Education

  • Ph.D., Yale University, 2002.
  • M.Phil., Yale University, 2000.
  • B.Mus., Rice University, 1997, magna cum laude, Phi Beta Kappa.
  • Private viola lessons with Roberto Díaz, Jesse Levine, Csaba Erdélyi, and Evelyn Jacobs Luise.

Fellowships and Grants

  • Roland Jackson Memorial Grant from the American Musicological Society, 2024.
  • Claude V. Palisca Fellowship in Musicology from the Renaissance Society of America, 2023.
  • Grant-in-Aid from The Catholic University of America (for research travel), 2023.
  • Research Stay grants from the Deutscher Akademischer Austauschdienst, 2020, 2021.
  • Martha Goldsworthy Arnold Fellowship from the Riemenschneider Bach Institute at Baldwin Wallace University, 2020.
  • Grant-in-Aid from The Catholic University of America (for a research assistant), 2013–14.
  • Stipend from the Suziedelis Fund of the University Honors Program of The Catholic University of America for developing a new course, 2013.
  • Publication subvention from the AMS 75 PAYS Endowment of the American Musicological Society, 2011.
  • Publication subvention from the Margarita M. Hanson fund of the American Musicological Society, 2010.
  • Grant-in-Aid from The Catholic University of America (for research travel), 2009.
  • Grant-in-Aid from The Catholic University of America (for a research assistant), 2007.
  • Whiting Fellowship in the Humanities, 2001–2.
  • Miriam U. Chrisman Travel Fellowship from the Society for Reformation Research, 2001.
  • Mellon Foundation Fellowship for Dissertation Research, 2000.
  • Mellon Foundation Fellowship for Summer Foreign Language Study, 1998.
  • Jacob K. Javits Fellowship, 1997–2001.
  • Yale University Graduate Student Fellowship, 1997–99.
  • Research Grant from the Rice Undergraduate Scholars Program, 1996.

Awards

  • Distinguished Faculty Award for Excellence from the Benjamin T. Rome School of Music, Drama, and Art, 2022.
  • Catholic University of America Provost’s Award for Advancement of Teaching, 2012.
  • Travel Award from the South-Central Renaissance Conference, 2003.
  • Hollace Anne Schafer Memorial Award for student members of the New England Chapter of the American Musicological Society, 2000.
  • Hewitt-Oberdoerffer Award for student members of the Southwest Chapter of the American Musicological Society, 1997.

Books

  • Narrative and Robert Schumann's Songs: A New Approach to the Romantic Lied, Eastman Studies in Music (Rochester: Rochester University Press, in press).
  • Editor and contributor, A Companion to Music at the Habsburg Courts in the Sixteenth and Seventeenth Centuries, Brill’s Companions to the Musical Culture of Medieval and Early Modern Europe 4 (Leiden: Brill, 2021).
  • Co-editor with Daniel Abraham and Alicia Kopfstein-Penk, Leonard Bernstein and Washington, DC: Works, Politics, Performances, Eastman Studies in Music (Rochester: University of Rochester Press, 2020).
  • Sacred Music as Public Image for Holy Roman Emperor Ferdinand III: Representing the Counter-Reformation Monarch at the End of the Thirty Years’ War, Catholic Christendom 1300–1700 (Farnham: Ashgate, 2012).

Critical Editions

  • Pietro Verdina, Two Concerted Motets, Web Library of Seventeenth-Century Music 28 (September 2013); http://sscm-wlscm.org.
  • Motets by Emperor Ferdinand III and Other Musicians from the Habsburg Court, 1637–1657, Collegium Musicum: Yale University, second series 18 (Middleton, WI: A-R Editions, 2012).
  • Giovanni Felice Sances, Motetti a 2, 3, 4, e cinque voci (1642), Recent Researches in the Music of the Baroque Era 148 (Middleton, WI: A-R Editions, 2008).
  • Antonio Bertali, Lamento della Regina d’Inghilterra, Web Library of Seventeenth-Century Music 11 (April 2008); http://sscm-wlscm.org.
  • Giovanni Valentini, Cantate gentes, Web Library of Seventeenth-Century Music 9 (December 2007); http://sscm-wlscm.org.

