
Dr Georgia Volioti
About
Biography
Qualifications and background:
I am a Senior Lecturer in Music and the Programme Director for the Masters in Music at Surrey. I am a graduate of Imperial College, London (First-class BSc Hons and Associate of the Royal College of Science) and a graduate of Royal Holloway, University of London (Masters in Music with Distinction, specialism Advanced Performance Pathway, and PhD in Music, fully funded by an AHRC scholarship). Following completion of my PhD, I was affiliated with the Faculty of Music, University of Cambridge, where I supervised undergraduate BA Music Tripos courses in: Performance Studies; Music and Science; Aesthetics and Final-Year Dissertation. I was also a Visiting Lecturer at Royal Holloway, University of London, where I taught on the BMus and MMus pathways. 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.
Research interests and activities:
I have interdisciplinary research interests that sit across music performance studies (and musicology), performance psychology and music education. My work combines qualitative and quantitative research methods, analytical and ethnographic approaches and historical archival research to investigate expressive, creative, technical, evaluative and aesthetic aspects of music performance and performers’ behaviours and experiences across a range of contexts. My research interests include:
- Music Performance Studies: performance practice (especially piano repertoire and 19th-century music); performance historiography; cultural memory and identity in performance; the media and materiality of recording technologies; cultural imaginaries of sound-reproduction technologies; nostalgia and sound; cultural responses to the legacy of recordings; classical music recording practices; landscape and music; visual culture and music; the music of Edvard Grieg; analysis and modelling of expressive performance parameters (research methods include principal component analysis, self-organising maps, clustering, and correlation statistics).
- Music Psychology: expressive gesture in performance; listening practices; ecologies of listening; musical development, self-regulated learning and self-efficacy; classical musicians' self-regulation in the studio; musical creativities; originality and value in performance; evaluation of music performance.
- Music Education: listening pedagogies; recording studio pedagogies; technology, gender and music education; transitions in higher music education; inclusion in higher music education; music careers and employability in HE.
My research is published in leading peer-reviewed music and music scientific journals in my field, including The Musical Quarterly, Music and Letters, The Journal of Musicological Research, Music Performance Research, Musicae Scientiae, Research Studies in Music Education and Performance Research among others. Book chapters have been published in edited volumes by Routledge (Taylor & Francis). I am frequently invited to act as peer reviewer of performance scholarship for prestigious academic journals including: Frontiers in Psychology (Performance Science section); Empirical Musicology Review; Journal of New Music Research; Music and Letters; Acta Musicologica; Research Studies in Music Education; Psychology of Music; Nineteenth-Century Music Review; and Musicae Scientiae.
My recent book (as lead editor) Recorded Music in Creative Practices: Mediation, Performance, Education is published in the Routledge series SEMPRE Studies in the Psychology of Music. I have just co-edited, with equal contribution to the project, a special issue of Performance Research (Routledge, Taylor & Francis) titled ‘On Music’ (forthcoming October 2025), which evaluates the current state of music performance studies and its relation to other disciplines. My research is presented at major national and international conferences on music performance, including at the International Symposium on Performance Science and the Performance Studies Network International Conferences among others.
I have served on the review committees of a number of International Conferences and Symposia on Music (see ‘Professional Activities’, under Research). I have organised and hosted three international conferences on music performance at the University of Surrey; most recently in collaboration with Professor Sue Miller (Leeds Beckett University) Broadening Music Performance: New Approaches and Possibilities for Higher Music Education. Previous conferences I have co-organised/co-hosted at Surrey include the 6th International Performance Studies Network Conference (2022) and New Takes on Recorded Music: Performance, Creativity, Technology (2019).
Public engagement and knowledge exchange:
As a researcher and public speaker, I engage with stakeholders in the music industry, creative practitioners and the wider public as well as with academic audiences. Among my activities and outputs of knowledge exchange are the following: public pre-performance talks for Glyndebourne opera company; the co-curation of a public exhibition as part of the Guildford International Music Festival; a keynote address at the London International Piano Symposium (Royal Academy of Music); writing on contemporary issues in Arts and Culture for The Conversation; and giving public research seminars (for a full list of outputs and activities, see under Publications).
I am a representative for Music and Media (University of Surrey) for Music Mark (formerly Music HE), which promotes the value of music education. I have professional membership with a number of key organisations and bodies that advocate for the continued enhancement of music in higher education and the value of music in society at large, including: Society for Music Education and Psychology Research (SEMPRE); the Royal Musical Association (RMA); Performance Studies Network; Healthy Conservatoires UK; Equality, Diversity and Inclusion in Music Studies (EDIMS).
