r.e.cowgill@leeds.ac.uk

+44 (0)113 343 2532

PhD, MMus (Historical Musicology), BMus (Hons), PGCLTHE, FHEA

Rachel was born in Manchester, and educated at Poynton County and Cheadle Hulme High Schools. She studied music at Goldsmiths' College, London, where she was awarded a first-class BMus(Hons), and for her MMus (Historical Musicology) and PhD at King's College, London, where her doctoral research, supported by the British Academy, focused on the reception of Mozart in late Georgian England. After freelancing as a cellist, guitar teacher, and lecturer (King's College, Birkbeck College, Denman College), she moved back up north in 1996 to take up a lectureship in musicology at the University of Huddersfield. She joined the School of Music at Leeds University in 2000, where she is now Senior Lecturer and Director of Research. Rachel's research interests lie in music and cultural history, and she has published widely on Mozart reception, opera and politics, British music c.1760-1940, minstrelsy, and gender, sexuality and identity in music.

• Mozart reception
• opera studies
• English musical cultures, c. 1760-1940.
• music, religion, and nationhood in Victorian Britain
• gender, sexuality, and performativity in music

Rachel works at the boundaries between musicology and cultural history, with interests focusing primarily on performance traditions in Italian opera, and on the place and organisation of music in Britain, 1760-1940. Themes of identity, taste, and canon formation recur in her writing, and at present she has books in progress on the reception of Mozart’s Requiem in nineteenth-century Britain and on music-making in the British police. With Hilary Poriss (Northeastern University, US) she is co-editing a collection of essays for OUP entitled The Arts of the Prima Donna in the Long Nineteenth Century (2009). Rachel is editor of the Journal of the Royal Musical Association, and co-edits the series ‘Music in Britain 1600-1900’ for Boydell & Brewer. She also has expertise in archival research techniques, and directs the AHRC-funded Music Archival Research Skills programme (MARS) in collaboration with colleagues at the Universities of Huddersfield and York.

Current Modules

• MUSI1020 Music in History and Culture (member of teaching team)
• MUSI2520 Aesthetics and Criticism (module coordinator and tutor)
• MUSI3821/2 Text and Context: Performing Power: the politics of opera (option leader and tutor)
• MUSI3120/40 Dissertation (member of tutorial team)
• MUSI5162M MMus Dissertation (member of tutorial team)
• MUSI5060M Introduction to Musical Scholarship (member of teaching team)
• MUSI5337M Applied Performance Studies B (member of seminar team)
• MUSI5430M Editing and Archival Studies (member of teaching team)
• MUSI5530M Issues in Contemporary Musicology (module coordinator and tutor, with Katherine Brown)
• GEND5106M Que(e)rying Sexualities (member of interdisciplinary seminar team)

Module Coordinator for

• MUSI2520 Aesthetics and Criticism
• MUSI5530M Issues in Contemporary Musicology

Other Teaching

• MUSI3821/2 Text and Context: Victorian and Edwardian Britain: a 'Land without Music'?
• MUSI2721/2 Text and Context: Mozart and his Audiences
• Rachel leads the AHRC Collaborative Doctoral Training Scheme: Music Archival Research Skills, and also teaches an option module on Music and the Victorians for the MA in Victorian Studies at Leeds Trinity and All Saints College.

Director of Research (responsible for overseeing the strategic development of the School’s research activities and profile); Acting Director of the Leeds University Centre for English Music (LUCEM); Deputy Director of Leeds University Centre for Opera Studies (LUCOS); elected member of University Senate and Graduate Board; member (for PVAC) of the Programmes of Study and Audit Group.

