Portfolio

Introductory Material

Faculty Information Forms (AY 2024-2025; AY 2025-2026)

Current Personnel Action Form

Current CV

Letters of Support

Letters after continuing appointment

  • Dr. Erin Johnson-Williams, Associate Professor, University of Southampton, UK (letter, spring 2026)
    • note: this letter is primarily in reference to scholarship
  • Dr. Michelle Meinhart, Programme Leader, Reader in Musicology, Trinity Laban Conservatoire, London, UK (letter, spring 2026)
    • note: this letter is primarily in reference to scholarship
  • Dr. Kristen Turner, Lecturer, North Carolina State University (letter, spring 2026)
    • note: this letter is primarily in reference to scholarship
  • Dr. Jerod Sommerfeldt, Associate Professor, SUNY Potsdam (letter, spring 2026)
  • Professor Tracy Wanamaker, Adjunct Instructor, SUNY Potsdam (letter, spring 2026)
    • note: this letter is primarily in reference to service
  • Dr. Thomas Baker, Professor of History, SUNY Potsdam (letter, spring 2026)
    • note: this letter is primarily in reference to mentoring undergraduate research
  • Paige Carter Dailey, PhD Candidate in Musicology at University of Michigan (letter, spring 2026)
    • note: this letter is primarily in reference to mentoring in musicology
  • Abigail Ryan, PhD Candidate in Musicology at the University of Cincinnati College-Conservatory of Music (letter, spring 2026)
    • note: this letter is primarily in reference to mentoring in musicology

Letters up to continuing appointment (tenure)

  • Dr. Mark Hartman, SUNY Distinguished Teaching Professor, Professor Emeritus, SUNY Potsdam (letter, spring 2021)
  • Dr. Michael Vitalino, Associate Professor of Music Theory, SUNY Potsdam (letter, spring 2021)
  • Dr. Erica Levenson, Assistant Professor of Music History, SUNY Potsdam (letter, spring 2021)
  • Dr. Jillian Rogers, Assistant Professor of Musicology, Indiana University (letter, spring 2021)
    • note: this document is an addendum specifically in reference to work on the “Music, Sound, and Trauma: Interdisciplinary Perspectives” conference. For a more comprehensive letter on scholarly collaborations, see Dr. Roger’s letter from 2019.
  • Dr. Jillian Rogers, Lecturer in Musicology, University College-Cork, Ireland (letter, spring 2019)
  • Donald George, Associate Professor of Voice, SUNY Potsdam (letter, spring 2019)
  • Dr. Jess Tyre, Associate Professor of Music History, SUNY Potsdam (letter, spring 2019)
  • Dr. Gary Busch, Professor of Music History and Piano, SUNY Potsdam (letter, fall 2017)

I. Evidence of Teaching Effectiveness

General

Teaching Awards

University Recognitions
  • President’s Award for Excellence in Teaching (award, 2023)
    • University-wide award, based on “demonstrated excellence in techniques of instruction, availability and help to students; growth in one’s field of instruction, concern for intellectual growth of students; adherence to high standards, positive attitude towards the profession”
Informal Recognitions

Teaching Observations

  • Dr. Lorraine Yaros Sullivan [Personnel Committee] Associate Professor of Voice, SUNY Potsdam (letter, spring 2021)
  • Dr. Kirk Severtson, Chair of Theory/History/Composition, SUNY Potsdam (letter, spring 2019)
  • Dr. Timothy Sullivan, Chair of Theory/History/Composition, Professor of Music Theory, SUNY Potsdam (letter, fall 2017)
  • Dr. Douglas Rubio [Personnel Committee] Professor of Guitar, SUNY Potsdam (letter, fall 2017)

Teaching Materials

Process Note:

  • For courses I taught for multiple semesters (such as Music History III), I have generally tried to provide different sample course materials for each semester in this dossier—this helps offer a broader picture of assignments, activities, etc.
  • In my actual teaching practice for repeated courses, some kinds of assignments or topics are taught almost every semester, while others I might use for a semester or two, then “retire” them as I shift to different approaches and tactics.

Academic Year 2025-2026

Teaching Reflection (fall 2025)
Spring 2026
  • MUCB 323: Music History III, Music Since 1900
    • Overview: One core music history section covering music since 1900; overall enrollment of 20 students
  • MUCH 421: Music, Gender, and Sexuality, post-1800
    • Overview: Upper-division music history seminar; overall enrollment of 14 students
  • MUCH 443: Music, Sound, and Video Games
    • Overview: Upper-division music history seminar; overall enrollment of 19 students
  • MUCR 488: Research Project in Music Studies
    • Overview: capstone written research project with faculty advisor, 1-on-1 weekly instruction for musical studies majors
Fall 2025
Summer 2025

Academic Year 2024-2025

Teaching Reflections (fall 2024, spring 2025)
Spring 2025 (no courses, sabbatical leave)
  • Due to my sabbatical leave, I did not teach courses during Spring 2025.
  • I did complete a pedagogically focused sabbatical project, centered on developing several different courses connecting music, history, and technology.
  • I’ve provided the comprehensive details about my sabbatical project pedagogical work in the teaching reflection linked above.
Fall 2024

Academic Year 2023-2024

Teaching Reflections (fall 2023, spring 2024)
Spring 2024
Fall 2023
Summer 2023

Academic Year 2022-2023

Teaching Reflections (fall 2022, spring 2023)
Spring 2023
Fall 2022

Academic Year 2021-2022

Teaching Reflections (fall 2021, spring 2022)
Spring 2022
Fall 2021
Summer 2021

Academic Year 2020-2021

Teaching Reflections

Spring 2021 (all courses)

