Vice Provost for Undergraduate Education
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Kirsten Paige
Fellow
BioI am currently a Postdoctoral Fellow at Stanford University, where I lead undergraduate courses in music and the humanities. At Stanford, I am also affiliated with the Woods Institute for the Environment. I previously taught at the San Francisco Conservatory and the University of California, Berkeley, where I completed my Ph.D. in Music History and Literature in 2018. Before coming to Berkeley, I earned an M.Phil. in Music from the University of Cambridge and A.B. in Music from the University of Chicago.
I work on nineteenth-century histories, theories, and experimental treatments of music, sound, listening, and aural technologies and their interactions with contemporary scientific discourse and practice. My research particularly concerns the global politics of sound, listening, and sonic technologies in the nineteenth century: I am interested in asking how sound, music, and their technologies became enmeshed in the “discovery” and “reinvention” of the environment in the course of a century deeply embroiled in environmental anthropogenesis, fossil capitalism and modernity, race science, and global imperialism and colonialism. Much of my work is deeply invested in querying the position of music and sound studies in “thinking the Anthropocene," and asking what these fields (and historical inquiry more broadly) can contribute to the new environmentalisms and humanisms being formulated today. My work has appeared or is forthcoming in journals including The Cambridge Opera Journal, The Opera Quarterly, The Journal of the American Musicological Society, and The Journal of the Royal Musical Association. I am currently guest-editing a special issue of 19th-Century Music on "Music and the Invention of Environment in the Long Nineteenth Century," at the invitation of the journal's Editorial Board.
My book project—"Richard Wagner’s Political Ecology: Sound, Environment, and the History of Deep Media" (proposal in preparation for The University of Chicago Press)—explores the influence of nineteenth-century discourses of climate on Richard Wagner’s radical conceptualization of sound and spectacle in atmospheric terms, and the impact of those claims on the history of media theory.