Books (single authored)

• In progress:
  • Redeeming the Requiem: the English reception of Mozart’s last work (Boydell & Brewer)
  • The Rise and Fall of the Metropolitan Police Minstrels

Books (edited)

• In progress:
  • With Hilary Poriss, The Arts of the Prima Donna in the Long Nineteenth Century (OUP, 2009)
• Published:
  • With Peter Holman. Music in the British Provinces, 1690-1914 (Aldershot: Ashgate, 2007). ISBN 0 7546 3160 5
  • With Martin Hewitt. Victorian Soundscapes Revisited, Leeds Working Papers in Victorian Studies 9 (Leeds: LCVS with LUCEM, 2007). ISBN 0 9540 1598 3
  • With Julian Rushton. Europe, Empire, and Spectacle in Nineteenth-Century British Music (Aldershot: Ashgate, 2006). ISBN 0 7546 5208 4

Contributions to books and conference proceedings

• 'Germondo and Vittorina : genre and politics in the London reception of Goldoni´s libretti in the 1770s’, as 'Germondo e Vittorina: genere, politiche teatrali e recezione dei libretti di Goldoni nella Londra del 1770', chapter in Problemi di Critica Goldoniana 14: ‘Goldoni e la musica: I drammi giocosi nel tempo e negli scenari’, Atti del Convegno di Barcellona ‘Carlo Goldoni: la musica, la scena, l’Europa nel III centenario della nascita (1707-2007)' (2009, forthcoming), 227-261.
  
• 'Of Science and Nature: Mozart versus the modern bel canto in early nineteenth-century London', chapter in Mozart, Marcos Portugal e o seu tempo, ed. by David Cranmer (Lisbon, forthcoming)
• "Attitudes with the Shawl": femininity, performance, and spectatorship at London's Italian Opera, 1800-1830', chapter in The Arts of the Prima Donna in the Long Nineteenth Century, ed. by Rachel Cowgill and Hilary Poriss (Oxford: OUP, forthcoming)
• Commissioned essay for The Oxford Handbook of Opera, ed. by Helen M. Greenwald (Oxford: OUP, forthcoming)
• '"Such scientific and profound harmonies": the Italian opera orchestra and early performances of Mozart's Don Giovanni in London', chapter in The Opera Orchestra in 18th- and 19th-Century Europe. Vol. II: The Orchestra in the Theatre--Composers, Works, and Performance, ed. by N.M. Jensen and F. Piperno, Musical Life in Europe 1600-1900: Circulation, Institutions, Representation (Berlin: Berliner Wissenschafts-Verlag, 2008), 1-20.
• With Gabriella Dideriksen, 'Opera Orchestras in Georgian and Early Victorian London', chapter in The Opera Orchestra in 18th- and 19th-Century Europe. Vol. I: The Orchestra in Society, 2 vols, ed. by N.M. Jensen and F. Piperno, Musical Life in Europe, 1600-1900: Circulation, Institutions, Representation (Berlin: Berliner Wissenschafts-Verlag, 2008), i, 259-321.
• With Peter Holman, 'Introduction: centres and peripheries', in Music in the British Provinces, 1690-1914, ed. by R. Cowgill and P. Holman (Aldershot: Ashgate, 2007), 1-7.
• 'Disputing Choruses in 1760s Halifax: Joah Bates, William Herschel, and the Messiah Club', chapter in Music in the British Provinces, 1690-1914, ed. by R. Cowgill and P. Holman (Aldershot: Ashgate, 2007), 87-113.
• 'On the Beat: the Victorian policeman as musician', chapter in Victorian Soundscapes Revisited, ed. by M. Hewitt and R. Cowgill, Leeds Working Papers in Victorian Studies 9 (Leeds: LCVS with LUCEM, 2007), 191-214.
• With Stephen Banfield, Delia da Sousa Correa, Martin Hewitt, and John Picker, 'Victorian Soundscapes and the Potential for Interdisciplinary Exchange', in Victorian Soundscapes Revisited, ed. by M. Hewitt and R. Cowgill, Leeds Working Papers in Victorian Studies 9 (Leeds: LCVS with LUCEM, 2007), 9-36.
• 'Elgar's War Requiem', chapter in Elgar and His World, ed. by B. Adams (Princeton: Princeton University Press, 2007), 317-62
• '"Hence, base intruder, hence": rejection and assimilation in the early English reception of Mozart's Requiem', chapter in Europe, Empire, and Spectacle in Nineteenth-Century British Music, ed. by R. Cowgill and J. Rushton (Aldershot: Ashgate, 2006), 9-30.
• With Julian Rushton, Introduction to Europe, Empire, and Spectacle in Nineteenth-Century British Music, ed. by R. Cowgill and J. Rushton (Aldershot: Ashgate, 2006), 1-5.
• 'Mozart Productions and the Emergence of Werktreue at London's Italian Opera House, 1780–1830', chapter in Operatic Migrations: transforming works and crossing boundaries, ed. by R.M. Marvin and D. Thomas (Aldershot: Ashgate, 2006), 145-86. (Volume shortlisted for the AMS Ruth Solie Award 2007.)
• With Christina Bashford and Simon McVeigh, 'The Concert Life in Nineteenth-Century London database project', chapter in Nineteenth-Century British Music Studies, 2, ed. by J. Dibble and B. Zon (Aldershot: Ashgate, 2002), 1-12.
• '"Wise Men from the East": Mozart's operas and their advocates in early nineteenth-century London', chapter in Music and British Culture, 1785-1914: essays in honour of Cyril Ehrlich, ed. by C. Bashford and L. Langley (Oxford: OUP, 2000), 39-64.
• ‘The Papers of C. I. Latrobe: new light on musicians, music, and the Christian family in late eighteenth-century England’, chapter in Music in Eighteenth-Century Britain, ed. by D.W. Jones (Aldershot: Ashgate, 2000), 234-58.

