Prof. Sophie Fuller
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PROFESSOR SOPHIE FULLER
18 De Cham Road, St Leonard’s on Sea, East Sussex TN37 6JP
( home: 01424 272 951 mobile: 07973 688593
1985-1998 King’s College, London University:
1998 PhD (‘Women Composers during the British Musical Renaissance, 1880-1918’), funded by British Academy for initial three years (1989-1992).
1989 MMus (distinction) in historical musicology (dissertation ‘ “Venus will not hunt today”: Some thoughts on John Blow’s Venus and Adonis’)
1988 BMus (1) in Music
Prizes and awards: Purcell Prize (1986 and 1988); Sambrooke Exhibition (1987); Margaret Hilda Watts Prize (1989); Convocation Sesquicentennial Prize in Music (1989); Louise Dyer Award – Musica Brittanica (1990)
1980-1984 School of Slavonic and East European Studies, London University:
1984 BA Hons (2.1) in Russian Language & Literature (subsidiary subject: Philosophy).
1982 Diploma from Pushkin Institute (Moscow).
Prize: Michael John Youhotsky Prize (1981)
1966-1979 Oxford High School:
A levels: History, Music, Russian.
O levels: Art, English Lang., English Lit., French, Greek, History, Latin, Maths, Music, Russian.
2016- Additionally, programme leader for PGDip and MA degrees at Trinity Laban
2014- Programme leader for MMus and MFA and Deputy Head of Research at Trinity Laban Conservatoire of Music and Dance.
2012-2014 Acting Head of Postgraduate Studies at Trinity Laban Conservatoire of Music and Dance; programme leader for MMus, MFA (Music) (Master of Fine Arts) and MA in MEP (MA in Music Education and Performance).
2012-2016 Honorary Visiting Research Fellow at University of Huddersfield
2010- MMus programme leader at Trinity Laban. Module leader for MMus Personal Project and Research for Performance/Research Methods modules. Supervisor of doctoral students. Teacher on BMus Critical Skills and MMus Performing Practice modules.
2009-10 Acting MMus Course Co-Ordinator at Trinity Laban; Awarded Trinity Laban Creative Futures research grant for 2009-10.
2006-9 Module leader for MMus Critical Skills module, teacher for various BMus and MMus modules at Trinity College of Music, London.
2007 Acting Course Leader for MMus (Sussex) at Trinity College of Music.
2005-6 Taught on Performance Practice MMus module at Trinity College of Music
Researcher and co-editor for edition of the Maconchy/Williams correspondence (to be published in 2012 by Ashgate)
Taught undergraduate project ‘Women, Voice and Song’ at York University
1995-2005 Lecturer in Music Department, University of Reading (full-time from 1996)
Duties and teaching included: course convenor for MA in Musicology; various BA and MA courses (including ‘The Keyboard’; ‘Music/Words’; ‘Gender and Music’; ‘Music and Musical Life in Britain, 1870-1918’; ‘Women, Voice and Song’; ‘Exoticism in Music’; ‘Music of Protest and Resistance’; ‘Russian Music in the 19th Century’; ‘Popular Music’; ‘Introduction to Musicology’; Performance workshops). Supervisor of five doctoral students.
Director of Teaching and Learning; Part 1 co-ordinator and examinations officer; Information co-ordinator (including design, content and production of the department’s handbooks); Special needs representative; Liaison for joint honours degrees in Music and French; Music and German; Music and Italian; Library representative. 1999-2003: undergraduate admissions tutor. Member of University Teaching and Learning Development Group; Group on the Recruitment of Students; IT Committee; Library Committee.
1998-9: member of the network group for LUMEN (Leeds University Music in Education Initiative).
1992-6 Project co-ordinator for Women in Music Archive and Information Service (post funded by Calouste Gulbenkian Foundation and the Arts Council)
1995-6 Taught ‘Gender and Music: British women in music in the 19th and 20th centuries’ for University of Southampton, Dept. of Music (one semester)
1993-4 Taught ‘Music in London’ course for Ithaca College (London Center)
1993-4 Taught ‘Gender and Music: British and American women in music in the 19th and 20th centuries’ for University of Southampton, Dept. of Music.
1992 Taught ‘Discovering Concerts’ for Hounslow Adult Education
1990 Established the Women in Music Listening Exhibition, funded by the Arts Council.
Researched and devised ‘Out of the Shadows: The work of women opera composers from 1800 to 1914’ (ICA, December 10) in conjunction with the Baylis Programme at English National Opera.
1989 Taught ‘History of Russian Music’ at Sidcup Adult Education Institute
1984-5 Flautist with the London Veena Music Group (performances in London (including South Bank Centre and Barbican), Liverpool, Bradford etc.).
