Dr Georgia Volioti
ºÚÁÏÉç
Biography
I am a Senior Lecturer in Music and Media and the Programme Director for the Masters in Music (MMus). I hold degrees from Imperial College, London (First-class BSc Hons and Associate of the Royal College of Science) and Royal Holloway, University of London (Masters in Music with Distinction, specialism Advanced Performance Pathway, and PhD in Music fully funded by an Arts and Humanities Research Council scholarship).
Research interests and activities
My research centres on interdisciplinary music performance studies, integrating performance psychology and perspectives from higher music education. Particular interests include interpretation, creativity, learning and expertise in musical practice; interdisciplinary research on recordings; performance as a mode of knowledge production; and the transformation of music performance in contemporary educational, professional and cultural contexts.
I employ qualitative, quantitative and empirical approaches to investigate performance as a cultural and embodied practice, including the psychological processes through which musical knowledge, learning, expertise and creativities are enacted. A distinctive feature of my research is its ability to bridge humanities and scientific traditions, enabling publication across both music-focused and science-oriented journals.
My research interests include:
- Musical expertise, interpretation, and learning
- Performance as knowledge production
- Performance psychology and cognition
- Performer self-regulated learning and self-efficacy
- Performance evaluation and assessment of expertise
- Listening practices and ecologies of listening
- Creative learning through mediated musical practices
- Music education and higher music education
- Music performance studies and performance historiography
- Nineteenth-century music and performance cultures
My research has been published in leading journals across performance studies, musicology, music psychology and education, including The Musical Quarterly, Music and Letters, Journal of Musicological Research, Music Performance Research, Musicae Scientiae, Research Studies in Music Education and Performance Research: A Journal of the Performing Arts.
I regularly review for journals spanning both humanities and scientific approaches to music research, including: Frontiers in Psychology (Performance Science section); Empirical Musicology Review; Journal of New Music Research; Music and Letters; Acta Musicologica; Studia Musicologica Norvegica; Research Studies in Music Education; Psychology of Music; Nineteenth-Century Music Review; and Musicae Scientiae (see also Research).
Research leadership and selected key publications
Working across performance studies, music psychology and music education, I explore the development of expertise, interpretation, creativity, and learning in musical practices.
Recent major publications are united by this overarching research trajectory.
My lead-edited book, (Routledge SEMPRE), examines how musicians learn, create, interpret, and develop through mediated musical practices.
My co-edited special issue of 'On Music', explores how musical performance generates, embodies, communicates, and transforms forms of knowing across artistic, technological, educational, and cultural contexts, advancing my interests in performance as interdisciplinary practice.
Current research projects further extend this interdisciplinary trajectory through studies of musical expertise, learning, and knowledge development within contemporary higher music education.
Research funding and competitive awards
My research has been supported through a sustained portfolio of competitive and invited awards spanning research development, pedagogical innovation, and international research leadership, including a Vice Chancellor’s Career Investment and Inclusion Award (ºÚÁÏÉç), multiple Music & Letters Trust Awards, a Royal Musical Association Conference Organisation Award, a Faculty of Arts and Social Sciences (FASS) Academic Disruption Fund, alongside external matched funding from the Royal College of Music. Earlier support has included a FASS Teaching Innovation Award.
Collectively, these awards reflect sustained institutional and external recognition of my research on interdisciplinary music performance studies, with a particular focus on psychological and pedagogical processes in musical learning and creative practice.
Public engagement and knowledge exchange
My public engagement and knowledge exchange activities communicate research on musical performance, with a particular focus on expertise, learning, and psychological processes underpinning performance. I work with audiences across the music industry, creative practice, policy, and higher education to translate research on musical performance, interpretation, creativity, and learning into public-facing contexts.
My activities include public pre-performance talks for Glyndebourne, co-curation of a public exhibition at the Guildford International Music Festival, keynote presentations (including at the London International Piano Symposium at the Royal Academy of Music), writing for The Conversation, and delivering public research seminars. I also contribute to regional music education and cultural engagement through my role on the Steering Board of external partners for the ºÚÁÏÉç Music Hub. (For a list of all public engagement activities, see under Publications).
