Grounded in archival research, Sarah Fuchs’s scholarship cuts across disciplinary boundaries, bringing together musicology, print culture and media studies, and nationalism studies to articulate new understandings of late eighteenth-, nineteenth- and early twentieth-century operatic cultures. She is currently working on two books: Opera on the Line: A Technological History of French Operatic Culture, 1870-1914, which focuses on the new modes of operatic consumption, pedagogy, and performance that emerged in France alongside the telephone, the phonograph, and the camera, and Singing Beyond the Stage: Operatic Sheet Music in Britain, 1780-1837, which investigates the cultural history of operatic sheet music published in late eighteenth- and early nineteenth-century Britain. Dr. Fuchs’s work is forthcoming in Cambridge Opera Journal and the edited collection London Voices: 1820-1840.
PhD in Musicology, Eastman School of Music, University of Rochester.
- Debussy and His World
- European Music History before 1800
- European and American Music History after 1800
- Film Music
- Music, Space, and Place: Paris 1900
- Operas of Verdi
- Sound Culture
- Opera on the Line: A Technological History of French Operatic Culture, 1870-1914. In preparation.
- Singing Beyond the Stage: Operatic Sheet Music in Britain, 1780-1837. In preparation.
Articles and Chapters in Edited Collections
- “Animating Antiquity in the Vision animée.” Special Issue on “Prima Donnas and Leading Men on the French Stage,” co-edited by Hilary Poriss and Kimberly White. Cambridge Opera Journal, forthcoming.
- “The Castrato as Creator: Velluti’s Voice in the London Sheet-Music Market.” In London Voices (1820-1840), eds. Roger Parker and Susan Rutherford. Chicago: Chicago University Press, forthcoming.
- Invited review of Giacomo Puccini and His World, eds. Arman Schwartz and Emanuele Senici. Music & Letters 98, no. 4 (November 2017): 683-85.
- Invited review of Body Knowledge: Performance, Intermediality, and American Entertainment at the Turn of the Twentieth Century, by Mary Simonson. Notes: The Quarterly Journal of the Music Library Association 70, no. 3 (March 2015): 522-25.
AWARDS, GRANTS, AND FELLOWSHIPS
- Harvard University, Houghton Library, John M. Ward Fellowship in Dance and Music for the Theatre. $3500. 2018-19.
- American Association of University Women, American Dissertation Fellowship. $20000. 2015-16.
- Transnational Opera Studies Conference, Award for Best Paper by a Junior Scholar. 2015.
- Central New York Mellon Humanities Corridor grant to fund working group on “Digital Humanities in Practice.” Co-organizer with Darren Mueller. $1500. 2018-19.
- Central New York Mellon Humanities Corridor grant to fund working group on “Sound and Media.” Co-organizer with Darren Mueller. $6500. 2017-19.
- Writing Across the Curriculum Fellowship. $3000. 2018.
(April 19, 2018)
Student research within the digital space will be the focus of this campuswide event.
(Jan. 30, 2018)
Philip Carli will survey early 20th-century recordings by motion-picture musicians
(May 17, 2017)
Music historian Sarah Fuchs Sampson traces technology and access to opera
Gadoua, Renée K. “Full Stream Ahead: Music Historian Sarah Fuchs Sampson Traces Technology and Access to Opera.” SU News, May 17, 2017. http://thecollege.syr.edu/news/2017/Sarah_Fuchs_Sampson_traces_technology.html.
Moritz, Cyndi. “Sarah Fuchs Sampson Wins Fellowship to Research at Harvard’s Houghton Library.” SU News, April 13, 2018. https://news.syr.edu/blog/2018/04/13/sarah-fuchs-sampson-wins-fellowship-to-research-at-harvards-houghton-library/