Periodical articles

• "Wild, capricious, and not always pleasing": Mozart and musical genius in late eighteenth-century England', British Journal for Eighteenth-Century Studies (forthcoming)
• With Philip Butler, Celia Duffy, Richard J. Hand, and Debs Price, 'Multi-Disciplinary Perspectives on the British Library's Archival Sound Recordings project', Performance Research, 11/4 (Special Issue: Digital Resources) (2007), 117-126.
• 'An Unknown Handel Arrangement by Mozart?: the Halifax Judas', Musical Times, 143 (2002), 19-36. (Interim report published in Guardian, 17 March 2001.)
• 'The Business of Music in late Georgian and Victorian Halifax, c.1760-c.1901', Transactions of the Halifax Antiquarian Society, 10 (2002), 77-95.
• '"The most musical spot for its size in the kingdom": music in Georgian Halifax', Early Music, 28 (2000), 557-75.
• 'The London Apollonicon Recitals, 1817-32: a case study in Bach, Mozart, and Haydn reception', Journal of the Royal Musical Association, 123 (1998), 190-228.
• 'Re-Gendering the Libertine; Or, The Taming of the Rake: Lucy Vestris as Don Giovanni on the early nineteenth-century London stage', Cambridge Opera Journal, 10 (1998), 45-66.
• 'Le nozze di Figaro voor het voetlicht te Londen, 1786-1813', Musica Antiqua, 9 (1992), 168-77.

Contributions to encyclopaedias

• The Routledge International Encyclopaedia of Queer Culture, ed. by David A. Gerstner (London: Routledge, 2006). Original entries: 'Callas, Maria'; 'lang, k.d.'; 'Opera, female cross-dressing'; 'Opera Queens'; 'Sutherland, Joan'.
• The Oxford Dictionary of National Biography, ed. by H.C.G. Matthew and Brian Harrison (Oxford: OUP, 2004). Original entries: 'Billington, Elizabeth'; 'Stephens, Catherine'.
• Oxford Composer Companions: Haydn, ed. by David Wyn Jones (Oxford: OUP, 2002). Original entries: 'Barthelemon family'; 'Burney, Charles'; 'Crotch, William'; 'Gardiner, William'; 'Horn family'; 'Latrobe, Christian Ignatius'; 'Novello'; 'Peploe, Mrs'.
• The New Grove Dictionary of Music and Musicians, 2nd edn, ed. by Stanley Sadie & John Tyrrell (London: Macmillan, 2001). Original entries: 'Savage, Jane'; 'Weichsel, Charles'. Revisions of entries: 'Carter, Richard'; 'Corri'; 'Harrison, Samuel'; 'Smith, Theodore'.
• The Reader’s Guide to Music: History, Theory, Criticism, ed. by Murray Steib (Chicago: Fitzroy Dearborn, 2000). Original entries: 'Burney, Charles'; 'Opera, English'.
• An Oxford Companion to the Romantic Age: British Culture 1776-1832, ed. by Iain McCalman (Oxford: OUP, 1999). Original entries: 'Braham, John'; 'Catalani, Angelica'; 'Corri family'; 'Crouch, Anna Maria'; 'Harrison, Samuel'; 'Kelly, Michael'; 'Linley family'; 'Mara, Gertrud Elisabeth'; 'Mozart, Wolfgang Amadeus'; 'Ries, Ferdinand'; 'Singing'.

