Women, Gender, and Sexuality
The Grove Music Online Women, Gender, and Sexuality project is unlike any other Grove has undertaken in its nearly 150-year history. In addition to revising, updating, and expanding coverage and inclusion of women and people of LGBTQ+ identities in Grove, who have been historically underrepresented, the Women, Gender, and Sexuality project rethinks the taxonomical categories, working relationships, hierarchies, and terminologies through which we consider music. Spanning both musicological and ethnomusicological topics and “classical” and “popular” musics, the Grove Music Online Women, Gender, and Sexuality project rethinks music-making worldwide.
Editors in Chief
Kimberly A. Francis is a feminist musicologist and Professor of Music at the University of Guelph where she also serves as the Director of Interdisciplinary Studies for the College of Arts and an affiliate of the Sexualities, Genders, and Social Change program. Her research focuses on the intersections between gender and cultural engagement with an eye toward championing equitable and inclusive practices in the field of musicology. Her research has been featured internationally, including reviews in Gramophone Magazine and most recently by Craig Norris on CBC Radio’s “The Morning Edition.”
Prof. Francis received her PhD in musicology from the University of North Carolina at Chapel Hill in 2010, work for which she received the Glen Haydon Award. She is the author of Teaching Stravinsky: Nadia Boulanger and the Consecration of a Modernist Icon (Oxford University Press, 2015) which won the ASCAP-Deems Taylor/Virgil Thomson Award. She is the editor of Nadia Boulanger and the Stravinskys: A Selected Correspondence (University of Rochester Press, 2018), and co-editor, with Jeanice Brooks, of Nadia Boulanger: Thoughts on Music (University of Rochester Press, 2020).
Francis sits on the Board of Women and Music: A Journal of Gender and Culture and is the chair of the American Musicological Society’s Membership and Professional Development Committee.
Tes Slominski (Independent Scholar) is a music and sound scholar who studies gender, sexuality, and race in Ireland and in its diaspora. She published Trad Nation: Gender, Sexuality, and Race in Irish Traditional Music (Wesleyan, 2020; honorable mention for SEM’s Marcia Herndon Prize), and has also published articles in Ethnomusicology Ireland, the Yearbook of Traditional Music (ICTM), Women & Music, and in edited volumes including Queering the Field (Oxford, eds. Barz and Cheng) and The Oxford Handbook of Music and Queerness (eds. Maus and Whiteley). Slominski also has a chapter in the forthcoming book Women and Music in Ireland (Boydell & Brewer, eds. Beausang, O’Connor, and Watson). She was the reviews editor for Women & Music from 2015-2021 and served as Secretary of the Society for Ethnomusicology’s board from 2019-2021. A Teaching Fellow and then Assistant Professor of Music at Beloit College in Wisconsin from 2012-2019, Slominski holds a Ph.D. in music from New York University (2010) and an M.A. in ethnomusicology from the University of Limerick (2002).
[photo credit: Sherry Olander]
Mary Channen Caldwell is Assistant Professor of Music at the University of Pennsylvania. She has published in several journals, including Early Music History, the Journal of the American Musicological Society, the Journal of Musicology, and Music & Letters. Her monograph, Devotional Refrains in Medieval Latin Song, was published with Cambridge University Press (2022).
Lisa Nielson is the inaugural Anisfield-Wolf SAGES Fellow and currently Associate Director for the Cleveland Humanities Collaborative at Case Western Reserve University. She researches intersections of gender, enslavement, and music in the medieval Islamicate world. Her publications include Music and Musicians in the Medieval Islamicate World: A Social History (2021).
Paula Maust is Assistant Professor of Music Theory at the Peabody Institute of the Johns Hopkins University. She is the creator of Expanding the Music Theory Canon, an open-source repository of music theory examples by historical women and people of color. A print anthology based on the project is under contract with SUNY Press, and a substantial recording project is underway. Paula also researches the pejorative language used to describe women on stage and co-directs Musica Spira, an ensemble that showcases the musical contributions of early modern women. As a harpsichordist and organist, she performs chamber music extensively and conducts baroque operas from the keyboard.
Rebecca Cypess is Associate Dean for Academic Affairs and Associate Professor of Music at Mason Gross School of the Arts, Rutgers University. She is the author of Women and Musical Salons in the Enlightenment (2022), Curious and Modern Inventions: Instrumental Music as Discovery in Galileo's Italy (2016), and over 35 peer-reviewed articles and book chapters.
Rebecca Geoffroy-Schwinden is Associate Professor of Music History at the University of North Texas. A specialist of eighteenth-century music cultures and musical labor during the Age of Revolutions, she is author of From Servant to Savant: Musical Privilege, Property, and the French Revolution (Oxford University Press, 2022). Her research on women’s musical practices has been awarded a Music & Letters Centenary Prize and published in Women & Music: A Journal of Gender and Culture.
Christopher Campo-Bowen is Assistant Professor of Musicology at Virginia Tech. His research focuses on music in the Habsburg Monarchy in the nineteenth and twentieth centuries, especially on the relationships between music, ethnicity, gender, and empire, which form the core of his current book project, titled Visions of the Village: Ruralness, Identity, and Czech Opera. He has published articles in the journals Nineteenth-Century Music, Cambridge Opera Journal, and The Musical Quarterly and presented at various national and international conferences.
Kristen Meyers-Turner is a lecturer in the Music Department at North Carolina State University. Her research centers on the intersections of music, identity, and politics in American popular culture at the turn of the twentieth century. Her work has been published in several journals and collected editions including the Journal of the American Musicological Society and Carmen Abroad: Bizet’s Opera on the Global Stage which received the RMA/Cambridge University Press Outstanding Edited Collection Book Prize for 2021.
Ana Alonso-Minutti is Associate Professor of Music at the University of New Mexico. Her scholarship focuses on experimental and avant-garde expressions and music traditions from Mexico and the US-Mexico border. Among her research areas are Latina/Chicana feminist and queer theories, critical race studies, and decolonial methodologies. She’s the author of Mario Lavista: Mirrors of Sounds (Oxford, 2023), and coeditor of Experimentalisms in Practice: Music Perspectives from Latin America (Oxford, 2018).
Marcus R. Pyle is Franco Professor of the Humanities and Assistant Professor of Musicology at Davidson College. Prior appointments include Tufts and MIT. His research includes operatic femmes fatales, gender and sexuality, Black female subjectivity, voice studies, French modernism, and fictionality. His research has been published in 19th-Century Music and the Journal of Popular Music Studies. He has been awarded the NYU Dean’s Dissertation Fellowship and the Howard Mayer Brown Fellowship from the AMS.