Spring 2021
Fall 2020
Summer 2020

Academic Year 2019-2020

Teaching Reflection (fall 2019)
Spring 2020
Fall 2019
Summer 2019

Academic Year 2018-2019

Teaching Reflections (fall 2018, spring 2019)
Spring 2019
Fall 2018

Academic Year 2017-2018

Teaching Reflections (fall 2017, spring 2018)
Spring 2018
Fall 2017

Academic Year 2016-2017

Teaching Reflections (fall 2016, spring 2017)
Spring 2017
Fall 2016

II. Mastery of Subject Matter and Scholarly Ability

Degrees

  • Ph.D. in Musicology, Washington University in St. Louis (December 2010)
    • Dissertation: “Sharing the Stage with the voix d’or: Sarah Bernhardt and Music in the Belle Époque” (Advisor: Hugh Macdonald)
  • Bachelor of Arts in Music, summa cum laude, University of Arkansas (May 2003)

General Materials

Reflections on Scholarly Activity

Reflections after continuing appointment:

Academic Year 2025-2026
Academic Year 2024-2025
Academic Year 2023-2024
Academic Year 2022-2023
Academic Year 2021-2022

Reflections up to continuing appointment (tenure):

Academic Year 2020-2021
Academic Year 2019-2020
Academic Year 2018-2019
Academic Year 2017-2018
Academic Year 2016-2017

Awards/Grants/Recognition

Scholarship Awards
  • Chancellor’s Award for Excellence in Scholarship, State University of New York (award, 2025)
    • System-level honors conferred to acknowledge and provide system-wide recognition for consistently superior professional achievement and to encourage the ongoing pursuit of excellence.
    • The Chancellor’s Award for Excellence in Scholarship and Creative Activities supports the pursuits foundational to sustaining the intellectual growth of SUNY institutions by recognizing consistently outstanding scholarly and creative productivity, conducted in addition to teaching, by SUNY’s instructional/teaching faculty.
Grants, State University of New York-Potsdam
  • IDA Award (UUP) ($2,000) (spring 2025)
    • Co-writer, Lougheed funding for viola da gamba purchase ($5,100) (spring 2022)
    • Co-writer, musicology production for LoKo festival performance of Mota (William Grant Still opera)(spring 2022)
    • Faculty Professional Development Grants, Crane School of Music (2016-2025)
    • Professional Development Funding, Lougheed Center

Publications

  • unless noted otherwise, all publications are juried/peer-reviewed

In Development

  • Operatic Listening: The Metropolitan Opera Radio Broadcasts, Culture, and Identity.
    • Monograph; interest from two scholarly presses, book proposal to be submitted fall 2026.
  • Music, Sound, and the Twentieth-Century Polio Epidemics.
    • Monograph; in conversation with several presses.

In Progress

  • Oxford Handbook of Music, Sound, and Trauma Studies.
    • Co-editor; under contract with Oxford University Press
    • 2 volumes, circa 100 essays, to be delivered spring 2027

Submitted/Under Peer Review

  • “Tuning In: Race, Listening, and the Metropolitan Opera Radio Broadcasts.” In Black Identities on the Operatic Stage, ed. Naomi André, Elizabeth Keathley, and Kristen Turner.
    Edited collection, submitted for peer review to Oxford University Press, fall 2025.

In Print

  • Review of Jacek Blaszkiewicz’s Fanfare for a City: Music and the Urban Imagination in Haussmann’s Paris. Journal of the American Musicological Society 78, no. 1 (Spring 2025).
  • “‘When the Echoes of the Last Shots Have Ceased’: Hearing Nineteenth-Century Trauma.” Colloquy on “Music, Sound, and Trauma.” Journal of the American Musicological Society 77, no. 2 (2024): 518-524.
  • “Sonic Scars in Urban Space: The Parisian Soundscape during the Franco-Prussian War.” “Music, War, and Trauma in the Long Nineteenth Century,” special issue of Nineteenth-Century Music Review (April 2023).
  • Review of Nelly Furman’s Georges Bizet’s Carmen. H-France Review 22, no. 69 (April 2022).
  • “Silent Film Sound & Music Archive: A Digital Repository.” Journal of the Society of American Music 14, no. 4 (November 2020): 522-524.
  • “Movies at the Met? Space and Meaning in Early Film Screenings.” American Music 36, no. 1 (Spring 2018): 3-45.
  • “Saint-Saëns and the Stage: Henry VIII and Ascanio at the Opéra.” In The Many Faces of Camille Saint-Saëns, ed. Michael Stegemann. Turnhout, Belgium: Brepols, 2018.

Publications prior to SUNY Potsdam appointment

  • “Program Five: From Abstraction to Surrealism.” Program Notes for the Bard Festival, August 2013. [Invited]
  • “Sarah Bernhardt on Stage and Screen: Nineteenth-Century Theater Music and Early Silent Film.” The Journal of Film Music 5, no. 1-2 (2012): 57-76.
  • “Music, Murder, and Redemption.” Review of The Savior, by Eugene Drucker. Belles-Lettres: A Literary Review. St. Louis: The Center for the Humanities of Washington University in Saint Louis. March / May 2009. [Invited]
  • “‘Une culture classique supérieure : Saint-Saëns et l’esthétique antique.” In Figures de l’Antiquité dans l’opéra français: des Troyens de Berlioz à Œdipe d’Enesco. Edited by Jean-Christophe Branger and Vincent Giraud, 235-258. Saint-Étienne: Publications de l’Université de Saint-Étienne, 2008.
  • “Troilus Triumphant in Saint Louis.” Review of Opera Theatre of Saint Louis’s performance of Troilus and Cressida. Opera Today, July 2008. [Invited]
  • “A Brescian Butterfly and a Bewildering Hoffman.” Review of Opera Theatre of Saint Louis’s performances of Madame Butterfly and Tales of Hoffman. Opera Today, July 2008. [Invited]
  • “A Rare Treasure in Saint Louis.” Review of Opera Theatre of Saint Louis’s performance of Una cosa rara. Opera Today, June 2008. [Invited]

Presentations

  • unless noted otherwise, all conference presentations were chosen through selective peer-review/conference selection committee

Submitted/Under Review

  • “Radio was loathe to let ladies make a bold step forward”: Geraldine Farrar, Gender, and Expertise in Metropolitan Opera Broadcasts, 1934-’35.” Under consideration for Feminist Theory & Music, 2026.