Reviews

• For: Early Music; Early Music Performer

Radio / TV broadcasts

• Participant and consultant: Faking the Classics: Mozart, BBC Radio 4. October 2005
• Panel member: Music, Gender, Sexuality, University of Sussex. New Art on Monday, Resonance 104.4FM. November 2004
• Consultant (and participant): Mozart's Missing Manuscript? - a documentary and televised performance of the Halifax arrangement of Handel's Judas Maccabaeus attributed to Mozart. Broadcast on BBC FOUR, 13 October 2002, 13 April 2003, and 19 March 2004
• Consultant: documentary on the 1920s for BBC & OU; part of series on the history of love and romance, Trouble with Love. September 2002
• Interviews on the arrangement of Handel's Judas Maccabaeus attributed to Mozart, for BBC Radio 3 (live), BBC Radio Leeds, Musik Aktuell, etc. 2001
• Panel member: All the Rage (programmes on the 1800s and 1810s) BBC Radio 4. 1998-2000
• Panel member: Woman's Hour (material on Elizabeth Linley, and music in eighteenth-century Manchester). BBC Radio 4. 1998-2000
• Question-setting for BBC Radio 4's quiz show, The Department Score. 1998-99

Keynote & invited lectures

• 'Archives, Databases, and Collections', Institute of Musical Research (SAS, University of London), postgraduate research training seminar, October 2008.
• 'Performance alfresco: music-making in London's pleasure gardens, pre-1880', Vauxhall Revisited: Pleasure Gardens and their Publics, 1660-1880, Tate Britain (supported by the Paul Mellon Centre), 15-16 July 2008.
• 'Elgar, Catholicism, and the Spirit of England'. Royal Northern College of Music, December 2007.
• ‘Vittorina and Germondo: genre and politics in the London reception of Goldoni's libretti in the 1770s’. Convegno ‘Carlo Goldoni: la musica, la scena, l’Europa nel III centenario della nascita (1707-2007)', Barcelona, November 2007.
• ‘Disputing Choruses in 1760s Halifax: Joah Bates, William Herschel, and the Messiah Club’. Music in Britain: a social history seminar, Institute of Historical Research, University of London, October 2007.
• 'Redeeming the Requiem: themes in the early English reception of Mozart's last work', Institute of Musical Research (University of London), Directions in Musical Research, May 2007; Music Research Seminar, University of Belfast, December 2007.
• 'Composing by numbers: Donizetti and the "contract of expectations" in early nineteenth-century Italian opera'. MA Opera Studies Study Day, Rose Bruford College, February 2007.
• Invited contribution to Colloque Mozart: La réception de l’œuvre de Mozart en Belgique, en Grande-Bretagne et en France, jusqu’au milieu du XIXe siècle, Université de Poitiers, November 2006.
• 'Of Science and Nature: Mozart versus the modern bel canto in early nineteenth-century London'. Coloquio Internacional: Mozart, Marcos Portugal e o seu tempo, Teatro de São Carlos, Lisbon, October 2006 (supported by the British Council).
• ‘Elgar’s War Requiem’. Research Forum, International Centre for Music Studies, University of Newcastle, October 2006; Seminar for the Music & Musicology series (MA programme), Royal Holloway, Bedford Square, London, December 2006.
• '"The languor of grief, the intensity of awe, and the fervour of enthusiasm": Mozart's Requiem, the Gothic Revival, and the politics of sacred music in early Victorian England'. Leeds Centre for Victorian Studies, Trinity and All Saints College, Leeds, November 2005.
