Levidou, Katerina

   Katerina Levidou studied musicology, the piano and music theory at undergraduate level in Greece (University of Athens and National Conservatory). She received an MMus from King’s College London (funded by the A. S. Onassis Benefit Foundation) and a doctorate from the University of Oxford (funded by the Ismene Fitch Foundation and a Vice-Chan...

   Katerina Levidou studied musicology, the piano and music theory at undergraduate level in Greece (University of Athens and National Conservatory). She received an MMus from King’s College London (funded by the A. S. Onassis Benefit Foundation) and a doctorate from the University of Oxford (funded by the Ismene Fitch Foundation and a Vice-Chancellor’s Fund Award). Between 2007 and 2011 she was Junior Research Fellow at Christ Church, University of Oxford. In 2011–2012 she held a Swiss Federal Scholarship for research at the University of Lausanne, where in 2012–2013 she was External Scientific Collaborator (supported by a grant from the Igor Stravinsky Foundation). In 2014–2015 she worked postdoctoral researcher for the research project Western Art Music at the Time of Crisis: An Interdisciplinary Study of Contemporary Greek Culture and European Integration (ARISTEIA II – University of Athens), in the context of which she researched festivals of Western art music in contemporary Greece. She has been Visiting Research Fellow at the Centre for Hellenic Studies, King’s College London since 2014, while she is also Tutor for the Masters programme at the Faculty of Music Studies of the National and Kapodistrian University of Athens.
   Her research interests include aspects of Russian and Greek music, modernism, nationalism, emigration, politics, spirituality, identity, aesthetics and music festivals. She has published widely on Stravinskian neoclassicism and Eurasianism, on Nikos Skalkottas’s 36 Dances for Orchestra, the reception of Greek antiquity in music since the nineteenth century, while she is also contributor to Grove Music Online. Her recent publications include the volume of essays Musical Receptions of Greek Antiquity: From the Romantic Era to Modernism (Cambridge Scholars Publishing, 2016), in which appears her chapter on Prokofiev’s The Fiery Angel. Since 2008 she has been co-convenor of the Study Group for Russian and Eastern European Music of the British Association for Slavonic and East European Studies, in which capacity she has co-organised numerous international conferences. 

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