Leadership and academic management roles:
Current:
- MMus Programme Director (2024 - ongoing)
Previous:
- Open Research Champion for Music and Media
- Director of Music Careers & Employability
- BMus Programme Director
Areas of specialism
Affiliations and memberships
Associate Fellow of Higher Education Academy (accreditation reference: PR057289).
Performance Studies Network (PSN) - registered member.
Equality, Diversity and Inclusion in Music Studies (EDIMS) - registered member.
Healthy Conservatoires network - registered member.
Music Mark - representative for UoS Music and Media and registered member.
Royal Musical Association - registered member.
News
In the media
ResearchResearch interests
My research centres on interdisciplinary music performance studies, integrating performance psychology and perspectives from higher music education. Particular interests include interpretation, creativity, learning and expertise in musical practice; interdisciplinary research on recordings; performance as a mode of knowledge production; and the transformation of music performance in contemporary educational, professional and cultural contexts.
A distinctive feature of my work is its integration of humanities and scientific approaches to the study of musical performance. I employ qualitative, quantitative, and empirical approaches to investigate performance as a cultural and embodied practice, including the psychological processes through which musical knowledge, learning, expertise and creativities are enacted.
Research themes
- Performance, Expertise, and Learning
- Performance Psychology and Cognition
- Performance Studies, Musicology, and Cultural Contexts
- Music Education and Professional Practice
Research methods
My research draws on a broad methodological repertoire, including:
- qualitative and interview-based research
- quantitative methods and research design
- empirical and mixed-methods approaches
- educational research
- discourse and cultural analysis
- historical and archival research
- computational analysis of performance data
- statistical modelling and SPSS data analysis
Professional & research affiliations:
- Society for Education, Music and Psychology Research (SEMPRE) - registered member.
- Associate Fellow of Higher Education Academy (accreditation reference: PR057289).
- Performance Studies Network (PSN) - registered member.
- Equality, Diversity and Inclusion in Music Studies (EDIMS) - registered member.
- Healthy Conservatoires Network - registered member.
- Music Mark - representative for UoS Music and Media and registered member.
- Royal Musical Association - registered member.
Peer-review and research service:
Academic journals & research grant reviewer:
I have acted as reviewer for the journals:
- Frontiers in Psychology - Performance Science section (Open Access Journal, ISSN: 1664-1078) - open peer review
- Empirical Musicology Review (Ohio State University, ISSN: 1559-5749) - open peer review
- Journal of New Music Research (Taylor & Francis Journals) - registered on Web of Science
- Research Studies in Music Education (SAGE/SEMPRE Journals) - registered on Web of Science
- Music and Letters (Oxford University Press)
- Acta Musicologica (Journal of the International Musicological Society, e-ISSN: 2296-4339)
- Studia Musicologica Norvegica (Scandinavian University Press, DOI: 10.18261/issn.1504-2960, ISSN (print): 0332-5024)
I have reviewed academic books and classical music CDs (and published peer-reviewed review articles) in the journals:
- Psychology of Music (SAGE/SEMRE Journals)
- Musicae Scientiae (ESCOM/SAGE Journals)
- Music and Letters (Oxford University Press)
- Nineteenth-Century Music Review (Cambridge University Press)
I have acted as research grant reviewer for The Swiss National Science Foundation.
International conference committees and reviewing panels:
- Member of Programme Committee of (15-18 July 2027, University of Leeds).
- Co-chair, member of conference review committee and lead organiser of (26-27 June 2025, ºÚÁÏÉç).
- Member of conference committee and co-organiser (one of three) for the (30 June - 3 July 2022, ºÚÁÏÉç).
- Member of Steering Committee of (effective from March 2021 to March 2023).
- Lead organiser and committee member for Performance Studies Network Research Forum - New Takes on Recorded Music: Performance, Creativity, Technology, ºÚÁÏÉç, 5-6 September 2019.