• 'Redeeming the Requiem?: the "naturalisation" of Mozart's last work in early nineteenth-century England'. John Bird Seminar, Department of Music, Cardiff University, November 2005; Postgraduate Seminar, Department of Drama and Music, University of Hull, March 2006.
• '"Not of a nature to be relished by an English audience": reconstructing some early English interpretations of Die Zauberflote'. Seminar of the Opera Studies Group, University of Iowa US, February 2005.
• 'Redeeming the Requiem: themes in the early English reception of Mozart's last work'. Eighteenth-Century Studies Group, University of Leeds, November 2004.
• 'Writing conference papers'. RMA Research Student Study Day: Writing Skills, King's College, London, April 2004.
• '"Such scientific and profound harmonies": the Italian opera orchestra and early performances of Mozart's Don Giovanni in London'. Graduate Students' Colloquium, Faculty of Music, Oxford University, February 2003.
• Roundtable panel-member, 'Writing Concert History'. Music in Britain: a social history seminar, Institute of Historical Research, University of London, March 2002.
• 'Opera at the King's Theatre'. Workshop: 'Politics and Music in Britain during the Napoleonic Wars', part of Britain and the War with Napoleon: the 1803 seminar at La Maison Francaise, Department of Politics, Oxford University, February 2002.
• '"Wild, capricious, and not always pleasing": Mozart and musical genius in late eighteenth-century England'. The Mason Lecture, Thirty-First Annual Conference of the British Society for Eighteenth-Century Studies, Queens' College, Cambridge University, January 2002.
• 'Towards a History of London Concerts: introducing the Concert life in Nineteenth-Century London database project'. Plenary, RMA Research Students' Conference, Royal College of Music, December 2001.
• '"Opera as event" vs "Opera as work": productions of Mozart on the early nineteenth-century London stage'. Music in Britain: a social history seminar series, Institute of Historical Research, University of London, October 2001; Obermann Center for Advanced Studies, University of Iowa, June 2001.
• 'The Development of Musical Traditions in Late Georgian and Victorian Halifax'. Annual Study Day: The Victorians at Play, Halifax Antiquarian Society, Square Chapel, Halifax, October 2001.
• 'Don Giovanni and London's Italian Opera Orchestra'. The Opera Orchestra in Eighteenth- and Nineteenth-Century Europe conference, Institute for Musicology, Budapest, April 2001.
• 'In Praise of Local Studies: music and musical culture in late Georgian Halifax'. Research Seminar, Department of Music, University of Sheffield, November 2000.
• '"Putting a good man in a uniform": music, narrative, and message in Harvey Andrews' "The Soldier"'. European Sociological Association Network on the Sociology of the Arts conference, States of the Arts: Aesthetic Media in Europe across the Millennia, September 2000.
• '"To attach to the King’s Theatre a band of its own": moves to reform and consolidate London’s Italian opera orchestra in 1828-9’. The Opera Orchestra in Eighteenth- and Nineteenth-Century Europe: social, institutional, and artistic problems, Copenhagen, May 1999, supported by the Royal Danish Academy of Science and Letters.

Conference papers (oral)

