Faculty Profile

Amy Wlodarski

Associate Professor of Music (2005)

Contact Information


Weiss Center for the Arts Room 215


Her current research explores the relationship between music, trauma, memory, and politics, especially with regard to the music of European totalitarian regimes. Current publications focus on the manner in which composers have imagined the Holocaust in musical works ranging from Arnold Schoenberg to Steve Reich. In addition to written scholarship, she has given pre-performance lectures with musical institutions such as the Los Angeles Opera, the Philadelphia Orchestra, and the Harrisburg Symphony Orchestra. At Dickinson, Professor Wlodarski teaches music history courses and conducts the Dickinson College Choir. Recently, She was named a 2010 co-recipient of the Oral History Association’s Pedagogy and Teaching Award.


  • B.A., Middlebury College, 1997
  • M.A., Eastman School of Music, 2001
  • Ph.D., 2006

2015-2016 Academic Year

Fall 2015

MUEN 009 College Choir
May Not Be Audited.

FYSM 100 First-Year Seminar
The First-Year Seminar (FYS) introduces students to Dickinson as a "community of inquiry" by developing habits of mind essential to liberal learning. Through the study of a compelling issue or broad topic chosen by their faculty member, students will: - Critically analyze information and ideas - Examine issues from multiple perspectives - Discuss, debate and defend ideas, including one's own views, with clarity and reason - Develop discernment, facility and ethical responsibility in using information, and - Create clear academic writing The small group seminar format of this course promotes discussion and interaction among students and their professor. In addition, the professor serves as students' initial academic advisor. This course does not duplicate in content any other course in the curriculum and may not be used to fulfill any other graduation requirement.

Spring 2016

MUEN 009 College Choir
May Not Be Audited.

MUAC 102 History of Music
Why do we consider Mozart and Beethoven geniuses? What distinguishes music from sound and noise? How do opera and song encode cultural mores? How have social and political issues influenced supposed "abstract" music? Is music a more definite language than words? These are some of the aesthetic and philosophical issues that students will consider in this course, which explores musical composition from the death of Bach (1750) to avant-garde and minimalist composers. Students will develop skills associated with intelligent listening while also consulting primary sources in order to understand the contexts of musical production over the past 250 years. The ability to read music is not required for this course and non-musicians are welcome and encouraged. This course fulfills the Arts (Division I C) distribution requirement.

MUAC 353 Canonical Outsiders
This course considers those musicians and genres that have been sidelined within the classical musical canon, inviting their voices into a fuller portrait of American classical music. Music by African-American and women composers, as well as composers and scholars who identify as LGBTQ, will be studied in full depth for their outstanding contributions to performance repertory as well as musical criticism.