Personal Statement
Lisa Colton (also known as Lisa Johnson) is Professor of Musicology and Head of the Department of Music. She joined the University of Liverpool in 2022, following her work at the University of Huddersfield (2003-22). Lisa is an active researcher, teacher, and public speaker. She participates regularly in international conferences and symposia, and has supported the work of scholarly societies through service on committees, journals, and in leading events (Plainsong and Medieval Music Society, Early English Church Music, Royal Musical Association, North-East and North-West Early Music Forum).

Research Overview
Lisa's research interests are wide ranging, including medieval and renaissance music, pop music, the relationship between music and gender, and twentieth-century British music. Publishing as Lisa Colton, she has co-edited books including Gender, Age and Musical Creativity (with Catherine Haworth, Routledge), Music and Liturgy in Medieval Britain and Ireland (with Ann Buckley, Cambridge University Press), and Female-Voice Song and Women's Musical Agency in Medieval Europe (with Anna Grau Schmidt, Brill). Her monograph, Angel Song: Medieval English Music in History (Routledge) offered a reappraisal of the historiography of English music, including the biography and career of 15th-century musician John Dunstaple. Lisa's publications include articles on sources, musical analysis, and medievalism in journals such as Plainsong and Medieval Music, Journal of the Royal Musical Association, and Music and Letters. She has also published on women composers and performers, from medieval nuns to Beyoncé. She is Reviews Editor for the journal Early Music and part of the pre-1500 polyphony committee for Early English Church Music (British Academy). Lisa is currently working on 15th-century musical culture, including sources, musicians, and patronage associated with London, St Albans, and Whitby. Having identified the significance of the presence of the original manuscript of Ethel Smyth's Mass in D in Liverpool's archival catalogue, a score understood within Smyth scholarship as 'lost', she is also engaged in work to explore the significance of this source for understanding of the composer's major choral work.