music in Visual Culture, 20th International Conference of Association RIdIM, Lucerne, 27-29 August 2021.
‘Ideograms’, ‘Augenmusik’, and Metaphorical Models: Reconsidering Astral Compositions through an Ekphrastic Lens, Birmingham Music Analysis Conference, University of Birmingham, 29–31 July 2021.
Towards an Extended ‘Musical Ekphrasis’: Determinate Graphical Processes in Contemporary Music, SMI Plenary Conference, University College Dublin, 29–31 October 2020.
The (Dis)solution of Form: Processes of Pixelization in ‘Pixelation Variations’ (2020), 5th AHRC Interdisciplinary Conference “Form and Forgetting”, Cambridge University, 21–23 September 2020.
Applications of Sonification to 12–Tone Contexts. RMA/BFE Research Students’ Conference, The Open University, 9–11 January 2020.
Conferences/Seminars Organised
Global New Voices 2023: Resistance, Art, and Visual Thinking, Association for Art History, 9 November 2023. (Co-organised with Sophie Kazan)
Keynote speakers: Mira Xenia Schwerda; Rachel Winters; Ekow Eshun
Notation, Decolonial Resistance, and the Political Sovereignty of ‘Late Liberalism’, University of Edinburgh, 12 April 2023. (Co-organised with Shakeel Anjum)
Speakers: Shakeel Anjum (IASH), Nadia Abu El-Haj (Columbia University), Morag Grant (Edinburgh University), Thomas Metcalf, Elizabeth Povinelli (Columbia University)
Recordings
‘Pixelating the River’, Something So Transporting Bright, Kreutzer Quartet, Métier (MEX 77132). January 2025.
‘LIVING SENSE DATUM’ & ‘H(AI)KU’, Ben Parry (dir.), National Youth Choirs of Great Britain, NMC Recordings. January 2023.
‘DISSOLUTION (X-XII)’, Daniel Mathieson, Lockdown Music: South East, NMC Recordings. June 2022..
‘Worcester Service’, Allery, T. (dir.), Qui Christi Vestigia Sunt Secuti. Worcester College Chapel Choir. Herald. 2019.
Other
Thomas Metcalf: AI-generated haikus & surrealism, NMC Recordings, January 2023.
Young Composers Blog #3, a blog post detailing some time spend on NYCGB’s composers programme, November 2022.
Krasis: Re-using Parts, a blog post by undergraduate students Chloe Green & Dominic Madera reflecting upon a symposium given during my Junior Teaching Fellowship at the Ashmolean Museum, February 2022
Krasis: Belonging Together, a blog post by postgraduate student Cecily Fasham reflecting upon a symposium given during my Junior Teaching Fellowship at the Ashmolean Museum, November 2021.
Vignettes of a Pixelated River Nos. 3 & 4, published 17th November 2021
In Conversation with Anne Boyd, an interview as part of my project ‘Pixelating the River’, 1st February 2021.
Interview with Vale of Glamorgan Festival, as part of the Peter Reynolds Composers’ Studio, published 24th December 2020.
Fluvial Journeys: The Musical Possibilities of a River, published 22nd July 2020.
RGB: A brief introduction to data sonification as compositional process, published 2nd April 2020.
This page will be updated as research progresses.