Research

My research is rooted in Music Pedagogy, Early Music Performance Studies and Organology, with special interest in perspectives related to friction, negotiations and cause and effect relationships. I am particularly interested in interdisciplinary work.

I am approachable. Feel free to contact me for collaborations, contributions, guest-lecturing or any other research activities such as participation in research groups and projects. I will also consider formal and informal requests for supervising postgraduates. I am open to utilising technological solutions such as video-conferencing.

(Note: As I am currently receiving quite a few e-mails every day, please allow me some time to respond. In more hectic periods, feel free to remind me with a new e-mail if you have not heard from me after a couple of weeks.)


My Current Research Interest:

In music, what knowledge do I produce and what responsibility do I take for it?

How can we regard historical music research as an ongoing activity, rather than a standardised process with following results?

If we represent a field of study by several small stones, held in our hands, then as researchers we throw them up in the air as we seek to analyse, deconstruct and compartmentalise. Now, when the stones ultimately fall back to the ground, we are not able to catch them all as they have spread in the air, and we must decide which stones to catch.

These decisions are what interests me because they occur not only with the individual scholar and musician, but repeatedly among vast groups of scholars/musicians to form entire fields of study. Through time, these decisions can become more or less autonomic and perhaps even unconscious.

I promote a shift from a representational to a performative perspective.

By re-examining the established practices within historical music performance and theory from a new perspective, and ask essential questions relating to their assumed agendas, worldviews and habits, I emphasise historical music performance and musicology as social activities where the one is causing the other.

This opens for historical musicology and music performance studies to be seen differently from a range of perspectives which may contribute to change the way in which we understand and utilise historical music as artefacts, practices, social potential and entities. Furthermore, we can change how we teach and regard the past, relate to our present and theorise our musical futures.

Follow me on Academia, and Research Gate

I also have the following IDs: ORCID, Publons

I work at the University of Agder

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