Candace Bailey
Curriculum vitae, February 2021
Music Dept, NCCU
Durham, NC 27707
919/530-7218
Education
1987-1992 Ph.D., Musicology, Duke University, Durham, NC: “English Keyboard Music, c.
1625-1680”
1985-86 A.M., Musicology, Duke University, Durham, NC
1981-85 B.Mus., Piano Performance (magna cum laude), UNC-Greensboro, Greensboro, NC
Employment
North Carolina Central University, Durham, NC
2011-present Professor
2005-10 Associate Professor
1998-2004 Assistant Professor
Duke University, Durham, NC
2014-2015 Visiting Professor
2009-2010 Visiting Scholar
2003-4 Visiting Scholar
1999 Visiting Associate Professor
1997 Visiting Associate Professor
1991 Instructor
Louisburg College, Louisburg, NC
1997-98 Associate Professor
1993-97 Assistant Professor
Honors, Fellowships, and Awards
2020-21 Humanities Unbounded Fellow, Duke University
2021 Library of Congress / American Musicological Society Lecture
Invited to be a faculty member for “Voices Across Time: Teaching Enslavement and Its Legacy through Song,” an NEH Summer Institute for Teachers hosted by the University of Pittsburgh’s Center for American Music (pending funding, for 2022)
2020 Publication subvention for Unbinding Gentility, supported by grants from the Henry and Edna Binkele Classical Music Fund and from the Donna Cardamone Jackson Fund, Joseph Kerman Fund, and General Fund of the American Musicological Society, supported in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation
2019-24 Fulbright Specialist in American Studies (to University of Vienna in 2021)
2019-20 National Humanities Center Fellow
Kate Van Winkle Keller Fellowship for Research in Early American Music and Dance at the American Antiquarian Society
2019 Brussels EU Study Tour Participant, UNC-CH and University of Pittsburgh
2018 American Council of Learned Societies (ACLS) Project Development Grant
NEH Summer Institute, CUNY (Visual Culture of the American Civil War and Its Aftermath)
2017 Hampsong Education Fellowship for American Song, Society for American Music
2016 Distinguished Alumna, UNC-Greensboro
NCCU-Duke Digital Humanities Fellow, Franklin Humanities Institute
Judith Tick Fellowship, Society for American Music
2015 National Endowment for the Humanities (NEH) Award for Faculty at HBCU’s (full year)
NCCU College of Arts and Sciences Teaching/Research Award
2014 NCCU College of Arts and Sciences Teaching/Research Award
2012 NCCU College of Arts and Sciences Teaching/Research Award
2012 NEH Summer Stipend
2011 NCCU College of Arts and Sciences Teaching/Research Award
2009 NCCU College of Arts and Sciences Teaching/Research Award
2007 NCCU College of Arts and Sciences Teaching/Research Award
2005 NEH Conference Participant, John Hopkins/Peabody
2004 NCCU Faculty Senate Travel Grant
1999 Regional Artist Grant Recipient, Harpsichord at Amherst Early Music Workshop
1997 Naomi Dickens Shaw Award for Teaching Excellence, Louisburg College
1995 NEH Summer Seminar for College Teachers
1989 Fulbright Scholar to United Kingdom
1985 Mary Duke Biddle Graduate Fellowship in Musicology
Bibliography
Books (Monographs)
2020 Unbinding Gentility: Women Making Music in the Nineteenth Century South, University of Illinois Press, in production May 2020.
2019 Charleston Belles Abroad: The Music Collections of Harriet Lowndes, Henrietta Aiken, and Louisa Rebecca McCord, University of South Carolina Press.
2010 Music and the Southern Belle: From Accomplished Lady to Confederate Composer, Southern Illinois University Press.
2003 Seventeenth-Century British Keyboard Sources, Harmonie Park Press.
Editions
2003 The Keyboard Music of John Roberts, Broude.
1997 Late-Seventeenth-Century English Keyboard Music: GB-Och Mus. Ms. 1177 and GB-Ob Mus. Sch. Ms. D.219, Recent Researches in Music of the Baroque Era, v. 81.
Edited Volume
2017 Contributing editor, with Linda Austern and Amanda Eubanks Winkler, Beyond Boundaries: Rethinking Music Circulation in Early Modern Britain, Indiana University Press.