Taught flute privately.
Past: Editorial Board of twentieth-century music – issue editor of vol. 2:1 (March 2005); Advisory Board of Nineteenth-Century Music Review; Editorial Board of Women and Music: A Journal of Gender and Culture (USA); Advisory Board of Context: Journal of Music Research (Australia); Advisory Panel of the Journal of the Royal Musical Association; Publications Committee of RMA.
2018-19 Co-director of Venus Blazing, women composer initiative at Trinity Laban Conservatoire of Music and Dance.
2016- Co-PI (with Dr Phyllis Weliver, SLU, USA) on Sounding Victorian – a Digital Humanities project creating a consortium of online materials exploring aesthetic sound in the Victorian era.
2014- Trustee of Ambache Charitable Trust. (ACT is ‘is active in raising the profile of women composers by funding people who promote their music to the widest possible circle’.)
2019- External examiner for undergraduate music programme at Christ Church Canterbury University
2015- External examiner for postgraduate music programme at Christ Church Canterbury University
2015-2019 External examiner for postgraduate programmes at the Royal Conservatoire of Scotland
2013-2014 External examiner for postgraduate diploma in music theatre at the Royal Academy of Music, London
2011-2014 External examiner for postgraduate programmes at the Royal Academy of Music, London
2002-7 External examiner for the MA in Music, History and Culture at Oxford Brookes University
PhD theses examined for: Royal Academy of Music, Royal College of Music, Royal Northern College of Music, Trinity Laban Conservatoire of Music and Dance, University of Leeds, University of Sheffield, University of Huddersfield, University of London (Royal Holloway), University of Reading, University of Southampton, York University, McGill University (Canada), University of Melbourne, University of New South Wales. MPhil theses examined for: University of Surrey, University of Southampton, University of Birmingham, Royal Academy of Music.
Organiser of ‘Venus Blazing: Reflecting on the Future’ Trinity Laban conservatoire of Music and Dance, Blackheath Halls (forthcoming 12 December, 2019)
Co-organiser of ‘Music and Victorian Literature’ Study Day at the University of Reading (May 2000)
Organising Committee for Music, Gender and Education Conference (Bath, June 1997)
Programme Committee for Feminist Theory and Music 4 (Charlottesville, USA July 1997)
Organiser of ‘Upfront’ (London Coliseum, 26 April 1992), a day of discussion on sexuality and creativity in music – Women in Music and the Baylis Programme at English National Opera.
Organiser (with Nicola LeFanu) of international ‘Music and Gender Conference’ (King’s College: 4-7 July, 1991).
Interviewed for network radio on various aspects of gender, women and music (Rebecca Clarke, Fanny Hensel, Elizabeth Maconchy, Adela Maddison, Clara Schumann, Ethel Smyth, Elizabeth Stirling; St Cecilia; British women opera composers; women songwriters; women performers; suffragettes and music; the diva; music and imperialism etc.): BBC Radio 3, BBC Radio 4, BBC World Service, London News Talk, Spectrum Radio, Australian Broadcasting Corporation etc.
Contributor for series of Open Univ. programmes on gender and music, Radio 4, July 1999.
Contributor for ‘From Ivory to Plastic’ (social history of the piano), Radio 4, Dec. 1998.
Contributor and panellist for ‘Here and Now’ (gender in music), Radio 3, June 1997.
Panellist for ‘Coda’ (on the canon in British musical life) Radio 3, November, 1995.
Classical music correspondent for London News Talk Radio (January-April 1995).
Contributor to Channel 4’s ‘Restless in thought, troubled in mind’ (women and opera) and ‘To mention but a few’ (women composers), June 1994; contributor to BBC TV’s ‘A Skirt Through History’ (Ethel Smyth), May 1994.
