Information about project participants:
Emily MacGregor is a postdoctoral fellow in music at Royal Holloway, University of London. Previously she held a postdoctoral fellowship at Harvard University Department of Music.
Research interests: twentieth-century musical culture in Germany and North America; modernism; music and technology; critical theory; acoustic space.
Emily completed her AHRC-funded doctorate in musicology at Oxford University in 2016, supervised by Daniel Grimley. She also has an MSt in Music (distinction) from Oxford, and a BA in Music and Drama from the University of Manchester. From 2012 to 2013 she held a DAAD visiting fellowship at the Freie Universität in Berlin, and in 2014 she was a Kluge Fellow at the Library of Congress.
Emily’s current book project, The Symphony in 1933, uses a transnational frame to explore the genre in Germany, France, and the US, at a time when politics challenged the genre’s Enlightenment narratives of self-determining subjectivity. Her postdoctoral research, ‘Music, Technologies, and Modern Selfhood: Austro-German Exile in the US, 1930-45′, is funded by a European Commission Marie Skłodowska-Curie Fellowship.
Emily has research published or forthcoming on German and Americanist twentieth-century topics, and on musicology and academic freedom. Her article in The Musical Quarterly, ‘Listening for the Intimsphäre: Recovering Berlin 1933 through Hans Pfitzner’s Symphony in C-sharp Minor’, was awarded the 2019 Jerome Roche Prize by the Royal Musical Association.
J.P.E. Harper-Scott is Professor of Music History and Theory at Royal Holloway, University of London.
He has published extensively on music of the nineteenth and twentieth centuries, with a particular focus on twentieth-century British music and theories of musical modernism. His sixth book, Ideology in Britten’s Operas, was published by Cambridge University Press in 2018.
Anne C. Shreffler is Professor of Music at Harvard University.
Her research interests include the musical avant-garde after 1945 in Europe and America, with special emphasis on the political and ideological associations of new music. Other research interests include historiography, composers in emigration, performance theory, and contemporary opera.