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Amanda Eubanks Winkler

Amanda Eubanks Winkler


Associate Professor, Music History and Cultures | Director of Undergraduate Studies in Music History & Cultures
Art & Music Histories

awinkler@syr.edu

308 H Bowne Hall
315.443.4584


Research Interests

Prof. Eubanks Winkler's research focuses on English theater music of the seventeenth, eighteenth, and twentieth centuries. She is the Co-Investigator on Performing Restoration Shakespeare, a project funded by the Arts & Humanities Research Council, UK (2017-2020) and she is a General Editor for The Collected Works of John Eccles (A-R Editions). She has published on a range of topics, including the relationships among musical, spiritual, and bodily disorder; musical depictions of the goddess Venus; the gendering of musical spirits; and the intersection of music and politics. More recent work has engaged with performance studies and practice-based research, including workshops that staged excerpts of Davenant's Macbeth and Gildon's Measure for Measure (Folger Theatre, Washington DC) and Middleton's The Witch (Blackfriars Conference, Staunton, VA). As part of the Performing Restoration Shakespeare project, she served as music director for a workshop of the Restoration-era Tempest (Sam Wanamaker Playhouse, Shakespeare's Globe, London) and more recently co-led a workshop for scholars and served as a consultant for a full professional production of Davenant’s Macbeth, staged at the Folger Theatre, Washington DC.

--Amanda Eubanks Winkler on Academia.edu

Education

Ph.D. in Musicology, University of Michigan

Courses

Undergraduate Courses

The Beatles and British Culture
English Opera: Purcell to Lloyd Webber
European Music to 1750
History of Musical Theater
Music and Gender
Music and Politics
Music Research and Writing
Music and the Sacred
Opera in Performance
Opera in Society

Graduate Courses

Art and Music of the British Empire (co-taught with Romita Ray)
Bach and Handel
Britten and His World
Music and Shakespeare
Operas of Mozart

Books

--Music, Dance, and Drama in Early Modern English Schools (forthcoming, Cambridge: Cambridge University Press, 2020).

--Shakespeare in Performance: Sir William Davenant and the Duke’s Company (co-authored with Richard Schoch) (London: Bloomsbury Arden Shakespeare, forthcoming). 

--Beyond Boundaries: Rethinking Music Circulation in Early Modern England, ed. Linda Austern, Candace Bailey, and Amanda Eubanks Winkler (Bloomington: Indiana University Press, 2017).

--O Let Us Howle Some Heavy Note: Music for Witches, the Melancholic, and the Mad on the Seventeenth-Century English Stage (Bloomington: Indiana University Press, 2006). 

Editions

--John Eccles, Incidental Music, Part 1 (plays A–F), ed. Amanda Eubanks Winkler, The Works of John Eccles, Recent Researches in the Music of the Baroque, vol. 190 (Middleton, WI: A-R Editions, 2015). 

--Music for Macbeth, ed. Amanda Eubanks Winkler, Recent Researches in the Music of the Baroque, vol. 133 (Middleton, WI: A-R Editions, 2004).

Recent Articles and Book Chapters

--“Schoolboy Performances in the Early Modern North-East,” in Music in North-East England, ed.   Stephanie Carter, Kristen Gibson, and Roz Southey (forthcoming, Boydell and Brewer). 

--"'Let’s Have a Dance': Staging Shakespeare in Restoration London," in The Oxford Handbook of Shakespeare and Music, ed. Christopher Wilson and Mervyn Cooke (forthcoming, Oxford University Press).

--"Opera in England," The Cambridge Companion to Early Opera, ed. Jacqueline Waeber (forthcoming, Cambridge University Press).

--"English Music in Benefit Concerts: Purcell, Eccles, and Their Contemporaries," in Music, Theatre, and the Benefit Performance in England, 1660–1800, ed. Alison DeSimone and Matthew Gardner (forthcoming, Cambridge University Press, 2019).

--"Opera at School: Mapping the Cultural Geography of Pedagogical Performance," in Operatic Geographies: The Place of Opera and the Opera House, ed. Suzanne Aspden (Chicago: University of Chicago Press, 2019), 26-38.

--"'Armida’s Picture We from Tasso Drew'?: Versions of the Rinaldo & Armida Story in Late Seventeenth- and Early Eighteenth-Century Operatic Entertainments," in Music, Myth, and Story, ed. Katherine Butler and Samantha Bassler (Woodbridge: Boydell and Brewer, 2019). 241–258. 