Completed

  • “Listening Historically? Trauma, Disability, and Sound in America’s Midcentury Polio Epidemic.” Theorizing Trauma and Disability in the Arts and Music Conference. University of California at Los Angeles (Los Angeles, CA), October 2025.
  • “Winning Fame and Fortune? Race and Operatic Competitions in Mid-Century America.” Annual Meeting of the Royal Musical Association (Southhampton, UK), September 2025.
  • “Winning Fame and Fortune? Race and Operatic Competitions in Mid-Century America.” Annual Meeting of the American Musicological Society (Chicago, IL), November 2024.
  • “Talking about Trauma.” Keynote presentation at MTMS graduate student conference, University of Cincinnati Conservatory of Music, March 2024. [Invited keynote]
  • “Living with Tosca’s Ghosts: Performance Memory from Sarah Bernhardt to Puccini.” Keynote presentation at University of North Carolina-Wilmington symposium on “The Art of the Diva,” February 2024. [Invited keynote]
  • “Trauma, Sound Judgment, and the Music History Classroom.” Panel presentation, University of Chicago Graduate Pedagogy Colloquium, May 2023. [Invited]
  • “Listening to Polio: Music, Sound, and Traumatic Memory.” “Music in Global Epidemics Symposium” (University of Colorado-Boulder), March 2023.
  • “Listening to Polio: Music, Sound, and Traumatic Memory.” Inaugural event of the Music, Arts, Health, and Environment (MAHE) network, Queens University (Belfast, Northern Ireland), December 2022. [Invited]
  • Co-organizer and presenter on professional development workshop sponsored by “Music, Sound, and Trauma” study group, “Trauma-Informed Pedagogies for Music History Educators.” Annual Meeting of the American Musicological Society (New Orleans, LA), November 2022.
  • “Listening to Polio: Music, Sound, and Traumatic Memory.” Annual Meeting of the American Musicological Society (New Orleans, LA), November 2022.
  • “Listening to Polio: Music, Sound, and Traumatic Memory.” Music/Sound Through the Lens of Trauma: Methodology, Theory and History: Interdisciplinary Conference (Utrecht University, Netherlands), July 2022.
  • “Trading Tapes, Visualizing Voices: Identity and the Metropolitan Opera Radio Broadcasts.” Tosc@: Transnational Opera Studies Conference@Bayreuth.2022 (Bayreuth, Germany), June 2022.
  • “Trauma, Sound Judgement, and the Music History Classroom.” Part of Panel “Violence, Trauma, and Music Education: Towards an Ethics of Music History Pedagogy in the 21st Century”, Teaching Music History Conference (Kansas City Conservatory, Kansas City, MO), June 2022.
  • “Intimate Publics” and Operatic Listening? Race and the Metropolitan Opera Radio Broadcasts.” Black Identities on the Operatic Stage: A Symposium with Music (University of North Carolina Greensboro), March 2022.
    * Note: this paper was accepted by the program committee, but due to a campus event I had to withdraw from giving the paper.
  • “This is a Rhythm I Have Breathed in Since that Day: Polio, Sound, and Traumatic Memory.” Music, Sound, and Trauma: Interdisciplinary Perspectives (Indianapolis, IN), February 2021. Paper delivered virtually.
  • Round-table Presentations on Journal of American Musicological Society “Music and Trauma Colloquy” and Nineteenth-Century Music Review Special Issue: Historicizing Traumas of the Musical Past. Music, Sound, and Trauma: Interdisciplinary Perspectives (Indianapolis, IN), February 2021. Contributions delivered virtually. [Invited]
  • “Trading Tapes, Visualizing Voices: Materiality, Identity, and the Metropolitan Opera Radio Broadcasts.” Annual Meeting of the American Musicological Society (Minneapolis, MN), November 2020. Paper delivered virtually.
  • “Intimate Collections: Considering Materiality and Identity via Metropolitan Opera Broadcast Bootlegs.” Bootleg Opera (Hochschule der Künste Bern, Bern, Switzerland), September 2020. Paper delivered virtually.
  • “It Is the Musician behind the Camera Who Is the Soul of the Picture”: Music on the Sets of “Silent” Film.” Hidden Figures of Screen Music and Sound (Royal Holloway University, London, England), June 2020. Paper delivered virtually.
  • “Sonic Scars in Urban Space: Mapping Parisian Trauma during l’année terrible.” Mapping Music History: Metropoles and Colonies, Harvard University (Cambridge, Massachusetts), October 2019. [Invited]
  • “Sonic Power, Sonic Wounds: Gender, Violence, and Trauma during the Paris Commune.” Panelist on “Sounding Trauma in the Long 19th Century: Gendered Narratives in the US, UK, and France.” Royal Music Association Conference (Manchester, UK), September 2019.
  • “The Opera House as Place of Protest: Performance Spaces and Meaning from the Nineteenth through the Twenty-First Centuries.” Tosc@: Transnational Opera Studies Conference@Paris.2019 (Paris, France), June 2019.
  • “Performing France’s Wounds: Sarah Bernhardt and Les Cathédrales.” Panelist on “Hospitals, Theaters, and Parlors: Musical Bodies and Trauma in World War I-Era France and Britain.” The First World War: Past, Present, Future (Edinburgh, Scotland), June 2019.
  • “Sonic Scars in Urban Space: Sound, Violence, and Memory in Paris during l’année terrible.” Cities in Conflict: Urban Space and Violence (University College Cork, Ireland), June 2019.
  • “It Is the Musician behind the Camera Who Is the Soul of the Picture”: Music on the Sets of “Silent” Film.” Music and the Moving Image (NYU Steinhardt School, New York City, NY), May 2019.
  • “Sonic Scars in Urban Space: The Parisian Soundscape during l’année terrible.” Panelist on “Music, War, and Trauma in the Long Nineteenth Century.” Annual Meeting of the American Musicological Society (San Antonio, TX), November 2018.
  • “‘It is the Musician behind the Camera Who is the Soul of the Picture:’ Music on the Sets of Silent Film.” Annual Meeting of the American Musicological Society (San Antonio, TX), November 2018.
  • “Sonic Scars in Urban Space: The Parisian Soundscape during l’année terrible.” Trauma Studies in the Medical Humanities: New Directions for Research, Durham University (Durham UK), April 2018.
  • Session chair and panel co-organizer, “Musicology and Trauma Studies: Perspectives for Research and Pedagogy.” Annual Meeting of the American Musicology Society (Rochester, NY), November 2017.
  • “Living with Tosca’s Ghosts: Transnational Performance and Memory from Bernhardt to Puccini.” Second Transnational Opera Studies Conference (Bern, Switzerland), July 2017.
  • “Movies at the Met? Space and Meaning in Early Film Screenings.” Annual Meeting of the American Musicological Society (Vancouver, BC), November 2016.
  • “Saint-Saëns and the Stage: Henry VIII and Ascanio at the Opéra.” “The Many Faces of Camille Saint-Saëns.” Centro Studi Opera Omnia Luigi Boccherini (Lucca, Italy), October 2016.

