INVITED LECTURES AND WORKSHOPS
“Searching for Women in Silent Film Music,” University of Missouri.
“Black Musicians in the Silent Cinema: White Supremacy, Research Lacunas, and Box Scores,” University of Iowa.
“Macbeth’s Witches,” Misericordia University.
“Murmurs and Shrieks: Accessible Theatrical Soundscapes,” Accessible Theatre: Plays in Pandemic Series, Misericordia University.
“Gothic Before the Gothic,” with Colleen Kennedy, Romancing the Gothic.
“Navigating the Antebellum South in Silent Film,” Washburn University.
“Spiritualism, Music, and the Early Cinema,” Oklahoma City University.
“Music and Disability in Shakespeare,” Misericordia University.
“Archives and Autobiography in Researching Louise Talma,” Westminster Choir College.
“Researching Women in Silent Film Music,” Bridgewater University.
“Music and Nostalgia in The General,” New York Late-Starters String Orchestra.
“Music and Mental Illness in Shakespeare,” Intersections lecture series, Misericordia University.
“Music and Madness in Shakespearean Films,” Sun Prairie and Black Earth Libraries, WI.
“Phantoms of the Archives: Music for the Early Cinematic Supernatural and Other Tales,” University of Colorado-Boulder.
“Gender, Race, and Class in Music Videos,” University of South Carolina-Upstate.
“Grant-Writing for the Humanities,” University of St. Thomas, Minneapolis.
“Soundscapes of Medieval Britain in Film,” University of St. Thomas, Minneapolis.
“Film Scoring: Past and Present,” University of St. Thomas, Minneapolis.
“Disparate Bodies: Research Tracks and Creative Endeavors,” University of St. Thomas, Minneapolis.
“Microaggressions in Academia and Musicology,” Project Spectrum Conference, San Antonio, TX.
“Creative and Scholarly Processes,” Hartt School Community Division.
“Musicology Outside of the Academy,” University of Kansas.
“Music, Nostalgia, and The General,” West Virginia University.
“Options in Musicology,” Mary Washington University.
“Preparing for a Career in Academia: Conferences, Publishing, and Job Search,” Roundtable, American Musicological Society, Southwest Chapter meeting.
“Negotiating Problems of Nostalgia: Music for Buster Keaton’s The General,” Mary Washington University.
“Women and English Early Modern Music in Film,” University of South Carolina.
“Nationalism in Music,” Université du Québec à Chicoutimi.
“Money, Sex, and Organs: Preliminary Research on Women Musicians in the Silent Cinema,” Newberry Library, Chicago, IL.
“Music and Privilege: a Musical Privilege Walk,” American Musicological Society, Southwest Chapter meeting, Sam Houston University.
“Music for Early Film at the Ransom Center,” University of Texas at Austin Musicology Lecture Series.
“Women of the MacDowell Colony: Louise Talma,” featured speaker, BBC Radio 3.
“Public Musicology: Career Paths Alongside and Outside of the Academy,” American Musicological Society Annual Meeting, Committee on Career-Related Issues, Louisville, KY.
“Women at the Pedals: Female Cinema Musicians During the Great War,” 1915: Music, Memory and the Great War Symposium, University of Illinois at Urbana-Champaign, Urbana, IL.
“Scoring Disability Narratives,” City University of New York.
“The Past is a Foreign Country: World Musics Signifying History in/and Elizabethan Drama,” Medieval and Early Modern Studies Institute, Dean’s Scholars in Shakespeare, and Digital Humanities Institute of George Washington University, “Global Shakespeares: Mapping World Markets and Archives.”
“Meaning and Myth in Louise Talma’s First Period Works,” Library of Congress/American Musicological Society Lecture Series, Library of Congress.
“Music for Warrior Women,” Dana School of Music Musicology Lecture Series, Youngstown State University.
“Women Composing Opera,” University of Richmond.
“Goth Music and Aesthetics,” University of Cincinnati-Blue Ash.
“Finding and Solving Mysteries: Louise Talma’s Early Life and Works,” Westminster Choir College, Sigma Alpha Iota Women in Music Week lecture.
“Listening to Lady Macbeth,” Bryn Mawr Film Institute, Bryn Mawr, PA.
“Women Composing Opera,” Mary Washington University.
Keynote address: “Hearing and Reading Music in Twelfth Night,” seminar on Twelfth Night, American Shakespeare Center.
“Passion, Devotion, Sacrifice: Reading Talma’s The Alcestiad,” Beinecke Fellow lecture, Beinecke Rare Book and Manuscript Library, Yale University.
Keynote address: “Mademoiselle’s Fontainebleau,” Fourth Annual Susan Porter Memorial Symposium, “Nadia Boulanger and American Music,” American Music Research Center, University of Colorado at Boulder.
“Il Faut Souffrir: Nadia Boulanger at Fontainebleau,” University of Cincinnati College-Conservatory of Music Friday Forum Lecture Series.
“Musicology on the Side,” American Musicological Society Annual Meeting, Committee on Career-Related Issues, Houston, TX.
