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Faculty Profile

Amy Wlodarski

(she/her/hers)Professor of Music; Charles A. Dana Chair (2005)

Contact Information

Weiss Center for the Arts Room 215


An award-winning scholar and teacher, Prof. Wlodarski's research explores the complex expressive relationships between Jewish music, trauma, memory, and the tragedies of World War II and the Holocaust. Her two monographs--Musical Witness and Holocaust Representation (2015) and George Rochberg, American Composer (2019)--have both received accolades from leading musicological societies, and she is currently working on a book detailing the international reception of Viktor Ullmann's "Der Kaiser von Atlantis," a chamber opera written in Ghetto Terezín in 1944. In addition to written scholarship, Prof. Wlodarski regularly presents programs for major musical institutions, including the Los Angeles Opera, the Philadelphia Orchestra, the New York Philharmonic, and the Violins of Hope Exhibition, and her work has been supported by the Fulbright Commission, the National Endowment for the Humanities, and Harvard University. As an educator, she specializes in courses that explore the aesthetics, ethics, and politics of creative practices in music ranging from 1750 to the present and conducts the Dickinson College Choir.


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


  • Dickinson Award for Distinguished Teaching, 2010-11
  • Ganoe Award for Inspirational Teaching, 2014-15

2021-2022 Academic Year

Spring 2022

MUEN 009 College Choir
May Not Be Audited.This course will be taught synchronously via Zoom. Students will need access to a microphone (a smartphone app works just fine, as does the microphone on your computer) and a set of headphones. If you are having trouble gaining access to these materials, please be in touch with me immediately. The choir will complete its preparations for a final spring concert (live-streamed from Rubendall) with the addition of Ola Gjeilo’s beautiful Sunrise Mass to the performance. If in residence, opportunities for socializing in-person on campus will be made available, but all students (regardless of location) will be able to participate fully in the musical life of the ensemble.

MUAC 102 The Listening Mind
When we think about our response to music, often we describe its emotional and affective impact on our lives—in short, how it makes us feel. This course asks a different question: how do the languages of music provoke our minds by prompting intellectual questions, revealing cultural dynamics, and driving creative inquiry? How have composers, performers, and listeners made sense of the sonic environments around them, and what do their stories tells us about their aesthetic and ethical worldviews? Drawing from a wide range of disciplinary fields and historical examples from 1750 to the present, this course asks students to explore what music can reveal about society—its shifting cultural practices and biases—and our own relationships with the sounds we experience in our daily lives. The ability to read music is not required for this course and non-musicians are welcome and encouraged.