• ‘Spreading the Word: Haydn's Vocal Music and Amateur Advocacy in Late Georgian England’. Haydn and the Business of Music, British Library, March 2009.
• ‘The Rise and Fall of the Metropolitan Police Minstrels’. Music Research Seminar, Sheffield University, December 2008; Music Colloquium, King's College, London, February 2009; Centre for the Study of Policing, Open University, March 2009; Instruction, Amusement, and Spectacle: Popular Shows and Exhibitions 1800-1914, Centre for Victorian Studies, University of Exeter, April 2009; IASPM International Conference, Liverpool, July 2009.
• ‘”Attitudes with the Shawl”: Femininity, Performance, and Spectatorship at London's Italian Opera, 1800-1830’. Fourteenth biennial international conference on Nineteenth-Century Music, University College Dublin, June 2008.
• 'Blackface minstrelsy and the changing face of the British police'. Conference Cultivating Britons: Culture and Identity in Britain, 1901-36'. Oxford Brookes and Royal Holloway, September 2008.
• 'Out of a Silence?: Mary Wakefield, the Westmorland Festival, and the musicalisation of Lakeland'.  Conference Music and the Idea of the North, Leeds Town Hall, September 2008.
• 'Performance alfresco: music-making in London's pleasure gardens, pre-1880', Vauxhall Revisited: Pleasure Gardens and their Publics, 1660-1880. 3rd North American British Music Studies Association Conference, York University, Toronto, August 2008.  Supported by the Music & Letters Trust.
• 'On the Beat: public performance and the Victorian policeman'. Sixth Biennial International Conference on Music in 19th-Century Britain, University of Birmingham, July 2007.
• 'Elgar, Catholicism, and the Spirit of England'. Fifth Biennial International Conference on Music Since 1900 (ICMSN), University of York, July 2007.
• 'On the Beat: the Victorian policeman as musician'. Victorian Soundscapes, Eighteenth Northern Victorian Studies Colloquium, LUCEM and Leeds Centre for Victorian Studies, Leeds, March 2007.
• Roundtable panel-member, 'Victorian Soundscapes and the Potential for Interdisciplinary Exchange'. Victorian Soundscapes, Eighteenth Northern Victorian Studies Colloquium, LUCEM and Leeds Centre for Victorian Studies, Leeds, March 2007.
• Contribution to session, 'Multidisciplinary Perspectives on the British Library's Archival Sound Recordings Project'. Digital Resources in the Humanities and Arts, Dartington College of Arts, September 2006.
• 'Elgar's War Requiem'. Second Biennial Conference of the North American British Music Studies Association Vermont US, August 2006; Eighteenth Congress of the International Musicological Society, Zurich, July 2007.
• '"Attitudes with the Shawl": performing femininity on the early nineteenth-century London stage'. Staging the Feminine: the arts of the prima donna 1760-1920 symposium, University of Leeds, July 2006.
• 'Redeeming the Requiem: themes in the early English reception of Mozart's last work'. Mozart Then and Now--a Discovery Event to celebrate the 250th anniversary of Mozart's birth, British Library, London, January 2006.
• 'Redeeming the Requiem: Edward Taylor and the "naturalisation" of Mozart's last work'. Fifth Biennial International Conference on Music in Nineteenth-Century Britain, University of Nottingham, July 2005; Annual Meeting of the American Musicological Society, Washington US, October 2005 (supported by an Overseas Conference Grant from the British Academy).
• '"Hence, base intruder, hence": anti-catholicism and the reception of Mozart's Requiem in early nineteenth-century England'. History and Music, jointly organised by the RMA and RHS, Centre for Research in Arts, Social Sciences, and Humanities, University of Cambridge, March 2005.
• '"Hence, base intruder, hence": rejection and assimilation in the early English reception of Mozart's Requiem'. School of Music Colloquium, Northwestern University US, March 2005.
• 'Redeeming the Requiem: themes in the early English reception of Mozart's last work'. School of Music Postgraduate Research Seminar, University of Leeds, January 2005.
• 'Developing Virtual Learning Materials for Music History and Critical Listening Skills'. VLEs and E-Learning in HE Performing Arts, Liverpool Hope University College, May 2004.
• '"Softly gentleman-like": music, identity, and lesbian courtship in the diaries of Anne Lister, 1791-1840'. RMA Annual Conference: Music Historiography, Cardiff University, September 2003.
• Roundtable panel-member, '"Climb Ev'ry Mountain"?: finding a new music historiography for nineteenth-century Britain'. RMA Annual Conference: Music Historiography, Cardiff University, September 2003.
• With Ann Royle, '"A Duke of Wellington amongst us": the changing role and public persona of the conductor in early nineteenth-century England'. Aspects of the British Musical Renaissance Study Day IX: English Music, Concert Life, and Theatre, 1830-1960, Shakespeare Institute, University of Birmingham, May 2003; and Fourth Biennial International Conference on Music in Nineteenth-Century Britain, University of Leeds, July 2003.
• 'Don Giovanni en travesti: burlesque sequels to Mozart's opera on the early nineteenth-century London stage'. Contribution to the round table session on Musical Parody and Tribute on the Popular Stage, Twelfth Biennial International Conference on Nineteenth-Century Music, University of Leeds, July 2002.
• 'Mozart productions and the concept of Werktreue at London's Italian opera house, 1780-1830'. Twelfth Biennial International Conference on Nineteenth-Century Music, University of Leeds, July 2002.
• 'Science and Sublimity: themes in the English reception of Mozart's Requiem'. Third Biennial Conference on Music in Nineteenth-Century Britain, Royal College of Music, July 2001
• 'Mozart in Halifax: William Priestley, Halifax Choral Society, and the Moravian connection'. Music in the English Provinces, 1700-1900, Leeds University Centre for English Music, May 2001.

