Information about some current and former project participants:

RHUL profile picEmily MacGregor is a postdoctoral fellow in music at King’s College London. Previously she held posdoctoral positions at Royal Holloway, University of London (2019), and at Harvard University (2016-18).

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 forthcoming book, Interwar Symphonies and the Imagination: Politics, Identity, and the Sound of 1933 (Cambridge University Press, 2023), 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 project, ‘Music, Technologies, and Modern Selfhood: Austro-German Exile in the US, 1930-45′, was funded by a European Commission Marie Skłodowska-Curie Fellowship; her latest work, on diaspora and exile communities in New York 1935-41, is funded by a British Academy postdoctoral fellowship.

Emily has published 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.


Shreffler chair photoAnne 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.


J.P.E. Harper-Scott, former Professor of Music History and Theory at Royal Holloway, University of London, 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.