|Degrees||MusB, GRNCM (Manchester), M.St. (Oxon)|
|Course||DPhil in Music|
- Electronic Dance Music (EDM) since 2010
- Music and the Internet
- Ways of moving to music
- The crossmodal perception of timbre
- Aesthetics & Critical Theory
– Research Activities –
(forth.). Touching Sounds: Re-examining Audiotactile Affect with reference to ‘ASMRtistry’ and Musical Production Practices. In Dack, J., Spinks, T., & Stanovic, A. (Eds.), Music and Sound Art: Composition, Performance, Philosophy. Newcastle: Cambridge Scholars Publishing.
(2017). Re-orientating Spectromorphology and Space-form through a Hybrid Acoustemology. Organised Sound, 22(3), 324-335. doi:10.1017/S1355771817000486
John Lowell Osgood Memorial Prize Essay
Light and Shade: Re-examining the aesthetics of the sublime and the beautiful with reference to the third movement of Beethoven’s Ninth Symphony. [Submitted 19.9.16; prize awarded 29.3.17].
(forth.). On Trolling Sounds and Musical Emojis: An Exercise in Web-Based Acoustemology. 55th Annual Conference of the Royal Musical Association. Manchester: University of Manchester and Royal Northern College of Music.
(2018). Beyond Intoxication: On Sobering Experiences of Electronic Dance Music. AMS/SMT San Antonio 2018: Music & Philosophy Study Group Session. San Antonio, TX: Grand Hyatt Hotel.
(2017). When Play Becomes Political: An Acoustemology of Major League Gaming Montage Parodies (MLGMPs). Ludo2017: Sixth Annual Conference on Video Game Music and Sound. Bath: Bath Spa University.
(2016b). Towards an Acousmatic Acoustemology: Spectromorphology and Space-form meet Ecosemiotics in the case of Hybrid’s Finished Symphony. MuSA2016: Seventh International Symposium on Music and Sonic Art. Karlsruhe: IMWI / Hochschule für Musik.
(2016a). ‘Come Meditate on Bass Weight’: UK dubstep, the rhetoric of affect and the rise of the grotesque. Musedelica: First Symposium on Psychedelic Music and Related Areas. Brighton: University of Sussex.
(2018). Music and the Internet: A Joint Study Day of the RMA and BFE. Oxford: Faculty of Music. [co-organiser with Pablo Infante-Amate. Website: https://musicinternetoxford.wordpress.com/]
Area of proposed thesis
‘The Drop and its Discontents: An Investigation of Bass Music’
My thesis focuses on Electronic Dance Music (EDM) since 2010, specifically the ‘bass music’ genres of dubstep and trap. The project aims to investigate the sound of bass music and the sound of its online/offline consumption, focusing especially on what it is like – and what it means – to experience ‘the drop’ in various situations. Part I of the thesis examines the role of the drop in the Midwestern United States festival setting through fieldwork and digital ethnography. Part II investigates the drop as a tool for trolling with reference to Scary Monsters And Nice Sprites by Skrillex (2010) and YouTube videos uploaded during ‘The Great Meme War’ (2015-2016) featuring Donald Trump and Hillary Clinton. Part III discusses the drop and debased dancing, focusing on the Harlem Shake viral meme of 2013 and the animation dancing of Marquese Scott. The thesis problematizes longstanding priorities that have shaped EDM scholarship since the early 1990s and argues that the drop enables us to listen to the contradictions of the digital age.
Undergraduate Tutorial Teaching
Scenes & Subcultures (FHS): Merton
Global Hip-Hop (Prelims): St Peter’s, Worcester
History of Electronic Music (FHS): Merton, Univ, Worcester
Undergraduate Seminar Teaching
Critical Listening (Prelims)
Oxford International Programme
Popular Music, Youth Culture, Media & Communication