Faculty: History of Music
email: cabbate@sas.upenn.edu
Ph.D., Princeton, 1984
Christopher H. Browne Distinguished Profesor of Music
Many of Dr. Abbate’s writings focus on opera, from its beginnings around 1600 through the first half of the 20th century. She also writes about instrumental traditions from the Enlightenment to the present and has lately embraced the topics of film music and sound technology. Dr. Abbate is author of In Search of Opera (2001) and Unsung Voices (1991) and coauthor (with Roger Parker) of the forthcoming Opera: The Last Four Hundred Years. She received a Guggenheim Fellowship in 1995, a National Endowment for the Humanities Fellowships for Independent Study and Research in 1986 and 1994, and was awarded the Dent Medal of the Royal Music Association in 1993. She speaks often at public events, often participating in the opera quizzes that enliven the weekly radio broadcasts from the Metropolitan Opera.
email: edillon@sas.upenn.edu
DPhil., University of Oxford, 1998
Professor of Music
 Specialist in medieval music, sound and manuscripts. Emma Dillon’s research focuses on French musical culture from the twelfth to fourteenth centuries. Her work ranges widely in terms of repertories, sources, and methodological approach, and broadly speaking falls at the intersection of musicology, sound studies, medieval studies, and the history of material texts. She has published and presented on issues of transmission and reception of music in the material form of the book, on tensions between audible and inaudible meaning in the Old French motet, on the relationship between musical and non-musical sound, and on the sense of sound as depicted in prayer books. Author of Medieval Music-Making and the Roman de Fauvel (Cambridge University Press, 2002) and The Sense of Sound: Musical Meaning in France, 1260-1330 (forthcoming with Oxford University Press in 2012). She is currently working on a series of essays and papers exploring the evidence for musical feeling and the emotional effects of sound in the later Middle Ages, and an edited volume on etymologies of medieval song. Dillon was a Junior Research Fellow in Music, Christ Church, Oxford, 1995-1998. She was the 2003 winner of the Jerome Roche Prize, awarded by the Royal Musical Association. She has held fellowships at the Institute for Advanced Study in Princeton (2003-2004 and 2010), was a visiting scholar at Corpus Christi College, Oxford in 2005, and was a Weiler Faculty Fellow in 2009. In 2008 she was recipient of both the Lindback Award for Distinguished Teaching and the Ira Abrams Memorial Award for Distinguished Teaching. In 2012 she will chair of the program committee for the American Musicological Society. She is currently Chair of the Music Department.
email: dolanei@sas.upenn.edu
P.h.D. Cornell University 2006
Assistant Professor of Music
Specialist in 18th and early 19th-century music and aesthetics. Alvin H. Johnson AMS-50 dissertation fellowship, 2005. Dolan’s work focuses on issues of orchestration and instrumentality, exploring in the intersections between music, science, and technology. She has published articles in Current Musicology, Eighteenth-Century Music, Studia Musicologica, and 19th-Century Music, and recently completed a book project on the birth of modern orchestration (The Orchestral Revolution: Joseph Haydn and the Technologies of Timbre, forthcoming, 2012). Dolan is interested in the intertwined history of musical and scientific instruments: in 2011, she published a co-authored essay with John Tresch (Penn, HSS) in Opera Quarterly on the role and reception of machines in French grand opera and currently she is working on a new project on the history of organology. Outside of the 18th-century, she also works on popular music and recently published an essay in Popular Music on indie pop and ideas of kitsch. Dolan was a faculty fellow in the Penn Humanities Forum 2008-09 (Year of Change) and in 2009-2010, Dolan was a fellow at the Radcliffe Institute for Advanced Study.
email: kallberg@sas.upenn.edu
Ph.D. University of Chicago, 1982
Professor of Music and Associate Dean for Arts and Letters, School of Arts and Sciences
 Specialist in music of the 19th and 20th centuries, editorial theory, critical theory, and gender studies. Alfred Einstein prize of the American Musicological Society, 1984. Richard S. Hill award of the Music Library Association, 1984. National Endowment for the Humanities fellowship, 1985, Guggenheim fellowship, 1992. Kallberg publishes widely on the music and cultural contexts of Chopin, most notably in his book, Chopin at the Boundaries: Sex History, and Musical Genre (Harvard University Press). His recent construction of Chopin's first sketch for a Prelude in E-flat minor for the eventual set of Preludes, op. 28, attracted world-wide coverage in the press. Kallberg prepared a critical edition of Luisa Miller for The Works of Giuseppe Verdi, and also wrote the articles on "Gender" and "Sex, Sexuality" for The New Grove Dictionary of Music and Musicians, 2d ed. His current projects include books on Chopin's nocturnes and on convergences of sex and music around 1800, and a study of Scandinavian song in the first half of the twentieth century. He is general editor of New Perspectives in Music History and Criticism (Cambridge University Press).
email: gramsey@sas.upenn.edu
Ph.D., University of Michigan, 1994
Edmund J. and Louise W. Kahn Term Professor of Music
 Specializes in African-American and American music, jazz, cultural studies, popular music, film studies, and historiography. He lectures internationally on these topics. Ramsey is the author of Race Music: Black Cultures from Bebop to Hip-Hop ( University of California Press, 2003), which was named outstanding book of the year by IASPM (International Association for the Study of Popular Music). His current project, In Walked Bud: Earl “Bud " Powell and the Modern Jazz Challenge, is a study of jazz pianist Bud Powell and is forthcoming from the University of California Press. He has also begun a new book on singer/songwriter Curtis Mayfield. Ramsey was a Thurgood Marshall Dissertation Fellow at Dartmouth College in 1993, a DuBois Institute Fellow at Harvard University in 1996, and taught at Tufts University from 1994-1998. In 2001 he received the Irving Lowens Award for best article from the Society for American Music for “Who Hears Here? Black Music, Critical Bias, and the Musicological Skintrade.” He has published in Black Music Research Journal, The Musical Quarterly, Journal of Popular Music Studies, The Black Scholar, Callaloo, American Music, American Quarterly, Journal of the American Musicological Society, The New York Times and The Village Voice. His band Dr. Guy’s MusiQologY has performed for audiences in South America, New York, Australia, the University of Pennsylvania, the Kimmel Center, and in Philadelphia venues such as Zanzibar Blue and Gloria's Seafood House. Ramsey composes and arranges all of MusiQologY's music, which moves beyond the traditional Jazz idiom, experimenting with R&B, Latin, Hip Hop fusions. The band’s first CD, Y the Q? is available through http://www.cdbaby.com/cd/drguysmusiqology. Click here for Musiqology blog.
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Undergraduate Studies
