As a scholar, I approach twentieth-century concert-music culture from a transnational perspective, with particular interests in migration, identities, reception, and intergenerational connections. In my dissertation (completed in 2016), I explore this landscape through the lens of one composer, Darius Milhaud, whose wartime exile and subsequent transatlantic career illuminate links between people and ideas usually addressed in separate narratives. My article on Agnes de Mille’s 1940 ballet Black Ritual (The Musical Quarterly, Fall 2014) addresses racialized notions of genre in an intersection between African American concert dance and the beginnings of American ballet as an institution.

Before beginning the graduate program in musicology at the University of North Carolina at Chapel Hill, I studied music composition as an undergraduate at Moravian College in Bethlehem, Pennsylvania, where I wrote what Milhaud might have called “a kind of Prokomith Hindefieff music” (the label he gave the work of his 1948 Tanglewood students in a letter to his friend Charles Jones). I caught the musicology bug while researching and writing a senior thesis on the religious music of Milhaud and two of his contemporaries. Although I focused on the same composer in my dissertation, I also explored other topics during my graduate coursework at UNC, including a Master’s thesis on amplification and electronics in drum and bugle corps competitions.

As a James W. Pruett Fellow at the Library of Congress in the summer of 2011, I assisted in reorganizing the Federal Theatre Project collection and processing the Luther Henderson Papers. This fellowship also enabled me to begin the archival work for my dissertation, and subsequent research trips took me to the New York Public Library for the Performing Arts, Yale University, Mills College, UC Berkeley, the Bibliothèque nationale de France, and the Paul Sacher Foundation. I received support for this research from the American Musicological Society, the Sacher Foundation, the Graduate School of the University of North Carolina at Chapel Hill, and the Carolina Center for Jewish Studies. My final year of graduate school was supported by a fellowship from the American Association of University Women.

Outside of musicology, I enjoy playing the flute, attempting to learn new languages, watching drum corps shows, and correcting misinformation on the Internet. My last name is pronounced [mɑr].


Ph.D. in Musicology, University of North Carolina at Chapel Hill (2016)
Dissertation: “Darius Milhaud in the United States, 1940–71: Transatlantic Constructions of Musical Identity”
(advisor: Annegret Fauser)

M.A. in Musicology, University of North Carolina at Chapel Hill (2011)
Thesis: “The Amplification Controversy in Drum Corps International: Technological Change and the Meaning of Tradition” (advisor: Mark Katz)

B.M. in Music Composition, Moravian College (2008)
Summa cum laude, Honors in Music

Selected Awards

  • American Dissertation Fellowship, American Association of University Women (2015)
  • M. Elizabeth C. Bartlet Travel Fund, American Musicological Society (2013)
  • Research Scholarship, Paul Sacher Foundation (2012)
  • Comenius Medallion Scholarship, Moravian College (2004–2008)

Professional Service

  • Editorial Assistant, Journal of the American Musicological Society (2012–2013)
  • Committee member, UNC Chapel Hill Department of Music
    • Technology Committee (2014–2016)
    • Carolina Symposia in Music and Culture Committee (2012–2013)
    • Music Library Committee (2011–2012)