I joined the Open University as a Lecturer in Popular Music in 2020. Prior to this, I held a position in the University of Lincoln's School of Film and Media, where I taught on Sound and Music Production and Media Studies degree programmes. I gained my PhD in 2014 from Newcastle University's International Centre for Music Studies. I also hold a BA (Hons) in Music/Popular Music and an MA in Musicology from the University of Liverpool.
My research concerns the gendered, affective and sociopolitical dimensions of music, sonic media and auditory culture. My monograph Beyond Unwanted Sound: Noise, Affect and Aesthetic Moralism was published by Bloomsbury in 2017 and I am the co-editor of Sound, Music, Affect: Theorizing Sonic Experience (Bloomsbury, 2013). Other recent publications have appeared in Contemporary Music Review, Textual Practice and Parallax.
I am the Principal Investigator of the AHRC-funded project Tinnitus, Auditory Knowledge and the Arts, which explores how the arts might help to enrich understandings of tinnitus and the diverse ways it affects listeners. I am also the co-founder (with Annie Goh) of Sonic Cyberfeminisms, an ongoing project that critically and creatively interrogates the relationship between gender, sound, technology and feminist practice.
My research has been presented internationally in public and academic forums, including on BBC Radio 4's Thinking Allowed; at music festivals including CTM (Berlin), MUTEK (Montreal), DICE (Berlin) and Noiseexistance (Hamburg); at cultural institutions including the British Library, Tate Liverpool and the ICA; and as keynote presentations for the Punk Scholars Network, The Future Sound of Pop Music conference and for Capacious: Affect Inquiry/Making Space conference. I will be delivering the keynote Peter le Huray lecture at the Royal Musical Association’s 2020 Annual Conference.
‘Your Womb, the Perfect Classroom’: Prenatal Sound Systems and Uterine Audiophilia (2021-03-01)
Feminist Review, 127(1) (pp. 73-89)
Sonic Cyberfeminisms: Introduction (2021-03-01)
Goh, Annie and Thompson, Marie
Feminist Review, 127(1) (pp. 1-12)
Sounding the Arcane: Contemporary Music, Gender and Reproduction (2020-09)
Contemporary Music Review, 39(2) (pp. 273-292)
Spinoza and musical power (2019)
Textual Practice, 33(5) (pp. 803-820)
Whiteness and the Ontological Turn in Sound Studies (2017)
Parallax, 23(3) (pp. 266-282)
To soothe or remove? Affect, revanchism and the weaponized use of classical music (2017)
Communication and the Public, 2(4) (pp. 272-283)
Feminised Noise and the ‘Dotted Line’ of Sonic Experimentalism (2016)
Contemporary Music Review, 35(1) (pp. 85-101)
Productive Parasites: Thinking of Noise as Affect (2012-12-03)
Cultural Studies Review, 18(3) (pp. 13-35)
Beyond Unwanted Sound: Noise, Affect and Aesthetic Moralism (2017-02-09)
ISBN : 9781501313301 | Publisher : Bloomsbury | Published : New York
Sonic Feminisms: Doing Gender in Neoliberal Times (2020-12-10)
In: Bull, Michael and Corbussen, Marcel eds. The Bloomsbury Handbook of Sonic Methodologies
ISBN : 9781501338779 | Publisher : Bloomsbury
Sound Studies (2020)
In: van Orden, Kate ed. Music
Publisher : Oxford Bibliographies
Gendered sound (2018-10-29)
In: Bull, Michael ed. The Routledge Companion to Sound Studies. Routledge Media and Cultural Studies Companions (pp. 108-117)
ISBN : 978-1-138-8514-3 | Publisher : Routledge | Published : Abingdon
Experimental music and the question of what can a body do? (2017)
In: Moisala, Pirkko; Leppänen, Taru; Tiainen, Milla and Väätäinen, Hanna eds. Musical Encounters with Deleuze and Guattari (pp. 149-168)
ISBN : 9781501316753 | Publisher : Bloomsbury
Sound, Music, Affect: Theorizing Sonic Experience (2013-02-28)
Thompson, Marie and Biddle, Ian eds.
ISBN : 9781441114679 | Publisher : Bloomsbury | Published : New York