Dr Georgia Volioti
About
Biography
Research interests:
My research interests are cross-disciplinary with a focus on musical performance studies, music psychology and music education. My research combines empirical techniques (quantitative and qualitative methods) with cultural and historical contextual study to interrogate both technical and expressive dimensions of performance (mainly Western art music), listeners' aesthetic responses and evaluations of performance, the conceptual boundaries of creativity in music performance, and the role of culture in shaping our understanding of music. My research interests include:
Performance studies: performance practice (especially piano repertoire); performance historiography; cultural memory and identity in performance; historical recordings; the media and materiality of recording technology; cultural responses to the legacy of recordings; landscape and music; visual culture and music.
Psychology of music: expressive gesture in performance; listening practices; musical development and self-regulated learning; musicians' self-efficacy; creativity, originality and value in performance; evaluation of musical performance (research methods include quantitative and qualitative approaches).
Music education: listening pedagogies; recording studio pedagogies; technology, gender and education; transitions in music education; inclusion in music education.
Empirical musicology: analysis and modelling of expressive performance parameters (research methods include principal component analysis, self-organising maps, clustering, and correlational statistics).
I have published sole-authored full-length studies, on a broad range of topics, in leading peer-reviewed journals, including The Musical Quarterly and Music & Letters (Oxford University Press journals), The Journal of Musicological Research (Taylor & Francis), and Musicae Scientiae (SAGE ESCOM journal). I am first author in co-authored publications stemming from collaborative projects (e.g., Musicae Scientiae and Research Studies in Music Education (SAGE SEMPRE journal)), and I have contributed essays to edited books (recent chapters in Remixing Music Studies (Routledge) and Early Sound Recordings: Academic Research and Practice (Routledge)). My scholarly review articles have been published in the top peer-reviewed journals Psychology of Music, Musicae Scientiae, Empirical Musicology Review and Nineteenth-Century Music Review. My book, co-edited with Daniel Barolsky, Recorded Music in Creative Practices: Mediation, Performance, Pedagogy is forthcoming in the Routledge SEMPRE (Society for Education Music and Psychology Research) series.
In 2019, I organised and hosted at the University of Surrey the Performance Studies Network international research forum New Takes on Recorded Music: Performance, Creativity, Technology, and in 2022 I co-organised and co-hosted at Surrey the 6th International Performance Studies Network Conference.
Indicators of academic recognition include: being shortlisted for the Music & Letters Westrup Prize for my article 'Landscaping the gaze in Norwegian visual art and Grieg's op. 66 folksong piano arrangements' (2017); invitation to give a keynote address at the London International Piano Symposium (Royal Academy of Music, 2018); a Faculty of Arts and Social Sciences Teaching Innovation award (2018); a VICI award (2021); invitation to contribute to the steering committee of the AHRC-funded research network 'Redefining Early Recordings as Sources for Performance Practice and History' (effective from 2021 until 2023); and numerous other invitations to contribute to research symposia and conferences pertaining to my areas of expertise as speaker and panel chair.
Qualifications & background:
I am a graduate of Imperial College, London (first-class BSc Honours) and a graduate of Royal Holloway, University of London (Master in Music with distinction and PhD in Music). My PhD was funded by an AHRC doctoral studentship at the Centre for the History and Analysis of Recorded Music (CHARM), supervised by Professor Nicholas Cook. My doctoral research combined empirical-analytical methods for the study of recordings with performance historiography and criticism. Following completion of my PhD, I was a visiting lecturer at Royal Holloway, University of London, where I taught on the BMus and MMus pathways. I was also affiliated with the Faculty of Music, University of Cambridge, where I supervised various undergraduate BA Music Tripos courses in Performance Studies, Music & Science, and Aesthetics. Prior to my appointment at Surrey, I held a postdoctoral visiting Fellowship at Humboldt University, Berlin, and I also undertook research at the Centre for Performance Science, Royal College of Music, London.
I am an accredited Associate Fellow of the Higher Education Academy (UK), and I have a Licentiate Diploma in piano performance from the Guildhall School of Music & Drama, London.
Roles of leadership within the Department of Music & Media:
Current:
- Director of Careers & Employability (Music BMus).
Previous:
- Programme Director for Music BMus.
- Departmental Disability & Neurodiversity Liaison Officer.
- Admissions Officer for Music BMus.
Other University roles:
- DMM representative in HR Excellence in Research Committee (2017-2018).