- Member of scientific committee and reviewing panel for
- Member of conference committee and reviewing panel for the
Research interests
My research centres on interdisciplinary music performance studies, integrating performance psychology and perspectives from higher music education. Particular interests include interpretation, creativity, learning and expertise in musical practice; interdisciplinary research on recordings; performance as a mode of knowledge production; and the transformation of music performance in contemporary educational, professional and cultural contexts.
A distinctive feature of my work is its integration of humanities and scientific approaches to the study of musical performance. I employ qualitative, quantitative, and empirical approaches to investigate performance as a cultural and embodied practice, including the psychological processes through which musical knowledge, learning, expertise and creativities are enacted.
Research themes
- Performance, Expertise, and Learning
- Performance Psychology and Cognition
- Performance Studies, Musicology, and Cultural Contexts
- Music Education and Professional Practice
Research methods
My research draws on a broad methodological repertoire, including:
- qualitative and interview-based research
- quantitative methods and research design
- empirical and mixed-methods approaches
- educational research
- discourse and cultural analysis
- historical and archival research
- computational analysis of performance data
- statistical modelling and SPSS data analysis
Professional & research affiliations:
- Society for Education, Music and Psychology Research (SEMPRE) - registered member.
- Associate Fellow of Higher Education Academy (accreditation reference: PR057289).
- Performance Studies Network (PSN) - registered member.
- Equality, Diversity and Inclusion in Music Studies (EDIMS) - registered member.
- Healthy Conservatoires Network - registered member.
- Music Mark - representative for UoS Music and Media and registered member.
- Royal Musical Association - registered member.
Peer-review and research service:
Academic journals & research grant reviewer:
I have acted as reviewer for the journals:
- Frontiers in Psychology - Performance Science section (Open Access Journal, ISSN: 1664-1078) - open peer review
- Empirical Musicology Review (Ohio State University, ISSN: 1559-5749) - open peer review
- Journal of New Music Research (Taylor & Francis Journals) - registered on Web of Science
- Research Studies in Music Education (SAGE/SEMPRE Journals) - registered on Web of Science
- Music and Letters (Oxford University Press)
- Acta Musicologica (Journal of the International Musicological Society, e-ISSN: 2296-4339)
- Studia Musicologica Norvegica (Scandinavian University Press, DOI: 10.18261/issn.1504-2960, ISSN (print): 0332-5024)
I have reviewed academic books and classical music CDs (and published peer-reviewed review articles) in the journals:
- Psychology of Music (SAGE/SEMRE Journals)
- Musicae Scientiae (ESCOM/SAGE Journals)
- Music and Letters (Oxford University Press)
- Nineteenth-Century Music Review (Cambridge University Press)
I have acted as research grant reviewer for The Swiss National Science Foundation.
International conference committees and reviewing panels:
- Member of Programme Committee of (15-18 July 2027, University of Leeds).
- Co-chair, member of conference review committee and lead organiser of (26-27 June 2025, ºÚÁÏÉç).
- Member of conference committee and co-organiser (one of three) for the (30 June - 3 July 2022, ºÚÁÏÉç).
- Member of Steering Committee of (effective from March 2021 to March 2023).
- Lead organiser and committee member for Performance Studies Network Research Forum - New Takes on Recorded Music: Performance, Creativity, Technology, ºÚÁÏÉç, 5-6 September 2019.
- Member of scientific committee and reviewing panel for
- Member of conference committee and reviewing panel for the
Supervision
Postgraduate research supervision
I am interested in supervising doctoral projects that investigate musical performance, with particular emphasis on how learning, interpretation, expertise, creativities are developed, embodied, transmitted and evaluated through performance, and on the psychological and cognitive processes underpinning musical performance.
I welcome PhD enquiries from suitably qualified candidates interested in empirical (qualitative and quantitative methods), psychological and cognitive approaches to investigating musical performance, particularly where research engages with performance studies, performance psychology, and music education. Co-supervision with colleagues in related disciplines (e.g. psychology, education, health sciences) is possible.
My supervision expertise is particularly suited to projects exploring:
- musical expertise and interpretive decision-making in performance
- performance and embodied musical knowledge
- learning, pedagogy, and assessment in musical performance contexts
- performance psychology and performer development
- empirical studies of musical performance
For information on applying and funded doctoral opportunities, see Music PhD and Doctoral College | ºÚÁÏÉç.
