My work focuses on music (jazz, popular, and avant-garde), improvisation, and cultural studies. I have taught courses in music history, American cultural studies, and the humanities. I play the drums.
I teach modules in Music History and Cultural Musicology, as well as in interdisciplinary topics such as Music Journalism and Adaptation Studies. I research topics in late 17th-century music theatre and vocal studies, including work by Jean-Baptiste Lully, John Eccles, John Dennis, Carlo Pallavicino, and Cesare Morelli.
…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).
…The First World War. pp. 174-98. Edited by Gayle Sherwood Magee, Christina Bashford, and William Brooks. Chicago and Bloomington: University of Illinois Press (October 2019).
“Adapting the Survey for a Changing Environment.” In Norton Guide to Teaching Music History. pp. 235-46. Edited by Matthew Balensuela, New York: W.W. Norton, 2019.
“Theory, Nationalism, and Music.” In Politsci’13: Political Science in the 21st Century: New Opportunities and Impasses / Theorizing and Experiencing Politics. pp. 2…
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.
…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.).
E. Douglas Bomberger has been a professor of music at Elizabethtown College since 2005, teaching music history and piano. He previously taught for eleven years at the University of Hawai’i at Manoa. He has published extensively on nineteenth-century American music and served as area editor for nineteenth-century music for the Grove Dictionary of American Music, second edition. He was honored with Elizabethtown College’s 2019 Ranck Prize for Research Excellence.
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.
I am associate professor of music history at the Hartt School 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.