Presentations Prior to Appointment at SUNY Potsdam:

  • “Sarah Bernhardt, Les Cathédrales, and Performing the Wounded Nation.” The Music of War, 1914-1918, British Library (London, UK), August 2014.
  • “It Was Sung as Mme. Bernhardt Might Have Spoken it: Tosca, Music, and Sarah Bernhardt.” Annual Meeting of the American Musicological Society (Pittsburgh, PA), November 2013.
  • “Tucked Inside the Theatrical Portmanteau: Incidental Music and Cross-Cultural Performance.” North American Conference on Nineteenth-Century Music (Forth Worth, TX), July 2013.
  • “Sarah Bernhardt on Stage and Screen: Nineteenth-Century Theater Music and Early Silent Film.” From Nineteenth-Century Stage Melodrama to Twenty-First-Century Film Scoring: Musicodramatic Practice and Knowledge Organization (California State University, Long Beach), April 2012.
  • “Pourquoi ajouter à qui n’a besoin de rien?: Debating Tradition and Innovation through Massenet and Saint-Saëns’s Music for Racine.” Annual Meeting of the American Musicological Society (San Francisco, CA), November 2011.
  • “Playing Poems, Saying Songs: the adaptation musicale in Late Nineteenth-Century France.” Conference on Music and the Written Word, The Center for Interdisciplinary Study of Music (University of California, Santa Barbara), January 2010.
  • “Massenet, Saint-Saëns, and Incidental Music for Racine.” Annual Meeting of the American Musicological Society, Midwest Chapter (Roosevelt University, Chicago), October 2009.

Editorial Review Work

  • Solicited to serve as expert/anonymous peer-reviewer:
    • Journal of the American Musicological Society, 1 article manuscript [2025]
    • Women & Music, 3 article manuscripts [2020-2021]
    • Journal of the Royal Music Association, 2 article manuscripts [2022-2023]
    • Nineteenth-Century Music Review, 1 article manuscript [2023, 2025]
    • Faculty Grant Application, University of St. Thomas [Fall 2022]
    • Cambridge University Press, book manuscript [Spring 2020]
    • Cambridge Opera Journal, article manuscript [February 2019]
    • Peter Lang publishing, book manuscript [April 2018]
    • Routledge/Taylor & Francis group [November 2017]

Musicological Service

  • Founding co-chair of “Music and Trauma” Study Group for the American Musicological Society (2022—)
  • Session chair, “Psychiatry, Psychoanalysis and the Music of Troubled Minds,” Annual Meeting of the American Musicological Society (Minneapolis, MN) (November 2025)
  • Program Committee for American Musicological Society-St. Lawrence Chapter (spring 2025)
  • Co-convenor and chair of “Ethical Approaches to Trauma Studies Research and Media—Screening and Discussion of WE ARE NOT AFRAID: Music and Resistance in Apartheid Prisons (co-directed by Janie Cole and Shameela Seedat).” Annual Meeting of the American Musicological Society (Chicago, IL) (November 2024)
  • Organized and hosted annual meeting of American Musicological Society, St. Lawrence Chapter (SUNY Potsdam, Potsdam, NY) (April 2024)
  • Co-convenor and chair of “Popular Music, Gendered Violence, and Trauma Studies.” Annual Meeting of the American Musicological Society (Denver, CO) (November 2023)
  • Session chair, “Musical Responses to Trauma,” Annual Meeting of the American Musicological Society (Minneapolis, MN) (November 2023)
  • Co-organizer and discussant of inaugural panel for “Music, Sound, and Trauma” study group, “Considering Trauma Across Music and Sound Disciplines.” Annual Meeting of the American Musicological Society (New Orleans, LA) (November 2022)
  • Reviewer of Faculty Grant Application on trauma-informed research. University of St. Thomas (April 2022)
  • Co-organizer of conference “Music, Sound, and Trauma: Interdisciplinary Perspectives,” Indiana University (February 2021)
  • Panel chair, “Transmedial Politics of the Stage,” Annual Meeting of the American Musicological Society (November 2020)
  • Program Committee for American Musicological Society-St. Lawrence Chapter (Spring 2020)

(Service Prior to Appointment at SUNY Potsdam)

  • Session chair, “The Musically Queer and Campy.” FTM13 (Feminist Theory and Music Conference): Feminism and Black Critical Praxis in an Age of Scarcity (University of Wisconsin-Madison) (August 2015)
  • Panel moderator, “Music, Visual Arts, and the Mind.” The Life of the Mind: Literature, Aesthetics, and the ‘sciences de l’homme,’ 1700-1900 (University of Wisconsin-Madison) (April 2015)
  • Pre-Concert Lecture, Richie Hawley, The Colburn School (February 2013)
  • Curator, exhibit on “Music and the Actress Sarah Bernhardt.” Washington University in St. Louis Music Department, (October-December 2009)

