Vanessa Rogers | Assistant Professor
Office: 207 Hassell Hall | Phone: (901) 843-3783 | Email: rogersv@rhodes.edu

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Vanessa L. Rogers teaches courses in Music History and Literature. Prior to joining the faculty at Rhodes College, she taught music history and appreciation 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 eighteenth-century Purcell revival, the operas of Isaac Bickerstaff, and iconography and orchestral seating in eighteenth-century London theatres. Current projects include a book on eighteenth-century comic opera (Ballad Operas, Burlettas, and Burlesques: Comic Opera in Eighteenth-Century Britain), 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.


Education

M.A. and Ph.D. in Historical Musicology, University of Southern California, Los Angeles
B.M.E., Illinois Wesleyan University


Courses

MUSC 105 – MUSIC AND DRAMA IN 18TH-CENTURY ENGLAND
MUSC 105 – WOMEN IN MUSIC
MUSC 227 – EUROPEAN MUSIC HERITAGE I: MUSIC OF THE MIDDLE AGES, RENAISSANCE, AND BAROQUE ERAS
MUSC 228 – EUROPEAN MUSIC HERITAGE II: MUSIC OF THE CLASSICAL AND ROMANTIC ERAS
MUSC 229 – EUROPEAN MUSIC HERITAGE III: MUSIC OF THE TWENTIETH AND TWENTY-FIRST CENTURIES
MUSC 485 – SENIOR SEMINAR
HUM 201 – SEARCH FOR VALUES IN THE LIGHT OF WESTERN HISTORY AND RELIGION


Selected Publications

Book chapter: “Theatre Music” in the Oxford Handbook to the Georgian Playhouse, ed. David Francis Taylor and Julia Swindells (Oxford: Oxford University Press, 2013) (in press)

Encyclopedia articles: “Bickerstaff, Isaac” and “Chetwood, William Rufus” in Jack Lynch and Gary Day, eds., The Encyclopedia of British Literature 1660-1789 (Wiley-Blackwell, 2013) (forthcoming)

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, 2012) (in press)

Book chapter: “English Caricature and the Playhouse Orchestra at London’s Drury Lane Theatre, 1747-1826,” Musique-Images-Instruments, Vol. XII: Orchestres aux XVIIIe et XIXe siècles: composition, disposition, direction, représentation, ed. Florence Gétreau (Paris: CNRS Editions, 2010)

“Researching Ballad Opera: A Guide” in A Handbook for Studies in Eighteenth-Century English Music, ed. Michael Burden (Oxford: Burden, 2010)

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, ed. Baerbel Czennia (New York: AMS Press, 2010) (in press)

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, 2010)

 “The Audience as Poet:  Traditional Tunes and Contemporary Satire in Early Eighteenth-Century Ballad Opera,” Ars Lyrica 18 (2009)

 “Picturing Classical performance: Iconography and Orchestral Seating in London Theatres, 1760–1830,” in Michaelsteiner Konferenzbericht (Blankenburg, 2009)

Book chapter: “Fielding’s Ballad Operas and Early Musical Theatre,” in Henry Fielding in Our Time, ed. Alan Downie (Cambridge: Cambridge Scholars Press, 2008)