• 2007-2011
  Doctorate (Ph.D.) in Organology (musical instrument studies), The University of Edinburgh
• 2006-2007
  Master (M.Mus.) in “Musical Instrument Research”, The University of Edinburgh
• 1997-2002
  BA in Conservation and Restoration of Antiquities and Works of Art, TEI Athens

• Head of the project “A Creative Triangle of Mechanics, Acoustics and Aesthetics: The Early Pedal Harp (1780-1830) as a Symbol of Innovative Transformation”, financed by the “Research in Museums” funding initiative of the VolkswagenStiftung,Forschungsinstitut für Wissenschafts- und Technikgeschichte, Deutsches Museum, Munich, since March 2016.
• Organizer and research assistant of the project “Issues of Authenticity on Copies of Historic Musical Instruments”, financed by theLeibniz-Forschungsverbund „Historische Authentizität“, Forschungsinstitut für Wissenschafts- und Technikgeschichte Deutsches Museum, Munich, January to March 2016.
• Scholar-in-Residence and visiting scientist, research topic: “Experiments in Shape, Substance and Sound: Musical Instruments in the Age of Revolution”, Forschungsinstitut für Wissenschafts- und Technikgeschichte, Deutsches Museum, Munich, October 2014 to December 2015.
• Scientific volunteer for the redesign of the permanent exhibition “Musical Instruments”, “Musical Instruments” Department, Deutsches Museum, Munich September 2012 to September 2014.
• Scholar-in-residence, research topic: “New Voices in Old Bodies: A Study of ‘Recycled’ Musical Instruments”, Research Institute for the History of Science and Technology, Deutsches Museum, Munich, January 2012 to July 2012.
• Research assistant and restorer of musical instruments. Edinburgh University Collection of Historic Musical Instruments, The University of Edinburgh, 2007 to 2011.
• Volunteer for the documentation of musical instruments and sound archives in the “Jean Jenkins Collection of Musical Instruments”. National Museums Scotland, Edinburgh, 2007 to 2011.
• Research assistant for “PROMET: European Program for the Conservation of Historic Metal Artefacts”. TEI Athens, April to September 2006.
• Restorer of Archaeological Artifacts and Artworks, Greek Institute of Conservation, Athens, Greece, 2002 to 2006.

• Redesign of the “Energy – Steam” exhibition
• Permanent exhibition „Energy – Motors“, Deutsches Museum (opening 2022)
• Scientific treatment of the topic "Sébastien Erard and the development of the modern harp" for the permanent exhibition "Musical Instruments" at Deutsches Museum, Munich (2014 - 2021)
• Collaboration on the conception of the new permanent exhibition "Musical Instruments" at Deutsches Museum, Munich (2012-2014, together with S. Neumann and S. Berdux), conducting a visitor survey (2013)

• Curation of the special exhibition "Three Centuries of Instrument-making in Edinburgh" as part of the project "New Life behind Glass: A Series of Exhibitions of Historic Musical Instruments and Music", St Cecilia's Hall Museum of Instruments, Edinburgh, UK (08/10 to 06/11)

   

• Conception and organization of the international workshop „The Early Pedal Harp as a Museum Artefact: Research-Conservation-Presentation“ aat the Research Institute for the History of Science and Technology, Deutsches Museum, Munich, November 29th and 30th, 2018.
• Conception and coordination of the workshop “The exhibit in focus: Object-based research in the museum” for the 28th Federal Voluntary Conference “Research at Museums and Cultural Institutions”, Museum Education Center Munich, Munich, March 1st and 2nd, 2018 (together with R. Wolf ).
• Conception and moderation of the Monday colloquium “Sound Research in the Museum” for the summer semester 2017 at the Research Institute for the History of Science and Technology, Deutsches Museum, Munich, August 2016 to August 2017 (together with R. Wolf). program
• Conception and moderation of the panel session “Musical Instruments in Museums of Different Origins and Profiles: An Assessment of New Displays” for the Annual Conference of the International Committee of Museums and Collections of Instruments and Music (CIMCIM), MiCo, Milan, 3rd to 4th July 9, 2016.
• Conception and moderation of the panel session “New Media for Musical Instrument Collections: Trend, Luxury or Necessity?” for the Annual Conference of CIMCIM “Musical Instruments: History, Science and Culture”, Oxford, July 25th to 29th, 2013 (together with S. Berdux and S. Neumann).
• Participation in the creation and communication of the online forum „The Early Pedal Harp“, 2019.
• Conception and realization of a database of preserved harps from the Erard company (London) since 2016.
• Conception and coordination of a visitor survey for the new permanent exhibition “Musical Instruments” in the Deutsches Museum, April to September 2013 (together with S. Berdux and S. Neumann).
• Conception and coordination of the project “New Life behind Glass: A Series of Exhibitions of Historic Musical Instruments and Music”. St Cecilia's Hall Museum of Instruments, Edinburgh, August 2010 to June 2011.
• Organization of preventive conservation and restoration of historical paintings and art prints. Talbot Rice Gallery, The University of Edinburgh, May to August 2010.
• Scientific processing of instrument science topics in the “EUCHMI Web Content and Workshop Design” project. The University of Edinburgh, November 2009 to July 2010.
• Organization of the “Condition Survey and Conservation Project for Brass and Metal Woodwind Instruments” project. Reid Concert Hall Museum of Instruments, Edinburgh, September 2008 to July 2010.

