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Catherine Haworth joined the Huddersfield staff in 2011 as a Research Fellow, and is currently Senior Lecturer in Music. She gained a first class BA (Hons) Music and an MA in Film Music Studies from the University of Leeds, before being awarded a PhD in film musicology in 2011. Her doctoral thesis, ‘Dames, darlings, and detectives: women, agency, and the soundtrack in RKO Radio Pictures crime films’, explored sonic constructions of femininity in classical Hollywood crime pictures and films noirs.
Catherine’s interdisciplinary research focuses around two main themes: music and sound in audiovisual media, and issues of representation and identity in music and musical culture. She is a member of Huddersfield’s Centre for the Study of Music, Gender and Identity (MuGI), the Sound Music Image Collaboration research centre, and the Popular Music Studies Research Group. Catherine sings with the Clothworkers Consort of Leeds and Leeds Baroque Choir, and is a Fellow of the Higher Education Academy.
Catherine's research and teaching reflect the interdisciplinary nature of her interests, which focus around musical issues of representation and identity across various media. Her primary research area is film and television music, with specialisms in classical Hollywood cinema of the 1930s and 40s, crime films, the James Bond series, the economics and aesthetics of popular scoring, and the role of musical performance within film. Catherine is also interested in contemporary critical approaches to aesthetics and musicology across a range of styles and eras, with a particular focus on popular music cultures, including Motown, Northern soul, and disco.
Catherine has published on topics including scoring the female detective in 1940s Hollywood; music, gender, and medical discourse in the female gothic film; women and music in James Bond films; and issues of representation and identity across the classical and contemporary soundtrack. She guest edited a special edition of Music, Sound and the Moving Image on the theme of gender and sexuality, and co-edited the Ashgate collection Gender, Age and Musical Creativity with Dr Lisa Colton. Catherine is also in the initial stages of research into musical constructions of girlhood and national identity in British girls' school stories, ‘Latin’ music in classical Hollywood, and various projects on stardom, music, and voice in film and television.
Haworth, C (2017) ‘Book Review: Olivia Bloechl, Melanie Lowe and Jeffrey Kallberg (eds), 'Rethinking Difference in Music Scholarship' (2015)’ Journal of the Society for Musicology in Ireland , 12, pp. 71-73. ISSN 1649-7341
Haworth, C (2017) ‘Star quality? Song, celebrity and the jukebox musical in 'Mamma Mia!'’. In: Contemporary Musical Film. Edinburgh: Edinburgh University Press. pp. 107-122. ISBN 9781474413121
Haworth, C (2017) ‘Listening to the detectives: towards inclusive analysis of The Falcon's adventures at RKO’. In: Sources and Archives in Screen Sound Studies, 1st-2nd June 2017, University of Huddersfield, UK
Haworth, C (2017) ‘Synchronicity and subjectivity in film music studies’. In: Popular Music Study Day, 25th May 2017, Oxford Brookes University, UK
Haworth, C (2016) ‘On the beat with the Falcon: scoring the adventure programmer at RKO Radio Pictures’. In: Music Research Seminar, October 20th, 2016 September 20th, 2016, University of Leeds, School of Music
Haworth, C (2015) ‘Pussy Galore: women and music in 'Goldfinger'’. In: For his eyes only? The women of James Bond. New York, USA: Wallflower Press. pp. 160-170. ISBN 9780231176149
Haworth, C (2015) ‘How music became so core to James Bond that someone bet £15,000 on the theme’ The Conversation . ISSN 2044-5032
Haworth, C. and Colton, L. (2015) Gender, Age and Musical Creativity . Farnham: Ashgate. ISBN 978-1-4724-3085-4
Haworth, C (2015) ‘Bodies of evidence: performing women and the politics of representation in classical Hollywood’. In: Research seminar: Bodies of Evidence, January 2015, Canterbury Christ Church University
Haworth, C. and Colton, L. (2015) ‘Gender, Age and Musical Creativity’. In: Gender, Age and Musical Creativity. Farnham: Ashgate. pp. 1-6. ISBN 978-1-4724-3085-4
Haworth, C (2014) ‘Shapely gams and jazz hands: taming Ann Miller's virtuosic body in and around 'Prehistoric Man'’. In: Music for Audio-Visual Media, September 2014, University of Leeds, UK
Haworth, C (2014) ‘Something beneath the flesh: music, gender, and medical discourse in the 1940s female gothic film’ Journal of the Society for American Music , 8 (3), pp. 338-370. ISSN 1752-1963
