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Books and Musical Editions
Film Music in the Sound Era: A Research and Information Guide. London: Routledge, 2020.
This book offers a comprehensive bibliography of scholarship on music in sound film (1927–2017). Thematically organized sections cover historical studies, studies of musicians and filmmakers, genre studies, theory and aesthetics, and other key aspects of film music studies. Broad coverage of works from around the globe, paired with robust indexes and thorough cross-referencing, make this research guide an invaluable tool for all scholars and students investigating the intersection of music and film.
The book is published in two volumes:
Volume 1: Histories, Theories, and Genres covers overviews, historical surveys, theory and criticism, studies of film genres, and case studies of individual films.
Volume 2: People, Cultures, and Contexts covers individual people, social and cultural studies, studies of musical genre, pedagogy, and the Industry.
La Font: Premier livre de pièces de clavecin (1759). Middleton, WI: A-R Editions, 2016.
This edition presents the newly rediscovered harpsichord works of Pierre Nicolas La Font (ca. 1725–ca. 1791), which survive in a single known copy now housed at the University of California, Berkeley. La Font was organist at Saint-Germain-en-Laye and published two volumes of keyboard music, in 1759 and 1773 respectively. The surviving copy of the Premier livre comprises seventeen pieces (including one with violin accompaniment), the last of which is left incomplete. The reemergence of these pieces makes it possible to connect the composer with some of the most important musical and aristocratic families of mid-eighteenth-century France, and brings La Font’s virtuosic music back from obscurity, providing a valuable addition to the harpsichord repertoire.
Publication of this edition was supported by the James R. Anthony Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation.
“Handel’s Heroes.” In The Heroic in Music, edited by Beate Kutschke and Katherine Butler, 69–88. Woodbridge: Boydell, 2022.show abstract
Handel’s period in England has been often deemed an ‘age without a hero’. This is particularly true of the era’s poetry, prose and drama, which scholars describe with phrases like ‘antiheroic propaganda campaign’, with references to the ‘disappearance of heroic man’, and with assertions such as, ‘All heroism becomes problematic [. . .] ineffectual and anachronistic’ in this literature. Modern scholars give various explanations for why the ‘heroic action’ of Dryden’s dramas was replaced by the ‘moral action’ of later works. Whether tracing the cause to royal politics, to reformed manners or to more general artistic concerns, all the scholars cited above agree that eighteenth-century writers favoured gentle and unsullied protagonists over the earlier grandiose sort, abandoning heroic men of valour in favour of moral men of feeling.
This essay demonstrates that the most important English-language musical works of the mid-century, Handel’s oratorios (produced mainly between 1732 and 1752), complicate the literary history described above. First, I show that when certain political circumstances allowed—namely, when there was an identifiable Catholic threat to the Protestant regime—rugged, active heroes still had their place in English musical texts of the Georgian period. Second, I demonstrate that Handel’s contemporaries would, in fact, have considered ‘moral action’ itself to be a sort of heroism and feeling men to be model heroes. The oratorios provide useful illustrations of these two contrasting modes, encompassing both a familiar ‘action heroism’ and what writers in the eighteenth century specifically called ‘Christian heroism’, reflecting various political and religious contexts. These contexts, of course, influenced Handel’s musical decisions, leading to distinctive sounds of heroism to match the dramatic models that his librettists offered.
“Texts, Drugs, and Rock ‘n’ Roll: Easy Rider and the Compilation Soundtrack.” Journal of Musicology 38, no. 3 (2021): 296–328. https://doi.org/10.1525/jm.2021.38.3.296.show abstract
Of all the New Hollywood films, Easy Rider (1969) perhaps most effectively demonstrates the potential complexity of the rock compilation soundtrack. Drawing on concepts from film studies, film musicology, and literary theory, this article discusses how Easy Rider demonstrates the compilation soundtrack’s potential to generate meanings both inter- and intratextually. The intertextual method of interpreting pop compilation soundtracks looks deeply into the intersection of image, sound, and narrative on a vertical axis, considering the relationship between dialogue/image/plot point and song lyrics/musical style, the ways that the songs on these soundtracks communicate to audiences the thematic or diegetic significance of a given moment, and how these synthetic meanings apply to various characters/situations in the diegesis. Intratextual readings work horizontally to show the cyclical relationships between audiovisual set-pieces and the ways that these relationships clarify or enhance narrative themes. Attention to the intratextual function shows that despite the frequent concern that popular songs can disrupt the integrity of a filmic narrative, popular music soundtracks can in fact feature their own modes of large-scale, structural function. This film’s soundtrack allows viewers to experience Easy Rider in dual registers; narrative threads connect to other narrative threads, musical set-pieces connect to musical set-pieces, and all of the elements together comprise one audiovisual complex.
