Education
- Ph.D., Doctor of Philosophy, University of Michigan, 1981
- M.M., Master of Music, University of Michigan, 1974
- B.M.E., Bachelor of Music Education, University of Nebraska, 1971
Biography
Marianne C. Kielian-Gilbert is professor emerita of music in music theory at the Indiana University Jacobs School of Music.
She has served as secretary of Music Theory Midwest and vice-president of the Society for Music Theory and is a member of several editorial boards, including Perspectives of New Music, for which she also served a term as co-editor. She has published essays on Stravinsky's music, tonal/Schenkerian analysis, 20th- and 21st-century music, and music and cultural studies (feminism and music).
Kielian-Gilbert's work appears in essay collections and journals including College Music Symposium, In Theory Only, Journal of Musicology, Journal of Music Theory, Music Analysis, Music Perception, Music Theory Spectrum, 19th-Century Music, Perspectives of New Music, and Theory and Practice.
Recent publications concern music, philosophy and feminist theory, and music and analysis in different experiential, cultural, material/media, and philosophical orientations. These essays develop such topics as music's multi-dimensionality in multimedia and interdisciplinary performance, gender and sexuality in Britten's music, bells in Stravinsky's Le Sacre du printemps, music and disability, music of contemporary women composers, the poetry of Sylvia Plath in the music of Shulamit Ran, and music and dance.
Kielian-Gilbert was co-producer with conductor Carmen Helena Téllez for the 2008 world premiere of the opera ¡Únicamente la Verdad! (Only the Truth!) by Mexican composer Gabriela Ortiz at Indiana University. In 2008, she received the Distinguished Scholar Award from Indiana University's Office for Women's Affairs.
Selected Publications
“In Celebration – ERB at 90,” 1–6. Elaine at 90: A Celebration. Edited by Dorota Czerner and Russel Richardson. Open Space 23 + (supplement to Issue 23), The Open Space Magazine, December (2022).
“Experiencing Chen Yi’s music: Local and Cosmopolitan Reciprocities in Ning for pipa, violin and cello (2002).” https://mtosmt.org/issues/mto.20.26.3/mto.20.26.3.kielian_gilbert.html Music Theory Online (The Music of Chen Yi), Vol. 26, No. 3 (2020).
“The Grain of the Performative,” 168–176. Open Space Magazine 21, Thíngs that Matter (2018). www.the-open-space.org/web-magazine/
“Compassion with the Abyss”: Sensory Estrangement in Britten’s Late Works Death in Venice Op. 88 and Phaedra Op 93, 225–263. In Essays on Benjamin Britten from a Centenary Symposium. Edited by David Forrest, Quinn Patrick Ankrum, Stacey Jocoy and Emily Yates. UK: Cambridge Scholar’s Publishing (2018).
“Dissonant Bells: The Rite’s ‘Sacrificial Dance,’ 1913/2013,” 354–379. In The Rite of Spring at 100. Edited by Severine Neff, Maureen Carr, Gretchen Horlacher, with John Reef. Bloomington IN: Indiana University Press, hardcover and online. (2017)
“Disabled Moves: Disturbing/activating differences of identity, multi-dimensional music listening,” 371–399. In The Oxford Handbook of Music and Disability Studies, 371–399. Edited by Joseph Straus, Blake Howe, Stephanie Jensen-Moulton, and Neil Lerner. New York: Oxford University Press and online, (2016).
“Listening in Film: Music/Film Temporality, Materiality and Memory,” 500–525. In The Oxford Handbook of Film Music Studies. Edited by David Neumeyer. New York: Oxford University Press and Oxford Handbooks Online (2013)
“Musical Bordering, Connecting Histories, Becoming Performative.” Invited response for the Richard Taruskin Symposium. Music Theory Spectrum, Vol. 33, no. 2, 200–207 (2011)
“Music and the Difference in Becoming,” 199–225. In Sounding the Virtual: Gilles Deleuze and the Theory and Philosophy of Music. Edited by Brian Hulse and Nick Nesbitt. Ashgate (2010).
“Inventing a Melody with Harmony – Tonal Potential and Bach’s “Das alte Jahr vergangen ist,” 77–102. Analysis Symposium “Das alte Jahr vergangen ist, BWV 614.” Journal of Music Theory, Vol. 50, no. 1, Fiftieth Anniversary Issue (2006).
“Beyond Abnormality – Dis/ability and Music’s Metamorphic Subjectivities,” 217–234. In Sounding Off: Theorizing Disability in Music. Edited by Neil Lerner and Joseph Straus. New York & London: Routledge (2006).
Intercultural Events
One of the invited keynote speakers at SMT 2020, Nina Simone’s “Little Girl Blue”; and at the SMT 2018 CSW session on The Music of Chen Yi. Invited speaker in 2018 for The China Conservatory of Music, Sharing Ideas in Music Theory: A Continuing Colloquy; and in May 2018, “Musical Border-Crossings (Gabriela Ortiz),” for the Facultad de Música Postgraduate Colloquium, Universidad Nacional Autónoma de México (UNAM).