‘A temple of glorious music making’: the musical salon in late Victorian and Edwardian Britain (in progress)
Music, Life, and Changing Times: Selected Correspondence Between British Composers Elizabeth Maconchy and Grace Williams, ed. Sophie Fuller and Jenny Doctor two volumes (London: Routledge, 2020)
The Idea of Music in Victorian Fiction, ed. Sophie Fuller and Nicky Losseff (Aldershot: Ashgate, 2004)
including ‘“Cribbed, cabin’d, and confined”: Female musical creativity in Victorian fiction’
Queer Episodes in Music and Modern Identity, ed. Sophie Fuller and Lloyd Whitesell (University of Illinois Press, 2002)
including ‘“Devoted Attention”: Looking for Lesbian Musicians in Fin-de-siècle Britain’
Queer Episodes won the American Musicological Society’s 2002 Philip Brett Award for exceptional musicological work in the field of gay, lesbian, bisexual and transgender studies
‘Women Composers during the British Musical Renaissance, 1880-1918’ PhD King’s College, London University 1998
The Women in Music Classical Repertoire Guide: Orchestral Music (London: WiM, 1996)
The Pandora Guide to Women Composers – Britain and the United States, 1629-present (London: Pandora, 1994)
Reclaiming the Muse: A Select Bibliography of English Language Writing on Women and Music (with Nicola LeFanu) (London: LeFanu and Fuller, 1991)
Translation of Yevgeny Zamyatin, Islanders and The Fisher of Men (with Julian Sacchi) (Edinburgh: Salamander Press, 1984)
Two chapters in The Cambridge Companion to Women Composers, ed. Matthew Head and Susan Wollenberg (forthcoming, Cambridge University Press)
A chapter in Ethel Smyth, Gender Politics, and Opera ed. Christopher Wiley (forthcoming, Boydell and Brewer),
A chapter in The Cambridge Companion to Ethel Smyth, ed. Christopher Wiley (forthcoming, Cambridge University Press).
‘Grace, Betty, Maude and Me: 30 Years of Fighting for Women Composers’ in ed. Rhianon Matthias, Handbook on Women’s Work in Music (London: Routledge, 2021)
‘Women in Composition: Before the Second World War’ in ed. Laura Hamer, Cambridge Companion to Women in Music since 1900 (Cambridge: Cambridge University Press, 2021)
‘The Maconchy-Williams Correspondence, 1927-1977’ in ed. Christa Brüstle and Danielle Sofer, Elizabeth Maconchy: Music as Impassioned Argument Studien zur Wertungsforschung (Vienna, London, New York: Universal Edition, 2018).
‘Women musicians and professionalism in the late 19th and early 20th centuries’ in ed. Rosemary Golding, The Music Profession in Britain 1780-1920: New Perspectives on Status and Identity (London: Routledge, 2018)
‘ “Something Revolting”: Women, Creativity and Music after 50’ in ed. Lisa Colton and Catherine Haworth, Gender, Age and Musical Creativity (Aldershot: Ashgate, 2015) 7-23.
‘Poetry: the songs and shorter secular choral works’ in The Cambridge Companion to Vaughan Williams ed. Alain Frogley and Aidan Thomson (Cambridge: Cambridge University Press, 2013), 106-120.
‘“The Finest Voice of the Century:” Clara Butt and Other Concert-hall and Drawing-room Singers of fin-de-siècle Britain’ in The Arts of the Prima Donna in the Long Nineteenth Century ed. Rachel Cowgill and Hilary Poriss (New York: Oxford University Press, 2012). 308-327.
‘Elgar and the salons: the significance of a private musical world’ in Elgar and His World ed. Byron Adams (Princeton University Press, 2007), 223-247.
‘Creative women and exoticism in fin-de-siècle Britain’ in Music and Orientalism in the British Empire, 1780s–1940s ed. Martin Clayton and Bennett Zon (Aldershot: Ashgate, 2007), 237-255.
‘Representations of British Women Composers’ in ed. Christa Brüstle and Guido Heldt, Music as a Bridge: Musikalische Beziehungen zwischen England und Deutschland 1920-1950 Studien und Materialien zur Musikwissenschaft Band 37 (Hildesheim, Zürich, New York: Georg Olms Verlag, 2005), 173-186.
‘Women in music: sources and literature’ in ed. Lewis Foreman, Guide To Information Sources In Music (München: K. G. Saur, 2003), 92-108.
‘ “Swimming against the stream”; why aren’t women composers being heard?’ in Les femmes et la création musicale/Women and musical creation Colloque du Conseil international de la musique et du Centre de documentation de la musique contemporaine (Paris: CDMC/CIM, 2002), 51-59.
‘New perspectives: feminism and music’, Analysing Performance ed. Patrick Campbell (Manchester: Manchester University Press, 1996), 70-81.
‘Dead white men in wigs: women and classical music today’, Girls! Girls! Girls!: Essays on Women and Music ed. Sarah Cooper (London: Cassell, 1995), 22-36.
‘The Silence of Violetta’ in Violetta and her Sisters. The Lady of the Camellias: Responses to the Myth ed. Nicholas John (London: Faber and Faber, 1994), 263-265.
‘British Women Song Composers: Late Nineteenth Century’, Aspects of British Song ed. Brian Blyth Daubney (Melton Mowbray: British Music Society, 1992)
‘‘Putting the BBC and T. Beecham to shame’: The Macnaghten-Lemare Concerts 1931-1937’, Journal of the Royal Musical Association, 138:2 (2013), 377-414.
