About
Alina Tylinski is a musicologist and early modern cultural historian specializing in seventeenth- and eighteenth-century France. Her research investigates the ways eighteenth-century French composers, musicians, and men of letters related to their musical past, and how this relationship evolved with Enlightenment theories of progress in the arts and sciences. She is currently pursuing a master’s degree in Music and Humanities at the
Université de Tours and the
Université de Poitiers, where she is a Campus France
Graduate Scholar.
Alina received her BA in History from the
University of Wisconsin-Madison, graduating with honors, distinction, and certificates in French and European Studies. Her undergraduate research projects examined how the
Querelle des Bouffons, a mid-eighteenth-century press war over the merits of French and Italian music, influenced the aesthetics of Michel-Paul-Guy de Chabanon and François-Joseph Gossec’s opera
Sabinus (Versailles, 1773). In 2018, she was a recipient of the Germaine Mercier Scholarship for Outstanding Academic Work in French, and in 2017, she spent a semester in Paris conducting archival research at three different sites of the
Bibliothèque nationale de France.
She is passionate about creating educational resources that promote wider engagement with libraries, archives, museums, and digital collections. Some of her recent projects include cataloguing Marc-Antoine Charpentier’s
Mélanges autographes for the
Vocal Music Instrumentation Index (VMII), an award-winning baroque vocal music database featured by the libraries of
Yale,
Stanford, the
Juilliard School, and more; and contributing over 40 scholarly sources to
Inclusive Early Music, a comprehensive bibliography and teaching resource. Previously, she helped transcribe over 60 registers of the
Comédie-Italienne for a
crowdsourcing initiative funded by the
Agence nationale de la recherche.
Alina has worked for the
Ministère de l’Éducation nationale et de la Jeunesse, interned with the
Centre de musique baroque de Versailles, and participated in historical performance workshops with the
Théâtre Molière-Sorbonne. A classically trained clarinetist, she has performed in ensembles in France and the United States.
