Curriculum Vitae
EDUCATION
Doctor of Philosophy, Historical Musicology
Graduate Center, City University of New York 2016-2021
Dissertation title: “‘Lesiure with decorum’: Gentlemen Making Music in the Georgian era”
Master of Music, Historical Musicology
University of Massachusetts 2014-2016
Master of Music, Historical Performance
McGill University, studio of Claire Guimond 2010-2012
Bachelor of Music, Flute Performance and Music History
University of Massachusetts, studio of Christopher Krueger 2006-2010
RESEARCH INTERESTS
Music and gender, organology, the long 18th century, British music, print culture
PUBLICATIONS
“Masculinity, English Nationalism, and Charles Nicholson’s “Improved” Flute” in Musique-Images-Instruments, Vol 19 [forthcoming]
“The Thing About Austen: Mary Crawford’s Harp” The Thing About Austen, Episode 12, 23 September 2021. https://www.thethingaboutausten.com/episodes/ep-12-the-thing-about-mary-crawfords-harp-with-guest-dr-lidia-chang
PROFESSIONAL PRESENTATIONS
American Musicological Society
“'The manly art which it once was': Making English Music Great Again in the Georgian era" New Orleans, LA, 11 November 2022
“Masculinity, English Nationalism, and Charles Nicholson’s ‘Improved’ Flute” Boston, MA, 2 November 2019
“I hope somebody cares for these minutiae”: Women, “Smallness,” and the Marginalization of English Music in the Long Nineteenth Century” New England Chapter of the AMS, Northampton, MA, 1 October 2016
Jane Austen Society of North America Annual and Regional Meetings
(Lecture recital) “An Evening in the Bath Assembly Rooms” with Ensemble Music Humana. Kansas City, MO, 28 September 2018
(Lecture recital) “A Salon Concert at Hartfield” with Ensemble Music Humana. Washington, DC, 21 October 2016
“Keyboards and Courtship: Cultural Subtexts and Social Functions of Musicking in Jane Austen’s England” Louisville, KY, 10 October 2015, and for the Massachusetts regional meeting, 4 December 2016
North American British Music Studies Association
"Musical Gentlemen and the Specter of Effeminacy in Georgian England" Normal, IL, 23 July 2022
“‘Sound and Chaste’: Defining Englishness in the Quarterly Musical Magazine and Review (1818-1830)” Logan, UT, 30 July 2018
Galpin Society and American Musical Instrument Society
Perspectives of 3D Printing for Historically Informed Playing: The Case of Jacques Martin Hotteterre’s E. 999.6.1 Traverso from the Musée de la Musqiue’s Collection. Edinburgh, UK, 24 June 2022
“‘The Don Giovanni of Wind Instruments’: Flute-playing, Masculinity, and English Nationalism in the Georgian era” Edinburgh, UK, 2 June 2017
Museum of Fine Arts Boston
(Gallery talk) “The Early Flute in England” with demonstrations of historic flutes. Boston, MA, 4 April, and 3 August 2016
TEACHING EXPERIENCE
Queens College, CUNY: Adjunct Assistant Professor 2021 - 2022
Weekly online lectures for a large (30+) undergraduate music appreciation course (Intro to Music), and the undergraduate Writing About Music course, for which I have designed a unique syllabus focusing on music in Western literature. The texts covered include works by Jane Austen, Charlotte Brontë, Johann Wolfgang von Goethe, Thomas Mann, and novels by contemporary authors, such as Kazuo Ishiguro, Michael Ondaatje, and Mary Doria Russell.
Brooklyn College, CUNY: Graduate Teaching Assistant for Music 1300, 2017 - 2021
Weekly lectures for a large (40+) undergraduate music appreciation survey course. Designed two unique syllabi for this course: one focusing on Western art music but teaching the timeline in reverse chronological order, the other with a greater emphasis on non-Western music using the Voyager Golden Record as a touchstone.
Completed the course, “Preparation for Teaching Online” in January, 2019 through the CUNY School of Professional Studies in order to qualify for teaching fully online courses. I have since adapted my Voyager syllabus for synchronous and asynchronous online teaching.
