The Musicology and Ethnomusicology Hub is directed by Adjunct Associate Professor Sally Macarthur, Dr Jula Szuster, and Adjunct Associate Professor Paul Watt, in conjunction with Professor Charles Bodman Rae, Mr Steven Knopoff and Dr Tsan-Huang Tsai.
Collectively, the team’s expertise ranges across time, place and cultures.
Adjunct Associate Professor Sally Macarthur
Sally Macarthur is Adjunct Associate Professor of Music at the University of Adelaide and at Western Sydney University.
Her research draws on Deleuzian, feminist and new materialist philosophies to investigate twentieth and twenty-first century music. She is the author of two books, Towards a Twenty-First-Century Feminist Politics of Music (Ashgate, 2010) and Feminist Aesthetics in Music (Greenwood Press, 2002), and co-editor of three books, Music’s Immanent Future: The Deleuzian Turn in Music Studies (Routledge 2016), (Inter)cultural Issues and Musical Contexts (AMC 2006), and Musics and Feminisms (AMC, 1999). Recent book chapters appear in Sound Changes (University of Michigan Press, 2021), The Difference that Identity Makes (Aboriginal Studies Press, 2019), Musical Encounters with Deleuze and Guattari (Bloomsbury, 2017) and Music’s Immanent Future (Routledge 2016), and recent articles appear in the Journal of Music Research Online, Musicology Australia, and the British Journal of Music Education.
She has written an entry on the Australian composer, Anne Boyd, for Grove Music Online and her research has been disseminated in The Conversation and published in professional journals, such as the Journal for the International Alliance for Women in Music, and Music Forum. Sally was one of five investigators on an international study of women in music led by Distinguished Professor Dawn Bennett. For many years Sally was the Director of Academic Program (Music and Music Therapy) at Western Sydney University. She is currently exploring the relationships between gender, marginality, and civility within institutional music settings.
Dr Julja Szuster
Julja Szuster is a musicologist and Visiting Research Fellow at the Elder Conservatorium, University of Adelaide. Her research interests include music in colonial Australia and 17thCentury Italian baroque music and she has published academic journal articles, book chapters and entries in The New Grove Dictionary of Music and Musicians and Die Musik in Geschichte und Gegenwart Online. She is a co-founder and managing editor of the Journal of Music Research Online published by the University of Adelaide, and co-editor of Owner-Bound Music Collections in Australia and New Zealand (forthcoming Lyrebird Press, Melbourne)
From 1973 until 1990 she held senior management positions in the Music Branch of the SA Department of Education, responsible for the instrumental teaching service in the state. In the years 1991 to 2007 Julja was a senior manager and responsible for policy development in the SA Government’s arts funding authority, Arts SA. From 2004 to 2010 she was a casual lecturer in the Arts and Cultural Management program at the University of SA.
Board and committee work has included the membership and then chair of the SA Selection Committee of the Fulbright Scholarships (1999-2004); board member of the ‘Come Out’ Festival for Young People (2008-2010); board member (2008-2011) and then deputy chair (2012-2015) of the Adelaide Youth Orchestra; and currently board member of Chamber Music Adelaide (since 2019), and board member (2018-2020) and now chair (since 2020) of the Adelaide Chamber Singers.
Julja’s membership of professional associations include president of the SA Chapter of the Musicological Society of Australia (1996 – 2009), and she is a life member of the Australian College of Educators (MACE).
As a performer Julja is an organist, choral conductor and singer.
Adjunct Associate Professor Paul Watt
Paul Watt is Professor of Musicology at the Australian Guild of Music, Melbourne and Adjunct Associate Professor of Music in the University of Adelaide. His research crosses a range of fields including nineteenth-century music, musical biography and criticism, popular music, intellectual history and religious and literary studies. He is the author of two books, Ernest Newman: A Critical Biography (2017) and The Regulation and Reform of Music Criticism in Nineteenth-Century England (2018). His articles have been published in a variety of journals including Music & Letters, the Royal Musical Association Research Chronicle, 19th-century Music and the Yale Journal of Music & Religion. He is co-editor of a number of books including The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century (with Sarah Collins and Michael Allis, 2020) and the award-winning book, Joseph Holbrooke: Composer, Critic and Musical Patriot (with Anne-Marie Forbes, 2017).
