Kendra Preston Leonard is a music scholar whose work focuses on women and music in the twentieth and twenty-first centuries; and music and screen history, particularly music and adaptations of Shakespeare; and a librettist and poet. She is the founder and Executive Director of the Silent Film Sound and Music Archive (www.sfsma.org) and the founder and manager of Shakespeare in Early Film (https://sheaf.hcommons.org/).


2014                PhD, University of Sunderland

Thesis: “The Function of Music in Selected Screen Adaptations of Shakespeare”

1998-2002       Doctoral studies, University of Cincinnati College-Conservatory of Music, Musicology

1998                Master of Music, University of Miami, Cello Performance

1996                Certificate of Advanced Studies, Guildhall School of Music and Drama, Cello Performance

1995                Bachelor of Music, Peabody Conservatory of Music, Cello Performance

1992                High School Diploma with a Concentration in Cello Performance, University of North Carolina School of the Arts

Work Shared in CORE

Book chapters
Fictional works
Conference papers
Blog Posts
Book reviews

Other Publications


Music for Silent Film: A Guide to North American Resources, A-R Editions and the Music Library Association Index and Bibliography Series, 2016.


Louise Talma: A Life in Composition, Ashgate Publishing, 2014.


Shakespeare, Madness and Music: Scoring Insanity in Cinematic Adaptations, Scarecrow Press, 2009.


The Conservatoire Américain: a History, Scarecrow Press, 2007.


Scholarly Editions

The Art Songs of Louise Talma, CMS Sourcebooks in American Music series, Routledge, 2017.


Digital Humanities Projects

Director, The Silent Film Sound and Music Archive (www.sfsma.org), 2013-Present.


Edited Collections

Contributing editor, Buffy, Ballads, and Bad Guys Who Sing: Music in the Worlds of Joss Whedon, Scarecrow Press, 2010.


Book Chapters


“The Gothic and Music: Scoring ‘Silent’ Spectres,” The Gothic and the Arts, ed. David Punter, University of Edinburgh Press, forthcoming 2018.



“Cue Sheets, Musical Suggestions, and Performance Practices for Hollywood Films, 1908-1927,” Music in Silent Cinema, ed. Ruth Barton and Simon Trezise, Routledge, forthcoming 2017.



“Music for Richard III: Cinematic Scoring for the Early Modern Monstrous,” The Oxford Handbook of Music and Disability Studies, ed. Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, and Joseph Straus, Oxford University Press, 2015, 836-855.



“The Use of Early Modern Music in Film Scoring for Elizabeth I,” Gender and Song in Early Modern England, ed. Leslie C. Dunn and Katherine R. Larson, Ashgate, 2014, 169-183.


“The Sounds of India in Supple’s Twelfth Night,” Bollywood Shakespeares, ed. Craig Dionne and Parmita Kapadia, Palgrave Macmillan, 2014, 147-164.



“The Lady Vanishes: Vocality and Agency in Cinematic Ophelias,” The Afterlife of Ophelia, ed. Deanne Williams and Kaara L. Peterson, Palgrave Macmillan, 2012, 101-118.



“‘The Status is Not Quo’: Gender and Performance in Dr. Horrible’s Sing-Along Blog,” Buffy, Ballads, and Bad Guys Who Sing: Music in the Worlds of Joss Whedon, Scarecrow Press, 2010, 275-292.


“‘The Future is the Past’: Music and History in Firefly,” Space and Time: Essays on Visions of History in Science Fiction and Fantasy, ed. David C. Wright and Allen W. Austin, McFarland Press, 2010, 174-188.


Research Articles


“Shakespeare’s Second Line,” Borrowers and Lenders, special issue on “Shakespeare and Jazz,” ed. Stephen Buhler (forthcoming).



“Using Resources for Silent Film Music,” Fontes Artis Musicae 63, no. 4 (October-December 2016), 259-76.


“Listening to the Gaoler’s Daughter,” Cerae: An Australasian Journal of Medieval and Early Modern Studies 3.


“The Past is a Foreign Country: World Musics Signifying History in/and Elizabethan Drama,” Borrowers and Lenders (Autumn 2016).


“History Faux/Real: The 2006 Ur-Hamlet,” kadar koli 10.



