Publications

2022

Presentation: ‘”Queering Opera”: gender and trans voices in the rethinking of opera’, The 4th NEGEM 2022 Symposium (with the Centre for Studies in Gender and Music), Almada Negreiros College, Lisbon 23rd September 2022

Paper: ‘”Queering Opera” Project Pitch’ (paper), Opera Makers, Académie du Festival Aix-en-Provence, July 2022

Lecture Recital & Discussion: ‘”Queering Opera”: presenting and discussing Act 1 Finale piano reduction’, enoa Opera Creation Journey Lab #1, The Gulbenkian Foundation, Lisbon, April 2022

2021

Paper: ‘”Queering Opera”: A Concept for Rethinking Opera’, enoa ‘Opera Creation Journey’, La Monnaie/De Munt, Brussels, 2021

2019

CD: We Lived in the Gaps between the Stories (2016) on Seeds, performed by Ryszard Lubieniecki (on sale Aug. 2019)

Chapter: ‘“Xenakis, not Gounod”: Xenakis, the Avant Garde, and May ’68’, in Exploring Xenakis: Performance, Practice, Philosophy (Wilmington, DE: Vernon Press, 2019)

2018

Soundtrack for Littley Car (short film) released November 2018 by Boylan Media

CD: Parallax Error (2014) on Cellomondo #2: Rebirth in Sound, performed by Katarina Gross (on sale Feb. 2018)

Article: ‘‘We Lived in the Gaps Between the Stories’ (2016) Amplified Accordion’ in Women and Music Journal, 21 (2018)

2017

Paper: ‘“Xenakis, not Gounod”: Xenakis, the Avant Garde, and May ’68’ (paper), Exploring Xenakis Symposium, University of Leeds 12th September 2017

2016

Book (edited): (Per)Forming Art: Performance as Research in Contemporary Artworks (London: Cambridge Scholars Publishing, 2016)

Chapter: ‘(Per)Forming Art: Performance as a Compositional Technique’ in (Per)Forming Art: Performance as Research in Contemporary Artworks (London: Cambridge Scholars Publishing, 2016), pp. 37-51

Paper: ‘“avant garde” and “Avant Garde”: A Practice-Led Investigation’ (paper), School of Music Research Seminar Series, University of Leeds 8th December 2016

Paper: ‘What does it mean to “compose”?’ (paper), PGR Symposium, University of Leeds 16th May, 2016

2015

Paper: ‘(Per)Forming Art: Performance as a Compositional Technique’ (paper), PGR Symposium, University of Leeds 7th December 2015

Review Article: ‘(Per)Forming Art: Performance as Research in Contemporary Artworks’, RMA Newsletter, XIX.2 (November 2015)

Paper: ‘Using the Internet to Re-Define Compositional ‘Form’’ (poster), Study Day on Computer Simulation of Musical Creativity, University of Huddersfield 27th June 2015

Paper: ‘Considering Expression as Compositional Material’: ‘Improvisation is the middle-ground between Composing and Performing’ or ‘Using Improvisation in Live Performance as a Compositional Technique’ (paper), PGR Symposium, University of Leeds 18th May, 2015

2014

Paper: ‘The Composer’s Paradox: An Exploration of ‘Freedom’ and ‘Restriction’ within the Compositional Process’ (paper), PGR Symposium, University of Leeds 15th December 2014

Review Article: ‘RMA 50th Annual Conference’, RMA Newsletter, XVIII.2 (November 2014)

Paper: ‘A ‘Violent’ Encounter?: Notions of Hidden ‘Violence’ in Compositional Thoughts, Acts, and Encounters with the Work of Art’ (paper), PGR Symposium, University of Leeds 19th May 2014

2013

Paper: ‘Compositional ‘Form’: A ‘Multidimensional Interstice’ (paper), PGR Symposium, University of Leeds 18th December 2013

Paper: ‘Considering Compositional ‘Spaces’ as ‘Heterotopias’’ (paper), Music and/as Process Symposium, University of Huddersfield 29th June 2013