Lecture Recitals

  • French avant-garde films [Germaine DuLac and Man Ray]. Lecture Recital with Crane Laptop Orchestra, Crane School of Music, SUNY Potsdam (November 2022)
  • “Love Letters–Clara and Robert Schumann.” Lecture Recital, Donald George and Deborah Massell Faculty Voice Recital, Crane School of Music, SUNY Potsdam (May 2022)
  • “Death and the Erotic in the Works of Benjamin Britten.” Lecture Recital, Donald George Faculty Voice Recital, Crane School of Music, SUNY Potsdam (February 2020)
  • “Music for Tenor and Horn by Benjamin Britten.” Lecture Recital, Donald George and Lauren Becker Faculty Chamber Recitals, Crane School of Music, SUNY Potsdam (March 2019)
  • “Songs of Tom Cipullo.” Lecture Recital, Voice Faculty Area, Crane School of Music, SUNY Potsdam, September 2018.
  • La Passion de Jeanne d’Arc [Dreyer, 1929], Lecture Recital with Crane Laptop Orchestra, Crane School of Music, SUNY Potsdam (May 2018)
  • “Art and Politics: The Music of Hermann Zilcher (1881-1948).” Lecture Recital, Donald George, Voice Faculty Recital, Crane School of Music, SUNY Potsdam (March 2018)
  • “The Rameau Revival.” Rediscovering Rameau (University of Wisconsin-Madison) (December 2014)
  • “It Was Sung as Mme. Bernhardt Might Have Spoken it: Tosca, Music, and Sarah Bernhardt.” School of Music Colloquium (University of Wisconsin-Madison) (November 2013)
  • “Music for the Actress Sarah Bernhardt.” Lecture recital with the Washington University Symphony Orchestra (Washington University in St. Louis, MO) (November 2009)
  • “‘Une culture classique supérieure’: Saint-Saëns’s Staging of an Antique Aesthetic.” Department of Music Graduate Symposium (Washington University in St. Louis, MO) (October 2007)
  • “Patriotic Fervor in Places West: Victory Songs and Sing-Alongs in WWI-Era St. Louis.” Department of Music Lecture Series, (Washington University in St. Louis, MO) (February 2005)

III. Service

Crane Food Pantry Organizer (2021—)

  • run the Crane Food Pantry Annex in Bishop Hall, which I founded in November 2021.
    This has been an extremely successful initiative so far; students have been heavily using the food pantry items, with many anonymous student notes left in the feedback box about how much they appreciate and value this food pantry within Crane.
    With the help of the main food pantry, we expanded to include a refrigerator and a small personal items area for students to grab and go items such as shampoo, toothbrushes, etc.
    I am extraordinarily grateful to April Fullerton for her invaluable help by including Crane in the main food pantry organization and funding (I typically spend 1-2 hours each week picking up food from the main pantry to deliver & organize within the Crane annex).

Cross-Campus Committees

  • Ad Hoc Campus Research Committee, Faculty Senate (2026-)
  • Campus Engagement Working Group (2025-)
  • Faculty Senate Representative, Crane School of Music (2016-2025)
  • Middle States Self-Study Working Group, Priority: Creativity (2020-2022)
  • DIAC subcommittee, Diversity Programming and Student Training (2018-2022)
  • Academic Programs and Curriculum Committee, Faculty Senate (2020-2022)
  • Goals and Planning Committee, Faculty Senate (2017-2021)
  • Facilitator, Trauma-Informed and Anti-Bias Subgroup, Academic Affairs Continuity Working Group (2020-2021)
  • Bearcare Student Care Advisory Group to the Provost (2018-2022)
  • Food Insecurity Task Group (2021-2023)

Committees, Crane School of Music

  • Personnel Committee (2025-2026)
  • Ad hoc Committee on Wellness, Co-chair (2023-2026)
  • Social Committee (2017-2022, 2024-2026)
  • Ad hoc Committee on Core Music Curriculum, Chair (Spring 2024)
  • Ad hoc Committee on PSLOs, Master’s in Performance, Intro to Grad Studies (Spring 2023)
  • Personnel Committee (Spring 2023)
  • Graduate Program Committee (2022-2023)
  • Dominic Pelliocciotti Prize Committee (2022-2025)
  • Design Sprints/Crane Ad Hoc Diversity Committee (Fall 2021)
  • Undergraduate Program Committee (2017-2019)
  • Pi Kappa Lambda, Secretary (2019-2024)
  • T/H/C Area Secretary (2017)
  • Nominating Committee (2016-2017)

Search Committees

  • Crane Music History (2024-2025)
  • Crane Music Theory (2023-2024)
  • SUNY Potsdam Presidential Search Committee, elected (2022-2023)
  • Crane Dean Search Committee, appointed (Summer—Fall 2021)
  • Crane Opera Director (VAP) (Summer 2021)
  • Crane Music Business (informal, course coverage) (Fall 2020)
  • Crane Dean Search Committee, appointed (2019-2020)
  • Crane Voice Search Committee (2019-2020)
  • Crane Opera Director Search Committee (2018-2019)
  • Crane Musicology Search Committee (2017-2018)

