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Doctoral Dissertation 

• ‘Re-writing Composers’ Lives: Critical Historiography and Musical Biography’, 2 Vols. (PhD diss., Royal Holloway, University of London, 2008). pp. vii, 396; ii, 203. Available online via .

Books 

• The Routledge Companion to Music, Autoethnography, and Reflexivity (co-edited with Peter Gouzouasis). Abingdon: Routledge, 2025. pp. xviii, 388. ISBN 978-0-367-35147-2 (hardback), 978-0-429-33004-9 (e-book). With chapters by Alice Barron, Benjamin Bolden, Sarah Callis and Neil Heyde, Rod Davies, Benjamin Davis, Monica Esslin-Peard, Iain Findlay-Walsh, Barbara Gentili, Peter Gouzouasis, Charissa Granger, Verica Grmusa, Ros Hawley, David Lines, Christopher Leedham and Martin Scheuregger, Jean Penny, Simon E. Poole, Bartosz Szafranski, Christopher Wiley, Bede Williams, Matthew Yanko, and Zane Zalis. 
• Women’s Suffrage in Word, Image, Music, Stage and Screen: The Making of a Movement (co-edited with Lucy Ella Rose). London: Routledge, 2021. pp. xxxv, 288. ISBN 978-0-367-36198-3 (hardback), 978-1-032-02492-9 (paperback). With chapters by Anne Anderson, Kathy Atherton, V. Irene Cockroft, Elizabeth Crawford, Brigitte Caroline Dale, Kristin M. Franseen, Amy Galvin, Marleen Hoffmann, Eleanor March, Gursimran Oberoi, Naomi Paxton, Sarah Pedersen, June Purvis, Lucy Ella Rose, Christopher Wiley, and Marion Wynne-Davies. 
• Transnational Perspectives on Artists’ Lives (co-edited with Marleen Rensen). Cham, Switzerland: Palgrave Macmillan, 2020. pp. xv, 276. ISBN 978-3-030-45200-1, 978-3-030-45200-1 (eBook). With chapters by Sander Bax, Suzanne Bode, Tamar Hager, Maximiliano Jiménez, Jane McVeigh, Anna Menyhért, Manet van Montfrans, Samantha Niederman, Suze van der Poll, Josiane Ranguin, Maria Razumovskaya, Marleen Rensen, Marc Röntsch, Maryam Thirriard, and Christopher Wiley. 
• Researching and Writing on Contemporary Art and Artists: Challenges, Practices, and Complexities (co-edited with Ian Pace). Cham, Switzerland: Palgrave Macmillan, 2020. pp. xvi, 281. ISBN 978-3-030-39232-1, 978-3-030-39233-8 (eBook). With chapters by Joel Baldwin, Richard Birchall, Jill Brown, Miriam Cabell and Phoebe Stubbs, Vered Engelhard, Christopher Leedham and Martin Scheuregger, Ian Pace, Andy W. Smith, Joanne ‘Bob’ Whalley, Christopher Wiley, Annie Yim, and Lorraine York. 

Journal Special Issues (Guest-edited)

• ‘On Music’ (co-edited with Tom Armstrong and Georgia Volioti), Performance Research: A Journal of the Performing Arts, Vol. 29, No. 6 (2025). ISSN 1352-8165 (print), 1469-9990 (online). With articles by Jack Adler-McKean, Tom Armstrong and Madeleine Shapiro, Karen Burland and Emily Payne, Jennifer Daniel, Inge Engelbrecht, Colin Frank, Anthony Gritten, Alexandra Huang-Kokina, Matthew Paul Mazanek, Murphy McCaleb, Eva Moreda Rodriguez, Ivan Mouraviev, Federica Nardella, Joshua Neumann, Tanja Orning, Jonathan Packham, Michael Holland and Maddy Parkins-Craig, Maria Sappho, Georgia Volioti, and Christopher Wiley. 
• ‘Musical Biography: Myth, Ideology, and Narrative’ (co-edited with Paul Watt), Journal of Musicological Research, Vol. 38, Nos. 3–4 (2019). ISSN 0141-1896. With articles by Kirsty Asmussen, Anna Maria Barry, Joanne Cormac, Uri Golomb and Ronit Seter, Markéta Kratochvílová, Emily MacGregor, Richard Parfitt, Paul Watt, and Christopher Wiley. 

Articles in Refereed Journals 

• ‘Rediscovered Music, Undiscoverable Interpretation: A Case Study of Ethel Smyth’s “Aus der Jugendzeit!! E. v. H.”’, Performance Research: A Journal of the Performing Arts, Vol. 29, No. 6 (2025), pp. 32–9. doi: .
• ‘Exploring the integration of teaching and research in the contemporary classroom: An autoethnographic enquiry into designing an undergraduate music module on Adele’s 25&�Բ�����;�������ܳ�’,&�Բ�����;Arts & Humanities in Higher Education: An international journal of theory, research, and practice, Vol. 21, No. 1 (February 2022), pp. 74–93. doi: . Available online via .
• ‘Myth-Making and the Politics of Nationality in Narratives of J.S. Bach’s 1717 Contest with Louis Marchand’, Journal of Musicological Research, Vol. 38, Nos. 3–4 (2019), pp. 193–215. doi: . Available online via .
• ‘Autoethnography, autobiography, and creative art as academic research in music studies: A fugal ethnodrama’, Action, Criticism, and Theory for Music Education, Vol. 18, No. 2 (July 2019), pp. 73–115. doi: . Available online at <>.
• ‘Ethel Smyth, Suffrage and ����Vlog: From Frimley Green to Hook Heath, Woking’, Women’s History: The Journal of the Women’s History Network, Vol. 2, No. 11 (Autumn 2018), pp. 11–18.
• ‘Tracing pedagogic frailty in arts and humanities education: An autoethnographic perspective’, Arts & Humanities in Higher Education, Vol. 17, No. 2 (April 2018), pp. 241–64 (with Ian M. Kinchin). doi: . Available online via .
• ‘Music and Literature: Ethel Smyth, Virginia Woolf, and “The First Woman to Write an Opera”’, The Musical Quarterly, Vol. 96, No. 2 (Summer 2013), pp. 263–95. doi: . Available online via .
• ‘“When a Woman Speaks the Truth About Her Body”: Ethel Smyth, Virginia Woolf, and the Challenges of Lesbian Auto/biography’, Music and Letters, Vol. 85, No. 3 (August 2004), pp. 388–414. doi: . Available online via , , and .
• ‘“A Relic of an Age Still Capable of a Romantic Outlook”: Musical Biography and The Master Musicians Series, 1899–1906’, Comparative Criticism, Vol. 25, ‘The Lives of the Disciplines: Comparative Biography’ (November 2003), pp. 161–202. 

Articles in Society Journals

• ‘Marjory Kennedy-Fraser and The Seal-Woman: Selkies, Scotland, and Song’, Journal of the International Alliance for Women in Music, Vol. 31, No. 3 (2025), pp. 3–11.
• ‘The Statue of Dame Ethel Smyth (1858–1944) in Dukes Plaza, Woking’, Women’s History Review, Vol. 32, No. 3 (2023), pp. 424–34. doi: .
• ‘LORELT at 30: An Interview with Odaline de la Martínez’, Journal of the International Alliance for Women in Music, Vol. 28, No. 2 (2022), pp. 26–30.
• ‘Women in Music on the Record: The Liza Lehmann, Ethel Smyth, and Florence Price Sessions at the ����Vlog’, Journal of the International Alliance for Women in Music, Vol. 27, No. 1 (2021), pp. 25–9 (co-authored with Samantha Ege).

