BURNS, Lori
Books/Livres :
• Burns, Lori and M. Lafrance. Disruptive Divas: Feminism, Identity and Popular Music
(New York and London: Routledge Press, 2002).
[Winner of the Pauline Alderman award for a monograph on women and music,
International Alliance for Women in Music, 2005.]
Chapters in books/Chapitres de livres :
• Burns, Lori and Tamar Dubuc. “Cotextuality in Music Video: Covering and Sampling in
the Cover Art Video of “Umbrella.” In Pop-Culture Tools in the Music Classroom. Edited
by Nicole Biamante. Scarecrow Press, summer 2010.
• Burns, Lori. "Vocal Authority and Listener Engagement: Musical and Narrative
Expressive Strategies in Alternative Female Rock Artists (1993-95)." In Sounding Out
Rock, edited by John Covach and Mark Spicer, University of Michigan Press, 2010.
• Burns, Lori. "Meaning in a Popular Song: The Representation of Masochistic Desire in
Sarah McLachlan's 'Ice'." In Engaging Music: Essays in Musical Analysis, edited by
Deborah Stein (New York, Oxford University Press, 2004), 136-148.
[This edited collection received a Citation of Special Merit (Society for Music Theory,
2007) for its judicious choice of content, editorial care, and unique pedagogical value.]
• Burns, Lori. "Analytic Methodologies for Rock Music: Harmonic and Voice-Leading
Strategies in Tori Amos's "Crucify." In Expression in Pop-Rock Music: A Collection of
Critical and Analytical Essays, edited by Walter Everett (Garland, 2000), 213-46. Second
Edition Routledge Press, 2007.
Papers in refereed journals/Articles dans des revues avec comité de lecture :
•
Jada Watson and Lori Burns. “The Dixie Chicks are ‘Not Ready to Make Nice’: Re-gaining a
Voice through Text, Music, and Images.” Popular Music 29.3 (2010), in press.
•
Lafrance, Marc, Lara Worcester and Lori Burns. “Gender and the Billboard Top 40 Charts
between 1997 and 2007.” Popular Music and Society, forthcoming 2011.
•
Burns, Lori and Jada Watson. “Subjective Perspectives through Word, Image and Sound:
Temporality, Narrative Agency and Embodiment in the Dixie Chicks’ Video ‘Top of the World’”.
Music, Sound, and the Moving Image 4.1 (July 2010) 3-37.
•
Burns, Lori, Laura Hawley and Marc Lafrance. "Embodied Subjectivities in the Lyrical and
Musical Expression of PJ Harvey and Björk." Music Theory Online 14/4 (November, 2008).
•
Burns, Lori. " Feeling the Style: Vocal Gesture and Musical Expression in Billie Holiday,
Bessie Smith, and Louis Armstrong." Music Theory Online 11.3 (August, 2005).
•
Burns, Lori. "Sarah McLachlan's "Possession" (1993): Representations of Dominance and
Subordination in Lyrics, Music, and Images," Studies in Music at the University of Western
Ontario, vol. 19-20 (2005).
•
Burns, Lori and Alyssa Woods. "Authenticity, Appropriation, Signification: Tori Amos on
Gender, Race, and Violence in Covers of Billie Holiday and Eminem." Music Theory Online
10.2 (June 2004).
Reviews in refereed journals/Recensions dans des revues avec comité de lecture :
•
Burns, Lori. Review of “The Music of Joni Mitchell, by Lloyd Whitesell (Oxford University
Press, 2008), in Journal of Popular Music Studies, 2009.
•
Burns, Lori. "Review: Analyzing Popular Music, edited by Allan Moore (Cambridge University
Press, 2003), Notes, Spring 2004.
Refereed conference papers/Communications à des colloques scientifiques avec comité de lecture :
•
Burns, Lori, Jada Watson and Marc Lafrance. “The collision of spectacle and
confessional in P!nk’s Funhouse.” Paper presented at the Popular Culture
Association/American Culture Association conference, Music Panel, St. Louis, 2010.
•
Lafrance, Marc, Lori Burns and Jada Watson. “Subjectivity, Spectacle and Surveillance
on Britney Spears’ Blackout.” Paper presented at the Popular Culture
Association/American Culture Association conference, Gender and Music Culture Panel,
St. Louis, 2010.
•
Lafrance, Marc, Alyssa Woods, and Lori Burns. “I Got Homies, But I’m Still So Lonely”
Men and Masculinity on Kanye West’s 808s and Heartbreak.” Paper presented at the
Popular Culture Association/American Culture Association conference, Black Music and
Hip Hop Culture Panel, St. Louis, 2010.