Paul’s research has been funded by fellowships from the Australian Research Council (Discovery Early Career Research Award, 2012–2015), and the European Commission’s Senior Fellowship Program (2016), which was undertaken in the Institute of Advanced Study at Durham University. Paul has also held visiting fellowships in the Institute of Music Research, University of London (2009), the Humanities Research Centre, University of Texas, Austin (2010), the Centre for Nineteenth-Century Studies, Durham University (2017), and the Humanities Research Centre, Australian National University (2021).
In addition to work in the university sector, Paul is Director of the Street Music Research Unit. The Unit is affiliated with The Busking Project, a non-profit organisation in Berlin, that promotes busking and street performance around the world. Paul also serves on the editorial boards of Journal of Music Research Online, Musicology Australia, Global Nineteenth-Century Studies, the RMA Research Chronicle and ‘Studies in British Musical Cultures’, a book series published by Clemson University Press. He chairs the publications committee of the Centre for Nineteenth-Century Studies International, and is Portfolio Manager for Science and Technology journals at Taylor & Francis, Melbourne.
The Hub is supported by an International Advisory Board who help shape our projects and facilitate opportunities for research collaboration.
Dr Elizabeth Wood (Chair), Independent Scholar. New York
Elizabeth Wood was educated at the University of Adelaide (BA Hons., PhD., musicology) and has lived in New York since 1977. She has taught graduate and undergraduate courses in New York in music history, literature, feminist history and theory, women’s studies, nonfiction writing about music and sound, and LGBTQ+ studies.
She has presented public lectures and conference papers at universities internationally. Her work includes a novel, the first history of Australian opera and a series of critical studies of Ethel Smyth. A Fulbright Scholar and National Endowment for the Humanities (USA) Fellow, she received the Tormore prize (Adelaide) and Philip Brett Award (AMS) for her essays, and a New York State Council on the Arts award for her journalism in regional arts.
She was co-editor with Philip Brett and Gary Thomas of the path-breaking collection Queering the Pitch: The New Gay and Lesbian Musicology (1994) and co-author with Brett of the controversial article on lesbian and gay music in Grove’s The New Dictionary of Music and Musicians. Having also worked in radio and newsprint journalism, schools and adult education, she is interested in the ways freelance musicians and music scholars can make accomplished and fulfilling careers outside the academy.
Associate Professor Clint Bracknell, Kurongkurl Katitjin, Edith Cowan University
Professor Michael Burden, New College, Oxford
Michael Burden, FAHA, is Professor of Opera Studies at Oxford University; he is also Dean and Fellow in Music at New College. His published research is on the music of Henry Purcell, and on aspects of dance and theatre in the seventeenth, eighteenth, and nineteenth centuries. Publications include a collection of opera documents, the five-volumed London Opera Observed 1711-1843, a study of the London years of the soprano Regina Mingotti, and a jointly edited volume, Staging History 1740-1840. He and Jennifer Thorp have worked on three volumes: Le Ballet de la Nuit: Rothschild B1/16/6, The Works of Monsieur Noverre translated from the French, and With a grace not to be captured: Representing the Georgian theatrical dancer, 1760-1830.
Among his recent articles are those on the Opera House activities of the artists Biagio Rebecca and Henry Tresham, and on the development of the London Italian operatic canon. His on-going research project is the online calendar, The London Stage 1800-1844, https://londonstage.bodleian.ox.ac.uk. He has served on numerous academic and editorial boards, and was for three years President of the British Society for Eighteenth Century Studies.
His interests outside music are detective fiction, art, and architecture; his first book was Lost Adelaide: A Photographic Record.
Professor David R. M. Irving, Catalan Institution for Research and Advanced Studies (ICREA)
David R. M. Irving is an ICREA Research Professor at the Institució Milà i Fontanals de Recerca en Humanitats–CSIC, Barcelona. His research focuses on the role of music in early modern intercultural exchange, especially in the Asia-Pacific region. He is the author of Colonial Counterpoint: Music in Early Modern Manila (Oxford, 2010), co-editor of Eighteenth-Century Music, and co-general editor of the six-volume series A Cultural History of Western Music, forthcoming from Bloomsbury (2023). He received the Jerome Roche Prize from the Royal Musical Association in 2010 and the McCredie Musicological Award from the Australian Academy of the Humanities in 2015.
