My new monograph, Threshold, Dreamscape, Substance, Screen: Contemporary Opera and/as Medium, which maps out the expanding territory of contemporary opera in the twenty-first century, is now under contract at the University of Michigan Press. In it, I find precedent for recent developments in twentieth-century opera; link pieces from apparently distinct schools and sensibilities by examining their shared preoccupations with media and mediation; and synthesize ideas and approaches from media theory, performance studies, literary criticism, political philosophy, and musicology. I’m thrilled to be working with UM Press Editorial Director and Senior Acquiring Editor for Music and Media Studies Mary Francis on this project. I’m also slated to contribute a chapter for the forthcoming volume Thomas Adès Studies, edited by Philip Stoecker and Edward Venn for Cambridge University Press.
My academic book and media reviews have appeared in German Studies Review and the Journal of the Society for American Music. Please see the curriculum vitae below for more information about my talks, teaching experience, publications, professional service, public musicology efforts, and more. You can find a writing sample here; it's a conference paper I presented at the 2017 IASPM-US Conference in Cleveland, Ohio, and a preview of the article I’m finishing up as of spring/summer 2019.
I've written for Musicology Now, the official blog of the American Musicological Society; find my piece here. I contribute album reviews for I Care if You Listen, one of the internet's finest blogs on contemporary music. I also review concerts for Cleveland Classical, Northeast Ohio's welcoming home for performance listings, previews, and all-around excellent coverage and criticism. I could hardly want for editors more helpful, patient, and professional than Amanda Cook of ICIYL and Daniel Hathaway and Mike Telin of Cleveland Classical.
"Lulu's Daughters: Portraying the Anti-Heroine in Contemporary Opera, 1993-2013," my doctoral dissertation, is available upon request. It digs into the turn-of-the-21st-century return of the fallen woman and femme fatale narrative - Catherine Clément’s “undoing of women” - in opera, and asks why so many of the composers, librettists, and directors behind these pieces turn to popular music and visual media as key themes. Its case study chapters cover works by Adès, Andriessen, Turnage, and Neuwirth. Susan McClary was my advisor, and Francesca Brittan, Daniel Goldmark, and Susanne Vees-Gulani served on the committee. The University of Toronto’s Sherry Lee joined for my defense as a guest committee member.
I write program notes for various Northeast Ohio performing arts organizations, and hope to have an archive of these posted here soon.
In spring 2019, I taught hip hop history and culture in the SAGES (Seminar Approach to General Education and Scholarship) undergraduate writing program at Case Western Reserve University, while concurrently rejoining that institution’s Department of Music as the lecturer in charge of the 1800-2000 portion of the music history survey. In the same term, I taught the two-part music literature sequence in the School of Music at the University of Akron. I also facilitate an online course, “Music, Self, and Society,” for the Berklee College of Music. My teaching portfolio, last updated in mid-2018 and therefore not exactly current, is available for download here. Read all of my course syllabi here.
For more information or to get in touch, you can find me on LinkedIn, Academia, and Humanities Commons. I also use the course management system Canvas, and my past courses and course materials are posted in the Canvas Commons for users to view, download, and adapt.