Amanda Eubanks Winkler
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.
Ph.D. in Musicology, University of Michigan
The Beatles and British Culture
English Opera: Purcell to Lloyd Webber
European Music to 1800
History of Musical Theater
Music and Gender
Music and Politics
Music Research and Writing
Music and the Sacred
Opera in Performance
Opera in Society
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
Music, Dance, and Drama in Early Modern English Schools, by Amanda Eubanks Winkler, Cambridge University Press (4 June 2020), 258pp., ISBN13: 978-1108490863
Beyond Boundaries, Rethinking Music Circulation in Early Modern England, 2017-02-13, Indiana University Press, ISBN: 978-0-253-02479-4
John Eccles: Incidental Music, Part 1, Plays A–F, Edited by Amanda Eubanks Winkler, A-R Editions, 2015, 320pp., ISBN: 978-0-89579-822-0
O Let Us Howle Some Heavy Note, Music for Witches, the Melancholic, and the Mad on the Seventeenth-Century English Stage, Amanda Eubanks Winkler, 2006/11/01, Indiana University Press, SBN: 978-0-253-34805-0
Music for Macbeth (Recent Researches in the Music of the Baroque Era), Amanda Eubanks Winkler (Editor) , A-R Editions, 2004/03/01, ISBN-13: 978-0895795472
Recent Articles and Book Chapters
--“‘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).
--“Schoolboy Performances in the Early Modern North-East,” in Music in North-East England, ed. Stephanie Carter, Kirsten Gibson, and Roz Southey (forthcoming, Woodbridge: Boydell and Brewer, 2020).
--"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 (Cambridge: Cambridge University Press, 2019), 145-161.
--"Opera at School: Mapping the Cultural Geography of Pedagogical Performance," in Operatic Geographies, ed. Suzanne Aspden (forthcoming, 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.
--“A Tale of Twelfth Night: Music, Performance, and the Pursuit of Authenticity,” Shakespeare Bulletin 36, 2 (2018): 251–270.
--“The Intermedial Dramaturgy of Dramatick Opera: Understanding Genre through Performance,” Restoration: Studies in English Literary Culture, 1660–1700 42, 2 (2018): 13–38.
--"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.
Awards, Honors, Grants
--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 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
(July 15, 2019)
Amanda Eubanks Winkler will facilitate discussion, performances of 'Tempest,' 'Macbeth,' as part of multinational 'Performing Restoration Shakespeare' project
(May 3, 2018)
From challenging notions of identity to re-imagining nature of research, humanists turn Academy on ear
(May 30, 2017)
Amanda Eubanks Winkler dispels long-held notions about English music, theater
(Nov. 23, 2016)
Amanda Eubanks Winkler and her colleagues have received a 3-year grant from the UK's Arts and Humanities Research Council
(June 20, 2016)
Members of Art and Music Histories faculty to lead seminar in Atlanta
“Syncopated Time: Staging the Restoration Tempest,” keynote speaker, English Theatre Culture 1660-1737 online symposium, Masaryk University, Brno, Czech Republic
"Singing about Sex(uality) in Lloyd Webber’s Musicals," American Musicological Society virtual conference