Teaching and supervision:
My research-led areas of undergraduate and postgraduate teaching and doctoral supervision encompass a wide range of topics, primarily centred on the cross-disciplinary synergies between music performance studies, performance psychology and music education.
I am an accredited Associate Fellow of Advance HE (formerly Higher Education Academy) and I have a Licentiate Diploma in piano performance from the Guildhall School of Music & Drama, London (LGSMD(P)).
I have been recipient of a Faculty of Arts and Social Sciences Teaching Innovation Award and I have presented my pedagogical research at the Surrey ExciTes Conference Series.
Leadership and management roles within Music and Media:
Current:
- MMus Programme Director (2024 - ongoing)
- Director of Careers & Employability for Music (2021 - ongoing).
- Open Research Champion for Music and Media (2023 - ongoing).
Previous:
- BMus Programme Director.
- Departmental Disability & Neurodiversity Liaison Officer.
- Admissions Officer for Music BMus.
Areas of specialism
Affiliations and memberships
Advance HE – 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.
MusicHE/Music Mark - representative for University of Surrey Music and Media.
Royal Musical Association - registered member.
News
In the media
ResearchResearch interests
My research interests are in music performance studies, music psychology and music education. Drawing from empirical methodologies (quantitative and qualitative research methods), psychology, sociology and (cultural-historical) musicological study, my research investigates both technical and expressive dimensions of performance (mainly western 'art' music), listeners' aesthetic responses and evaluations of performance, creativity in performance, musicians' learning behaviour (self-regulation and self-efficacy) and, more broadly, the role of culture in shaping music practices. My areas of research include:
Music Performance Studies:
- musicology of performance;
- performance practices (especially piano repertoire and 19th-century music);
- performance historiography;
- cultural memory and identity in performance;
- the media and materiality of recording technologies; historical recordings;
- cultural imaginaries of sound-reproduction technologies; nostalgia and sound;
- cultural responses to the legacy of recordings;
- classical music recording practices;
- the music of Edvard Grieg;
- landscape and music;
- visual culture and music;
- computational analysis and modelling of expressive performance parameters (research methods include principal component analysis, self-organising maps, clustering, and correlation statistics).
Music Psychology:
- listening practices; ecologies of listening;
- expressive gesture in performance; computational analysis and modelling of expressive performance parameters;
- musical development; self-regulated learning and self-efficacy;
- classical musicians' self-regulation in the recording studio;
- musical creativities; originality and value in performance;
- evaluation of musical performance.
Music Education:
- listening pedagogies; recording studio pedagogies; self-regulation in the recording studio;
- technology, gender and music education;
- health and EDI practices in the recording studio;
- transitions in higher music education; inclusion in higher music education;
- music careers and employability in HE.
Professional & research affiliations:
- Society for Education, Music and Psychology Research (SEMPRE) - registered member.
- Advance HE - 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.
- Music HE/Music Mark - representative for University of Surrey Music and Media.
- Royal Musical Association - registered member.
Professional (peer-review) activity:
Academic journals & research grant reviewer:
I have acted as reviewer for the journals:
- Frontiers in Psychology - Performance Science section (Open Access Journal, ISSN: 1664-1078) - open peer review
- Empirical Musicology Review (Ohio State University, ISSN: 1559-5749) - open peer review
- Journal of New Music Research (Taylor & Francis Journals) - registered on Web of Science
- Research Studies in Music Education (SAGE/SEMPRE Journals) - registered on Web of Science
- Music & Letters (Oxford University Press)
- Acta Musicologica (Journal of the International Musicological Society, e-ISSN: 2296-4339)
I have reviewed academic books and classical music CDs (and published peer-reviewed review articles) in the journals:
- Psychology of Music (SAGE/SEMRE Journals)
- Musicae Scientiae (ESCOM/SAGE Journals)
- Nineteenth-Century Music Review (Cambridge University Press)
I have acted as research grant reviewer for The Swiss National Science Foundation.
International conference committees and reviewing panels:
- Member of conference review committee and co-organiser of Broadening Music Performance: New Approaches and Possibilities for Higher Music Education (26-27 June 2025, University of Surrey).
- Member of conference committee and co-organiser (one of three) for the Performance Studies Network 2022 International Conference (30 June - 3 July 2022, University of Surrey).
- 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).
