School of Humanities and Sciences
Showing 51-60 of 85 Results
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Lesley Robertson
Artist in Residence in Music
BioHaving celebrated 33 years with the internationally celebrated St. Lawrence String Quartet, Lesley Robertson (viola) is proud to make her life at Stanford University where along with her St Lawrence colleagues she directs the chamber music at the Department of Music. Ms. Robertson teaches viola, coaches chamber music, and also spearheads the SLSQ's Emerging String Quartet Program at Stanford and the SLSQ's annual Chamber Music Seminar. A graduate of the Curtis Institute and the Juilliard School, Ms. Robertson also holds a degree from the University of British Columbia where she studied with her mentor, Gerald Stanick. A founding member of the SLSQ, Ms. Robertson tours regularly, performing 100+ concerts worldwide per season (in Berlin, Florence, London, Paris, New York, Toronto, among others) but also nurtures close ties to the Stanford community performing in various classes, dormitories, laboratories, hospitals, and in Stanford's glorious Bing Concert Hall. She participated in the Marlboro Festival for several years and and toured with Musicians from Marlboro before co-founding the SLSQ. She has served on the jury of several international competitions including the Banff International String Quartet Competition, the Melbourne International Chamber Music Competition, the Wigmore Hall International String Quartet Competition and the Concours de Genève. Summer music festivals include Spoleto Festival USA, Norfolk Chamber Music Festival, Banff Festival, Festival of the Sound, Santa Fe Chamber Music, Rockport Chamber Music Festival, Bravo Vail, Music@Menlo and more. Robertson plays on a viola (1992) made by fellow Canadian John Newton and a bow (2016) by Francois Malo.
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Aileen Robinson
Assistant Professor of Theater and Performance Studies
Current Research and Scholarly InterestsAileen K. Robinson is a historian of performance and technology with specializations in 18th and 19th century British theatre and Black cultural performances. Working across the history of science, technology, and theatre, Robinson explores how systems of knowledge, connected to the body and the object, overlapped to produce practices of research, dissemination, and valuation.
Robinson's current book manuscript explores intersections between technological, scientific, and theatrical knowledge in early nineteenth-century science museums. She investigates how theatrical performances and magic shows drew upon technological innovations and formed unique methods for disseminating scientific knowledge. She teaches across the history of science and performance, magic and technology, eighteenth- and nineteenth-century stagecraft, and 19th and 20th-century Black artistic production. -
Jonathan Rodden
Professor of Political Science, Senior Fellow at the Hoover Institution and at the Stanford Institute for Economic Policy Research
BioJonathan Rodden is a professor in the political science department at Stanford who works on the comparative political economy of institutions. He has written several articles and three books on federalism and fiscal decentralization. One of those books, "Hamilton’s Paradox: The Promise and Peril of Fiscal Federalism," was the recipient of the Gregory Luebbert Prize for the best book in comparative politics in 2007. He works with institutions including the World Bank, International Monetary Fund, USAID, and the European Parliament on issues related to fiscal decentralization and federalism.
He has also written papers on the geographic distribution of political preferences within countries, legislative bargaining, the distribution of budgetary transfers across regions, and the historical origins of political institutions. He has written a series of papers applying tools from mathematics and computer science to questions about redistricting, culminating in a 2019 book called "Why Cities Lose: The Deep Roots of the Urban-Rural Political Divide" (Basic Books). Rodden has also embarked on an inter-disciplinary collaborative project focused on handgun acquisition.
Rodden received his PhD from Yale University and his BA from the University of Michigan, and was a Fulbright student at the University of Leipzig, Germany. Before joining the Stanford faculty in 2007, he was the Ford Associate Professor of Political Science at the Massachusetts Institute of Technology.
Other Affiliation:
Director of the Spatial Social Science Lab at Stanford -
Jesse Rodin
Associate Professor of Music
BioJesse Rodin strives to make contact with lived musical experiences of the Renaissance. Immersing himself in the original sources, he sings from choirbooks, memorizes melodies and their texts, and recreates performances held at weddings, liturgical ceremonies, and feasts. As Director of the Josquin Research Project (josquin.stanford.edu), he uses digital tools to explore a large musical corpus. As director of the ensemble Cut Circle (cutcircle.org), he works with world-class singers to animate Renaissance music.
Rodin is the recipient of awards and fellowships from the Guggenheim Foundation; the Université Libre de Bruxelles; the American Council of Learned Societies; the American Society of Composers, Authors, and Publishers; the Harvard University Center for Italian Renaissance Studies; and the American Musicological Society. For his work with Cut Circle he has received the Prix Olivier Messiaen, the Noah Greenberg Award, Editor’s Choice (Gramophone), and a Diapason d’Or.
He is the author of "Josquin’s Rome: Hearing and Composing in the Sistine Chapel" (Oxford University Press, 2012), editor of a volume of the L’homme armé masses for the New Josquin Edition (2014), and co-editor of "The Cambridge History of Fifteenth-Century Music" (2015). His articles have appeared in the Journal of the American Musicological Society, Music & Letters, Acta Musicologica, and other major journals. A recent essay in Early Music tackles the longstanding problem of the Josquin canon, classifying all 346 pieces somewhere attributed to Josquin in descending order of confidence.
His forthcoming monograph offers a new theory of how fifteenth-century polyphonic music happens in time. Drawing on his experiences as a scholar and performer, Rodin argues that composers activated a new collection of compositional building blocks to create a powerful and imaginative range of musical experiences (Cambridge University Press, 2024).
Cut Circle performs internationally. With the Belgian label Musique en Wallonie, the ensemble recently embarked on a complete recording of Josquin's music; the first album appeared in November 2023. Cut Circle has also published recordings devoted to two riveting anonymous masses of the fifteenth century (2021), the complete songs of Johannes Ockeghem (2020), the late masses of Guillaume Du Fay (2016), and music in the Sistine Chapel in the time of Josquin (2012). A short film titled "Sounds of Renaissance Florence" recaptures the soundscape of fifteenth-century Italy. A disc of songs and motets by Josquin is scheduled for release soon.
A passionate teacher, Rodin has led seminars, workshops, and masterclasses at institutions such as Princeton University, the Schola Cantorum (Basel, Switzerland), the University of Vienna, and the Centre d’Études Supérieures de la Renaissance (Tours, France).
At Stanford Rodin directs the Facsimile Singers, in which students develop native fluency in old musical notation. He has organized symposia on the composer Johannes Okeghem, medieval music pedagogy, and musical analysis in the digital age. In addition to undergraduate and graduate music courses, he teaches a class on late-medieval feasting that marries art, music, poetry, and politics with hands-on experience in the kitchen. -
Thomas Rogerson
Basic Life Research Scientist
Current Research and Scholarly InterestsAs a postdoctoral research fellow in the laboratory of Mark Schnitzer I am utilizing chronic, in vivo, fluorescence calcium-imaging combined with chemo and optogenetic manipulations to determine the mechanisms by which neuronal circuits and the ensembles of cells within them enable the encoding and recall of context-dependent memories.
