Christopher Lynch teaches classes in the history of Western music, American classical music, the Broadway musical, music in New York City, and opera. In the classroom he strives to foster an appreciation for various musical works and styles while addressing music’s engagement with politics.
Mr. Lynch’s research investigates the intersecting issues of cultural hierarchy, cultural capital, and aesthetics in twentieth century American musical theatrical institutions. He is currently finishing his dissertation titled “Modernized Opera”: Opera on Broadway and at Metropolitan Opera House, 1910 - 1957, which traces the transformation of the aesthetics of opera in New York City. The project examines both the influence of the Metropolitan on Broadway operas like Gershwin’s Porgy and Bess (1935) and Oscar Hammerstein II’s Carmen Jones (1943), and the role of this burgeoning Broadway aesthetic in the changing policies and practices of the Metropolitan in the 1940s and 1950s.
Mr. Lynch has presented his work at the annual meeting of the New York State/St. Lawrence chapter of the American Musicological Society, Music and the Moving Image at New York University, the University of Michigan’s Music Scholarship in Dialogue, the University at Buffalo Graduate Symposium on Music, and the Gender Institute at the University at Buffalo. His review of George W. Martin’s “Verdi in America: Oberto through Rigoletto” can be found in the forthcoming issue of Music Reference Services Quarterly (Fall 2012).
In addition to his teaching and research Mr. Lynch serves on the American Musicological Society’s Committee on Career-Related Issues, for which he has assisted in the planning and implementation of professional development sessions at the society’s annual meeting.
Prior to joining the DePauw School of Music Mr. Lynch was a member of the music faculty at SUNY Fredonia.