Book Chapters 

• ‘The Music of the Women’s Suffrage Movement’, in Phyllis Weliver and Katharine Ellis eds. Reading Texts in Music and Literature of the Long Nineteenth Century. Woodbridge, Suffolk: The Boydell Press, 2025, pp. 56–74.
• ‘An autoethnography of designing an undergraduate music module on Adele’s 25 album’, in Peter Gouzouasis and Christopher Wiley eds. The Routledge Companion to Music, Autoethnography and Reflexivity. Abingdon: Routledge, 2025, pp. 226–41. doi: 10.4324/9780429330049-17.
• ‘Ethel Smyth, music and the suffragette movement: Reconsidering The Boatswain’s Mate as feminist opera’, in Christopher Wiley and Lucy Ella Rose eds. Women’s Suffrage in Word, Image, Music, Stage and Screen: The Making of a Movement. London: Routledge, 2021, pp. 169–85.
• ‘Biography and Life-Writing’, in Paul Watt, Sarah Collins, and Michael Allis eds. The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century. Oxford: Oxford University Press, 2020, pp. 77–101. doi: . Available online via .
• ‘The Eighteenth-Century English Novel and Music: Virtuous Performers and Well-Mannered Listeners’, in Delia da Sousa Correa ed. The Edinburgh Companion to Literature and Music. Edinburgh: Edinburgh University Press, 2020, pp. 318–26.
• ‘Ethel Smyth as the composer Edith Staines in E.F. Benson’s Dodo trilogy’, in Marleen Rensen and Christopher Wiley eds. Transnational Perspectives on Artists’ Lives. Cham, Switzerland: Palgrave Macmillan, 2020, pp. 255–69.
• ‘MusicArt: Creating Dialogues Across the Arts’, in Christopher Wiley and Ian Pace eds. Researching and Writing on Contemporary Art and Artists: Challenges, Practices, and Complexities. Cham, Switzerland: Palgrave Macmillan, 2020, pp. 259–76 (in conversation with Annie Yim).
• ‘Musical Biography and the Myth of the Muse’, in Vesa Kurkela and Markus Mantere eds. Critical Music Historiography: Probing Canons, Ideologies and Institutions. Farnham: Ashgate, 2015, pp. 251–61. Available online via .
• ‘Mythological Motifs in the Biographical Accounts of Haydn’s Later Life’, in Richard Chesser and David Wyn Jones eds. The Land of Opportunity: Joseph Haydn in Britain. London: The British Library, 2013, pp. 195–211.
• ‘Putting the Music Back into Michael Jackson Studies’, in Michael Jackson: Grasping the Spectacle (new essays ed. by Christopher R. Smit). Farnham: Ashgate, 2012, pp. 101–16. Available online via .
• ‘Theorizing Television Music as Serial Art: Buffy the Vampire Slayer and the Narratology of Thematic Score’, in Kendra Preston Leonard ed. Buffy, Ballads, and Bad Guys Who Sing: Music in the Worlds of Joss Whedon. Lanham, MD: Scarecrow, 2011. pp. 29–73. Available online via .

Editorial Introductions 

• ‘Pirouetting on the twists and turns of music performance studies’, Performance Research: A Journal of the Performing Arts, Vol. 29, No. 6 (2025), pp. 1–7 (co-authored with Tom Armstrong and Georgia Volioti). doi: .
• ‘Music, Autoethnography, and Reflexivity: An introductory conversation’, in Peter Gouzouasis and Christopher Wiley eds. The Routledge Companion to Music, Autoethnography and Reflexivity. Abingdon: Routledge, 2025, pp. 1–18 (co-authored with Peter Gouzouasis). doi: 10.4324/9780429330049-1.
• ‘Women’s suffrage and cultural representation: The making of a movement’, in Christopher Wiley and Lucy Ella Rose eds. Women’s Suffrage in Word, Image, Music, Stage and Screen: The Making of a Movement. London: Routledge, 2021, pp. 1–14 (co-authored with Lucy Ella Rose).
• ‘Writing Artists’ Lives Across Nations and Cultures: Biography, Biofiction and Transnationality’, in Marleen Rensen and Christopher Wiley eds. Transnational Perspectives on Artists’ Lives. Cham, Switzerland: Palgrave Macmillan, 2020, pp. 1–24 (co-authored with Marleen Rensen).
• ‘Researching and Writing on Contemporary Art and Artists’, in Christopher Wiley and Ian Pace eds. Researching and Writing on Contemporary Art and Artists: Challenges, Practices, and Complexities. Cham, Switzerland: Palgrave Macmillan, 2020, pp. 3–15 (co-authored with Ian Pace).
• ‘Musical Biography in the Musicological Arena’, Journal of Musicological Research, Vol. 38, Nos. 3–4 (2019), pp. 187–92 (co-authored with Paul Watt). doi: . Available online via .

Conference Proceedings

• ‘Biography and the New Musicology’, in Tatjana Marković and Vesna Mikić eds. (Auto)Biography as a Musicological Discourse. Beograd [Belgrade]: Fakultet Muzicke Umetnosti, 2010. pp. 3–27. Available online via . 

Record Production 

• Richard Stoker, Johnson Preserv’d, Retrospect Opera, forthcoming 2026, 2 CDs (as Executive Producer).
• Julian More and James Gilbert, Grab Me a Gondola, Stage Door Records STAGE 9110, 2025 (as Assistant Producer). NO.1 IN AMAZON HOT NEW RELEASES IN MUSICALS & CABARET; NO.2 IN AMAZON BEST SELLERS IN MUSICALS & CABARET

Score Prefaces, Liner Notes, Programme Notes

• Programme notes for Ethel Smyth, Mass in D and biographical profile of the composer, BBC Proms, Royal Albert Hall, London, 20 August 2022.
• Programme notes for Ethel Smyth, Fête Galante, Bard Music Festival/Bard SummerScape, Fisher Center, New York, 14 August 2021.
• ‘Fête Galante: Ethel Smyth’s Neoclassical Dance-Opera’ (with Valerie Langfield) and Synopsis. Liner notes for Ethel Smyth, Fête Galante and Liza Lehmann, The Happy Prince (first recordings). Retrospect Opera RO007, 2019.
• Programme notes for Ethel Smyth, Mass in D and biographical profile of the composer, BBC Symphony Orchestra and Chorus, The Barbican, London, 15 November 2018. Available online via .
• Programme notes for Ethel Smyth, ‘On the Cliffs of Cornwall’ (Prelude to Act 2 of The Wreckers) and biographical profile of the composer, BBC Proms, Royal Albert Hall, London, 1 August 2018.
• Foreword for Ethel Smyth, The Wreckers (re-release of 1994 Conifer Classics recording). Retrospect Opera ROO04, 2018. Available online via .
• ‘The Boatswain’s Mate in the context of Smyth’s life and works’. Liner notes for Ethel Smyth, The Boatswain’s Mate (first modern recording). Retrospect Opera ROO01, 2016. Available online via .
• Preface for Study Score of Ethel Smyth, Variations on Bonny Sweet Robin (Ophelia’s Song). Munich: Musikproduktion Jürgen Höflich, 2015. Available online at <> (in English and in German translation).

