Associate Professor of Music
Julie McQuinn earned a B.M. in voice performance and a B.A. in mathematics from Oberlin College, an M.M. in voice performance from the University of Illinois at Champaign-Urbana, and a Ph.D. in musicology from Northwestern University. Her dissertation, for which she received an AMS 50 Fellowship from the American Musicological Society, explores the forces behind perceptions of gender and sexuality in Parisian society at the turn of the twentieth century, and their connection to the creation and reception of a handful of strikingly original and ultimately subversive operas.
Her research and teaching interests also include music and gender, fairy tale musics, music and memory, and the use of pre-existing music in film. She contributed a chapter on eroticism in Debussy’s music to The Cambridge Companion to Debussy, her article on the use of Barber’s Adagio for Strings as film music appeared in the journal American Music, and her article “The Medieval Leper Plagues Modern Paris: Sylvio Lazzari’s La Lépreuse” appeared in Nineteenth-Century Music Review. More recently, she contributed a chapter—“Strange Recognitions and Endless Loops: Music, Media, and Memory in Terry Gilliam’s 12 Monkeys” to The Oxford Handbook of Film Music Studies, and her chapter—“‘What does music feel like?’: Music, Fairy Tale, and the Boundaries of Humanness in Joe Wright’s Hanna” is currently under consideration for publication as part of a collection of essays on fairy tales and popular culture.
Ms. McQuinn has presented papers at a number of conferences, including the International Conference on Nineteenth-Century Music, the International Conference on Music Since 1900, the American Musicological Society annual meeting, the Royal Music Association annual conference, and the Music and the Moving Image conference. She has also given several pre-concert lectures for the Civic Orchestra of Chicago and the Chicago Symphony Orchestra.
Ms. McQuinn received Lawrence’s 2007 Young Teacher Award.
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