- Researcher Development & Doctoral College Mentorship Scheme (2017-2018).
Affiliations and memberships
Higher Education Academy – Associate Fellow (accreditation reference: PR057289).
Performance Studies Network (PSN) - registered member.
Equality, Diversity and Inclusion in Music Studies (EDIMS) - registered member.
Healthy Conservatoires network - registered member.
Royal Musical Association - registered member.
ResearchResearch interests
My research interests embrace musical performance studies, music psychology, music education, and empirical musicology. My research combines empirical methods (both quantitative and qualitative) with cultural and historical contextual study to interrogate both technical and expressive dimensions of performance (mainly Western art music), listeners' aesthetic responses and evaluations of performance, the conceptual boundaries of creativity in music performance, and the role of culture in shaping our understanding of music. My main areas of research include:
Performance studies: performance practice (especially piano repertoire); performance historiography; cultural memory and identity in performance; historical recordings; the media and materiality of recording technology; cultural responses to the legacy of recordings; landscape and music; visual culture and music.
Psychology of music: expressive gesture in performance; listening practices; musical development and self-regulated learning; musicians' self-efficacy; creativity, originality and value in performance; evaluation of musical performance (research methods include quantitative and qualitative approaches).
Music education: listening pedagogies; recording studio pedagogies; technology, gender and education; transitions in music education.
Empirical musicology: analysis and modelling of expressive performance parameters (research methods include principal component analysis, self-organising maps, clustering, and correlational statistics).
Professional & research affiliations:
- Society for Education, Music and Psychology Research (SEMRE) - registered member.
- Higher Education Academy - Associate Fellow (accreditation reference: PR057289).
- Performance Studies Network (PSN) - registered member.
- Equality, Diversity and Inclusion in Music Studies (EDIMS) - registered member.
- Healthy Conservatoires network - registered member.
- Royal Musical Association - registered member.
Professional (peer-review) activity:
Publication & research grant reviewer:
- I have acted as reviewer for the journals Frontiers in Psychology - Performance Science section (Open Access Journal, ISSN: 1664-1078), Empirical Musicology Review (Ohio State University, ISSN: 1559-5749), Music & Letters (Oxford University Press), and Research Studies in Music Education (SAGE/SEMPRE Journals).
- I have reviewed academic books and classical music CDs for the journals Nineteenth-Century Music Review (Cambridge University Press), Musicae Scientiae (ESCOM/SAGE Journals), and Psychology of Music (SAGE/SEMRE Journals).
- I have acted as research grant academic reviewer for international funding bodies including the Swiss National Science Foundation.
International conference committees:
- Member of Steering Committee of AHRC-funded Research Network Redefining Early Recordings as Sources of Performance Practice and History (effective from March 2021 to March 2023).
- Member of conference committee for the Performance Studies Network 2022 International Conference (30 June - 3 July 2022, University of Surrey).
- Lead director (and sole organiser) for Performance Studies Network Research Forum - New Takes on Recorded Music: Performance, Creativity, Technology, University of Surrey, 5-6 September 2019.
- Member of scientific committee and reviewing panel for Third Conference of the London International Piano Symposium, Royal Academy of Music, 28-30 October 2018.
- Member of conference committee and reviewing panel for the Tenth Biennial International Conference on Music Since 1900 and Surrey Music Analysis Conference (ICMSN/SurreyMAC), University of Surrey, 11-14 September 2017.
Indicators of esteem
Indicators of academic recognition include:
- recipient of a VICI award (2021);
- recipient of a Faculty of Arts and Social Sciences Teaching Innovation award (2018);
- keynote speaker at The London International Piano Symposium (Royal Academy of Music, 2018), Reflections on Classical Sound Recordings: Prospects and Challenges for Performance Studies;
- shortlisted for the Music & Letters Westrup Prize for my article on Grieg Landscaping the gaze in Norwegian visual art and Grieg's op. 66 folksong piano arrangements (2017).
Research interests
My research interests embrace musical performance studies, music psychology, music education, and empirical musicology. My research combines empirical methods (both quantitative and qualitative) with cultural and historical contextual study to interrogate both technical and expressive dimensions of performance (mainly Western art music), listeners' aesthetic responses and evaluations of performance, the conceptual boundaries of creativity in music performance, and the role of culture in shaping our understanding of music. My main areas of research include:
Performance studies: performance practice (especially piano repertoire); performance historiography; cultural memory and identity in performance; historical recordings; the media and materiality of recording technology; cultural responses to the legacy of recordings; landscape and music; visual culture and music.