‘Calls of the wild’ (article on the music of Diana Burrell), The Musical Times (February 1997)
‘Music and Text in the Works of Helen Roe’, Contemporary Music Review 11 (1994).
‘Unearthing A World Of Music: Victorian and Edwardian Women Composers’, Women: A Cultural Review III/1 (July 1992).
Reviews, journalism etc.
Review of Rhiannon Mathias, Lutyens, Maconchy, Williams and Twentieth-Century British Music: A Blest Trio of Sirens (Farnham: Ashgate, 2012) Brio 50:1 (Spring/Summer 2013) 63-5.
Review of Laura Tunbridge, The Song Cycle (Cambridge University Press, 2010) Fontes Artis Musicae 59:4 (2012), 445-448.
Review of The Cambridge History of Twentieth-Century Music (Cambridge University Press, 2004) twentieth-century music 5:2 (September 2008) 251-8.
Review of Karin Pendle, Women in Music: A Research and Information Guide (Routledge, 2005) Fontes Artis Musicae 55:1 (Jan-March 2008).
Review of Alice Mary Smith, Symphony in A minor etc. (Chandos Chan 10283, 2005) Nineteenth-Century Music Review 4:2 (2007) 168-171.
Review of Judith A. Peraino, Listening to the Sirens: Musical technologies of Queer Idenity from Homer to Hedwig (California University Press, 2006) Women & Music: A Journal of Gender and Culture 11 (2007) 86-9.
‘Death by Serialism’ review of Jill Halstead, Ruth Gipps: Anti-Modernism, Nationalism and Difference in English Music (Ashgate, 2006) NABMSA Newsletter 2:2 (2006) <http://www.nabmsa.org/newsletters/vol22/page4.htm>
Review of Ethel Smyth, Trio in D minor for violin, cello and piano (Roberton Publications 2003) Nineteenth-Century Music Review 2:2 (2005) 245-247.
Review of Teaching Music History, edited Mary Natvig (Ashgate, 2002) British Journal of Music Education 20 (2003) 217-219.
‘Daphne Oram RIP’ The Wire 229 (March 2003) 16.
‘Level-headed in a lost world’ (review of Mozart biographies by Kolb and Rosselli) The Times Literary Supplement (8 January, 1999) 18.
‘Opportunity and obstacle’ (review of Carol Neuls-Bates, Women in Music: An Anthology of Source Readings) The Times Literary Supplement (27 December, 1996) 20.
‘Love’s folly, forgiveness and distress’ review of La Traviata (dir. Jonathan Miller for ENO) The Times Literary Supplement (27 September, 1996) 20.
Review of Women in Music, edited Carol Neuls-Bates BBC Music Magazine (June 1996) 28.
Articles on Proms premieres by Sally Beamish and Judith Bingham, BBC Music Magazine (July 1995).
Interview with Nicola LeFanu, The Full Score (June 1995).
‘Elizabeth Maconchy’, The Full Score (March 1995).
Review of Rediscovering the Muses ed. Kimberley Marshall, The Times Higher Education Supplement (17 February, 1995).
‘Powerful Music and Stories of Determination’ in Women in Music (accompanying the Secret Chamber season) (London: Channel 4 Television, 1994).
‘Ethel Smyth (1858-1944)’ in A Skirt Through History 1612-1950 (accompanying television series of the same title) (London: BBC Education, 1994).
Sleeve notes for ‘In Praise of Woman: 150 years of English women composers’ (Hyperion Records CDA66709, July 1994).
‘Lost Chords: The case for Maude Valérie White’ The Independent (22 June, 1994).
‘Behind the Myth’ (on Ethel Smyth) Everywoman (February 1993).
‘Sisters are doing it for themselves’ (review of British Women Composers Volume II), Everywoman (February 1993).
Review of Women & Music: A History ed. Karin Pendle, The Times Literary Supplement (13 November 1992).
‘Hidden Treasure’ (review of British Women Composers Volume 1), Everywoman (September 1992).
‘The Cheerful Soufflé’ (on Maude Valérie White), Everywoman (July 1991).
‘Notes from the Margin’, Just Women 12 (Spring 1990).
Dictionary, anthology and encyclopedia entries
Entries on Florence Aylward, Frances Allitsen, May Brahe, Guy D’Hardelot, Alicia Needham, Teresa del Riego and Amy Woodefirde-Finden for revised edition of Musik in Geschichte und Gegenwart (forthcoming, 2022)
Entries on ‘Oliveria Prescott’, ‘Rosa Newmarch’ and ‘Women Writers on Musicx and Musicians’ for the Palgrave Encyclopaedia of Women Writers (Palgrave, 2021)
Entry on Ethel Smyth for ed. Bonnie G. Smith, Encyclopedia of Women in World History (Oxford: Oxford University Press, 2007).
