Joshua Walden earned his PhD with Distinction at Columbia University in 2008 and has held a Junior Research Fellowship at Merton College, University of Oxford and an Andrew W. Mellon Postdoctoral Fellowship at Johns Hopkins University. His research considers a variety of topics including musical representations of ethnic and national identities in the 20th century; music and visual arts; film music; Jewish music; and musical postmodernism. His book, Sounding Authentic: The Rural Miniature and Musical Modernism, was published in the AMS Studies in Music series of Oxford University Press in 2014. He is the editor of two volumes for Cambridge University Press, Representation in Western Music (2013) and The Cambridge Companion to Jewish Music (in progress). His articles have appeared in journals including Journal of the American Musicological Society, Journal of the Society of American Music, Journal of the Royal Musical Association, and Musical Quarterly. He has been awarded research grants from the American Musicological Society, the British Library Sound Archive, YIVO Institute for Jewish Research, and the British Academy. As a violinist, he has performed in venues in New York City, Oxford, and the San Francisco Bay Area. Walden can be reached at email@example.com.
Courses taught at Peabody and Johns Hopkins:
Music History 4: Music in the Twentieth Century
Music and the Visual Arts since 1900
Opera, Nation, and the Exotic
Modern and Contemporary Opera
Sounding Authentic: The Rural Miniature and Musical Modernism, Oxford University Press, AMS Studies in Music series, 2014. Published with the support of the Claire and Barry Brook Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation.
Editor, Representation in Western Music (Cambridge University Press, 2013).
Editor, The Cambridge Companion to Jewish Music (Cambridge University Press, in progress).
“The ‘Yidishe Paganini’: Sholem Aleichem’s Stempenyu, the Music of Yiddish Theatre, and the Character of the Shtetl Fiddler,” Journal of the Royal Musical Association 139.1 (2014): 89-136.
“‘An Essential Expression of the People’: Interpretations of Hasidic Song in the Composition and Performance History of Ernest Bloch’s Baal Shem,” Journal of the American Musicological Society 65.3 (Autumn 2012): 777-820.
“Representation and Musical Portraiture in the Twentieth Century,” in Representation in Western Music (Cambridge University Press, 2013).
“‘On the String in the Peasant Style’: Performance Style in Early Recordings of Béla Bartók’s Romanian Folk Dances,” in Performers’ Voices Across Centuries, Cultures, and Disciplines, ed. Ann Marshman (Imperial College Press, 2011).
“Recent Research on Musical Performance and Sound Recording,” Musica Humana 2.1 (Spring 2010): 89-98.
“Leaving Kazimierz: Comedy and Realism in the Yiddish Film Musical Yidl Mitn Fidl,” Journal of Music, Sound, and the Moving Image 3.2 (Autumn 2009): 159-93.
“Music of the ‘Folks-Neshome’: ‘Hebrew Melody’ and Changing Musical Representations of Jewish Culture in the Early Twentieth Century Ashkenazi Diaspora,” Journal of Modern Jewish Studies 8.2 (July 2009): 151-72.
“Composing Character in Musical Portraits: Carl Philipp Emanuel Bach and L’Aly Rupalich,” Musical Quarterly 91.2 (Fall-Winter 2008): 379-411.
“Lip-sync in Lipstick: 1950s Popular Songs in a Television Series by Dennis Potter,” Journal of Musicological Research 27.2 (April 2008): 169-95.
“What’s in a Name?: C.P.E. Bach and the Genres of the Character Piece and Musical Portrait,” in Genre in Eighteenth-Century Music, ed. Anthony DelDonna (Steglein, 2008).