• 2008: Music & Letters Trust Grant (£400) to present at the NABMSA conference, York University, Toronto.
• 2008 British Academy Small Grant (£7,496): Out of a Silence?  Mary Wakefield, the Westmorland Festival, and the musicalisation of Lakeland.
• 2008 Arts and Humanities Research Council Research Leave (£36,052): book project, The Rise and Fall of the London Metropolitan Police Minstrels.
• 2006 Research Grant (£20,000), Leeds University International Collaborative Research fund (Internal competition) - Staging the Feminine: the arts of the prima donna, 1720-1920.
• 2005 Arts and Humanities Research Council Small Grant (£5,000): book project, Redeeming the Requiem.
• 2005 Arts and Humanities Research Council Collaborative Research Training Scheme (£10,000) - Music Archival Research Skills (MARS).
• 2005 British Academy, Overseas Conference Grant (£400) - to present paper at AMS Annual Meeting, Washington
• 2003 British Academy, Overseas Conference Grant (£900) (for keynote speaker's expenses, Nineteenth-Century British Music conference)
• 2003 Music & Letters Trust Grant (£600) (Concert of Music by Christian Ignatius Latrobe, Nineteenth-Century British Music conference)
• 2001 Research Grant (£58,056), Arts and Humanities Research Board (3 years) - Concert Life in Nineteenth-century London database project, Phase II (Leeds) - the 1830s
• 1997 Research Grant (£58,129), Huddersfield University (Internal competition) - Concert Life in Nineteenth-century London database project
• 1992 Adam Prize, King's College, University of London
• 1990 British Academy Three-Year Doctoral Studentship
• 1989 Barnard and Hailes Prize, Goldsmiths' College, University of London
• 1989 British Academy One-Year Studentship (MMus)

• MA, University of Melbourne (2008)
• PhD, Royal Holloway (2008)
• MPhil, Cambridge University (2008)
• PhD, University of Maynooth (2008)
• MA Music, Newcastle University (2007-10)
• MA Musicology, Cardiff University (2006-9)
• BMus/BA Music, single or combined honours, Roehampton University (2006-9)
• MMus/MPhil dissertations, Specialist External Assessor (SEA), Royal Northern College of Music (2006-10)

• PhD, University of Manchester (2003 and 2004)

Validations

• Taught Postgraduate Programmes, Birmingham Conservatoire, University of Central England (2003)
• BA in Music and BA in Popular Music, University of Wolverhampton (2003)

• Member of Programme Committee, 19th-Century Music Conference, University of Southampton (2010)
• Chair, Music in Eighteenth-Century Britain Study Day, Foundling Museum, London (2003 and 2008)
• Editor, Journal of the Royal Musical Association (2007-10)
• Series co-editor, ‘Music in Britain, 1600-1900’, Boydell & Brewer (2006-)
• Editor, newsletter and website of the Royal Musical Association (2001-03)

• Chair, Royal Musical Association Publications Committee (2006-07)
• Chair, Editorial Board of the Journal of the Royal Musical Association (2006-07)

• Co-chair, Victorian Soundscapes, Eighteenth Northern Victorian Studies Colloquium, with Leeds Centre for Victorian Studies (March 2007).
• Co-convenor and host, international network symposium Staging the Feminine: the arts of the prima donna, 1720-1920 (WUN) (July 2006).
• Co-chair, RMA Research Students' Conference (January 2006).
• Chair, Fourth Biennial International Conference on Music in Nineteenth-Century Britain (LUCEM) (July 2003).
• Co-chair, Shakespeare in Music; Music in Shakespeare (LUCEM) with School of English (May 2002).
• Co-chair, Music in the English Provinces, 1700-1900 (LUCEM) (May 2001).
• Chair, RMA Research Students' Conference, University of Huddersfield (January 2000).
• Member of programme committee, Music in Nineteenth-Century Britain biennial conference.

