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Faculty of Music

 

Biography

My interdisciplinary research reimagines the history of French musical modernism from the fin-de-siècle through the post-World War Two avant-garde, combining approaches from intellectual history, archival study, musical performance studies, and music analysis.

My doctoral research traced the profound impact of nineteenth-century theories of language and 'race'—in particular, the Indo-European hypothesis (or 'Aryan myth')—on French musicology and composition over the century from 1850 to 1950. Though largely obsolete today, I demonstrated how this widespread philological theory inspired musicologists’ efforts to compare Indian, Greek, and French music in search of imminent 'Indo-European' structures, in an era preoccupied with constructions of national and racial 'purity'. These theories, in turn, fuelled a generation of French composers’ appropriations of Indian and Greek sources as musical 'patrimony', with repercussions from the fin-de-siècle opera house to post–World War II serialism. My thesis, titled 'Comparative Philology, French Music, and the Composition of Indo-Europeanism from Fétis to Messiaen', won the International Musicological Society's Outstanding Dissertation Award.

My current, Leverhulme-funded research reconfigures the dramatis personae of French postwar modernism, focusing on the ‘vanishing performers’ long sidelined from the dogmatic and patriarchal discourses of the era yet integral to its history. I highlight Yvonne Loriod (1924–2010), the pioneering pianist whose career forms the basis for publications on gender and professionalisation, memorization and music analysis, and technological mediation. I have also spearheaded the recovery of Loriod's hitherto unknown and unpublished compositional œuvre, starting with her song cycle, Grains de cendre (1946), which received premiere performances in Paris and Cambridge in 2023.

My next project offers a distinctly musicological account of rhythm’s interdisciplinary intellectual history over the twentieth century, thus intervening in the emergent field of ‘critical rhythm’ studies. Retracing multilateral dialogues between music(ology) and the broader academic landscape in in Europe, North America, and the Black Atlantic, it recovers how musical sound and knowledge, via notions of ‘rhythm’, became a powerful force in fields ranging from experimental psychology and ergonomics to poetics and art criticism, with reverberations in musical practice.

I received my PhD from Clare College, Cambridge with the support of a Gates scholarship, and hold previous degrees in music from the University of Oxford, and in comparative literature (French and Sanskrit) from Brown University. Prior to returning to Cambridge, I was a Fondation Wiener-Anspach postdoctoral fellow for a year at the Laboratoire de Musicologie, Université Libre de Bruxelles. I am also an accomplished pianist and chamber musician, having performed at venues including Carnegie Hall, the Louvre, the Seoul Arts Center, and across Cambridge.

Research

  • 19th and 20th-century music
  • French modernism
  • Pianism
  • Postcolonial/decolonial music studies
  • Intellectual history
  • Rhythm Studies

Publications

Key publications: 

2025: ‘The Hidden Poetics of Messiaen’s “Serialism”’, Journal of Musicology, 42/2, pp. 115–52 

2024: ‘The melakartas and the “république modale”: naturalizing Indian scales in French musical modernism’, Journal of the Royal Musical Association, 149/2, pp. 383–439 <https://doi.org/10.1017/rma.2024.21

2024: ‘Yvonne Loriod and the practice of analytical memory’ [with Christopher Brent Murray], Music Analysis, 43/3, pp. 331–79 <https://doi.org/10.1111/musa.12235>

2023: ‘Fétis, Gevaert, and their Indo-European Hypotheses: echoes of comparative philology, language, and “race” in early Belgian musicology’, Revue belge de musicologie / Belgisch Tijdschrift voor Muziekwetenschap, 77, pp. 23–48

2021: ‘Transcribing Greece, arranging France: Bourgault-Ducoudray’s performances of authenticity and innovation’, 19th-Century Music, 44/3, pp. 133–68 <https://doi.org/10.1525/ncm.2021.44.3.133>

2018: ‘Une invention “essentiellement française”: seeing and hearing the ondes Martenot in 1937’, Musique – Images – Instruments: revue française d’organologie et d’iconographie musicale (CNRS Éditions), 17 (2018), pp. 106–26

Other publications: 

2023: ‘Messiaen and classical India and Greece’, in Robert Sholl, ed., Messiaen in Context (Cambridge University Press), pp. 37–45

2023: ‘Yvonne Loriod, ultramodernist: preliminary glimpses at a compositional legacy’ in Women Composers in New Perspectives, 1800–1950: Genres, Contexts and Repertoires, ed. by Mariateresa Storino and Susan Wollenberg, Speculum Musicae 49 (Turnout: Brepols), pp. 265–90

2022: ‘Hétérotopies de la musicologie: le cas de l’Encyclopédie de Lavignac (1913-1931)’ in Hamdi Makhlouf et al., eds., Musicologies francophones et circulation des savoirs en contextes multiculturels (Tunis: Centre des musiques arabes et méditerranéennes, 2022), pp. 101–27

 

Forthcoming Publications (available upon request):

‘Antoine Meillet’s Music Lessons: Pierre Aubry, Maurice Emmanuel, and the Search for “Indo-European” Rhythm’, in Sonic Circulations: Music, Modernism, and the Politics of Knowledge, ed. by Emily I. Dolan, Emily MacGregor, and Arman Schwarz (Philadelphia: University of Pennsylvania Press, forthcoming 2025), pp. 44–74]

‘La patrie, à plusieurs échelles: la modalité dans Héliogabale, entre région et “race”’, in Déodat de Séverac: un musicien occitan entre régionalisme et modernité, ed. by Stefan Keym and Ludovic Florin (Toulouse: Presses universitaires du Midi, forthcoming 2025), pp. 169–85]

‘Arbitrating “Authenticity”: the Schola Cantorum’s Concours de chant populaire (1903–04) and its losers’, in European Musical Competitions, 1700–1940: History, Context and Meanings, ed. by Charles Edward McGuire, Speculum Musicae 57 (Turnout: Brepols, forthcoming 2025)

‘The Melakartas between South Asia and Western Europe’ [including original translations of excerpts from Govinda, Saṃgraha-Cūdā-Maṇi (Sanskrit, ca. 1800)], in Thinking Music: Global Sources for the History of Music Theory, edited by Thomas Christensen, Lester Zhuqing Hu, and Carmel Raz (Chicago University Press, forthcoming)]

Teaching and Supervisions

Teaching: 

Part IB: History II, Western Art Music Since 1900

Part II: Olivier Messiaen and His World

MPhil: Rhythm Studies: Workshop in Music and Intellectual History

I also supervise undergraduate and postgraduate projects in nineteenth- and twentieth-century topics. For two years I co-convened the MPhil Introductory seminar, 'Musicology and Its Debates'.

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