Journal Articles

  • “Who Sees the Erlkönig? A Typology of the German Romantic Ballad,” Musical Quarterly, forthcoming.
  • “The Materiality of Musical Diplomacy in Early Modern Europe: Representation and Negotiation in Andreas Rauch’s Currus triumphalis musicus (1648),” Journal of Musicology 35 (2018): 460–97.
  • “Crafting the Fairy Tales: Schumann’s Autograph Manuscript of Märchenbilder, Op. 113,” Journal of the American Viola Society 34, no. 1 (2018): 33–45.
  • “Memories Spoken and Unspoken: Hearing the Narrative Voice in Dichterliebe,” Journal of the Royal Musical Association 142 (2017): 31–67.
  • “Toward a New Grammar of Mid-Seventeenth-Century Harmonic Language: Hearing Expressive Harmonies in Motets from the Habsburg Court of Ferdinand III (1637–1657),” Journal of Seventeenth-Century Music 21 (2015, published 2017); https://sscm-jscm.org/jscm-issues/volume-21-no-1/toward-a-new-grammar-of-mid-seventeenth-century-harmonic-language/.
  • “A Recently Rediscovered Motet by Holy Roman Emperor Ferdinand III,” Early Music 43 (2015): 281–89.
  • “Towards a Narratological Analysis of the Romantic Lied: Events, Voice, and Focalization in Nineteenth-Century German Poetry and Music,” Music & Letters 95 (2014): 374–403.  
  • “Battling Romantic and Modernist Phantoms: Strauss’s Don Quixote and the Conflicting Demands of Musical Modernism,” Journal of Musicological Research 31 (2012): 1–26.
  • “The Rhetoric of Interruption in Giovanni Felice Sances’s ‘Motetti a voce sola’ (1638),” Schütz-Jahrbuch 32 (2010): 127–47.
  • “Poetry, Music and Fremdartigkeit in Robert Schumann’s Hans Christian Andersen Songs, op. 40,” Nineteenth-Century Music Review 6, no. 2 (December 2009): 41–69.
  • “Divine Wisdom and Dolorous Mysteries: Habsburg Marian Devotion in Two Motets from Monteverdi’s Selva morale et spirituale,” Journal of Musicology 24 (2007): 237–71.
  • “Music in the Service of Counter-Reformation Politics: The Immaculate Conception at the Habsburg Court of Ferdinand III (1637–1657),” Music & Letters 87 (2006): 361–78.

