Faculty: History of Music
email: lbernste@sas.upenn.edu
Ph.D., New York University, 1969
Professor of Music
Specialist in music of the Renaissance. Alfred Einstein prize of the American Musicological Society, 1974. National Endowment for the Humanities fellowship, 1978. Delmas Foundation grant, 1979. American Philosophical Society grant, 1983. Guggenheim fellowship, 1987. Ira Abrams Memorial Award for Distinguished Teaching, 1993. Lindback Award for Distinguished Teaching, 1994. Charles Fine Ludwig Memorial Award for Distinguished Teaching , 2005.
Bernstein's research has focused primarily on the music of Johannes Ockeghem and Josquin des Prez, and on the French chanson of the 16th century. More recently, he has begun to work on the 18th-century symphony, concentrating on the symphonic finales of Joseph Haydn and on the latter's influence on the music of such composers as Antonio Rosetti and Ignaz Pleyel. A retrospective collection of his essays on the chanson is to be published by the Centre d'Etudes Superieurs de la Renaissance in Tours.
He served as Editor-in-Chief of the Journal of the American Musicological Society (1975-77), as a member of the editorial board of the New Josquin Edition (1982-94), and as the founding editor of AMS Studies in Music.
email: edillon@sas.upenn.edu
DPhil, University of Oxford
Associate Professor of Music
Specialist in medieval music and manuscripts, the reception of medieval music. Junior Research Fellowship in Music, Christ Church, Oxford, 1995-1998. Emma Dillon's primary field of research focuses on French music and manuscripts in the thirteenth and fourteenth centuries. Her work explores changing attitudes to the written texts of music during that period, and deals with issues of transmission and reception of music in the material form of the book, the different forms and functions of French notation, the visual or non-sounding dimensions of the Old French motet, and the relationship between musical and non-musical sound. She has articles and reviews in Fauvel Studies and the Journal of the Royal Musical Association, Plainsong and Medieval Music and the Journal of Musicology. Her book, Medieval Music-Making and the Roman de Fauvel, was published by Cambridge University Press in 2002. Emma Dillon is currently writing a book called The Sense of Sound: Music and Meaning in Thirteenth-Century France, which explores a variety of non-musical sound worlds, problems of their representation, and the ways they impinge on the reception of the thirteenth-century motet. She is also editing a source-book of texts and music from, and related to, the Roman de Fauvel. She is 2003 winner of the Jerome Roche Prize, awarded by the Royal Musical Association. In 2003-04 she was receipient of a Mellon Fellowship at the Institute for Advanced Study in Princeton. In Spring 2005 she will be visiting Scholar at Corpus Christi College, Oxford.
email: dolanei@sas.upenn.edu
P.h.D, Cornell University 2006
Assistant Professor of Music
Specialist in 18 th- and early 19 th-century music and aesthetics. Alvin H. Johnson AMS-50 dissertation fellowship, 2005. Her doctoral dissertation, “The Idea of Timbre in the Age of Haydn” explores changes to musical thought, practice, and aesthetics that arose with the introduction of the concept of timbre in 18 th century. Dolan’s work draws upon now-forgotten instruments, using them as gateways into the sound world of their time: her article, “The Origins of the Orchestra Machine” examines the ways in which a new fascination with orchestral sonority and power manifested in many instruments that were invented during the late 18 th century. She is currently working on a monograph on E. T. A. Hoffmann’s Die Automate as a work of musical criticism and an extended project on the musical aesthetics of Johann Gottfried Herder. Outside of the 18 th-century, she also works on popular music, in particular focusing on notions of authenticity and kitsch.
email: kallberg@sas.upenn.edu
Ph.D, University of Chicago, 1982
Professor of Music
Chair of Department of Music
 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
Associate 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? will be available soon.
email: gatomlin@sas.upenn.edu
Ph.D., University of California at Berkeley, 1979
Annenberg Professor in the Humanities
 Specialist in music of the late Renaissance and early Baroque, opera, music and cross-cultural contact, and cultural history and historiography. Alfred Einstein prize of the American Musicological Society, 1982. Guggenheim fellowship, 1982. MacArthur fellowship, 1988-93. Phi Beta Kappa Visiting Scholar, 1997-98. Tomlinson publishes in a number of fields. In his book Monteverdi and the End of the Renaissance he deals with the impact of literary forces on changing musical styles around 1600. His work on opera, especially in Metaphysical Song: An Essay on Opera, treats the connections of music drama to changing models of European subjectivity. His book Music in Renaissance Magic: Toward a Historiography of Others brings poststructuralist historical approaches to bear on sixteenth-century musical magic. His current work concerns New World song and theories of European colonialism.
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