- Ph.D. in Musicology, University of California, 2014
- M.F.A. in Musicology, Brandeis University, 2008
- B.M. in French Horn Performance, University of Denver, 2006
Jillian Rogers is assistant professor of music in musicology at the Indiana University Jacobs School of Music.
Her research centers on how people experience, process, and perform grief and trauma through music and sound, with particular focus on late-nineteenth and twentieth-century classical and popular music cultures in Europe and the United States. She earned a Ph.D. from UCLA in 2014.
Rogers’s interests in trauma studies, French modernism, affect and psychoanalytic theory, sound studies, and performance studies coalesce in her current book project, Resonant Recoveries: French Music and Trauma Between the Wars, which is forthcoming from Oxford University Press. This project examines musicians’ personal materials in French and U.S. archives, as well as musical scores, recordings, and philosophical, medical, and military texts in order to offer a new vision of interwar French musical modernism as a set of musical practices that enabled consolation in the wake of World War I’s traumas.
Her work on French music has appeared in Transposition, Revue de musicologie and the volume Music and War in Europe from the French Revolution to WWI (ed., Étienne Jardin, Brepols, 2016). She is currently co-editing and contributing articles to forthcoming special issues of Women and Music (on Lili Boulanger, with co-editor Kimberly Francis) and Nineteenth-Century Music Review (on music and trauma in the long nineteenth century, with co-editor Michelle Meinhart).
While living in Ireland in 2016-19, Rogers founded the Sonic Histories of Cork City Project (SHOCC Project) with Elaine Harrington (University College Cork, special collections librarian) and John Hough (University College Cork, Music Department, senior technical officer). This dynamic public history project, which emerged from an M.A. course in sound studies at UCC, explores relationships between sound, space, and history through historically informed soundscapes created through a by combination of archival research and inventive sound recording and editing.
Her interests in sound studies, French history, and trauma studies have led Rogers to co-organize and present her research in numerous conferences in the U.S., U.K., Ireland, France, and Germany. In addition to co-organizing the conference “Sustainable Sounds: Interrogating the Materials of Music Making Technologies” in May 2019 with colleagues Matthew Brennan, Paul Harkins, and Jenny Nex in Scotland, she also co-organized numerous events in 2018-19 with French colleagues Fanny Gribenski, Nicolas Donin, and François-Xavier Féron at IRCAM, including a seminar series (“Encounters between Music, Science, and Technology,” IRCAM, Spring 2018), a workshop (“Sound Objects in Transnational Contexts,” Max Planck Institute, July 2018), and a conference (“Sciences of Sound in Action: Acoustics, Physiology, and Technology in France (19th and 20th centuries),” IRCAM, March 2019). As an active member of the American Musicological Society, Rogers is currently organizing a study group for the AMS on Music and Trauma Studies with fellow music and trauma scholars Erin Brooks and Michelle Meinhart.
Before coming to the Jacobs School of Music in 2019, Rogers taught at UCC (2016-19), IU (2015-16), and UCLA (2009-15). She has taught courses and advised projects in French modernism; nineteenth- and twentieth-century music; opera history; instrumental music; music, mourning, and trauma; disability studies; sound studies; music, gender, and sexuality; writing about music; and U.S. and British popular music.