About
I am a Professor of Music History and Cultures and Chair of the Department of Art and Music Histories at Syracuse University. I also serve on the Core Faculty of the Goldring Arts Journalism Program and I am a faculty affiliate in Women and Gender Studies and the Medieval and Renaissance Studies Program.
My research focuses on English theatre music of the seventeenth, eighteenth, and twentieth centuries. I am the Co-Investigator on
Performing Restoration Shakespeare, a project funded by the Arts & Humanities Research Council, UK (2017-2020) and am a General Editor for The Collected Works of John Eccles (A-R Editions). I have published on a range of topics, including the relationships among musical, spiritual, and bodily disorder; musical depictions of the goddess Venus; the gendering of musical spirits; and the intersection of music and politics. More recent work has engaged with performance studies and practice-based research, including workshops that staged excerpts of Davenant’s
Macbeth and Gildon’s
Measure for Measure (Folger Theatre, Washington DC) and Middleton’s
The Witch (Blackfriars Conference, Staunton, VA). As part of the Performing Restoration Shakespeare project, I served as music director for a workshop of the Restoration-era
Tempest (Sam Wanamaker Playhouse, Shakespeare’s Globe, London) and more recently I co-led a workshop for scholars and served as a consultant for a full professional production of Davenant’s
Macbeth, staged at the Folger Theatre, Washington DC. My most recent book,
Music, Dance, and Drama in Early Modern English Schools, appeared with Cambridge University Press in 2020.
Shakespeare in Performance: Sir William Davenant and the Duke’s Company, co-authored with Richard Schoch, is forthcoming with Arden Shakespeare/Bloomsbury in 2021. My next project is a book that situates Andrew Lloyd Webber’s musicals from the 70s and 80s within a social and political context.
Publications
Books
Performing Restoration Shakespeare, eds. Amanda Eubanks Winkler, Claude Fretz, and Richard Schoch (forthcoming, Cambridge University Press).
Shakespeare in the Theatre: Sir William Davenant and the Duke’s Company, co-authored with Richard Schoch (London: Arden Shakespeare/Bloomsbury Publishing, 2021).
Music, Dance, and Drama in Early Modern English Schools (Cambridge: Cambridge University Press, 2020).
Beyond Boundaries: Rethinking Music Circulation in Early Modern England, ed. Linda Austern, Candace Bailey, and Amanda Eubanks Winkler (Bloomington: Indiana University Press, 2017).
O Let Us Howle Some Heavy Note: Music for Witches, the Melancholic, and the Mad on the Seventeenth-Century English Stage (Bloomington: Indiana University Press, 2006). Nominated and shortlisted for the American Musicological Society Lewis Lockwood award for best book by an early career scholar.
Critical Editions
The Works of John Eccles, General Editor with Michael Burden, Rebecca Herissone, and Alan Howard (ongoing, A-R Editions).
- The Rape of Europa by Jupiter/The Loves of Mars and Venus/The Mad Lover/Acis and Galatea/The British Enchanters, ed. Tim Neufeldt (in process)
- Incidental Music, Part 2 (plays H–P), ed. Estelle Murphy (in process)
- Europe’s Revels for the Peace of Ryswick, ed. Michael Burden (2019)
- Judgment of Paris, ed. Eric Harbeson (2018)
- Incidental Music, Part 1 (plays A–F), ed. Amanda Eubanks Winkler (2015)
- Rinaldo and Armida, ed. Steven Plank (2011)
John Eccles,
Incidental Music, Part 1 (plays A–F), ed. Amanda Eubanks Winkler,
The Works of John Eccles, Recent Researches in the Music of the Baroque, vol. 190 (Middleton, WI: A-R Editions, 2015).
Nominated for the American Musicological Society’s Claude Palisca Prize for best scholarly edition.
Music for Macbeth, Recent Researches in the Music of the Baroque, vol. 133 (Middleton, WI: A-R Editions, 2004).
Journal Articles
“The Intermedial Dramaturgy of Dramatick Opera: Understanding Genre through Performance,”
Restoration: Studies in English Literary Culture, 1660–1700 42, 2 (2018): 13–38.
“A Tale of
Twelfth Night: Music, Performance, and the Pursuit of Authenticity,”
Shakespeare Bulletin 36, 2 (2018): 251–270.
“Performing the Gaps:
Dido and Aeneas on Video,”
Journal of Seventeenth-Century Music 23, 1 (2017),
https://sscm-jscm.org/jscm-issues/volume-23-no-1/winkler-performing-the-gaps/
“Politics and the Reception of Andrew Lloyd Webber’s
The Phantom of the Opera,”
Cambridge Opera Journal 26, 3 (2014): 271–287.
“Sexless Spirits?: Gender Ideology and Dryden’s Musical Magic,”
The Musical Quarterly 93, 2 (2010): 297–328.