Degree Committees

  • Emily Denler, Master’s Degree in Music Education (November 2025)
  • Christina Shaw, Master’s Degree in Music Education (October 2025)
  • Matt Suffern, Master’s Degree in Music Education (December 2024)
  • James Hope, Master’s Degree in Music Education (December 2024)
  • Bethany Cripps, Master’s Degree in Music Education (December 2024)
  • Stephen Foti, Master’s Degree in Music Education (November 2024)
  • Obdulio Garcia, Master’s Degree in Music Education (November 2024)
  • Allison Budd, Master’s Degree in Music Education (November 2024)
  • Karly Masters, Master’s Degree in Music Education (November 2024)
  • Katelyn Tai, Master’s Degree in Music Education (November 2024)
  • Lauren Baldwin, Master’s Degree in Music Education (October 2024)
  • Eric Becker, Master’s Degree in Music Education (October 2024)
  • Emily Weber, Master’s Degree in Music Education (October 2024)
  • Matt McGrath, Master’s Degree in Music Education (July 2024)
  • Caroline Zanetti, Master’s Degree in Music Education (April 2024)
  • Frank Desiderio, Master’s Degree in Music Education (April 2024)
  • Christin Cummings, Master’s Degree in Music Performance (February 2024)
  • Chenya d’Arcangelis, Master’s Degree in Music Education (January 2024)
  • Ushuaia Diaz, Master’s Degree in Music Performance (December 2023)
  • Michael Smith, Master’s Degree in Music Education (December 2023)
  • Olivia Montagno, Master’s Degree in Music Performance (December 2023)
  • Sarah Taylor, Master’s Degree in Music Education (November 2023)
  • Gianna Montagno, Master’s Degree in Music Performance (November 2023)
  • Noellia Nicotri, Master’s Degree in Music Education (November 2023)
  • Abigail Luther, Master’s Degree in Music Education (September 2023)
  • Katya Lubomirsky, Master’s Degree in Music Education (September 2023)
  • Victoria Vespucci, Master’s Degree in Music Education (July 2023)
  • Emily Benware, Master’s Degree in Music Education (May 2023)
  • Phil Vona, Master’s Degree in Music Education (May 2023)
  • Sarah Baker, Master’s Degree in Music Education (February 2023)
  • Ben Baker, Master’s Degree in Music Education (February 2023)
  • Nurkit Lucksom, Master’s Degree in Music Education (February 2023)
  • Jamie Cox, Master’s Degree in Music Education (October 2022)
  • Ashley Calhoun, Master’s Degree in Music Education (October 2022)
  • Melanie Sadoff, Master’s Degree in Music Education (October 2022)
  • Derek Schalter, Master’s Degree in Music Education (October 2022)
  • Margaret Chan, Master’ Degree in Music Education (September 2022)
  • Dorothy Burns, Master’s Degree in Music Education (September 2022)
  • Daniel Hoke, Master’s Degree in Music Education (September 2022)
  • Alyssa Loftus, Master’s Degree in Music Education (September 2022)
  • Mayr Sawyer, Master’s Degree in Music Education (July 2022)
  • Alle Wallace, Master’s Degree in Music Education (July 2022)
  • Trudi van Ommeren, Master’s Degree in Music Education (May 2022)
  • Nathan Strock, Master’s Degree in Music Performance (May 2022)
  • Rebecca Farrell, Master’s Degree in Music Education (May 2022)
  • Michael Fernandez, Master’s Degree in Music Education (Fall 2021)
  • Blakely Grunenberg, Master’s Degree in Music Education (Fall 2021)
  • Victoria Rosales, Master’s Degree in Music Education (Fall 2021)
  • Melissa Narusky, Master’s Degree in Music Education (Fall 2021)
  • William Paddock, Master’s Degree in Music Education (Fall 2020)
  • Peter Schneider, Master’s Degree in Music Education (Fall 2020)
  • Melisa Brown, Master’s Degree in Music Education (Fall 2020)
  • Julia Bellante, Master’s Degree in Music Education (Fall 2020)
  • Naira Sidi, Master’s Degree in Music Education (Spring 2020)
  • Evan Rzodkiewicz, Master’s Degree in Music Education (Spring 2020)
  • Tina Allocca, Master’s Degree in Music Education (Spring 2020)
  • Savannah Legg, Undergraduate Honors in Psychology (Academic Year 2018-2019)
  • George Bergeon, Master’s Degree in Music Education (Fall 2018)
  • Christopher Davis, Master’s Degree in Piano (Spring 2018)
  • Amanda Joseph, Master’s Degree in Voice (Spring 2017)

Mentoring

Faculty Mentoring

Alex Jonker (theory) (2024-)

Student Mentoring and Advising

  • Presidential Scholars Projects
    • Sarah Westcott, “Perceptions and Pedagogy” How Society’s Views of Classical Singing Influence the Collegiate Singer’s Interaction with Voice Training” (2025-2027)
    • Allie Schoen, “Sex Sells: How the Concept of Taboo Affected the Music Industry” (2025-2027); co-mentored with Tim Yip
    • Eve Meinsen, “Get a Handel on It! Examining the Portrayal of Baroque Roles in Opera” (2025-2027); co-mentored with Wesley Roy
    • Alyssa Spina, “Exploring Shostakovich’s Eighth String Quartet: Analyzing Musical Myths and Truths,” (2024-2026); co-mentored with Alex Jonker
    • Emma Fusco, “A Reflection on American and Indigenous History through the Flute” (fall 2024 only)
    • Tatiana Merced, “People of Color Contributing to Modern Day Music” (spring 2024 only)
      • Adelle St. Onge, “Gender and Conducting” (2018-2020)
      • Alexa Mani, “Gender, Hip Hop and the Music Industry” (2018-2019)
  • Kilmer Projects
    • Alyssa Spina, “Jewish String Musicians and the Holocaust” (summer-fall 2024)
    • Alexa Mani, “Argentine Tango” (spring 2019)
  • LoKo Projects
    • Broadway Showcase, Student Musical Theater advisor (spring 2023)
    • Broadway Showcase, Student Musical Theater advisor (spring 2022)
    • Alexa Mani, “Argentine Tango” (spring 2019)
  • Student Organizations
    • Faculty Advisor for Sigma Alpha Iota (2021-2026)
      • Honored as Advisor of the Year for Greek life (award, spring 2022)
    • Faculty Advisor for Potsdam Pitches (a capella group, 2017-2026)
  • Graduate School Mentoring
    • Alyssa Spina, co-mentored with Alex Jonker: applications in progress for entry fall 2026
    • Paige Carter: accepted M.M. in Ethnomusicology at Bowling Green, enrolled Ph.D. in Musicology at Michigan (fall 2025)
    • Abigail Ryan: completed M.M. in Musicology, University of Cincinnati Conservatory of Music, enrolled Ph.D. at University of Cincinnati Conservatory of Music (fall 2024)
    • Marco Tomassi, co-mentored with Erica Levenson: enrolled Ph.D. at Columbia University (fall 2023)
    • Emma Karp: completed M.M. in Musicology, Frost School of Music, University of Miami
  • Ad Hoc Mentoring and Advising
    • degree advising, Crane undergraduate students (2017-)
      • I advise roughly ten assigned students per semester, generally Bachelor of Arts students (2018-2023) or Musical Studies majors (2017-2026)
    • Alyssa Spina, inaugural cohort of undergraduate American Musicological Society Explore program, co-mentored with Alex Jonker
      • This program was a national, extraordinarily competitive program which provided undergraduates who plan to pursue a career in musicology with mentoring and the chance to present a 10-minute paper at the national AMS meeting in Minneapolis. Alyssa was successful in her application and presented her co-mentored work on Shostakovich in fall 2025.
    • Alexa Mani, student presentation at New York Six Liberal Arts Consortium: “Subversive Female Personas: Cardi B’s Ascendance in the Music Industry” (fall 2018)
    • Program Notes for Student Recitals, editing and guidance (2018-2020)
    • Crane Symphony Orchestra, student program notes (2017-2019)

