微密圈

Sarah Day-O鈥機onnell

Professor

Office: Zankel Music Center 121
Phone: (518) 580-5343
Email:  sdayocon@skidmore.edu

DEGREES:

• Ph.D., Musicology, with Minor in Gender Studies, Cornell University
• B.Mus., Music History and Piano Performance, Oberlin College
  

RESEARCH INTERESTS

In my research I combine musical analysis with interpretation of literary, visual, and material culture in order to explore how musical activity, especially singing, reflects and shapes broader social concerns 鈥� in particular, about gender and politics.  I also examine transcriptions, 鈥渃overs,鈥� recordings, theories of performance, criticism, and listener reception because I鈥檓 interested in how music, through performance, changes meaning across times and cultures.

TEACHING INTERESTS

Music history and historiography; music and culture; late eighteenth-century music and aesthetics, gender and music; translation studies; music and medicine, faith, and healing; musical authorship/borrowing/plagiarism/copyright; opera; flamenco; Caribbean steelband; Japanese taiko drumming; American shape-note singing; music about trains.

PUBLICATIONS

Edited Book

• , co-edited with Caryl Clark (Cambridge: Cambridge University Press, 2019).

Articles and Chapters

• The Smart Set (June 2023).
• Review of Richard Kramer. Cherubino鈥檚 Leap: In Search of the Enlightenment Moment.(Chicago and London: University of Chicago Press, 2016.) Journal of the American Musicological Society 72/1 (2019): 245-251.
• "Seminar as Schubertiad: Or, a New Journey for Schubert's Winterreise" Accelerate 2 (Fall 2018): 32-35.
• Review of Richard Chesser and David Wyn Jones, eds. Land of Opportunity: Joseph Haydn and Britain. (London: British Library, 2014.) Eighteenth-Century Music 12/2 (2015): 231-233.
• 鈥�The Singing Style,鈥� in Danuta Mirka, ed., The Oxford Handbook of Topic Theory (Oxford: Oxford University Press, 2014): 238-258.
• 鈥溾赌�The Clock Points its Moral to the Heart鈥�: Time and Memory in Haydn鈥檚 English Canzonettas,鈥� in Marie-Agnes Dittrich, Marin Eybl, Reinhard Kapp, eds., Zyklus und Prozess: Joseph Haydn und die Zeit (Vienna: B枚hlau Verlag, 2012): 153-178.
• 鈥�The Composer, the Surgeon, His Wife, and Her Poems: Haydn and the Anatomy of the English Canzonetta,鈥� Eighteenth-Century Music 6/1 (2009): 77-112.  Winner of the Pauline Alderman Award for Outstanding Scholarship on Women and Music, International Alliance for Women in Music, 2011
• 鈥�Watches Without Pockets: Singing 微密圈 Minutes in a London Drawing Room, circa 1800,鈥� in Cliff Eisen, ed., Coll鈥� astuzia, col giudizio: Essays in Honor of Neal Zaslaw (Ann Arbor: Steglein, 2009): 268-285.
• Review of Andreas Friesenhagen and Egbert Hiller, eds. Volksliedbearbeitungen, Nr. 365-429, Schottische Lieder F眉r William Whyte in Joseph Haydn Werke, Reihe XXXII, Band 5 (Munich: G. Henle Verlag, 2005) Eighteenth-Century Music 5/2 (2008): 257-260.

AWARDS

• Pauline Alderman Award for Outstanding Scholarship on Women and Music, International Alliance for Women in Music, 2011
• Alternate, Postdoctoral Fellowship, American Association of University Women (AAUW), 2010-2011
• Visiting Research Fellow, Institute of Advanced Studies in the Humanities, University of Edinburgh, Scotland, Fall 2009 and Fall 2010
• Winner, Innovative Course Design Competition, American Society for Eighteenth-Century Studies, 2009
• Edison Fellowship, Sound Archive, British Library, London, 2007-2008
• Dissertation Prize, Gender Studies Program, Cornell University, 2002
• Buttrick-Crippen Fellowship, John S. Knight Writing Program, Cornell University, 2000-2001

RECENT INVITED LECTURES AND CONFERENCE PAPERS

• 鈥淚 Say Symphony Rather Than Cacophony: In the Music History Classroom When Your Students Would Rather Be Protesting, Organizing, and Advocating.鈥� Teaching Music History, Pedagogy Study Group of the American Musicological Society, Berklee College of Music, Boston, June 2017.
  
• 鈥淔aculty-Student Collaborative Research in Musicology: What, Why, How.鈥� Teaching Music History, Pedagogy Study Group of the American Musicological Society, Metropolitan State University, Denver, June 2016.
• 鈥淐reative Fidelity: Insights on Musical Performance via Translation Theory.鈥� Performance Studies Network Third International Conference, University of Cambridge, July 2014.
• 鈥淪inging as Translation: A 鈥楴ew Fidelity鈥� Approach to Performance and Meaning in Joseph Haydn鈥檚 Canzonettas.鈥�  American Society for Eighteenth-Century Studies, Williamsburg (Virginia), March 2014.
• 鈥淥rigins and Journeys of Haydn鈥檚 English Canzonetta 鈥楾he Wanderer.鈥欌��  American Musicological Society, San Francisco, November 2011.
• 鈥溾赌楧aughter of Sorrow鈥�: Feminine Exile and Joseph Haydn鈥檚 鈥楾he Wanderer.鈥欌�� American Society for Eighteenth-Century Studies, Vancouver, March 2011.
• 鈥溾赌楲ost in the Past, Disregarding Tomorrow鈥�: Journeys and Destinations of Haydn鈥檚 鈥楾he Wanderer.鈥欌�� Works-in-Progress Series, Institute for Advanced Studies in the Humanities, University of Edinburgh, Scotland, October 2010.
• 鈥淔our Fidelities: Musicology Meets Translation Studies.鈥�  Seminar series in 鈥淭ranslations, Adaptations, and Modalities,鈥� Institute for Advanced Studies in the Humanities, University of Edinburgh, Scotland, November 2009.
• 鈥淭ime and Pastime in Songs of Haydn鈥檚 London.鈥� Institute of Musical Research, University of London School of Advanced Study, January 2009.
• 鈥淗aydn鈥檚 Canzonettas on Record.鈥� Studies in Recorded Music Seminar Series, British Library, London, January 2009.
• 鈥溾赌楾he Clock Points its Moral to the Heart鈥�: Time and Memory in Haydn鈥檚 English Canzonettas,鈥� Zyklus und Prozess: Haydn und die Zeit, held at Institut f眉r Analyse, Theorie und Geschichte der Musik, University of Music and Performing Arts, Vienna, January 2009.