Dr. Deborah Kauffman
Professor of Music
Music History and Literature
After earning B.M. and M.M. degrees in piano performance at the University of California at Santa Barbara and the University of Illinois, Dr. Kauffman completed the D.M.A. degree in Early Music at Stanford University. She currently serves as editor-in-chief of the international Journal of Musicological Research.
Dr. Kauffman’s research interests center around the music of the French Baroque and the musical repertory of the Maison de Saint-Louis at Saint-Cyr. In 2014, she was invited by the Centre national de la recherche scientifique to participate in the International Colloquium “Guillaume-Gabriel Nivers (ca.1632–1714), musicien de la Réforme catholique sous le règne de Louis XIV,” held by the French government in celebration of the 300th anniversary of Nivers’s death.
She has presented her research as a Distinguished Lecturer at the University of California at Santa Barbara (2002) and has read papers at the Biennial International Conferences on Baroque Music (Southampton, UK, 2012; Belfast, Northern Ireland, 2010; and Manchester, UK, 2004), and at national meetings of the American Musicological Society in San Francisco (2011), Philadelphia (2009), Seattle (2004) and Kansas City (1999).
Her publications include the following:
“A l’usage de ma sœur: The Plainchant Repertory of Saint-Cyr as Represented in F-Vm Mm. 55,” in Chant and Culture: Proceedings of the conference of the Gregorian Institute of Canada (Institute of Medieval Music, 2014);
Jean Racine’s Cantiques spirituels: Musical Settings by Moreau, Lalande, Marchand, Bousset, and Duhalle (A-R Editions, 2012);
“Fauxbourdon in the Seventeenth and Eighteenth Centuries: ‘Le secours d’une douce harmonie’” (Music and Letters, 2009);
“Violons en basse as Musical Allegory” (Journal of Musicology, 2006);
Petits motets from the Maison royale de Saint-Louis at Saint-Cyr (A-R Editions, 2001);
“Performance traditions and motet writing at the Convent School at Saint-Cyr” (Early Music, 2001);
“The Practice of Portamento in Romantic Opera” (Performance Practice Review, 1992).