• Supervision of interns (Institute for Art and Musicology, Dresden University of Technology, Institute for Musicology, Ludwig-Maximilians-University Munich). Musical Instrument Department and Research Institute of the Deutsches Museum, Munich, August 2018 to August 2019.
• Supervision of a bachelor's and a master's dissertation on the examination of an Erard harp from the Deutsches Museum. Chair of Restoration Art Technology and Conservation Science, Technical University of Munich, April 2016 to June 2017 (together with M. Pamplona).
• Lecturer for “Music 1B: Music and Technologies”. The University of Edinburgh, 2010 and 2011.

• European string instruments, with a focus on plucked instruments
• Ethnological musical instruments and folk music
• Aspects of musical instrument making and musical culture in the 18th and 19th centuries.
• Electronic instruments and accessories from the 1950s, 1960s and 1970s
• Conservation, restoration and exhibition of historical musical instruments
• Questions about the attribution and authenticity of historical musical instruments
• Influence of science, technology, art, and fashion on musical instrument design
• History and development of early musical instrument collections in Europe

• A Year at Erard’s: A Snapshot of the Harp Trade in Regency London [in Vorbereitung].
• New Voices in Old Bodies: A Study of ‘Recycled’ Musical Instruments with a Focus on the Hahn Collection in the Deutsches Museum. Deutsches Museum Studies 2 (Munich: Deutsches Museum, 2016).
• The Guittar in the British Isles, 1750-1810 (Ph.D. Dissertation, Edinburgh: University of Edinburgh, 2011). Open-Access-Link: www.era.lib.ed.ac.uk/handle/1842/5776

• “Claus, Christian.” In: Laurence Libin (ed.), The Grove Dictionary of Musical Instruments - Second Edition (New York: Oxford University Press, 2014), Vol. 1, p. 582.
• “Gibson, William.” In: Laurence Libin (ed.), The Grove Dictionary of Musical Instruments - Second Edition (New York: Oxford University Press, 2014), Vol. 2, p. 428.
• “Liessem, Reinerus.” In: Laurence Libin (ed.), The Grove Dictionary of Musical Instruments - Second Edition (New York: Oxford University Press, 2014), Vol. 3, p. 284.
• “Pinto, Charles.” In: Laurence Libin (ed.), The Grove Dictionary of Musical Instruments - Second Edition (New York: Oxford University Press, 2014), Vol. 4, p. 113.
• "Preston, John." In: Laurence Libin (ed.), The Grove Dictionary of Musical Instruments - Second Edition (New York: Oxford University Press, 2014), Vol. 4, p. 164.

“The 1780 Combination Piano-Harpsichord by John Merlin”. In: Sabine Gerber (ed.), Deutsches Museum Masterpieces (Munich: Deutsches Museum) [in preparation].