Completed PhD theses:
Arkle, Genevieve. (2021). Investigating the Turn Figure as Allusion and Topic in Wagner’s Parsifal and Mahler’s Ninth Symphony. ºÚÁÏÉç, Doctor of Philosophy (PhD). Completed: 30/07/2021. [Supervisors: Professor Jeremy Barham; Dr Georgia Volioti].
Singleton, Philip. (2016). Spectralism today: A survey of the consequences for contemporary composition of the French Spectral School of the 1970s and 1980s. ºÚÁÏÉç, Doctor of Philosophy (PhD). Completed: 01/08/2016. [Supervisors: Professor Alan Moore; Dr Tom Armstrong; Dr Georgia Volioti].
Teaching
In my teaching, I draw on principles from Positive Psychology and Self-Determination Theory, recognising that meaningful learning occurs when students experience autonomy, psychological safety, competence and a sense of belonging. I aim to create learning environments that empower students to become independent thinkers, intellectually curious, reflective and confident contributors to the wider musical and cultural landscape.
Postgraduate teaching (Music MMus):
I convene and lead MMus Research Training (MUSM078), focusing on research methods with particular attention to expertise, interpretation, collaborative practice, technological mediation and learning in cross-disciplinary contexts.
Undergraduate teaching (Music BMus):
My undergraduate teaching is centred on musical performance, integrating perspectives from performance studies, musicology, sociology and performance psychology.
- Studying Music as Performance / Performance Studies (MUS2062, MUS3082, MUSM073)
Convener and main lecturer.
A distinct interdisciplinary module exploring musical performance, interpretation, expertise, technological mediation, and embodied learning, drawing on performance studies, musicology, sociology, and applied psychology. - Encountering Music History (MUS1031)
Convener and main lecturer.
A module that rethinks critically 'what' music is as cultural encounter, what music histories are through performance, listening, cultural interpretation, embodiment and human interaction. - Nineteenth-Century Music (MUS2057)
Convener and main lecturer.
Focus on performance cultures and interpretive practices in nineteenth-century repertoire, including Lied, piano genres, and Italian opera. - Opera Studies (Topic Study 2B/3B/B; MUS2062, MUS3082, MUSM073)
Convener and main lecturer.
A performance-centred exploration of opera as a historically and culturally situated practice of interpretation, embodiment, and meaning-making. - Music Project Modules (1B, 2B, 3B, B)
Convener and main lecturer.
Student-led projects focused on musical performance, interpretation, and creative engagement with repertoire and practice.
Past modules taught:
UG/BMus
- Individual Project (MUS3078) - convener/supervisor.
- Arts Policy & Practice (MUS2033) - convener/supervisor.
- Professional Investigation (MUS3068) - convener/supervisor.
- Historical Performance Practice (MUS3072) - convener & main lecturer.
- Opera Studies (MUS3064) - convener & main lecturer.
- Understanding Music B (MUS1027) - main lecturer.
- Musicology A (MUS2046) - main lecturer.
- Musicology B (MUS2047) - convener/supervisor.
- Dissertation A, B & C (MUS3055, 3056 & 3057) - convener/supervisor.
PG/MMus
- Research Training for Practitioners (MUSM048) - contributor.
- Performance A (MUSM039) - contributor.
- Performance B (MUSM040) - contributor.
- Readings in Musicology A (MUSM056) - contributor.
- Readings in Musicology B - main lecturer.
- Research Training in Musicology A & B (MUSM054, MUSM055) - contributor.
Publications
My publications explore cultural, psychological, cognitive, and pedagogical processes through which musical knowledge, learning and expertise are acquired, embodied, evaluated, transmitted, and creatively transformed through performance.
(2026). Volioti, G. Review of 'Sounds as They Are: The Unwritten Music in Classical Recordings' by Richard Beaudoin. (Oxford University Press, New York, 2024. ISBN 9-780- 1976-5928. Music and Letters (published online, 5 March 2026).