Campus or Class Presentations

  • Lecture, “Operatic Listening: The Metropolitan Opera Radio Broadcasts, Culture, and Identity.” Ted-the-Dog Talk, Lougheed Learning Commons (October 2025)
  • Lecture, “Queer Women in Music.” Co-sponsored by SAI and GSA (October 2024)
  • Panel, “Mental Health.” Crane Wellness Week, co-presented with Tracy Wanamaker, Anna Hendrickson, Meagan Dissinger, Casey Asaro (October 2025)
  • Panel, “Mental Health.” Crane Wellness Week, co-presented with Tracy Wanamaker, Anna Hendrickson, Nils Klykken, Casey Asaro (March 2024)
  • Panel, “Trauma.” Crane Wellness Week, co-presented with Tracy Wanamaker (March 2024)
  • Opening remarks, “A Musical Celebration of Diversity.” SUNY Potsdam DEI Symposium (October 2023)
  • Lecture, “Opera, Gender, and Sexuality.” Crane Opera Club (November 2023)
  • Invited speaker, on “Personal and Professional Wellness—Building Self Confidence,” for Women, Gender, and Leadership Program (September 2022)
  • Guest lecture, “Crane Live” (course, Dr. Anna Hendrickson, April 2022)
  • Guest lecture, “Metropolitan Opera Radio Broadcasts and Race,” Crane Opera Club (April 2022)
  • Guest lecture, “Borrowed Sound: Music Sampling” (course, Dr. Erica Levenson, March 2022)
  • Invited Speaker, Panel on “Women, Gender, and Leadership: Gender Role Stereotypes.” SUNY Potsdam (September 2018)
  • Invited Speaker, Panel on Mentoring, Coffee & Conversation with Provost Series (May 2018)
  • Presentation to Graduation Music Education Class on “Music, Gender, Sexuality” (November 2017)
  • Days of Reflection Panel (with David Blake & Bethany Cencer), “Teaching Racial Justice through Music History” (Fall 2017)
  • Presentation to Crane Chorus on Alexander Nevsky (April 2017)

Crane Youth Music

  • Virtual music history class on “Film & Videogame Music” (summer 2020)
  • Classes on American Popular Music (summer 2019)

Judging

  • Learning and Research Fair (spring 2025)
  • Crane String Chamber Music Competition, Faculty Judge (2017, 2023, 2024, 2025)
  • Crane Chamber Music Competition, Faculty Judge (2017)

Faculty Supervisor, National Association of Music Merchants (NAMM) Trade Show

  • Assisted Crane Music Business students with NAMM Show (2019, 2020, 2025, 2026)
    • supervised travel to Potsdam to Anaheim, CA
    • served as work liaison with students and companies
    • networking with alumni and music business
    • professional development in attending show sessions on education, sustainability, gender in the industry, etc

Event Planning/Research Assistance

  • Logistical organization, Women’s Year Events (2019-2020)
  • Logistical organization, Night’s Blackbird, early music ensemble (Spring 2018)
  • Logistical organization, Chris Washburne, trombone (Spring 2018)
  • Research Assistance, Ed Komara, library display cases (2017-2020)
  • Logistical organization, Roy Howat, piano (Spring 2017)
  • Master-class assistance (translation), Sophie David-Goury, flute (Spring 2017)

