Lori Burns
Professeure titulaire, École de musique
Chaire conjointe en études des femmes (Université d'Ottawa et Carleton University)
Membre de la Faculté des études supérieures et postdoctorales et autorisée à diriger des thèses.
Bureau : Pérez 315
Téléphone : 613-562-5800 poste 3435
Courriel : laburns@uOttawa.ca
Titres universitaires
1991 – Ph.D., Harvard University
1986 – M.Mus., University of Alberta
1984 – B.Mus., University of Western
Prix
Récipiendaire du prix Pauline Alderman pour une monographie sur la femme et la musique, International Alliance for Women in Music, 2005 (pour le livre Disruptive Divas: Feminism, Identity and Popular Music, 2002).
Champs d'intérêt
- Écriture musicale
- Théorie contemporaine
- Théorie féministe
- Musique populaire
- Musique et poésie
Cours enseignés
- Théorie et analyse musical
- Musique populaire en société
- Séminaires sur la musique populaire, le genre et la musique; le texte et la musique
Activités professionnelles
Coéditeure avec John Covach et Albin Zak, Tracking Pop (monograph series), University of Michigan Press.
Membre du corps professoral, Mannes Institute on Jazz and Pop, Eastman School of Music, Juin 2008
Membre du Conseil d'administration de la Ottawa Symphony Orchestra
Recherche
Conseil de recherches en sciences humaines du Canada (CRSH) :
2007-10 – "Subjectivity, Embodiment and Resistance in Popular Music by Female Artists," co-researcher Marc Lafrance.
2002-2005 – "Covering and Interpreting the Blues and Torch Songs: Musical Expressions of Gender, Identity, and Sexuality".
1997-2000 – "Representations of Violence in Popular Music by Female Artists".
Survol des publications
Livres
Disruptive Divas: Feminism, Identity and Popular Music (New York and London: Routledge Press, 2002). Dirigé par M. Lafrance.
Bach's Modal Chorales (Stuyvesant, NY: Pendragon Press, 1995).
Articles
"I Got Homies, But in the End I'm Still So Lonely:Men and Masculinity on Kanye West's 808s and Heartbreak." (Forthcoming). Co-authored with Marc Lafrance and Alyssa Woods.
"Gender and the Billboard Top 40 Charts between 1997 and 2007." Popular Music and Society (2011), 1-14. Co-authored with Marc Lafrance.
"The Dixie Chicks are 'Not Ready to Make Nice': Re-gaining a Voice through Text, Music, and Images." Popular Music, fall 2010. Co-authored with Jada Watson.
"Cotextuality in Music Video: Covering and Sampling in the Cover Art Video of "Umbrella." In Pop-Culture Tools in the Music Classroom. Edited by Nicole Biamante. (Scarecrow Press, 2010) 233-63. Co-authored with Tamar Dubuc.
"Subjective Perspectives through Word, Image and Sound: Temporality, Narrative Agency and Embodiment in the Dixie Chicks' Video 'Top of the World'". Music, Sound, and the Moving Image (July 2010), 3-37. Co-authored with Jada Watson.
"Vocal Authority and Listener Engagement: Musical and Narrative Expressive Strategies in Alternative Female Rock Artists (1993-95)," in Sounding Out Pop, edited by John Covach and Mark Spicer (University of Michigan Press, 2010), 154-92.
"Embodied Subjectivities in the Lyrical and Musical Expression of PJ Harvey and Björk." Music Theory Online 14/4 (November, 2008). Co-authored with Laura Hawley and Marc Lafrance.
"Analytic Methodologies for Rock Music: Harmonic and Voice-Leading Strategies in Tori Amos's "Crucify." In Expression in Pop-Rock Music: A Collection of Critical and Analytical Essays, dirigé par Walter Everett (Garland, 2000), 213-46. Deuxième édition Routledge Press, 2007.
"Feeling the Style: Vocal Gesture and Musical Expression in Billie Holiday, Bessie Smith, and Louis Armstrong." Music Theory Online 11.3 (Août, 2005).
"Sarah McLachlan's "Possession" (1993): Representations of Dominance and Subordination in Lyrics, Music, and Images," Studies in Music at the University of Western Ontario, vol. 19-20 (2005).
"Meaning in a Popular Song: The Representation of Masochistic Desire in Sarah McLachlan's 'Ice'." In Engaging Music: Essays in Musical Analysis, dirigé par Deborah Stein (New York, Oxford University Press, 2004), 136-148.
"Authenticity, Appropriation, Signification: Tori Amos on Gender, Race, and Violence in Covers of Billie Holiday and Eminem." Co-auteure, Alyssa Woods. Music Theory Online 10.2 (Juin 2004).
"Genre, Gender, and Convention Revisited: k.d. lang's Cover of Cole Porter's 'So in Love.'" repercussions 7-8, 1999-2000, 299-325.
"'Joanie' Get Angry: k.d. lang's Feminist Revision," in Understanding Rock: Essays in Music Analysis, dirigé par John Covach et Graeme Boone (New York: Oxford Press, 1997), 93-112.
