Find a supervisor
If you are considering applying to undertake doctoral research, your first step is to identify a member of staff with relevant expertise to support your project and capacity to act as your supervisor.
An initial enquiry with a potential supervisor, or with the relevant contact point, will help to establish if we are able to support your project. General enquiries about the programme may be sent our research degrees email.
Dr Carola Darwin – music and gender; women composers; vocal music and opera; performance.
Dr Gerardo Gozzi - microtonality; extended techniques; perception of sound; improvisation.
Dr Christina Guillaumier – Russian and Slavic music; modernism, politics and cultural history; piano repertoires; practice research, digital pedagogy.
Dr Maiko Kawabata – performance history; performance studies; gender and music; race and music.
Andrew McCrea – organ historiography; keyboard performance practice; genres and styles; reception studies.
Dr Ingrid Pearson – performance practice; practice research; woodwind organology and iconography; historiography.
Professor Ashley Solomon – flute and recorder; performance practice; practice research; woodwind organology.
All applicants in composition should address initial enquiries to the Head of Composition Dr Jonathan Cole. Please include research proposal, two or three examples of previous work, and the name of any supervisor you would especially like to work with.
Professor Mark Bowden - orchestral & chamber music; vocal & choral music; opera; music for dance.
Dr Jonathan Cole - composition; Indeterminacy; American Experimentalists; Stockhausen; Acoustics; John Cage.
Dr Gerardo Gozzi - microtonality; extended techniques; perception of sound; improvisation.
Kenneth Hesketh - techniques of C20 music; orchestration/transcription; music of Dutilleux; musical ekphrasis.
Dr Alison Kay - C20/C21 compositional technique; orchestration/transcription; experimental ideas.
Haris Kittos - composition; experimental music; sound art; visual art; interdisciplinary approaches; multimedia.
William Mival - extended and dramatic forms; orchestral and ensemble music; decadence; post- and neo-romanticism.
Dr Diana Salazar - electroacoustic; sound art; site-specific practices; artistic collaboration; technology in education.
Dr Kirsty Devaney – composition, pedagogy and creative practices in education, equity and inclusion in music, collaboration and coproduced composition.
All applicants in Performance Science should prepare a proposal in full, in the format indicated. To help with this, you are strongly encouraged to read some of the recent PhDs to help focus your project, and have a strong understanding of what is possible during the course of doctoral study.
Having prepared a proposal in full, you should then attach your CV and prepared proposal to your selected supervisor and Dr Anna Détári. If your proposal is recognised as being of a high standard, and a strong fit with the supervisor, and there is capacity to take your project forward, you will be invited to one 30-minute meeting. You will also receive one round of written feedback. You may decide whether you would prefer the feedback or the meeting first. Having done this, you may then apply through the processes outlined under Submitting a PhD.
Dr Anna Detari - performers' health and wellbeing; performance-related disorders; Focal Dystonia; neurodiversity.
Dr Tania Lisboa - practice and memorisation; technology in education; arts in health and wellbeing; music and SEND.
Professor Rosie Perkins - music and mental health; parental wellbeing; musicians’ wellbeing; institutional cultures.
Dr Neta Spiro - musical care; music in health; music psychology; performers’ health & wellbeing.
Dr George Waddell - performance optimisation; cognition; decision-making; evaluation; perception; technology.
Professor Aaron Williamon -performance psychology, evaluation and anxiety; cognition; memory; arts and health.
Professor Robert Adlington – music post-1960; modernism and avant-garde; music and politics; music and democracy
Dr Ann van Allen-Russell – the long C18: music and culture; performance practice; intellectual property and copyright
Dr Carola Darwin – music and gender; women composers; vocal music and opera; performance
Dr Sarah Fuchs – C19 and C20 music and culture, especially France; audio-visual media; digital cultural heritage
Dr Christina Guillaumier – Russian and Slavic music; modernism and politics; piano repertoires; practice research
Ivan Hewett – modernism; music and aesthetics; music post-1945
Dr Maiko Kawabata – performance history; performance studies; gender and music; race and music
Andrew McCrea – organ historiography; keyboard performance practice; genres and styles; reception studies
Dr Ingrid Pearson – performance practice; practice research; woodwind organology and iconography; historiography
Dr Sarah K. Whitfield – women in music, music history, digital humanities, musical theatre and opera, practice-led research, Queer studies, data and music education
Dr Ingrid Pearson – performance practice; practice research; woodwind organology and iconography; historiography.
Professor Gabriele Rossi Rognoni – material culture studies; musical instrument studies; iconography; museum studies.
Professor Ashley Solomon – flute and recorder; performance practice; practice research; woodwind organology.
Dr Tania Lisboa - practice and memorisation; technology in education; arts in health and wellbeing; music and SEND.
Dr Mary Stakelum - intercultural perspectives; curriculum; practitioner research; music education and social context.
Dr Christina Guillaumier – Russian and Slavic music; modernism, politics and cultural history; piano repertoires; practice research, digital pedagogy.
Dr Kirsty Devaney – composition, pedagogy and creative practices in education, equity and inclusion in music, collaboration and coproduced composition.
