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MemberBrian Christopher Thompson

…ject explores several aspects of music in film, including the ways in which political or ideological agendas may be expressed through music. The project is closely connected with my work in teaching film music, and I have presented in academic conferences, public forums, as well as in several courses.

Nationalism and Music. This ongoing project developed out of my work on Calixa Lavallée. It …

I am a musicologist and librarian-archivist. I teach courses on music history, film music, and music pedagogy at the Chinese University of Hong Kong. Before joining CUHK, I was employed by Naxos International, the University of Hong Kong, McGill University, and the Canadian Broadcasting Corporation. Much of my work concerns music and migration, especially transatlantic migration in the nineteenth century. As a film music scholar, I am interested in how composers adapt the conventions of the past, and how subtexts can be created through diegetic music.

MemberColin Roust

Colin Roust joined the University of Kansas musicology faculty in 2014, after prior experience at Roosevelt University and the Oberlin Conservatory. He holds a Ph.D. from the University of Michigan, with specializations in twentieth-century music and film music, and his areas of research interest include the French composer Georges Auric, music history pedagogy, music and politics, and the intersection of music and the other arts in multimedia genres (song, film, opera, ballet, etc.).

MemberShauna Louise Caffrey

Shauna Louise Caffrey is a PhD student and Irish Research Council Postgraduate Scholar at the department of Music, University College Cork. Her research focuses on the relationship between witchcraft, magic and music on the seventeenth-century stage. She was the recipient of the Mahaffy Memorial Prize from Trinity College Dublin in 2017 for her original research into the origins and appearance of witchcraft in Henry Purcell’s Dido and Aeneas, and later completed her MA in Music and Cultural History at UCC. She is founding member of experimental music group Analog On, and performs regularly as a dancer. Her other research interests include gender in popular music, film music, creative practice, and opera.

MemberJoao Silva

I am a musicologist whose current research focuses on popular entertainment and music in Portugal. I am especially interested in the ways a mass leisure culture was created and linked to the idea of both nation and cosmopolitanism. The way technologies such as recorded sound and film interacted with the urban auditory landscape under the sway of modernity is also an important part of my work, which studies how boundaries between the stage, the city’s streets and the home were crossed by an ever-changing musical repertoire. Theatrical songs, urban popular music, traditional music, film music and dancing music were commodifiend and became part of Lisbon’s everyday life, revealing a constant negotiation between local, regional, and transnational styles.

MemberKendra Leonard

2017

“Shakespeare’s Second Line,” Borrowers and Lenders, special issue on “Shakespeare and Jazz,” ed. Stephen Buhler (forthcoming).

 

2016

“Using Resources for Silent Film Music,” Fontes Artis Musicae 63, no. 4 (October-December 2016), 259-76.

 

“Listening to the Gaoler’s Daughter,” Cerae: An Australasian Journal of Medieval and Early Modern Studies …

Kendra Preston Leonard is a musicologist and music theorist whose work focuses on women and music in the twentieth and twenty-first centuries; and music and screen history, particularly music and adaptations of Shakespeare; and a librettist and poet. She is the founder and Executive Director of the Silent Film Sound and Music Archive (www.sfsma.org) and the founder and manager of Shakespeare in Early Film (https://sheaf.hcommons.org/).