Essay on Ethel Barns and edition of slow movement (‘Elegie’) of Sonata No. 4 for violin and piano for ed. Glickman and Schleifer, Women Composers: Music Through The Ages Volume 8 (Boston: G. K. Hall, 2006) 397-406.
Entries on Dora Bright, Gervase Elwes, Ann Ford, Liza Lehmann, Adela Maddison, Oliveria Prescott and Maude Valérie White for the new edition of the Dictionary of National Biography (Oxford: Oxford University Press, 2004).
Essays on Frances Allitsen, Liza Lehmann, Adela Maddison, Maude Valérie White and editions of Allitsen, ‘Come not when I am dead’ and ‘There’s A Land’; Lehmann ‘Wiegenlied’, ‘Sweet Rhodoclea’, ‘The Wren’ and ‘Evensong’; Maddison, ‘La bien-aimée…’, ‘If you would have it so’ and ‘Tears’; White, ‘To Mary’, ‘So we’ll go no more a’roving’, ‘Isaotta Blanzesmano’ and ‘Mon petit lin’ for ed. Glickman and Schleifer, Women Composers: Music Through The Ages Volume 7 (Boston: G. K. Hall, 2003).
‘Women in Music’ in ed. Alison Latham, The Oxford Companion to Music new edition (Oxford University Press, 2002).
Entries on Eleanor Alberga, Frances Allitsen, Lucy Anderson, Marian Arkwright, Ethel Barns, Dora Bright, Diana Burrell, Mary Carmichael, Rosalind Ellicott, Erika Fox, Jennifer Fowler, Virginia Gabriel, Arabella Goddard, Dorothy Gow, Ethel Harraden, International Alliance of Women in Music, Nicola LeFanu, Adela Maddison, Florence Marshall, Daphne Oram, Caroline Orger, Priti Paintal, Oliveria Prescott, Teresa del Riego, Charlotte Sainton-Dolby, Ethel Smyth, Society of Women Musicians, Phyllis Tate, Nancy Van de Vate, Errollyn Wallen, Maude Valérie White, Agnes Zimmermann for ed. Stanley Sadie, The New Grove Dictionary of Music and Musicians 2nd edition (London: Macmillan, 2001).
29 entries on various aspects of women and music from ‘Courtesans, nuns and other musicians’ to ‘Sofiya Gubaydulina’ for ed. Stanley Sadie, Collins Classical Music Encyclopedia (London: Collins, 2000).
Essay on ‘Dora Bright’ and edition of Bright’s Variations on an Original Theme of Sir G. A. Macfarren’s for two pianos for ed. Glickman and Schleifer, Women Composers: Music Through The Ages Volume 6 (Boston: G. K. Hall, 1999).
Entries on Hildegard of Bingen, Thea Musgrave, Ethel Smyth and Ellen Zwilich for Grolier Encyclopedia (1998).
Revision of entries on Bacewicz, Boulanger, Gubaidulina, Hildegard, Lutyens, Maconchy, Parry, Smyth and Weir for The Rough Guide to Classical Music (2nd edition, 1998).
‘Women and the Creative Gift’, The Ultimate Encyclopedia of Classical Music ed. Rob Ainsley (London: Carlton Books, 1995).
Entries on Gubaidulina, Lutyens, Maconchy, Smyth and Weir in ed. Jonathan Buckley, The Rough Guide to Classical Music (London: Rough Guides, 1994).
Entries on Amanda Aldridge; Judith Bailey; Diana Burrell; Avril Coleridge-Taylor; Melanie Daiken; Katherine Eggar; Erika Fox; Jessie Furze; Dorothy Gow; Mary Linwood; Adela Maddison; Alicia Needham; Daphne Oram; Teresa del Riego; Phyllis Tate in The New Grove Dictionary of Women Composers ed. Rhian Samuel and Julie Ann Sadie (London: Macmillan, 1994).