Dictionary and Encyclopaedia Entries 

• ‘Reception, Contemporary’, in Caryl Clark and Sarah Day-O’Connell eds. Cambridge Haydn Encyclopedia. Cambridge: Cambridge University Press, 2019, pp. 321–5.
• ‘Adrien Boieldieu’, ‘Charles-Simon Catel’, ‘Nicolas-Marie Dalayrac’,‘François-Joseph Gossec’, ‘Rodolphe Kreutzer’, ‘Etienne-Nicolas Méhul’, ‘Pierre-Alexandre Monsigny’, ‘Mourons pour la patrie (arr. Berlioz, 1848)’, and‘Claude-Joseph Rouget de Lisle’, in Pierre Citron, Cécile Reynaud, Jean-Pierre Bartoli, and Peter Bloom eds. Dictionnaire Berlioz. Paris: Fayard, 2003. Translated by Odile Demange.

Reviews

• ‘A Fresh Start and Two (More) Portraits: Theatrical Shows on the Life and Work of Ethel Smyth for 2018’, Women’s History: The Journal of the Women’s History Network, Vol. 2, No. 11 (Autumn 2018), pp. 39–40.
• Review of Irving Godt, Marianna Martines: A Woman Composer in the Vienna of Mozart and Haydn, edited by John A. Rice, in Journal for Eighteenth-Century Studies, Vol. 35, No. 2 (June 2012), pp. 285–86. doi: . Available online via  and .
• Review of Jolanta T. Pekacz (ed.), Musical Biography: Towards New Paradigms, in Biography: An Interdisciplinary Quarterly, Vol. 30, No. 2 (Spring 2007), pp. 215–19. doi: . Available online via . 

Scholarship in the Media

• ‘How I brought a lost fanfare by Ethel Smyth back to life’, The Conversation, 26 February 2026. <>.
• ‘Vive l’Entente Cordiale! Christopher Wiley on Ethel Smyth’s Last Opera’, Opera with Opera News (September 2025), pp. 1289–94.
• ‘Dame Ethel Smyth’ (2023), ����Vlog Cultural Lives, published 9 May 2024. <>.
• ‘Opera in the British Isles: Dame Ethel Smyth’, Light & Lyrical: The Magazine of the Light Music Society, Vol. 95 (Spring 2022), pp. 20–1.
• ‘Five of Stephen Sondheim’s best shows’, The Conversation, 1 December 2021. <>. TOP 10 ARTICLE: OVER 40,000 VIEWS
• ‘The Prom: the challenges of adapting the stage to the screen’, The Conversation, 10 November 2020. <>.
• ‘Composer of the Month: Ethel Smyth’, Limelight (January/February 2020), pp. 76–9.
• ‘The Suffragette Movement and the Music of Ethel Smyth: The String Quartet and The Boatswain’s Mate’, Exploring ����Vlog’s Past, 8 July 2019 (co-authored with Amy E. Zigler). <>.
• ‘Dame Ethel Smyth: Remembering a Pathbreaking Artist, Suffragette, and Lesbian’, LGBT History Month, 1 February 2018. <;.
• ‘Retrospect Opera’, The Federation of Recorded Music Societies (FRMS) Bulletin, No. 166 (Spring 2017), 9–10.
• ‘Why music can add fright to your Halloween night’, ����Vlog Media Centre, 29 October 2015. <>
• ‘Les Misérables at 30: breaking hearts and records’, The Conversation, 7 October 2015. <>.
• Interview with ����Vlog Research Insight, ‘SRI talks to Dr Christopher Wiley’, 1 May 2015. <>.
• ‘Five Facts about Dame Ethel Smyth’, Oxford University Press Blog (OUPblog), 8 May 2014. <>.
• ‘Academics should stand with Fry against anti-gay Russia’, The Conversation, 12 August 2013. <>.
• Interview with Michael Floyd, ‘Michael Jackson’, FAULT Magazine (Summer 2009), p. 150.
• Interview with Clarence Allen, ‘Michael Jackson: Thrilling’, youlikewelike.com, 6 July 2009.
• Interview with Marisa Duffy on Abba and the film Mamma Mia!. ‘My, my, how can we resist you?’, The Herald, 3 July 2008.
• ‘Andrew Lloyd Webber at 60’, Musical Stages: The World of Musical Theatre, No. 57 (Spring 2008), p. 7. Available online via .

Keynote Addresses 

• ‘Ethel Smyth as Life-Writer: Autobiography, Biography, Music’, delivered at ‘Dame Ethel Smyth: Connections, Culture, and Context’, Dublin City University, Republic of Ireland, 12–13 July 2024.
• ‘Musical Biography as a National and Transnational Genre’, delivered at ‘Transnational Perspectives on the Writing of Artists’ Lives, 19th-21st centuries’, University of Amsterdam, The Netherlands, 25–26 January 2018.
• Keynote Concert and Dialogue by MusicArt London: Christopher Le Brun and Annie Yim, in conversation with Christopher Wiley, delivered at ‘Writing About Contemporary Artists: Challenges, Practices, and Complexities’, Institute of Advanced Studies, ����Vlog, 20–22 October 2017.
• ‘Enhancing Student Engagement Through Electronic Voting Systems (EVS): Innovative Pedagogies and Creative Applications’, delivered at Transforming Technology Enhanced Learning (TTEL) 2016 Conference, University of Exeter, 17 June 2016.
• ‘Biography and the New Musicology’, delivered at ‘(Auto)Biography as a Musicological Discourse’, The Ninth International Conference of The Departments of Musicology and Ethnomusicology, Faculty of Music, University of Arts, Belgrade, 19–22 April 2008. 

Conference Papers (Overseas) 

• ‘A Performance on Writing Personal Experience as Academic Research in Music Studies and Music Education: Autoethnography, Arts-Based Research, and Reflexivity’, World Alliance for Arts Education (WAAE) Summit Athens 2024, National and Kapodistrian University of Athens, Greece, 17–19 October 2024 (with Peter Gouzouasis and Ben Bolden) (presented remotely).
• ‘Ethel Smyth as Life-Writer: Autobiography, Biography, Music’, KEYNOTE, delivered at ‘Dame Ethel Smyth: Connections, Culture, and Context’, Dublin City University, Republic of Ireland, 12–13 July 2024.
• ‘It started with Smyth: Retrospect Opera at 10’, delivered at ‘Dame Ethel Smyth: Connections, Culture, and Context’, Dublin City University, Republic of Ireland, 12–13 July 2024 (with Valerie Langfield and Benjamin Hamilton).
• Discussant, ‘Reflexivity in Arts-Based Research through Performative Autoethnography’, The American Educational Research Association (AERA) Annual Meeting, Philadelphia, PA, 11–14 April 2024 (largest conference of education researchers worldwide).
• ‘From Research-led Teaching to Teaching-led Research: Keeping Curricula Contemporary in Higher Education Popular Music’, delivered at the inaugural ‘Progressive Methods in Popular Music Education’ Symposium, Western University, London, Ontario, Canada, 8–9 June 2018 (presented remotely).
• ‘Musical Biography as a National and Transnational Genre’, KEYNOTE, delivered at ‘Transnational Perspectives on the Writing of Artists’ Lives, 19th-21st centuries’, University of Amsterdam, 25–26 January 2018.
• ‘Music and (or?) Musical Biography’, delivered at ‘Words About Music’, Monash University Law Chambers, Melbourne, 12 April 2014.
• ‘Musical Biography and the Myth of the Muse’, delivered at Radical Music History Symposium 2011, Sibelius Academy, Helsinki, 8–9 December 2011.
• ‘Musical Biography and the Intervention of the Work-Concept’, delivered at the 2009 Joint Annual Conference of the Society for Musicology in Ireland and the Royal Musical Association, Royal Irish Academy of Music, Dublin, 9–12 July 2009.
• ‘Biography and the New Musicology’, KEYNOTE, delivered at ‘(Auto)Biography as a Musicological Discourse’, The Ninth International Conference of The Departments of Musicology and Ethnomusicology, Faculty of Music, University of Arts, Belgrade, 19–22 April 2008.
• ‘Biography, Historiography, and the Beethoven/Schubert Mythology’, delivered at the 2004 Joint Annual Meeting of the American Musicological Society and the Society for Music Theory, Seattle, WA, 11–14 November 2004.