Peer-Reviewed Articles
2021 “Music and Black Gentility in the Antebellum and Civil War South,” accepted for special colloquy issue on Music and Race in Early America, Journal of the American Musicological Society.
2020 “Remember Those Beautiful Songs”: Preserving Antebellum Cultural Practices Through Music Collection During the Civil War,” American Music 38, no. 3, 262-302.
2017 “The Multifaceted Music Career of Sarah Smith,” Tennessee Historical Quarterly, 75, 160-82.
2016 “Binder’s Volumes as Commonplace Books: The Transmission of Cultural Codes in the Antebellum South,” Journal of the Society for American Music 10, 446-469.
2009 “The Antebellum Piano Girl in the American South,” Performance Practice Review http://scholarship.claremont.edu/cgi/viewcontent.cgi?article=1217&context=ppr
2008 “Blurring the Lines: Elizabeth Rogers hir virginall booke in Context,” Music & Letters 89, 510-46.
2008/09 “Sarah Cunningham’s Music Book: Piano Music for a Young Woman in Savannah, c.1840,” Early Keyboard Music25/26, 7-27.
2006 “Orlando Gibbons, Keyboard Music, and the Beginnings of the Baroque: New Considerations of a Musical Style,” in International Review of the Aesthetics and Sociology of Music 37, 135-56.
2001 “Le ‘prélude non mesuré’ en Angleterre?” in Revue de musicologie 87, no. 2, 289-306.
2001 “William Ellis and the Transmission of Continental Keyboard Music,” Journal of Musicological Research 20, no. 3, 211-42.
2000 “An Early Source of Restoration Keyboard Music: Thomas Heardson and NYPL Drexel 5611,” Fontes Artis Musicae 47, 51-67.
1999 “Edward Lowe, Richard Goodson I, and Och MSS 1176 and 1177,” Research Chronicle of the Royal Musical Association 32, 119-35.
1998/99 “John Roberts: Establishing a Canon and Provenance,” Early Keyboard Journal 16/17, 77-107.
Book Chapters
2022 “Race” in The Oxford Handbook of Musical Biography, ed. Paul Watt and Christopher Wiley, forthcoming.
2020 “Opera, Lieder, or Stephen Foster?: Popular Song in the Antebellum US South,” in Popular Song in the Nineteenth Century, ed. Derek Scott, for Centro Studi Omnia Luigi Boccherini, forthcoming.
2019 “‘She takes up music as a profession’: Women organists in Reconstruction Mobile, Alabama,” in Hidden Narratives of Women and Music, ed. Paula Bishop and Kendra Leonard, forthcoming.
2017 “The Challenge of Domesticity in Men’s Manuscripts in Restoration England” in Beyond Boundaries: Rethinking Music Circulation in Early Modern Britain, Indiana University Press.
2010 “Becoming Useful: Confederate Women Composers,” in Fiori musicali: Liber amicorum Alexander Silbiger, ed. Claire Fontijn, Harmonie Park Press.
1997 “The Concept of Key in Seventeenth-Century English Keyboard Music,” in Tonal Structures in Early Music, ed. Cristle Collins Judd, Garland.
Pedagogical
2011-13 MyMusicLab curator and assessments, Pearson.
2011 Instructor’s Manual and Student Outlines, Oxford History of Western Music.
2010-11 Assessments for Listen to This, 2nd ed, Prentice Hall.