Book Chapters and Encyclopedia Entries

  • “Strozzi’s Opus 2 and Opus 5: Strozzi and the Habsburg Connection,” in Barbara Strozzi in Context, ed. Beth L. Glixon and Wendy Heller (Cambridge: Cambridge University Press, forthcoming).
  • “Music,” in Early Modern Court Culture, ed. Erin Griffey (London: Routledge, 2022), 506–17.
  • “Print Culture: Printed Music and Other Media in the Service of the Habsburgs,” in A Companion to Music at the Habsburg Courts in the Sixteenth and Seventeenth Centuries, ed. Andrew H. Weaver, Brill’s Companions to the Musical Culture of Medieval and Early Modern Europe 4 (Leiden: Brill, 2021), 397–438.
  • “Politics, Religion, and Music at the Early Modern Habsburg Courts: Some Context,” with Paula Sutter Fichtner, in A Companion to Music at the Habsburg Courts in the Sixteenth and Seventeenth Centuries, ed. Andrew H. Weaver, Brill’s Companions to the Musical Culture of Medieval and Early Modern Europe 4 (Leiden: Brill, 2021), 16–55.
  • “The Court Chapels of the Austrian Line (II): From Archduke Charles II to Emperor Leopold I,” with Lawrence Bennett and Steven Saunders, in A Companion to Music at the Habsburg Courts in the Sixteenth and Seventeenth Centuries, ed. Andrew H. Weaver, Brill’s Companions to the Musical Culture of Medieval and Early Modern Europe 4 (Leiden: Brill, 2021), 176–219.
  • “Work Discussion 6: Pierre de la Rue, Missa de feria,” in The Mechelen Choirbook: Study, ed. David Burn and Honey Meconi (Antwerp: Standaard/Davidsfonds, 2019), 131–40.
  • “Ferdinand III,” with Josef-Horst Lederer, Grove Music Online, 2014; http://www.oxfordmusiconline.com.
  • “Baciami, Claudio: Psychological Depth and Carnal Desire in the Marino Settings of Monteverdi’s Book Seven,” in Word, Image, and Song, Vol. 1: Essays on Early Modern Italy, ed. Rebecca Cypess, Beth L. Glixon, and Nathan Link (Rochester: University of Rochester Press, 2013), 167–89.
  • “Representing the Emperor in Sound: Sacred Music as Public Image for Ferdinand III at the End of the Thirty Years’ War,” in Sakralmusik im Habsburgerreich 1570–1770, ed. Tassilo Erhardt (Vienna: Austrian Academy of Sciences, 2013), 77–94.
  • “Giorgio Rolla’s Teatro musicale (1649) as an (Unintentional) Contribution to the Public Image of Holy Roman Emperor Ferdinand III,” in Barocco Padano 7: Atti del XV Convegno internazionale sulla musica italiana nei secoli XVII–XVIII, Milano, 14–16 luglio 2009, ed. Alberto Colzani, Andrea Luppi, and Maurizio Padoan (Como: Antiquae Musicae Italicae Studiosi, 2012), 491–504.
  • “Aspects of Musical Borrowing in the Polyphonic Missa de feria of the Fifteenth and Sixteenth Centuries,” in Early Musical Borrowing, ed. Honey Meconi (New York: Routledge, 2004), 125–48.

Reviews

  • Review of David M. Bynog, Notes for Violists: A Guide to the Repertoire (Oxford: Oxford University Press, 2021), Journal of the American Viola Society 37, no. 1 (Spring 2021): 71–73.
  • Review of Robert L. Kendrick, Fruits of the Cross: Passiontide Music Theater in Habsburg Vienna (Oakland: University of California Press, 2019), Church History 89 (2020), 197–99.
  • Review of Listening to Early Modern Catholicism: Perspectives from Musicology, ed. Daniele V. Filippi and Michael Noone (Leiden: Brill, 2017), Renaissance Quarterly 72 (2019): 728–30.
  • Review of Musik in neuzeitlichen Konfessionskulturen (16. bis 19. Jahrhundert): Räume – Medien – Funktionen, ed. Michael Fischer, Norbert Haag, and Gabriele Haug-Moritz (Ostfildern: Thorbecke, 2013), Renaissance Quarterly 68 (2015): 1090–91.
  • Review of The Royal Chapel in the Time of the Habsburgs: Music and Court Ceremony in Early Modern Europe, ed. Juan José Carreras and Bernardo García García, trans. Yolanda Acker, English edition by Tess Knighton (Woodbridge: Boydell, 2005), Renaissance Quarterly 60 (2007): 978–79.
  • Review of Bonnie Gordon, Monteverdi’s Unruly Women: The Power of Song in Early Modern Italy (Cambridge: Cambridge University Press, 2004), Seventeenth-Century News 65 (2007): 44–47.
  • Review of Giovanni Antonio Rigatti, Messe e salmi, parte concertati, 3 vols., ed. Linda Maria Koldau, Recent Researches in the Music of the Baroque Era 128–30 (Middleton, WI: A-R Editions, 2003), Journal of Seventeenth-Century Music 11, no. 1 (2005); http://www.sscm-jscm.org/jscm/v11/no1/weaver.html.
  • Review of The Madrigals of Michelangelo Rossi, ed. Brian Mann, Monuments of Renaissance Music 10 (Chicago and London: University of Chicago Press, 2002), Seventeenth-Century News 63 (2005): 71–74.
  • Review of Thomas Elsbeth, Sonntägliche Evangelien, ed. Allen Scott, Recent Researches in the Music of the Baroque Era 127 (Middleton, WI: A-R Editions, 2003), MLA Notes 61 (2004): 548–51.
  • Review of Melchior Franck, Paradisus Musicus, ed. Martin P. Setchell, Recent Researches in the Music of the Baroque Era 106 (Madison: A-R Editions, 2000), MLA Notes 60 (2003): 272–74.