- Lead organiser and committee member 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 are in music performance studies, music psychology and music education. Drawing from empirical methodologies (quantitative and qualitative research methods), psychology, sociology and (cultural-historical) musicological study, my research investigates both technical and expressive dimensions of performance (mainly western 'art' music), listeners' aesthetic responses and evaluations of performance, creativity in performance, musicians' learning behaviour (self-regulation and self-efficacy) and, more broadly, the role of culture in shaping music practices. My areas of research include:
Music Performance Studies:
- musicology of performance;
- performance practices (especially piano repertoire and 19th-century music);
- performance historiography;
- cultural memory and identity in performance;
- the media and materiality of recording technologies; historical recordings;
- cultural imaginaries of sound-reproduction technologies; nostalgia and sound;
- cultural responses to the legacy of recordings;
- classical music recording practices;
- the music of Edvard Grieg;
- landscape and music;
- visual culture and music;
- computational analysis and modelling of expressive performance parameters (research methods include principal component analysis, self-organising maps, clustering, and correlation statistics).
Music Psychology:
- listening practices; ecologies of listening;
- expressive gesture in performance; computational analysis and modelling of expressive performance parameters;
- musical development; self-regulated learning and self-efficacy;
- classical musicians' self-regulation in the recording studio;
- musical creativities; originality and value in performance;
- evaluation of musical performance.
Music Education:
- listening pedagogies; recording studio pedagogies; self-regulation in the recording studio;
- technology, gender and music education;
- health and EDI practices in the recording studio;
- transitions in higher music education; inclusion in higher music education;
- music careers and employability in HE.
Professional & research affiliations:
- Society for Education, Music and Psychology Research (SEMPRE) - registered member.
- Advance HE - 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.
- Music HE/Music Mark - representative for University of Surrey Music and Media.
- Royal Musical Association - registered member.
Professional (peer-review) activity:
Academic journals & research grant reviewer:
I have acted as reviewer for the journals:
- Frontiers in Psychology - Performance Science section (Open Access Journal, ISSN: 1664-1078) - open peer review
- Empirical Musicology Review (Ohio State University, ISSN: 1559-5749) - open peer review
- Journal of New Music Research (Taylor & Francis Journals) - registered on Web of Science
- Research Studies in Music Education (SAGE/SEMPRE Journals) - registered on Web of Science
- Music & Letters (Oxford University Press)
- Acta Musicologica (Journal of the International Musicological Society, e-ISSN: 2296-4339)
I have reviewed academic books and classical music CDs (and published peer-reviewed review articles) in the journals:
- Psychology of Music (SAGE/SEMRE Journals)
- Musicae Scientiae (ESCOM/SAGE Journals)
- Nineteenth-Century Music Review (Cambridge University Press)
I have acted as research grant reviewer for The Swiss National Science Foundation.
International conference committees and reviewing panels:
- Member of conference review committee and co-organiser of Broadening Music Performance: New Approaches and Possibilities for Higher Music Education (26-27 June 2025, University of Surrey).
- Member of conference committee and co-organiser (one of three) for the Performance Studies Network 2022 International Conference (30 June - 3 July 2022, University of Surrey).
- 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).
- Lead organiser and committee member 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 (qualitative and quantitative) research methods to pursue doctoral research in the areas of my expertise (see under Research). Co-supervision with academic partners from other disciplines (e.g. psychology or education) is also possible. For information about applying, see Music PhD and Doctoral College | University of Surrey.
My areas of research for PhD supervision include:
- Music performance studies
- Performance psychology
- Music education
Teaching
Postgraduate teaching (Music MMus):
- MMus Research Training A (MUSM078) - convener & main lecturer.
Undergraduate teaching (Music BMus):
- Studying Music as Performance - Topic Study2B/3B/B (MUS2062, MUS3082, MUSM073) - convener & main lecturer.
- Opera studies - Topic Study 2B/3B/B (MUS2062, MUS3082, MUSM073) - convener & main lecturer.
- Music Project 1B, 2B, 3B, B - convener & main lecturer (various topics on Music Performance; Purcell's Dido and Aeneas).
- Encountering Music History (MUS1031) - convener & contributor (various topics on Performing through History).
- Nineteenth-Century Music (MUS2057) - contributing lecturer (topics on Romantic Lied, the 19th-century piano ballade, the piano concerto, and Italian 19th-century opera, works by Rossini, Donizetti and Verdi).
Past modules taught:
UG/BMus
- Individual Project (MUS3078) - convener/supervisor.
- Arts Policy & Practice (MUS2033) - convener/supervisor.
- 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.
Publications
(2025, forthcoming). Volioti, G. 'A Lament for the Earth: Performing Loneliness and Liminality with Annie Lennox's "Dido"', in T. Armstrong, G. Volioti and C. Wiley (eds.), 'On Music', Performance Research (Taylor & Francis) - [Accepted].
(2025, forthcoming). Armstrong, T., Volioti, G. and Wiley, C. (Eds.). C. 'On Music'. Edited Issue of Performance Research (Taylor & Francis) - [Accepted].