Conference Papers (UK) 

• ‘Integrating Generative AI in undergraduate academic music studies: Opportunities and Threats’, The Second Biennial International Conference of Music and the University, ����Vlog, 4–6 July 2024.
• Roundtable panel member, Discussion of Christopher Wiley’s ‘Exploring the integration of teaching and research in the contemporary classroom: An autoethnographic inquiry into designing an undergraduate music module on Adele’s 25 album’, The Second Biennial International Conference of Music and the University, ����Vlog, 4–6 July 2024.
• ‘Popular music in higher education: three problems and a solution’, delivered at The First Biennial International Conference of Music and the University, City, University of London, 7–9 July 2022.
• ‘Stories of the self(s) in music studies: method, self-reflexivity, and narrative enquiry’, delivered at the 55th Annual Conference of the Royal Musical Association, University of Manchester and Royal Northern College of Music, 11–13 September 2019.
• ‘Ethel Smyth, Music, and the Suffragette Movement: Reconsidering The Boatswain’s Mate as Feminist Opera’, delivered at ‘100 years+ of the Women’s Movement in Kent, Sussex, and ����Vlog – A Community Research Workshop’, University of Kent, 8 December 2018.
• ‘Ethel Smyth, Music, and the Suffragette Movement: Reconsidering The Boatswain’s Mate as Feminist Opera’, delivered at ‘The Campaign for Women’s Suffrage: National and international perspectives’, 27th Annual Women’s History Network Conference, University of Portsmouth, 31 August–1 September 2018.
• ‘Ethel Smyth, Music, and the Suffragette Movement: Reconsidering The Boatswain’s Mate as Feminist Opera’, delivered at ‘Centennial Reflections on Women’s Suffrage and the Arts – Local : National : Transnational’, ����Vlog, 29–30 June 2018.
• ‘Anecdote as a Genre in Musical Biography’, delivered at ‘Biography and Public History: Constructing Historical Narratives through Life-Writing’, University of Nottingham, 20 June 2018.
• ‘Musical biography and the (non-)consonance of music and literature’, delivered at ‘Music and Literature: Innovations, Intersections, and Interpretations’, Edinburgh Napier University, Edinburgh, 14–15 June 2018.
• ‘Gender Studies and Multi-Disciplinary Teaching: A Case Study of Ethel Smyth, Music, and the Suffragette Movement’, delivered at ‘Education, College Women, and Suffrage: International Perspectives’, Royal Holloway, University of London, 13–14 June 2018.
• ‘From Research-led Teaching to Teaching-led Research: An autoethnographic enquiry into keeping curricula contemporary in higher education popular music’, delivered at ‘Beyond “Mesearch”: Autoethnography, self-reflexivity, and personal experience as academic research in music studies’, Institute of Musical Research, University of London, 16–17 April 2018.
• KEYNOTE Concert and Dialogue by MusicArt London: Christopher Le Brun and Annie Yim, in conversation with Christopher Wiley, delivered at ‘Writing About Contemporary Artists: Challenges, Practices, and Complexities’, Institute of Advanced Studies, ����Vlog, 20–22 October 2017.
• ‘Reconsidering Ethel Smyth’s The Boatswain’s Mate as Feminist Opera’, accepted at the combined Tenth Biennial International Conference on Music Since 1900 and ����Vlog Music Analysis Conference (ICMSN/����VlogMAC 2017), ����Vlog, 11–14 September 2017.
• ‘Subject and Countersubject: The Prevalence of the Genius and the Muse in Musical Biography’, delivered at ‘Beyond Genius and Muse: Collaborating Couples in Twentieth-Century Arts’, University of Bristol, 18–19 April 2017.
• ‘Myth-making and the Politics of Nationality in Narratives of J.S. Bach’s 1717 Contest with Louis Marchand’, delivered at ‘Musical Biography: National Ideology, Narrative Technique, and the Nature of Myth’, Institute of Musical Research, University of London, 9–10 April 2015.
• ‘Life and Works: The Master Musicians Series (1899–1906) as Victorian Period-Piece’, delivered at ‘Music Literature, Historiography, and Aesthetics’, Institute of Musical Research, University of London, 17–18 July 2014.
• ‘Late Victorian Appropriations in the Biographies of Handel, Haydn, and Mendelssohn’, delivered at ‘Purcell, Handel, Haydn, and Mendelssohn: Anniversary Reflections’, Royal Musical Association Conference, New College, Oxford, 27–29 March 2009.
• ‘Mythological Motifs in the Biographical Accounts of Haydn’s Later Life’, delivered at ‘Joseph Haydn and the Business of Music’, The British Library Conference Centre, 14–15 March 2009.
• ‘Mozart’s Requiem, Musical Biography, and the Great Last Work’, delivered at ‘Words and Notes in the Nineteenth Century’, Institute of Musical Research and Institute of Germanic and Romance Studies, School of Advanced Study, University of London, 2–3 July 2007.
• ‘Biography, Historiography, and the Beethoven/Schubert Mythology’, delivered at the 13th Biennial International Conference on Nineteenth-Century Music, University of Durham, 6–9 July 2004.
• ‘Music and Literature: Ethel Smyth, Virginia Woolf, and “The First Woman to Write an Opera”’, delivered at the 14th Annual International Conference on Virginia Woolf, ‘Back to Bloomsbury’, Institute of English Studies, London, 23–26 June 2004.
• ‘“I Believe the Subtext Here is Rapidly Becoming Text”: Music, Gender, and Fantasy in Buffy the Vampire Slayer’, delivered at ‘Blood, Text, and Fears: Reading Around Buffy the Vampire Slayer’, University of East Anglia, 19–20 October 2002.
• ‘“When a Woman Speaks the Truth About Her Body”: Ethel Smyth, Virginia Woolf, and the Challenges of Lesbian Auto/biography’, delivered at the 37th Annual Conference of the Royal Musical Association, ‘The Theory and Practice of Musical Biography’, King’s College London, 19–21 October 2001.

