Erika HonischErika Supria Honisch

Assistant Professor, History/Theory

Erika Honisch completed her Ph.D. in Music History and Theory at the University of Chicago in 2011. She also has a master’s degree in Music History and Theory from the University of Chicago, and a Bachelor of Music in Music History and Literature from the University of British Columbia. The recipient of the American Musicological Society Howard Mayer Brown Fellowship and the University of Chicago-Andrew Mellon Dissertation Fellowship, Dr. Honisch spent a year researching and teaching at the University of Toronto’s Faculty of Music.

Honisch comes to Stony Brook from the University of Missouri, Kansas City, where she taught a broad range of courses, including both semesters of the undergraduate music history survey, and graduate courses in music of the classical and baroque periods, as well as approaches to research. She looks forward to developing courses exploring the relationship of music and scientific inquiry in the early modern period, the music and culture of central Europe, and music and gender.

Honisch’s research focuses on sacred music performed by contesting religious groups in cities and towns in central Europe before and during the Thirty Years War, with an emphasis on music connected to the Imperial court at Prague (ca. 1576–1612). Her book project, tentatively titled Moving Music in the Heart of Europe, 1555–1648, takes up these issues with an eye to recent work in anthropology, as well as sixteenth- and seventeenth-century treatises dealing with theories of hearing. It offers a history of music that takes into account the subjectivity of the early modern listener––that is, the many ways in which individuals responded to sacred music in a region torn apart by religious strife. A firm believer in scholarly collaboration, Honisch has co-organized multi-national panels dealing with music in Renaissance Bohemia, and is currently working with scholars in the United Kingdom and Spain to track the movement of music between the two poles of Habsburg Europe, Spain and the Holy Roman Empire, in the sixteenth and seventeenth centuries.

She is a regular presenter at national and international conferences, having presented papers in the US, Canada, the Netherlands, Spain, and Croatia. Her article “The Transmission of the Polyphonic Amen in the Early Fifteenth Century was recently published in Plainsong and Medieval Music, and she has articles forthcoming in Sakralmusik im Habsburger Kaiserreich, 1619–1740 (ed. Tassilo Erhardt) and Recent Research in Early Iberian Music in an International Context (ed. Tess Knighton and Emilio Ros-Fabregas).


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