About

I an AHRC-funded doctoral student at Magdalen College, Oxford. My thesis, 'Medievalism in Contemporary Opera', is supervised by Laura Tunbridge and Elizabeth Eva Leach. 

I have taught undergraduate courses on musical thought and scholarship (including gender, sexuality, disability, phenomenology, and poststructuralism), Guillaume de Machaut, post-tonal analysis (including set theory), tonal analysis (including Schenkerian and Neo-Riemannian approaches), and vernacular song in the long thirteenth century. I have supervised undergraduate coursework on the symphonies of Antonín Dvořák and Florence Price.

I am a committee member of the LGBTQ+ Music Study Group and have produced its podcast, Bent Notes. I have experience in peer review for the AHRC-TORCH Graduate Fund and the British Music Collection's LGBTQ+ History Month open call for scores. I have convened both the Oxford music faculty's colloquium series and its graduate discussion seminar series, GRACIAS. In 2020, I participated in the Ashmolean Museum's 'Our Museums, Our Voices' project by labelling a medieval ceramic from Malvern. In 2021, I was a runner-up in the Bodleian's Colin Franklin prize with my commentary on a collection of medieval cookbooks.

Outside of academia, I have been a chaplaincy assistant at King's College, London and a teaching assistant at St Clement Danes Primary School. I also provide private tuition in GCSE and A level music, music theory, and brass instruments. 

I have an MMus in Musicology from Royal Holloway and BA in Music from St Hugh's College, Oxford.

Contact: george.haggett@music.ox.ac.uk

Publications:

Co-authored review-article with William Fourie, 'On the Contact of Difference' (forthcoming in JRMA).

Review: Hans Thomalla, Dark Spring (forthcoming in Tempo).

Review: ‘The Hermes Experiment, Song. Delphian, DCD34274’. Tempo, 2022, Vol.76 (300), pp. 97-99. 

Review: Alastair White, ‘RUNE, Tête à Tête Festival, Round Chapel, Hackney, London, 17 August 2021’. Tempo, 2022, Vol. 76 (299), pp. 89-90.

'Galangal and Garbage: Medieval Cookbooks Through Time', The Conveyor, 26 October 2021. Runner-up in the Colin Franklin Prize. 

Review: ‘Jennifer Walshe, A Late Anthology of Early Music vol. 1: Ancient to Renaissance. Bandcamp’. Tempo, 2021, Vol. 75(295), pp.112-15.

Review: ‘Philip Venables and Ted Huffman, Denis & Katya, London, Southbank Centre, Purcell Room, 13–14 March 2020’. Tempo, 2020, Vol.74(294), pp.85-86.

Review: ‘Rebecka Sofia Ahvenniemi’. Tempo, 2020, Vol.74(292), pp.88-89.

Review: ‘Bushra El-Turk and Eleanor Knight, Silk Moth, Grimeborn, 9 August 2019’. Tempo, 2020, Vol.74(291), pp.103-105.

Review: ‘Gavin Higgins and Francesca Simon, The Monstrous Child, London, Royal Opera House, Linbury Theatre, 21 February–3 March 2019’. Tempo, 2019, Vol.73(290), pp.76-78.

Invited Talks:

Research Colloquium, University of Oxford.

'Live musicology' with ARCO, Cafe OTO.

Conference Papers:

2022 RMA

2022 MedRen

2022 Julian of Norwich

2022 Kalamazoo

2021 CUNY Studies in Medievalism

2021 Women's Work in Music

2021 RMA Student conference

September 2020: ‘Bent Notes: A Year of Queer Podcasting for Musicology’. 56^th Annual Conference of the Royal Musical Association. Goldsmiths, University of London (online).

June 2020: ‘Public Solitude: The Paradox of the Operatic Anchorite’. Medieval and Renaissance Music Conference, University of Edinburgh (online).

August 2019: ‘”One Piercing Note”: Nuns, Troubadours, and Musical Medievalism in RuneScape’. REMOSS conference: ‘Music and Disruptive Pasts: Between the Popular and the Arcane’. The Open University, Milton Keynes.

July 2019: ‘”The Rules of the Game”: Analysing ambiguity in Unsuk Chin’s Acrostic Wordplay’. SMA Music Analysis Conference. University of Southampton.

July 2019: ‘Taking the Eucharist: Rethinking Transcendence, Flesh, and Desire in Opera Studies’. The 7th Biennial Conference of the RMA Music and Philosophy Study Group. King’s College London.

April 2019:  ‘The Grain of the Trans Voice in ANOHNI’s “Bird Gerhl”’. The 3rd Annual Symposium of the LGBTQ+ Music Study Group. University of Southampton.

September 2018: ‘Hearing the Thirteenth-Century Body in Written on Skin’. OBERTO conference, ‘Opera and Violence’. Oxford Brookes University.

July 2018: ‘Janus in Wonderland: Pitch-Class spelling and Identity in Unsuk Chin’s Alice in Wonderland. SMA Music Analysis Conference. City, University of London.

May 2018: ‘The Queer Art of Transcription in Call Me by Your Name’. TAROT conference, ‘Rethinking musical transcription and arrangement’. University of Cambridge.

21 July 2017: ‘Towards a Sensual Operatic Ekphrasis in Written on Skin’. RMA study day, ‘Is there a musical avant garde today?’. City, University of London.