Research Seminars, Colloquia, Symposia, and Invited Lectures 

• ‘Autoethnography in the Arts’, inaugural event in ‘Research Conversations’ series, School of Fine and Performing Arts, University of Lincoln, 23 February 2022 (in conversation with Martin Scheuregger).
• ‘The Comic Songs of Alexander S. Bermange’ (lecture-recital), delivered at ‘Laughing and Crying: Perspectives on 20th and 21st Century British Song’, ����Vlog, 17 November 2021 (with Alexander S. Bermange).
• ‘Reconsidering Ethel Smyth’s The Boatswain’s Mate as Feminist Opera’, delivered in the Faculty of Music Colloquium series, Faculty of Music, University of Cambridge, 6 February 2019.
• ‘Ethel Smyth, Music, and the Suffragette Movement: Reconsidering The Boatswain’s Mate as Feminist Opera’, delivered at ‘Suffragette Symposium – Celebrating 100 Years’, The Gender and Sexuality Research Group (GenSex), Edge Hill University, 28 February 2018.
• ‘National Trends in Musical Biography’, delivered in the Music Research Colloquia series, Faculty of Music, University of Oxford, 16 June 2015.
• ‘Dame Ethel Smyth (1858–1944): In Search of a Lesbian Identity in Music and Literature’, delivered at the Ethel Smyth Symposium, LGBT History Month 2014, ����Vlog, 19 February 2014 (plus concert).
• ‘Ethel Smyth, Virginia Woolf, and “The First Woman to Write an Opera”’, delivered at the ����Vlog, 20 November 2013 (research seminar).
• ‘Putting the Music Back into Michael Jackson Studies’, delivered at Kingston University London, 16 February 2010 (invited colloquium).
• ‘Gender and the Perpetuation of the Beethoven/Schubert Mythology’, delivered at the Centre for Interdisciplinary Gender Studies, University of Leeds, 28 November 2007 (research seminar).
• ‘“A Relic of an Age Still Capable of a Romantic Outlook”: The Master Musicians Series, 1899–1906’, delivered at ‘Music and Britain: A Social History Seminar’, Institute of Historical Research, London, 18 November 2002.
• ‘“When a Woman Speaks the Truth About Her Body”: Ethel Smyth, Virginia Woolf, and the Challenges of Lesbian Auto/biography’, delivered at Graduate Students’ Colloquia, University of Oxford, 22 January 2002.

Pre-Performance Talks 

• Talk on Ethel Smyth for The Opera Makers, Holy Sepulchre London (The National Musicians’ Church), 10 March 2023 (alongside a performance of Smyth’s Der Wald).
• Pre-performance talk on Ethel Smyth for London Orianna Choir, Southwark Cathedral, London, 3 November 2018 (performance of Smyth's Mass in D).
• Pre-performance talk on Mozart’s Così fan tutte for Glyndebourne Tour 2017, Rhoda McGaw Theatre, Woking, 7 November 2017.
• Pre-concert talk for the Royal Philharmonic Orchestra, G Live, Guildford, 7 April 2017 (host, with conductor Barry Wordsworth).
• Pre-performance talk on Puccini’s Madama Butterfly for Glyndebourne Tour 2016, Milton Keynes Gallery, Milton Keynes, 9 November 2016 and Rhoda McGaw Theatre, Woking, 30 November 2016.
• Pre-performance talk on Mozart’s Don Giovanni for Glyndebourne Tour 2016, Milton Keynes Gallery, Milton Keynes, 8 November 2016.
• Pre-performance talk on Mozart’s Die Entführung aus dem Serail for Glyndebourne Tour 2015, Rhoda McGaw Theatre, Woking, 1 December 2015.
• Pre-concert talk for the Royal Philharmonic Orchestra, G Live, Guildford, 15 May 2015 (host, with conductor Andrew Greenwood).
• Pre-concert talk for the Royal Philharmonic Orchestra, G Live, Guildford, 7 November 2014 (host, with conductor Eduardo Portal).
• Pre-performance talk on Mozart’s La finta giardiniera for Glyndebourne Tour 2014, Rhoda McGaw Theatre, Woking, 28 October 2014.
• Pre-concert talk for the Royal Philharmonic Orchestra, G Live, Guildford, 23 October 2013 (host, with conductor Ivor Setterfield and soloist Alexander Sitkovetsky).

Other Public Output (Musicology) 

• ‘Beyond Words: How Music Creates Meaning’, Being Human Festival 2025, Guildford United Reformed Church, Guildford, 15 November 2025 (conductor, host, oboe, piano, organ, singer) (with 46-piece orchestra).
• ‘Jane Austen and Music’, Jane Austen at 250, ����Vlog, 31 May 2025 (speaker, piano) (with Michelle Tsz Wun Wong).
• ‘Landmarking ����Vlog's Musical Heritage: Dame Ethel Smyth’, Being Human Festival 2024, The Guildford Institute, Guildford, 9 November 2024 (speaker, host, oboe, and chamber organ).
• ‘Odaline de la Martinez at 75’, ����Vlog, 31 October 2024 (classical concert with pre-concert talk and statue unveiling) (cor anglais, oboe, co-host, and pre-concert speaker).
• ‘Dame Ethel Smyth (1858–1944): Composer, Author, Suffragette, and ����Vlog Resident’, Dorking Library, Dorking, 7 May 2024.
• ‘Dame Ethel Smyth (1858–1944): Composer, Musician, and ����Vlog Resident’, ����Vlog Local History Committee, ‘Music in ����Vlog’, ����Vlog History Centre, Woking, 22 April 2023.
• Speech delivered at the unveiling of the statue of Dame Ethel Smyth, Woking, ����Vlog, 8 March 2022.
• ‘Dame Ethel Smyth (1858–1944), Composer, Author, Suffragette, and ����Vlog Resident’, Byfleet Heritage Society, St Mary’s Centre for the Community, Byfleet, 21 November 2019.
• ‘Dame Ethel Smyth: Frimhurst’s Famous Resident’, Heritage Open Days, Frimhurst Family House, Frimley Green (Ethel Smyth’s childhood home), 15 September 2018.
• ‘Dame Ethel Smyth (1858–1944): Composer and Suffragette’, Farnham Society, Heritage Open Days, The Maltings, Farnham, 14 September 2018.
• ‘Dame Ethel Smyth (1858–1944), “Duchess of Woking”’, Woking History Society, Christ Church, Woking, 3 September 2018.
• ‘Dame Ethel Smyth, Groundbreaking Composer, Writer, and Suffragette’, talk for ����Vlog Local History Committee annual symposium, ����Vlog History Centre, Woking, 21 April 2018.
• ‘Dame Ethel Smyth (1858–1944): Composer, Writer, Suffragette, and Woking Resident’, International Women’s Day talk, The Lightbox, Woking, 8 March 2018.
• ‘Ethel Smyth’s (feminist?) opera, The Boatswain’s Mate’, talk for Guildford Hard of Hearing Support Group, 27 February 2017.
• ‘Dame Ethel Smyth, Groundbreaking Composer, Writer, and Suffragette’, The Guildford Institute, Guildford, 18 January 2017.
• ‘Ethel Smyth: Composer, Author, Suffragette, and ����Vlog Resident’, talk at Frimhurst Family House, Frimley Green, 11 September 2016.
• ‘The Composer Dame Ethel Smyth and her Deafness’, talk for Guildford Hard of Hearing Support Group, 26 January 2015.
• ‘Stephen Sondheim’s Sweeney Todd in Context’ (Sweeney Todd pre-screening talk), ����Vlog, 5 November 2014.
• ‘Music and the James Bond Phenomenon’ (Goldfinger pre-screening talk), ����Vlog, 23 October 2014.
• Ethel Smyth Concert, to commemorate the 70th anniversary of the composer’s death, Christ Church, Woking, 8 May 2014 (oboe, organ, and host).
• Concert at the Ethel Smyth Symposium, LGBT History Month 2014, ����Vlog, 19 February 2014 (oboe).
• ‘Shout! Shout! Up With Your Song!’, invited public lecture delivered at The Women’s Library, London, 27 September 2011 (with Sandi Toksvig). 