"A Synergy of Form, Function and Fashion in the Manufacture of the Erard Harp." In: Marco A. Pérez and Emanuele Marconi (eds.), Wooden Musical Instruments: Different Forms of Knowledge. Publication of the WoodMusICK COST Action FP 1302 (Paris: Cité de la Musique - Philharmonie de Paris, 2018), pp. 367-398 (together with J. Lee). Open access link: http://woodmusick.org/wp-content/uploads/2019/COST_FP1302%20Book.pdf

• „‘So wenig kultivirt, so ganz vernachlässigt’: Die Pedalharfe in Deutschland um 1800“. In: Phoibos: Zeitschrift für Zupfmusik 13/1 (2020) [erscheint 2020].
• „Technological Study of the Decoration on an Erard Harp from 1818“. In: Studies in Conservation (2019), DOI: 10.1080/00393630.2019.1622317 (gemeinsam mit M. Pamplona, L. Richter und E. Cwiertnia).
• „‘A Guittar to be played with a Bow, as well as with the Fingers’: Reconsidering a Puzzling Hybrid by Frederick Hintz“. In: Journal of the American Musical Instrument Society 44 (2018), S. 88-122..
• „The Impact of François Chanot’s Experimental Violins on the Development of the Earliest Guitar with an Arched Soundboard by Francesco Molino in the 1820s“. In: Early Music 46/1 (2018), S. 67-86.
• „‘A very mistaken identification’: The ‘Sultana’ or ‘Cither viol’, and its Links to the Bowed Psaltery, Viola d’Amore and Guittar“. In: Early Music 44/2 (2016), S. 307-333 (gemeinsam mit R. Durkin).
• „The Guitar as an ‘Open-air’ Instrument in the Early Romantic Era “. In: Soundboard Scholar: Journal of the Guitar Foundation of America 1 (2015), S. 4-15.
• „Musik im Freien in der Zeit des Biedermeier: Die Beispiele der Orphica, der Gitarre und des Csakans“. In: Phoibos: Zeitschrift für Zupfmusik 8/1 [Ausgabe „Historische Aufführungspraxis II“] (2015), S. 43-68.
• „‘Wha sweetly tune the Scottish lyre’: A Guittar by Rauche & Hoffmann and its Connection to Robert Burns“. In: The Galpin Society Journal 67 (2014), S. 40-44, 143-170.
• „The Influence of Germans in the Development of ‘this favourite Instrument the Guittar’ in England“. In: Soundboard, Quarterly Magazine of the Guitar Foundation of America 38/4 (2012), S. 62-75.
• „‘A complete Accompanyment to the Female Voice’: The Guittar and its Role in the Culture of Georgian England“. In: Phoibos: Zeitschrift für Zupfmusik 5/1 [Ausgabe „Gender“] (2012), S. 97-120.
• „A Comparison of Two Surviving Guittars by Zumpe and New Details Concerning the Involvement of Square Piano Makers in the Guittar Trade“. In: The Galpin Society Journal 64 (2011), S. 49-59, 180-183.

• „Neither Originals Nor Fakes: Reconstructions of Medieval Fiddles at the fin de siècle“. In: Dominik Kimmel (Hg.), Proceedings of the International Conference of the Leibniz Research Alliance ‘Historical Authenticity’: ‘Museums – Places of Authenticity?’, Mainz, 3 and 4 March 2016 (Mainz: RGZM, 2020) [erscheint 2020].
• „Reflecting the 1950s Popular Lifestyle: The Danelectro 3412 ‘Short Horn’ Bass“. In: Philippe Gonin (Hg.), Proceedings of the International Symposium ‘When the Guitar Electrifies’ (Paris: Cité de la Musique - Philharmonie de Paris, 2020) [erscheint 2020].
• „New Media and Sound in Musical Instrument Collections: Observations from a Visitor Survey at the Deutsches Museum“. In: Dominik von Roth und Linda Escherich (Hg.), Private Passion – Public Challenge: Musikinstrumente Sammeln in Geschichte und Gegenwart (Nürnberg: Germanisches Nationalmuseum, 2018), S. 121-131. Open-Access-Link: https://books.ub.uni-heidelberg.de/arthistoricum/catalog/book/402
• „Conservation Issues on Historical Pedal Harps: Preserving Tangible and Intangible Properties“. In: Pascale Vandervellen (Hg.), Preservation of Wooden Musical Instruments: Ethics, Practice and Assessment. Proceedings of 4th Annual Conference of the COST Action FP1302 WoodMusICK (Brussels: Muziekinstrumentenmuseum, 2017), S. 69-72 (gemeinsam mit M. Pamplona, L. Richter und N. Plath). Open-Access-Link: http://woodmusick.org/wp-content/uploads/Proceedings_WoodMusICK_BRS.pdf
• „Historic Brass Instruments: A Review of Preventive and Remedial Conservation Practices in EUCHMI“. In Emanuele Marconi (Hg.), Diagnostic and Imaging on Musical Instruments: Selected Proceedings of the 1st and 2nd International Workshop, 2010-2011 Ravenna, Italy (Florence: Nardini, 2016), S. 55-78 (gemeinsam mit A. Myers).
• „The Industrialisation of the Early Pedal Harp: Detecting Evidence on Wood and Metal“. In: Marco A. Pérez und Sandie Le Conte (Hg.), Making Wooden Musical Instruments: An Integration of Different Forms of Knowledge. Proceedings of the 3rd Annual Conference of the COST Action FP1302 WoodMusICK (Barcelona: Museu de la Música, 2016), S. 185-190 (gemeinsam mit M. Pamplona und L. Richter). Open-Access-Link: http://woodmusick.org/wp-content/uploads/Proceedings_WoodMusICK_BCN.pdf
• „Historical Use and the Preservation of Authenticity: The Case of the English Guittar“. In: Athanasia Kyriakidou und Josephine Yannacopoulou (Hg.), Proceedings of the 2nd International Conference for PhD Music Students (Thessaloniki: Aristotle University and University of Edinburgh, 2010), S. 173-181.