Dissertation

  • “Piety, Politics, and Patronage: Motets at the Habsburg Court in Vienna during the Reign of Ferdinand III (1637–1657)” (Ph.D. diss., Yale University, 2002).

Presentations at Scholarly Conferences

  • “The Lives and Afterlives of a Monumental Music Print: The Novus thesaurus musicus from the Sixteenth Century to Today,” paper presented at a conference in honor of Anne Schnoebelen on her ninetieth birthday, Rice University, 18 February 2024 (invited).
  • “Political Power and Resistance in a Printed Motet Anthology: Defining the Holy Roman Empire in the Novus thesaurus musicus (1568),” paper presented at the International Medieval and Renaissance Music Conference, Munich, 27 July 2023.
  • “Defining the Empire in a Music Print: The Novus thesaurus musicus (1568) between Nationalism and Cosmopolitanism,” paper presented at the conference Sounding Habsburg: Sonic Circulations in Central Europe, New York City, 23 April 2022.
  • “Cyclicity in Schumann’s Myrthen, op. 25: A Key to the Coherence of His Least Understood Song Cycle,” paper presented at the Annual Meeting of the American Musicological Society, online, 21 November 2021.
  • “Cyclicity in Schumann’s Myrthen, op. 25: A Key to the Coherence of His Least Understood Song Cycle,” paper presented at the Fall Meeting of the Capital Chapter of the American Musicological Society, hosted on Zoom by the University of Maryland, College Park, 10 October 2020.
  • “Who Sees the Erlkönig? Focalization and Meaning in Two Settings of Goethe’s Poem,” paper presented at the Joint Fall Meeting of the Allegheny, Capital, and Mid-Atlantic Chapters of the American Musicological Society, University of Delaware, 6 October 2018.
  • “Memories Spoken and Unspoken: Hearing the Narrative Voice in Dichterliebe,” paper presented at the Eightieth Annual Meeting of the American Musicological Society, Milwaukee, 7 November 2014.
  • “Memories Spoken and Unspoken: Hearing the Narrative Voice in Dichterliebe,” paper presented at the Fall Meeting of the Capital Chapter of the American Musicological Society, University of Virginia, 18 October 2014.
  • “Musical Diplomacy at the End of the Thirty Years’ War: Negotiating the Emperor’s Power in Andreas Rauch’s Currus triumphalis musicus (1648),” paper presented at the Sixteenth Biennial International Conference on Baroque Music, Universität Mozarteum, Salzburg, 12 July 2014.
  • “‘Encomiums, Hymns, and Triumphs’—with a Catch: Imperial Politics and Musical Diplomacy in Andreas Rauch’s Currus triumphalis musicus (1648),” paper presented at the Twenty-Second Annual Conference of the Society for Seventeenth-Century Music, Trinity University, San Antonio, 5 April 2014.
  • “Diplomacy and the Printing Press: Musical Diplomacy in Andreas Rauch’s Currus triumphalis musicus (1648),” paper presented at the Sixtieth Annual Meeting of the Renaissance Society of America, New York City, 28 March 2014.
  • “The Challenge of Studying Music and History Together,” with Celia Applegate, Glenda Goodman, Jeffrey Jackson, Stanley Pelkey, and William Weber, roundtable discussion at the 128th Annual Meeting of the American Historical Association, Washington, DC, 2 January 2014 (invited).
  • “‘Encomiums, Hymns, and Triumphs’—with a Catch: Imperial Politics and Musical Diplomacy in Andreas Rauch’s Currus triumphalis musicus  (1648),” paper presented at the conference “Only the Passions Sing; the Understanding Can But Speak”: A Conference in Honor of Ellen Rosand, Yale University, 8 September 2013 (invited).
  • “The Early Modern Music Print as Diplomatic Act: Andreas Rauch’s Currus triumphalis musicus (1648),” paper presented at the conference Music and Diplomacy, Tufts University and Harvard University, 2 March 2013.
