Carissa Reddick

• Ph.D., Music Theory and History, University of Connecticut
• M.M., Music Theory and Performance, The Hartt School, University of Hartford
• B.M., Music Performance, Texas Christian University

• Associate Professor of Music Theory, UNC, 2010–Present
• Graduate Coordinator for School of Music, UNC, 2015–2022
• Visiting Lecturer, University of Oklahoma, 2009–2010
• AP Music Theory Reader, 2014–Present
• Section Cello, Eastern Connecticut Symphony Orchestra, 2001–2009

• Sonata form in the late nineteenth century
• Linear analysis
• Music theory pedagogy

• “Introducing Musical Meaning through Popular Music.” College Music Symposium 58.2 (2018).<https://symposium.music.org/index.php/58-2>. DOI:https://doi.org/10.18177/sym.2018.58.sr.11385
• Ninth European Music Analysis Conference (EuroMAC), “Double Function Sonata Forms in Franck’s Late Chamber Music,” University of Strasbourg, Strasbourg, France. (July 1, 2017).
• Rocky Mountain Music Scholars Conference, “Beethoven’s Sympathetic Voice and its Legacy,” Rocky Mountain Society for Music Theory, University of Utah, Salt Lake City. (April 7, 2017).
• Rocky Mountain Music Scholars Conference, “Continuation or New Beginning? Non-Congruence at the Point of Recapitulation,” University of New Mexico, Albuquerque, NM. (April 22, 2016).
• “Transcending Palestrina: The Blend of Old and New Styles in Liszt’s Missa Choralis.” Journal of the American Liszt Society, UMI 66 (2015): 73–96.

2019 Inspiring Faculty Nominee, Center for Women’s and Gender Equity