“Enthusiasm and Its Discontents: Religion, Prophecy, and Madness in
Sophonisba and
The Island Princess,”
Journal of Musicology 23, 2 (2006): 307–330.
“‘O Ravishing Delight’: The Politics of Pleasure in
The Judgment of Paris,”
Cambridge Opera Journal, 15, 1 (2003): 15–31.
Book Chapters
“Syncopated Time: Staging the Restoration
Tempest,” co-authored with Richard Schoch, in
Performing Restoration Shakespeare, ed. Amanda Eubanks Winkler, Claude Fretz, and Richard Schoch (forthcoming, Cambridge University Press)
“Multi-Vocality and Music in Shakespeare’s Theatre,” in
The Oxford Handbook of Shakespeare and Authorship, ed. Rory Loughnane and Will Sharpe (forthcoming, Oxford University Press).
“‘Let’s Have a Dance’: Staging Shakespeare in Restoration London,” in
The Oxford Handbook of Shakespeare and Music, ed. Christopher Wilson and Mervyn Cooke (Oxford: Oxford University Press, 2022).
“Opera in England,”
The Cambridge Companion to Early Opera, ed. Jacqueline Waeber (Cambridge: Cambridge University Press, 2022).
“Schoolboy Performance in the Post-Reformation North-East,” in
Music in North-East England, 1500–1800, ed. Stephanie Carter, Kirsten Gibson, and Roz Southey (Woodbridge, UK: Boydell and Brewer, 2020), 173–189.
“English Music in Benefit Concerts: Henry Purcell and the Next Generation,” in
Music and the Benefit Performance in Eighteenth-Century Britain, ed. Alison DeSimone and Matthew Gardner (Cambridge: Cambridge University Press, 2019), 145–161.
“Opera at School: Mapping the Cultural Geography of Pedagogical Performance,” in
Operatic Geographies: The Place of Opera and the Opera House, ed. Suzanne Aspden (Chicago: University of Chicago Press, 2019), 26–38.
“‘Armida’s Picture We from Tasso Drew’?: Versions of the Rinaldo & Armida Story in Late Seventeenth- and Early Eighteenth-Century Operatic Entertainments,” in
Music, Myth, and Story, ed. Katherine Butler and Samantha Bassler (Woodbridge, UK: Boydell and Brewer, 2019), 241–258.
“Courtly Connections: Queen Anne, Music, and the Public Stage,” in
Beyond Boundaries: Rethinking Music Circulation in Early Modern England, ed. Linda Austern, Candace Bailey, and Amanda Eubanks Winkler (Bloomington: Indiana University Press, 2017), 185–204.
“A Thousand Voices: Performing Ariel,” in
A Feminist Companion to Shakespeare, 2nd ed., ed. Dympna Callaghan (Malden, MA: Blackwell Publishers Ltd., 2016), 520–539.
“Come Away, Fellow Sailors”: Musical Characterization of the Nautical Profession in Seventeenth-Century English Theatre Music,” in
The Sea and the British Musical Imagination, ed. Eric Saylor and Christopher Scheer (Woodbridge, UK: Boydell and Brewer, 2015), 83–103.
“Music and Politics in George Granville’s
The British Enchanters,” in
Queen Anne and the Arts, ed. Cedric Reverand (Lewisburg: Bucknell University Press, 2015), 187–204.
“Dangerous Performance: Cupid in Early Modern Pedagogical Masques,” in
Gender and Song in Early Modern England, ed. Katherine Larson and Leslie Dunn (Farnham: Ashgate Publishing, Ltd., 2014), 77–91.
Honorable mention, best collaborative project, Society for the Study of Early Modern Women.
“Madness ‘Free from Vice’: Musical Eroticism in the Pastoral World of
The Fickle Shepherdess,” in
The Lively Arts of the London Stage, 1675–1725, ed. Kathryn Lowerre (Farnham: Ashgate Publishing Ltd., 2014), 149–169.
“‘Our Friend Venus Performed to a Miracle’: Anne Bracegirdle, John Eccles, and Creativity,” in
Concepts of Creativity in Seventeenth-Century England, ed. Rebecca Herissone and Alan Howard (Woodbridge, UK: Boydell and Brewer, 2013), 255–280.
“‘Hither this Way’: Musical Dryden for Nonmusician Students (and Nonmusician Teachers) (co-authored with Kathryn Lowerre) in
Approaches to Teaching the Works of John Dryden, ed. Jayne Lewis and Lisa Zunshine (New York: Modern Language Association of America, 2013), 124–131.
“Society and Disorder,” in
The Ashgate Research Companion to Henry Purcell, ed. Rebecca Herissone (Farnham: Ashgate Publishing Ltd., 2012), 269–302.
“From Whore to Stuart Ally: Musical Venuses on the Early Modern English Stage,” in
Musical Voices of Early Modern Women: Many-Headed Melodies, ed. Thomasin LaMay (Aldershot: Ashgate Publishing Ltd., 2005), 171–186.
