In my main area of research, I investigate music theory treatises written in England at the turn of the fourteenth century. My current book project, Sweet Consonance: Musical Discourse in England, 1280–1370, tries to obtain a better understanding for what was considered foundational musical knowledge in fourteenth-century England. 

I started this research after I became curious about music notation and how this fascinating tool came to be used by musicians around the world. As an avid teenage pianist who adored Chopin, I hadn't thought much about notation until, during my sophomore year in music history class at Portland State University, I learned about how music notation developed in Europe. It fascinated me. The more I learned about how it was developed, the more I realized that I was actually enjoying reading about how people described music in theoretical texts as much as the development of notation. It was funny to me that they described how men's voices and boy's voices sound different or how they took Greek and Biblical stories and tried to find the origin of music. I also really enjoy leafing through manuscripts held in amazing libraries with the ability to feel close to someone who originally wrote it. So, many years later, I still find the earliest forms of music written in Europe a fascinating topic and like to spend time learning from what people wrote hundreds of years ago. 

Alongside my interest in medieval Europe, I write about those who have been marginalized in the Western music cannon. There are so many wonderful musicians who didn't get written about the first time around. I like to help bring to light their long-forgotten histories and untold stories and find great pleasure in doing so. My research mostly focuses on women in the nineteenth and early twentieth centuries and on the presence of Western music and its establishment in Japan because I can directly relate to these histories on a personal level.