•
Burns, Lori, Marc Lafrance and Tamar Dubuc. “Aspects of Visual and Musical Rhythm in
Contemporary Pop Video: Embodied Subjectivity in Rihanna's ‘Umbrella.’” Paper
presented at the Canadian University Music Society, as part of the Congress on Social
Sciences and Humanities, Carleton University, May 2009.
•
Lafrance, Marc, Lori Burns, and Jada Watson. “Fame, Fortune and Femininity: Situating
Female Musicians on the Billboard Top 40 Charts between 1997 and 2007.” Paper
presented at the Midwest Modern Languages Association, Minneapolis, November 2008.
•
Burns, Lori and Jada Watson. “Gendered Perspectives through Word, Image and
Sound: Temporality, Narrative Agency and Embodiment in the Dixie Chicks’ Video “Top
of the World.” Paper presented at the Society for Music Theory annual conference,
Nashville, Tennessee, November 2008.
•
Burns, Lori and Marc Lafrance. “Performing Post-Millennial Femininity: Examining the
Pornification of Popular Music Made by Women.” Paper presented at the Canadian
Women’s Studies Association conference, Vancouver, June 1-3, 2008.
•
Lafrance, Marc and Lori Burns. "Pornifying the Post-Millennium? Recent Trends in
Popular Music Made by Women." Paper presented at the Popular Cultural Association /
American Culture Association joint conference, San Francisco, March 2008.
•
Burns, Lori and Marc Lafrance. “Visceral meditations on desire: Embodied dimensions
of musical and lyrical expression in PJ Harvey’s Uh Huh Her (2004).” Paper presented at
the Feminist Theory and Music 9, McGill University, June 2007.
•
Lafrance, Marc and Lori Burns. “From Lilith Fair to Porno Pop: Feminism, Identity, and
Popular Music in the Post-Millennium.” Paper presented at the Feminism and Popular
Culture Conference, Newcastle, UK, June, 2007.
•
Burns, Lori. “Feminist Vocal Authority: Musical and Narrative Expressive Strategies in
Alternative Female Rock Artists (1993-95).” Paper presented at the International
Association for the Study of Popular Music-Canada, Carleton University, May 15-17,
2004.
•
Burns, Lori and Alyssa Woods. "Authenticity or Appropriation: "Tori Amos's Signifyin(g)
on Gender, Race, and Violence in Covers of Billie Holiday and Eminem." Paper
presented at the Society for Music Theory annual conference, Madison, Wisconsin, Nov.
6-10, 2003.
•
Burns, Lori. "Vocal 'Style' and 'Feeling': Billie Holiday's Signifyin(g) on Louis Armstrong
and Bessie Smith." Paper presented at the conference "Music and Gesture," Norwich,
England, August 28-31, 2003.
Invited papers/Conférencière invitée :
•
Invited Speaker, “Aspects of Visual and Musical Rhythm in Contemporary Pop Video:
Embodied Subjectivity in Rihanna's ‘Umbrella.’” Symposium, “The Avant Garde and the Future
of Art Music,” Queen’s University, Jan. 24, 2009.
•
Plenary Speaker, “Feminist Theory and Music: (Trans) Disciplinary Perspectives.” Feminist
Theory and Music 9, McGill University, June 2007.
•
Keynote Address, delivered at the Don Wright Faculty of Music Graduate Student Symposium,
University of Western Ontario, May 2007.
•
"All That Matters Is My Voice and My Story: Intensity of Vocal and Instrumental Expression in
PJ Harvey's Uh Huh Her (2004)" Paper presented as part of the Carolina Symposia in Music
and Culture, University of North Carolina at Chapel Hill, March 2007 and at the Susan B.
Anthony Institute, University of Rochester, April 2007.
•
" Vocal Authority and Listener Engagement: Musical and Narrative Expressive Strategies in
Alternative Female Rock Artists (1993-95)," invited presentation at Queen’s University,
November 2005.