“From ‘Angel of Music’ to ‘that Monster’: Music for the Human Uncanny in The Phantom of the Opera (1925/1929),” Studies in Gothic Fiction, vol. 3 no. 1 (Spring 2014).



“Listening to Global Shakespeare,” Global Shakespeares, July 2013.


“‘Cheer up, Hamlet!’: Using Shakespearean Burlesque to Teach the Bard,” This Rough Magic, Summer 2013.


“Significations of Religious Desire in Louise Talma’s The Alcestiad,” Religion and the Arts, vol. 17, no. 3, 2013, 289-310.


“Rosalind’s Musical Identities in Branagh’s and Doyle’s As You Like It,” Upstart Crow, January 2013.



“Towards a Works List for Louise Talma,” Fontes Artis Musicae, vol. 59, no. 2 (2012: 2), 117-126.


“Origin Stories: Louise Talma’s Early Life,” Journal of Historical Biography 12 (Autumn 2012): 1-29.


“Hearing the Scene: Approaches to Live Music in Modern Shakespearean Productions,” Early Modern Studies Journal, vol. 5 (November 2012).


“Style and Form in Louise Talma’s Early Songs,” Journal of Musicological Research, vol. 31, no. 4 (October 2012).



“A Great Desire: Autobiography in Louise Talma’s Early Vocal Works,” Current Musicology, Issue 92 (Fall 2011), 7-31.


“Topsy-Turvy Victoriana: Locating Life and Death in Corpse Bride,” Aether, vol. 7 (January 2011).



“Louise Talma’s Christmas Carol,” Notes, June 2010, 739-744.



“Silencing Ophelia: Male Aurality as a Controlling Element in Olivier’s Hamlet,” Scope, Issue 14 (June 2009).


“Secret Rooms and Borrowed Pianos: Two Women’s Roles in Preserving the Conservatoire

Américain during the Occupation,” Women in French Studies: Selected Essays from the 2006 WIF conference, (March 2009), 76-84.



“‘Excellence in Execution’ and ‘Fitness for Teaching’: Assessments of Women at the Conservatoire Américain,” Women and Music: A Journal of Gender and Culture, vol. 11 (November 2007), 29-50.


Invited Articles


“Lone Star Melody Makers,” Ransom Edition, Fall 2017 (forthcoming).



“Heavy Metal Elves;” “Survival through Song;” “American Folk Rock Cattle Raid: The Decemberists’ The Tain,” and “Art Mimics Art: Anthony Burgess’s Napoleon Symphony: A Novel in Four Movements,”

The Avid Listener, W. W. Norton and Co., 2015.


“Discovering Louise Talma’s First Orchestral Works;” “Louise Talma’s A Time to Remember;” “Louise Talma’s Toccata for Orchestra;” Women’s Philharmonic Advocacy, 2015.



“Ruth Crawford Seeger’s String Quartet and Integral Serialism;” “Delia Derbyshire: Innovations in Electronic Music;” “Song of Myself: Autobiography in Women’s Music;” “Hearing Gender in George Lucas’s Galaxy;” The Avid Listener, W. W. Norton and Co., 2014.


“Louise Talma’s Last Song and the Erasure of a Life,” The Journal of the International Alliance for Women in Music, May 2014.



“‘Two Hard Etudes and a Schumann Number’: American Women, Repertoire and Mentoring in France, 1921-1951,” The Journal of the International Alliance for Women in Music, September 2006.


Review Articles


Rebekah Ahrendt, Mark Ferraguto, Damien Mahiet, eds., Music and Diplomacy from the Early Modern Era to the Present, H-Net Reviews, March 2016.



Claus Tieber and Anna Katherina Windlisch, eds., The Sounds of Silent Films: New Perspectives on History, Theory, and Practice and Michael Slowik, After the Silents: Hollywood Film Music in the Early Sound Era, 1926-1934, Current Musicology, June 2015.


Scott Messing, Marching to the Canon: The Life of Schubert’s Marche Militaire, H-Net Reviews, October 2015.


Denise von Glahn, Music and the Skillful Listener: American Women Compose the Natural World, Notes, June 2015.



Felix Mayer, Carol J. Oja, Wolfgang Rathert, and Anne C. Shreffler, eds. Crosscurrents: American and European Music in Interaction, 1900-2000, NABMSA Reviews, Autumn 2014.