Papers and Talks
Conference and Study Day Papers
‘Songs and the late Victorian and Edwardian salon: the case of Maude Valérie White (1855-1937)’ Oxford Lieder Festival (Oxford University, 9 March, 2018)
‘Grace, Betty, Maude and Me: Who Do We Think We Are?’ keynote presentation at First International Conference on Women’s Work in Music (University of Bangor, 4-7 September, 2017)
‘Mistresses of Song: Women and the Victorian Mass Music Market’ Consuming (the) Victorians British Association of Victorian Studies annual conference (Cardiff University, 31 August-2 September 2016)
‘Lexicography after Pandora: Writing Women into the Histories of Western Classical Music’ Lexikographie, Gender und Musikgeschichtsschreibung (Lexicography, Gender and the Writing of Music History) (Hochschule für Musik und Theater, Hamburg, 26-29 May 2016 )
‘Women musicians and professionalism in the late 19th century’ The Music Profession in Britain 1780-1920: New Perspectives on Status and Identity (The Open University in London, Camden,
14 September 2015)
‘The Maconchy-Williams Correspondence, 1927-1977’ “Passionately intellectual, intellectually passionate”: Elizabeth Maconchy (1907-1994) (Zentrum für Genderforschung / Institut 14 – Musikästhetik, Graz Austria, 24-25 October 2014)
‘ “Oh! I do like to be beside the seaside”: Music and musicians on the East Sussex coast in the late 19th and early 20th centuries’ Ninth Biennial Conference on Music in Nineteenth-Century Britain (Cardiff University, 24-27 June 2013)
‘ “Something revolting”: Women, creativity and music after 50’ keynote paper for Gender, Musical Creativity and Age (University of Huddersfield, 6-7 October 2012)
‘ “Lady-composers of operas” at the turn of the 20th century’ ‘O vision entrancing’: A study day exploring aspects of British opera history (CHOMBEC – University of Bristol, 12 June 2010)
‘ “If I could have stood in the sunlight…”: Ethel Smyth in context’ keynote paper for Ethel Smyth (1858-1944) and her generation (Faculty of Music, Oxford University, 29 November, 2008)
‘ “Good-time Edwardian ghosts”? The legacy of the private musical world’ Cultivating Britons (Oxford Brookes, 19 September 2008)
‘Concert-hall and drawing-room divas’ Staging the Feminine: The Arts of the Prima Donna, 1760-1920 (Leeds University, 14-17 July 2006)
‘ “Putting the BBC and T. Beecham to shame”: The Macnaghten-Lemare concerts 1931-1937’ Fourth Biennial Conference on Twentieth-Century Music (University of Sussex, 25-28 August 2005)
‘Elizabeth Maconchy and the position of women composers in 20th-century Britain’ invited paper for IAML Annual Study Weekend (University of Hertfordshire, Hatfield, 1 April 2005)
‘ “A Mount Everest in music”? Ethel Smyth and the other women composers’ Symposium of the International Musicological Society (Melbourne, 11-16 July 2004)
‘Women Making Music in Victorian Fiction’ 68th Annual Meeting of the American Musicological Society (Columbus, Ohio: 31 October-3 November 2002)
‘A queerable history? Women musicians in fin-de-siècle Britain’ invited paper to the Gay and Lesbian Study Group of the American Musicological Society at the 67th Annual Meeting of the American Musicological Society, Atlanta, GA (November 2001).
‘Greatness and canonicity: Women composers in 20th-century Britain’ for session ‘Local Histories, Global Contexts: Writing the History of 20th-Century Music’ at Toronto 2000: Musical Intersections (Toronto, 1-5 November 2000)
‘Representations of British Women Composers in the 1920s, 30s and 40s’ ‘Music as a Bridge – Musical Relationships between Britain and Germany, 1920-1950’ (Freie Universität Berlin, 13-16 July 2000)
‘Creative women and ‘exoticism’ at the last fin-de-siècle’ International Symposium: From Musical Exoticism to World Music: Constructing Ends of Centuries (City University, London, 6-8 July 2000)
‘ “This profitable career…”: Professional female orchestral musicians at the turn of the last century’ Aspects of the British Musical Renaissance VII (University of Birmingham, 10 June 2000)
‘ “Cribbed, cabin’d, and confined”?: The representation of women composers in British fiction’ 3rd Triennial British Musicological Societies’ Conference 1999 (University of Surrey, 15-18 July, 1999)
‘Women and Orchestras in the late 19th Century’ Music in 19th-century Britain Conference (University of Durham, 8-11 July 1999)
‘ “A bona fide professional”?: Women composers and professionalism in the later 19th century’ Music in 19th-century Britain Conference (University of Hull: 10-12 July, 1997)
‘Telling it like it was?’ Feminist Theory and Music 4 (University of Virginia, Charlottesville: 5-8 June, 1997)
‘ “That foremost of English songwriters”: Maude Valérie White and the English Musical Renaissance’ 62nd Annual Meeting of the American Musicological Society (Baltimore, USA: 7-10 November, 1996). Also read at Poetry, Politics and Song: ‘English’ vocal music from 1850 to the present (University of Wales, Cardiff: 15 March, 1997)
‘British Women Composers in the 1990s’ Donne in Musica 1o Symposium e Festival Internazionale (Fiuggi, Italy: 17-21 September, 1996)
‘Voices’ Keynote address at Gender & Music Study Day (York University: 11 May, 1996)
‘ ‘I have too much music & have really nothing else…’: Reconstructing the worlds of Adela Maddison (1866-1929)’ British Musicology Conference (King’s College, London: 18-21 April, 1996)
‘ “Swimming against the stream”: Why aren’t women composers being heard?’ UNESCO symposium on ‘Women and Musical Creativity’ (Paris: 7-8 March, 1996)
‘Women as Composers’ Study day on Women and the Arts (University of Southampton: 8 March, 1992)
‘Ethel’s Forgotten Sisters’ Music and Gender Conference (King’s College, London: 7 July, 1991)
‘Women in Music: Britain’ Seventh International Congress on Women in Music (Utrecht: 29 May-2 June, 1991).