(2025). Volioti, G. 'A Lament for the Earth: Performing Loneliness and Liminality with Annie Lennox's "Dido"', in T. Armstrong, G. Volioti and C. Wiley (eds.), 'On Music', Performance Research: A Journal of the Performing Arts, 29/6, 82-89.
(2025). Armstrong, T., Volioti, G. and Wiley, C. 'On Music'. Edited Issue of Performance Research: A Journal of the Performing Arts, 29/6, 1-162. Taylor & Francis Online. ISSN: 1352-8165. Available online:
(2025). Armstrong, T., Volioti, G. and Wiley, C. 'On Music: Editorial: Pirouetting on the Twists and Turns of Music Performance Studies', in T. Armstrong, G. Volioti and C. Wiley (eds.), Performance Research: A Journal of the Performing Arts, 29/6, 1-7.
(2024). Volioti, G. and Barolsky, D. Recorded Music in Creative Practices: Mediation, Performance, Education. London & New York: Routledge. SEMPRE Studies in the Psychology of Music. ISBN 9781032040608 DOI:
(2024). Volioti, G. 'Introduction: New Approaches to Integrating the Study and Practice of Recording in Higher Music Education', in Volioti, G. and Barolsky, D. (eds.), Recorded Music in Creative Practices: Mediation, Performance, Education. London & New York Routledge. SEMPRE Studies in the Psychology of Music. DOI:
(2024). Volioti, G. and Williamon, A. 'Nurturing the Musical Imagination: Listening to Recordings for Self-regulated and Creative Learning', in Volioti, G. and Barolsky, D. (eds.), Recorded Music in Creative Practices: Mediation, Performance, Education. London & New York: Routledge. SEMPRE Studies in the Psychology of Music. DOI:
(2024). Volioti, G. 'Does UK Opera have a Future to Sing ºÚÁÏÉç?' The Conversation, Arts and Culture, published online 10 July 2024.
(2024). Volioti, G., Waddell, G. and Williamon, A. 'Expert Listeners' Evaluation of Originality and Quality of Commercial Classical Piano Recordings'. In Kempf, A., Parncutt, R., MartÃnez, I. C., Pérez, J. B., Glasser, S., Osborne, M., Daffern, H., Waddington-Jones, C., O’Neill, K. and Schiavio, A. (eds.), GAPS2 - Global Arts and Psychology Seminar "Creativity in music and the arts": Book of Abstracts (pp. 124-126). University of Graz, 2024. .
(2023). Volioti, G. Liner Notes. Grieg: Lyric Pieces. Daniel Gortler (piano). Prospero Classical (1 CD: 64.20 minutes), pp. 7-12. Martin Korn Music Production.
(2023). Volioti, G. 'The Written and the Sung: Grieg's Piano Ballade and the Performativity of Genre', in E. Moreda-Rodriguez and I. Stanovic (eds.), Early Sound Recordings: Academic Research and Practice (pp. 202-224). Routledge. eBook: ISBN 9781003194521 DOI:
(2021). Volioti, G. and Williamon, A. 'Performers' Discourses on Listening to Recordings'. Research Studies in Music Education, 43/3, 481-497.
(2021). Volioti, G. Book review of 'Musicians in the Making: Pathways to Creative Performance', J. Rink, H. Gaunt and A. Williamon (eds.), Oxford University Press, 2017. Psychology of Music, 49/4, 1058-1065.
(2020). Volioti, G. 'Rethinking Classical Sound Recordings: Creativities Beyond the Score', in A. Aguilar, R. Cole, M. Pritchard & E. Clarke (eds.), Remixing Music Studies: Essays in Honour of Nicholas Cook (pp. 61-75). New York: Routledge. eBook: ISBN 9780429433405
(2019). Volioti, G. 'Expressive Gesture in Grieg's Recordings of Two Op. 43 Lyric Pieces: An Exploratory Principal Components Analysis'. Music Performance Research,
(2018). Volioti, G. Book review of 'Staging History: 1780-1840', M. Burden, W. Heller, J. Hicks and E. Lockhart (eds.), Bodleian Library, University of Oxford, 2016. Nineteenth-Century Music Review, published online 2 April 2018.