Haworth, C (2014) ‘Prescriptive audio: gender, medicine and musical control in the 1940s gaslight film’. In: Music and Screen Media, 25-26th June 2014, University of Liverpool
Haworth, C (2014) ‘"Wallowing in Latin glamor": inter-American politics, Hollywood film music, and the 1940s femme fatale’. In: Music and the Moving Image IX, 30th May - 1st June 2014, New York University
Haworth, C (2013) ‘Book review: 'The Private Eye: Detectives in the Movies'. By Bran Nicol, Reaktion Books, 2013.’ Viewfinder: The Journal of the British Universities Film and Video Council , 93, pp. 27-27. ISSN 0952-4444
Haworth, C (2013) ‘A bad town for blondes: Identity, inter-American politics, and Latin film music in 'The Leopard Man'’. In: International Conference on Music Since 1900, September 2013, Liverpool Hope University
Haworth, C (2013) ‘Book review: 'Seeing through Music: Gender and Modernism in Classic Hollywood Film Scores'. By Peter Franklin, Oxford, 2011’ Music and Letters , 94 (2), pp. 365-367. ISSN 0027-4224
Haworth, C (2013) Musical scores and female detectives of the 1940s Available at: http://blog.oup.com/2013/04/film-musical-score-female-detective-1940s/
Haworth, C (2013) ‘"It may sound like music to her ": Inter-American politics, 'Latin' scores, and the 1940s femme fatale in 'The Leopard Man'’. In: British Association of American Studies conference, April 2013, University of Exeter, UK
Haworth, C (2013) ‘Million-dollar legs and a desire for the "primitive": Taming Ann Millers virtuosic body in and around 'Prehistoric Man'’. In: The Performing Body in the Hollywood Film Musical, 4th-6th April 2013, Colgate University, Hamilton, NY USA
Haworth, C (2012) ‘"There isn't any other song": Reading Monroe's 'Kiss' in and after 'Niagara'’. In: The Afterlife of the Film Song, 8 December 2012, Bristol University
Haworth, C (2012) ‘Introduction: Gender, Sexuality, and the Soundtrack’ Music, Sound, and the Moving Image , 6 (2), pp. 113-135. ISSN 1753-0768
Haworth, C (2012) ‘Detective Agency? Scoring the Amateur Female Investigator in 1940s Hollywood’ Music and Letters , 93 (4), pp. 543-573. ISSN 0027-4224
Haworth, C (2012) ‘Something beneath the flesh: medicine, music and masculinity in the 1940s gaslight thriller’. In: Bodies of Evidence: Crime, Gender and Representation, 2 April 2012, Newcastle University
Haworth, C (2012) ‘A bad town for blondes? Hollywood film music and inter-American politics in "The Leopard Man".’. In: Music and Music Technology Research Forum, March 2012, University of Huddersfield
Haworth, C (2011) ‘I remember clearly everything that happened that night...: voiceover, music and subjectivity in classical Hollywood’. In: Film Music Conference, September 2011, University of Leeds
Haworth, C (2011) ‘A voice with hormones: the singer, the diva, and the femme fatale in 'A Woman's Secret'’. In: The Diva: An Interdisciplinary Conference, 5-8 July 2011, Liverpool Hope University
Haworth, C (2011) ‘She must be quite a dame...: Music and the femme fatale in 'Out of the Past'’. In: International Conference on Music Since 1900, 2831 July 2011, Lancaster University
Haworth, C (2011) ‘Dangerous dames and Siren songs: Music and the 'criminal' woman in 1940s Hollywood’. In: Women in Research, July 2011, University of Leeds
Haworth, C (2011) ‘Nancy, Nancy, what'll you do to him now?: music, subjectivity and the femme fatale in 'The Locket'’. In: Music and the Moving Image VI, May 20 May 22, 2011, New York University
Haworth, C (2010) ‘They wouldn't send a woman, would they? Musical approaches to the female detective in 1940s Hollywood’. In: Crime Across Cultures, 9-10 September 2010, University of Leeds
Haworth, C (2010) ‘A voice with hormones: power, desire, and musical performance in 'A Woman's Secret'’. In: School of Music Research Day, May 2010, University of Leeds
Haworth, C (2010) ‘After all, do I look like a murderer? Music and the subjective art of detection in 'Suspicion'’. In: RMA Research Students' Conference, January 2010, University of York
Haworth, C (2009) ‘What do you know of law and trials and all those things? Music and the female investigator in 1940s Hollywood’. In: Research seminar, October 2009, School of Music, University of Leeds
Haworth, C (2009) ‘Detective agency? Music, sound, and the female investigator in 1940s Hollywood’. In: International Conference on Music Since 1900, 2-5 July 2009, Keele University
Haworth, C (2008) ‘John Barry and the James Bond sound’ Programme note for 'James Bond: Shaken, not stirred' concert, Leeds Town Hall International Concert Season .