‘ “Absent Yet Present” or Who was Maude Valérie White anyway?’) 24th Royal Music Association Annual Music Research Student’s Conference (Oxford: December, 1990).
‘ “A number of very gifted young women”: The Macnaghten-Lemare Concerts in the 1930s’ Women and Music: A Study Day (University of London, Centre for Extra-Mural Studies: December 10, 1988)
Talks and Seminars
‘Women and composition’ for Sound and Music at a British Music Collection edit-a-thon at the University of Huddersfield, 2018
at the Oxford Lieder Festival, 2018
for ‘Dame Ethel Smyth: A Celebration’ at St Hugh’s College, Oxford University, 2018
‘Women and the Orchestra’ talk at ‘Breaking Barriers: Celebrating 100 years of votes for women’ 2-4 February 2018 (Blackheath Halls: 2 February, 2018)
Talk on Rebecca Clarke (featured composer) at the Pinner Musical Festival, 6 June, 2016.
Pre-performance speaker on ‘Gender in Opera’ for Secret Opera performances at the Brighton Fringe of CarMen and The Trousered Traviata (5 and 6 May, 2015)
‘From Smyth to Britten – Queer Musicians at Charleston’ Charleston, 22 September 2013
‘ “Old, wise and furiously heretical”: Women and music after 50’ Research Seminar (Trinity Laban Conservatoire of Music and Dance, 13 March, 2013 and York University, 28 November 2012)
‘Musicians’ Letters’ Research Training Day School on ‘Music and Social Meanings’ (Institute of Musical Research, London 25 October, 2010)
‘Symphonies, string quartets and spring cleaning: the lives, work and letters of Elizabeth Maconchy and Grace Williams, 1927-1977’ Research Forum (University of Huddersfield, 5 October, 2010)
‘Queer Studies – There’s no need to think straight!’ workshops at Various Voices Festival (South Bank Centre, London (1-4 May, 2009)
‘Gender Studies and Queer Musicology’ MMus ‘New Musicology’ course (Goldsmiths, London University, 29 January, 2009)
“The Maconchy-Williams Correspondence, 1927-1977” Directions in Musical Research seminar (Institute of Musical Research, London 28 February, 2008)
‘Gender Studies and Queer Musicology’ MMus ‘New Musicology’ course (Goldsmiths, London University, 31 January, 2008)
Panel discussion (with Byron Adams, Leon Botstein and Richard Dellamora) ‘Constructions of Masculinity from Dorian Gray to Father Brown’ Bard Music Festival: Elgar and his World (Bard College, Annandale-on Hudson, NY, USA 19 August 2007)
Pre-concert talk ‘Elgar and the Salon’ Bard Music Festival: Elgar and his World (Bard College, Annandale-on Hudson, NY, USA 17 August 2007)
Final Plenary Panel: ‘The Future of the Proms’ (with Jenny Doctor, Alain Frogley, Paul Kildea, Roger Parker and Daniel Leech-Wilkinson) The Proms and British Musical Life conference (British Library, London, 23-5 April 2007)
Pre-concert conversation with Anthony Burton, Jeremy Dale Roberts and Nicola LeFanu (‘Concert for Elizabeth’ Purcell Room, London 1 March 2007)
‘Gender Studies and Queer Musicology’ MMus ‘New Musicology’ course (Goldsmiths, London University, 25 January, 2007)
“Women and Music Rooms in late 19th– and early 20th-century Britain” The Music Room: Workshops on Music and the Domestic Interior (V&A Museum 4 December 2006)
‘Gender Studies and Queer Musicology’ MMus ‘New Musicology’ course (Goldsmiths, London University, 26 January, 2006)
‘‘Even geese are quite interesting birds’: The Macnaghten-Lemare concerts 1931-1937’ Research Seminar (York University, 30 November 2005)
‘Gender Studies and Queer Musicology’ MMus ‘New Musicology’ course (Goldsmiths, London University, 27 January, 2005)
‘Women songwriters in late 19th-century Britain’ Study Day on Professional Identity and the Female Musician in the 18th & 19th centuries (Southampton University, 21 February 2004)
‘Women Creating Music in Victorian Fiction’ (Centre for British Music: Durham University, 18 February 2004)
