Scholarship

 My full CV (updated February 2024)

Publications

BOOKS

An Index to The Tuneful Yankee and Melody Magazine, Humanities Commons, 2021.

Music for the Kingdom of Shadows: Cinema Accompaniment in the Age of Spiritualism, Humanities Commons, 2019. (PDF)

Music for Silent Film: A Guide to North American ResourcesA-R Editions and the Music Library Association Index and Bibliography Series, 2016.

Louise Talma: A Life in Composition, Ashgate Publishing, 2014. (page proofs)

Shakespeare, Madness and Music: Scoring Insanity in Cinematic Adaptations, Scarecrow Press, 2009.

The Conservatoire Américain: a History, Scarecrow Press, 2007.

EDITIONS (see also below for detailed information on these editions and others in progress)

Two Easy Piano Pieces, by Julia Perry, Julia Perry Working Group, Humanities Commons, 2021

“Serenity,” for solo oboe or solo clarinet, by Julia Perry, Julia Perry Working Group, Humanities Commons, 2021.

The Art Songs of Louise TalmaCMS Sourcebooks/Routledge, 2017. (page proofs)

DIGITAL HUMANITIES PROJECTS

Founder and Executive Director, The Silent Film Sound and Music Archive, 2013-present

Founder and Manager, Julia Perry Working Group, 2020-present

EDITED COLLECTIONS

Contributing co-editor, with Paula Bishop, Hidden Narratives: Women and Music in Popular Entertainment, University Press of Mississippi, 2022.

Contributing co-editor, with Mariana Whitmer, Re-Locating the Sounds of the Western, Routledge, 2018.

Contributing editor, Buffy, Ballads, and Bad Guys Who Sing: Music in the Worlds of Joss Whedon, Scarecrow Press, 2010. (page proofs)

BOOK CHAPTERS

2024

“Shakespeare, the Early Modern, and Period Song in the American Silent Cinema,” History as Fantasy in Music, Sound, Image and Media, ed. James Cook, Alexander Kolassa, Alexander Robinson, and Adam Whittaker, Routledge.

“Hearing Orlac,” A Teaching Companion to Silent Film, eds. Liz Clarke and Martin Johnson, Rutgers University Press.

2023

“Women’s Compiled Scores in Early Film Music,” Hidden Narratives: Women and Music in Popular Entertainment, ed. Paula J. Bishop and Kendra Preston Leonard, University Press of Mississippi.

“Jewishness between Performance and Appropriation: Music for The Merchant of Venice on Film,” The Ethical Implications of Shakespeare and Performance in Appropriation, ed. Louise Geddes, Kathryn Vomero Santos, and Geoffrey Way, Edinburgh University Press.

2022

“Teaching Julia Perry’s Homunculus C. F.,” Expanding the Canon: Black Composers in the Music Theory Classroom, ed. Melisa Hoag, Routledge. (page proofs)

2019

“The Gothic and Music: Scoring ‘Silent’ Spectres,” The Gothic and the Arts, ed. David Punter, University of Edinburgh Press.

Laura Rossi’s War Musics,” Double Lives: Film Composers in the Concert Hall, ed. James Wierzbicki, Routledge.

Women at the Pedals: Female Cinema Musicians During the Great War,” Over Here, Over There: Transatlantic Conversations on the Music of World War I, ed. William Brooks, Christina Bashford, and Gayle Magee, University of Illinois Press. (Uncorrected proof copy) Winner of the 2021 International Alliance for Women in Music Pauline Alderman Award for Best Article or Book Chapter.

2018

“The Wild West meets the Wives of Windsor: Shakespeare and Music in the Mythological American West,” Re-Locating the Sounds of the Western, ed. Mariana Whitmer and Kendra Preston Leonard, Routledge. (Proof copy)

Cue Sheets, Musical Suggestions, and Performance Practices for Hollywood Films, 1908-1927,” Music in Silent Cinema, ed. Ruth Barton and Simon Trezise, Routledge. (Proof copy)

2015

Music for Richard III: Cinematic Scoring for the Early Modern Monstrous,” The Oxford Handbook of Music and Disability Studies, ed. Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, and Joseph Straus, Oxford University Press.

2014

The Use of Early Modern Music in Film Scoring for Elizabeth I” in Gender and Song in Early Modern England, ed. Leslie C. Dunn and Katherine R. Larson, Ashgate. (Proof copy)

Sounds of India in Supple’s Twelfth Night,” in Bollywood Shakespeares, ed. Craig Dionne and Parmita Kapadia, Palgrave Macmillan.