--"The Intermedial Dramaturgy of Dramatick Opera: Understanding Genre through Performance," Restoration: Studies in English Literary Culture, 1660–1700 42, 2 (2018): 15–40.

--“A Tale of Twelfth Night: Music, Performance, and the Pursuit of Authenticity,” Shakespeare Bulletin 36, 2 (2018): 251–270.

--"Performing the Gaps: Dido and Aeneas on Video," Journal of Seventeenth-Century Music 23, 1 (2017), https://sscm-jscm.org/jscm-issues/volume-23-no-1/winkler-performing-the-gaps/

--"Courtly Connections: Queen Anne, Music, and the Public Stage," in Beyond Boundaries: Rethinking Music Circulation in Early Modern England, ed. Linda Austern, Candace Bailey, and Amanda Eubanks Winkler (Bloomington: Indiana University Press, 2017), 185–204.

--"A Thousand Voices: Performing Ariel," in A Feminist Companion to Shakespeare, rev. ed. Dympna Callaghan (Malden, MA: Blackwell Publishers Ltd., 2016), 520-539.

--"Come Away, Fellow Sailors": Musical Characterization of the Nautical Profession in Seventeenth-Century English Theatre Music," in The Sea and the British Musical Imagination, ed. Eric Saylor and Christopher Scheer (Woodbridge, UK: Boydell and Brewer, 2015), 83–103.

--"Music and Politics in George Granville's The British Enchanters," in Queen Anne and the Arts, ed. Cedric Reverand (Lewisburg: Bucknell University Press, 2015), 187-204.

--"Dangerous Performance: Cupid in Early Modern Pedagogical Masques," in Gender and Song in Early Modern England, ed. Katherine Larson and Leslie Dunn (Farnham: Ashgate Publishing Ltd., 2014), 77-91.

--"Politics and the Reception of Andrew Lloyd Webber's The Phantom of the Opera," Cambridge Opera Journal 26, 3 (2014): 271-287.

--"Madness ‘Free from Vice’: Musical Eroticism in the Pastoral World of The Fickle Shepherdess," in The Lively Arts of the London Stage, 1675–1725, ed. Kathyrn Lowerre (Farnham: Ashgate Publishing Ltd., 2014), 149-169.

Awards, Honors, Grants

External

--Arts & Humanities Research Council (UK), “Performing Restoration Shakespeare,” International Co-Investigator on collaborative grant with Richard Schoch (PI, Queen’s University, Belfast) (£607,312), 2017–2020
--Folger Shakespeare Library, Selected Participant and Grant-in-Aid Recipient, Jessie Ann Owens's Faculty Weekend Seminar, "'Harmony's Entrancing Power': Music in Early Modern England," 2005
--Folger Shakespeare Library, Long-Term NEH Fellow ($35,000), 2001-2002


Syracuse University

--Syracuse University Humanities Center ($5000) to fund “Networks and Digital Humanities.” Organized with Patrick Williams (Bird Library), 2015-2016
--Mellon Humanities Corridor Grant ($12,500), co-organizer with Theo Cateforis, Mobilizing Music working group, 2013-2014
--College of Arts & Sciences, Ray Smith Symposium award ($10,000), Mellon Humanities Corridor Grant ($5000), and Syracuse Symposium funds ($2000) to support Music of Conflict and Reconciliation, a symposium series in AY 2010-2011 (with Carol Babiracki, Theo Cateforis, and Stephen Meyer)
--Syracuse University, Kauffman Enitiative grant ($5000) to develop Arts Immersion in a Global Market, 2007-2009
--College of Arts & Sciences, Faculty development grant for Eccles, Incidental Music (plays A-L), 2008
--College of Arts & Sciences, Faculty development grant for Hearing Prospero's Books: Musical Magic and Drama in Early Modern England (now a series of articles), 2005
--William P. Tolley Distinguished Teaching Professor Summer Research Allocation, 2003
--College of Arts & Sciences, Faculty development grant for the completion of Disorderly Subjects, (later called O Let Us Howle), 2003
--College of Arts & Sciences, Publication subvention for Music for Macbeth, 2002

Upcoming events

October 2019:

"Thinking Through Performance," Thinking About Music Colloquium, Cincinnati Conservatory of Music