Other Public Output (Science Communication) 

• ‘Astronomy and Music’, Southampton Astronomical Society, Southampton, 12 June 2025 (one-hour talk).
• ‘Music and Space’, Kent Physics Centre, University of Kent, 21 January 2025 (one-hour talk with performances on chamber organ and oboe).
• ‘Music and Space’, Fusion Event for the Open University and the Institute of Physics, ����Vlog, 9 November 2024 (one-hour talk with performance on chamber organ).
• ‘Space & Music’, Institute of Physics and ����Vlog takeover event for World Space Week, Tunsgate Quarter, Guildford, 5 October 2024 (20-minute talk).
• ‘The Science of Musical Instruments’ for the Institute of Physics (aimed at KS2 students), ����Vlog, 30 April 2024. 

Television, Radio, and Other Media

• Live interview (in studio) on the BBC Radio ����Vlog programme ‘Breakfast on BBC Radio ����Vlog’, 5 December 2025. Subject: The ����Vlog Orchestra and Choir.
• Live interview (in studio) on the BBC Radio ����Vlog programme ‘Breakfast on BBC Radio ����Vlog’, 12 November 2025. Subject: Upcoming public music events hosted by the ����Vlog.
• Interview for Listen Queer app, recorded 15 August 2024, released 31 May 2025. Subject: Ethel Smyth.
• Live one-hour interview (by phone) on ABC Radio, Australia, ‘Talking Point: The History of Movie Musicals’, 10 January 2025, Subject: film musicals. Listen again: 
• Live interview (in studio) on the BBC Radio ����Vlog programme ‘Breakfast on BBC Radio ����Vlog’, 24 October 2024. Subject: Upcoming public music events hosted by the ����Vlog.
• Live interview (in studio) on the BBC Radio ����Vlog programme ‘Breakfast on BBC Radio ����Vlog’, 27 September 2024. Subject: The ����Vlog Community Orchestra.
• Live one-hour interview (by phone) on ABC Radio, Australia, ‘Talking Point – And the Song Goes On: The Business of Posthumously Released Music’, 10 May 2024, Subject: posthumously released popular music. Listen again: 
• Live interviews (in studio) on the BBC Radio ����Vlog programme ‘Breakfast on BBC Radio ����Vlog’, 14 March 2024 and 30 September 2023. Subject: Music at the ����Vlog, and the community and student orchestras.
• Live interview on the BBC Radio ����Vlog programme ‘Breakfast on BBC ����Vlog’, 22 February 2021. Subject: Ethel Smyth.
• Interview with the Pyrford TV ARTS programme, Spring Edition 2018, <> (starting at 09:18). Subject: Ethel Smyth.
• Live interview on the BBC Radio ����Vlog programme ‘Breakfast on BBC ����Vlog’, 6 February 2018. Subject: Ethel Smyth and women’s suffrage.
• Live interview (2 hours, in studio) on Radio Woking, ‘Fiery Bird’ programme, 28 October 2016. Various subjects, including Ethel Smyth and The Boatswain’s Mate.
• Interview (in studio) on ����Vlog and Hampshire’s Eagle Radio, 30 December 2014. Subject: the continuing popularity of ‘Let It Go’ from �پ����Ա��’s Frozen.
• Live interview on Monocle 24’s ‘The Briefing’ (global radio station), 14 June 2013. Subject: the copyright challenge to ‘Happy Birthday to You’.
• Live interviews (in studio) on Hertfordshire’s Radio Verulam, 8 April, 13 May, 22 July, 29 July, and 30 September 2012, 6 January, 13 January, and 5 May 2013, and 28 December 2014. Various musical subjects, predominantly on topics of musical theatre and music in popular culture.
• Live interview on BBC Three Counties Radio’s ‘The Other One Show’, 8 March 2011, as the featured ‘guru of the day’.
• Interview on Leicester’s Demon FM, 17 December 2010. Subject: Michael Jackson’s posthumously released Michael album.
• Live interviews (in studio) on the BBC News Channel, 26 June 2009 and BBC One (BBC Breakfast), 27 June 2009 (two interviews). Subject: Michael Jackson.
• Interviews on LBC Radio (28 June 2009, live, plus podcast), BBC Radio Jersey (29 June 2009), Herts Mercury Radio (7 July 2009), and BBC Three Counties Radio (14 July 2009, live). Subject: Michael Jackson.
• Interview on the BBC Radio 4 programme ‘Mr Haydn’s London Experience’, transmission date 26 May 2009, rebroadcast on Easter Day (4 April) 2010.
• Live interview (in studio) on BBC Radio 4’s ‘You and Yours’ programme, 26 January 2007. Subject: Downloads and the UK Charts.

Press

• Expert comment contributed to numerous publications including , (official website), , The Independent on Sunday, Education Magazine, , , The Sunday Times, Thelondonpaper, Hotcourses Postgraduate Guide, , and (2007–).
• Reviews for (2014–; over 60 reviews) and Musical Stages (2007/8).
• Featured in video and online article for Get ����Vlog (����Vlog Advertiser), ‘Suffragette Vote 100 anniversary: University celebrates two ����Vlog women who were highly influential during the suffrage movement’, 6 February 2018. <>
• Member of panel of experts for Guardian Careers Forum, ‘Live Q&A: What can I do with a degree in music?’, 3 March 2011. Available .
• ‘Why study a music degree?’, article contributed to icould.com, 15 July 2009.
• Featured in articles in the Herts Advertiser (‘Reflecting on the man in the mirror’, 9 July 2009) and the Daily Record (, 26 June 2009).
• Letters to the Editor in The Guardian (, 27 May 2008; , 17 August 2007) and The Observer Review (, 14 October 2007).

PUBLICATIONS (EDUCATION)

Journal Articles 

• ‘Exploring the integration of teaching and research in the contemporary classroom: An autoethnographic enquiry into designing an undergraduate music module on Adele’s 25&�Բ�����;�������ܳ�’,&�Բ�����;Arts & Humanities in Higher Education: An international journal of theory, research, and practice, Vol. 21, No. 1 (February 2022), pp. 74–93. doi: . Available online via .
• ‘Autoethnography, autobiography, and creative art as academic research in music studies: A fugal ethnodrama’, Action, Criticism, and Theory for Music Education, Vol. 18, No. 2 (July 2019), pp. 73–115. doi: . Available online at <>.
• ‘Standardised module evaluation surveys in UK higher education: establishing students’ perspectives’, Studies in Educational Evaluation, Vol. 61 (June 2019), pp. 55–65. doi: .
• ‘Tracing pedagogic frailty in arts and humanities education: An autoethnographic perspective’, Arts & Humanities in Higher Education, Vol. 17, No. 2 (April 2018), pp. 241–64 (with Ian M. Kinchin). doi: . Available online via .
• ‘Academic Leadership in Learning and Teaching in Higher Education: A Personal Reflection on one Programme Director’s Professional Development’, Learning at City Journal, Vol. 4, No. 2 (October 2014), pp. 39–49. Available online via .
• ‘Divided by a Common Language? Evaluating Students’ Understanding of the Vocabulary of Assessment and Feedback at a Single UK Higher Education Institution’, The International Journal of Assessment and Evaluation, Vol. 20, No. 3 (May 2014), pp. 1–11. Available online via .
• ‘Report on Work from October 2011 to August 2012 as University Learning Development Associate for Assessment and Feedback’, Learning at City Journal, Vol. 2, No. 2 (October 2012), pp. 46–54. Available online via .