2012

The Lady Vanishes: Vocality and Agency in Cinematic Ophelias,” in The Afterlife of Ophelia, ed. Deanne Williams and Kaara L. Peterson, Routledge.

2010

“‘The Status is Not Quo’: Gender and Performance in Dr. Horrible’s Sing-Along Blog,”Buffy, Ballads, and Bad Guys Who Sing: Music in the Worlds of Joss Whedon, Scarecrow Press.

“‘The Future is the Past’: Music and History in Firefly,” Space and Time: Essays on Visions of History in Science Fiction and Fantasyed. David C. Wright and Allen W. Austin, McFarland Press.

RESEARCH ARTICLES (REFEREED)

2023

“Imagining Women’s Archives of Silent Film Music,” Feminist Media Histories 10.2/3 (spring/summer 2024).

2021

“Recognizing the Truth of ‘Craft,’” The Journal for Research and Practice in College Teaching 6, no. 2.

2018

Musical Mimesis in Orphans of the Storm,” Music Theory Online 24, no. 2.

Performing Spiritualism in the Silent Cinema,” Performance, Religion, and Spirituality 2.1.

“Women in Western Art Music,” A-R Online Music History Textbook.

Alice Jay,” and “Hazel Burnett,” Women Film Pioneers Project, Columbia University.

2016

Using Resources for Silent Film Music,” Fontes Artis Musicae 63, 259-76.

History Faux/Real: the 2006 Ur-Hamlet,” kadar koli 10.

The Past is a Foreign Country: World Musics Signifying History in/and Elizabethan Drama,” Borrowers and Lenders 11, no. 1.

Listening to the Gaoler’s Daughter,” Cerae 3.

2014

From ‘Angel of Music’ to ‘that Monster’: Music for the Human Uncanny in Phantom of the Opera (1925/1929),” Studies in Gothic Fiction 3, no. 1, 13-23.

2013

“Cheer up, Hamlet! Using Shakespearean Burlesque to Teach the Bard,” This Rough Magic.

“Significations of Religious Desire in Louise Talma’s The Alcestiad,” Religion and the Arts, vol. 17, no. 3.

Rosalind’s Musical Identities in Branagh’s and Doyle’s As You Like It,” Upstart Crow.

 2012

Origin Stories: Louise Talma’s Early Life,” Journal of Historical Biography, 12.

Towards a Works List for Louise Talma,” Fontes Artis Musicae, vol. 59, no. 2.

Hearing the Scene: Approaches to Live Music in Modern Shakespearean Productions,” Early Modern Studies Journal, vol. 5.

Style and Form in Louise Talma’s Early Songs,” Journal of Musicological Research, vol. 31, no. 4.

A Great Desire: Autobiography in Louise Talma’s Early Vocal Works,” Current Musicology, Issue 94.

2011

Topsy-Turvy Victoriana: Locating Life and Death in Corpse Bride,” Aether.

2010

Louise Talma’s Christmas Carol,” Notes.

2009

Silencing Ophelia: Male Aurality as a Controlling Element in Olivier’s Hamlet,” Scope, Issue 14.

2008

Secret Rooms and Borrowed Pianos: Two Women’s Roles in Preserving the Conservatoire Américain during the Occupation,” Women in French Studies: Selected Essays from the 2006 WIF conference.

 2007

“‘Excellence in Execution’ and ‘Fitness for Teaching’: Assessments of Women at the Conservatoire Américain,” Women and Music: A Journal of Gender and Culture, vol. 11.

INVITED ARTICLES

2023

“Reparations in Music Scholarship,” American Music 41 (Winter 2022): 525-529.

2019

Lamentations: Vivian Fine’s Four Songs (1933),” Illuminate Women’s Music.

2018

“New Music for a New Art Form: Photoplay Music;” “Taking a Cue: Accompanying Early Film;” “New Music for Old Film;” and “Setting the Scene with Sound: (Re)Scoring the Silent Film,” NewMusicBox.

2017

Lone Star Melody Makers,” Ransom Edition.

2015

Heavy Metal Elves;” “Survival through Song ” “Art Mimics Art: Anthony Burgess’s Napoleon Symphony;” “American Folk Rock Cattle Raid: The Decemberists’ The Tain” The Avid Listener, W. W. Norton and Co.

