- Associate Professor
- Music - Musicology
- 132 Music Building
Kailan R. Rubinoff, Associate Professor of Musicology, joined the University of North Carolina at Greensboro faculty in 2007. She holds a B.A. in Music from the University of Pennsylvania, a Performance Certificate and Second Phase diploma in historical performance (Baroque and Classical flute) from the Conservatorium van Amsterdam, and a Ph.D in Music from the University of Alberta. Her primary research projects, which have been supported by grants from the Fulbright program and the Social Sciences and Research Council of Canada, center on historical performance and 1960s countercultural movements, eighteenth-century improvisation, and the Dutch Early Music scene. Recent publications have appeared in Early Music, twentieth-century music, Music and Politics, New Sound, the Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, and in the collection Music and Protest in 1968 (Cambridge, 2013). She is currently working on a monograph, Making Bach Dutch: Heritage, Identity and Historical Performance in the Netherlands. In addition to her work as a scholar, Dr. Rubinoff is also an active performer on the Baroque and Classical flute.
“Orchestrating the Early Music Revival: The Dutch Baroque Orchestras and the Mediation of Commodification and Counterculture.” Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis 63 (2013): 169-88.
“‘The Grand Guru of Baroque Music’: Leonhardt’s Antiquarianism in the Progressivist 1960s.” Early Music 42, no. 1 (February 1, 2014): 23–35.
“A Revolution in Sheep’s Wool Stockings: Early Music and 1968.” In Music and Protest in 1968, ed. Beate Kutschke and Barley Norton. Cambridge: Cambridge University Press, 2013.
“Authenticity as a Political Act: Straub-Huillet’s Chronicle of Anna Magdalena Bach and the Post-War Bach Revival.” Music and Politics 5, no. 1 (winter 2011). http://www.music.ucsb.edu/projects/musicandpolitics/archive/2011-1/rubinoff.html
“Revolutionizing Nineteenth-Century Flute Technique: Hugot-Wunderlich’s Méthode de Flûte (1804): Part II.” Traverso 22, no. 2 (April 2010).
“Revolutionizing Nineteenth-Century Flute Technique: Hugot-Wunderlich’s Méthode de Flûte (1804): Part I.” Traverso 22, no. 1 (January 2010).
“Cracking the Dutch Early Music Movement: The Repercussions of the 1969 Notenkrakersactie.” twentieth-century music 6, no. 1 (2009): 3-22.
“(Re)creating the Past: Baroque Improvisation in the Early Music Revival.” New Sound no. 32 (Spring 2009). Special issue on improvisation, ed. Marcel Cobussen and Mira Veselinovic-Hofman.http://www.newsound.org.rs/32/7_Kailan_R_Rubinoff.pdf
“Between ‘Old Left’ and ‘New Left’: The Notenkrakersactie and Its Implications for the Dutch Early Music Movement.” In Rebellische Musik. Musik und kultureller Wandel um 1968, ed. Arnold Jacobshagen and Markus Leniger, 125-36. Cologne: Dohr, 2007.