Haworth, C (2008) ‘Shades of grey: suspense, subjectivity and the soundtrack in Hitchcock's 'Notorious'’. In: Cinemusic? Constructing the Film Score. Cambridge, UK: Cambridge Scholars Publishing. pp. 113-125. ISBN 1847185932
Haworth, C (2008) ‘Review of 'Film's Musical Moments' ed. by Ian Conrich and Estella Tincknell (Edinburgh University Press, 2006)’ Music, Sound and the Moving Image , 2 (1), pp. 83-90. ISSN 1753-0768
Haworth, C (2007) ‘There isn't any other song: music, Monroe, and female agency in 'Niagara'’. In: Sound, Music and the Moving Image, 1012 September 2007, Institute of Musical Research, University of London
Haworth, C (2006) ‘There's nothing like a love song to give you a good laugh: music and subjectivity in 'Notorious'’. In: Bradford Film Festival Film Music Conference, March 2006, National Media Museum, Bradford
Haworth, C (2006) ‘Music, suspense, and subjectivity in 'Notorious'’. In: RMA Research Students' Conference 2006, January 2006, University of Leeds
Haworth, C (2005) ‘Dark as night and twice as deadly: music, gender and film noir’. In: Research seminar, November 2005, Department of Music, University of East Anglia
Haworth, C (2005) ‘There's nothing like a love song to give you a good laugh: music, 'Notorious', and the boundaries of noir’. In: Cherchez la Femme. The cinematic femme fatale, her history and transmissions, September 2005, University of Exeter
Haworth, C (2005) ‘Gender and subversion in Roy Webb's score for 'The Spiral Staircase'’. In: RMA Research Students' Conference, March 2005, University of Durham
Catherine has presented research papers at various conferences and research fora, and her work has been featured in interviews and broadcasts on KZSU Stanford, Bradford Community Radio, and BBC Radio Leeds. She guest edited the 2012 gender and sexuality special issue of Music, Sound and the Moving Image, and acts as peer reviewer for a variety of academic journals and publishers. Catherine co-chaired the 2012 MuGI conference 'Gender, Musical Creativity and Age' and the 2006 Royal Musical Association Research Students' Conference, is a member of the British Audiovisual Research Network, and is active in organising and chairing sessions at various symposia, study days, and conferences.
Catherine supervises undergraduate, PhD, and MA by Research postgraduates working on a variety of musicology-based and interdisciplinary projects. Past and current topics include: Cuban popular music cultures; Pussy Riot and contemporary Left politics; queer identities in the contemporary stage musical; music and emotion in videogames; masculinity and the New Romantics; androgyny and the castrato in Baroque opera; gender discourse in the film musical; popular music and Dada; and the semiotic analysis of television advertising.
Catherine welcomes proposals from prospective research students on any aspect of musicology, but particularly projects related to film, television, and videogame soundtracks; music, representation, and identity; cultural and critical musicology; popular music cultures; or music and literature.
Postgraduate Coordinator – admissions, recruitment, and course leader for MA by Research and PhD students in Music and Music Technology.
Head of Musicology – pedagogical development, administration, and student and staff liasion across musicology modules in Music and Music Technology.
Catherine teaches across a range of musicology modules on both popular and classical topics, and supervises dissertations and projects on film music, music and identity, and cultural and critical approaches to musicology. She is module leader for Introduction to Music Research, Popular Music Studies, and Scoring the Silver Screen, and convenes the Performance and Musicology Forum.