Dr Georgia Volioti
Lecturer in Music
Qualifications: BSc (Hons), ARCS, MMus (Lond), PhD (Lond), LGSMD, AHEA
Phone: Work: 01483 68 9690
Room no: 37 PA 01
Academic tutorials can be booked by signing up on the tutorial schedule advertised on my office door (PA 37) or via email.
Georgia Volioti joined the School of Arts in September 2013 as lecturer in music. She was educated at Imperial College, London, where she gained a triple first in her BSc (Biology) and was awarded the Murray Prize in Physiology. Subsequently she pursued postgraduate studies in music completing the MMus at Royal Holloway, University of London, with distinction and specialising in Performance Studies and the Psychology of Music. Georgia completed her PhD at the same university as an AHRC doctoral studentship holder at the Centre for the History and Analysis of Recorded Music (CHARM), supervised by Professor Nicholas Cook. Her thesis combined empirical-analytical methods for the study of performance with traditional performance historiography and criticism.
Prior to this appointment Georgia completed a postdoctoral visiting Fellowship at Humboldt University, Berlin, and undertook research at the Centre for Performance Science, Royal College of Music, London. She also taught on Performance Studies courses (BMus and MMus) at Royal Holloway, University of London, and supervised various undergraduate BA Music Tripos courses at the University of Cambridge, including Studying Music as Performance, Introduction to Music and Science, Aesthetics, and Dissertation. Georgia is an Associate Fellow of the Higher Education Academy (UK) and holds a Licentiate in piano performance from the Guildhall School of Music & Drama, London.
- Performance studies; performance analysis (live/recorded); performance historiography; historical performance practice (especially keyboard/piano music); historical recordings; expressive gesture in performance; listening practices; performance pedagogy.
- Performance science; psychology of performance.
- Cross-disciplinary performance research and epistemology; quantitative and qualitative methods.
- Nineteenth-century music, the music of Edvard Grieg, nationalism and cultural memory in musical performance.
(forthcoming).Volioti, G. 'Expressive Gesture in Recordings of Grieg's Op. 43: An Exploratory Principal Components Analysis'. Musical Performance Research (accepted for publication).
(forthcoming). Volioti, G. 'Musing on The Past: Historical Recordings as Creative Resources for Piano Performance', in New Thoughts on Piano Performance: Between Science and Art, ed. Cristine McKie (accepted for publication).
(2016). Volioti, G. & Williamon, A. 'Recordings as Learning and Practising Resources for Performance: Exploring Attitudes and Behaviours of Music Students and Professionals'. Musicae Scientiae (published online 21 October 2016), 1-25. doi:10.1177/1029864916674048
(2015). Volioti, G. 'Reminiscing Grieg: A Study of Technostalgia and Modulating Identities'. The Musical Quarterly, 98/3, 179-211. doi: 10.1093/musqtl/gdv005
(2014). Volioti, G. ‘Performing National-Cultural Identity: Rhythmic Gesture as the Phenomenology of the Folk’, in Proceedings of the International Musicological Conference the National Element in Music (18-20 January 2013), ed. Nikos Maliaras (Faculty of Music Studies, University of Athens, ISBN: 978-960-93-5959-7), 91-111.
(2012). Volioti, G. ‘Re-inventing Grieg’s Folk Modernism: An Empirical Investigation of the Performance of the Slåtter op.72, no. 2’. The Journal of Musicological Research, 31/4, 262-296. doi: http://dx.doi.org/10.1080/01411896.2013.720914
(2010). Volioti, G. ‘Playing with Tradition: Weighing up Similarity and the Buoyancy of the Game’. Musicae Scientiae, 14/2, 85-114. doi:10.1177/102986491001400204
(forthcoming). Recording review of 'Edvard Grieg, Lyric Pieces by Stephen Hough - Hyperion 68070, 2015'. Review invited by Nineteenth-Century Music Review. http://dx.doi.org/10.1017/S1479409816000422.