• Member, RMA Council (2003-5; ex officio from 2006); Member, JISC/BL Audio Advisory Panel (2005-06); RMA representative, Grove Advisory Panel (2006-)

Current Research Students

• Julia Downes (ESRC-funded): Riot Grrrl (with Brendan Gough)
• Catherine Haworth: Music and Gender in Film Noir (with David Cooper)
• Roddy Hawkins (AHRC-funded): British Modernism in the 1980s (with Mic Spencer and Lois Fitch)
• Adam Strickson (AHRC-funded): the librettist's adaptation of source in collaboration with the composer (practice-led, with Kara McKechnie and Dominic Grey (Opera North))
• Ray Hitchins: Jamaican Popular Music (with Kevin Dawe)
• Lizzie Lidster (URS-funded): Women Singer-Songwriters (with Shirley Tate)
• Rachel Milestone (partly WUN-funded): The Role of the Town Hall in Victorian Musical Culture
• Simon Warner: Music and the Beat Generation Poets

Past Research Students

• Sarah Kaufman (with Vic Gammon): John Curwen and the impact of Tonic Sol-fa on the choral movement in England (MPhil, 2002)
• Ann Royle (AHRC-funded): Sir Henry Rowley Bishop as musician and educator: a reassessment of his career and achievements outside the theatre (PhD, 2005)

Abstract

'Mozart's Music in London, 1764–1829: aspects of reception and canonicity' (PhD, University of London, 2000)

Despite the phenomenal success of Haydn’s visits during the 1790s, London was slow to respond to the music of Mozart. It was not until 1806 that the King’s Theatre staged a Mozart opera, and Don Giovanni would not make an entrance until almost thirty years after its Prague première. This dissertation accounts for that delay, by tracing key themes in Mozart’s English reception and analysing the process whereby Mozart transcended his image as a capricious prodigy to become a revered and authoritative figure in London’s musical life by the late 1820s.

In Part I, English responses to Mozart’s appearances as a prodigy in the London concerts are considered, and Mozart’s precociousness is found to have problematised his later reception in England as a mature composer. Haydn’s posthumous endorsement of Mozart and the discovery of Mozart’s vocal works were central to a reassessment of Mozart during the 1790s. This brought the proponents of the ‘Moderns’ (Charles Burney) into direct conflict with the ‘Ancients’ (William Crotch), who initially found Mozart’s music wanting when measured against the sublimity of Handel.

Crotch’s lecture notes, examined in Part II, illuminate the path by which the ‘Ancient’ faction came to an acceptance of Mozart, which was tantamount to his achievement of canonic status in English musical life. In the final part of the thesis, evidence of early Mozart advocacy among the increasingly affluent merchants and financiers of the City is presented, which had a marked effect on the values and behaviour of audiences for Italian opera in late Georgian London. The introduction of Mozart’s operas was pivotal in the shift from an event-orientated to a work-orientated aesthetic at the King’s Theatre – a development that was crucial to the canonisation of these works.

This thesis is available for consultation in the British Library Reading Rooms, the library of King's College, London, and the Faculty of Music Library, Oxford University.

• 2005-07, Director, Arts and Humanities Research Council Collaborative Research Training Scheme (£10,000) - Music Archival Research Skills (MARS).
• 2003 Principal Investigator, University of Leeds, C&IT in the Curriculum grant (internal, £5,000) - application of CALMA software to the development of critical listening skills

Other EKT related activities

• London Handel Festival, pre-concert talk 2006
• London Handel Festival, programme notes, 2006
• Leeds International Concert Season, selected pre-concert talks, 2005-