Abigail Fine

Abigail Fine's picture
Assistant Professor of Musicology
541-346-5742
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Office: 
208 Collier
Degrees: 
BA, 2010, Pennsylvania
PhD, 2017, Chicago
Honors: 
Oregon Humanities Center, Faculty Research Fellowship (2019)
Charlotte W. Newcombe Doctoral Dissertation Fellowship (2016)
Franke Institute for the Humanities Doctoral Fellowship, University of Chicago (awarded and declined, 2016)
Stuart Tave Teaching Fellowship, University of Chicago (2015)
SSRC, International Dissertation Research Fellowship (2014)
Deutscher akademischer Austauschdienst (2014)
Ernst Mach Fellowship (awarded and declined, 2014)

Abigail Fine is a music historian specializing in nineteenth-century music culture. She received her PhD from the University of Chicago in 2017. Prior to her appointment at UO in 2019, she served on the faculty at the University of Hawai‘i at Mānoa. She teaches survey courses in nineteenth- and twentieth-century music and opera history, as well as cultural-historical seminars on material studies, canon-formation, the ethics of staging, and celebrity.

Fine’s research focuses on reception and materiality in Germany and Austria, with a current monograph project that explores art-religion in practice, as late nineteenth-century devotees coveted the earthly traces of composers (relics, shrines, pilgrimage sites) to cultivate new forms of intimacy with the absent celebrity body. Fine is the author of “Beethoven’s Mask and the Physiognomy of Late Style” in the journal Nineteenth-Century Music. Further article projects revolve around Beethoven’s eccentricity read through a social history of manners, kitsch in the musical Albumblatt, and art-religion in the writings of Edgar Zilsel.

Fine regularly presents her work at conferences and invited symposia in the U.S. and abroad. Recent presentations include the American Musicological Society annual meeting (2019, 2017), the Beethoven-Geflechte symposium in Vienna (2020), the Sound and Secularity Symposium at Stony Brook University (2019), After Idealism in Cambridge, UK (2017), and Music and the Middlebrow in London (2017).

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