“Giulia Frasi: Singer of Sentiment.” Music and Letters 100, no. 3 (2020): 1–35. doi:10.1093/ml/gcaa008show abstract
Handel and his artistic collaborators worked in an age that prized the moral potential of emotion, particularly as mobilized in artistic representation. From weeping comedies and moving she-tragedies on the English stage to sentimental novels in the private closet and even powerfully moving sermons from the nation’s pulpits, eighteenth-century audiences received a constant onslaught of emotionally charged rhetoric that aimed at inspiring virtue. This article provides several examples of how Handel’s music, particularly his works of the 1740s and 1750s, operated within this contemporary culture of sentiment; it uses the career of Handel’s last leading lady, Giulia Frasi (fl. 1742–72), as an illustration of the nexus between these ethical-aesthetic trends, Handel’s musical works, and this singer’s career. Examination of Frasi’s musical education, the works that she performed, and her public persona shows that she cultivated a place in the culture of sentiment, both on and off the stage.
“Music, Morality, and Sympathy in the Eighteenth-Century Music Sermon.” Eighteenth-century Music 17, no. 1 (2020): 9–35.
While the furrows of sixteenth- and seventeenth-century religious writing on music have been deeply ploughed, eighteenth-century English sermons about music have received relatively slight scholarly attention. This article demonstrates that the ideas of sympathy and sensibility characteristic of so much eighteenth-century thought are vital to understanding these sermons. There is an evolution in this literature of the notion of sympathy and its link to musical morality, a development in the attitude towards music among clergy, with this art of sympathetic vibrations receiving ever higher approbation during the century’s middle decades. By the time that Adam Smith was articulating his Theory of Moral Sentiments (1759) and Handel’s oratorios stood as a fixture of English musical life, religious thinkers had cast off old concerns about music’s sensuality. They came to embrace a philosophy that accepted music as moral simply because it made humankind feel, and in turn accepted feeling as the root of all sociable experience. This understanding places the music sermon of the eighteenth century within the context of some of the most discussed philosophical, social, literary, musical and moral-aesthetic concepts of the time.
“Commentary: Corelli’s Op. 5, No. 1.” In A-R Music Anthology, edited by James Zychowicz et al. Middleton, WI: A-R Editions.
Arcangelo Corelli (1653–1713) lived and worked in a period sometimes called “the Age of Dictionaries.” Many late-seventeenth and early-eighteenth-century thinkers aimed at encyclopedic control over topics, sharing this knowledge with audiences in carefully ordered ways. Samuel Johnson, for instance, completed a renowned dictionary of the English language in 1755; Denis Diderot and Jean le Rond d’Alembert edited between 1751 and 1766 a massive, multi-volume encyclopedia; and Sébastien de Brossard authored the Dictionaire de musique, one of the earliest musical dictionaries, in 1703. Corelli himself worked in this sort of tradition, producing tidily ordered publications of sonatas, which he divided into two subgenres: the sonata (da chiesa) and the sonata da camera. He brought both versions of the sonata together in his op. 5 collection for solo violin, which served as a conspectus of the two styles that he had introduced in opp. 1–4.
