Publications

Expanding The Music Theory Canon, a collection of inclusive music theory examples by women and composers of color

Interview with Music and Politics in the Moment about Expanding the Music Theory Canon

Expanding the Music Theory Canon: A Print Anthology, under contract with SUNY Press, expected 2022

"Turning the Madwoman Upside Down," Women & Music: A Journal of Gender and Culture 25 (2021)

"Racism and Sexism Remain Pervasive in Western Classical Music Instruction," Journal of the International Alliance for Women in Music 27, no. 1 (Spring 2021)

"Notorious Strumpets on the English Restoration Stage," Early Music America Blog, September 2020

Current Projects

The Ugly Virtuosa

In August 2019, music critic Manuel Brug reviewed a Salzburg Festival performance of Jacques Offenbach’s 1858 opera Orphée aux enfers as full of “fat women in tight corsets [who] keep spreading their legs.” After significant social media condemnation, Brug further asserted that if a woman “shows her body on stage she has to deal with being described like that.” This practice of empowered male critics focusing on the performing female body and sexuality, rather than producing assessments of women’s musical contributions, has persisted for centuries. The Ugly Virtuosa fuses scholarly research and writing with public performance art to explore derogatory descriptive language at the critical historical moment when early modern women began appearing on the public stage as professional musicians in Italy, England, and France. While many were praised for their beauty and chastity, my project evaluates the lived experiences of and pejorative discourses surrounding early modern female performers deemed “ugly” due to their 1) physical features, 2) gender non-conformity, 3) perceived sexual immorality, and/or 4) ethnicity.

 

Recording Project: Elizabeth Turner's 1756 Six Harpsichord Lessons

English singer and composer Elizabeth Turner's (1700-1756) songs were quite popular in the first half of the eighteenth century, and critics revered her as a first-rate soprano. She was also one of the first known Englishwomen to publish a substantial collection of musical works. More than 400 names appear on the subscription list for her 1750 volume, and 350 for her 1756 collection. Subscribers included musicians such as G.F. Handel, William Boyce, and John Stanley as well as numerous elite patrons. Several of her songs were popular enough to warrant publication in London Magazine and The Lady’s Magazine, the latter of which dubbed her “the ingenious Miss Eliza Turner.” In addition to collaborating frequently with Boyce in numerous settings, she was also known for her performances of arias from oratorios by Handel, Thomas Arne, and Boyce. Charles Burney reported that Turner was a favorite performer at the Swan, and she also performed at the Castle Tavern, Hickford’s Room, and the Great Room in Dean Street. The London Evening Post reported her death in 1756, noting “Yesterday died at Islington Miss Elizabeth Turner, whose extraordinary Genius and Abilities in Musick, make her justly lamented by all Lovers of Harmony.”