Books and Reports 

• The Routledge Companion to Music, Autoethnography, and Reflexivity (co-edited with Peter Gouzouasis). Abingdon: Routledge, 2025. pp. xviii, 388. ISBN 978-0-367-35147-2 (hardback), 978-0-429-33004-9 (e-book). With chapters by Alice Barron, Benjamin Bolden, Sarah Callis & Neil Heyde, Rod Davies, Benjamin Davis, Monica Esslin-Peard, Iain Findlay-Walsh, Barbara Gentili, Peter Gouzouasis, Charissa Granger, Verica Grmusa, Ros Hawley, David Lines, Christopher Leedham & Martin Scheuregger, Jean Penny, Simon E. Poole, Bartosz Szafranski, Christopher Wiley, Bede Williams, Matthew Yanko, and Zane Zalis. 
• Student Evaluation of Teaching: From Performance Management to Quality Enhancement. London: SEDA [Staff and Educational Development Association], 2021 (co-edited with Elizabeth Bennett). ISBN 978-1-902435-70-1. Contributors: Heather Addy, Jo Basford, Elizabeth Bennett, Peter Bryant, Matt Elphick, Meagan Fiselier, Mark Huxham, Ioanna Iosifidou, Dawne Irving-Bell, Cheryl Jeffs, Rosie Lewis, Janet Lord, Claire Lucas, Orlagh McCabe, Haleh Moravej, Rachel Murray, Leticia Nani Silva, Chrissi Nerantzi, Rejoice Nsibande, Stuart Sims, Christopher Wiley, Juliet Winter, and Tingting Yu.
• Using Electronic Voting Systems in the Arts and Humanities, Innovative Pedagogies series. York: Higher Education Academy, 2015. Available online at <>.

Book Chapters and Sections 

• ‘An autoethnography of designing an undergraduate music module on Adele’s 25 album’, in Peter Gouzouasis and Christopher Wiley eds. The Routledge Companion to Music, Autoethnography and Reflexivity. Abingdon: Routledge, 2025, pp. 226–41. doi: 10.4324/9780429330049-17.
• ‘Music, Autoethnography, and Reflexivity: An introductory conversation’, in Peter Gouzouasis and Christopher Wiley eds. The Routledge Companion to Music, Autoethnography and Reflexivity. Abingdon: Routledge, 2025, pp. 1–18 (co-authored with Peter Gouzouasis). doi: 10.4324/9780429330049-1.
• ‘Introduction – The challenges of student evaluation of teaching in the UK’ and ‘Epilogue – Student evaluation of teaching: Where next?’, in Christopher Wiley and Elizabeth Bennett eds. Student Evaluation of Teaching: From Performance Management to Quality Enhancement. London: SEDA, 2021, pp. 7–8 and 49–50.
• ‘Going the extra mile with a postgraduate teaching qualification’, case study contributed to Peter Kahn and Lorraine Anderson. Developing Your Teaching, 2nd edn. London: Routledge, 2019, pp. 124–6.
• ‘Framed Autoethnography and Pedagogic Frailty: A Comparative Analysis of Mediated Concept Maps’, in Ian M. Kinchin and Naomi E. Winstone eds. Pedagogic Frailty and Resilience in the University. Rotterdam: Sense, 2017, pp. 17–32 (with Jo Franklin). 

Invited Conference Papers (International) 

• ‘A Performance on Writing Personal Experience as Academic Research in Music Studies and Music Education: Autoethnography, Arts-Based Research, and Reflexivity’, World Alliance for Arts Education (WAAE) Summit Athens 2024, National and Kapodistrian University of Athens, Greece, 17–19 October 2024 (with Peter Gouzouasis and Ben Bolden) (presented remotely).
• Discussant, ‘Reflexivity in Arts-Based Research through Performative Autoethnography’, The American Educational Research Association (AERA) Annual Meeting, Philadelphia, PA, 11–14 April 2024 (largest conference of education researchers worldwide).
• ‘Using Electronic Voting Systems Creatively in the Arts and Humanities’, delivered at the Turning Technologies User Conference 2018, Universitat Autònoma de Barcelona, Spain, 7 November 2018.
• ‘Dialogic Approaches to Frailty’, delivered at The First International Symposium of Pedagogic Frailty and Resilience, ����Vlog, 6 September 2017 (with Jo Franklin).
• ‘Standardized Module Evaluation for Teaching Excellence and Enhancement: Views of Students at a Single UK Higher Education Institution’, delivered at the European Conference on Educational Research (ECER) 2014, ‘The Past, Present, and Future of Educational Research in Europe’, University of Porto, Portugal, 3 September 2014.
• ‘Using Electronic Voting Systems in the Arts and Humanities’, delivered at the Turning Technologies User Conference 2013, Trinity College Dublin, Ireland, 4 November 2013.
• ‘Increasing Instructional Interactivity with Turning Technologies Response Technology’, workshop delivered at the International Conference on Information Communication Technologies in Education (ICICTE) 2013, Minoa Palace Resort and Spa, Chania, Crete, 4–6 July 2013.
• ‘Using Electronic Voting Systems in the Arts and Humanities’, delivered at the Turning Technologies User Conference 2013, Karlsruhe University of Applied Sciences and Karlsruhe Institute of Technology, Germany, 3 June 2013. Available online via .
• ‘Divided by a Common Language? Evaluating Students’ Understanding of the Vocabulary of Assessment and Feedback at a Single UK Higher Education Institution’, delivered at the 19th International Conference on Learning, Institute of Education, London, 14–16 August 2012.
• ‘Using Electronic Voting Systems in the Arts and Humanities’, delivered at the Turning Technologies User Conference 2012, Aarhus University, Denmark, 19 June 2012.

Invited Conference Papers (National) 

