Extended Biography

Dr. Inja Stanović (BA Hons, MMus, PhD) was recently appointed as a Surrey Future Senior Fellow at the University of Surrey. She will start her new research project in April 2023, establishing Historic Recorded Sound Centre, Hi-ReS Centre.


Prior to this exciting post, Inja was a Lecturer in Music and City, University of London, and Leverhulme Trust Early Career Fellow at the University of Huddersfield. Her post-doctoral project, ‘(Re)constructing Early Recordings: a guide for historically-informed performance’, was a four-year study on early sound recordings and mechanical recording methods. Results of this research project, which integrated creative practice and theoretical research, illuminated both performance and recording practices of the past, and offered a method for future research in this area. Inja is active in early recordings research, and is a co-founder of Redefining Early Recordings as Sources for Performance Practice and History, AHRC-funded research network, where her method of historically informed recording is used in academic workshops and symposia.


Inja is an active pianist and researcher. She completed a BA (hons) at the Ino Mirkovic School of Music, licensed under the P. I. Tchaikovsky Moscow State Conservatory (class of Marina Ambokadze). After winning French Government Scholarship, she moved to Paris and completed two postgraduate programmes at the Schola Cantorum (class of Eugen Indjic). Soon after that, she won full-merit scholarship for MMus at the Boston Conservatory (class of Michael Lewin). Inja came to Sheffield in 2010, where she completed the PhD on nineteenth-century performance practice relating to the works of Chopin, “Chopin in Great Britain, 1830 to 1930: reception, performance, recordings” (supervised by Prof. Simon Keefe, class of Benjamin Frith). In 2012, after receiving the Australian Government Endeavour Award, Inja spent six months as a Visiting Research Fellow at Sydney Conservatorium, where she explored some of the differences between early sound recordings and editions of musical scores, guided by Professor Neal Peres Da Costa.


Inja has held various academic posts, including research fellowship at the Sydney Conservatoire and visiting lectureship at the Birmingham Conservatoire. She has received scholarships and grants from: AHRC (2021); RMA (2019 and 2020), Institute of Musical Research (2019), The City of London Phonograph and Gramophone Society (2018), Leverhulme Trust (2017), Australian Government (2012); Boston Conservatory (2008); French Government; (2006); Frankopan Awards (2013, 2011, 2010, 2009, 2008, 2007, 2006); Croatian Ministry of Science, Education and Sports (2008, 2007, 2006); Petrie Watson Exhibitions (2016, 2015); Gladys Hall Scholarship University of Sheffield (2013), Julian Payne Award University of Sheffield (2010), City of Zagreb Grant (2009). As a pianist, Inja has performed throughout the world, including concerts in Croatia, Australia, France, Germany, Italy, Slovenia, the United Kingdom, and the United States. She gives masterclasses on the 19th century performance practices, and was an invited speaker at many academic institutions, including Royal Conservatory of BrusselsGuildhall School of Music and DramaSibelius Academy; Universities of York, Bristol, Edinburgh, Glasgow, Huddersfield, Leeds, Aberdeen, Zagreb, Cardiff; Goldsmiths; Sydney and Melbourne Conservatoires, and Monash University, amongst others. 


Her publications include articles on Chopin’s reception in Great Britain, ‘Love me, Love me not (Part I): Chopin’s reception in Great Britain, 1830-1849’ and ‘Remember me, Remember me not (Part II): Chopin’s Reception in Great Britain, 1849 to 1899′ (both published in Musica Iagellonica); article exploring Chopin’s reception and his physical appearance, ‘Masculine and Feminine Compositions: Frederic Chopin and his body (of work)’ (HARTS & Minds Journal, Vol. 3, Issue 2. Embodied Masculinities); article focused on digital transfers of reproducing piano rolls, ‘Back to the Future: the digitisation of reproducing piano rolls as a rendering of the past’ in Swedish Journal of Musical Research/Svensk tidskrift för musikforskning; the article which introduces the method of historically informed recordings, co-authered with her husband, Dr. Adam Stanović ‘A Chip Off the Old Block? introducing the practice of historically-informed recording’, in Seismograf. Sounds of Science. Methods and Aesthetics in Auditory Research Practicesamongst others. Her first co-edited book (with Dr. Eva Moreda Rodríguez), Early Sound Recordings: Academic Research and Practice  is about to be published by Routledge in February 2023.