External research grants/Bourses externes :
2007-2010
SSHRC, $88,094, 3-year Standard Research Grant, “Subjectivity, Embodiment and
Resistance in Popular Music by Female Artists,” co-researcher Marc Lafrance
2002-2005
SSHRC, $51,900, 3-year Standard Research Grant, “Covering and Interpreting the Blues
and Torch Songs: Musical Expressions of Gender, Identity, and Sexuality”
Graduate student supervision/Supervision d’étudiant(e)s diplomé(e)s :
•
Dave Rowat, New Perspectives: Vocal Expression in Extreme Metal (2010)
•
Rebecca Small, An Analysis of Klezmer Music (2010)
•
Jen Moore, The Expressivity of Musical Gestures and the Evocation of Interpretable
Narrative in the Music of Claude Debussy (2009)
•
Laura Hawley, Jazz Improvisation, Analysis and Interpretation: Three Performances of
“Honeysuckle Rose” by Ella Fitzgerald (2007)
•
Erica Vezeau, Musical Messaging in the Early Piano Correspondance Between Clara
Wieck and Robert Schumann (2005)
•
Matt Smith, Platform, Position and Purpose: Analyzing the Studio Recordings and Live
Performance of U2 (2005)
•
Sandra Wilson (2004)
•
Alyssa Woods, Violence and the Negotiation of Musical Meaning in a Rock, Pop, and
Rap Cover Songs (2003)
•
Julie Berkelaar-Lacroix, Neoclassicism and Papineau-Couture's Suite Pour Piano (2002)
•
Kelly Francis, Rhythmic Motion in Selected Chorale Preludes from J.S. Bach's
Orgelbhchlein (2000)
•
Margaret Brydges, Eight Songs for a Mad King by Sir Peter Maxwell Davies - The
Relationship Between Performance Space and Pitch Space (2000)
•
Maya Chaly, Perspectives on Popular Music Analysis: Towards a Standardized Approach
(1999)
•
Philip Stoecker, An Analysis of Joan Tower's Sequoia (1997)
DINEEN, Murray
Books/Livres :
• Friendly Remainders: Essay in Music Criticism after Adorno. Accepted for
publication by McGill-Queens University Press.
Chapters in refereed books/Chapitres de livres avec comité de lecture :
• “Schoenberg’s First Chamber Symphony, Formalism, and Adorno’s Critique of TwelveTone Composition.” In a collection of essays, edited by James Wright and Allan Gilmor.
New York: Pendragon Press, 2009.
• “Form, the Aesthetic of the Aural Tradition, and Vaughan William's Fifth Symphony." In a
collection of essays, edited by Robin Wells and Byron Adams. Aldershot: Ashgate, 2003.
Papers in refereed journals/Articles dans des revues avec comité de lecture :
• “Lexicon for a Leftist Aesthetic of Music: Hans Wind’s Chart of the Gesetze der Kunst.”
The International Review of the Aesthetics and Sociology of Music (December 2010).
• “The ‘Cellist’s Predicament, or Imagination, Ethics, and Musical Performance.”
International Review of the Aesthetics and Sociology of Music 40, no. 2 (December
2009).
• “Schoenberg and the Radical Economies of Harmonielehre.” Culture Unbound. Volume
1, Article 8, 2009: 105-35. URL: http://www.cultureunbound.ep.liu.se/v1/a08/
• “Schoenberg’s Modulatory Calculations: Wn Fonds 21 Berg 6/III/66, and Tonality.” Music
Theory Spectrum 25, no. 1 (Spring 2005): 97-112.
• "Fugue and Form." International Studies in Philosophy 36, no. 1 (2004 [appeared
2005]):39-60.
Papers in refereed conference proceedings/Communications publiées dans les compte-rendue
de congrès avec comité de lecture :
• “Schoenberg, Adorno, Adler, and Dahlhaus: Musicology and Globalization.” In the
proceedings of a congress of the International Musicological Society of Japan entitled
Musicology and Globalization, Shizuoaka, Japan. 2005.
• "Das 'tonal problem'. Zu einem historisch-systematischen Analysemodell," in the
Kongressbericht to the first meeting of the German Society for Music Theory, Dresden,
October 2001. 2005.rs/
Major invited contributions and/or technical reports/Contributions majeures sur invitation et/ou
rapports techniques :
• Canadian Association of Learned Journals, Congress 2010, Montreal, a paper entitled
“Strengthening Peer Review: Process and Product,” as part of a panel on peer review
and journalism in Canada.
• “The Tonal Problem as a Method of Analysis,” Theory and Practice 30 (2005): 69-96.
• “Tonal Problem, Carpenter Narrative, and Carpenter Motive in Schubert’s Impromptu,
Op. 90, No. 3,” Theory and Practice 30 (2005): 97-120.
Refereed conference papers/Communications à des colloques scientifiques avec comité de
lecture :
• “Hans Wind’s Treatise The Final Crisis of Modern Music and the Role of Arnold
Schoenberg (Vienna 1935) and the Dialectics of a Musical Historical Materialism.”
Marxist Literary Group Institute on Culture and Society, June 14-19, 2010, Antigonish,
Nova Scotia, at a special meeting devoted to the topic of “The Dialectic.”
• “Mediation in Adorno’s Toward a Theory of Music Reproduction,” given at an international
conference on Adorno, Royal Northern Conservatory of Music, Manchester, UK,
September 2008.
