Welcome. I am a historical musicologist—or, if you prefer, a musical historian—who investigates how composers develop their musical styles in relation to the social and economic circumstances in which they work. I hold a Ph.D. from Brandeis University, where I was a Mildred and Herbert Lee fellow. I am now a clinical assistant professor in the Department of Music at the University at Buffalo, which is part of the State University of New York (SUNY) system.
Research. Here are some of the projects I’ve tackled during the past few years:
- I have started to investigate the world of nineteenth-century music publishers, and their artistic influence on the style of composers from the period, in a series of recent journal articles.
- The above project relates to a broader study of maximalism, which was the subject of my doctoral dissertation, and other modes of stylistic development.
- I also enjoy subjecting corpora of sixteenth-century polyphony to formal empirical analysis, taking a quantitative approach to questions of text setting in the Italian madrigal.
Teaching. During my time in Buffalo, I have developed a wide variety of seminars and lecture courses, primarily for undergraduates. You can read the course descriptions here. The recent pandemic has also given me the opportunity to acquire some proficiency in online education.
Singing. When not engaged in the above activities, you can sometimes find me performing as a bass chorister—most recently with the Evensong Choir of Christ Church Cambridge. I am also a past member of the Chapel Choir of Hertford College (Oxford), the St Catherine’s College Choir (Oxford), Calliope, the Irving Fine Society, the Brandeis University Chorus and Chamber Choir, and the Phillips Academy Cantata Choir. I’ve had the privilege of singing at a number of culturally significant (i.e., rather intimidating) venues, including the Royal Wawel Cathedral in Poland, the King’s College Chapel in Cambridge, the Cathedral Basilica of San Juan in Puerto Rico, and the Mirabell Palace in Salzburg.