Maribeth Clark, a musicologist, is writing a book exploring the cultural history of whistling in the United States. She is also collaborating with Davinia Caddy (University of Auckland) on an edited volume for Cambridge University Press that examines classical musical works that invoke the choreographic. Her earlier scholarship focused on dance in the context of French grand opera. She has published articles that have appeared in the Journal of Musicology, Musical Quarterly, and 19th-Century Music, numerous reviews, and has contributed to two essay collections that focus on teaching information literacy.
18th and 19th century German literature, gender studies, performance studies, intersections of music/sound and literature
Academically, my interests lie in 19th/20th century British and American Gothic literature, especially where monsters are concerned.Personally, my interests include reading/writing, cooking, movies, video games, and music.
Academic interests: late 18th century, Romantic, and 19th century literature; transatlantic studies; literature and the environment; Scottish literature, esp. Walter Scott; Lord Byron. Other interests: I like trees, plants, wildlife, walking, cycling, music, ballet, art and travel.
19 and 20th century German literature, theater, poetry, music (art song); second language acquisition, critical pedagogy, intercultural communication, curriculum development, teaching of foreign languages, literatures, cultures
I am an independent researcher specializing in the history of art music in Ireland, especially the 19th and 20th centuries. A related field of interest is the music of Irish emigrants in Europe (particularly in France) and the US. I was born in 1962, studied at the University of Hildesheim and Trinity College Dublin, PhD in 1995. Based in Frankfurt, Germany, I have written and edited some books, numerous articles and book chapters, and was elected a Corresponding Member of the Society for Musicology in Ireland (SMI) in 2015.
…“Bells and the Problem of Realism in Ravel’s Early Piano Music.” The Journal of Musicology 34, no. 3 (2017): 432-472.
“Riemann in France: Jean Marnold and the ‘Modern’ Music-Theoretical Ear.” Music Theory Spectrum 38, no. 1 (2016): 1-15.
“The Debussyist Ear: Listening, Representation, and French Musical Modernism.” 19th-Century Music 39, no. 1 (2015): 56-79….
Associate Director, Senior Curator of Musical Instruments and Professor of Music, National Music Museum & Center for Study of the History of Musical Instruments, The University of South Dakota. 1978-present. Responsibilities include: overseeing care and academic interpretation of objects, materials, and specimens belonging to the Museum; cataloging of museum collections, including scholarly determination of classification, dating, and provenance; conducting research about the Museum’s collections and publishing the results of that research; conducting research that will lead to the discovery of new knowledge or new applications of existing knowledge; teaching graduate-level courses in the history and technology of musical instruments (for unique M.M. degree with specialization in the history of musical instruments) and Museum Studies; and creation, development, and maintenance of website. Specialist in 19th-20th-century American Musical Instrument Manufacturing, particularly the C. G. Conn company of Elkhart, Indiana, and other Midwestern musical instrument manufacturers.
The long 19th Century (Romanticism, Realism, High Modernism),
Education and the Individual (The Bildungsroman, autonomy, agency, citizenship, personality, character development)Methodological Interests/Interdisciplinary Ties:
History of Visual Arts,
History of Music,
Cognitive Approaches to Literature,
Graphic Design and VisualizationProfessional Concerns:
Humanities in Higher Education,
I am a literary critic, specialising in 19th- and 20th-century English literature, and literary theory, with a particular focus on the work of Jacques Derrida. In addition to having written or edited more than 40 books of criticism, I have also published a novel, Silent Music, and two collections of poetry, Draping the Sky for a Snowfall and The Grand European Bestiary, the latter a bilingual collection, in Polish and English (Polish translations by Monika Szuba).