Psychology of music: expressive gesture in performance; listening practices; musical development and self-regulated learning; musicians' self-efficacy; creativity, originality and value in performance; evaluation of musical performance (research methods include quantitative and qualitative approaches).
Music education: listening pedagogies; recording studio pedagogies; technology, gender and education; transitions in music education.
Empirical musicology: analysis and modelling of expressive performance parameters (research methods include principal component analysis, self-organising maps, clustering, and correlational statistics).
Professional & research affiliations:
- Society for Education, Music and Psychology Research (SEMRE) - registered member.
- Higher Education Academy - Associate Fellow (accreditation reference: PR057289).
- Performance Studies Network (PSN) - registered member.
- Equality, Diversity and Inclusion in Music Studies (EDIMS) - registered member.
- Healthy Conservatoires network - registered member.
- Royal Musical Association - registered member.
Professional (peer-review) activity:
Publication & research grant reviewer:
- I have acted as reviewer for the journals Frontiers in Psychology - Performance Science section (Open Access Journal, ISSN: 1664-1078), Empirical Musicology Review (Ohio State University, ISSN: 1559-5749), Music & Letters (Oxford University Press), and Research Studies in Music Education (SAGE/SEMPRE Journals).
- I have reviewed academic books and classical music CDs for the journals Nineteenth-Century Music Review (Cambridge University Press), Musicae Scientiae (ESCOM/SAGE Journals), and Psychology of Music (SAGE/SEMRE Journals).
- I have acted as research grant academic reviewer for international funding bodies including the Swiss National Science Foundation.
International conference committees:
- Member of Steering Committee of AHRC-funded Research Network Redefining Early Recordings as Sources of Performance Practice and History (effective from March 2021 to March 2023).
- Member of conference committee for the Performance Studies Network 2022 International Conference (30 June - 3 July 2022, University of Surrey).
- Lead director (and sole organiser) for Performance Studies Network Research Forum - New Takes on Recorded Music: Performance, Creativity, Technology, University of Surrey, 5-6 September 2019.
- Member of scientific committee and reviewing panel for Third Conference of the London International Piano Symposium, Royal Academy of Music, 28-30 October 2018.
- Member of conference committee and reviewing panel for the Tenth Biennial International Conference on Music Since 1900 and Surrey Music Analysis Conference (ICMSN/SurreyMAC), University of Surrey, 11-14 September 2017.
Indicators of esteem
Indicators of academic recognition include:
- recipient of a VICI award (2021);
- recipient of a Faculty of Arts and Social Sciences Teaching Innovation award (2018);
- keynote speaker at The London International Piano Symposium (Royal Academy of Music, 2018), Reflections on Classical Sound Recordings: Prospects and Challenges for Performance Studies;
- shortlisted for the Music & Letters Westrup Prize for my article on Grieg Landscaping the gaze in Norwegian visual art and Grieg's op. 66 folksong piano arrangements (2017).
Supervision
Postgraduate research supervision
I welcome new enquiries from suitably qualified candidates with a background in empirical research methods to pursue doctoral research in the areas of my expertise. Co-supervision with academic partners from the departments of education or psychology is also possible. For information about applying for PhD studentships, see Doctoral College | University of Surrey
Teaching
Undergraduate teaching (Music BMus):
- Topic Study 2B and 3B (MUS2062, MUS3082) - convener & main lecturer (Studying Music as Performance, covering topics in performance studies and psychology of performance).
- Topic Study 2B and 3B (MUS2062, MUS3082) - convener & main lecturer (Opera Studies, covering topics in the history, criticism and performance of opera).
- Music Project 1B, 2B, 3B, B - convener & main lecturer (Purcell's Dido and Aeneas: History, Interpretation, Performance).
- Encountering Music History (MUS1031) - contributor (topics in performance practice).
- Nineteenth-Century Music (MUS2057) - contributor (topics in romantic Lied, piano repertoire, and opera).
Postgraduate teaching (Music MMus):
- MMus Research Training A (MUSM078) - convener & main lecturer (covering research skills for musicologists and practitioners)
Past modules taught:
UG/BMus
- Individual Project (MUS3078) - convener/supervisor.