Discovering Louise Talma’s First Orchestral Works;” “Louise Talma’s A Time to Remember;” “Louise Talma’s Toccata;” Women’s Philharmonic Advocacy.

2014

The Innovations of Ruth Crawford Seeger;” Women Can’t Do That: Delia Derbyshire and Electronic Music;” “Song of Myself: Autobiography in Pop Music;” “Hearing Gender in George Lucas’s Galaxy;” The Avid Listener, W. W. Norton and Co.

“Louise Talma’s Last Song and the Erasure of a Life,” The Journal of the International Alliance for Women in Music.

2006

“‘Two Hard Etudes and a Schumann Number’: American Women, Repertoire and Mentoring in France, 1921-1951,” The Journal of the International Alliance for Women in Music.

REVIEWS AND REVIEW ARTICLES

2019

Kimberly A. Francis, Nadia Boulanger and the Stravinskys: A Selected CorrespondenceFontes Artis Musicae 66, no. 1.

Music in Shakespeare databaseBorrowers and Lenders 12, no. 2 (Spring 2019).

The Shakespeare Theatre Company’s OresteiaEarly Modern Culture 14, Article 38.

Composer Diversity Database; Music Theory Examples by WomenJournal of the Society for American Music (February 2019).

2018

Recomposing the Past: Early Music on Stage and ScreenNABMSA Reviews 5, no. 2 (Fall 2018).

The A-R Online Textbook and Anthology, AMS Pedagogy Study Group.

Esther M. Morgan-Ellis, Everybody Sing! Community Singing in the American Picture PalaceJournal of the Society for American Music.

2016

Rebekah Ahrendt, Mark Ferraguto, Damien Mahiet, eds., Music and Diplomacy from the Early Modern Era to the PresentH-Net Reviews.

2015

Scott Messing, Marching to the Canon: The Life of Schubert’s Marche MilitaireH-Net Reviews.

Denise von Glahn, Music and the Skillful Listener: American Women Compose the Natural WorldNotes.

2014

Felix Mayer, Carol J. Oja, Wolfgang Rathert, and Anne C. Shreffler, eds. Crosscurrents: American and European Music in Interaction, 1900-2000NABMSA Reviews.

Magellan’s Playlist: On Tour in China (CD). The Athens Guitar Duo. Claudio, 2013. I Care If You Listen.

Jacob Druckman: Lamia (also includes That Quickening PulseDelizie Contente Che L’Alme BeateNor Spell Nor CharmSuite from Médée) (CD). Boston Modern Orchestra Project led by Gil Rose and featuring Lucy Shelton, soprano. BMPO Sound, 2013. I Care If You Listen.

2013

Christopher R. Wilson, Shakespeare’s Musical ImageryUpstart.

2012

Paul Attinello, Janet Halfyard, and Vanessa Knights, eds., Music, Sound, and Silence in Buffy the Vampire SlayerBulletin of the Society for American Music.

2011

Guides to Writing about Music,”Journal of Music History Pedagogy, Vol. 2, No. 1.

Gabriel Fauré, Piano Trio; String Quartet; La Bonne ChansonNotes.

Mark Adamo, Little Women (video), Notes.

 2010

Bruno Monsaingeon, Mademoiselle (video), Notes.

 2009

Royal S. Brown, Film MusingsScope.

 2008

Gian Carlo Menotti, Help! Help! The Globolinks (video), Notes.

Philip Hayward, ed., Off the Planet: Music, Sound and Science Fiction CinemaThe Journal of Film Music.

 2007

Caroline Potter, Nadia and Lili BoulangerNotes.

Phil Powrie and Robynn Stilwell, eds., Changing Tunes: The Use of Pre-existing Music in FilmNotes.

 2006

Sergei Rachmaninoff, The Miserly Knight (video), Notes.

 2002

Gilbert AmyMemoire pour violoncelle et piano d’après Shin’anim sha’ananim (1979-1989); Georges Aperghis, Sonate pour violoncelle seul (1994); Nicolas Bacri, Suite no. 1 “Preludio e Metamorfosi,”, pour violoncelle seul, opus 31 no. 1 (1987-94); Jacques Castérède, Sonate pour violoncelle et piano (1996); Alexander Comitas, Yiddish Suite pour violoncelle et piano, opus 17 (1995); Thierry Escaich, Nocturne pour violoncelle et piano (1997); Renaud Gagneux, Trois bagatelles pour violoncelle seul, opus 49 (1997); Ingrid Guymer, Seven Sketches pour violoncelle seul (1989) and Chainmail pour violoncelle solo (1995); Georges Migot, Sonate et Rhapsodie pour violoncelle seul; Serge Nigg, Duo élégiaque pour violoncelle et piano; Ton-That Tiêt, Xuân Vũ pour violoncelle et piano; Jean-Jacques Werner, Clair-obscur pour violoncelle et harpe (1996), Notes.