• “Schoenberg’s First Chamber Symphony, Formalism, and Adorno’s Critique of TwelveTone Composition,” at a special symposium on Schoenberg, at Carleton University,
Ottawa, July 2007.
• “Adorno’s Critical Community: Typologies of Human Conduct in Adorno’s Thought,” given
at the annual meeting of the Canadian Comparative Literature Association, at Congress,
Saskatoon, June, 2007.
•
“Please Hang Up and Don’t Try Your Call Again: Adorno’s Negative Dialectic of
Communication,” given at the annual meeting of the Canadian Communications
Association, at Congress, Saskatoon, June 2007.
• “The Tonal Problem: A Model for Analysis,” given at an international conference on
musical analysis, Trinity College, Dublin, June, 2005.
• “Genre and Gesture: Adorno and Schoenberg,” given at an international conference
Music and Gesture, University of East Anglia, Norwich, UK, 28-31 August, 2003.
External research grants/Bourses externes :
2006-2010
Social Sciences and Humanities Research Council of Canada Fellowship,
$48,730, for a three year study entitled Arnold Schoenberg, Theodor Adorno, and
the European Left, 1920-1933. Principal Investigator.
2006-2010
Social Sciences and Humanities Research Council of Canada Fellowship,
$66,778, for a three year study entitled New Sounds of Learning: Composing
Music for Young Musicians. Co-Investigator. Principal Investigator: Bernard
Andrews, University of Ottawa.
Graduate student supervision/Supervision d’étudiant(e)s diplomé(e)s :
• Tony Dunn, “Voice Leading in Herbie Hancock’s Maiden Voyage” (2010)
• Michael Fitzpatrick, “The Concerned and Thoughtful Musical Citizen: Music Analysis as
Sufficient Explanation” (2009)
• Jada Watson, “Aspects of the Jewish Folk Idiom in Dmitri Shostakovich’s String Quartet
No. 4, op. 83, 1949” (2008)
• Tamar Dubuc, “Uncovering the Subject Dimension of the Musical Artifact:
Reconsiderations on Nueva Cancion Chilena (New Chilean Song) as Practiced by Victor
Jara” (2008)
• Emilie Marshall, “Trees as a Methodological Tool for Comparing Sets of Rules in Strict
Two-Part First Species Counterpoint” (2007)
• Marion MacLeod, “Country Stars, Country Lights: Politics, Urbanization and Contradiction
in Country Music” (2004)
• Bryan Croft, “Twelve-Tone Harmony and Form: An Analysis of the Theme and Variations
from Schoenberg’s Suite op. 29” (2005)
Community Service:
• Editor and Associate Editor, Intersections: A Canadian Journal of Music, published by the
Canadian University Music Society (2005 to present).
• Board member, Canadian Federation for the Humanities and Social Sciences, 20052009.
• Member of SSHRC adjudication panels, Standard Research Grants.
PEDNEAULT DESLAURIERS, Julie
Recent Research/Recherche récente :
• Thèse de doctorat, « Music on the Fault Line: Gender, Sexuality, and the Second
Viennese School, 1899-1925 » (Université McGill, 2010); Nomination pour la médaille
d’or du gouverneur général
Papers in refereed journals/Articles dans des revues avec comité de lecture :
• Pedneault Deslauriers, J. « La Frauenseele dans tous ses états : les Altenberg Lieder,
opus 4, nos II et III de Berg comme réponse à la Frauenfrage viennoise », Revue de
musique des universités canadiennes 24/2 (2004) : 44-61.
Refereed conference papers/Communications à des colloques scientifiques avec comité de
lecture :
• « Pierrot L. » Conférence annuelle de l’American Musicological Society, novembre 2010,
Indianapolis
• « “Something above Gender”: Webern’s Two Songs, Op. 8, on Poems by Rainer Maria
Rilke » New England Conference of Music Theorists, avril 2010, University of
Connecticut
•
« Some Missing Links in the Evolution of the Major-Minor System » Conférence annuelle
de la Society for Music Theory, novembre 2008, Nashville
• Tonality in Perspective, mars 2008, Londres
• « French Theory in the Age of Reason » Colloquium Series, Université McGill, Octobre
2008
• « Frau und Seele: Constructions of Femininity in Berg’s Picture Postcards Songs op. 4
no. 2-3 » Feminist Theory and Music 9, Montréal, juin 2007
External research grants/Bourses externes :
2009
FQRSC,
Études postdoctorales, Columbia University (déclinée)
2005-2008
CRSHC
Recherche (doctorat)
2006
Deutsch Akademischer Austausch Dien
PREVOST, Roxane
Chapters in books/Chapitres de livres :
• Prevost . R. et K. Francis. « Teaching Silence in the 21st Century: Where are the
Missing Women Composers? », dans P. Hall (éd), Forbidden Voices, Oxford University
Press. Accepté le 28 janvier 2010 (ma contribution 70%), 19 pages.