• Warum Podcasts?“. In: „DM Podcast: Hinter die Kulissen hören“, Article in the online portal »wissenschaftskommunikation.de« published on June 15, 2019 (https://www.wissenschaftskommunikation.de/dm-podcast-hinter-die-kulissen-hoeren-26963/) (together with A. Lein and R. Würschinger).
• „Musical Instruments at the Musée d’art et d’histoire Neuchâtel“. In: CIMCIM Bulletin 2017/2 (2017), S. 9-11.
• „Organology Hits Edinburgh“. In: Early Music 45/4 (2017), S.706-708.
• „Unearthing the Early History of the Musical Instrument Collection at the Deutsches Museum in Munich and Tracking a Lost Collection of Instruments in Berlin“. In: CIMCIM Bulletin 2017/1 (2017), S. 34-35.
• „New Project on the Development of the Pedal Harp at the Deutsches Museum“. In: Newsletter of the American Musical Instrument Society 45/2 (2016), S. 11.
• „New Project on the Development of the Pedal Harp at the Deutsches Museum“. In: Galpin Society Newsletter 45 (2016), S. 10-11.
• „Collectors at Music Museums-Reasons & Means: CIMCIM Conference 2014 in the Nordic Countries, 24-31 August 2014“. In: CIMCIM Bulletin 2015/1 (2015), S. 2-4.
• „New Media for Musical Instrument Collections: Trend, Luxury or Necessity?“. In: CIMCIM Bulletin 2013/1 (2013), S. 4-7 (gemeinsam mit S. Berdux and S. Neumann).
• „Conserving Brass Instruments“. In: Soundboard: Newsletter of the St Cecilia’s Friends Hall and Museum 22 (2011), S. 12-14.
• ‘Displaying Musical Instruments and Music at NMS’. In: CIMCIM Bulletin 2011/1 (2011), pp. 5-8.

“The revolution in playing - from the invention of the double pedal harp”. Podcast prepared in cooperation with R. Würschinger, published on January 30, 2019

• Rezension des Buches: Beatrix Darmstädter, Rudolf Hopfner, und Alfons Huber (Hg.): Die Sammlung alter Musikinstrumente des Kunsthistorischen Museums Wien. Die ersten 100 Jahre. Berichtband über das Zentenarsymposium (Wien: Kunsthistorisches Museum/Praesens, 2018). In: Journal of the American Musical Instrument Society 46 (2020) [in Vorbereitung].
• Rezension des Buches: Eszter Fontana, Klaus Martius, und Markus Zepf (Hg.): Hinter den Tönen – Musikinstrumente als Forschungsgebiet. Festschrift für Friedemann Hellwig zu seinem 80. Geburtstag (Nürnberg: Germanisches Nationalmuseum, 2018). In: Concerto – Das Magazin für Alte Musik [in Vorbereitung].
• Rezension des Buches: Robert Adelson, Alain Roudier, Jenny Nex, Laure Barthel, and Michel Foussard, The History of the Erard Piano and Harp in Letters and Documents, 1785-1959 (Cambridge: Cambridge University Press, 2015). In: Journal of the American Musical Instrument Society 43 (2017), S. 228-232.
• Rezension des Buches: Ulrich Wedemeier, Gitarre-Zister-Laute: Sammlung Historischer Zupfinstrumente (Hannover: Wedemeier 2012). In: The Galpin Society Journal 67 (2014), S. 261-264.Zahlreiche Begutachtungen von Artikeln für referierte Zeitschriften (z.B. Early Music, The Galpin Society Journal, Muzyka) sowie für Konferenzbänden (z.B. WoodMusICK).

