Elizabeth Lindau is a Visiting Assistant Professor of Music in the Sunderman Conservatory for the 2012-2013 academic year. She comes to Gettysburg from the University of Virginia, where she completed her Ph.D. in Critical and Comparative Studies in Music. Her research interests include the history and theory of avant-garde movements, popular music, 20^th Century composition, performance practice, and the history of sound recording and phonography. Her dissertation, “Art is Dead. Long Live Rock! Avant-Gardism and Rock Music, 1967-99” profiled the Velvet Underground, Yoko Ono, Brian Eno, and Sonic Youth. Her essay “Goodbye 20^th Century! Sonic Youth Records John Cage’s ‘Number Pieces’ ” will appear in the volume Tomorrow is the Question: New Directions in Experimental Music Studies, edited by Benjamin Piekut. She is currently preparing a second publication on Eno and David Byrne’s 1981 “world beat” album My Life in the Bush of Ghosts. Dr. Lindau has presented her work at meetings of the Society for American Music, the International Association for the Study of Popular Music-US, the Modernist Studies Association, and at Feminist Theory in Music and the Experience Music Project Museum’s Pop Conference.

At UVa, Dr. Lindau taught courses in music theory, 20^th century music, popular music, and class piano. She received a teaching award from the music department in 2010 recognizing her work with undergraduate students. From 2008-2011, she worked for UVa’s writing program, teaching academic argument to first-year students using the Little Red Schoolhouse curriculum. At Gettysburg, she will teach “World Music,” “History of Rock,” “Cross-Cultural Elements and Contexts of Music,” and an advanced seminar titled “Musical Avant-Gardes.”

In addition to her teaching and research, Dr. Lindau is active as a performer on piano and harpsichord. She holds Bachelor’s degrees in Piano Performance and Piano Pedagogy from the University of Illinois at Urbana-Champaign, where she was a student of Gustavo Romero and Kenneth Drake. She has studied early keyboard instruments and historical performance practices with Malcolm Bilson, Charlotte Mattax, and Paul Walker. She was a member of the Early Music Ensemble and maintained a private piano studio throughout her graduate work at UVa.