Erica Levenson
I am Assistant Professor of Music History at the University of Michigan, Ann Arbor. My primary area of research is baroque music, with an emphasis on the transnational circulation of opera, popular songs, and musical theater. In my current book project, Playful Enemies: French Song, Satire, and Spectacle in Early Eighteenth-Century England, I examine the Anglo-French political and socio-economic landscape of the 1710s–1740s through the lens of the French musical and theatrical invasion of the London stage. I have additional research interests in historical performance practice and the history of sampling in contemporary American popular music.
I have presented my research at both national and international conferences, including the International Conference on Baroque Music, the annual meetings of the American Musicological Society, and the American Society for Eighteenth-Century Studies conference, among others. My research has been published in the journals Eighteenth-Century Music and Studies in Eighteenth-Century Culture as well as in the edited volume Music, Myth, and Story in Medieval and Early Modern Europe (Boydell and Brewer Press). Much of my research is archival-based, and has been supported by the American Musicological Society Jan LaRue Travel Fund and the Society for the Humanities at Cornell University.
As a professor at the University of Michigan, I teach courses on a wide range of topics, including on global music studies, historical performance practice, musical borrowing, and music, gender, and sexuality. As a harpsichordist and organist, I welcome opportunities to combine performance with research and teaching. I first pursued my interests in early music performance and interdisciplinary scholarship as an undergraduate at the University of California, Berkeley where I received a Bachelor of Arts in music and English literature. I hold a PhD in Musicology from Cornell University.
I have presented my research at both national and international conferences, including the International Conference on Baroque Music, the annual meetings of the American Musicological Society, and the American Society for Eighteenth-Century Studies conference, among others. My research has been published in the journals Eighteenth-Century Music and Studies in Eighteenth-Century Culture as well as in the edited volume Music, Myth, and Story in Medieval and Early Modern Europe (Boydell and Brewer Press). Much of my research is archival-based, and has been supported by the American Musicological Society Jan LaRue Travel Fund and the Society for the Humanities at Cornell University.
As a professor at the University of Michigan, I teach courses on a wide range of topics, including on global music studies, historical performance practice, musical borrowing, and music, gender, and sexuality. As a harpsichordist and organist, I welcome opportunities to combine performance with research and teaching. I first pursued my interests in early music performance and interdisciplinary scholarship as an undergraduate at the University of California, Berkeley where I received a Bachelor of Arts in music and English literature. I hold a PhD in Musicology from Cornell University.
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Books by Erica Levenson
Looking beyond the well-known figure of Orpheus, this collection explores the myriad stories that shaped not only musical thought, but also its styles, techniques, and practices. Moreover, music itself performed and created knowledge in ways parallels to myth, and worked in tandem with old and new tales to construct social, political, and philosophical views. This relationship was not static, however; as the Enlightenment dawned, the once authoritative gods became comic characters and myth became a medium for ridicule. This collection provides a foundation for exploring myth and story throughout medieval and early modern culture, and facilitating further study into the Enlightenment and beyond.
Papers by Erica Levenson
Looking beyond the well-known figure of Orpheus, this collection explores the myriad stories that shaped not only musical thought, but also its styles, techniques, and practices. Moreover, music itself performed and created knowledge in ways parallels to myth, and worked in tandem with old and new tales to construct social, political, and philosophical views. This relationship was not static, however; as the Enlightenment dawned, the once authoritative gods became comic characters and myth became a medium for ridicule. This collection provides a foundation for exploring myth and story throughout medieval and early modern culture, and facilitating further study into the Enlightenment and beyond.