CONFERENCE PAPERS AND PRESENTATIONS
“Towards an Open Access Archive of Music by Julia Perry,” Texas Music Library Association Fall meeting.
“Religion, Gender, and the Cold War in Julia Perry’s The Selfish Giant,” Black Identities on the Operatic Stage: A Symposium with Music.
“Research and Adaptation in the Creation of Protectress,” Adapting Violence in/from Classic Texts.
“Nostalgia and Cultural Memory in Music for The General (1927),” Historical Fiction Research Conference.
“Witch-poets and Verse-Covens,” the Witch Institute.
Opera Hack 2.0, “#OwnVoices in Opera: a Database of Consultants.”
“Building SHEAF: Shakespeare in Early Film,” Modern Language Association annual meeting, session sponsored by Association for Computers and the Humanities.
“Listening to Will Shakespeare (1978),” Shakespeare Association of America.
“White Supremacy in Music for the Silent Cinema,” Society for American Music annual meeting.
“Nostalgia and Cultural Memory in Music for The General (1927),” Historical Fictions Research Network conference.
“Singing Together and Apart: The Performance of Jewishness in The Merchant of Venice on Film,” Shakespeare and Music: New Interdisciplinary Perspectives.
“Cultural Diversity and the Musical Representation of California in Regional 1970s Television,” American Musicological Society national meeting. [paper and slides]
“Using Your ‘Research Pantry,’” AMS-Southwest chapter and Texas Music Library Association joint meeting.
“Musical Tropes, Transactions, and Dominance in Film Adaptations of The Merchant of Venice,” Rocky Mountain Medieval and Renaissance Association.
“Ten Plagues and Pandemic,” EMQuon Twitter conference.
“Theorizing Music, Sound, and Religious Performance in The Merchant of Venice on Film,” Wooden O Symposium.
“‘Girls’ Hammering the Ivory: Women Composers in the Silent Cinema,” Hidden Figures in Screen Music and Sound, Royal Holloway University.
Invited respondent, “The Supernatural and Transcendent in Shakespeare on Screen” seminar, Shakespeare Association of America, Denver, CO.
“Searching for Women in Silent Film Music,” Darkwater Women in Music Festival, Pembroke, NC.
“Jewishness between Performance and Appropriation: Music for The Merchant of Venice on Film,” AMS-Southwest chapter meeting, Houston, TX.
“Opera in the Silent Cinema: New Findings from Archival Sources,” Opera and Popular Culture after 1900 conference, Ft. Worth, TX.
“Melody Magazine as a Resource for Popular Music Research,” Texas Music Library Association meeting, Houston TX.
“Medievalism, Myth, and Music for The Lion in Winter,” Representations of Early Music on Stage and Screen conference, Open University, Milton Keynes.
“Shakespeare in Early Film: a New Online Resource,” #HCTwitterConf19 (Humanities Commons Twitter Conference).
“Shakespeare and Early Modern Music in the Early Cinema,” Shakespeare Association of America, “Shakespeare in Film History” seminar, Washington, D. C.
Co-chair, with Paul Allen Sommerfeld, and presenter, “Music and Sound in Horror Media” seminar, “Turn-of-the-Century Horror: from Vaudeville Stage to Silent Screen,” Society for American Music annual meeting, New Orleans, LA.
“Haunted Scores: Music and Ghosts in Early Cinema,” Association for the Study of Esotericism, Houston, TX.
“Nostalgia and Cultural Memory in Scoring for The General (1927),” Music and American Cultural Memory Seminar, Society for American Music, Kansas City, MI.
“Shakespeare’s Second Line,” 2017 Shakespearean Theatre Conference, Stratford, Ontario.
“Shakespeare and Music in the Silent Cinema,” Exploring the Renaissance 2017, South-Central Renaissance Conference, Austin, TX; and Representations of Early Music on Stage and Screen conference, University of Sheffield.
“Performance Practices for Photoplaying at Three Texas Motion Picture Palaces,” American Musicological Society, Southwest Chapter meeting, Dallas, TX.
“Teaching with the Silent Film Sound and Music Archive,” Teaching Music History conference, Denver, CO.
“Music for Silent Merchants,” Shakespeare Association of America, “Re-evaluating Earlier Generations of Shakespeare Films” seminar, New Orleans, LA.
Chair and presenter: “Music for Silent Film” seminar, “Re-Scoring Shylock: Musical Suggestions for the 1912 Merchant of Venice,” Society for American Music annual meeting, Boston, MA.
Panelist: “Careers Outside of the Academy,” American Musicological Society national meeting, Louisville, KY.
“History Faux/Real: the 2006 Ur-Hamlet,” BABEL Working Group, 9-11 October 2015, Toronto, ON.
“The Autobiographics of Louise Talma’s Have You Heard? Do You Know?,” International Alliance for Women in Music Congress.
“Aural Ekphrasis as Adaptative Agent,” Shakespeare Association of America, “Memory and Musical Performance” seminar, Vancouver, BC.
“Music, Class, Communication, and the ‘Talking Cure’ in The Two Noble Kinsmen,” The Two Noble Kinsmen: Text, Sources, Performance, and Pedagogy: A Symposium at Xavier University, Cincinnati, OH.