- Arts Policy & Practice (MUS2033) - convener.
- Professional Investigation (MUS3068) - convener/supervisor.
- Historical Performance Practice (MUS3072) - convener & main lecturer.
- Opera Studies (MUS3064) - convener & main lecturer.
- Understanding Music B (MUS1027) - main lecturer.
- Musicology A (MUS2046) - main lecturer.
- Musicology B (MUS2047) - convener/supervisor.
- Dissertation A, B & C (MUS3055, 3056 & 3057) - convener/supervisor.
PG/MMus
- Research Training for Practitioners (MUSM048) - contributor
- Performance A (MUSM039) - contributor
- Performance B (MUSM040) - contributor
- Readings in Musicology A (MUSM056) - contributor
- Readings in Musicology B - main lecturer
- Research Training in Musicology A & B (MUSM054, MUSM055) - contributor
Student responses:
"An accessible module regardless of one's level of familiarity with opera". "Module very well organized and prepared, clear structure". "Critical thinking was encouraged". (Opera Studies module)
"A good classical music module, something that's 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". (Historical Performance Practice module)
"Georgia offers fantastic insight into a range of complex aesthetic issues and explains them well". "Really enjoyed the lectures for this module - so much information to take in, making attending the lectures really worth while! The lectures were specifically engineered to the questions making writing the essays easier". (Nineteenth-Century Music module)
Publications
(forthcoming). Volioti, G. & Barolsky, D. Ed. Recorded Music in Creative Practices: Mediation, Performance, Pedagogy. Routledge SEMPRE series (under contract).
(forthcoming). Volioti, G. & Williamon, A. 'Nurturing the Musical Imagination: Listening to Recordings for Self-regulating and Creative Learning', in G. Volioti and D. Barolsky (eds.), Recorded Music in Creative Practices (Routledge, SEMPRE).
(2023, in press). Volioti, G. 'The Written and the Sung: Grieg's Piano Ballade and the Performativity of Genre', in E. Moreda-Rodriguez and I. Stanovic (eds.), Early Sound Recordings: Academic Research and Practice (Routledge).
(2021). Volioti, G. & Williamon, A. 'Performers' Discourses on Listening to Recordings'. Research Studies in Music Education, 43/3, 481-497. https://doi.org/10.1177/1321103X19899168
(2021). Volioti, G. Book review of 'Musicians in the Making: Pathways to Creative Performance', J. Rink, H. Gaunt and A. Williamon (eds.), Oxford University Press, 2017. Psychology of Music, 49/4, 1058-1065. https://doi.org/10.1177/0305735619889009
(2020). Volioti, G. 'Rethinking Classical Sound Recordings: Creativities Beyond the Score', in A. Aguilar, R. Cole, M. Pritchard & E. Clarke (eds.), Remixing Music Studies: Essays in Honour of Nicholas Cook (pp. 61-75). New York: Routledge. eBook: ISBN 9780429433405 https://doi.org/10.4324/9780429433405
(2019). Volioti, G. 'Expressive Gesture in Grieg's Recordings of Two Op. 43 Lyric Pieces: An Exploratory Principal Components Analysis'. Music Performance Research, vol. 9, 1-30 (ISSN 7155-9219).