University of Massachusetts: Adjunct Lecturer for Music 350, Spring 2020
Taught one section of the Junior Writing course required for music majors, “Writing about Music.” In this class we analyzed a variety of literature about music from different genres and eras, practiced the nuts and bolts of good writing and editing, and discussed more broadly the purpose and value of the written word within music studies.
Early Music Week at the World Fellowship Center: Faculty, 2020 - present
A week-long Early Music intensive for devoted amateurs and young professionals. Coach chamber music ensembles, perform with the other faculty, lead masterclasses for traverso and recorder, and give instruction on historical performance practices.
South Shore Conservatory Summer Music Festival: Flute Instructor, 2012 - present
Lead daily sectionals of middle and high school flute players. Coach chamber music groups for Summer Wind Ensemble and Advanced Chamber Ensembles. Give lectures on topics in music history that relate to the Festival’s concert programs. Curated a musicologically oriented course in July 2020 for the high school students called “Thinking Musically: the Language and Culture of Music,” in which we explored music’s various functions in our society and the network of relationships our music culture generates. The Conservatory has since asked me to turn this course into a series, which I will offer every summer on a new topic.
University of Massachusetts: Teaching Asst. for Music 300, Fall 2015
History of Western European art music from Gregorian chant through the Baroque era, required course for undergraduate music majors. Assisted the professor with grading of written assignments and gave lectures in his absence.
University of Massachusetts: Teaching Asst. for Music 150, Fall 2014 - Spring 2015
Taught two weekly discussion sections of The Lively Arts, a broad arts overview for non-music majors. Assisted the course head with grading and administrative logistics, such as preparing music demonstrations for lectures, assignments, quizzes, and exams.
PROFESSIONAL MEMBERSHIPS
American Musicological Society - Co-founder and Co-Chair of the Organology Study Group of the AMS
American Musical Instrument Society - Gribbon Memorial Award Committee member
North American British Music Studies Association - NABMSA Development Committee member
Jane Austen Society of North America
American Society for Eighteenth-Century Studies
EDUCATION
Doctor of Philosophy, Historical Musicology
Graduate Center, City University of New York 2016-2021
Dissertation title: “‘Lesiure with decorum’: Gentlemen Making Music in the Georgian era”
Master of Music, Historical Musicology
University of Massachusetts 2014-2016
Master of Music, Historical Performance
McGill University, studio of Claire Guimond 2010-2012
Bachelor of Music, Flute Performance and Music History
University of Massachusetts, studio of Christopher Krueger 2006-2010
RESEARCH INTERESTS
Music and gender, organology, the long 18th century, British music, print culture
PUBLICATIONS
“Masculinity, English Nationalism, and Charles Nicholson’s “Improved” Flute” in Musique-Images-Instruments, Vol 19 [forthcoming]
“The Thing About Austen: Mary Crawford’s Harp” The Thing About Austen, Episode 12, 23 September 2021. https://www.thethingaboutausten.com/episodes/ep-12-the-thing-about-mary-crawfords-harp-with-guest-dr-lidia-chang
PROFESSIONAL PRESENTATIONS
American Musicological Society
“'The manly art which it once was': Making English Music Great Again in the Georgian era" New Orleans, LA, 11 November 2022
“Masculinity, English Nationalism, and Charles Nicholson’s ‘Improved’ Flute” Boston, MA, 2 November 2019
“I hope somebody cares for these minutiae”: Women, “Smallness,” and the Marginalization of English Music in the Long Nineteenth Century” New England Chapter of the AMS, Northampton, MA, 1 October 2016
Jane Austen Society of North America Annual and Regional Meetings
(Lecture recital) “An Evening in the Bath Assembly Rooms” with Ensemble Music Humana. Kansas City, MO, 28 September 2018
(Lecture recital) “A Salon Concert at Hartfield” with Ensemble Music Humana. Washington, DC, 21 October 2016
“Keyboards and Courtship: Cultural Subtexts and Social Functions of Musicking in Jane Austen’s England” Louisville, KY, 10 October 2015, and for the Massachusetts regional meeting, 4 December 2016
North American British Music Studies Association
