PhD in Historical Musicology, with a dissertation on tape experimentalism in American avant-gardes, media archaeology, and mystification of technology
Victorian literature (Eliot, Hardy, Gissing), Victorian socio-cultural history, historical musicology, the history of the English novel, interdisciplinary studies in literature
Graduate Student in Historical Musicology at Harvard University. Interests in music & American politics; jazz; blues; music & literature. Currently researching music and the American eugenics movement of the early 20th century.
…PhD, Historical Musicology, Case Western Reserve University, 2019
M.A., Musicology, University of Oregon, 2012
M.M., Viola Performance and String Pedagogy, University of Oregon, 2010
B.M., Viola Performance, summa cum laude, University of Oregon, 2008…
Kate Rogers is a musicologist and video game music scholar living in Portland, OR. She holds a PhD in Historical Musicology from Case Western Reserve University and is the former Associate Education Content Editor of Rock Hall EDU, the Rock & Roll Hall of Fame’s digital learning platform. Kate has presented her work at the annual meetings of the North American Conference on Video Game Music, the Society for American Music, and the American Musicological Society. She is currently working on a manuscript about the American video arcade soundscape and its intersections with popular music.
…BM Music Education
St. Norbert College, De Pere Wisconsin
MM Historical Musicology
Florida State University, Tallahasse Florida…
I am a PhD student in historical musicology at Florida State University. Broadly conceived, my research interests include 20th and 21st century American music culture, the ethics of historiography, and the overlap between structures of authority, political discourse, and aesthetic significance. My master’s thesis centers on Aaron Copland’s early symphonic jazz in the context of his transnational musical training and unique social position.
Postgraduate student in Art History with thesis “Images of Music in Baroque Painting in Portugal (1600-1750)”, at the Faculdade de Letras da Universidade de Lisboa and PhD Grant Holder Fundação para a Ciência e a Tecnologia (Foundation for Science and Technology) (FCT). Holding a Master in Historical Musicology, by the faculdade de Ciências Sociais e Humanas da Universidade NOVA de Lisboa, with dissertation “The Contribution of Musical Iconography in the Painting of the 15th and 16th centuries, both Portuguese and Portuguese-Flemish and Flemish in Portugal, for the Recognition of Musical Practices at that Time: Sources and Models Used in the Painting Atelier”.
Leon Chisholm studied applied music and musicology in Canada and the United States, obtaining a PhD in historical musicology from the University of California, Berkeley in 2015. His dissertation research, funded in part by the Cini Foundation in Venice, concerned the mechanization of polyphonic vocal idioms brought about by the rise of lute and keyboard playing in sixteenth- and seventeenth-century Italy. He is currently a postdoctoral fellow at the Humboldt University Berlin, the Max Planck Institute for the History of Science, and of CRC 980, “Epistemes in Motion,” at the Free University Berlin. Previously, he held postdoctoral fellowships at the Deutsches Museum in Munich and the Italian Academy at Columbia University. Leon is currently at work on projects concerning the social construction of timbre in organ building and the material origins of musical style and concepts in early modern Europe. His book project Keyboard Playing and the Reconceptualization of Polyphonic Music in Early Modern Italy investigates how seminal changes in the concept and structure of polyphony were rooted in a shift of praxis defined by the increasing role of keyboard instruments in composition, teaching, theory, performance, and rehearsal. In addition to his academic research, Leon is a practicing musician specializing in organs and historical keyboards. He is also co-editor of the blog for the History of Music Theory group of the American Musicological Society and the Society for Music Theory.
…PhD Musicology – Leeds Beckett University, 2018
MMus Ethnomusicology – Royal Holloway, University of London, 2015
MA Historical Musicology – Istanbul Technical University, Centre for Advanced Studies in Music, 2014
BSc Computer Science and Engineering – Sabanci University, 2012…
I earned a PhD degree in Musicology/Sociology from Leeds Beckett University. I taught “Composition Techniques in 20th century”, “Critical Perspectives in Musical Composition”, “Introduction to Sociology”, and “Social Thought in Movies” at various institutions and departments. I come from a computer science and engineering and historical musicology background. My PhD thesis focused on the genealogy of death/doom metal music networks in northern England. I have previously worked on John Dowland’s religious oeuvre and Elizabethan social structures in 17th century; and I have also written a dissertation on the ideas of death and suicide in depressive suicidal black metal music. My research interests include extreme metal cultures, gaming cultures, and sociology of scientific knowledge among others.
…Ph.D. Historical Musicology, Brandeis University (2016)
M.F.A. Historical Musicology, Brandeis University (2014)
B.A. Summa cum laude, Music with High Honors, Brandeis University (2010)
Diploma, Phillips Academy, Andover (2006)…
Derek R. Strykowski holds a Ph.D. in historical musicology from Brandeis University, where he was a Mildred and Herbert Lee fellow, and is presently a clinical assistant professor at the University at Buffalo, the State University of New York. As a scholar of the nineteenth and early twentieth centuries, Strykowski investigates the history of composition from a range of social-scientific perspectives in order to advance our theoretical knowledge of the relationship between compositional circumstance and the development of musical style. For example, his recent article in the Journal of Musicological Research (2016) illuminates not only the artistic origins of Alban Berg’s late operatic style but also the behavioral principles that its development represents. Currently in preparation are a pair of research articles, one of which is forthcoming from Notes (2018), that explore how the business of music publishing influenced the development of nineteenth-century style. He also maintains a second program of research involving the formal empirical analysis of sixteenth-century polyphony. Having performed a quantitative corpus study of the four- and five-voice madrigals of the Italian composer Luca Marenzio, Strykowski recently published “Text Painting, or Coincidence? Treatment of Height-Related Imagery in the Madrigals of Luca Marenzio” in the Empirical Musicology Review (2017). This same methodological approach—sometimes associated with the digital humanities—has also begun to inform his primary line of research as a means to gauge the long-term historical development of a musical style.
…Ph.D. Candidate, Historical Musicology…