(2018). Volioti, G. Book review of 'Staging History: 1780-1840', M. Burden, W. Heller, J. Hicks and E. Lockhart (eds.), Bodleian Library, University of Oxford, 2016. Nineteenth-Century Music Review, published online 2 April 2018. https://doi.org/10.1017/S1479409817000908
(2017). Volioti, G. 'Landscaping the Gaze in Norwegian Visual Art and Grieg's Op. 66 Folksong Piano Arrangements'. Music & Letters, 98/4, 573-600. https://doi.org/10.1093/ml/gcx114
(2017). Volioti, G. & Williamon, A. 'Recordings as Learning and Practising Resources for Performance: Exploring Attitudes and Behaviours of Music Students and Professionals'. Musicae Scientiae, 21/4, 499-523. doi:10.1177/1029864916674048
(2017). Volioti, G. 'Musing on The Past: Historical Recordings as Creative Resources of Piano Performance', in Cristine MacKie (ed.), New Thoughts on Piano Performance: Research at the Interface Between Science and the Art of Piano Performance (pp. 65-86). A London International Piano Symposium Publication, 2017. ISBN: 978-164007055-4
(2017). Volioti, G. 'Re-imagining Operatic Objects: Commentary on "Phenomena, Poiesis, and Performance Profiling: Temporal-Textual Emphasis and Creative Process Analysis in Turandot at the Metropolitan Opera"'. Empirical Musicology Review, 12/3-4, 272-276. doi: http://dx.doi.org/10.18061/emr.v12i3-4.5957
(2017). Volioti, G. Recording review of 'Edvard Grieg, Lyric Pieces, Stephen Hough pf Hyperion 68070, 2015 (1 CD: 73 minutes)', Nineteenth-Century Music Review, 14/2, 275-277. http://dx.doi.org/10.1017/S1479409816000422
(2016). Volioti, G. 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, 13/2, 335-340. doi: http://dx.doi.org/10.1017/S1479409816000173
(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 Nikos Maliaras (ed.), Proceedings of the International Musicological Conference the National Element in Music, 18-20 January 2013 (pp. 91-111). Faculty of Music Studies, University of Athens. ISBN: 978-960-93-5959-7
(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
(2007). Volioti, G. 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). Volioti, G. Review of 4th International CHARM Symposium, Royal Holloway, University of London, UK (12-14 April 2007), 'Methods for Analysing Recordings'. CHARM Newsletter, Issue 3 (2007), 5-8.
Peer-reviewed conference research papers (and invited contributions):
(2022). Volioti, G. 'On and Off the Record: Reimagining Grieg's Ballade from Historical Recordings'. Grieg in Performance International Research Seminar 2022, University of Bergen, 2-3 September 2022. [conference research paper]
(2022). Volioti, G., McGuinness, S., Neumann, J. and Behan, A. 'Post-pandemic Performance: A Retrospective Prospective Round-table Discussion'. Sixth International Performance Studies Network Conference, University of Surrey, 30 June - 3 July 2022. [conference panel]
(2022). Volioti, G. 'Taking the Leap: Music Students’ Transitions into Professional Placement as a Route to Career Building'. Surrey ExciTes Conference, University of Surrey, 25 April 2022. [conference research paper]
(2022). Volioti, G. 'Roundtable: Early Recordings Research and Future directions'. Interpreting Early Recordings: Critical and Contextual Perspectives. University of Glasgow, 6 January 2022. [invited panel speaker]
(2021). Volioti, G. 'Roundtable'. Early Recordings: Impacts of a Transformative Technology, hosted online by Cardiff University and Bern University of the Arts, 21 July 2021. [invited panel chair]
(2020). Volioti, G. 'Learning with Recordings as Cultural Capability: Towards Developing Listening Pedagogies'. Bootleg Opera and Pirate Queens, Bern University of the Arts, 2-4 September 2020. [conference research paper]
(2019). Volioti, G. Early Recordings: Past Performing Practices in Contemporary Research, Pushkin House, London, 22 June 2019. [invited panel chair]
(2018). Volioti, G. 'Reflections on Classical Sound Recordings: Prospects and Challenges for Performance Studies'. The London International Piano Symposium. Royal Academy of Music, 27-29 October 2018. [invited keynote speaker]
(2018). Volioti, G. Performance Studies Network Fifth International Conference. Norwegian Academy of Music, Oslo, 5-8 July 2018. [conference research paper]
(2018). Volioti, G. Seeing and Hearing the Beyond: Art, Music, and Mysticism in the Long Nineteenth Century. Annual Conference of the Association of Art History. London, 5-7 April 2018. [conference research paper]
(2018). Volioti, G. & Williamon, A. 'Unlocking the Anxiety of Influence: What Performers' Discourses Reveal about Listening to Recordings'. The Listening Experience Database Project: Methodologies, Identities, Histories. The Open University, Milton Keynes, 6-7 March 2018. [conference research paper]
(2017). Volioti, G. ‘Narrativity in Grieg’s Ballade Revisited: The Nineteenth-Century Pianist as Orator’, Department of Music and Media, Music Research Seminar Series, University of Surrey, 11 October 2017. [research presentation]