• ‘Integrating Generative AI in undergraduate academic music studies: Opportunities and Threats’, The Second Biennial International Conference of Music and the University, ����Vlog, 4–6 July 2024.
• Roundtable panel member, Discussion of Christopher Wiley’s ‘Exploring the integration of teaching and research in the contemporary classroom: An autoethnographic inquiry into designing an undergraduate music module on Adele’s 25 album’, The Second Biennial International Conference of Music and the University, ����Vlog, 4–6 July 2024.
• ‘Popular music in higher education: three problems and a solution’, delivered at The First Biennial International Conference of Music and the University, City, University of London, 7–9 July 2022.
• ‘Enhancing Student Engagement Through Electronic Voting Systems: Innovative Pedagogies and Creative Applications’, delivered at the Turning Technologies User Conference, Thistle City Barbican, London, 24 October 2016.
• ‘Enhancing Student Engagement Through Electronic Voting Systems (EVS): Innovative Pedagogies and Creative Applications’, KEYNOTE, delivered at Transforming Technology Enhanced Learning (TTEL) 2016 Conference, University of Exeter, 17 June 2016.
• ‘How to... use Electronic Voting Systems creatively in Arts and Humanities teaching’, delivered at ‘Inspire – sharing great practice in Arts and Humanities teaching and learning’, Higher Education Academy (HEA) Conference, The Waterfront Hotel, Brighton, 3 March 2016.
• ‘Standardized Module Evaluation for Teaching Excellence and Enhancement: Views of Students at City University London’, delivered at the Sixth Annual ‘Learning at City’ Conference, The Hatton, London, 4 June 2014.
• ‘Enhancing Instructional Interactivity through Electronic Voting Systems: Advanced Features and Innovative Pedagogies’, delivered at ‘Going to the Polls: Teaching and Learning with TurningPoint’, University of Birmingham, 21 April 2015.
• ‘Enhancing Instructional Interactivity through Electronic Voting Systems: Advanced Features and Innovative Pedagogies’, delivered at ‘Clicker Technologies Learning Forum’, Southampton Solent University, 19 September 2014.
• ‘Standardized Module Evaluation for Teaching Excellence and Enhancement: Views of Students and Staff at a Single UK Higher Education Institution’, delivered at the 17th Annual SEDA Conference, Aston Business School, Birmingham, 15–16 November 2012.
• ‘The Personal Response System: A View From the Chalkface’, delivered at ‘Learning and Teaching: Moving On’, Ravensbourne College of Design and Communication, 7 October 2009.

Webinars

• ‘Creative Uses of Student Response Systems’, delivered in the Turning Webinar Series, 24 June 2021. Available .
• ‘Using Electronic Voting Systems Creatively in the Arts and Humanities’, delivered in the Turning Technologies Webinar Series, 4 March 2020. Available .
• ‘Using Student Response Systems: Creative Applications, Advanced Features, and Tips for Getting Started’, delivered in the ‘Explore Innovation’ Turning Technologies Webinar Series, 28 September 2016.
• ‘BYOD, Mobile Technologies, and Social Media for Learning’, delivered in the ELESIG Webinar Series 2013, 24 April 2013. Webcast available .

Learning and Teaching Workshops 

• ‘Enhancing Student Engagement Through Electronic Voting Systems: Innovative Pedagogies and Creative Applications’, delivered at ‘Lunch and Learn’, University of York, 1 March 2017.
• ‘Enhancing Student Engagement Through Electronic Voting Systems: Innovative Pedagogies and Creative Applications’, delivered at ‘Lunch and Learn’, University of Lancaster, 15 November 2016.
• ‘Enhancing Instructional Interactivity through Electronic Voting Systems: Advanced Features and Innovative Pedagogies’, delivered at ‘Lunch and Learn’, University of Sussex, 9 September 2015.
• ‘Enhancing Instructional Interactivity through Electronic Voting Systems: Advanced Features and Innovative Pedagogies’, delivered at the University of Durham, 3 April 2014.
• ‘Enhancing Instructional Interactivity through Electronic Voting Systems: Advanced Features and Innovative Pedagogies’, delivered at ‘Lunch and Learn’, University of Hull, 12 March 2014.

Internal Learning and Teaching Conferences

• ‘Integrating Generative AI in Academic Studies: Challenges and Opportunities’, delivered at ����Vlog ExciTeS Symposium, ����Vlog, 29 April 2025.
• ‘The Patchwork Text as an Alternative to the Essay Assessment’, delivered at ����Vlog ExciTeS Symposium, ����Vlog, 25 April 2022 (with Dudu Pektunç, Robin Bailey, and Jessye Durrant).
• ‘Playful methods of student evaluation of teaching’, delivered at ����Vlog ExciTeS Symposium (held online), ����Vlog, 14 April 2021.
• ‘Giving music students ownership of their learning’, delivered at ����Vlog ExciTeS Symposium, ����Vlog, 3 April 2019 (student discussion forum, with Heather Neele, Katy Jackson, Edward Bellett-Travers, and Diana Nemyrovska).
• ‘From Research-led Teaching to Teaching-led Research: Keeping curricula contemporary’, delivered at ����Vlog ExciTeS Symposium, ����Vlog, 3 January 2018.
• ‘Exploring the potential benefits of online discussion forums in enabling students to become agents of research-led teaching’, delivered at ����Vlog ExciTeS Symposium, ����Vlog, 4 January 2017 (student panel discussion, with Karen Taylor, Octavius Longcroft-Wheaton, Jadene Doak, and Kirsten Parry).
• ‘How can we increase teaching quality without increasing teaching preparation time?’, delivered at ����Vlog ExciTeS Symposium, ����Vlog, 6 January 2016 (discussion forum, with Anna McNamara and Sean McNamara).
• ‘Module Evaluation Questionnaires: How can we use them to enhance teaching?’, delivered at ����Vlog ExciTeS Symposium, ����Vlog, 7 January 2015 (discussion forum).
• ‘Enhancing Instructional Interactivity through Electronic Voting Systems: Advanced Features and Innovative Pedagogies’, delivered at the inaugural ����Vlog ExciTeS Symposium, ����Vlog, 8 January 2014.
• Convener and Facilitator, Learning and Teaching Symposia, School of Arts, ����Vlog, 2014–16 (five one-day or half-day events).
• ‘Divided by a Common Language? Evaluating Students’ Understanding of the Vocabulary of Assessment and Feedback at City University London’, delivered at the Fourth Annual ‘Learning at City’ Conference, City University London, 13 June 2012. Available online via .
• ‘Identifying Best Practices in Writing Handbooks for Postgraduate Research Degrees at City University London’, delivered at the Third Annual ‘Learning at City’ Conference, City University London, 23 June 2011.
• ‘The Personal Response System: A View From the Chalkface’, delivered at the First Annual ‘Learning at City’ Conference, City University London, 4 June 2009.

Other Public Output 

• ‘Teaching During the Pandemic: Technology to the Rescue’, DisplayNote Dialogues blog, 8 September 2021. <>
• Guest-host, No. 193 [Learning and Teaching in Higher Education Twitter chat], ‘Evaluating Student Evaluation of Teaching’, 13 January 2021. <>
• ‘Feedback and Evaluation using Electronic Voting Systems’, , 2016. <>
• ‘Three Creative Ways to use Audience Response Systems’, Turning Technologies UK blog, 2 August 2016. <>
• ‘Twitter chats – why are they useful and how do they benefit academic staff?’, ����Vlog Social Media blog, 5 February 2016. <>
• ‘How do National Teaching Fellows make a contribution in their institution?’, Association of National Teaching Fellows blog, 11 January 2016. <>
• Regular contributor to City University London’s website, 2011–13. <>
• Invited guest-speaker for the inaugural University Learning and Teaching Debate, on ‘Assessment and Feedback’, City University London, 1 February 2012 (with Professor Nigel Duncan).
• Presentations at Higher Education Conferences in London (2006–08, 2011–13), Birmingham (2007–08), and Canterbury (2007).

Press and Online

• Featured on the Turning Technologies blog: ‘Audience Response Systems Aren’t Just For STEM’, <>, 20 July 2016.
• Featured on the Turning Technologies website: ‘Electronic Voting Systems as a Springboard for Student Engagement’, <>, April 2015, by Carly McCracken.
• Featured on the BETT Show 2014 Blog: ‘How Hand-Held Electronic Voting Systems Add a New Dynamic to Lectures’, <>, 6 January 2014.
• Featured on ‘Turn to Your Neighbor: The Official Peer Instruction Blog’: , 10 June 2013, by Julie Schell.