I am a musicologist specialising in the study of performance. Broadly speaking, my area of interest is how musical performance has changed in the course of the twentieth and twenty-first centuries. More specifically, much of my work addresses questions of improvisation, technology, and notation, and critically interrogates the legacy of Eurocentric musicological thought about these topics.

Currently, I lead a five-year research project inquiring into the emergence of freely improvised music in post-war Europe in a postcolonial context. Focusing on the participation of postcolonial migrant musicians in Dutch jazz and improvised music, it asks to what extent notions of musical freedom were entangled with whiteness. This project is funded by an ERC Starting Grant.

My previous work largely dealt with contemporary musical performance practices, using ethnographic methods to study the creative processes of musicians. My doctoral research was a study of the Dutch improvising collective the Instant Composers Pool, focusing on the role of their notated repertoire in their music. A subsequent project, financed with an NWO Veni grant, developed the concept of Notation Cultures, providing a new account of the role of notation in musical performance practices.