(2017). Tenth Biennial International Conference on Music Since 1900 and Surrey Music Analysis Conference (ICMSN/SurreyMAC), University of Surrey, Guildford, 11-14 September 2017. [Member of conference reviewing committee and chair for panel sessions on 'Film & Music' (12 Sept. 2017), and 'Music & France' (14 Sept. 2017)]
(2015). Volioti, G. & Williamon, A. 'Listening to Recordings: Perspectives on Practitioners' Habits'. The Listening Experience Database Project, Listening to Music: People, Practices and Experiences, Royal College of Music, London, 24-25 October 2015. [conference research paper]
(2015). Volioti, G. 'Three Levels of Vocality in Grieg's Piano Recordings'. PERFORMA'15, International Conference on Musical Performance, University of Aveiro, Portugal, 11-13 June 2015. [conference research paper]
(2015). Volioti, G. 'Working with Piano Rolls: A Musicologist's Perspective', presented as part of my collaborative research seminar 'Rollin' On: Pianola Grooves Uncovered', Music Research Seminar Series, School of Arts, PATS Studio 1, University of Surrey, 25 February 2015. [Research presentation linked to public exhibition, 'The Player-Piano and Pianola', part of The Guildford International Music Festival 2015]
(2014). Volioti, G. 'Who Cares What You Listen: Musical Recordings as Cultural Products of Creativity', invited by Prof. Paul Sowden (Department of Psychology) and presented at the ILLUME Research Seminar Series, Faculty of Arts and Human Sciences, University of Surrey, 17 July 2014. [invited research presentation]
(2014). Volioti, G. Eighteenth Biennial Conference on Nineteenth-Century Music, University of Toronto, Canada, 18-20 June 2014. [conference research paper]
(2014). Volioti, G. 'Performing Memory and Nostalgia with Grieg's Historical Piano Recordings', Music Research Seminar Series, School of Arts, University of Surrey, 22 January 2014. [research presentation]
(2013). Volioti, G. ‘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). [conference research paper]
(2013). Volioti, G. 'Performing Norwegian National-Cultural Identity: Rhythmic Gesture as the Phenomenology of the Folk'. International Musicological Conference, The National Element in Music, University of Athens, Greece, 18-20 January 2013. [conference research paper]
(2011). Volioti, G. 'Between Tradition and Innovation - Whose Style Is It Anyway? An Empirical Investigation of the Performance Practice of Grieg's Slatter'. International Performance Studies Conference, PERFORMA'11, University of Aveiro, Portugal, 19-21 May 2011. [conference research paper]
Public engagement & knowledge exchange:
Conference organisation (and hosting at the University of Surrey):
(2022). Co-organiser/Committee member of the Sixth International Performance Studies Network Conference. University of Surrey, 30 June - 3 July 2022.
(2019). Lead director and main organiser of two-day International Research Forum New Takes on Recorded Music: Performance, Creativity, Technology, University of Surrey, 5-6 September 2019. Event supported by: The Music & Letters Trust (external funder), Performance Studies Network, and Department of Music & Media University of Surrey.
Keynote address:
(2018). 'Reflections on Classical Sound Recordings: Prospects and Challenges for Performance Studies'. The London International Piano Symposium, Royal Academy of Music, 27-29 October 2018.
Public exhibition:
(2015). 'The Player-Piano and Pianola'. A public exhibition hosted in association with The Guildford International Music Festival. The Lewis Elton Gallery, University of Surrey, 9-18 March 2015. Exhibition co-organised and co-presented by Dr. Georgia Volioti and Professor Clive Williamson, artefacts and instruments curated by Denis Hall and Rex Lawson. The world of the pianola and reproducing piano is a fascinating world full of riches which have scarcely been recognized by musicians, scholars or the general public. This exhibition brought closer to the public rare and unseen artefacts of early recording technologies, historical documents (e.g., concert reviews, archival photographic material of the recording process etc.) and the sound of the reproducing piano and pianola. The event was complemented by a research seminar (on 25th February 2015, PATS 1, 4-6 pm), titled Rollin’ On: Piano(la) Groves Uncovered, which examined how pianola and reproducing piano rolls can shed invaluable insight into the performance practices of renowned pianists including Rachmaninoff, Stravinsky, Debussy, and Grieg.
Public pre-performance talks:
(2018). Pre-performance talk for Glyndebourne on Tour 2018. Invited by Beatrice Carey, Glyndebourne Education Department. New Victoria Theatre, Woking, 20 November 2018.
(2014). 'Verdi's La Traviata: A Pre-Performance Talk of Tom Cairns' Production', by invitation of Glyndebourne's dramaturg Cori Ellison for Glyndebourne Tour 2014, New Victoria Theatre, Woking, 29 October 2014.