  • “Putting Words in the Emperor’s Mouth: Representations of Emperor Ferdinand III in a Milanese Motet Anthology,” paper presented at the Eighteenth Annual Conference of the Society for Seventeenth-Century Music, Rice University, 6 March 2010.
  • “Representing the Emperor in Sound: Sacred Music as Public Image for Ferdinand III at the End of the Thirty Years’ War,” paper presented at the conference Sacred Music in the Habsburg Empire 1619–1740 and Its Contexts, Roosevelt Academy (University of Utrecht), Middelburg, The Netherlands, 6 November 2009.
  • “Representing the Monarch in Sound: Sacred Music as Public Image for Holy Roman Emperor Ferdinand III at the End of the Thirty Years’ War,” paper presented at the Joint Fall Meeting of the Capital and Southeast Chapters of the American Musicological Society, Christopher Newport University, 26 September 2009.
  • “Giorgio Rolla’s Teatro musicale (1649) as an (Unintentional) Contribution to the Public Image of Holy Roman Emperor Ferdinand III,” paper presented at the conference La musica e il sacro: XV Convegno internazionale sul Barocco padano, A.M.I.S. – Como, The Catholic University of Milan, 16 July 2009 (invited).
  • “Battling Romantic and Modernist Phantoms: Strauss’s Don Quixote and the Conflicting Demands of Musical Modernism,” paper presented at the Fall Meeting of the Capital Chapter of the American Musicological Society, Randolph-Macon College, 11 October 2008.
  • “Modernism and the Death of the Idealist: Reinterpreting Strauss’s Don Quixote,” paper presented at the conference Strauss Among the Scholars: An International Forum, Magdalen College, the University of Oxford, 1 July 2007.
  • “The Politics of Printing: Reflections of War in a Motet Print from the Habsburg Court of Ferdinand III (1637–57),” paper presented at the Fall Meeting of the Capital Chapter of the American Musicological Society, The George Washington University, 1 October 2005.
  • “The Emperor’s Voice: Style, Structure, and Meaning in a Motet from the Habsburg Court of Ferdinand III (1637–57),” paper presented at the Thirteenth Annual Conference of the Society for Seventeenth-Century Music, Northwestern University, 17 April 2005.
  • “Toward a Rhetorical Analysis of Large-Scale Structure in Seventeenth-Century Music: A Case Study Using Works by Giovanni Felice Sances,” paper presented at the Seventieth Annual Meeting of the American Musicological Society, Seattle, 12 November 2004.
  • “Toward a Rhetorical Analysis of Large-Scale Structure in Seventeenth-Century Music: A Case Study Using Works by Giovanni Felice Sances,” paper presented at the Spring Meeting of the Midwest Chapter of the American Musicological Society, Grand Valley State University, 4 April 2004.
  • “Sacred Music and Monarchical Representation in tempore belli: The Austrian Habsburgs at the End of the Thirty Years’ War,” paper presented at the Annual Meeting of the South-Central Renaissance Conference, New Orleans, 7 March 2003.
  • “New Light in the Forest: A Context for the Solo Motets in Claudio Monteverdi’s Selva morale et spirituale (1641),” paper presented at the Sixty-Eighth Annual Meeting of the American Musicological Society, Columbus, 1 November 2002.
  • “Maria Patrona Austriae: Musical Representations of the Immaculate Conception at the Habsburg Court of Ferdinand III (1637–1657),” paper presented at the Annual Meeting of the South-Central Renaissance Conference, St. Louis, 5 April 2002.
  • “The Polyphonic Missa de feria and Aspects of Borrowing in Renaissance Music,” paper presented at the Fall Meeting of the New England Chapter of the American Musicological Society, Brandeis University, 25 September 1999.
  • “The Polyphonic Missa de feria of the Early Sixteenth Century: Uncovering a Tradition,” paper presented at the Fall Meeting of the Southwest Chapter of the American Musicological Society, Southern Methodist University, 19 October 1996.