Professor Judith Lochhead, Stony Brook University
Judith Lochhead is a music theorist and musicologist whose work focuses on recent musical practices of primarily North America and Europe. Lochhead has articles appearing in such English-language journals as Music Theory Spectrum, the Journal of the American Musicological Society, Music Theory Online, Theory and Practice, In Theory Only, Perspectives of New Music, Intégral, Indiana Theory Review, and others. Lochhead also has articles in several edited collections, including in The Oxford Handbook on Spectral Music and The Oxford Handbook of Sound and Imagination. Book-length publications include Reconceiving Structure: New Tools in Music Theory and Analysis (Routledge, 2015); Music’s Immanent Future: Beyond Past and Present, co-edited with Sally Macarthur and Jennifer Shaw (Ashgate 2016); Sound and Affect: Sound, Music, World, edited by Judith Lochhead, Eduardo Mendieta, and Stephen Decatur Smith (University of Chicago Press 2021); and Postmodern Music/Postmodern Thought, co-edited by Judith Lochhead and Joseph Auner (Routledge 2001).
Lochhead’s current projects include: ‘Émilie du Châtelet, Kaija Saariaho and Heroes of the 21st Century’, The Heroic in Music from Medieval Times to the Present Day; ‘Timbre’s Realities: A Phenomenological Study of Liza Lim’s Extinction Events and Dawn Chorus’, forthcoming in the Oxford Handbook of the Phenomenology of Music , eds, Steege, Wiskus, De Souza (Oxford); ‘Situational Multiplicities: A Queering analysis of Chaya Czernowin’s Anea Crystal’ to appear in Queering Music Theory, ed. Lee (Oxford).
Professor Susan McClary, Case Western Reserve University
Susan McClary (B Mus, SIU; PhD, Harvard) is Fynette H. Kulas Professor of Music at Case Western Reserve University; she has also held professorships at the University of Minnesota, McGill University, UCLA, and University of Oslo. Her research focuses on the cultural analysis of music, both the European canon and contemporary popular genres. In contrast with an aesthetic tradition that treats music as ineffable and transcendent, her work engages with the signifying dimensions of musical procedures and deals with this elusive medium as a set of social practices. Best known for her book Feminine Endings: Music, Gender, and Sexuality (1991), she is also author of Georges Bizet: Carmen (1992), Conventional Wisdom: The Content of Musical Form (Bloch Lectures, 2000), Modal Subjectivities: Renaissance Self-Fashioning in the Italian Madrigal (2004), Reading Music: Selected Essays (2007), Desire and Pleasure in Seventeenth-Century Music (2012), The Passions of Peter Sellars: Staging the Music (2019), co-editor of Music and Society: The Politics of Composition, Performance and Reception (1987), and editor of Structures of Feeling in Seventeenth-Century Expressive Culture (2012). Her work has been translated into at least twenty languages, and she has advised more than fifty dissertations. McClary received a MacArthur Foundation ‘Genius’ Fellowship in 1995.
Associate Professor Emily Wilbourne, City University of New York
Associate Professor Emily Wilbourne
Emily Wilbourne is Associate Professor of Musicology at Queens College, in the City University of New York, and at the CUNY Graduate Center. From 2017–2021 she was Editor-in-Chief of Women & Music: A Journal of Gender and Culture, and she currently serves on the editorial board of the Journal of the American Musicology Society. Her first book, Seventeenth-Century Opera and the Sound of the Commedia dell’Arte, was published in 2016 by the University of Chicago Press, and a collection of essays, co-edited with Suzanne G. Cusick, Acoustemologies in Contact: Sounding Subjects and Modes of Listening in Early Modernity, was published by Open Book Press in Cambridge in early 2021; the collection is available free of charge via open access. Dr. Wilbourne’s articles have appeared in the Journal of the American Musicological Society, Women & Music, Recercare, Teatro e storia, Italian Studies, Echo, and Workplace, as well as in several Oxford Handbooks. In 2011, Dr. Wilbourne was awarded the Philip Brett Award for excellence in queer music scholarship for her article, ‘Amor nello specchio (1622): Mirroring, Masturbation, and Same-Sex Love’; in 2017–18, she was the Francesco De Dombrowski Fellowship at the Harvard University Center for Renaissance Studies at Villa I Tatti in Florence. Dr. Wilbourne is in the final stages of a second monograph, Opera’s Others: Race, Voice, and Slavery in Seventeenth-Century Florence, under contract with Oxford University Press.