“Commentary: Bach’s Brandenburg Concerto No. 5.” In A-R Music Anthology, edited by James Zychowicz et al. Middleton, WI: A-R Editions.show abstract
For most of his career, J.S. Bach worked for the church. But between the years 1717 and 1723, he found employment as a court musician in the entourage of Prince Leopold of Anhalt-Cöthen. Bach was extremely happy during this period, as he reported in a letter to an old classmate: “There I had a gracious Prince, who both loved and knew music, and in his service I intended to spend the rest of my life.” What made Bach so content in this small city with its Calvinist court, quite different from the Lutheran environs in which he had built his career? Bach may well have been drawn to this job for the ironic reason that music in the Calvinist tradition didn’t give him much to do in the courtly church. Instead, he found himself in charge of secular music, a sort of “busman’s holiday” for a man whose entire family had worked as Lutheran musicians for generations. While in this court, Bach produced many of his most beloved instrumental works, including The Well-Tempered Clavier part 1 (BWV 846–93), the unaccompanied cello suites (BWV 1007–1012), the Sonatas and Partitas for Violin (BWV 1001–1006), and the collection that perhaps stands as the crowning jewel of his orchestral achievements: the six Brandenburg Concertos (BWV 1046–1051).
Concerto 5 stands apart from the other works in this set due to its inventive genre-blending, with an element of Bach’s often overlooked sense of humor.
“From Giuseppe to Joseph: A Possible New Borrowing Source for the Music of Joseph and His Brethren.” Händel-Jahrbuch 64 (2018): 177–206.show abstract
This article examines the role of artistic borrowing in Handel’s oratorio Joseph and His Brethren. Through manuscript study, I suggest that Handel was aware of Antonio Caldara’s 1722 setting of the same text (in Italian), and that Caldara’s compositional choices in that work affected Handel’s own musical decisions.
“Introduction to Music in the Baroque Era.” A-R Online Music Anthology, ed. James Zychowicz et al. Middleton, WI: A-R Editions. https://www.armusicanthology.com/ViewerPlus.aspx?studentpage_id=1&music_id=726show abstract
Provides an overview of the major historical, artistic, and musical developments between 1600 and 1750.
“From Amelia to Calista and Beyond: Sentimental Heroines, ‘Fallen’ Women, and Handel’s Oratorio Revisions for Susanna Cibber.” Cambridge Opera Journal 27, no. 1 (2015): 1–34.
The history of singer and famed tragedienne Susanna Cibber (1714–66) demonstrates the influences of the British theatre and the culture of sentiment on Handel’s oratorios. Throughout Cibber’s long career, audiences lauded the ‘natural’ qualities of her performances, conflating her onstage and offstage identities as both deeply moving and holding great potential for moral instruction. In the late 1730s and early 1740s this presumed symbiosis was challenged by a highly publicised sex scandal that had profound effects on Cibber’s roles in the spoken theatre. At the same moment, Handel began crafting parts for Cibber in Messiah, Samson, Hercules and Belshazzar in ways that showed awareness of the new complexity of her image. This article both illustrates the nature of Cibber’s evolving public identity and explains Handel’s revisions of pre-existing parts for her. It shows that Handel recognised the challenges of Cibber’s troubled public image and continued to highlight her greatest skills, setting her the task of harnessing the power of sympathy, drawing audiences in by appealing to them as fellow men and women of sensibility.
“Report on the 2015 Meeting of the American Handel Society.” Newsletter of the American Handel Society 30, vol. 1 (Spring 2015).
French Connections. Navona Records NV 6389 (2021), https://www.navonarecords.com/catalog/nv6389/.
Handel: The “Halle” Sonatas, with Nancy Ambrose King, Andrew Parker, and Kristin Wolfe Jensen. Equilibrium Records EQ 145 (2017), https://www.equilibri.com/album/EQ145/.
Les grâces françoises, with Les grâces baroque ensemble. MSR Classics MS 1396 (2011), https://www.msrcd.com/catalog/cd/MS1396.
Publications as Editor and Co-Author
Reviews in Academic Journals
“The Birth of the Baroque.” UNLV News Center (April 2017), https://www.unlv.edu/news/article/birth-baroque.
“They Wished They were in Dixie.” UNLV News Center (February 2016), https://www.unlv.edu/news/article/they-wished-they-were-dixie.
