Jennifer Walker is a Ph.D. candidate in Musicology at the University of North Carolina at Chapel Hill, where she is completing a dissertation entitled “Sounding the Ralliement: Republican Reconfigurations of Catholicism in the Music of Third Republic Paris, 1880–1905” under the direction of Annegret Fauser. Her research reevaluates music’s role in the relationship between the French state and the Catholic church at the end of the nineteenth century by offering an alternative to the prevailing epistemological emphasis on divisions between the church and the secular Third Republic. Case studies ranging from opera and puppet theater to Parisian parish churches and Montmartre’s famed cabarets demonstrate how composers and critics from opposing ideological factions dismantled this binary. They instead used musical composition and performance to craft a brand of Frenchness that was founded on secular Republican ideology alongside the heritage of the Catholic church. She is a recipient of the prestigious Mellon/American Council of Learned Societies Dissertation Completion Fellowship (2018–19) and was the first music student to be named the Harold J. Glass USAF Graduate Fellow in Music (2017–18). Her research has also been supported by an M. Elizabeth C. Bartlet grant from the American Musicological Society; her work on Darius Milhaud’s opera Esther de Carpentras was awarded the Student Presentation Award from the AMS-Southeast chapter for 2014-2015. She has presented her work at numerous international and national conferences, including the conference “L’Abbé Gounod: French Sacred Music During the Romantic Era,” organized by the CSOOLB in Lucca, and the 2018 Annual Meeting of the American Musicological Society. Prior to coming to UNC, she taught choral literature at East Tennessee State University, multiple courses at the community college level in Tennessee and Kentucky, and was on the faculty of the Pre-College Division at Stony Brook. She has reviewed the volumes Musical Theater in Europe 1830–1945 (ed. Michela Niccolai and Clair Rowden; Brepols: 2017) and The Many Faces of Camille Saint-Saëns (ed. Michael Stegemann, Brepols: 2018). Other essays appear in Perspectives on the French Musical Press in the Long Nineteenth Century (ed. Mark Everist; CSOOLB, MCN Studies 1: 2019) and in the forthcoming volume Religious Music in Nineteenth-Century France.
University of North Carolina at Chapel Hill
217 Hill Hall