Past Projects
Balzan Research Project
Towards a global history of music aims to promote post-European historical thinking. The programme is not intended to create a global history by itself, but to explore, through assembled case studies, parameters and terminologies that are suitable to describe a history of many different voices..
Hearing Landscape Critically
Sound and music are intrinsic to our experience of the world in myriad ways: we orient ourselves acoustically as much as spatially. It is almost impossible to conceive of music and/or sound without invoking metaphors of space and/or place..
MusDig
Music, Digitization, Mediation: Towards Interdisciplinary Music Studies (MusDig) is a five-year research programme based in the Faculty of Music at Oxford University which examines the wide-ranging changes to music and musical practices afforded by digitization and digital media..
OPP
The Oxford–Princeton Partnership aims to encourage closer research collaborations on projects of mutual concern between colleagues in the two institutions..
Tudor Partbooks
This three-year project – a collaboration between the Universities of Oxford and Newcastle funded by the Arts and Humanities Research Council – will digitize all the extant manuscripts of Tudor polyphonic music from c.1510-1580 preserved in partbook format.
Staging History
The aim of the project is twofold: firstly, to explore the influence of historical events on the writing and staging of drama – musical drama in particular – in the late eighteenth and early nineteenth centuries; secondly, to investigate the interaction (or lack thereof) between the stages of London and New York, investigating the transfer of dramas, themes, and casts across the Atlantic.
CPCCM
‘Creative Practice in Contemporary Concert Music’ is a three year study at the University of Oxford; focusing on the creative practices that emerge in the collaborative work between composers and performers..
Delius, Modernism, and the Sound of Place
Frederick Delius is among the most powerfully evocative and inventive voices in early twentieth-century music. Critical appreciation of his achievement, however, has been stubbornly unforthcoming in the wider academic field..