“Alana Youssefian Revives a Brilliant Eighteenth-Century Violinist’s Music.” San Francisco Classical Voice (May 2020): https://www.sfcv.org/reviews/none/alana-youseffian-revives-a-brilliant-18th-century-violinists-music.
“Gardiner Brings Bach Home.” San Francisco Classical Voice (May 2013): https://www.sfcv.org/articles/review/gardiner-brings-bach-home.
”American Bach Soloists: Take a Bow.” San Francisco Classical Voice (May 2013): https://www.sfcv.org/articles/review/american-bach-soloists-take-bow.
“On the High Seas with the Remarkable András Schiff.” San Francisco Classical Voice (April 2013): https://www.sfcv.org/articles/review/high-seas-remarkable-andras-schiff.
“A Bach Passion with Uncommon Brilliance.” San Francisco Classical Voice (January 2013): https://www.sfcv.org/articles/review/bach-passion-uncommon-brilliance.
”Christmas with J.S. Bach and the PBO.” San Francisco Classical Voice (December 2012): https://www.sfcv.org/articles/review/christmas-js-bach-and-pbo.
”Les Sirènes are Calling.” San Francisco Classical Voice (November 2012): https://www.sfcv.org/articles/review/les-sirenes-are-calling.
“With Ax, Philharmonia Baroque Goes for Broke.” San Francisco Classical Voice (November 2012): https://www.sfcv.org/articles/review/ax-philharmonia-baroque-goes-broke.
”Quatuor Mosaïque’s Nuanced Approach.” San Francisco Classical Voice (April 2012): https://www.sfcv.org/articles/review/quatuor-mosaiques-nuanced-approach.
“Electric Camaraderie: American Bach Soloists.” San Francisco Classical Voice (March 2012): https://www.sfcv.org/articles/review/electric-camaraderie-american-bach-soloists.
”English Delights from the PBO.” San Francisco Classical Voice (January 2012): https://www.sfcv.org/articles/review/english-delights-pbo.
“Enlivening Mendelssohn.” San Francisco Classical Voice (November 2011): https://www.sfcv.org/articles/review/enlivening-mendelssohn.
“The ’I’s Have It at PBO. San Francisco Classical Voice (November 2011): https://www.sfcv.org/articles/review/have-it-pbo.
”Cançonièr: Dance Fever.” San Francisco Classical Voice (November 2011): https://www.sfcv.org/articles/preview/canconier-dance-fever.
”Unusual Baroque CDs Give Unexpected Pleasure.” San Francisco Classical Voice (October 2011): https://www.sfcv.org/articles/review/unusual-baroque-cds-give-unexpected-pleasure.
”George Harrison Remembered: Within, Without.” San Francisco Classical Voice (October 2011): https://www.sfcv.org/articles/review/george-harrison-remembered-within-without.
”Mill Valley Film Festival Scores with Music.” San Francisco Classical Voice (October 2011): https://www.sfcv.org/articles/preview/mill-valley-film-festival-scores-music.
”Brilliantly Accessible: Philharmonia Baroque Orchestra.” San Francisco Classical Voice (September 2011): https://www.sfcv.org/articles/review/brilliantly-accessible-philharmonia-baroque-orchestra.
”John Phillips: Bringing Harpsichords Back to Life.” San Francisco Classical Voice (August 2011): https://www.sfcv.org/articles/feature/john-phillips-bringing-harpsichords-back-life.
”John Blow: Venus and Adonis, a Thrilling Blow from 1683.” San Francisco Classical Voice (August 2011): https://www.sfcv.org/articles/review/thrilling-blow-1683.
”Bach for the Masses.” San Francisco Classical Voice (July 2011): https://www.sfcv.org/articles/review/bach-masses.
”A Great Choir, Hidden away in S.F.” San Francisco Classical Voice (April 2011): https://www.sfcv.org/articles/preview/great-choir-hidden-away-sf.
”Cassone Holds the Key.” San Francisco Classical Voice (February 2011): https://www.sfcv.org/articles/preview/cassone-holds-key.
