Publications

BOOKS

Music for Silent Film: A Guide to North American Resources, A-R Editions and the Music Library Association Index and Bibliography Series, 2016.

Louise Talma: A Life in Composition, Ashgate Publishing, 2014.

Shakespeare, Madness and Music: Scoring Insanity in Cinematic Adaptations, Scarecrow Press, 2009.

The Conservatoire Américain: a History, Scarecrow Press, 2007.

EDITIONS

The Art Songs of Louise Talma, CMS Sourcebooks/Routledge, 2017.

DIGITAL HUMANITIES PROJECTS

Director, The Silent Film Sound and Music Archive, 2013-present

EDITED COLLECTIONS

Contributing co-editor, with Mariana Whitmer, Re-Locating the Sounds of the Western, Ashgate Publishing, forthcoming 2018.

Contributing editor, Buffy, Ballads, and Bad Guys Who Sing: Music in the Worlds of Joss Whedon, Scarecrow Press, 2010.

BOOK CHAPTERS

2015

Music for Richard III: Cinematic Scoring for the Early Modern Monstrous,” The Oxford Handbook of Music and Disability Studies, ed. Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, and Joseph Straus, Oxford University Press, 2015. (Video examples here.)

2014

The Use of Early Modern Music in Film Scoring for Elizabeth I” in Gender and Song in Early Modern England, ed. Leslie C. Dunn and Katherine R. Larson, Ashgate, 2014. (Proof copy)

Sounds of India in Supple’s Twelfth Night,” in Bollywood Shakespeares, ed. Craig Dionne and Parmita Kapadia, Palgrave Macmillan, 2014.

2012

The Lady Vanishes: Vocality and Agency in Cinematic Ophelias,” in The Afterlife of Ophelia, ed. Deanne Williams and Kaara L. Peterson, Routledge, 2012.

 2010

 “‘The Status is Not Quo’: Gender and Performance in Dr. Horrible’s Sing-Along Blog,”Buffy, Ballads, and Bad Guys Who Sing: Music in the Worlds of Joss Whedon, Scarecrow Press, 2010.

“‘The Future is the Past’: Music and History in Firefly,” Space and Time: Essays on Visions of History in Science Fiction and Fantasy, ed. David C. Wright and Allen W. Austin, McFarland Press, 2010.

RESEARCH ARTICLES (REFEREED)

2017

“Shakespeare’s Second Line,” Borrowers and Lenders, special issue on “Shakespeare and Jazz,” ed. Stephen Buhler (forthcoming).

2016

Using Resources for Silent Film Music,” Fontes Artis Musicae 63 (October-December 2016), 259-76.

History Faux/Real: the 2006 Ur-Hamlet,” kadar koli 10.

The Past is a Foreign Country: World Musics Signifying History in/and Elizabethan Drama,” Borrowers and Lenders 11, no. 1.

Listening to the Gaoler’s Daughter,” Cerae 3.

2014

From ‘Angel of Music’ to ‘that Monster’: Music for the Human Uncanny in Phantom of the Opera (1925/1929),” Studies in Gothic Fiction 3, No. 1 (Spring 2014), 13-23.

2013

“Cheer up, Hamlet! Using Shakespearean Burlesque to Teach the Bard,” This Rough Magic, Summer 2013.

Significations of Religious Desire in Louise Talma’s The Alcestiad,Religion and the Arts, vol. 17, no. 3 (2013).

Rosalind’s Musical Identities in Branagh’s and Doyle’s As You Like It,” Upstart Crow, January 2013.

 2012

Origin Stories: Louise Talma’s Early Life,” Journal of Historical Biography, 12 (2012).

Towards a Works List for Louise Talma,” Fontes Artis Musicae, vol. 59, no. 2 (2012: 2).

Hearing the Scene: Approaches to Live Music in Modern Shakespearean Productions,” Early Modern Studies Journal, vol. 5 (November 2012).

Style and Form in Louise Talma’s Early Songs,” Journal of Musicological Research, vol. 31, no. 4 (October 2012).

A Great Desire: Autobiography in Louise Talma’s Early Vocal Works,” Current Musicology, Issue 94/Fall 2012.

2011

Topsy-Turvy Victoriana: Locating Life and Death in Corpse Bride,” Aether, Vol. 7, January 2011.

2010

Louise Talma’s Christmas Carol,” Notes, June 2010.

2009

Silencing Ophelia: Male Aurality as a Controlling Element in Olivier’s Hamlet,” Scope, Issue 14, June 2009.

“Secret Rooms and Borrowed Pianos: Two Women’s Roles in Preserving the Conservatoire Américain during the Occupation,” Women in French Studies: Selected Essays from the 2006 WIF conference, March, 2009.

 2007

“‘Excellence in Execution’ and ‘Fitness for Teaching’: Assessments of Women at the Conservatoire Américain,” Women and Music: A Journal of Gender and Culture, vol. 11, November 2007.

INVITED ARTICLES

2015

Heavy Metal Elves;” “Survival through Song; ” “Art Mimics Art: Anthony Burgess’s Napoleon Symphony;” “American Folk Rock Cattle Raid: The Decemberists’s The Tain;” The Avid Listener, W. W. Norton and Co., 2015.

Discovering Louise Talma’s First Orchestral Works;” “Louise Talma’s A Time to Remember;” “Louise Talma’s Toccata;” Women’s Philharmonic Advocacy, 2015.

2014

“The Innovations of Ruth Crawford Seeger;” “Women Can’t Do That: Delia Derbyshire and Electronic Music;” “Song of Myself: Autobiography in Pop Music;”Hearing Gender in George Lucas’s Galaxy;” for The Avid Listener, W. W. Norton and Co., 2014.