(2017). Volioti, G. 'Landscaping the Gaze in Norwegian Visual Art and Grieg's Op. 66 Folksong Piano Arrangements'. Music & Letters, 98/4, 573-600.
(2017). Volioti, G. & Williamon, A. 'Recordings as Learning and Practising Resources for Performance: Exploring Attitudes and Behaviours of Music Students and Professionals'. Musicae Scientiae, 21/4, 499-523.
(2017). Volioti, G. 'Musing on The Past: Historical Recordings as Creative Resources of Piano Performance', in Cristine MacKie (ed.), New Thoughts on Piano Performance: Research at the Interface Between Science and the Art of Piano Performance (pp. 65-86). A London International Piano Symposium Publication, 2017. ISBN: 978-164007055-4
(2017). Volioti, G. 'Re-imagining Operatic Objects: Commentary on "Phenomena, Poiesis, and Performance Profiling: Temporal-Textual Emphasis and Creative Process Analysis in Turandot at the Metropolitan Opera"'. Empirical Musicology Review, 12/3-4, 272-276.
(2017). Volioti, G. Recording review of 'Edvard Grieg, Lyric Pieces, Stephen Hough pf Hyperion 68070, 2015 (1 CD: 73 minutes)', Nineteenth-Century Music Review, 14/2, 275-277.
(2016). Volioti, G. Book review of 'Expressiveness in Music Performance: Empirical Approaches across Styles and Cultures', D. Fabian, R. Timmers and E. Schubert (eds.), Oxford University Press, 2014. Nineteenth-Century Music Review, 13/2, 335-340.
(2015). Volioti, G. 'Reminiscing Grieg: A Study of Technostalgia and Modulating Identities'. The Musical Quarterly, 98/3, 179-211.
(2014). Volioti, G. ‘Performing National-Cultural Identity: Rhythmic Gesture as the Phenomenology of the Folk’, in Nikos Maliaras (ed.), Proceedings of the International Musicological Conference the National Element in Music, 18-20 January 2013 (pp. 91-111). Faculty of Music Studies, University of Athens.
(2012). Volioti, G. ‘Re-inventing Grieg’s Folk Modernism: An Empirical Investigation of the Performance of the Slåtter op.72, no. 2’. The Journal of Musicological Research, 31/4, 262-296.
(2010). Volioti, G. ‘Playing with Tradition: Weighing up Similarity and the Buoyancy of the Game’. Musicae Scientiae, 14/2, 85-114.
(2007). Volioti, G. Book review of Adam Ockelford, ‘Repetition in Music: Theoretical and Meta-theoretical Perspectives’, Ashgate (RMA Monographs), 2005. Musicae Scientiae, 11/2, 325-330.
(2007). Volioti, G. Review of 4th International CHARM Symposium, Royal Holloway, University of London, UK (12-14 April 2007), 'Methods for Analysing Recordings'. CHARM Newsletter, .
Peer-reviewed conference research papers (and invited contributions):
(2025). Volioti, G. 'Evaluating Originality in Classical Performance: An Exploratory Investigation with Implications for Performers' Training'. () Royal Holloway, University of London, Music Department Research Seminar Series, 25 March 2025. [invited research seminar]
(2023). Volioti, G., Waddell, G. and Williamon, A. 'Exploring Expert Listeners' Evaluation of Originality and Quality of Commercial Classical Piano Recordings'. - Global Arts and Psychology Seminar "Creativity in Music and the Arts", York, Graz, La Plata and Melbourne, 14-16 September 2023. [conference research paper]
(2023). Volioti, G., Waddell, G. and Williamon, A. 'Exploring Expert Listeners' Evaluation of Originality and Quality of Commercial Classical Piano Recordings'. International Symposium on Performance Science (), Medical University of Warsaw, Poland, 17-20 August 2023. [conference research paper]
(2023). Volioti, G. 'In Conversation with Artist in Residence Dr Anna Scott on Performing Recordings: Recording Performances', Institute of Advanced Studies, ºÚÁÏÉç, 3 March 2023 (, conversation starts @ 1:08:46) [public live-streamed seminar].