• „Aspects of Design and Technology on ‘Populuxe’ Musical Instruments of the Late 18th and Early 19th Centuries“. 46th Symposium of ICOHTEC ‘A History of Technology for an Age of Crisis’, Session ‘Technology, Manufacturing and Design’, Eindhoven University of Technology, Eindhoven, 13. bis 18. Juli 2020 [in Vorbereitung].
• „Manufacture, Usage, Recycling, and the Concept of Functionality on Historical Objects“. International Conference ‘Playing and operating: functionality in museum objects and instruments’, organisiert von ICOM, CIMCIM und CIMUSET, Cité de la Musique – Philharmonie de Paris, 4. bis 6. Februar 2020 [in Vorbereitung].
• „Technological substitution and innovation in the production of musical instruments at the turn of the 19th century“. Annual Conference of the Society of the History of Technology (SHOT) ‘Exploring the Interface between Technology, Art, and Design’, Session ‘Technology and Luxury’, Museo Nazionale della Scienza e della Tecnologia „Leonardo Da Vinci“, Mailand, 24. bis 27. Oktober 2019.
• „Learning from Musical Instruments as Manifestations of Production and Consumption“. ICOM General Conference ‘Museums as Cultural Hubs: The Future of Tradition’, CIMCIM Session ‘Music Museums and Education: Current and Future Perspectives’, Kyoto International Conference Center, Kyoto, 1. bis 7. September 2019 (gemeinsam mit H. Sugimoto).
• „Vorstellung des Projektes ‘A Creative Triangle of Mechanics, Acoustics and Aesthetics: The Early Pedal Harp (1780-1830) as a Symbol of Innovative Transformation’“. Internationale Konferenz „Welche Museen für welche Gesellschaft? 10 Jahre Forschung in Museen“ (Abschlusskonferenz der Förderinitiative „Forschung in Museen“ der VolkswagenStiftung), Schloss Herrenhausen, Hannover, 18. bis 20. März 2019.
• „Das neue Holz: Bruch mit der Tradition am Beispiel der Pedalharfe“. Tagung „Knock on Wood: Holz, Handwerk und Wissen im Instrumentenbau“, organisiert von der Forschungsgruppe „Die Materialität der Musikinstrumente“, Deutsches Museum, München, 17. und 18. Januar 2019.
• „Presentation of the Research Project ‘A Creative Triangle of Mechanics, Acoustics and Aesthetics: The Early Pedal Harp (1780-1830) as a Symbol of Innovative Transformation’“. International Workshop ‘The Early Pedal Harp as a Museum Artefact: Research-Conservation-Presentation’, Deutsches Museum, München, 29. und 30. November 2018 (gemeinsam mit L. Richter und J. Lee).
• „Engineering the Harp: The Erard London Firm 1800-1830“. 37th Scientific Instrument Symposium ‘Instruments and the “Empire of Man over Things”’, Leiden und Haarlem, 3. bis 7. September 2018.
• „Conservation Issues on Historical Pedal Harps: Preserving Tangible and Intangible Properties“. 4th Annual Conference of the COST Action FP1302 ‘WoodMusICK’ (Wooden Musical Instrument Conservation and Knowledge), ‘Preservation of Wooden Musical Instruments: Ethics, Practice and Assessment’, Muziekinstrumentenmuseum, Brussels, 5. bis 7. Oktober 2017 (gemeinsam mit M. Pamplona, L. Richter und N. Plath).
• „Shedding New Light on the Production Strategies of Erard’“. Joint Conference of the Galpin Society and the American Musical Instrument Society (AMIS), Musical Instrument Museums (MIMEd), Edinburgh, 1. bis 4. Juni 2017.
• „Composition Ornaments on Historic Harps: From Research to Exhibition“. Annual Conference of CIMCIM ‘Presentation, Preservation, Interpretation – The Challenges of Musical Instrument Collections in the 21st Century’, organisiert von verschiedenen Museen in Basel und Bern, 22. bis 25. February 2017.