Conference Sessions Chaired

  • “Unexpected Sacred Sounds,” Thirty-Second Annual Conference of the Society for Seventeenth-Century Music, Princeton University, 5 April 2024.
  • Session 3, a conference in honor of Anne Schnoebelen on her ninetieth birthday, Rice University, 18 February 2024.
  • “Liturgy and Devotion: Singing the Sacred,” Thirtieth Annual Conference of the Society for Seventeenth-Century Music, University of Delaware, 9 April 2022.
  • “Contested Catholicism,” Twenty-Ninth Annual Conference of the Society for Seventeenth-Century Music, hosted online by the University of Oregon, 18 April 2021.
  • “Reassessing Romanticism,” Eighty-Sixth Annual Meeting of the American Musicological Society, virtual, 8 November 2020.
  • “Reading Early Modern Books,” Eighty-Fifth Annual Meeting of the American Musicological Society, Boston, 2 November 2019.
  • “Philosophical Undertones,” Fall Meeting of the Capital Chapter of the American Musicological Society, Library of Congress, 21 September 2019.
  • “After the Thirty Years’ War,” Twenty-Seventh Annual Conference of the Society for Seventeenth-Century Music, Duke University, 5 April 2019.
  • “Marian Liturgy and Music,” Picturing Mary: Woman, Mother, Idea, a Graduate Student Conference Co-Hosted by the National Museum of Women in the Arts and The Catholic University of America, 21 March 2015.
  • “International Stylistic Translations,” Spring Meeting of the Capital Chapter of the American Musicological Society, The Catholic University of America, 26 April 2014.
  • “Psalm Settings and Politics,” Seventy-Ninth Annual Meeting of the American Musicological Society, Pittsburgh, 9 November 2013.
  • “Musical Meanings in Early Modern England,” Fall Meeting of the Capital Chapter of the American Musicological Society, Shenandoah University, 5 October 2013.
  • AMS – Library of Congress Lecture Series: Barbara Heyman, “Samuel Barber: Serendipitous Discoveries,” Coolidge Auditorium, Library of Congress, 2 October 2012.
  • “Music and Imitation,” Fifty-Eighth Annual Meeting of the Renaissance Society of America, Washington, DC, 23 March 2012.
  • Session VII, Sacred Music in the Habsburg Empire 1619–1740 and Its Contexts, Roosevelt Academy (University of Utrecht), Middelburg, The Netherlands, 7 November 2009.

Invited Scholarly Lectures

  • “Political Power and Resistance in a Music Print: Defining the Holy Roman Empire in the Novus thesaurus musicus (1568),” paper presented in the O'Brien Lecture Series of the Medieval & Early Modern Studies Program at Rice University, 23 February 2023.
  • “Material Culture and Musical Diplomacy in the Sixteenth and Seventeenth Centuries: The Novus thesaurus musicus (1568) as a Multivalent Political Object,” paper presented in the Baldwin Wallace University Music Academic Studies Seminar as Martha Goldsworthy Arnold Fellow, 14 March 2022.
  • “The Materiality of Musical Diplomacy in Early Modern Europe: Negotiating the Emperor’s Power in Andreas Rauch’s Currus triumphalis musicus (1648),” paper presented at the Music Scholars Lecture Series of the University of Maryland, College Park, 20 February 2015.
  • “Dichterliebe and the Telling of Narrative in Song,” paper presented at the Peabody Institute D.M.A. Musicology Colloquium, 28 March 2012.
  • “‘Da hab ich ihr gestanden’: Framing the Narrative Voice in Dichterliebe,” paper presented at the Case Western Reserve University Musicology Colloquium, 7 October 2011.
  • “Music and Rhetoric in the Seventeenth Century: A New Approach,” paper presented at the Northwestern University Musicology Colloquium, 28 October 2004. 