IV. Continuing Professional Development

  • Professional Development Conference, SUNY Potsdam. “Motivating Students / Digital Accessibility” (Spring 2026) 
  • Associate Colleges of St. Lawrence Valley, Community Climate Resilience Seminar: “Exploring Partnerships Between Higher Education and Local Communities” (Fall 2025)
  • Deep Listening Workshop. University of California Los Angeles (Fall 2025)
  • Music and Trauma:  A Conversation in the Midst of Fire (a preview of “Theorizing Trauma and Disability in the Arts”), University of California Los Angeles (Spring 2025)
  • 4-week certificate course on Online Pedagogy: Design for Online Learning, SUNY Potsdam (Fall 2022)
  • QPR Suicide Prevention Training and Mental Health Training, SUNY Potsdam (Fall 2021)
  • Decolonising the Nineteenth Century, Centre for Nineteenth Century Studies, Durham University (online) (February 2021)
  • “The Sights and Sounds of State Violence: Encounters with the Archive of David Oluwale,” RACE.ED Seminar Series, University of Edinburgh (online) (January 2021)
  • “Resources for Parents” (Embodying Your Curriculum Series) (Fall 2020)
  • “An Introduction to the Fundamentals of Trauma-Informed Pedagogy” (Embodying Your Curriculum Series) (Fall 2020)
  • “How We Got Here, Where to Now?” Philip Ewell lecture, Series on dismantling white supremacy in the music academy, SUNY Binghamton, NY (online) (October 2020)
  • Opera in Flux: Staging, Identity, Narrative. University of Illinois at Urbana-Champaign, IL (online) (October 2020)
  • Asian American Entertainment in the Exclusion Era, Beatley Library (online) (July 2020)
  • Urban Nostalgia: The Musical City in the 19th and 20th Centuries, École des Hautes Études en Sciences Sociales (online) (July 2020)
  • “Examining the Intersection of Equity, Trauma-Informed Pedagogy, and Social Emotional Learning” (KSU Center for Excellence in Teaching) (Summer 2020)
  • “The Skill of Resourcing in the Trauma-Informed Classroom” (Embodying Your Curriculum Series) (Summer 2020)
  • “Introduction: Practical Applications of Trauma-Informed Practices” (Embodying Your Curriculum Series) (Summer 2020)
  • Yale Opera Studies Today, Yale Department of Music (online) (May 2020)
  • American Musicological Society Annual Meeting, Boston, MA (November 2019)
  • • Board Meeting for “Music and Disability” Study Group
  • Carmen, Singer of the World, Conference, Cardiff University (online ) (June 2017)
  • Teaching Music History Conference, Berklee College of Music (online) (June 2017)
  • International Interdisciplinary Conference on Artistic Migration and Identity: Paris, 1870-1940, Montréal, McGill University (April 2017)
  • Annual Meeting of the Society for American Music, Montréal (March 2017)
  • Participant, “Creating an Environment for Student Success: Cultural Competency in the Classroom,” Teaching Effectiveness Conference, Associated Colleges of the St. Lawrence Valley (November 2016)
  • New Faculty Seminar Series, SUNY Potsdam (2016-2017)

V. Other Relevant Information

Musical Performances

Orchestra of Northern New York, section violist

2025-2026 season
• Contracted for series: “Under the Stars” / “Star-Crossed” / “Home for the Holidays” / “Summon the Heroes” / “Summer Pops”
2024-2025 season
• Contracted for series: “Spaced Out” / “Delights and Dances” / “Summer Pops”
2023-2024 season
• Contracted for series: “Inspired” / “Visions and Reflections” / “Summer Pops”
2022-2023 season
• Contracted for series: “New World” / “Peace on Earth” / “Winter Serenade” / “Brahms Symphony No. 1” / “Fantastic Film Favorites
2021-2022 season
• Contracted for series: “Mozart and McGill” / “Holiday” / “Summer Pops” / “Encore!Great Music from the Dance and Stage”
2019-2020 season
• Contracted for series: “Bravo Bravo” / “Beethoven” / “Holiday Joy”
2018-2019 season
• Contracted for series: “Passion and Romance” / “Autumn Reflections” /  “Celebrate the Holidays” / “The Magnificent Baroque” / “Film Music of Harry Potter
2017-2018 season
• Contracted for series: “Beethoven and Brahms” / “Winter Wonderland” / “Mastery of Bach” (viola soloist on Brandenburg Concerto No. 3) / “Stravinsky and Mendelssohn”
2016-2017 season
• Contracted for series: “Viva Espagnol” / “Yuletide Celebration” / “The Genius of the Baroque” / “Our World and Beyond” / “Mostly Mozart”

Carriage House String Quartet, violist

  • Community Outreach at United Helpers, Canton (December 2025)
  • SLC Arts Porchfest (August 2025)
  • Summerfest (July 2025)
  • ONNY Winter Fundraiser (December 2024)
  • Summerfest (July 2023)
  • Waddington Concert Series (April 2023)
  • Concert at Edwards Opera House (October 2022)
  • Orchestra of Northern New York, “Beyond the Stage” (Fall 2020, Spring 2021)
    • Recorded a series of videos for ONNY’s virtual performance series
  • Potsdam Porchfest (September 2020, September 2021)
  • Marigold Cafe Community Concert, “A Celebration of Women Composers” (February 2020)
    • Sponsored by St. Lawrence Arts Council, in coordination with women’s suffrage year events at the Crane School of Music
    • Programmed, marketed, and performed in an hour-long concert solely comprised of works by women composers
  • Faculty Gala, Crane School of Music (September 2018)
    • As part of a focus on underrepresented groups, performed Florence Price’s String Quartet No. 2 in G, Movement II

St. Lawrence University

  • Choral Concert, St. Lawrence Choral Society (April 2024)
  • Choral Concert, St. Lawrence Choral Society (October 2023)
  • Bach Marathon, viola soloist on “Est ist Vollbracht” (March 2019)
  • String Orchestra, guest principal violist (2017- 2020)
    • Including collaboration with Journey West, an Ithaca-based group incorporating musicians and musics from Iraq, Iran, Egypt (November 2019)
  • Performance and Communication Arts (November 2018)
    • Spring Awakening, pit violist

Northern Lights Choir and Guests, viola

  • Spring Concert (May 2025)
  • Spring Concert (May 2024)
  • Vivaldi Gloria (May 2019)
  • Promised Land: An Adirondack Folk Opera (May 2018)
    • Premiere televised on Mountain Lake PBS

Professional Memberships

  • American Musicological Society
  • AMS Study Group on Music, Sound, and Trauma
  • Music, Sound, and Trauma Group—Utrecht
  • Francophone Music Criticism Network
  • Golden Key International Honor Society
  • Phi Beta Kappa
  • National College Scholars Society
  • Sigma Alpha Iota (emeritus)
  • Pi Kappa Lambda