My work focuses on improvisation, improvised music, and cultural studies. I have taught courses in music history, American cultural studies, and the humanities. I play the drums.
…2015 – B.A. Oxbridge Honors Music History, William Jewell College…
Ph.D. student and Assistant Instructor in Musicology at Indiana University Research interests include choral music, particularly in England and Scotland, and musical nationalism, politics, and power in the early twentieth century. Also interested in music history pedagogy and teaching philosophy.
…Professor, Music History…
Rebecca Marchand is Professor of core studies in Music History at Boston Conservatory at Berklee. She teaches undergraduate music history, courses such as Writing About Music and Communicating About Music, and a wide range of graduate seminars in topics ranging from women and music of the Italian Renaissance to investigating the music of the Darmstadt summer courses. Marchand also directs the Graduate Music History Writing Center at Boston Conservatory. A founding member of the Haydn Society of North America, Marchand also served as the president of the New England chapter of the American Musicological Society from 2012 to 2016. She has held previous teaching and lecturing positions at Westmont College, Boston University, Longy School of Music of Bard College, and Providence College. She has presented at a variety of conferences, including a Master Teacher session at the annual meeting of the American Musicological Society and has delivered invited lectures at West Virginia University and University of New Hampshire. Marchand is also an author of digital learning content for W. W. Norton music textbook publications. Her essay “Missa Eclectica: Lou Harrison and Artistic Ideologies after Vatican II” appears in Qui musicam in se habet: Studies in Honor of Alejandro Enrique Planchart, edited by Anna Zayaruznaya, Bonnie Blackburn, and Stanley Boorman (American Institute of Musicology, 2015).
…Ph.D. University of Chicago, 2013. Music History and Theory.
B.Mus. University of Toronto, 2006. Music History and Theory….
I’m a historical musicologist working at the University of California, Santa Barbara, where I teach courses on music and politics, trauma, memory studies, and memorial culture (along with the more typical music history surveys). My current research focuses on the role that music plays in mourning and commemorative practices in Europe after World War II.
PhD in Musicology, University of Michigan (2007)
Graduate Certificate in Film and Media Studies, University of Michigan (2007)
BMus in Performance and Music History, University of Missouri (2001)
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.).
I am assistant professor of music history at the Hartt School of Music, Dance, and Theater at the University of Hartford in West Hartford, Connecticut. My main areas of focus are on late medieval notation, theory, and performance; medievalism; and contemporary pop music, jazz, and music in media such as film, television, and video games. Additionally, I am an active singer, performer, and conductor of both early and contemporary music.
Andrew Granade is Professor of Musicology and Associate Dean of Graduate Studies at the University of Missouri – Kansas City Conservatory of Music and Dance. His research focuses on the American Experimental Tradition, particularly the composer and instrument builder Harry Partch, and he is the author of Harry Partch, Hobo Composer. He also has an active interest in music history pedagogy, the relationship of music and media, and musical minimalism.
Ph.D, Music History and Literature, Northwestern University
B.M., Flute Performance, University of the Pacific…
Elinor Olin is Visiting Associate Professor of Music History at Northern Illinois University. Her research about melodrama, regionalism, French cultural nationalism and opera has appeared in numerous publications. Olin is an active flutist, pre-concert lecturer and the founder of Opera Immersion Seminars.
Emily Vanchella is a third-year music theory graduate student at UCSB. Her primary research interest is the application of topic theory to British and American rock music from the 1960s, with a particular interest in the Beatles. She is also interested in music theory and animation; North Indian classical music; and questions of world music analysis. She plans to teach university-level music theory. In addition to her theory and teaching activities, Emily is an active performer on the sitar and enjoys singing and playing the guitar in her spare time. As an undergraduate, she served as the music theory tutor and a teaching assistant for the self-designed music history course MUS 206: Topics in Music (The Beatles). Her primary instrument in college was the classical and jazz guitar, and she enjoyed performing as an alto in the school gospel choir. She also debuted several original compositions and arrangements at Agnes Scott College, and with the Atlanta Guitar Orchestra.
Reba Wissner is on the music history faculty of Montclair State University, New York University, Ramapo College of New Jersey and Westminster Choir College of Rider University and on the film and media studies faculty of Rider University. received her M.F.A. and Ph.D. in musicology from Brandeis University and her B.A. in Music and Italian from Hunter College of the City University of New York. She is the author of articles on seventeenth-century Venetian opera, Italian immigrant theater in New York City, music in 1950s and 1960s television, and music history pedagogy and has presented her research on these topics at conferences throughout the United States and Europe. She is the author of A Dimension of Sound: Music in The Twilight Zone (Pendragon Press, 2013) and We Will Control All That You Hear: The Outer Limits and the Aural Imagination (Pendragon Press, 2016) and is currently working on both her third book, Music and the Atomic Bomb in American Television, 1950-1969 (under contract with Peter Lang International Academic Publishers, forthcoming in 2020) and a collaborative book and database project called Cues and Contracts: Music and the American Television Industry that examines music cues and their reuses, as well as administrative documents related to American television music production. She is also co-editing a volume on the music and sound design in Twin Peaks. Dr. Wissner is the recipient of numerous awards and grants including a travel grant to Venice for dissertation research from the Andrew W. Mellon Foundation, and a Sight and Sound Subvention from the Society for American Music.