‘Gender, Sexuality and Feminist Music Criticism’ MMus ‘New Musicology’ course (Goldsmiths, London University, 29 January, 2004)
‘Women Composing in Books’ Postgraduate Seminar (Edinburgh University, 5 December 2003)
‘Women Creating Music in British Fiction’ Open Seminar (Reading University, 3 February 2003)
‘Female Creativity in Literature (and elsewhere)’ Postgraduate Seminar (Bristol University, 11 December 2001)
‘Women as Performers in Britain’ Research Seminar (London College of Music and Media at Thames Valley University, 4 May 1999)
‘Gender and Music’ Research Seminar (Goldsmiths College, London University, 28 January 1999)
‘Women performers in 19th-century Britain’ Research Seminar (Birmingham Conservatoire, 19 January 1999)
‘Gender and Genre: The Song’ Research Seminar (Southampton University, 1 December 1998)
‘Music, Gender and the “New Musicology”’ Seminar for MA in Music and Culture in Contemporary Society (Bath Spa University: 24 November, 1998)
Panellist and workshop leader for ‘Pedagogy to Practical Solutions: Putting paradigms into practice’ session. From Pedagogy to Professionalism: The Making of the Music Graduate (LUMEN/PIP Conference) (Leeds University: July 6-7, 1998)
‘Researching Women in Music’ Seminar for BA Music students (Bath Spa University: 17 March, 1998)
‘“Unsuspected Power?” The Work of Liza Lehmann’ Research Seminar (University of Huddersfield: 23 February, 1998)
‘Gender and the “New Musicology”’ Seminar for MA in Music and Culture in Contemporary Society (Bath Spa University: 13 January, 1998)
‘Incorporating women musicians and women’s music into mainstream university teaching’ Presentation and round table discussion at Music, Gender and Education Conference (Bath College of Higher Education: 4-6 July, 1997)
‘Women and Gender in the Curriculum’ Research Seminar (Faculty of Education and Community Studies (Music), University of Reading: 3 March, 1997)
Speaker at British Musical Renaissance Study Day (University of Birmingham: 1 March, 1997)
‘ “… a thing incomprehensible?”: the British woman composer at the end of the nineteenth century’ Research Seminar (University of Surrey: 4 February, 1997)
‘ “…the dawning of the new day…?”: Women and the English Musical Renaissance’ Research Seminar (University of Durham: 15 January, 1997)
‘Exploding the Canon’ Open University Summer School Guest Lecture (Cardiff: 6 August, 1996)
Pre-concert talk with Diana Ambache Chard Festival of Women in Music (Chard: 21-7 May, 1996)
Keynote speaker at Fourth Annual Cambridge Graduate and Senior Women’s Dinner (Newnham College, Cambridge: 8 March 1995)
‘Women in Music’ ‘Gender Perspectives in the Arts’ course at Middlesex University (18 January, 1995)
‘Women in Music’ ‘Gender Perspectives in the Arts’ course at Middlesex University (12 January, 1994)
‘Women Composers at the Turn of the Century’ City Lit Study Day ‘Older Women and Music’ (23 October, 1993)
‘19th-Century Women Composers’ Redlands Lecture (Reading University: 22 October, 1993)
Pre-concert talk with Elena Firsova Lontano concert (ICA: 7 April, 1993)
‘The Diva’ Performance Arts BA (Middlesex Polytechnic: 26 October, 1992)
‘Women and Music: Maude Valérie White, Madonna, Fanny Mendelssohn (and others…)’ WEA Course for Chard Festival of Women in Music (May 1992)
‘Forgotten Songs: Late Victorian and Edwardian Women Composers’ Performance Arts MA (Middlesex Polytechnic: 28 November, 1991)
‘British Women Composers’ Fawcett Society (University Women’s Club: April, 1991).
‘ “Absent yet Present”: Late Victorian and Edwardian Women Composers’ London University Music Diploma Society (Birkbeck College: March, 1991).
‘Women and Music in the Sixteenth Century’ Open University (broadcast July 1990)
‘An Appreciation of Women Composers’ WEA Course for Chard Festival of Women in Music (May 1990)