”Silent Film Festival: Saint Joan Sees Voices of Light.” San Francisco Classical Voice (December 2010): https://www.sfcv.org/articles/preview/saint-joan-sees-voices-light.
”Philharmonia Baroque Does Strange and Wonderful.” San Francisco Classical Voice (November 2010): https://www.sfcv.org/articles/review/philharmonia-baroque-does-strange-and-wonderful.
”Harpsichordist Dazzles with Philharmonia Baroque Orchestra.” San Francisco Classical Voice (October 2010): https://www.sfcv.org/articles/review/harpsichordist-dazzles-philharmonia-baroque-orchestra.
”Handel and Croft, Peace of Utrecht; A Glorious Handel: Te Deum from the Netherlands.” San Francisco Classical Voice (October 2010): https://www.sfcv.org/articles/review/glorious-handel-te-deum-netherlands.
”Next-Wave Baroque.” San Francisco Classical Voice (September 2010): https://www.sfcv.org/articles/feature/next-wave-baroque.
”Mozart Soundgarden from Philharmonia Baroque.” San Francisco Classical Voice (September 2010): https://www.sfcv.org/articles/review/mozart-soundgarden-philharmonia-baroque.
“PBO’s Head-Spinning Love Traingle.” San Francisco Classical Voice (April 2010): https://www.sfcv.org/articles/review/pbos-head-spinning-love-triangle.
”Sublime Passion.” San Francisco Classical Voice (February 2010): https://www.sfcv.org/articles/review/sublime-passion.
”Savall Scintillates with the PBO.” San Francisco Classical Voice (March 2010): https://www.sfcv.org/articles/review/savall-scintillates-pbo.
”Vivid Virtuosity with American Bach Soloists..” San Francisco Classical Voice (April 2010): https://www.sfcv.org/articles/preview/vivid-virtuosity-american-bach-soloists.
”Brahms? A Bit Baroque?” San Francisco Classical Voice (February 2010): https://www.sfcv.org/articles/preview/brahms-bit-baroque.
”Crowded out of Eden: Composers and the Hollywood Dream.” San Francisco Classical Voice (January 2010): https://www.sfcv.org/articles/feature/crowded-out-eden-composers-and-hollywood-dream.
”Harry Potter and the Classic Film Score.” San Francisco Classical Voice (August 2009): https://www.sfcv.org/articles/feature/harry-potter-and-classic-film-score-0.
“Philharmonia Dido Highlights Purcell Collaboration.” San Francisco Classical Voice (November 2009): https://www.sfcv.org/articles/review/philharmonia-dido-highlights-purcell-collaboration.
”Rameau’s Pièces de clavecin en concert: Alive Recording.” San Francisco Classical Voice (March 2009): https://www.sfcv.org/articles/review/alive-recording.
”A Rare Treat from a Treble Duo.” San Francisco Classical Voice (April 2009): https://www.sfcv.org/articles/review/rare-treat-treble-duo.
”Handel’s Little-Known Third Oratorio: the Juicy, Murderous Athalia.” San Francisco Classical Voice (April 2009): https://www.sfcv.org/articles/feature/handels-little-known-third-oratorio-juicy-murderous-athalia.
”Handel Flashes By.” San Francisco Classical Voice (March 2009): https://www.sfcv.org/articles/review/handel-flashes.
”Intimate Splendor.” San Francisco Classical Voice (February 2009): https://www.sfcv.org/articles/review/intimate-splendor.
”Softness and Grace.” San Francisco Classical Voice (November 2008): https://www.sfcv.org/articles/review/softness-and-grace.
”Mission Blue’s Small-Town Values.” San Francisco Classical Voice (October 2008): https://www.sfcv.org/articles/feature/mission-blues-small-town-values.
“Moving toward Bach.” San Francsico Classical Voice (July 2008): https://www.sfcv.org/articles/review/moving-toward-bach.
“Unified Musical Pleasures.” San Francisco Classical Voice (April 2008): https://www.sfcv.org/articles/review/unified-musical-pleasures.
