Amanda Lalonde's research takes an interdisciplinary approach to addressing nineteenth- and early twentieth-century music, particularly with regards to issues of performance, gender, and aesthetics. Her current projects in these areas focus on the musical uncanny in early nineteenth-century German culture, the performance and rhetoric of musical Romantic prophecy, the rediscovered German composer and editor Heinz Moehn (heinzmoehn.usask.ca), and the 19th-century composer and pianist Delphine von Schauroth, the latter three of which are supported by grants from the Social Sciences and Humanities Research Council. She also works on early New York hip hop.

Dr. Lalonde has published articles and chapters in Nineteenth-Century Music Review, Clara Schumann Studies (Cambridge University Press, 2021), The Songs of Fanny Hensel (Oxford University Press, 2021) 19th-Century Music, Music and Letters, Popular Music, and the Journal of Music History Pedagogy. Her publications address the rise of the uncanny in the nineteenth-century reception of instrumental music; the understanding of the musical instrument as a “living-dead thing” in German thought, literature, and Lieder; correspondences between the design style of flyer artist Buddy Esquire and the musical culture of early New York hip hop; and the importance of student musical performances in music history classes. She has presented her research at conferences in Canada, the United States, Brazil, the United Kingdom, and Ireland.

After completing a Bachelor of Music degree at McGill University, Dr. Lalonde received her PhD from Cornell University in 2014. Before coming to the University of Saskatchewan in 2017, she was a visiting assistant professor at Mount Allison University, and taught courses at Wilfrid Laurier University, the University of Toronto, and the University of Guelph.

Ph.D, Cornell University

B.Mus., McGill University