“Music for Richard III: Cinematic Scoring for the Early Modern Monstrous,” American Musicological Society national meeting, Pittsburgh, PA.
“Origin Stories and Songs with Secrets: Louise Talma’s Early Life and Works,” Society for American Music annual conference, Little Rock, AR.
“Onstage Soundscapes: Live Music in Modern Shakespearean Productions,” Ohio Valley Shakespeare Conference, Marietta, OH.
“Hearing the Early Modern: Musicking Elizabeth and Shakespeare,” International Congress on Medieval Studies, Kalamazoo, MI; North American British Music Studies Association, Urbana-Champaign, IL.
Co-panelist, “Mapping Music: The Gendered Soundscapes of Early Modern England” workshop, Attending to Early Modern Women Conference, Milwaukee.
Seminar organizer and chair, “Music and Disability,” Society for American Music, Charlotte, NC.
“Louise Talma’s Serialism: Solving a Compositional Catch-22,” The Legacy of Milton Babbitt: Post-WW II Serialism in the Americas, Wright State University, Dayton, OH.
“Scoring for Elizabeth I: Early Modern Music in Biographical Film,” South Central Society for Eighteenth-Century Studies, Asheville, NC.
“Arden and the Ardennes: Musically Evoking France in As You Like It,” American Shakespeare Center’s Blackfriars Conference, Staunton, VA.
“Constructing Iconic Englishness: Scoring Elizabeth I in Film,” Shakespeare Association of America, Gender and Song in Early Modern England seminar, Bellevue, WA.
“‘Shakespeare Pie’: Popular Song and the New Shakespeare Burlesque,” International Association for the Study of Popular Music-US annual conference, Cincinnati, OH.
“Louise Talma’s Performances of The Alcestiad,” Alive by Her Own Hand: Women Composers as Performers of Their Work conference, Brandeis University.
“Music and Gender in Film Adaptations of As You Like It,” Shakespeare Association of America, Female Icons seminar, Chicago, IL.
“Passion, Devotion, Sacrifice: Reading Talma’s The Alcestiad,” American Musicological Society, Greater New York chapter; Society for American Music annual conference, Ottawa, ON.
“Popular Song and the Post-Modern Burlesquing of Shakespeare,” Shakespeare Association of America Shakespeare Spin-Offs seminar, Washington, DC.
“Silencing Ophelia: Male Aurality as a Controlling Element in Olivier’s Hamlet,” North American British Music Studies Association biennial conference, Toronto, ON; Music and the Moving Image IV, New York, NY.
“The Origins of The Alcestiad: From Voi che sapete to Apollo’s Tone Row,” First International Thornton Wilder Conference, Ewing, NJ.
“Acceptance and Exclusion: Women in the Studio of Nadia Boulanger,” Society for American Music annual conference, Pittsburgh, PA.
“‘Two Hard Etudes and a Schumann Number’: American Women, Repertoire and Mentoring in France, 1921-1951,” International Association of Women in Music Congress, Miami, FL.
“Women, Pianos, and War: Musical Education and the French Resistance,” The Third International Women in French Conference, Durham, NH.
“Music as an Interpretative Frame in Four Hamlets: The Integration of Score and Text in Modern Film” with Ruth Benander, British Shakespeare Association Biennial Conference 2005, Newcastle-upon-Tyne, England.
“Sviatoslav Richter and Rita: Art Music and Satire in Monty Python,” Britannia (Re-) Sounding: Music in the Arts, Politics, and Culture of Great Britain, the first biennial conference of the North American British Music Studies Association conference, Oberlin, OH; Midwest Popular Culture Association Annual Meeting, St. Louis, MI; American Musicological Society South-Central Chapter meeting, Bowling Green, KY.
“Bounded in a Nutshell: the Limitations of Music as Guide in Almereyda’s Hamlet,” with Ruth Benander, 2005 Popular Culture Association/American Culture Association national conference, San Diego, CA.
“Finding Mentors Abroad: American Women and their Musical Education in France, 1921-1951,” Society for American Music annual conference, Eugene, OR.
Keynote address: “Mademoiselle’s Fontainebleau,” American Music Research Center, Fourth Annual Susan Porter Memorial Symposium, “Nadia Boulanger and American Music” at the University of Colorado at Boulder.
“Secret Rooms, Borrowed Pianos, and Les plus grands musicians du moment: Gaby Casadesus, Lucie Delécluse, and Franco-American Musical Exchange during the Second World War,” American Musicological Society Midwest Chapter meeting, Chicago, IL; Society for American Music annual conference, Cleveland, OH.
“At Home in Exile: The Conservatoire Américain de Fontainebleau during the Second World War,” Pacific Northwest Graduate Students Conference, University of Victoria, Victoria, BC.
“A Brilliant Beginning?: The First Decade of the Conservatoire Américain de Fontainebleau,” Society for American Music annual conference, Port-of-Spain, Trinidad.
“The Founding of the Conservatoire Américain de Fontainebleau,” University of Cincinnati College-Conservatory of Music Friday Forum Lecture Series, Cincinnati, OH.