“Controlled Flights of Vocal Fancy.” San Francisco Classical Voice (March 2008): https://www.sfcv.org/articles/review/controlled-flights-vocal-fancy.
“Vocal Pleasure.” San Francisco Classical Voice (March 2008): https://www.sfcv.org/articles/review/vocal-pleasure.
“Young Man in a Hurry.” San Francisco Classical Voice (February 2008): https://www.sfcv.org/articles/review/young-man-hurry.
“The Haydn Chronicles.” San Francisco Classical Voice (October 2007): https://www.sfcv.org/articles/review/haydn-chronicles.
Souvenirs of Sonoma.” San Francisco Classical Voice (July 2007): https://www.sfcv.org/articles/review/souvenirs-sonoma.
“The Race (and the Dinner) Goes to the Swift.” San Francisco Classical Voice (July 2007): https://www.sfcv.org/articles/review/race-and-dinner-goes-swift.
“A Complex Sophistication.” San Francisco Classical Voice (May 2007): https://www.sfcv.org/articles/review/complex-sophistication.
”East Interprets West.” San Francisco Classical Voice (April 2006).
Directorships and Organization
Director, UNLV Early Music Ensemble (2016–present), https://www.unlv.edu/music/early-music-ensemble.
Director, Las Vegas Baroque Festival (2016–present), https://www.unlv.edu/music/baroque-festival.
Director, Arnold Shaw Popular Music Center (2018–present), https://asc.unlv.edu.
President, College Music Society, Southwest Chapter (2020–2022)
Secretary, College Music Society, Southwest Chapter (2018–2020)
Program Chair, College Music Society, Southwest Chapter (2018).
Other Publications and Creative Activity
“Content Guide: The Baroque Period, Part 1—Italian Opera and Cantata of the Seventeenth Century.” In A-R Music Anthology, edited by James Zychowicz et al. Middleton, WI: A-R Editions, 2021.
“Content Guide: The Baroque Period, Part 2—Major Genres to 1725.” In A-R Music Anthology, edited by James Zychowicz et al. Middleton, WI: A-R Editions, 2021.
“Content Guide: The Baroque Period, Part 3—Culminating Figures.” In A-R Music Anthology, edited by James Zychowicz et al. Middleton, WI: A-R Editions, 2021.
“Assessing Joseph and His Brethren in the Twenty-First Century.” In Handel: Joseph and His Brethren (CD recording liner notes), dir. Nicholas McGegan, 12–15. San Francisco, CA: Philharmonia Baroque Productions, 2019.
“Synopsis of Joseph and His Brethren.” In Handel: Joseph and His Brethren (CD recording liner notes), dir. Nicholas McGegan, 16–17. San Francisco, CA: Philharmonia Baroque Productions, 2019.
“John Williams: With a Place in the Historic Continuum and with a Mind Brimming with Talent.” Program Note for Las Vegas Philharmonic, 2019.
“Haydn and His Students VIII: Spech and Beethoven.” Program notes for New Esterházy Quartet, 2016: http://www.academia.edu/19567412/Students_of_Haydn_VIII_Spech_and_Beethoven.
Grants, Fellowships, and Prizes.
2018: Grant, Nevada Arts Council for Las Vegas Baroque Festival (Feb. 2018). Grant awarded jointly to Lee and Jennifer M. Grim as co-principal applicants.
2016: Publication subvention, James R. Anthony Endowment, funded by the American Musicological Society, National Endowment for the Humanities, and the Andrew W. Mellon Foundation. Awarded for the completion of Pierre Nicolas La Font, Pièces de clavecin.
2013: New Scholars Prize, Society for Theatre Research (UK). Awarded for best essay by a new scholar “concerned with the history and technique of the British theatre.”
2010–2013: Dolores Zohrab Liebmann Fellowship. Scholarship for “students with outstanding character and ability who hold promise for achievement and distinction in their chosen fields of study.”
2003–2004: Fulbright Fellowship, with dual funding by the US Department of State and the Netherlands-America Foundation for independent research at Koninklijk Conservatorium,
Refereed or peer reviewed
2017: “(Alex) North and the South: Contrast Conceptions and the Southern Film Score.” American Musicological Society Annual Meeting, Rochester, New York.
