I started my musical career intending to be a composer. And thus my undergraduate days studying music at the University of Bristol were largely spent composing and performing music. It was not until my final year at Bristol that I realized that what I actually loved about composition was thinking about music. After Bristol, I went to Wadham College, Oxford, for my MSt in musicology. After a couple of years working and teaching in Oxford, I crossed the pond to study musicology at Princeton University, where I obtain an MA and PhD. I now work as a Lecturer in the Writing Program at Princeton. 

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My work fits broadly into the sub-discipline of song studies. But while songs, above all early nineteenth-century Lieder, make up the core repertory of my scholarly work, my research is motivated by larger ontological questions that encompass other historical periods and genres: what makes music such a privileged medium in the expression of love and desire? How does song stage the erotic encounter with the other (as "Other")? What do songs reveal about the social aesthetics of love? How can we theorize the erotics of music as it intersects with gender, sexuality, politics, emotions, ethics, and phenomenologies of difference? 

 

I also work on projects about the self-fashioning of disability in the musical work of Maria Theresia Paradis (1759-1824), and the role of musical copyright in the international proliferation of singing translations in the nineteenth century. I am also leading a collaboration with cognitive and computer scientists on human-AI partnerships for writing pedagogy. 

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