“Louise Talma’s Last Song and the Erasure of a Life,” The Journal of the International Alliance for Women in Music, May 2014.

2006

“‘Two Hard Etudes and a Schumann Number’: American Women, Repertoire and Mentoring in France, 1921-1951,” The Journal of the International Alliance for Women in Music, September 2006.

REVIEW ARTICLES

2011
Guides to Writing about Music,”Journal of Music History Pedagogy, Vol. 2, No. 1. (Fall 2011), 2011.

REVIEWS   

2016

Rebekah Ahrendt, Mark Ferraguto, Damien Mahiet, eds., Music and Diplomacy from the Early Modern Era to the Present, H-Net Reviews, March 2016.

2015

Claus Tieber and Anna Katherina Windlisch, eds., The Sounds of Silent Films: New Perspectives on History, Theory, and Practice and Michael Slowik, After the Silents: Hollywood Film Music in the Early Sound Era, 1926-1934, Current Musicology.

Scott Messing, Marching to the Canon: The Life of Schubert’s Marche Militaire, H-Net Reviews, October 2015.

Denise von Glahn, Music and the Skillful Listener: American Women Compose the Natural World, Notes, June 2015.

2014

Felix Mayer, Carol J. Oja, Wolfgang Rathert, and Anne C. Shreffler, eds. Crosscurrents: American and European Music in Interaction, 1900-2000, NABMSA Reviews, Autumn 2014.

Magellan’s Playlist: On Tour in China (CD). The Athens Guitar Duo. Claudio, 2013, I Care If You Listen, 2014.

Jacob Druckman: Lamia (also includes That Quickening Pulse, Delizie Contente Che L’Alme Beate, Nor Spell Nor Charm, Suite from Médée) (CD). Boston Modern Orchestra Project led by Gil Rose and featuring Lucy Shelton, soprano. BMPO Sound, 2013, I Care If You Listen, 2014.

2013

Christopher R. Wilson, Shakespeare’s Musical Imagery, Upstart, December 2013

2012

Paul Attinello, Janet Halfyard, and Vanessa Knights, eds., Music, Sound, and Silence in Buffy the Vampire Slayer, Bulletin of the Society for American Music, Winter (January) 2012.

2011
Gabriel Fauré, Piano Trio; String Quartet; La Bonne Chanson, Notes, December 2011.

Mark Adamo, Little Women (video), Notes, September 2011.

 2010

Bruno Monsaingeon, Mademoiselle (video), Notes, March 2010.

 2009

Royal S. Brown, Film Musings, Scope, Issue 14, June 2009.

 2008

Gian Carlo Menotti, Help! Help! The Globolinks (video), Notes, August 2008.

Philip Hayward, ed., Off the Planet: Music, Sound and Science Fiction Cinema, The Journal of Film Music, Fall 2008.

 2007

Caroline Potter, Nadia and Lili Boulanger, Notes, December 2007.

Phil Powrie and Robynn Stilwell, eds., Changing Tunes: The Use of Pre-existing Music in Film, Notes, March 2007.

 2006

Sergei Rachmaninoff, The Miserly Knight (video), Notes, March 2006.

 2002

Gilbert Amy, Memoire pour violoncelle et piano d’après Shin’anim sha’ananim (1979-1989); Georges Aperghis, Sonate pour violoncelle seul (1994); Nicolas Bacri, Suite no. 1 “Preludio e Metamorfosi,”, pour violoncelle seul, opus 31 no. 1 (1987-94); Jacques Castérède, Sonate pour violoncelle et piano (1996); Alexander Comitas, Yiddish Suite pour violoncelle et piano, opus 17 (1995); Thierry Escaich, Nocturne pour violoncelle et piano (1997); Renaud Gagneux, Trois bagatelles pour violoncelle seul, opus 49 (1997); Ingrid Guymer, Seven Sketches pour violoncelle seul (1989) and Chainmail pour violoncelle solo (1995); Georges Migot, Sonate et Rhapsodie pour violoncelle seul; Serge Nigg, Duo élégiaque pour violoncelle et piano; Ton-That Tiêt, Xuân Vũ pour violoncelle et piano; Jean-Jacques Werner, Clair-obscur pour violoncelle et harpe (1996), Notes, September 2002.

 2001

Richard Hickox, Holst’s The Scholar Gypsy (CD), Music Research Forum, vol. 16, June 2001.

Diana Burrell, Heron: For Cello and Piano (1988); Barbara Heller, Lalai: Schlaflied zum Wachwerden? für Violoncello und Klavier (1989); Tania León, Four Pieces for Violoncello (1981); Augusta Read Thomas, Spring Song for Solo Cello (1995), Notes, March 2001.

 2000

Mark N. Grant, Maestros of the Pen, Music Research Forum, vol. 15, June 2000.

 DICTIONARY ARTICLES

2015

“Talma, Louise.” In Oxford Bibliographies in Music. Ed. Bruce Gustafson. New York: Oxford University Press, 2015.

2014

Talma, Louise.” In American National Biography. New York: Oxford University Press, 2014.

2013

“Adamo, Mark;” “Diamond, Beverly;” “Hamm, Charles (Edward);” “Koskoff, Ellen;” “McCulloh, Judith;” “Pollock, Howard;” “Tick, Judith.” In New Grove Dictionary of American Music, 2nd ed. Edited by Charles Hiroshi Garrett. New York: Oxford University Press, 2010, 2013.