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Kailan Rubinoff

Kailan Rubinoff, Assistant Professor of Musicology, joined the UNCG faculty in 2007. She holds a B.A. in Music from the University of Pennsylvania, a Performance Certificate and Second Phase diploma in historical performance (Baroque and Classical flute) from the Conservatorium van Amsterdam, and a Ph.D in Music from the University of Alberta, Canada. Her doctoral research, which focused on the Early Music movement in the Netherlands, was supported by grants from the Fulbright Program and the Social Sciences and Humanities Research Council of Canada. Her other interests include the history and reception of 20th-century art music, ethnography of western musical cultures, performance practices of the Baroque and Classical periods, French Baroque music, critical theory, and popular music. She has presented her research at the national meetings of the American Musicological Society and Society for Ethnomusicology, and the Canadian chapter of the International Association for the Study of Popular Music. Previously, she taught music history, world music and popular music studies at the University of Western Ontario, Wilfrid Laurier University, and Mount Allison University.

There are 5 included publications by Kailan Rubinoff :

TitleDateViewsBrief Description
Authenticity as a Political Act: Straub-Huillet’s Chronicle of Anna Magdalena Bach and the Post-War Bach Revival 2011 521 In February 1968, a fateful year perhaps better remembered for its political upheavals, student uprisings, assassinations and the escalation of the Vietnam War than its cinematic achievements, a curiously backward-looking film premiered at the 1968 C...
Cracking the Dutch Early Music Movement: the Repercussions of the 1969 Notenkrakersactie 2011 613 The Notenkrakersactie of 17 November 1969 was a landmark event for Dutch musical life: a group of composers disrupted a concert of the Concertgebouw Orchestra, protesting against the orchestra’s lack of contemporary music programming. Scholars have t...
(Re)creating the Past: Baroque Improvisation in the Early Music Revival 2009 1512 This article explores the contentious position of improvisation in the contemporary Baroque music revival. Paradoxically, historical performers aim to obey the composer‘s intentions by paying careful attention to the written instructions of the music...
Revolutionizing Nineteenth-Century Flute Technique: Hugot-Wunderlich’s Méthode de Flûte (1804): Part I 2010 481 On 1 vendémiaire an 12 of the French Republican calendar (24 September 1803), a curious necrology appeared in the Correspondance des amateurs musiciens, a weekly newsletter that reported on concerts, aesthetic debates, musical instruments and p...
Revolutionizing Nineteenth-Century Flute Technique: Hugot-Wunderlich’s Méthode de Flûte (1804): Part II 2010 519 Part I, introducing Hugot and Wunderlich’s method, appeared in issue 22.1. In Part II, I will examine the innovations of the Hugot and Wunderlich Méthode de Flûte in more detail, focusing on the articles on articulation, fingering and ornamentatio...