• „The Industrialisation of the Early Pedal Harp: Detecting Evidence on Wood and Metal“. 3rd Annual Conference of the COST Action FP1302 WoodMusICK ‘Making Wooden Musical Instruments: An Integration of Different Forms of Knowledge’, Museu de la Música, Barcelona, 7. bis 9. September 2016 (gemeinsam mit M. Pamplona und L. Richter).
• „The Various Faces of the ‘Authentic’ in Musical Instrument Collections: A Problem or an Opportunity?“. Annual Conference of CIMCIM ‘Musical Instrument Museums: Interpreting the Present’, MiCo, Milan, 3. bis 9. Juli 2016.
• „A Mirror of 1950s Popular Lifestyle: The Danelectro 3412 Bass“. International Symposium ‘When the Guitar Electrifies’, Musée de la musique, Cité de la musique - Philharmonie de Paris, Paris, 23. und 24. Juni 2016.
• „Neither Originals, Nor Fakes: Evaluating Modern Copies of Ancient Musical Instruments“. International Conference of the Leibniz Research Alliance ‘Historical Authenticity’: ‘Museums – Places of Authenticity?’, Römisch-Germanisches Zentralmuseum Mainz, Mainz, 3. und 4. März 2016.
• „Where Ruckers Meets Rickenbacker: The Challenges of ‘Opening’ Musical Instrument Collections to a Wider Public“. Presentation für die Panel-Session ‘Museums as Instigators-Museums as Educators’. Annual Meeting of CIMCIM: ‘Collectors at Music Museums-Reasons & Means’, organisiert von verschiedenen Museen in Stockholm, Turku, Copenhagen und Trondheim, 24. bis 31. August 2014.
• „‘A very mistaken identification’: The History of the ‘Sultana’ or ‘Cither Viol’“. Joint Conference of the Galpin Society, ‘Making the Tudor Viol’ Project und CIMCIM ‘Musical Instruments: History, Science and Culture’, Bate Collection of Musical Instruments, University of Oxford University of Oxford, 25. bis 29. Juli 2013 (gemeinsam mit R. Durkin).
• „Can ‘Sleeping’ Instruments ‘Awaken’ the Senses?: The Complex Nature of Exhibiting Musical Instruments in the Deutsches Museum“. ECSITE Annual Conference ‘Dreams: The Spirit of Innovation’, Gothenburg, 6. bis 8. Juni 2013 (gemeinsam mit S. Neumann).
• „The Hans Hahn Collection in the Deutsches Museum: Pulling a Set of Dissonant Strings“. 4th Biannual Lake Konstanz Guitar Research Meeting, Überlingen, 5. bis 7. April 2013.
• „The Multiple ‘Sounds’ of a Silent Artefact: The Guittar of Robert Burns“. 17th Annual Conference of the Artefacts Consortium: ‘National styles and identity: scientific, technical and medical artefacts in a global context’, National Museums Scotland, Edinburgh, 7. bis 9. Oktober 2012.
• „Identification Marks on Historic Plucked Instruments: What Do They Reveal?“. 41st Annual Meeting of the American Musical Instrument Society (AMIS) und CIMCIM: ‘The Arts and Artists of Musical Instruments’, Metropolitan Museum of Art, New York, 15. bis 20. Mai 2012.
• „Looking into the Past, Present and Future of Two Music Collections in Edinburgh“. Annual Conference of CIMCIM, organisiert von verschiedenen Museen in Paris, Antwerp und Brüssel, 29. August bis 2. September 2011.
• „Investigating and Preventing the Deterioration of Historic Brass Instruments in EUCHMI“. International Workshop on Diagnostics and Preservation of Musical Instruments, Ravenna, 20. und 21. Mai 2010 (gemeinsam mit A. Myers).
• „Guittar Manufacture and Marketing in late 18th-century London“. Joint Conference of The Galpin Society & Historic Brass Society Joint Conference: ‘Making the British Sound’, London und Edinburgh, 7. bis 11. Juli 2009.
• „Historical Use and the Preservation of Authenticity: The Case of the English Guittar“. 2nd International Conference for PhD Music Students, Aristotle University, Thessaloniki, 11. bis 13. Februar 2009.„The Piano-key Mechanism of the English guittar“. 37th Annual Meeting of AMIS, Calgary, 28. Mai bis 1. Juni 2008.