(2025, forthcoming). Armstrong, T., Volioti, G. and Wiley, C. 'Editorial: Introduction', in T. Armstrong, G. Volioti and C. Wiley (eds.), 'On Music', Performance Research (Taylor & Francis) - [Accepted].
(2024). Volioti, G. and Barolsky, D. Recorded Music in Creative Practices: Mediation, Performance, Education. London & New York: Routledge. SEMPRE Studies in the Psychology of Music. ISBN 9781032040608 DOI: 10.4324/9781003190004
(2024). Volioti, G. 'Introduction: New Approaches to Integrating the Study and Practice of Recording in Higher Music Education', in Volioti, G. and Barolsky, D. (eds.), Recorded Music in Creative Practices: Mediation, Performance, Education. London & New York Routledge. SEMPRE Studies in the Psychology of Music. DOI: 10.4324/9781003190004-1
(2024). Volioti, G. and Williamon, A. 'Nurturing the Musical Imagination: Listening to Recordings for Self-regulated and Creative Learning', in Volioti, G. and Barolsky, D. (eds.), Recorded Music in Creative Practices: Mediation, Performance, Education. London & New York: Routledge. SEMPRE Studies in the Psychology of Music. DOI: 10.4324/9781003190004-13
(2024). Volioti, G. 'Does UK Opera have a Future to Sing About?' The Conversation, Arts and Culture, published online 10 July 2024. https://theconversation.com/does-uk-opera-have-a-future-to-sing-about-231205
(2024). Volioti, G., Waddell, G. and Williamon, A. 'Expert Listeners' Evaluation of Originality and Quality of Commercial Classical Piano Recordings'. In Kempf, A., Parncutt, R., Martínez, I. C., Pérez, J. B., Glasser, S., Osborne, M., Daffern, H., Waddington-Jones, C., O’Neill, K. and Schiavio, A. (eds.), GAPS2 - Global Arts and Psychology Seminar "Creativity in music and the arts": Book of Abstracts (pp. 124-126). University of Graz, 2024. http://dx.doi.org/10.25364/554.2024.1.
(2023). Volioti, G. Liner Notes. Grieg: Lyric Pieces. Daniel Gortler (piano). Prospero Classical (1 CD: 64.20 minutes), pp. 7-12. Martin Korn Music Production.
(2023). 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 (pp. 202-224). Routledge. eBook: ISBN 9781003194521 DOI:10.4324/9781003194521-14
(2021). Volioti, G. and 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):
(2025). Volioti, G. 'Evaluating Originality in Classical Performance: An Exploratory Investigation with Implications for Performers' Training'. (Abstract) Royal Holloway, University of London, Music Department Research Seminar Series, 25 March 2025. [invited research seminar]
(2023). Volioti, G., Waddell, G. and Williamon, A. 'Exploring Expert Listeners' Evaluation of Originality and Quality of Commercial Classical Piano Recordings'. GAPS2 - Global Arts and Psychology Seminar "Creativity in Music and the Arts", York, Graz, La Plata and Melbourne, 14-16 September 2023. [conference research paper]
(2023). Volioti, G., Waddell, G. and Williamon, A. 'Exploring Expert Listeners' Evaluation of Originality and Quality of Commercial Classical Piano Recordings'. International Symposium on Performance Science (ISPS 2023), Medical University of Warsaw, Poland, 17-20 August 2023. [conference research paper]
(2023). Volioti, G. 'In Conversation with Artist in Residence Dr Anna Scott on Performing Recordings: Recording Performances', Institute of Advanced Studies, University of Surrey, 3 March 2023 (YouTube video, conversation starts @ 1:08:46) [public live-streamed seminar].
(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, by invitation]
(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 speaker]
(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 and speaker]
(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. [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. and 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 seminar]
(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 committee and panel chair for sessions on 'Film & Music' (12 Sept. 2017), and 'Music & France' (14 Sept. 2017)]
(2015). Volioti, G. and 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 seminar]
(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:
Conferences organised and hosted at the University of Surrey:
(2025). Co-organiser and conference review committee member of Broadening Music Performance: New Approaches and Possibilities for Higher Music Education. University of Surrey, 26-27 June 2025.
(2022). Co-organiser (one of three) and review committee member of the Sixth International Performance Studies Network Conference. University of Surrey, 30 June - 3 July 2022.
(2019). Lead organiser and committee member 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 2015. 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. This exhibition brought to the public the sound of the reproducing piano and pianola alongside rare and unseen artefacts of early recording technologies (e.g., concert reviews and archival photographic material of the recording process). 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 light into the performance practices of renowned historical 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.