Vanessa L. Rogers teaches courses in Music History and Literature. Prior to joining the faculty at Rhodes College, she taught music history at Wabash College and the University of Southern California in Los Angeles. She also works as Research Associate for the London Stage, 1800-1900 database and is Principal Researcher for Ballad Operas Online: An Electronic Catalogue at the University of Oxford (www.odl.ox.ac.uk/balladoperas/).
Her primary area of research is eighteenth-century English stage music, and she has written on the subjects of Henry Fielding’s ballad operas, the influence of French musical comedy on eighteenth-century English popular theatre, and iconography and orchestral seating in London theatres in the Georgian era. Current projects include a book on eighteenth-century comic opera (Ballad Operas, Burlettas, and Burlesques: Comic Opera in Eighteenth-Century Britain), a critical edition of Isaac Bickerstaff’s Love in a Village (co-edited with Berta Joncus and Žak Ozmo) and articles on the salon of Violet Gordon-Woodhouse and the cult for Baroque music in early twentieth-century England, a newly-discovered 1870 music inventory of London’s Haymarket Theatre, and the operas of philosopher Roger Scruton.
Dr. Rogers is one of the convenors of the Society for Theatre Research’s upcoming conference, Theatre in the Regency Era: Plays, Performance, Practice 1795-1843, which will be held at Downing College, University of Cambridge, 29-31 July, 2016 (www.regencytheatre2016.com).
M.A. and Ph.D. in Historical Musicology, University of Southern California, Los Angeles
B.M.E., Illinois Wesleyan University
MUSC 105 – MUSIC AND DRAMA IN 18TH-CENTURY ENGLAND
MUSC 105 – WOMEN IN MUSIC / GENDER AND SEXUALITY IN MUSIC
MUSC 227 – EUROPEAN MUSIC HERITAGE I
MUSC 228 – EUROPEAN MUSIC HERITAGE II
MUSC 229 –MUSIC OF THE TWENTIETH AND TWENTY-FIRST CENTURIES
MUSC 305/THEA 365 – HISTORY OF MUSICAL THEATRE
MUSC 485 AND MUSC 486 – SENIOR SEMINAR AND SENIOR EXPERIENCE
HUM 201 – SEARCH FOR VALUES IN THE LIGHT OF WESTERN HISTORY AND RELIGION
Dr. Rogers also is the faculty director for the Oxford-Rhodes London Stage Fellowship, an experiential learning opportunity which takes three students to train on the London Stage 1800-1900 database at the University of Oxford.
“Orchestras on Stage in the Georgian-Era Playhouse: Untangling the Origin of the ‘Winston’ Sketch” (Early Music) (forthcoming Winter 2015).
Encyclopædia articles: “Bickerstaff, Isaac” and “Chetwood, William Rufus” in Jack Lynch and Gary Day, eds., The Encyclopedia of British Literature 1660-1789 (Wiley-Blackwell, 2015); ISBN: 978-1-4443-3020-5 (release date February 2015).
“John Gay, Ballad Opera, and the Théâtres de la foire,” Eighteenth-Century Music (Cambridge University Press) 11/2 (September 2014), pp. 173-213.
“Art as Religion?: Considering Scruton’s Violet” in Thinking the Sacred with Roger Scruton, ed. Peter James Richardson-Bryson (Bloomsbury, 2015) (in press).
“Theatre Music” in the Oxford Handbook of the Georgian Theatre, 1737-1832, ed. David Francis Taylor and Julia Swindells (Oxford: Oxford University Press, 2014), pp. 304-320.
Book chapter (with Berta Joncus): “‘United voices formed the very perfection of harmony’: Music and the Invention of Harriett Abrams (c1758-1821),” in Celebrity: The Idiom of a Modern Era, AMS Studies in the Eighteenth Century, No. 70, ed. Baerbel Czennia (New York: AMS Press, 2013), pp. 67-105.
Book chapter (with Berta Joncus): “Ballad Opera and British double entendre: Henry Fielding’s The Mock Doctor” in Die Praxis des Timbre in verschiedenen europäischen Kulturen: Eine musikalische Praxis zwischen Oralität und Schriftlichkeit, ed. Herbert Schneider (Hildesheim: Georg Olms Verlag, 2013), pp. 101-140.
“English Caricature and the Playhouse Orchestra at London’s Drury Lane Theatre, 1747-1826,” Music-Images-Instruments, Vol. XII: Orchestres aux XVIIIe et XIXe siècles: composition, disposition, direction, représentation, ed. Florence Gétreau (Paris: CNRS Editions, 2011), pp. 10-31.
Book chapter (with Berta Joncus): “Beyond The Beggar’s Opera: John Rich and English Ballad Opera,” in The Stage’s Glory: John Rich (1692-1761), ed. Jeremy Barlow and Berta Joncus (Newark, Delaware: University of Delaware Press, 2011), pp. 184-206.
“The Audience as Poet: Traditional Tunes and Contemporary Satire in Early Eighteenth-Century Ballad Opera,” Ars Lyrica: Journal of the Lyrica Society for Word-Music Relations 18 (2009), pp. 63-83.
“Fielding’s Ballad Operas and Early Musical Theatre,” in Henry Fielding in Our Time, ed. Alan Downie (Cambridge: Cambridge Scholars Press, 2008), pp. 327-359.