Dr. Deborah Kauffman teaches music history and literature at the University of Northern Colorado. After earning B.M. and M.M. degrees in piano performance at the University of California at Santa Barbara and the University of Illinois, she completed the D.M.A. degree in Early Music at Stanford University in 1994. She has taught music history classes at the University of Richmond, the University of Denver, and Stanford Continuing Studies.

Dr. Kauffman also serves as editor-in-chief of the Journal of Musicological Research and is a collaborator with French scholars Cécile Davy-Riguax and Nathalie Berton on Sequentia, an online data base of European Catholic liturgical chant from the 17^th and 18^th centuries (http://sequentia.lri.fr).

Her special areas of interest include French Baroque music, music in convents, and the musical repertory of the 17th-century girls’ school, the Maison de Saint-Louis at Saint-Cyr. She has presented her research as a Distinguished Lecturer at the University of California at Santa Barbara in May, 2002, and has read papers at the 11^th Biennial International Conference on Baroque Music (Manchester, UK, 2004), at national meetings of the American Musicological Society in Seattle (2004) and Kansas City (1999), and local meetings of the Rocky Mountain, Allegheny, and Capital Chapters of the AMS. Her paper, “A Re-examination of Romantic Vocal Portamento,” won the national Frederick Dorian Student Award for best paper from the Allegheny Chapter of the AMS in 1992.

Dr. Kauffman’s publications include:

“Violons en basse as Musical Allegory,” Journal of Musicology (in press).

“Sequentia: An Online Database for Research into the Ecclesiastic Chant and Liturgy of the Modern Era (the 16th Century until the middle of the 19th Century),” with Cécile Davy-Rigaux and Nathlie Berton, Journal of Seventeenth-Century Music 11/1 (2005), http://sscm-jscm.press.uiuc.edu/jscm/v11/no1/kauffman.html

Petits motets from the Maison royale de Saint-Louis at Saint-Cyr.  Middleton, Wisconsin: A-R Editions of Madison, WI, 2001.

“Performance traditions and motet writing at the Convent School at Saint-Cyr,” Early Music xxix/2 (May, 2001), 234-249.

“Convents” and “Performance Practices: General” for The Reader’s Guide to Music: History, Theory, and Criticism, Chicago:  Fitzroy Dearborn, 1999; 169-170, 544-546.

“Henriette Adélaïde de Villars dites Beaumesnil,” article and edition of Beaumesnil’s “Vainement je voudrais feindre” from her opera Tibulle et Délie in Women Composers: Music Through the Ages. New York: G.K. Hall, 1998. Vol. 4, 155-170.

“The Practice of Portamento in Romantic Opera,” Performance Practice Review 5/2 (Fall, 1992), 139-158.