2009 Scripts for Mark Gridley, Concise Guide to Jazz, Pearson/Prentice Hall.
2008 Scripts for Mark Evan Bonds, Listen to This, Pearson/Prentice Hall.
Invited Talks
2021 Keynote for “Music across the Ocean,” University of Vienna, June
“‘Colored girls under the control of colored teachers’: Music and Black Gentility in the Nineteenth-Century US South,” Arts & Humanities Research Forum, University of Durham (United Kingdom), 9 March
“Silencing the Guns of War: Women’s Binder’s Volumes in the Library of Congress,” American Musicological Society-Library of Congress Lecture
Keynote, American Musicological Society South-East Chapter, Appalachian State, “Music in 1853, with apologies to Hugh MacDonald”
2020 Class presentation/Discussion State University of New York, Fredonia, December
“A Jenny Lind Songbook,” Appalachian State, (postponed)
2019 Featured participant in “Musical Crossroads, Transatlantic Cultural Exchange, 1800-1950/ Künstler gehören bekanntlich unter die Menschen, die man dort [USA] am wenigsten brauchen kann, und in neuester Zeit sind sie sogar ausdrücklich vor dem Einwandern verwarnet worden,” University of Vienna, November
“Reconstructed Women Performing a Reconstructed Repertory: Music and Agency in the Post-Civil War South,” University of Georgia, March
2018 Peake Colloquium, University of South Carolina, “Sounding Gentility: Women and Music in the Antebellum South,” April
Multiple-day residency with lecture recital (students performing), Georgia State College and University, “Women and Music in Georgia’s Antebellum Capital,” March
2017 “American Interpretations of Victorian Taste,” Stedman Lecture (keynote address), Midwest Victorian Studies Association, April
“Reframing the Narrative of American Music History by Reclassifying the Data,” Vianne Webb Memorial Musicology Lecture, Christopher Newport University, February
2016 “Music at the Aiken-Rhett House,” Sound Heritage Project, Tatton Park, UK, November
“‘She Takes Up Music as a Profession’: Southern Women Musicians in the Post-War Period,” University-wide lecture, University of North Carolina at Greensboro, November
“Binder’s Volumes and Women of Color in the Antebellum South: The Case of Anna Johnson,” Porter-Campbell Symposium, guest lecture at University of Colorado, Boulder, October
“Froberger’s sejourn in England,” Froberger Conference, Royaumont Abbey, France, October
2015 “Using Primary Sources in Interdisciplinary Research: Case Studies in Music of the American South,” University of Nevada, Las Vegas, May
“Binder’s Volumes as Musical Commonplace Books: The Transmission of Cultural Codes in the Antebellum South,” Duke University African, African-American, Diaspora, and Music Departments, Duke-NCCU Annual Lecture Exchange, April
University of Nevada, Las Vegas, “Binder’s Volumes as Musical Commonplace Books: The Transmission of Cultural Codes in the Antebellum South,” May
“Cultural Place and Space in Alabama’s Antebellum Parlors,” Visiting Endowed Professorship, University of Alabama, April
“Music Education in Girls’ Schools in Antebellum Alabama,” Visiting Endowed Professorship, University of Alabama, April
“Transatlantic Exchanges and Women in the Mid-Nineteenth Century,” Queen’s University, Belfast, Northern Ireland, March
2011 “Lessons Learned, Woman … Nobly Planned: Music in the Cultural Curriculum of the Antebellum South,” Guest lecturer at Northwestern University, March
2009 “Becoming Useful: Confederate Women Composers,” University of South Carolina, September.
Lecture/Demonstration on Seventeenth-Century Keyboard Manuscripts, University of South Carolina, September
2008 “The Piano Girl in the Antebellum South,” part of the Women and Music Series, University of Santa Clara, May; University of Kentucky, February
2007 “Women, Music, and the Civil War,” Guest Lecturer at University of Florida, April
2005 “Becoming Useful: Confederate Women Composers,” Michigan State University, February
1997 “Tonal Types in the Keyboard Music of William Byrd,” University of Southampton, England, March
1996 “The Missing Flat and the Concept of Key in Seventeenth-Century England,” Musicology Series, Duke University, NC, April
1995 “The Missing Flat and the Concept of Key in Seventeenth-Century England,” UNC-G, NC, Guest Lecturer Series, March
1986 “The Genesis of Parthenia,” Early Music at Duke Series, October
Digital Humanities
2021 “Antebellum Women and Music in the Low Country,” Virtual Exhibit for Morris Center for Lowcountry Heritage
2019 “Women and Music in the Antebellum South,” Interview for Women and Art Music (WAM), Rutgers
Selected Conference Presentations
2020 “A Life in the Music of Harriet Spozzi of Hereford,” North American British Music Association, online, July
