Associate Professor and Assistant Director SSAC: Music
|Degrees:||Ph.D. (McGill University)|
|Phone:||613-520-2600 x 3736|
|Office:||814 Loeb A|
Dr. Alexis Luko is an Associate Professor of Music in the School for Studies in Art and Culture and is also cross-appointed to the College of the Humanities. She holds a Ph.D. from McGill University and previously worked as a Visiting Professor at the Eastman School of Music and the College Music Department at the University of Rochester.
Dr. Luko is a musicologist specializing in film music, music of the Renaissance, early music analysis, opera, and the history of music theory. Her doctoral research explored issues of compositional process and rhetoric in music for the fifteenth-century sacred Mass. Her recent publications have focused on the use of music and sound effects in the films of Ingmar Bergman.
She teaches courses on film music, Baroque opera, Richard Wagner, gender and music, and music of the Medieval, Renaissance, Baroque, and Classical eras. Teaching honours include: the Carleton University Teaching Achievement Award, the Faculty of Arts and Social Sciences Teaching Award, the New Faculty Excellence in Teaching Award, and in 2014, she was a finalist for the EduGala Educator’s Award.
Dr. Luko has presented papers at the City University London, at Ingmar Bergman Week in Fårö, Sweden, the Medieval-Renaissance Music Conference, the Nordic Musicological Congress, the Music and the Moving Image Conference and at meetings of the American Musicological Society, the IMS “Music and Media” Study Group, the Société Québecoise de Recherche en Musique, the Canadian University Music Society, and the Arizona Center for Medieval and Renaissance Studies.
She co-edited an issue of Intersections titled “Contemplating Caplin” for the Canadian University Music Society, has served as editorial assistant on the Journal of the American Musicological Society, and has published articles in the Journal of Film Music, the Proceedings of the Sixteenth Nordic Musicological Congress, the Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, the Cambridge Journal of Plainsong and Medieval Music, Early Music History, The Canadian Encyclopedia, the Encyclopedia of Music in Canada, and The Cambridge Wagner Encyclopedia. Her book, Sonatas, Screams, and Silence: Music and Sound in the Films of Ingmar Bergman was published by Routledge in 2016.
Sonatas, Screams, and Silence: Music and Sound in the Films of Ingmar Bergman. New York: Routledge, 2016.
Laughing Through Tears: The Soundscape of Ingmar Bergman’s Smiles of a Summer Night.” In Ingmar Bergman: An Enduring Legacy. Edited by Erik Hedling. Lund University Press, at press.
“Faith, Fear, Silence, and Music in Ingmar Bergman’s Medieval Vision of The Virgin Spring and The Seventh Seal.” In The Oxford Handbook of Music and Medievalism, edited by Kristen Yri and Stephen Meyer (Oxford: Oxford University Press, 2020), pp. 636-661.
“Re-Sounding Trauma: Sonic Flashbacks in the Films of Jan Troell.” In Music and Auteur Filmmakers in European Arthouse Cinema of the 1950s to the 1980s: Individuality and Identity. Edited by Michael Baumgartner and Ewelina Boczkowska (New York: Routledge University Press, 2019), pp. 184-206.
Articles and Reviews
“Review of Mervyn Cooke’s The Hollywood Film Music Reader and Julie Hubbert’s Celluloid Symphonies.” Journal of Music History Pedagogy 7, no. 1 (2016), pp. 43-51.
“Listening to Ingmar Bergman’s Monsters: Horror Music, Mutes, and Acoustical Beings in Persona and Hour of the Wolf.” Journal of Film Music 6.1 (2013): 1-43.
“Musical Repetition in the Films of Ingmar Bergman.” In The Proceedings of the Sixteenth Nordic Musicological Congress. Stockholm University (2012): 135-145.
“Ockeghem’s Aesthetic of Concealment: Varietas and Repetition in the Missa Quinti toni.” Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis 61 (2011): 3-24.
“Redefining the Motto in the Fifteenth-Century Sine nomine Mass.” Cambridge Journal of Plainsong and Medieval Music 20/2 (2011): 123-147.
“Tinctoris on Varietas,” Cambridge Journal of Early Music History 27 (2008): 99-136.