(2022). Volioti, G. 'On and Off the Record: Reimagining Grieg's Ballade from Historical Recordings'. Grieg in Performance International Research Seminar 2022, University of Bergen, 2-3 September 2022. [conference research paper, by invitation]
(2022). Volioti, G., McGuinness, S., Neumann, J. and Behan, A. 'Post-pandemic Performance: A Retrospective Prospective Round-table Discussion'. Sixth International Performance Studies Network Conference, ºÚÁÏÉç, 30 June - 3 July 2022. [conference panel speaker]
(2022). Volioti, G. 'Taking the Leap: Music Students’ Transitions into Professional Placement as a Route to Career Building'. ºÚÁÏÉç ExciTes Conference, ºÚÁÏÉç, 25 April 2022. [conference research paper]
(2022). Volioti, G. 'Roundtable: Early Recordings Research and Future directions'. Interpreting Early Recordings: Critical and Contextual Perspectives. University of Glasgow, 6 January 2022. [invited panel speaker]
(2021). Volioti, G. 'Roundtable'. Early Recordings: Impacts of a Transformative Technology, hosted online by Cardiff University and Bern University of the Arts, 21 July 2021. [invited panel chair and speaker]
(2020). Volioti, G. 'Learning with Recordings as Cultural Capability: Towards Developing Listening Pedagogies'. Bootleg Opera and Pirate Queens, Bern University of the Arts, 2-4 September 2020. [conference research paper]
(2019). Volioti, G. Early Recordings: Past Performing Practices in Contemporary Research, Pushkin House, London, 22 June 2019. [invited panel chair]
(2018). Volioti, G. 'Reflections on Classical Sound Recordings: Prospects and Challenges for Performance Studies'. The London International Piano Symposium. Royal Academy of Music, 27-29 October 2018. [keynote speaker]
(2018). Volioti, G. Performance Studies Network Fifth International Conference. Norwegian Academy of Music, Oslo, 5-8 July 2018. [conference research paper]
(2018). Volioti, G. Seeing and Hearing the Beyond: Art, Music, and Mysticism in the Long Nineteenth Century. Annual Conference of the Association of Art History. London, 5-7 April 2018. [conference research paper]
(2018). Volioti, G. and Williamon, A. 'Unlocking the Anxiety of Influence: What Performers' Discourses Reveal about Listening to Recordings'. The Listening Experience Database Project: Methodologies, Identities, Histories. The Open University, Milton Keynes, 6-7 March 2018. [conference research paper]
(2017). Volioti, G. ‘Narrativity in Grieg’s Ballade Revisited: The Nineteenth-Century Pianist as Orator’, Department of Music and Media, Music Research Seminar Series, ºÚÁÏÉç, 11 October 2017. [research seminar]
(2017). Tenth Biennial International Conference on Music Since 1900 and ºÚÁÏÉç Music Analysis Conference (ICMSN/ºÚÁÏÉçMAC), ºÚÁÏÉç, Guildford, 11-14 September 2017. [Member of conference committee and panel chair for sessions on 'Film & Music' (12 Sept. 2017), and 'Music & France' (14 Sept. 2017)]
(2015). Volioti, G. and Williamon, A. 'Listening to Recordings: Perspectives on Practitioners' Habits'. The Listening Experience Database Project, Listening to Music: People, Practices and Experiences, Royal College of Music, London, 24-25 October 2015. [conference research paper]
(2015). Volioti, G. 'Three Levels of Vocality in Grieg's Piano Recordings'. PERFORMA'15, International Conference on Musical Performance, University of Aveiro, Portugal, 11-13 June 2015. [conference research paper]
(2015). Volioti, G. 'Working with Piano Rolls: A Musicologist's Perspective', presented as part of my collaborative research seminar 'Rollin' On: Pianola Grooves Uncovered', Music Research Seminar Series, School of Arts, PATS Studio 1, ºÚÁÏÉç, 25 February 2015. [Research presentation and public exhibition, 'The Player-Piano and Pianola', part of The Guildford International Music Festival 2015]
(2014). Volioti, G. 'Who Cares What You Listen: Musical Recordings as Cultural Products of Creativity', invited by Prof. Paul Sowden (Department of Psychology) and presented at the ILLUME Research Seminar Series, Faculty of Arts and Human Sciences, ºÚÁÏÉç, 17 July 2014. [invited research presentation]