"Musical Gentlemen and the Specter of Effeminacy in Georgian England" Normal, IL, 23 July 2022
“‘Sound and Chaste’: Defining Englishness in the Quarterly Musical Magazine and Review (1818-1830)” Logan, UT, 30 July 2018
Galpin Society and American Musical Instrument Society
Perspectives of 3D Printing for Historically Informed Playing: The Case of Jacques Martin Hotteterre’s E. 999.6.1 Traverso from the Musée de la Musqiue’s Collection. Edinburgh, UK, 24 June 2022
“‘The Don Giovanni of Wind Instruments’: Flute-playing, Masculinity, and English Nationalism in the Georgian era” Edinburgh, UK, 2 June 2017
Museum of Fine Arts Boston
(Gallery talk) “The Early Flute in England” with demonstrations of historic flutes. Boston, MA, 4 April, and 3 August 2016
TEACHING EXPERIENCE
Queens College, CUNY: Adjunct Assistant Professor 2021 - 2022
Weekly online lectures for a large (30+) undergraduate music appreciation course (Intro to Music), and the undergraduate Writing About Music course, for which I have designed a unique syllabus focusing on music in Western literature. The texts covered include works by Jane Austen, Charlotte Brontë, Johann Wolfgang von Goethe, Thomas Mann, and novels by contemporary authors, such as Kazuo Ishiguro, Michael Ondaatje, and Mary Doria Russell.
Brooklyn College, CUNY: Graduate Teaching Assistant for Music 1300, 2017 - 2021
Weekly lectures for a large (40+) undergraduate music appreciation survey course. Designed two unique syllabi for this course: one focusing on Western art music but teaching the timeline in reverse chronological order, the other with a greater emphasis on non-Western music using the Voyager Golden Record as a touchstone.
Completed the course, “Preparation for Teaching Online” in January, 2019 through the CUNY School of Professional Studies in order to qualify for teaching fully online courses. I have since adapted my Voyager syllabus for synchronous and asynchronous online teaching.
University of Massachusetts: Adjunct Lecturer for Music 350, Spring 2020
Taught one section of the Junior Writing course required for music majors, “Writing about Music.” In this class we analyzed a variety of literature about music from different genres and eras, practiced the nuts and bolts of good writing and editing, and discussed more broadly the purpose and value of the written word within music studies.
Early Music Week at the World Fellowship Center: Faculty, 2020 - present
A week-long Early Music intensive for devoted amateurs and young professionals. Coach chamber music ensembles, perform with the other faculty, lead masterclasses for traverso and recorder, and give instruction on historical performance practices.
South Shore Conservatory Summer Music Festival: Flute Instructor, 2012 - present
Lead daily sectionals of middle and high school flute players. Coach chamber music groups for Summer Wind Ensemble and Advanced Chamber Ensembles. Give lectures on topics in music history that relate to the Festival’s concert programs. Curated a musicologically oriented course in July 2020 for the high school students called “Thinking Musically: the Language and Culture of Music,” in which we explored music’s various functions in our society and the network of relationships our music culture generates. The Conservatory has since asked me to turn this course into a series, which I will offer every summer on a new topic.
University of Massachusetts: Teaching Asst. for Music 300, Fall 2015
History of Western European art music from Gregorian chant through the Baroque era, required course for undergraduate music majors. Assisted the professor with grading of written assignments and gave lectures in his absence.
University of Massachusetts: Teaching Asst. for Music 150, Fall 2014 - Spring 2015
Taught two weekly discussion sections of The Lively Arts, a broad arts overview for non-music majors. Assisted the course head with grading and administrative logistics, such as preparing music demonstrations for lectures, assignments, quizzes, and exams.
PROFESSIONAL MEMBERSHIPS
American Musicological Society - Co-founder and Co-Chair of the Organology Study Group of the AMS
American Musical Instrument Society - Gribbon Memorial Award Committee member
North American British Music Studies Association - NABMSA Development Committee member
Jane Austen Society of North America
American Society for Eighteenth-Century Studies