2019 “Definition and Dissemination of Popular Song in the Southern United States,” Conference on Popular Song, Lucca (Italy)
“Reconstructed Women Performing a Reconstructed Repertory: Beethoven as a Sign of Women’s Independence in the Post-Civil War South,” North American Conference on Nineteenth Century Music, UNC-Chapel Hill
“‘Remember Those Beautiful Songs’: Preserving Cultural Practices through Music Collection,” Virginia Tech Civil War Conference on Microhistories
2018 Sheet Music Interest Group, American Sheet Music in the Digital Age, invited panelist, Society for American Music Meeting, Kansas City
“Bound for Glory: Binder’s Volumes in a 21st Century Reading,” panel for Music Library Association, Portland
2017 “‘Remembering those Beautiful Songs’: Preserving Cultural Practices Through Music Collection,” North American Victorian Studies Association, Banff, Canada
“Performing Paris in 1820s Charleston: Music as Cultural Capital,” American Musicological Society, Rochester, NY
2016 “Binder’s Volumes and Women of Color in the Antebellum South: The Case of Anna Johnson,” Society for American Music, Boston
2015 “Music in the Aiken-Rhett House: Transatlantic Exchanges in Antebellum Charleston,” Southern Association of Women Historians, Charleston
“Reconstructing Women by Reconstructing Repertory,” Southern American Studies Association, Atlanta
2014 “A Woman of Contradictions: Louisa Cheves McCord’s Music Collection and Its Meaning in Antebellum Intellectual History,” Society for American Music Meeting, Lancaster, PA
2013 “The Music Book as Signifier of Antebellum Culture,” American Musicological Society, Pittsburgh, PA
2013 “Composition, Thorough Bass, Lessons, and the Meaning behind Playing a Keyboard Instrument in Restoration England,” Society for Seventeenth-Century Music, Ohio State University
2012 “The business as to finding out chords: Practical Music Performance and Vinculum societatis,” North American British Music Studies Association, Champaign-Urbana
“Music Education and Performance in the Antebellum South: The Case of Southern Belle/Music Prodigy Eliza Fisk Skinner,” Society for American Music Meeting, Charlotte, NC
2011 “Teaching European Music History to Students of Non-European Descent,” College Music Society International Meeting, Seoul, Korea
2010 “The Challenge of Domesticity in Men’s Manuscripts in Restoration England,” Royal Musical Association, London; AMS national meeting, Indianapolis; North American British Music Studies Association, Iowa
Respondent and chair for session “Professional Women Musicians and Keyboard Instruments: Case Studies from 18th-and 19th-Century London,” at British Scholars Conference, Austin, TX
2009 “The Challenge of Domesticity in Men’s Manuscripts in Restoration England,” Society for Seventeenth-Century Music, Rochester (Eastman)
2008 “Music at Greensborough Female College during the Antebellum Period: Questions of Culture and Gender,” UNC-G, Feminist Theory and Music Conference 10, May at UNC-Greensboro
“Women’s Pianism and Gender Ideology in the Mid-Nineteenth Century South,” Society for American Music Meeting, San Antonio
2007 “‘Music Composed by A Lady’: A Contradiction in Cultural Values of the American South,” presentation at Conference on Women, Gender, and the Cultural Production of Knowledge, Sofia, Bulgaria
“Becoming Useful: Confederate Women Composers,” Conference of Society for Women and the Civil War, Philadelphia
“Performance Practice and the Piano Girl,” Conference on Performance Practice, Rhodes College (Memphis)
2006 “From Popular to Patriotic: Southern Women and Composition,” Popular Culture Association/ American Culture Association meeting on the American Civil War and Reconstruction, Atlanta
2005 “Becoming Useful: Confederate Women Composers,” Society for American Music, Eugene, OR; South-East Chapter of American Musicological Society, Converse College, SC; Southern Association of Women Historians meeting, University of Maryland
“English Baroque Style and the Politics of Change,” Society for Seventeenth-Century Music, Northwestern University, IL
2005 “Elizabeth Rogers hir virginall booke as Pedagody: Teaching Women in Early Modern Britain,” Reading and Writing the Pedagogy of the Renaissance, NEH Conference, John Hopkins University/Peabody Institute, Baltimore, MD
2004 “Composer versus Interpreter: Women’s Music in the American Civil War,” Thirteenth Biennial Conference on Nineteenth-Century Music, University of Durham, England
“Reworking the past: Blitheman and Gibbons in Restoration England,” Eleventh Biennial Conference on Baroque Music, Royal Northern College of Music, Manchester, England
