Academic & Professional Qualifications
• Doctor of Philosophy [Musicology/Ethnomusicology] (2015)
University of Leeds
Thesis title ‘Folk or Fake: The Notion of Authenticity in Portuguese Fado’
• Master of Music [Musicology] (2009)
Birmingham Conservatoire, Birmingham City University
Thesis title: Zoltan Kodály: The Nationalism of ‘Classical Folk Music’
• Postgraduate Diploma in Music (2009)
Birmingham Conservatoire, Birmingham City University
• Postgraduate Certificate in Music (2009)
Birmingham Conservatoire, Birmingham City University
• Bachelor of Arts (Honours) in Music (2008)
University of Nottingham

• Review of João Silva, ‘Entertaining Lisbon: Music, Theater & Modern Life in the Late 19th Century’ in Cultural History (Volume 7, Issue 1, 2018), pp. 109–111 

• ‘Folk or Fake: The Notion of Authenticity in Portuguese Fado’ (PhD Thesis: University of Leeds, 2015)

• ‘Paupers, Poets and Prostitutes: The Evolving Identity of the Fadista’, in Assembling Identities, ed. Sam Wiseman, (Cambridge: Cambridge Scholars, 2014)
• Various articles on, editor and contributor

Selected Research Papers
• ‘Present and Past, Present and Absent: Emotional Communication and Authenticity in Portuguese Fado’, given at Performers(‘) Present Research Symposium, 29/10/2016

• ‘Paupers, Poets and Prostitutes: The Evolving Identity of the Fadista’, given at Assembling Identities Research Conference, 23/05/2013
• ‘Folk or Fake: The Effects of Professionalisation on the Perception of Authenticity in Portuguese Fado’, given at PCRN European Popular Musics Research Cluster Symposium, 13/06/2011

• ‘The Evolution of Fado: A New Approach to Old Fado’, given at IASPM Postgraduate Conference, 09/06/2011

Research Areas
My primary research focusses on the notion of authenticity in folk music, particularly as it relates to the Portuguese genre of fado. Through an investigation of concepts such as tradition, national identity, commercialisation and “the amateur”, I propose a taxonomical model of authenticity which allows for a greater understanding of the value of this term and the way in which it is formed. While my research has looked at all elements of fado, a large proportion of it was devoted to an examination of performance styles, particularly during live performances, and the connection between beliefs, performance style and audience reception. My future research will further the investigation by examining both the way Portuguese music is performed in former Portuguese territories, and the way the “Taxonomy of Authenticity” may be applied to a wider range of musical genres. Other research interests include the way in which folk music and traditions are incorporated in western art music, (as in the case of Zoltán Kodály), the music of Villa-Lobos, and organology — European chordophones in particular. I am also planning future research on the liturgical music of the Roman Catholic Church in monastic communities; specifically, an ethnomusicological comparison of monastic music in various orders.

Teaching, Lecturing, and Curriculum Planning
Having had committed and passionate music teachers who have influenced me professionally and personally, I believe it is my duty to pass this on to the students I teach. Whether through curriculum planning, teaching in the classroom, lecturing university students, or tutoring guitar and theory students, it has always been my goal to help students appreciate music, grow in confidence through music, and to help them see that music really can change the world. I am qualified in teaching Cambridge IGCSE music and International Baccalaureate PYP.

Sacred and Liturgical Music
Both a deep interest for the field and my own Roman Catholic faith have given me the privilege to experience the transformative power of sacred and liturgical music. Serving in numerous church, cathedral and invited choirs in Singapore and the United Kingdom has presented unique opportunities to perform for archbishops, the President of Singapore, and Pope Benedict XVI; I have also led workshops on liturgical music, and served as the Musical Director of both The Precious Blood and All Souls Catholic Church and the Catholic Chaplaincy in the University of Nottingham. There is a wordless, transcendent joy that comes from making music as an act of worship, and deeper study and exploration in this field only makes the experience even more profound and richly layered.

Conducting and Musical Leadership
Working with choral musical ensembles of all types and sizes is immensely rewarding. I have had the pleasure of conducting choirs and instrumental ensembles in Singapore and in the United Kingdom, including SINGapore: A World of Music at Stamford American International School’s Reagan Theater, 9 March 2015, the International Festival Chorus (Singapore), and the Saxophone Ensemble at the University of Nottingham. I believe deeply in the value of music within a community, which led me to co-found the Unlock The Music singers, a choir and accompanying instrumental ensemble which I trained and served as Music Director.


Guitar (classical, acoustic, electric & bass), mandolin, piano, organ, saxophone, double bass, zhongruan, voice (tenor)

Selected compositions
Concerto for Oboe D’amore and Strings (2005)
Benedictus Dominus Deus Israel (2007) for Four Voices and Classical Guitar
Mass of Saint Laurence (2010) for Organ and Congregation
Mass of Santo António: Gloria (2013) for Organ, Choir and Congregation
Hodie Christus Natus Est (2013) for A Cappella Choir

Please contact me for scores, samples, and audio recordings.