Current Students in the History of Music
In the past, I have written about Verdi, Machaut, the Aeolian Harp and Al Green. Currently, my interests include instrumental virtuosity in the Baroque era, opera seria, film music, and the intersections of music, religious belief and warfare in Europe from the 16th to mid-17th centuries. In my spare time, I enjoy singing, playing chamber music with friends, and attending the opera.
I am mainly interested in twentieth-century music, particularly, but not exclusively, Poulenc, Ravel, Satie, Milhaud, Cowell, Nancarrow and Ives. My philosophical angle is that of ‘funny’ and grotesque music, and also the very presence of laughter in a piece of music, with detours into mechanical music and repetition. I am also taken with impossibly broad subjects such as the historical-anthropological study of the concept and act of musical composition in Western Europe, and the aesthetics of musical time.
My dissertation considers the relationship of Philadelphian music to Franco-American politics between 1778 and 1801. I also study the theory of sound recording technology and the history of American popular music in the twentieth century.
Stephan Hammel's research centers on 20th century composition in Latin America.
I am interested in operatic dramaturgy and issues of translation in vocal music. I care deeply about the future of opera as a living art form, and I hope to examine the role that scholarship can play in opera performance and education today. Originally drawn to music as a performer, I continue to sing in my free time.
Having earned bachelors degrees in Japanese studies and music performance from the University of Oklahoma, I am pursuing a dissertation that combines these topics. My work follows the reception of Wagner in modern Japan and his influences on Japanese composers. Other interests include German opera, Post-Meiji Japanese music, traditional Japanese music, film music, and nationalism in music.
Maria Murphy's work focuses on the politics of gender and sexuality in opera performance. She is particularly interested in the negotiation of the female body onstage. Her other interests include music's role in Nazi Germany and the life of Alma Rosé, the conductor of the all-female orchestra at Auschwitz.
I’m interested in blues and jazz historiography, the reception and canonization of American black music, nostalgia, and historical imagination toward the South. Other academic pastimes of mine include studying the American expatriates in early twentieth-century Paris and applying the rhetoric of Southern gothic literature to music. As a classically trained pianist, I hold late Romantic piano music close to heart, as well as nineteenth-century artistic context in Europe.
My primary focuses are 20th-century European-American music and technologies of sound. In my dissertation I intend to investigate the connections between technology, composition, and listening in the early history of electronic music (roughly 1900-1960). Some of my other research interests are aesthetics, modernism and the avant-garde, the history of musical timbre, and cinema.
My research interests include Western art music of the nineteenth and twentieth centuries and African music. My dissertation is a cognitive study of melody and song prosody in Nguni music. I also work on cross-cultural
art music in South Africa, the evolution of music, and Chopin studies.
My area of interest concerns musical life in Britain during the First World War. I am particularly interested in musical performance and reception across a wide range of genres, from classical music performances in concert halls to musical theatre, music halls, gramophone recordings and performances by amateur ensembles. I also have a keen interest in the field of gender studies, and focussed my Masters dissertation on Clara Schumann and her compositional aesthetic.