Diana Hallman
Associate Professor of Musicology
Coordinator, Musicology Division

Degrees:
PhD CUNY Graduate Center
MM University of Maryland
BM Winthrop University

Research Areas:
19th century studies
opera studies
American and Non-western music

At UK since: 1995

Phone number: 859-257-8184
Email: Diana.Hallman@uky.edu

Prior to joining the University of Kentucky faculty, Diana Hallman received her Ph.D. from CUNY Graduate Center in June 1995. Her dissertation on the French grand opera La Juive and its historical context, for which she was granted a Barry S. Brook Dissertation Award, served as the basis of her recently published book, Opera, Liberalism, and Antisemitism in Nineteenth-Century France: The Politics of Halévy's La Juive (Cambridge University Press, 2002). Dr. Hallman is author of a number of articles and reviews, including entries on the composer Fromental Halévy and the librettist Ludovic Halévy in Die Musik in Geschichte und Gegenwart and the Dictionary of Literary Biography, and is contributing author to Cambridge Companion to Grand Opera (Cambridge Press, 2003). A featured speaker for the BBC's live broadcast of La Juive from the Vienna Staatsoper (October 1999), she has also presented papers at the annual meetings of the American Musicological Society, Society for French Historical Studies, and Kentucky Foreign Language Conference, as well as the International Conference on Nineteenth-Century Music and Colloque Halevy at the Paris Conservatoire. Her research interests include the history of American concert life and performance, and she is completing a biography of the Austrian-American pianist Fannie Bloomfield Zeisler.

Dr. Hallman has also served as adjunct lecturer at Fordham University, Baruch College-CUNY, Catholic University, and the Smithsonian Institution. At the University of Kentucky, she has taught undergraduate and graduate courses centered on music of the 18th and 19th centuries, the history of opera, symphonic music, chamber music, African music, and research methods, as well as seminars on music and gender and performance practice. Her interests in performance stem in part from her training as a pianist, which included a bachelor's degree in piano performance and graduate work in piano.