• „(Re)constructing Authenticity in Musical Instrument Collections“. DAAD Hub-Cambridge/Leibniz-Gemeinschaft Scoping Meeting, University of Cambridge, 4. und 5. Dezember 2017.
• „Serial Production and Trademarking on Historic Musical Instruments from Ruckers to Erard“. Präsentation für das Oberseminar, Deutsches Museum, München, 3. Juli 2017.
• „Musical Instrument Collections and New Media: Observations from a Visitor Survey at the Deutsches Museum“. International Conference of the DFG- Project Rück ‘Private Passion – Public Challenge: Collecting Musical Instruments Then and Now’, Germanisches Nationalmuseum, Nuremberg, 9. bis 11. Mai 2017.
• „Materielle Kultur & New Organology“. Reading Group ‘Materiality and Music’, Deutsches Museum, München, 8. November 2016 (gemeinsam mit K. Preller).
• „The Pedal Harp in Europe between 1780 and 1830“. Forschungskolloquium, Institut für Musikwissenschaft, Ludwig-Maximilians-Universität, Munich, 15. Juni 2016.
• „The Harp, Lyre, Lute, Cittern, and Guitar around 1800“. 4th Colloquium of the Consortium for Guitar Research, Sidney Sussex College, University of Cambridge, 9. bis 12. April 2016.
• „A Creative Triangle of Mechanics, Acoustics and Aesthetics: The Early Pedal Harp (1780-1830) as a Symbol of Innovative Transformation“. Präsentation im Rahmen des ‘Forschung in Museen’ Programms, VolkswagenStiftung, Hannover, 15. Oktober 2015.
• „Experiments in Shape, Substance and Sound: Musical Instruments in the Age of Revolution“. Präsentation für den Arbeitskreis „Forschung im Museum“, Deutsches Museum, München, 18. November 2014.
• „Francesco Molino’s Pioneering Guitar Design“.3rd Colloquium of the Consortium for Guitar Research, Sidney Sussex College, University of Cambridge, 7. bis 9. April 2014.
• „Discussing the Origins of the Viol-shaped Guitar DM69731 in the Deutsches Museum“. 2nd Colloquium of the Consortium for Guitar Research, Sidney Sussex College, University of Cambridge, 8. bis 10. April 2013.
• „‘Recycled’ Guitars at the Deutsches Museum“. Annual Meeting of the Consortium for Guitar Research, Brighton, 31. August bis 2. September 2012.
• „New Voices in Old Bodies: A Study of ‘Recycled’ Musical Instruments“. Präsentation für den Arbeitskreis „Forschung im Museum“, Deutsches Museum, München, 8. Mai 2012.
• „The Rise and Decline of the Guittar in Britain, 1750-1810“ und „Guittar Design and Aspects of Guittar Stringing and Tuning“. 1st Colloquium of the Consortium for Guitar Research, Sidney Sussex College, University of Cambridge, 4. bis 6. April 2011.
• „Stringed Instrument Makers: Tools and Workshops from the 16th to the 20th century“. Research Project Presentations of Masters Students, Department of Music, The University of Edinburgh, Edinburgh, 20. bis 23. März 2007.

• Development of the early pedal harp”. Poster for the “Workshop on Organology”, organized by the ‘Instrument Science’ specialist group of the Society for Music Research, Museum of Musical Instruments at the University of Leipzig, Leipzig, July 18, 2018.
• "Investigation of the decoration of an Erard double pedal harp". Poster as part of the evaluation of the Research Institute for the History of Science and Technology, Deutsches Museum, Munich, January 26th and 27th, 2017 (together with M. Pamplona and L. Richter).

• ICOM Deutschland (seit 2012)
• CIMCIM (seit 2012)
• Advisory Executive Board Member der CIMCIM (2016-2019)
• ICON Scotland (2010-2011)
• Founding Member, Consortium for Guitar Research, University of Cambridge (seit 2010)
• Galpin Society (seit 2008)
• Griechischer Verband der Restauratoren (seit 2002)