Gail Archer: The Muse’s Voice (CD). Gail Archer. Meyer Media, 2014, I Care If You Listen, 2014.


Magellan’s Playlist: On Tour in China (CD). The Athens Guitar Duo. Claudio, 2013, I Care If You Listen, 2014.


Jacob Druckman: Lamia (also includes That Quickening Pulse, Delizie Contente Che L’Alme Beate, Nor Spell Nor Charm, Suite from Médée) (CD). Boston Modern Orchestra Project led by Gil Rose and featuring Lucy Shelton, soprano. BMPO Sound, 2013, I Care If You Listen, 2014.



Christopher R. Wilson, Shakespeare’s Musical Imagery, Upstart, December 2013.



Paul Attinello, Janet Halfyard, and Vanessa Knights, eds., Music, Sound, and Silence in Buffy the Vampire Slayer, Bulletin of the Society for American Music, Winter (January) 2012.



“Guides to Writing about Music,” Journal of Music History Pedagogy, vol. 2, No. 1. (Fall 2011).

Reprinted in Thaqafa ’Alamiya [Global Cultures, published by the National Council for Culture, Arts, and Letters, Kuwait], March 2013.


Gabriel Fauré, Piano Trio; String Quartet; La Bonne Chanson, Notes, December 2011.


Mark Adamo, Little Women (DVD), Notes, September 2011.



Bruno Monsaingeon, Nadia Boulanger–Mademoiselle (DVD) Notes, March 2010.



Royal S. Brown, Film Musings, Scope, Issue 14 (June 2009).



Gian Carlo Menotti, Help! Help! The Globolinks (DVD), Notes, August 2008.


Philip Hayward, ed., Off the Planet: Music, Sound and Science Fiction Cinema, The Journal of Film Music, Fall 2008.



Caroline Potter, Nadia and Lili Boulanger, Notes, December 2007.


Phil Powrie and Robynn Stilwell, eds., Changing Tunes: The Use of Pre-existing Music in Film, Notes, March 2007.



Sergei Rachmaninoff, The Miserly Knight (DVD), Notes, March 2006.



Gilbert Amy, Mémoire pour violoncelle et piano d’après Shin’anim sha’ananim (1979-1989); Georges Aperghis, Sonate pour violoncelle seul (1994); Nicolas Bacri, Suite no. 1 “Preludio e Metamorfosi,”, pour violoncelle seul, opus 31 no. 1 (1987-94); Jacques Castérède, Sonate pour violoncelle et piano (1996); Alexander Comitas, Yiddish Suite pour violoncelle et piano, opus 17 (1995); Thierry Escaich, Nocturne pour violoncelle et piano (1997); Renaud Gagneux, Trois bagatelles pour violoncelle seul, opus 49 (1997); Ingrid Guymer, Seven Sketches pour violoncelle seul (1989) and Chainmail pour violoncelle solo (1995); Georges Migot, Sonate et Rhapsodie pour violoncelle seul; Serge Nigg, Duo élégiaque pour violoncelle et piano; Ton-That Tiêt, Xuân Vũ pour violoncelle et piano; Jean-Jacques Werner, Clair-obscur pour violoncelle et harpe (1996), Notes, September 2002.



Richard Hickox, Gustav Holst, The Scholar Gypsy (CD), Music Research Forum, vol. 16, June 2001.


Diana Burrell, Heron: For Cello and Piano (1988); Barbara Heller, Lalai: Schlaflied zum Wachwerden? Für Violoncello und Klavier (1989); Tania León, Four Pieces for Violoncello (1981); Augusta Read Thomas, Spring Song for Solo Cello (1995), Notes, March 2001.



Mark N. Grant, Maestros of the Pen, Music Research Forum, vol. 15, June 2000.


Dictionary Articles


“Talma, Louise.” In Oxford Bibliographies in Music. Ed. Bruce Gustafson. New York: Oxford University Press, 2015.



“Talma, Louise.” In American National Biography. New York: Oxford University Press, 2014.



“Adamo, Mark;” “Diamond, Beverly;” “Hamm, Charles (Edward);” “Koskoff, Ellen;” “McCulloh, Judith;” “Pollock, Howard;” “Tick, Judith.” In New Grove Dictionary of American Music, 2nd ed. Edited by Charles Hiroshi Garrett. New York: Oxford University Press, 2010, 2013.

Kendra Leonard

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