(2016). Book review of 'Expressiveness in Music Performance: Empirical Approaches across Styles and Cultures', D. Fabian, R. Timmers and E. Schubert (eds.), Oxford University Press, 2014. Nineteenth-Century Music Review (published online Jan. 2016), 1-6. doi: http://dx.doi.org/10.1017/S1479409816000173
(2007). Book review of Adam Ockelford, ‘Repetition in Music: Theoretical and Meta-theoretical Perspectives’, Ashgate (RMA Monographs), 2005. Musicae Scientiae, 11/2, 325-330. doi:10.1177/102986490701100208
(2007). Review of 4th International CHARM Symposium, ‘Methods for Analysing Recordings’. Royal Holloway, University of London, UK (12-14 April), 1-4.
Conferences, Research Seminars and Invited Talks
(2015). The Listening Experience Database Project, Listening to Music: People, Practices and Experiences, Royal College of Music, London, 24-25 October 2015.
(2015). PERFORMA'15, International Conference on Musical Performance, University of Aveiro, Portugal, 11-13 June 2015.
(2015). 'Working with Piano Rolls: A Musicologist's Perspective', collaborative research seminar 'Rollin' On: Pianola Grooves Uncovered', Research Seminar Series, School of Arts, PATS Studio 1, University of Surrey, 25 February 2015.
(2014). 'Verdi's La Traviata: A Pre-Performance Talk', by invitation of Glyndebourne's dramaturg Cori Ellison for Glyndebourne Tour 2014, New Victoria Theatre, Woking, 29 October 2014.
(2014).'Who Cares What You Listen: Some Questions about Musical Recordings as Cultural Products of Creativity', ILLUME Research Seminar, Faculty of Arts and Human Sciences, University of Surrey, 17 July 2014.
(2014). Eighteenth Biennial Conference on Nineteenth-Century Music, University of Toronto, Canada, 18-20 June 2014.
(2014). 'Performing Memory and Nostalgia with Recordings', Research Seminar Series, School of Arts, University of Surrey, 22 January 2014.
(2013). ‘Historical Recordings and Piano Performance’. The London International Piano Symposium, Royal College of Music, London, 8-10 February 2013 (recipient of Music & Letters Trust Award).
(2013). International Musicological Conference, The National Element in Music, University of Athens, Greece, 18-20 January 2013.
(2011). International Performance Studies Conference, PERFORMA'11, University of Aveiro, Portugal, 19-21 May 2011.
Exhibitions and Public Engagement Events
(2015). 'The Player-Piano and Pianola', in association with The Guildford International Music Festival. The Lewis Elton Gallery, University of Surrey, 9-18 March 2015. Exhibition curated by Denis Hall and Rex Lawson, and presented in collaboration with Professor Clive Williamson and Dr Georgia Volioti.
Year 3/4 Historical Performance Practice (module convenor & lecturer)
Year 3/4 Opera Studies (module convenor & lecturer)
Year 3/4 Dissertation A, B & C (module convenor & supervisor)
Year 2 Nineteenth-Century Music (lecturer)
Year 1 Encountering Music History (lecturer)
MMus Performance (lecturer)
Year 3/4 Historical Performance Practice (convenor & lecturer)
Year 3/4 Opera Studies (convenor & lecturer)
Year 3/4 Dissertation A, B & C (supervision)
Year 2 Musicology A (lecturer)
Year 2 Musicology B (supervision)
Year 1 Understanding Music B (lecturer)
MMus Musicology: Research Skills in Musicology (lecturer); Readings in Musicology (lecturer)
MMus Performance (lecturer)
'Module very well organized and prepared, clear structure'. 'Critical thinking was encouraged'. 'An accessible module regardless of one's level of familiarity with opera'.
Historical Performance Practice
'A good classical music module! Becoming increasingly rare'. We were encouraged to think in a different way and it challenged my pre-existing ideas about performance practice'. 'It has encouraged me to become more open-minded as a performer which is really relevant to me'.
Departmental Disability Liaison Officer
Music BMus Professional Placement Tutor