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Christina Kim

Born in Korea, Christina Kim is an active musicologist, singer, and educator. She is a first-year Ph.D. student in Musicology at Stanford University. Kim is broadly interested in Medieval and Renaissance sacred music; accordingly, her performance interests range from Gregorian chant to late sixteenth-century polyphony music. Her music studies began at Pasadena City College where she discovered her passion for music.

Lorenzo Tunesi

Lorenzo is in the doctoral program in musicology. His research interests include late medieval and renaissance music in Italy and France. 

Elea Shea Anders Proctor

Elea Proctor is a doctoral candidate in musicology at Stanford University. Her research focuses on blackface performance, with particular attention to Black performers in blackface and the afterlife of blackface minstrelsy in the 20th and 21st centuries. 

Gabriel Ellis

Gabriel Ellis is a Ph.D. candidate in musicology at Stanford University. He writes on aesthetics and affect in popular music and culture.

Michael Kinney

Michael Kinney in a Ph.D. candidate in musicology writing on vocality, aging, and disability in operatic performance cultures. In his dissertation, titled, “Hearing Beyond Vocal Twilight: Aging Vocality in Contemporary American Operatic Performance,” Michael asks what we learn about operatic vocality — and voice more generally — when aging and old singers are centered.

Kirstin Haag

Kirstin Haag is a doctoral student in Musicology at Stanford University. Her dissertation centers on early-colonial missionary music of rural Guatemala with a focus on the villancico. The project examines the role of indigenous practitioners, the socio-political workings of colonial song, and issues of rural vs. urban music-making. Kirstin’s secondary research interests include the intersection of music, sports, and nationalism in the U.S., as well as issues of music pedagogy in higher education.

Kelly Christensen

Kelly Christensen is a doctoral candidate in musicology at Stanford University. She holds a master of arts degree in musicology from Indiana University, with a minor in philosophy (2015), and a bachelor of music in music education from Bowling Green State University (2012). Her dissertation, “When Music Gets Old: Revivals, Reorchestration, and Recollections of Eighteenth-Century Opéra-Comique in Nineteenth-Century France,” asks how audiences, artists, and administrations remembered cultural products of the Old Regime after the Revolution, specifically the nationalist genre opéra-comique.

Benjamin Ory

Benjamin Ory is a Ph.D. candidate in musicology at Stanford University and a 2021–22 Stanford Mellon Foundation Dissertation Fellow. His dissertation, which has been supported by a DAAD Research Grant, examines the origins of mid sixteenth-century musical style and its twentieth-century reception under National Socialism in Germany and during the post-war period. Ben’s historiographical research was recently recognized by the 2021 AMS NorCal Award in Musicology.


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