2017: “Borrowing in Joseph and His Brethren.” Internationale Wissenschaftliche Konferenz anlässich der Händel-Festspiele in Halle (Salle). Martin-Luther-Universität Halle-Wittenberg, Stiftung Händel-Haus Halle, Georg-Friedrich-Händel-Gesellschaft e.V., Internationale Vereinigung.
2017: “Reassessing the Sentimentalism of Joseph and His Brethren.” American Handel Society Conference, Princeton, New Jersey.
2017: “What is ‘Baroque’ about Baroque Music?” University Forum, University of Nevada, Las Vegas.
2016: “‘Contrast Conceptions’: Alex North and Southern Film.” Society for American Music, Boston, Massachusetts.
2016: “‘Sex on Wax: Alex North’s Music for Hollywood Southerns.” University Forum, University of Nevada, Las Vegas.
2015: “Giulia Frasi: Singer of Sentiment.” Handel Institute Conference, London, England.
2015: “Handelian Heroics.” Joint Meeting of the American Handel Society and the Society for Seventeenth-Century Music, Iowa City, Iowa.
2015: “Handel’s Singers and the Authority of Identity.” Actress as Author Conference, British Society for Eighteenth-Century Studies, Chawton, England.
2013: “Sentimentalism, Latitudinarianism, and the Man of Feeling in Handel’s Joseph and His Brethren. American Musicological Society Annual Meeting, Pittsburgh, Pennsylvania.
2012: “‘Feminine Virtues’: The Sentimental Heroine and Handel’s Oratorios of the 1740s.” Conference: Das Heroische in der Musik, University of Leipzig.
2012: “Mrs. Cibber and Sentimental Opera in the 1730s.” American Musicological Society Joint Meeting, NorCal and Pacific Northwest chapters, Berkeley, California.
2011: “Must She Her Acis Still Bemoan? Handel’s Acis and Galatea and the Sentimental Heroine.” American Handel Society Conference, Seattle, Washington.
Invited talks (non refereed/peer reviewed)
2020: “Handel’s Messiah.” Las Vegas Philharmonic season announcement. Virtual meeting (online): Las Vegas Philharmonic. https://www.youtube.com/watch?v=nv2p1gSbmmE
2018: “Psycho, by Bernard Herrmann.” Las Vegas Philharmonic Pre-Concert Lecture. Las Vegas, NV: Las Vegas Philharmonic.
2018: “A Primer on Harpsichords, Temperament, and Continuo Practices.” Bob Cole Conservatory, California State University, Long Beach.
2017: “Why a Concert of John Williams’s Film Music?” Las Vegas Philharmonic Pre-Concert Lecture. Las Vegas, NV: Las Vegas Philharmonic.
2016: “The Nativity of Handel’s Messiah.” Handel’s Messiah. Big Bear Lake Performing Arts Center: Big Bear Arts Council.
Other talks (non refereed/peer-Reviewed)
2015: Alexander Nevsky. UNLV School of Music Film Series. UNLV School of Music. 2015: Birth of a Nation. UNLV School of Music Film Series. UNLV School of Music.
2015: Captain Blood. UNLV School of Music Film Series. UNLV School of Music.
2015: Die Hard. UNLV School of Music Film Series. UNLV School of Music.
2015: Moulin Rouge. UNLV School of Music Film Series. UNLV School of Music.
2015: Prénom Carmen. UNLV School of Music Film Series. UNLV School of Music.
2015: Psycho. UNLV School of Music Film Series. UNLV School of Music.
2015: Vertigo. UNLV School of Music Film Series. UNLV School of Music.
2020–Present: Arnold Shaw Popular Music Lecture Series; Program Coordinator
2019: Opera as Global Practice Lecture Series; Co-director (with Anthony Barone and Richard Miller)
2018: College Music Society, Pacific Southwest Chapter; Regional Conference Program Chair
2015: UNLV School of Music Film Series; Program Coordinator