(2014). Volioti, G. Eighteenth Biennial Conference on Nineteenth-Century Music, University of Toronto, Canada, 18-20 June 2014. [conference research paper]
(2014). Volioti, G. 'Performing Memory and Nostalgia with Grieg's Historical Piano Recordings', Music Research Seminar Series, School of Arts, ºÚÁÏÉç, 22 January 2014. [research seminar]
(2013). Volioti, G. ‘Historical Recordings and Piano Performance’. The London International Piano Symposium, Royal College of Music, London, 8-10 February 2013 (Recipient of Music & Letters Trust Award). [conference research paper]
(2013). Volioti, G. 'Performing Norwegian National-Cultural Identity: Rhythmic Gesture as the Phenomenology of the Folk'. International Musicological Conference, The National Element in Music, University of Athens, Greece, 18-20 January 2013. [conference research paper]
(2011). Volioti, G. 'Between Tradition and Innovation - Whose Style Is It Anyway? An Empirical Investigation of the Performance Practice of Grieg's Slatter'. International Performance Studies Conference, PERFORMA'11, University of Aveiro, Portugal, 19-21 May 2011. [conference research paper]
Public engagement and knowledge exchange
My public engagement and knowledge exchange activities translate research on musical performance, with a focus on learning, development of expertise, interpretation, and performance practices, into academic, professional, and public contexts.
Research leadership: Conferences and symposia
(2025). Co-chair and lead organiser of the international conference , ºÚÁÏÉç (26–27 June 2025).
(2022). Co-organiser (one of three) and review committee member of the , ºÚÁÏÉç (30 June–3 July 2022).
(2019). Lead organiser and committee member of , ºÚÁÏÉç (5–6 September 2019), supported by The Music & Letters Trust, Performance Studies Network, and the Department of Music and Media.
Knowledge dissemination: Public scholarship and invited keynote work
(2025). 'Evaluating Originality in Classical Performance: An Exploratory Investigation with Implications for Music Education'. Royal Holloway, University of London, Music Department Research Seminar Series, 25 March 2025 (invited research seminar, ).
(2023). Public research seminar, 'In Conversation with Artist in Residence Dr Anna Scott on Performing Recordings: Recording Performances'. Institute of Advanced Studies, ºÚÁÏÉç, 3 March 2023 (public live-streamed seminar, conversation starts @ 1:08:46).
(2018). Keynote address: Reflections on Classical Sound Recordings: Prospects and Challenges for Performance Studies, London International Piano Symposium, Royal Academy of Music (27–29 October 2018).
(2015). Public research seminar Rollin’ On: Piano(la) Groves Uncovered. Guildford International Music Festival (25 February 2015).
Cultural engagement: Exhibitions and practice-based work
(2015). Co-curator of The Player-Piano and Pianola, Guildford International Music Festival, Lewis Elton Gallery, ºÚÁÏÉç (9–18 March 2015). The exhibition presented early recording technologies and material artefacts, exploring how reproducing piano systems illuminate questions of performance practice, musical interpretation and embodied knowledge.
Public-facing performance communication and outreach
(2018). Public pre-performance talk for Glyndebourne Company on Tour. New Victoria Theatre, Woking (20 November 2018).
(2014). Public pre-performance talk on Verdi’s La Traviata. Invited by Glyndebourne dramaturg Cori Ellison. Glyndebourne Company on Tour, New Victoria Theatre, Woking (29 October 2014).
Music education, policy and regional engagement
(2023–present). Steering Board Member (External Partners), ºÚÁÏÉç Music Hub. Contributing to regional strategy and partnership development as part of applied research impact, supporting initiatives that enhance musical learning, participation, progression, and access for young people across ºÚÁÏÉç.