Juliana M. Pistorius (Mia) is a music historian whose work examines the close relationship between Western art music, coloniality, and race. Her research interests range from operatic cultures in the so-called 'Global South', to the politics of cultural protest. Her current research project, 'Beyond Boycott: Musical Internationalism and the Making of Race in Apartheid South Africa', develops a social and cultural history of the international cultural boycott of South Africa's apartheid regime. The project investigates classical musicians who defied sanctions to perform in the country, before asking how these performers interacted with the anti-apartheid movement, and how their appearances in South Africa contributed to a racial classification system that viewed culture as a marker of race.

• Postcolonial Opera: William Kentridge and the Unbounded Work of Art. Oxford University Press (forthcoming in summer 2025).
• 'Ways with Words', in Colloquy: 'Theorizing Global Music History', eds. O. Bloechl and H. Hyun Kyong Chang. Journal of the American Musicological Society 76(3), 2023.
• 'A Modern-Day Florestan: Fidelio on Robben Island and South Africa's Early Democratic Project'. Twentieth-Century Music 20(1), 2023.
• 'Burgerskap onder konstruksie: Rigoletto en Aida by die Suid-Afrikaanse Republiekfeesvieringe, 1971' (with H. Roos). Litnet Akademies 18(2), 2021.
• 'Inhabiting Whiteness: The Eoan Group La Traviata, 1956'. Cambridge Opera Journal 31(1), 2019. [Winner of the 2021 Kurt Weill prize for theatre scholarship.]
• 'Predicaments of Coloniality, or, Opera Studies Goes Ethno'. Music & Letters 100(3), 2019.