Research interests in 18th- and early 19th-century music, keyboard music 1500–1830, performance practice, social history of English music, and the study of women composers.
Co-Editor, with Aisling Kenny of Women and the Nineteenth-Century Lied (Ashgate, 2015, Available Online); Author of Schubert’s Fingerprints: Studies in the Instrumental Works (Ashgate, November 2011); available online. Author of Music at Oxford in the Eighteenth and Nineteenth Centuries (OUP, 2001); co-editor, with Simon McVeigh, of Concert Life in Eighteenth-Century Britain (Ashgate, 2004 available online), and, with Therese Ellsworth, of The Piano in Nineteenth-Century British Culture: Instruments, Performers and Repertoire (Ashgate, 2007, also available online). Editor and contributor, ‘Fanny Hensel (née Mendelssohn Bartholdy) and her Circle’ (Proceedings of the Bicentenary Conference, Oxford, July 2005) in: Nineteenth-Century Music Review, 4/2 (2007).
Amongst her other recent publications is ‘Music for Connoisseurs and Amateurs: C.P.E. Bach and the Keyboard’, in Interpreting Historical Keyboard Music: Sources, Contexts and Performance, ed. Andrew Woolley and John Kitchen (Farnham: Ashgate, 2013), pp. 193 –207.
Her song cycle The Survivor was premiered at St John’s, Smith Square in March 2005, with Kathryn Whitney (mezzo-soprano).
Her song-cycle Alles auf der Welt ist Wandel was premiered in Oxford in March 2006 (Part 1) and February 2007 (Part 2), with Kathryn Whitney; and her set of variations for piano solo entitled für Fanny Hensel was first performed complete in February 2008.
She was recently Honorary Vice-President of the Royal Musical Association and continues to serve on its Publications Committee. She also serves on the advisory board of the journal Nineteenth-Century Music Review.
Lady Margaret Hall