Papers in refereed journals/Articles dans des revues avec comité de lecture :
• Prevost, R., Régularités et irrégularités métriques dans *« L’Arbre à pluie » de
Takemitsu. Musurgia. (2009) À paraître (sous presse), 10 pages.
• Prevost, R., Wearing Two Hats : Anne Eggleston as Composer and Pedagogue.
Intersections. (2008) 28/2 : 71-94.
• Prevost, R., Some Challenges in Teaching American-Based Harmony in French. Journal
of Music Theory Pedagogy. (2005) 19 : 129-49.
• Prevost, R., Metrical Ambiguities in Ursula Mamlok’s Panta Rhei, IV. The Canadian
University Music Review. (2003) 23/1-2 : 147-67.
• Prevost, R., Conversations with Ursula Mamlok. Ex tempore. (2003) 11/2 :124-33.
Refereed conference papers/Communications à des colloques scientifiques avec comité de lecture :
•
City of Gold: A Journey to the Klondike Gold Rush Through Film, Photographs, Narrator, and
Music. Congrès annuel de la Société de musique des universités canadiennes (SMUC), 6 juin,
2010 (Université de Regina).
•
Le rêveur dans l’œuvre This is the Colour of My Dreams de Kelly-Marie Murphy : une analyse
des éléments musicaux contrastants et influences folkloriques. Congrès de l’Association
francophone pour le savoir (Acfas), 13 mai 2010 (Université de Montréal).
•
Discovering a New Sound World: Messiaen’s Influence in Steven Gellman’s Trikāya. Society for
Music Theory Annual Conference, 29 octobre 2009 (Montréal).
•
Metrical Disruptions in Kelly-Marie Murphy's « Give Me Phoenix Wings to Fly ». Congrès
annuel de la Société de musique des universités canadiennes (SMUC), 29 mai 2009
(Université Carleton).
•
La cohérence musicale dans une œuvre orchestrale contemporaine : une analyse thématique
d’ « Exquisite Fires » de Linda Bouchard. Congrès de l’Association francophone pour le savoir
(Acfas), 12 mai 2009 (Université d’Ottawa).
•
Hypermetric Structures in Post-Tonal Music. Cardiff Music Analysis Conference (CarMAC), 6
septembre 2008 (Cardiff University, Royaume-Uni).
•
Octave Doublings as a Compositional Strategy in Two Canadian String Quartets. Congrès
annuel de la Société de musique des universités canadiennes (SMUC), 7 juin 2008 (Université
de la Colombie-Britannique).
•
An Analysis of Anne Eggleston’s Quartet for Piano and Strings : A Reconciliation of the Past
and Present. Congrès annuel de la Société de musique des universités canadiennes (SMUC),
29 mai 2006 (Université York).
•
Interrelationships in Ursula Mamlok’s « Rote Scheibe » from Der Andreas Garten (1987).
Conference on the Composer Ursula Mamlok, 2 avril 2006 (Manhattan School of Music).
•
Le Paysage de Peer Gynt : mouvement linéaire dans « Au matin » de Grieg. Congrès annuel
de la Société de musique des universités canadiennes (SMUC), 30 mai 2005 (Université de
Western Ontario).
Invited papers/Conférencière invitée :
•
City of Gold: A Journey to the Klondike Gold Rush Through Film, Photographs, Narrator, and
Music. 10 février 2010. Institut d’études canadiennes (Université d’Ottawa).
Graduate student supervision/Supervision d’étudiant(e)s diplomé(e)s :
•
Justine Gratton, “Exploring New Sound Sources in Canadian Music: A Study of
Electroacoustic Works for Flute and Electronics by Frenette, Roy, and Boudreau” (2010)
•
Marie-Christine Des Rosiers, “The Alliance Between Voice and Instrument in
Beethoven’s Ninth Symphony: the Recitative as a Unifying Element of Gang and
Narrator” (2010)
•
Milada Medinic, « Préservation des éléments mélo-théoriques anciens dans la tradition
musicale contemporaine de la sevdalinka – chanson traditionnelle bosniaque » (2010)
•
Jamie Loback, “Contour Prolongation in Steven Gellman’s Concerto for Viola and
Orchestra (2004): Tracing the Narrative of the Ego and the Alter-Ego” (2009)