 2001

Richard Hickox, Holst’s The Scholar Gypsy (CD), Music Research Forum, vol. 16.

Diana BurrellHeron: For Cello and Piano (1988); Barbara Heller, Lalai: Schlaflied zum Wachwerden? für Violoncello und Klavier (1989); Tania León, Four Pieces for Violoncello (1981); Augusta Read Thomas, Spring Song for Solo Cello (1995), Notes.

 2000

Mark N. Grant, Maestros of the PenMusic Research Forum, vol. 15.

 DICTIONARY ARTICLES

2015

“Talma, Louise.” In Oxford Bibliographies in Music. Ed. Bruce Gustafson. New York: Oxford University Press.

2014

“Talma, Louise.” In American National Biography. New York: Oxford University Press.

2013

“Adamo, Mark;” “Diamond, Beverly;” “Hamm, Charles (Edward);” “Koskoff, Ellen;” “McCulloh, Judith;” “Pollock, Howard;” “Tick, Judith.” In New Grove Dictionary of American Music, 2nd ed. Edited by Charles Hiroshi Garrett. New York: Oxford University Press.

Presentations

2023

“Searching for Women in Silent Film Music,” University of Missouri.

2022

“Black Musicians in the Silent Cinema: White Supremacy, Research Lacunas, and Box Scores,” University of Iowa.

“Macbeth’s Witches,” Misericordia University.

2021

“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.

2020

“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.

2019

“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.

2018

“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.

2017

“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, Nostalgia, and The General,” University of North Texas Silent Film Festival, Denton, TX.

“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.

“On Hidden Narratives,” Duke University Musicology Lecture Series.

2016

“Women of the MacDowell Colony: Louise Talma,” featured speaker, BBC Radio 3.

2015

“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.

2014

“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.”

2013

“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.

2011

“Finding and Solving Mysteries: Louise Talma’s Early Life and Works,” Westminster Choir College, Sigma Alpha Iota Women in Music Week lecture.

2010

“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.

2009

“Passion, Devotion, Sacrifice: Reading Talma’s The Alcestiad,” Beinecke Fellow lecture, Beinecke Rare Book and Manuscript Library, Yale University.

2004

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.

2003

“Musicology on the Side,” American Musicological Society Annual Meeting, Committee on Career-Related Issues, Houston, TX.

PRESENTATIONS
2022

“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.

2021

“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.

2020

“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.

2019

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.

2018

“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.

2017

“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.

2016

“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.

2015

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.

2014

“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.

2012

“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.

2011

“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.

2010

“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.

2009

“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.

2008

“The Origins of The Alcestiad: From Voi che sapete to Apollo’s Tone Row,” First International Thornton Wilder Conference, Ewing, NJ.

2007

“Acceptance and Exclusion: Women in the Studio of Nadia Boulanger,” Society for American Music annual conference, Pittsburgh, PA.

2006

“‘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.

2005

“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.

2004

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.

2001

“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.

2000

“The Founding of the Conservatoire Américain de Fontainebleau,” University of Cincinnati College-Conservatory of Music Friday Forum Lecture Series, Cincinnati, OH.

“The Founding of the Conservatoire Américain de Fontainebleau: New Research into its Goals and Ambitions,” American Musicological Society New England Chapter meeting, Cambridge, MA.

Editions

Works by Louise Talma
While some of Talma’s works have been typeset and published, the majority of her music is published only as copies of her own fair copy manuscripts or is not published at all. This lack of availability has contributed to Talma’s works not being performed in the years following her death. This project makes Talma’s works available for performers and scholars. New editions will be added as they are complete. For copies of Talma’s manuscripts, email me at KendraLeonard at pm dot me.

Works by Julia Perry
Like many of Talma’s works, most of Julia Perry’s music exists only in manuscript, and many works, including the much longed-for Viola Sonata, are lost. Perry had a stroke and taught herself to write again, and much of her work takes time to decipher and engrave correctly. For the works I post here, I’ll also include a PDF of the manuscript. I would be grateful for feedback and suggested corrections.

 

  

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