2002 “Gendered Language in English Music Theory Treatises of the 1670s,” American Musicological Society, Columbus, OH, November; Tenth Biennial Conference on Baroque Music, Logroño, Spain
2000 “William Ellis, Froberger, and Chambonnières, and the Transmission of Continental Keyboard Music in England,” Society for Seventeenth-Century Music, Vermillion, SD; Ninth Biennial Conference on Baroque Music, Ireland
1999 “The English Antecedents of Purcell’s Keyboard Music,” Triennial British Musicology Meeting, University of Surrey, Guildford, England
1997 “Tonal Types in the Keyboard Music of William Byrd,” National American Musicological Society, Phoenix, AZ
“A Reassessment of the Keyboard Works of Matthew Locke,” Annual Meeting of the Society for Seventeenth-Century Music, Tallahassee, FL
1996 “Concept of Key in Seventeenth-Century England,” Conference on Tonal Structures, University of Pennsylvania, April; South-East Chapter of the American Musicological Society, UNC- Chapel Hill, NC
1995 “A New Approach to French Influence on English Keyboard Music,” Royal Musical Association Conference on Influence, Cambridge University
1991 “Edward Lowe and Richard Goodson I: Two Hands in Och MSS 1176 and 1177,” South- East Chapter, AMS, Rock Hill, SC
Service to the Profession
Select Offices and Positions
2019- Editorial Board, Studies in British Music Cultures (Clemson University Press)
2018- Advisory Board, British Music Festivals (digital project)
2017-20 National Council Member-at-Large, American Musicological Society
2018-20 Membership Committee, Society for American Music
2016 Chair, Cultural Diversity and Inclusion Committee, Society for American Music
Judge, Irene Alm Award for Best Student Paper, Society for Seventeenth-Century Music
2015-16 Program Committee, Society for Seventeenth-Century Music
2014-16 College Music Society, Regional Board Member
2013-15 North American British Music Studies Association, President
2013-19 Web Library of Seventeenth-Century Music, Board
2012 Music History Pedagogy Meeting, American Musicological Society, Program Committee
2012-15 Society for American Music, Member, Cultural Diversity Committee
2011-13 North American British Music Studies Association, Vice-President
2001-06, 09, 11 Mentor, Duke University Preparing Future Faculty Program, 2001-2006 (NCCU liaison 2005)
2009-11 Society for Seventeenth-Century Music, Nominations Committee Chair
2008-10 North American British Music Studies Association, Vice-President
2008 Mentor at American Musicological Society meeting, Nashville, TN
2006-09 Southern Association of Women Historians, Ad hoc committee on Teaching
2005-07 American Musicological Society: Graduate Education Steering Committee
2003-06 Society for Seventeenth-Century Music, Secretary
2003-05 Chapter Secretary, American Musicological Society, South-East Chapter
Reviewer/Reader
Outside Reviewer for NEH Proposals (Fellowships, Summer Stipends, Summer Institutes, Digital Humanities), AAUW Fellowships and Proposals
Journals: Music & Letters, Journal of the American Musicological Society, Journal of the Royal Musical Association, Journal of the Society for Seventeenth-Century Music, Journal of Musicology, Women & Music
Presses: Ashgate, University of Illinois, College Music Society, Boydell & Brewer, Oxford, Cambridge, Routledge, University of Kentucky
Outside Dissertation Committee Member
Princeton University; City University of New York
Guest Blogs
SWEM, College of William & Mary (2019)
Center for Popular Music, Middle Tennessee State University (2019)
Service to the University (select recent)
Academic Affairs Strategic Planning Committee (2020-21)
College of Arts, Social Sciences and Humanities Research Council (2021-)
National Humanities Center Presentation with Dr. Jim Harper, Teaching at HBCUs (2020)
Humanities Funding Workshop for College of Arts and Sciences, lead presenter (2019)
Reappointment, Tenure and Promotion Committee, College of Arts, Social Sciences, and Humanities (2020-21, two earlier terms)
Presentation at UNC System Digital Learning Symposium, “The Global Experience” (2019)
NCCU-Franklin Humanities Institute (Duke), continued support
Reappointment, Tenure and Promotion Committee, Music Department (ongoing)
Committee on Women and Gender (ongoing)
Honors Program Advisory Board (ongoing)
Select Professional Development (recent)
Preparing and Publishing Digital Humanities Projects (course at Duke University, 2021)
Layered Curriculum Certification (NCCU, 2020)
Digital Humanities Workshop, Alliance of Digital Humanities Organizations (2020)
Digital Project Development (Duke, 2020)
Portfolio Training Workshop (2018)