Public Lectures

  • “Of Color, Space, and Texture: How We Use Visual Language to Talk about Music,” Gaithersburg Arts Barn, 16 February 2019.
  • “Debussy’s Preludes between Musical and Visual Impressionism,” pre-concert lecture in the Washington International Piano Series at The Catholic University of America, Ward Recital Hall, 15 November 2018.
  • “Beethoven’s Late Piano Sonatas,” pre-concert lecture in the Benjamin T. Rome School of Music’s Beethoven 32 Piano Sonatas Concert Series, Ward Recital Hall, The Catholic University of America, 10 November 2015.
  • “Mahler and His Fourth Symphony in Fin-de-siècle Vienna,” pre-concert lecture for the Catholic University Symphony Orchestra, Sligo Seventh-Day Adventist Church, Takoma Park, Maryland, 17 November 2013.
  • Podcast Lectures (“eInsights”) for the Washington National Opera: Strauss’s Ariadne auf Naxos (October 2009); Wagner’s Götterdämmerung (November 2009).
  • “Ferdinand III’s Vienna,” pre-concert lecture for the Yale University Collegium Musicum, Beinecke Library, Yale University, 28 April 2004.

Other Writings

  • “Giovanni Felice Sances und die geistliche Musik am habsburgischen Hof in Wien,” Program Notes for a concert by Abendmusiken Basel, Predigerkirche Basel, 9 October 2022.
  • Program Notes for a concert by the Rome Trio (faculty trio from the Benjamin T. Rome School of Music) at the National Gallery of Art (Washington, DC), 18 September 2011.
  • Program Notes for a concert by the Rome Trio in Weill Recital Hall at Carnegie Hall, 2 November 2010.
  • “AMS 2009: The Seventy-Fifth Anniversary Rich in the Seventeenth Century,” Seventeenth-Century Music: The Newsletter of the Society for Seventeenth-Century Music  19, no. 2 (Spring 2010): 1, 12–13.
  • “Handel’s Julius Caesar and Opera Seria in Eighteenth-Century London,” Program Notes for a student production at the Benjamin T. Rome School of Music, 9–12 November 2006. I also helped organize and spoke at a Preview Performance for the production.
  • Program Notes for a concert of seventeenth-century sacred music planned in conjunction with the Thirteenth Annual Conference of the Society for Seventeenth-Century Music, Northwestern University, 16 April 2005, a concert that I planned and helped program.
  • “Ferdinand III’s Vienna,” Program Notes for the Yale University Collegium Musicum, 28 April 2004, a concert that I planned and helped program.
  • “New Editions of Sacred Music by Giovanni Felice Sances,” with Steven Saunders, Seventeenth-Century Music: The Newsletter of the Society for Seventeenth-Century Music 13, no. 1 (Fall 2003): 17–18.
  • Program Annotator for the Chamber Music Society of Bethlehem, Pennsylvania, 1998–99.

Editorial Experience

  • Editor, AMS Newsletter, 2012–14.
  • Editor, Benjamin T. Rome School of Music Newsletter, 2011–16.
  • Advisory Committee for Grove Music Online, 2014–16.
  • Member of the Editorial Board of the Web Library of Seventeenth-Century Music, since 2010.
  • Peer Reviewer for the Austrian Science Fund (FWF).
  • Peer Reviewer for Oxford University Press and Catholic University of America Press.
  • Peer Reviewer for the Journal of the American Musicological Society, Journal of the Royal Musical Association, Journal of Musicology, Early Music, Journal of Seventeenth-Century Music, and the Web Library of Seventeenth-Century Music.
  • Editorial Assistant, 19th-Century Music, 2002–3.

Elected Offices in Academic Societies

  • Member of the Council of the American Musicological Society, 2013–16.
  • Secretary, Society for Seventeenth-Century Music, 2012–15.
  • Chair, Capital Chapter of the American Musicological Society, 2006–9.