Position: Associate Professor (musicology); Musicology Coordinator; MUCT Advisor
Address: 2013 Moore Musical Arts Center
Effie Papanikolaou serves as Musicology Coordinator and Graduate Student Advisor in the Musicology/Composition/Theory area. She holds a B.A. in English Philology and Literature from the University of Athens, Greece; Music Theory Degrees from the National Conservatory of Athens; and Master’s and Ph.D. degrees in Historical Musicology from Boston University.
Her lectures and publications (from Haydn and Schumann to Liszt and Mahler) focus on the interconnections of music, religion, and politics in the long nineteenth century, with emphasis on the sacred as a musical topos. Other research interests include music and film, and dance studies. Her publications have appeared in musicological and interdisciplinary studies journals, and essays have been published in book collections. Forthcoming publications include an article on the genre of the Romantic symphonic Mass and essays on dance and music aesthetics.
Professor Papanikolaou has presented papers at numerous national and international conferences, both musicological and interdisciplinary in scope. In the past 15 years she has contributed hundreds of program notes to professional ensembles and concert events, and select liner notes for CD publications. She is also a frequent pre-concert lecturer on chamber and symphonic music. Since 2015 she has presented the highly popular pre-performance talks at the Toledo Opera, and she has appeared as guest lecturer at the Toledo Museum of Art.
In Fall 2010 she was awarded a Scholar-in-Residence Fellowship from BGSU’s Institute for the Study of Culture and Society. She has been the recipient of an NEH Summer seminar fellowship for work on opera, and a Technology Innovations Course Redevelopment Grant to from the Ohio Learning Network. She has served as elected Member of the AMS Council (2014-16); Chair of the AMS Committee on Membership and Professional Development (2009-12); Treasurer (2009-13) and member of the Program Committee (2006-2008) of the AMS Midwest; member of the Committee on Career-Related Issues of the AMS (2005-2007); and member of the Board and Secretary of the Mozart Society of America (2006-09). Currently she serves as Member-at-Large on the Executive Committee of the Society for Christian Scholarship in Music (2017-2020), and on the Board of the Chicago Mahler Society. Her previous teaching appointments included Wellesley College, the Longy School of Music, Miami University, and Harvard University (Teaching Fellow).
“On the British Reception of Ken Russell’s Mahler.” In Rethinking Mahler. Edited by Jeremy Barham, 163-182. Oxford: Oxford University Press, 2017.
“Linking Christian and Faustian Utopias: Mahler’s Setting of the Schlußszene in his Eighth Symphony.” In Music in Goethe’s Faust, Goethe’s Faust in Music. Edited by Lorraine Byrne Bodley, 183-198. Woodbridge, UK and Rochester, NY: The Boydell Press, 2017.
Preface to E. T. A. Hoffmann, Miserere, for chorus, soloists and orchestra (English and German). München: Musikproduktion Höflich, 2015. <https://repertoire-explorer.musikmph.de/product/hoffmann-e-t-a-7>
Liner notes for Franz Schubert, Die schöne Müllerin, Georg Lehner, baritone and Dino Mastroyiannis, piano. In English and Greek. Sheva Collection, Milan, Italy, 2014. < http://www.shevacollection.it/modules/news/article.php?storyid=7>
“Trauma as Memory in Ken Russell’s Mahler.” In After Mahler’s Death. Edited by Gerold W. Gruber, Morten Solvik and Jan Vičar, 72-89. Olomouc, Czech Republic: Palacký University, 2013.
“Ταυτότητα και Εθνικότητα στη Μουσική του Peter Gabriel για την Ταινία του Martin Scorsese Ο Τελευταίος Πειρασμός.” In “The Last Temptation” and Its Transformations. Edited by George Grammatikakis and Antonis Leventis, 141-154. Heraklion, Crete: Kazantzakis Museum, 2011.
“Whose Mourning?: Schumann’s Requiem für Mignon.” Choral Journal (Focus Issue on Robert Schumann) 51/2 (Fall 2010): 18-30.
“Between Tradition and Innovation: Sacred Intersections and The Symphonic Impulse in Haydn’s Late Masses.” Musica sacra 136/4 (Winter 2009): 6-16.
Review of Musical Exoticism: Images and Reflections, by Ralph P. Locke (Cambridge University Press, 2009). International Journal of Musicology, Belgrade 29/9 (2009): 195-198.
“The Art of the Ballets Russes Captured: Reconstructed Ballet Performances on Video.” Music Library Association Notes 64/3 (March 2008): 564-585.
“Of Duduks and Dylan: Negotiating Music and the Aural Space.” In Cylons in America: Critical Studies of Battlestar Galactica. Edited by Tiffany Potter and C. W. Marshall, 224-236. New York and London: Continuum, 2007.
“Romanticism as Border Crossing: The Case of the Symphonic Mass.” Prism(s): Essays in Romanticism 13 (2005): 63-80.
“Brahms, Böcklin, and the Gesang der Parzen.” Music in Art: International Journal for Music Iconography 30/1-2 (Spring-Fall 2005): 154-165.
“Identity and Ethnicity in Peter Gabriel’s Sound Track for The Last Temptation of Christ.” In Scandalizing Jesus?: Kazantzakis’s “The Last Temptation of Christ” Fifty Years On. Edited by Darren J. N. Middleton, with a contribution by Martin Scorsese, 217-228. New York and London: Continuum, 2005.
“Aestheticism and the City: Gustav Mahler and Musical Politics in Fin-de-siècle Vienna.” Journal of Political and Military Sociology (Music and Politics Issue) 30/2 (Winter 2002): 239-257.