- 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
Marianne C. Kielian-Gilbert 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). Her 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. She 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 recent publications:
“Compassion with the Abyss”: Sensory Estrangement in Britten’s Late Works Death in Venice Op. 88 and Phaedra Op 93. In Inspiration: Essays on Benjamin Britten from a Centenary Symposium. David Forrest (ed.), Quinn Patrick Ankrum, Stacey Jocoy, and Emily Yates (assoc. eds.). U.K.: Cambridge Scholars (2017, in press).
“Disabled Moves: Disturbing/activating differences of identity, multi-dimensional music listening.” In The Oxford Handbook of Music and Disability Studies. Edited by Joseph Straus, Blake Howe, Stephanie Jensen-Moulton, and Neil Lerner. New York: Oxford University Press (2015, forthcoming).
"Dissonant Bells: The Rite’s ‘Sacrificial Dance’ 1913/2013.” In Reassessing Stravinsky’s Le Sacre du printemps 1913/2013. Edited by S. Neff, M. Carr, G. Horlacher. Bloomington IN: Indiana University Press (2016, forthcoming).
“Listening in Film: Music/Film Temporality, Materiality and Memory.” In The Oxford Handbook of Film Music Studies. Edited by David Neumeyer, 500-525. New York: Oxford University Press and Oxford Handbooks Online (2013).
“Musical Bordering, Connecting Histories, Becoming Performative.” Music Theory Spectrum, Vol. 33, no. 2, Fall 2011, 200-207. Invited response for the Richard Taruskin Symposium.
“Music and the Difference in Becoming.” In Sounding the Virtual: Gilles Deleuze and the Theory and Philosophy of Music, 199-225. Edited by Brian Hulse and Nick Nesbitt. Ashgate, 2010.
“'Inventing a Melody with Harmony' —Tonal Potential and Bach’s “Das alte Jahr vergangen ist.” Journal of Music Theory, Vol. 50, no. 1, Fiftieth Anniversary Issue (Spring 2006), 77-102. Analysis Symposium “Das alte Jahr vergangen ist, BWV 614.”
“Beyond Abnormality -- Dis/ability and Music’s Metamorphic Subjectivities.” In Sounding Off: Theorizing Disability in Music, 217-234. Edited by Neil Lerner and Joseph Straus. New York & London: Routledge, 2006.